Last additions 
"Ball and Chain," by George Hart (Museum of Mathematics, New York, NY)Nylon (selective laser sintering), 6" x 6" x 6", 2009
Ball and Chain is a ball made of triangular chain mail mesh containing twelve flexible regions in a rigid dodecahedral framework. There are 3,722 small rings, which interlock to form a sphere with chiral icosahedral symmetry. At 920 places, six triangles meet, but at 12 special points (at the center of the twelve dimples) only five triangles meet. The ball does not collapse down to a disk because the dodecahedral structure of ribs (made by having some of the rings lock to form a skeleton) is rigid. But in twelve circular regions the rings are free to hang freely. No matter how it is turned, the top six regions hang to make concavities while the lower six regions are convex and blend in with the overall spherical form. The complete structure was created as one unit in its assembled state by selective laser sintering.  George Hart (http://www.georgehart.com)
Mar 10, 2011


"Hyperbolic Planes Take Off!," by Vi Hart (New York, NY)Oil paint on canvas, 20" x 16", 2010
What does it look like when you crease the hyperbolic plane? This painting is an attempt at visualizing simple origami done with hyperbolic paper. Each plane has a mountain and valley fold perpendicular to each other. Done with your average Euclidean sheet of paper, it would be impossible to have both creases folded at a nonzero angle, but the hyperbolic plane can fold both ways at once. The creased plane can then be manipulated into different "birds", or so I imagine.  Vi Hart (http://vihart.com)
Mar 10, 2011


"Hyperbolic Twist: Forever in Memory," by Charlotte Henderson (A.K. Peters, Natick, MA)Acrylic yarn and glass beads, 6 × 6 × 4 inches (3d work), 2010
This model is a hyperbolic Möbius band. The starting “spine” consists of 20 chain stitches, and the outer single edge has over 1600 single crochet stitches. The negative curvature of the surface allows the width of the band to be much greater than if the curvature were zero. The surface can move freely through the “hole” in the center. The bead work highlights the nonorientability of the surface. In isolated sections, it looks as if the beads are on two sides of the band; but if one traces the line of beads, one will return to the chosen starting point having traced all of the beads. The same amount of yarn is used for the red and the pink, to display the exponential growth of the surface. (There is a greater amount of white yarn, to have a constant final row for aesthetic purposes.) The color scheme arose from the fact that, at an earlier construction stage, the silhouette of the model resembles a heart.  Charlotte Henderson
Mar 10, 2011


"Walking the Water's Edge," by Diane Herrmann (University of Chicago, IL)Needlepoint on canvas, 14" x 14", 2009
In this piece, the line imitates the edge of a wave on the shore. To make this wave look realistic, we used a mathematical curve that models the way a wave breaks on the beach. To be mathematically precise, we work with the sum of two trigonometric curves to show the action of water as it sloshes over itself in the push to get on the shore. The graph that defines the line of the Florentine Stitches is a close approximation to the curve:
f (x) = 5 sin x + 4 cos (2x + π/3).
The technique of thread blending creates the shading of the wave. Freeform eyelet stitches mimic the foamy edge of the wave and beads add sparkle. A single starfish is added in Bullion Knots.  Diane Herrmann
Mar 10, 2011


"Proof Mining; The Gordian Geometric Knot," by Karl H(einrich) Hofmann (Tulane University, New Orleans, LA, and TU Darmstadt, Germany)Pencil, felt pen, tempera, 20" x 24", 2009
Two artworks from the Darmstadt Colloquium Poster Project, framed together.
The techniques used are pencil, felt pen, tempera. The calligraphy of the posters is obtained with a Copic felt pen in a typography speciﬁcally developed for this purpose. The texts are prescribed by the departmental colloquium program determined one semester in advance.
A complete collection of scans of the last 12 semesters can be inspected on my website.  Karl H(einrich) Hofmann (http://www3.mathematik.tudarmstadt.de/index.php?id=241)
Mar 10, 2011


"Longest and Shortest CreaseB," by Sharol Nau (Northfield, MN)Folded book, 12.5” x 9” x 6”, 2010
For this booksculpture of several hundred pages, the shortest crease was obtained by folding the pages without separating them from the binding. Also the folding process began in the middle in an effort to achieve a symmetrical design.  Sharol Nau (http://www.sharolnau.snakedance.org)
Mar 10, 2011


"DART," by Jo Niemeyer (Schluchsee, Germany)Archival inkjet print, 20" x 20", 2010
DART
... as a very simple game by Jo Niemeyer 2010
. Two dart players, A and B, are facing this "image", whose area is split 1 : 0.618.. into white and black. This two basic elements are rotated in 90° increments. The winner is, who aims first a black part.
Since we have two equal partners and an uneven distribution of the "target", one would think, that this is not a fair game. But it is! Because A as the "majority", and consequently B as the "minority", transferred their inequality onto the "court". The ratio of the two playing partners is 1:1.
With this harmonious proportionality there is exactly the same chance to win for both players A and B! The Swiss mathematician Hans Walser mentions for the justice condition, the formula p = 1/2*(3sqrt(5)). And with sqrt(5), we have the golden section in this game, which ensures equity between different partners.
This is also a very fair game!
Or a piece of art, which ensures harmony and balance.  Jo Niemeyer (http://www.jo.niemeyer.com)
Mar 10, 2011


"Bucky Madness," by Jeffrey Stewart Ely (Lewis and Clark College, Portland, OR)Digital print on archival paper, 20" x 20", 2010
This is my response to a request to make a ball and stick model of the buckyball carbon molecule. After deciding that a strict interpretation of the molecule lacked artistic flair, I proceeded to use it
as a theme. Here, the overall structure is a 60node truncated icosahedron (buckyball), but each
node is itself a buckyball. The center sphere reflects this model in its surface and also recursively
reflects the whole against a mirror that is behind the observer.
I was recently surprised to read in David Richeson's book, Euler's Gem, that Legendre proved
Euler's Formula, V  E + F = 2, by projecting a polyhedron onto a sphere and then summing the
areas of the various spherical polygons. I think this fact resonates rather well with this design.  Jeffrey Stewart Ely
Mar 10, 2011


"Branched Manifold," by Juan G. Escudero (Universidad de Oviedo, Spain)Digital Print, 20"x20", 2010
A cell complex is defined in the analysis of the cohomology of tiling spaces. It contains a copy of every kind of tile that is allowed, with some edges identified for the 2D case, and the result is a branched surface. When the tiling does not force the border, collared tiles can be used. Here the triangles with the same shape, color and orientation represent the same tile in the complex. The manifold appears in the cohomology computations of an octagonal pattern belonging to a random tiling ensemble introduced by the author in the context of mathematical quasicrystals.  Juan G. Escudero
Mar 10, 2011


"Flora #1 (time slice)," by Brian Evans (University of Alabama, Tuscaloosa)Archival inkjet print, 9" x 6" (14" x 11" framed), 2010
How much is lost in the reduction of reality to human sensation? The infinite detail there in front of us is reduced to 100 million discrete measurements made with the rods and cones on the retina of the eye. Infinity reduced to 100 million, which is reduced another ninetynine percent as the signal is compressed to travel only 1 million pathways on the optic nerve. It’s a wonder we can make sense of the world at all.
These little photos are also reductions, slitscans of flowers rotating on a tabletop—2D slices of time. The four dimensions of our reality (x, y, z, t) are reduced to two (x, t) showing a different aspect of the real. The temporal is mapped into the static and new forms and structures are seen. These works are metaphors for the language of mathematics. What wonders we can discover through the processes of abstracting, reducing, mapping, and finally looking in new ways at the little slices of information we receive from all the surrounds us.  Brian Evans (http://brianevans.net)
Mar 10, 2011


