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"Clover-52," by Jean-Francois Colonna (Centre de Mathematiques Appliquees, Ecole Polytechnique)This image shows the lack of associativity for addition and multiplication inside a computer. In order to be able to obtain the exact same results over the years for a certain computation, I did include the definition of some "devices" in my own programming language, which allow the definition of the precise order of the arithmetic operations: +, -, *, and / (by the way, parentheses won't do that, for example, X=A+(B+C) does not mean T=B+C then X=A+T).
This opens the door to something very powerful: The possibility to dynamically redefine the arithmetic used when launching a program. This picture and "Clover-51" are the results of the combination of eight elementary pictures: 3-clover, 4-clover, ... ,10-clover with substitutions like (A+B) --> MAX (A,B), (A*B) --> (A+B).
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"Clover-51," by Jean-Francois Colonna (Centre de Mathematiques Appliquees, Ecole Polytechnique)This image shows the lack of associativity for addition and multiplication inside a computer. In order to be able to obtain the exact same results over the years for a certain computation, I did include the definition of some "devices" in my own programming language, which allow the definition of the precise order of the arithmetic operations: +, -, *, and / (by the way, parentheses won't do that, for example, X=A+(B+C) does not mean T=B+C then X=A+T).
This opens the door to something very powerful: The possibility to dynamically redefine the arithmetic used when launching a program. This picture and "Clover-52" are the results of the combination of eight elementary pictures: 3-clover, 4-clover, ... ,10-clover with substitutions like (A+B) --> MAX (A,B), (A*B) --> (A+B).
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"Fiddler Crab, opus 446," by Robert J. Lang. Medium: One uncut square of Origamido paper, composed and folded in 2004, 4". Image courtesy of Robert J. Lang. Photograph by Robert J. Lang.The intersections between origami, mathematics, and science occur at many levels and include many fields of the latter. Origami, like music, also permits both composition and performance as expressions of the art. Over the past 35 years, I have developed over 480 original origami compositions. About a quarter of these have been published with folding instructions, which, in origami, serve the same purpose that a musical score does: it provides a guide to the performer (in origami, the folder) while allowing the performer to express his or her own personality through interpretation and variation.
I'm especially pleased with this model, which involves a combination of symmetry with one distinctly non-symmetric element. The base is quite irregular, but its asymmetry is mostly concealed. The crease pattern is here.
--- Robert J. Lang
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"Fiddler Crab, opus 446" crease pattern, by Robert J. Lang. Copyright Robert J. Lang (www.langorigami.com).Crease patterns (CPs) provide a one-step connection from the unfolded square to the folded form, compressing hundreds of creases, and sometimes hours of folding, into a single diagram! A CP can sometimes be more illuminating than a detailed folding sequence, conveying not just "how to fold," but also how the figure was originally designed. Mathematical and geometric CPs usually show all the creases, but representational origami rarely shows every crease in the finished form, as it would make the crease pattern impossibly busy. Instead, the crease pattern gives the creases needed to fold the "base," that is, a geometric shape that has the right number and arrangements of flaps. It is still left up to the folder to add thinning and shaping folds. See the final "Fiddler Crab" origami work in this album.
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"Night Hunter, opus 469," by Robert J. Lang. Medium: One uncut square of Korean hanji, composed and folded in 2003, 18". Image courtesy of Robert J. Lang. Photograph by Robert J. Lang.The intersections between origami, mathematics, and science occur at many levels and include many fields of the latter. Origami, like music, also permits both composition and performance as expressions of the art. Over the past 35 years, I have developed over 480 original origami compositions. About a quarter of these have been published with folding instructions, which, in origami, serve the same purpose that a musical score does: it provides a guide to the performer (in origami, the folder) while allowing the performer to express his or her own personality through interpretation and variation.
--- Robert J. Lang
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"Night Hunter, opus 469" crease pattern, by Robert J. Lang. Copyright Robert J. Lang (www.langorigami.com).Crease patterns (CPs) provide a one-step connection from the unfolded square to the folded form, compressing hundreds of creases, and sometimes hours of folding, into a single diagram! A CP can sometimes be more illuminating than a detailed folding sequence, conveying not just "how to fold," but also how the figure was originally designed. Mathematical and geometric CPs usually show all the creases, but representational origami rarely shows every crease in the finished form, as it would make the crease pattern impossibly busy. Instead, the crease pattern gives the creases needed to fold the "base," that is, a geometric shape that has the right number and arrangements of flaps. It is still left up to the folder to add thinning and shaping folds. See the final "Night Hunter" origami work in this album.
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"Bull Moose, opus 413," by Robert J. Lang. Medium: One uncut square of Nepalese lokta, composed and folded in 2002, 6". Image courtesy of Robert J. Lang. Photograph by Robert J. Lang.The intersections between origami, mathematics, and science occur at many levels and include many fields of the latter. Origami, like music, also permits both composition and performance as expressions of the art. Over the past 35 years, I have developed over 480 original origami compositions. About a quarter of these have been published with folding instructions, which, in origami, serve the same purpose that a musical score does: it provides a guide to the performer (in origami, the folder) while allowing the performer to express his or her own personality through interpretation and variation.
