![]() ![]() RF: I think my interests align better with those of Leonardo. Which ones do you feel, or would like to feel closer to? ![]() ![]() To mention all but the most famous ones, we find Michelangelo, Leonardo, Raffaello. MM: Thinking, creating, drawing, modeling, are characteristics of several genial personalities of the Italian Renaissance. Students sometimes contact me by email, and I always try to be helpful when they do. However, a lot of people, some of which are students, follow my social media posts, so they are learning that way. RF: I’m not a teacher and don’t have a position at a university, so I don’t have any students learning directly from me. MM: At the end of the Preface, you are hoping that your work will ignite in the reader the same love for patterns you feel, “if not an obsession!” Do you have any student learning these techniques, or, better, this art of tessellation? There is also the act of working clay with your hands that involves muscle memory, so that making mathematical forms relies on feeling as well as seeing.Īn image from the Arizona's desert. I think this is a key feature that gives sculpture something extra that two-dimensional art doesn’t possess. I try to plan out my ceramic pieces so that they will look interesting from different angles. RF: Thinking and visualizing in three dimensions is much more challenging than in two dimensions. MM: Different from drawing, what does it mean to create a form with clay or ceramics? Just the fact that nature creates such things is wonderful and amazing. It’s also interesting to me to compare them to different polyhedra, particularly the Goldberg polyhedra, which have large numbers of faces. RF: I find the geometric intricacy of radiolarians fascinating. MM: Figure 20.10 shows one of your ceramics, “Radiolarian Form.” From D’Arcy Thompson to Haeckel, till Gaudí, radiolarians' symmetries have been exerting a strong appeal for artists and scientists. I don’t particularly associate spirals with particular movements or rhythms, but spirals in graphic designs do create a sense of motion, as well as evoking infinity. There are some artists who like to make spirals using rocks, leaves, and the like e.g., James Brunt or Andy Goldsworthy. These can be built with squares or equilateral triangles, for example. RF: A lot of things can be arranged in spirals, particularly Archimedean-type spirals, ones in which the spacing between arms remains constant. Can you explain to the reader how to build them? While you are building them, does it happen to associate these figures with a movement, a rhythm? In your book, you explain how to approximate them starting from adjacent triangles. MM: In mathematics textbooks, spiraling shells do often appear. I’ve become more aware of how the same types of patterns occur in many different places in nature. RF: I do notice patterns and symmetry more than I used to, both in manmade things and in nature. MM: Did pattern study and research change anything in your way to see the world? It’s not written for the professional mathematician or as a college textbook, but there is a lot of material that can be used by K-12 math teachers. RF: It’s really for anyone who loves math and art. Is it a book thought of for a pedagogical framework, for kids, for math-passionate? MM: Your book contains several models to build and modify tessellations. Some of my work is most art oriented, some emphasizes the math, and some emphasizes puzzles and games. MM: “Mathematics, Art, and Recreation”: is one of them prevailing? From Wikipedia ((M._C._Escher)#/media/File:Escher's_Reptiles.jpg) ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |