http://de.evo-art.org/index.php?action=history&feed=atom&title=Symmetry_Orbits%3A_When_Artists_and_Mathematicians_DisagreeSymmetry Orbits: When Artists and Mathematicians Disagree - Versionsgeschichte2026-05-28T00:32:51ZVersionsgeschichte dieser Seite in de_evolutionary_art_orgMediaWiki 1.27.4http://de.evo-art.org/index.php?title=Symmetry_Orbits:_When_Artists_and_Mathematicians_Disagree&diff=4008&oldid=prevGbachelier: Die Seite wurde neu angelegt: „ == Reference == Darrah Chavey: Symmetry Orbits: When Artists and Mathematicians Disagree. In: Bridges 2011. Pages 337–344 == DOI == == Abstract …“2015-01-29T15:13:36Z<p>Die Seite wurde neu angelegt: „ == Reference == Darrah Chavey: <a href="/index.php?title=Symmetry_Orbits:_When_Artists_and_Mathematicians_Disagree" title="Symmetry Orbits: When Artists and Mathematicians Disagree">Symmetry Orbits: When Artists and Mathematicians Disagree</a>. In: <a href="/index.php?title=Bridges_2011" title="Bridges 2011">Bridges 2011</a>. Pages 337–344 == DOI == == Abstract …“</p>
<p><b>Neue Seite</b></p><div><br />
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== Reference ==<br />
Darrah Chavey: [[Symmetry Orbits: When Artists and Mathematicians Disagree]]. In: [[Bridges 2011]]. Pages 337–344 <br />
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== DOI ==<br />
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== Abstract ==<br />
In many examples of repeating patterns in the art of various cultures, the use of symmetries to analyze those<br />
patterns does a good job of capturing the repetition intended by the artist. In other cases, however, the artist uses<br />
precise forms of repetition that are not well modeled by mathematical symmetries. The analysis of the orbits of<br />
motifs under the action of the symmetry group both reveals situations where this happens, and gives us direction as<br />
to what else is needed to model the artists’ apparent intent. The ways in which the art of different cultures need<br />
different types of extensions of symmetry ideas reveals structural differences in the design art of those cultures, and<br />
hence in their ethnomathematics.<br />
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== Extended Abstract ==<br />
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== Bibtex == <br />
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== Used References ==<br />
[1] Marcia Ascher, Ethnomathematics, a Multicultural View of Mathematical Ideas, Brooks-Cole, 1991.<br />
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[2] Szaniszló Bérczi, “New Curie-type and Coxeter-type composite and colored plane symmetry patterns in the ancient arts of Eurasia,” in Symmetry: Culture and Science, 20(1-4), 161-176, 2009.<br />
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[3] Christopher Donnan, Moche Portraits from Ancient Peru, Univ. of Texas Press, 2004.<br />
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[4] Branko Grünbaum & G. C. Shephard, Tilings and Patterns, W. H. Freeman, 1987.<br />
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[5] Augustus Hamilton, Maori Art, The New Zealand Institute, Wellington, New Zealand, 1896-1901.<br />
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[6] Alfred Kroeber & Donald Collier, The Archaeology and Pottery of Nazca, Peru, Altamira, 1998.<br />
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[7] Dorothy Menzel, John Rowe, & Lawrence Dawson, The Paracas Pottery of Ica, Univ. of Calif, 1964.<br />
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[8] Dorothy K. Washburn & Donald W. Crowe, Symmetries of Culture, Univ. of Washington, 1988.<br />
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== Links ==<br />
=== Full Text === <br />
http://archive.bridgesmathart.org/2011/bridges2011-337.pdf<br />
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[[intern file]]<br />
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=== Sonstige Links ===<br />
http://archive.bridgesmathart.org/2011/bridges2011-337.html</div>Gbachelier