--- Robert J. Lang
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"Tree Frog, opus 280," by Robert J. Lang. Medium: One uncut square of Origamido paper, composed in 1993, folded in 2005, 5". Image courtesy of Robert J. Lang. Photograph by Robert J. Lang.The intersections between origami, mathematics, and science occur at many levels and include many fields of the latter. Origami, like music, also permits both composition and performance as expressions of the art. Over the past 35 years, I have developed over 480 original origami compositions. About a quarter of these have been published with folding instructions, which, in origami, serve the same purpose that a musical score does: it provides a guide to the performer (in origami, the folder) while allowing the performer to express his or her own personality through interpretation and variation.
--- Robert J. Lang
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"African Elephant, opus 322," by Robert J. Lang. Medium: One uncut square of watercolor paper, composed and folded in 1996, 8". Image courtesy of Robert J. Lang. Photograph by Robert J. Lang.The intersections between origami, mathematics, and science occur at many levels and include many fields of the latter. Origami, like music, also permits both composition and performance as expressions of the art. Over the past 35 years, I have developed over 480 original origami compositions. About a quarter of these have been published with folding instructions, which, in origami, serve the same purpose that a musical score does: it provides a guide to the performer (in origami, the folder) while allowing the performer to express his or her own personality through interpretation and variation.
--- Robert J. Lang
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"Allosaurus Skeleton, opus 326," by Robert J. Lang. Medium: 16 uncut squares of Wyndstone "Marble" paper, 24". Image courtesy of Robert J. Lang. Photograph by Robert J. Lang.This model was inspired by the brilliant Tyrannosaurus Rex of the late Issei Yoshino.
The intersections between origami, mathematics, and science occur at many levels and include many fields of the latter. Origami, like music, also permits both composition and performance as expressions of the art. Over the past 35 years, I have developed over 480 original origami compositions. About a quarter of these have been published with folding instructions, which, in origami, serve the same purpose that a musical score does: it provides a guide to the performer (in origami, the folder) while allowing the performer to express his or her own personality through interpretation and variation.
--- Robert J. Lang
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"Enmpperaltta," by Inigo QuilezInigo Quilez is an engineer born in the Basque Country, Spain, who actually works in Belgium designing virtual reality tools. The word that titles the picture, Enmpperaltta, signifies nothing; it is simple a permutation of the French word "L'Appartement." The reason is the obsession shown by the author while trying to buy the perfect apartment in Brussels; that goal was finally achieved and he celebrated with this image. Enmpperaltta is in fact a still frame from an animation calculated by means of proprietary software written in the C language from a variant of the well-known Pickover algorithm, a formula that generates shapes resembling those produced by mixing fluids, for example liquids of different colors. To generate the image, the formula was repeated three times with slightly altered parameters, each in a separate process, and applied to the three basic components of color in the image: red, green and blue, that are combined together to produce the final result.
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"The Empty Paradox," by Kaz Maslanka, D3 Technologies (2008)Digital print, 16" x 20". "The equation is the familiar function of x equal to 1/x which yields a hyperbolic curve when graphed and results an asymptote when x = 0. Compassion multiplied by Wisdom is equal to 1 over X as the limit of X approaches Buddha’s mind. Buddhist philosophy tells us that Buddha’s mind is emptiness yet the philosophy also tells us that emptiness is different than nothingness or zero. In fact it is quite paradoxical for we are told that emptiness is very much something. This piece also uses visual imagery for poetic expression with Buddhist symbolism of flexibility and eternity represented by bamboo and pine trees respectively. As an artist, my interest in correlating experience through language spawned my desire to study mathematics and physics. I am currently pursuing my interest in using mathematics as a language for art." --- Kaz Maslanka, Mathematical poet and Polyartist, D3 Technologies, San Diego, CA
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"Chinese Dragon," by Nathan Selikoff (2007)Lightjet print, 18" x 24". "Underlying this artwork is a two-dimensional plot of the 'typical behavior' of a chaotic dynamical system, a strange attractor. The base image is computed with a set of iterated functions, which serve as a numerical approximation to integrating the underlying differential equations. The iterated functions contain four coefficients, which are controlled by sliders in interactive custom software and control the appearance of the attractor. Once the particular form is chosen, it is rendered as a high-resolution 16-bit grayscale image, colorized using gradient mapping and edited to enhance contrast, control composition, and add special effects. I love experimenting in the fuzzy overlap between art, mathematics, and programming. The computer is my canvas, and this is algorithmic artwork--a partnership mediated not by the brush or pencil but by the shared language of software. Seeking to extract and visualize the beauty that I glimpse beneath the surface of equations, I create custom interactive programs and use them to explore algorithms, and ultimately to generate artwork. " --- Nathan Selikoff, Artist, Orlando, FL
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"Star Birth," by Nathan Selikoff (2007)Lightjet print, 24" x 18". "Underlying this artwork is a two-dimensional plot of the 'typical behavior' of a chaotic dynamical system, a strange attractor. The base image is computed with a set of iterated functions, which serve as a numerical approximation to integrating the underlying differential equations. The iterated functions contain four coefficients, which are controlled by sliders in interactive custom software and control the appearance of the attractor. Once the particular form is chosen, it is rendered as a high-resolution 16-bit grayscale image, colorized using gradient mapping and edited to enhance contrast, control composition, and add special effects. I love experimenting in the fuzzy overlap between art, mathematics, and programming. The computer is my canvas, and this is algorithmic artwork--a partnership mediated not by the brush or pencil but by the shared language of software. Seeking to extract and visualize the beauty that I glimpse beneath the surface of equations, I create custom interactive programs and use them to explore algorithms, and ultimately to generate artwork." --- Nathan Selikoff, Artist, Orlando, FL
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