This book focuses on the origin of the Gielis curves, surfaces and transformations in the plant sciences. It is shown how these transformations, as a generalization of the Pythagorean Theorem, play an essential role in plant morphology and development. New insights show how plants can be understood as developing mathematical equations, which opens the possibility of directly solving analytically any boundary value problems (stress, diffusion, vibration...) . The book illustrates how form, development and evolution of plants unveil as a musical symphony. The reader will gain insight in how the methods are applicable in many divers scientific and technological fields.
Phylogenesis of beauty by Pietro Gaietto is a scientific treatise on the origins and general evolutionary outcome of beauty, from the beginning of the world to the present. Beauty has never before been the object of scientific study, nor has its evolution. Gaietto has integrated human products, including art, into the general evolution of beauty in nature, noting that man's object follow the same rules of evolutionary transformation found in organic and inorganic physical forms. Gaietto's hypothesis on the transformation of beauty concerns all the kingdoms of nature as they have appeared in chronological order from the earliest geological ages, and as discovered by geologists, paleontologists, and paletnologists. The book's scientific analysis of beauty in human artifacts excludes questions of quality, even if they exist, as well as the idea of ugliness, because man intentionally produces only beautiful things.
Kimberly Elam fA1/4hrt den Leser auf eine geometrische Reise und gibt Einsicht in den Designprozess, indem sie visuelle Beziehungen untersucht, die sowohl auf mathematischen Prinzipien als auch auf grundlegenden Eigenschaften des Lebens basieren. Elams ErklArungen machen die mathematischen Beziehungen, die sich hinter diesen Designs verbergen, offensichtlich, und ihre EinfA1/4hrung in die Technik der visuellen Analyse macht dieses Buch zu einer unerlAsslichen Hilfe fA1/4r jeden, der grafisch arbeitet. Die Autorin behandelt dabei nicht nur die klassischen Proportionierungssysteme wie den Goldenen Schnitt und wurzelbasierte Rechtecke, sondern auch weniger bekannte Systeme wie z.B. die Fibonaccifolge.
Ellsworth Kelly is one of the most important living American painters and sculptors. His career is closely tied to the abstract style of "hard-edge" painting in the Sixties, with color field painting and the Minimalist school. His works demonstrate unassuming techniques that emphasize the simplicity of form, frequently enhanced by bright colors. Alongside his geometrical paintings, Kelly is famous for his beautiful drawings of plants, flowers, and leaves, which were shown together with Matisse's plant drawings at the Centre Pompidou in Paris in 2002. His book of drawings and watercolors is appearing to coincide with a large museum show that starts at Graphische Sammlung, Munich, in fall 2011 and which will travel on to the Metropolitan Museum, New York, in spring 2012. Two texts by the curators (Michael Semff, Munich, and Marla Prather, New York) describe the plant drawings in the context of Ellsworth Kelly's oeuvre as a whole.
Author: Ian Stewart
Publisher: Springer Spektrum
Release Date: 2013-03-15
m dichten Morgennebel des 30. Mai 1832 stehen sich zwei junge franzö- sche Männer gegenüber, die Pistolen in der Hand. Sie duellieren sich wegen einer Frau. Es fällt ein Schuss, und einer der Männer liegt schwer verletzt am IBoden. Am nächsten Tag stirbt er an den Folgen seiner inneren Verletzungen. Kein Stein markiert das Grab des 20-Jährigen, und beinahe wäre eine der wi- tigsten Ideen in der Geschichte der Mathematik und der Naturwissenschaften mit ihm beerdigt worden. Der Name des Überlebenden bleibt unbekannt; der tragisch Getötete hieß Évariste Galois. In politischer Hinsicht war er ein Rebell, doch seine Leidenschaft war die Mathematik, auch wenn seine gesammelten Werke kaum sechzig Seiten umfassen. Galois hinterließ ein Erbe, das die Mathematik revolutionierte. Er e- wickelte eine Sprache zur Beschreibung von Symmetrien und ihrer Bedeutung in mathematischen Strukturen. Diese Sprache nennt man heute „Gruppentheorie“, und in allen Bereichen der reinen und angewandten Mathematik dient sie zur Charakterisierung von Mustern und Formen. Symmetrien spielen auch eine zentrale Rolle in den Gre- gebieten der Physik: der Quantenwelt im Kleinen und der Welt der Relativitä- theorie im Großen. Sie könnten sogar der Schlüssel zur lange gesuchten „Theorie von Allem“ sein, einer mathematischen Vereinigung dieser beiden Zweige der modernen Physik. Und alles begann mit einer einfachen Frage zur Lösung mat- matischer Gleichungen: Wie ?ndet man eine „unbekannte“ Zahl aus wenigen, allgemeinen mathematischen Vorgaben? Symmetrie ist keine Zahl und auch keine Form.
Author: William Robinson
Publisher: NEW YORK: SCRIBNER AND WELFORD
Release Date: 2014-12-15
Example in this ebook When I began, some years ago, to plead the cause of the innumerable hardy flowers against the few tender ones, put out at that time in a formal way, the answer frequently was, “We cannot go back to the mixed border”—that is to say, the old way of arranging flowers in borders. Knowing, then, a little of the vast world of plant beauty quite shut out of our gardens by the “system,” in vogue, I was led to consider the ways in which it might be introduced to our gardens; and, among various ideas that then occurred to me, was the name and scope of the “wild garden.” I was led to think of the enormous number of beautiful hardy plants from other countries which might be naturalised, with a very slight amount of trouble, in many situations in our gardens and woods—a world of delightful plant beauty that we might in this way make happy around us, in places now weedy, or half bare, or useless. I saw that we could not only grow thus a thousandfold more lovely flowers than are commonly seen in what is called the flower garden, but also a number which, by any other plan, have no chance whatever of being seen around us. This is a system which will give us more beauty than ever was dreamt of in gardens, without interfering with formal gardening in any way. In this illustrated edition, by the aid of careful drawings, I have endeavoured to suggest in what the system consists; but if I were to write a book for every page that this contains, I could not hope to suggest the many beautiful aspects of vegetation which the wild garden will enable us to enjoy at our doors. The illustrations are, with a few slight exceptions, the work of Mr. Alfred Parsons, and the drawing and engraving have been several years in execution. They are after nature, in places where the ideas expressed in the first small edition of the book had been carried out, or where accident, as in the case of the beautiful group of Myrrh and white Harebells, had given rise to the combinations or aspects of vegetation sought. I cannot too heartily acknowledge the skill and pains which Mr. Parsons devoted to the drawings, and to the success which he has attained in illustrating the motive of the book, and such good effects as have already been obtained where the idea has been intelligently carried out. There has been some misunderstanding as to the term “Wild Garden.” It is applied essentially to the placing of perfectly hardy exotic plants in places and under conditions where they will become established and take care of themselves. It has nothing to do with the old idea of the “wilderness,” though it may be carried out in connection with that. It does not necessarily mean the picturesque garden, for a garden may be highly picturesque, and yet in every part the result of ceaseless care. What it does mean is best explained by the winter Aconite flowering under a grove of naked trees in February; by the Snowflake growing abundantly in meadows by the Thames side; by the perennial Lupine dyeing an islet with its purple in a Scotch river; and by the Apennine Anemone staining an English wood blue before the blooming of our blue bells. Multiply these instances a thousandfold, illustrated by many different types of plants and hardy climbers, from countries as cold or colder than our own, and one may get a just idea of the wild garden. Some have erroneously represented it as allowing a garden to run wild, or sowing annuals promiscuously; whereas it studiously avoids meddling with the garden proper at all, except in attempting the improvements of bare shrubbery borders in the London parks and elsewhere; but these are waste spaces, not gardens. To be continue in this ebook