http://de.evo-art.org/index.php?action=history&feed=atom&title=Combinatorics_in_the_Art_of_the_Twentieth_Century 2026-05-02T21:07:38Z Versionsgeschichte dieser Seite in de_evolutionary_art_org MediaWiki 1.27.4 http://de.evo-art.org/index.php?title=Combinatorics_in_the_Art_of_the_Twentieth_Century&diff=33264&oldid=prev 2017-12-07T09:47:33Z

<p>Die Seite wurde neu angelegt: „ == Referenz == Lali Barrière: <a href="/index.php?title=Combinatorics_in_the_Art_of_the_Twentieth_Century" title="Combinatorics in the Art of the Twentieth Century">Combinatorics in the Art of the Twentieth Century</a>. In: <a href="/index.php?title=Bridges_2017" title="Bridges 2017">Bridges 2017</a>, Pages 321–328. == DOI == == Abstract == This…“</p> <p><b>Neue Seite</b></p><div><br /> == Referenz == <br /> Lali Barrière: [[Combinatorics in the Art of the Twentieth Century]]. In: [[Bridges 2017]], Pages 321–328. <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> This paper is motivated by a question I asked myself: How can combinatorial structures be used in a work of art? Immediately, other questions arose: Whether there are artists that work or think combinatorially? If so, what works have they produced in this way? What are the similarities and differences between art works produced using combinatorics? This paper presents the first results of the attempt to answer these questions, being a survey of a selection of works that use or contain combinatorics in some way, including music, literature and visual arts, focusing on the twentieth century. <br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> @inproceedings{bridges2017:321,<br /> author = {Lali Barri\`{e}re},<br /> title = {Combinatorics in the Art of the Twentieth Century},<br /> pages = {321--328},<br /> booktitle = {Proceedings of Bridges 2017: Mathematics, Art, Music, Architecture, Education, Culture},<br /> year = {2017},<br /> editor = {David Swart, Carlo H. S\&#039;equin, and Krist\&#039;of Fenyvesi},<br /> isbn = {978-1-938664-22-9},<br /> issn = {1099-6702},<br /> publisher = {Tessellations Publishing},<br /> address = {Phoenix, Arizona},<br /> note = {Available online at \url{http://archive.bridgesmathart.org/2017/bridges2017-321.pdf}}<br /> }<br /> <br /> == Used References == <br /> [1] M. Bense. Aesthetica II - Aesthetische Information. Agis-Verlag, 1956.<br /> <br /> [2] D. Benson. Music: A Mathematical Offering. Cambridge University Press, 2006.<br /> <br /> [3] C. Berge, “Para un an´alisis potencial de la literatura combinatoria”. In: H. Salceda, ed. OULIPO. Atlas<br /> de Literatura Potencial, 1: Ideas Potentes. Pepitas de Calabaza, Logro˜no, Spain, 2016. (Translated<br /> from French.)<br /> <br /> [4] M. Bill, “The Mathematical Approach in Contemporary Art”. In: K. Stiles and P. Selz, eds., Theories<br /> and Documents of Contemporary Art. A Sourcebook of Artists’ Writings, University of California Press,<br /> 1996, pp. 74–77.<br /> <br /> [5] I. Calvino, “Appunti sulla narrativa come processo combinatorio”, Nuova Corrente, 46-47, 1968.<br /> <br /> [6] P. J. Cameron. Combinatorics: Topics, Techniques, Algorithms. Cambridge University Press, 1994.<br /> <br /> [7] Editions 75 – works by Tom Johnson. http://www.editions75.com/ (as of Jan. 25, 2017).<br /> <br /> [8] C. T. Funkhouser. Prehistoric Digital Poetry. An Archaeology of Forms, 1959-1995. The University of<br /> Alabama Press, 2007.<br /> <br /> [9] T. Hapke, “Wilhelm Ostwald’s Combinatorics as a Link Between In-formation and Form”, Library<br /> Trends, 61(2): 286–303, 2012.<br /> <br /> [10] D. Higgins. Pattern Poetry: Guide to an Unknown Literature. SUNY Press, 1987.<br /> <br /> [11] T. Johnson, F. Jedrzejewski. Looking at Numbers. Springer, 2014.<br /> <br /> [12] E. Knoblock, “The Sounding Algebra: Relations Between Combinatorics and Music from Mersenne<br /> to Euler”. In G. Assayag, H. G. Feichtinger, J. F. Rodrigues, eds., Music and Mathematics. A Diderot<br /> Mathematical Forum, Springer, 2002.<br /> <br /> [13] S. LeWitt, “Serial Project #1”, Aspen, 5-6, 1967.<br /> <br /> [14] M. G. Lorenzi and M. Francaviglia, “The Role of Mathematics in Contemporary Art at the Turn of the<br /> Millenium”, Aplimat - Journal of Applied Mathematics, 4(4): 215–238, 2011.<br /> <br /> [15] G. Loy. Musimathics. The mathematical Foundations of Music. Vol.1. The MIT Press, 2006.<br /> <br /> [16] Manfred Mohr. http://www.emohr.com/ (as of Jan. 25, 2017).<br /> <br /> [17] M. Mohr. Computer graphics. Une ´esthetique programm´ee. Weberdruck Pforzheim, 1971.<br /> <br /> [18] C. Nolan, “On Musical Space and Combinatorics: Historical and Conceptual Perspectives in Music<br /> Theory”. In R. Sarhangi ed., Proceedings of Bridges 2000: Mathematics, Music, Art, Architecture,<br /> Education, Culture, pages 201–208, Winfield, Kansas, 2000.<br /> <br /> [19] G. Perec, “Quatre figures pour La Vie mode d’emploi”. In: Oulipo Atlas de litt´erature potentielle,<br /> Gallimard, 1981, p. 387-395.<br /> <br /> [20] J.-M. Place, “Vera Molnar, Regard sur mes images”, Revue d’esthtique, 7, 1984.<br /> <br /> [21] R. C. Read, “Combinatorial problems in the theory of music”, Discrete Mathematics, 167-168: 543–<br /> 551, 1997.<br /> <br /> [22] M. Rottman, “Donald Judd’s Arithmetics and Sol LeWitt’s Combinatorics. On the Relationship Between<br /> Visual and Mathematical in New York Art Around 1960”. In M. Emmer, ed., Imagine Math 3.<br /> Between Culture and Mathematics, Springer, 2015.<br /> <br /> [23] A. Schoenberg, “Composition with Twelve Tones”. In Style and Idea. Selected Writings of Arnold<br /> Schoenberg, Faber &amp; Faber, 1975, pp. 102–143.<br /> <br /> [24] W. A. Sethares. Rhythm and Transforms. Springer, 2007.<br /> <br /> [25] D. R. Stinson. Combinatorial Designs: Constructions and Analysis. Springer, 2004.<br /> <br /> [26] Vera Molnar. http://www.veramolnar.com/ (as of Jan. 25, 2017).<br /> <br /> <br /> == Links == <br /> <br /> === Full Text === <br /> http://archive.bridgesmathart.org/2017/bridges2017-321.pdf<br /> <br /> [[internal file]] <br /> <br /> <br /> === Sonstige Links ===</div>

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