By John D. Barrow

A desirable exploration of math’s connection to the arts.

At first look, the worlds of math and the humanities would possibly not look like cozy friends. yet as mathematician John D. Barrow issues out, they've got a robust and common affinity—after all, math is the examine of all styles, and the area of the humanities is wealthy with development. Barrow whisks us via a hundred thought-provoking and sometimes whimsical intersections among math and lots of arts, from the golden ratios of Mondrian’s rectangles and the curious fractal-like nature of Pollock’s drip work to ballerinas’ gravity-defying leaps and the following iteration of monkeys on typewriters tackling Shakespeare. For these people with our ft planted extra firmly at the flooring, Barrow additionally wields daily equations to bare what number guards are wanted in an artwork gallery or the place you'll want to stand to examine sculptures. From tune and drama to literature and the visible arts, Barrow’s witty and available observations are certain to spark the imaginations of math nerds and paintings aficionados alike. eighty five illustrations

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It is because small changes in production – diﬀerent actors, new styles of direction, or a diﬀerent orchestra and conductor – create a completely new experience for the audience. Great works are sensitive to small changes in ways that give you a new and pleasurable experience. Yet the overall order is maintained. They seem to exhibit a type of criticality. This combination of predictability and unpredictability is something that we seem to find very appealing. 64 16 Culinary Arts Around Christmastime there are many cookery articles in newspapers and magazines advising on how best to cook a large turkey or goose for the festive season.

After that, they get no steeper. The special “critical” slope will continue to be maintained by regular avalanches of all sizes, some involving just one or two grains but other rarer events producing a collapse of the whole side of the pile. The overall result is striking. The haphazard falls of the individual grains has organized itself into a stable, orderly pile. In this critical state the overall order is maintained by the chaotic sensitivity of the individual grain trajectories. If the pile was on an open tabletop then eventually the grains would start falling oﬀ the sides of the table at the 63 same rate that they drop from above.

More speciﬁcally, this means that if the width of the inner margin is 2 then the top margin will be × 2 = 3, the outer margin will be 2 × 2 = 4, and the bottom 42 margin will be 2 × 3 = 6. Here is one simple recipe for this well-balanced page layout across a double spread, with two pieces of paper side by side,2 shown in the ﬁgure below. 3 They show how straightforward it was for the members of a scriptorium to lay out their page designs using only a straight edge. First draw the diagonals joining the lower right and left corners to the opposite upper corners of the same page and then to the opposite upper corners of the other page.