http://de.evo-art.org/index.php?action=history&feed=atom&title=Sculptural_Interpretation_of_a_Mathematical_Form 2026-05-09T16:48:16Z Versionsgeschichte dieser Seite in de_evolutionary_art_org MediaWiki 1.27.4 http://de.evo-art.org/index.php?title=Sculptural_Interpretation_of_a_Mathematical_Form&diff=4260&oldid=prev 2015-02-01T12:28:44Z

<p>Die Seite wurde neu angelegt: „ == Reference == Robert J. Krawczyk: <a href="/index.php?title=Sculptural_Interpretation_of_a_Mathematical_Form" title="Sculptural Interpretation of a Mathematical Form">Sculptural Interpretation of a Mathematical Form</a>. In: <a href="/index.php?title=Bridges_2002" title="Bridges 2002">Bridges 2002</a>. Pages 1–8 == DOI == == Abstract == A num…“</p> <p><b>Neue Seite</b></p><div><br /> <br /> == Reference ==<br /> Robert J. Krawczyk: [[Sculptural Interpretation of a Mathematical Form]]. In: [[Bridges 2002]]. Pages 1–8 <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> A number of sculptures have been created based on three-dimensional mathematical forms and surfaces. In<br /> most cases, the sculpture is an exact copy of the mathematics that it is based on. This paper explores another<br /> method to mathematically create sculptural forms by starting with a two-dimensional figure. The goal is to<br /> develop methods and insights on which elements in the original figure can be expressed in three-dimensions<br /> and still keep some of the mathematical properties found in the original figure. The creation of each<br /> sculptural variation is completed in custom software. The software becomes the modeling material and the<br /> sculpting tools.<br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> <br /> == Used References ==<br /> [1] Sequin, Carlo, 1998, &quot;Art, Math, and Computers: New Ways of Creating Pleasing Shapes&quot;, in<br /> Bridges: Mathematical Connection in Art, Music, and Science 1998, edited by Reza Sarhangi,<br /> Southwestern College<br /> <br /> [2] Sequin, Carlo, 2000, &quot;Turning Mathematical Model into Sculptures&quot;, in The Millennial Open<br /> Symposium on the Arts and Interdisciplinary Computing, edited by D. Salesin and C. Sequin, University<br /> of Washington<br /> <br /> [3] Peterson, Ivars, 2001, Fragments ofInfinity, A Kaleidoscope of Math and Art, John Wiley &amp; Sons<br /> <br /> [4] Odds, Frank, &quot;Spirolaterals&quot;, Mathematics Teacher, February 1973, pp.121-124<br /> <br /> [5] Abelson, Harold, diSessa, Andera, 1968, Turtle Geometry, MIT Press, pp.37-39, 120-122<br /> <br /> [6] Gardner, Martin, 1986, Knotted Doughnuts and Other Mathematical Entertainments, W. H. Freemand<br /> and Company, pp. 205-208<br /> <br /> [7] Krawczyk, Robert, 1999, &quot;Spirolaterals, Complexity from Simplicity&quot;, in International Society of<br /> Arts, Mathematics and Architecture 1999,edited by N. Friedman and J. Barrallo, The University of the<br /> Basque Country, pp. 293-299<br /> <br /> [8] Krawczyk, Robert, 2000, &quot;The Art of Spirolaterals&quot;, in The Millennial Open Symposium on the Arts<br /> and Interdisciplinary Computing, edited by D. Salesin and C. Sequin, University of Washington, pp. 127-<br /> 136<br /> <br /> [9] Krawczyk, Robert, 2000, &quot;The Art of Spirolateral Reversal&quot;, in International Society of Arts,<br /> Mathematics and Architecture 2000, edited by N. Friedman, University of Albany-SUNY<br /> <br /> <br /> == Links ==<br /> === Full Text === <br /> http://archive.bridgesmathart.org/2002/bridges2002-1.pdf<br /> <br /> [[intern file]]<br /> <br /> === Sonstige Links ===<br /> http://archive.bridgesmathart.org/2002/bridges2002-1.html</div>

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