"Fractal Tree No. 13," by Robert Fathauer (Tesselations Company, Phoenix, AZ)Digital print, 13" x 16", 2010
"Fractal Tree No. 13" is a blackandwhite digital artwork constructed by graphically iterating a photographic building block. Several photographs of a small portion of a palo verde tree were combined and digitally altered to create the building block, which allows smooth joining of smaller copies to larger copies. In addition to being scaled down, the three smaller copies, added with each iteration are rotated by varying angles, and one is reflected as well. A sufficiently large number of iterations were performed so that the image is indistinguishable to the eye from the image that would result after an infinite number of iterations. In this particular tree, the iteration rules result in considerable overlap of the branches, leading to a complex collection of small features reminiscent of pencil marks. The fractal shape of the envelope of these features didn't emerge until approximately one dozen iterations were performed.  Robert Fathauer (http://www.tessellations.com)
Mar 10, 2011


"Blue Ionic Polyhedra: 12 Beaded Beads in Two Sizes," by Gwen Fisher (bead Infinitum, Sunnyvale, CA)Bead weaving with crystal, glass and metal beads, and thread, 12 beads, longest diameter ranges from 11 mm to 33 mm, 2010
The Ionic Polyhedra are part of my larger body of mathematical artwork in beaded beads. A beaded bead is a cluster of smaller beads, woven together with a needle and thread, to form a composite cluster with one or more holes running though the center of the finished beaded bead. To make these beads, I started with inner cluster of beads in two sizes where the larger beads are aligned on the edges of polyhedra. For the larger six beads, I added layers of seed beads, which emphasize the edges of the underlying polyhedra. Although they appear different, the miniature version of each Ionic Polyhedron maintains the same structure and thread path as its larger version, but the beads are smaller, and the embellishment is simpler. Represented are the octahedron, cube, pentagonal dipyramid, pentagonal antiprism, cuboctahedron, and rhombic dodecahedron. This coloring of the miniature cuboctahedron and rhombic dodecahedron illustrates the dual relationship between these two polyhedra.  Gwen Fisher (http://www.beadinfinitum.com)
Mar 10, 2011


"Quasirandom Aggregation," by Tobias Friedrich (Max Planck Institute for Informatics, Saarbrücken, Germany)Digital print on glossy paper, 20" x 20", 2010
Given an arbitrary graph, a random walk of a particle is a path that begins at a given starting point and chooses the next node with equal probability out of the set of its current neighbors. Around 2000, Jim Propp invented a quasirandom analogue of random walk. Instead of distributing particles to randomly chosen neighbors, it deterministically serves the neighbors in a fixed order by associating to each vertex a "rotor" pointing to each of its neighbors in succession. The picture shows what happens when one billion particles are placed at the origin and each one runs until it reaches an unoccupied vertex. Black pixels denotes cells that never get visited by a particle; for the other cells, the color of the pixel indicates in which direction the rotor points at the end of the process. More information can be found at http://rotorrouter.mpiinf.mpg.de.  Tobias Friedrich (http://www.mpiinf.mpg.de/~tfried/)
Mar 10, 2011


"Triad," by Mehrdad Garousi (Hamadan, Iran)Digital print on canvas, 18" x 16", 2009
This work created in TopMod comprises a uniform twisted strip with some ties and joints. The shape containing an evident threefold rotational symmetry is composed of three similar components connected at two central joints placed back and forth. The outstanding issue is another hidden symmetry, which may not be discovered at a hasty glance. In addition to the former symmetry, condoning back and forth or up and down position of layers, as a flat plane, the whole sculpture has a threefold mirror symmetry. The reason of such a property is the same onefold mirror symmetry governing each of the three components.  Mehrdad Garousi (http://mehrdadart.deviantart.com)
Mar 10, 2011


"Tea for Eight," by Susan Goldstine (St. Mary's College of Maryland, St. Mary's City)Glaze on commercial ceramic, 5" x 8" x 5", 2010
The FourColor Theorem says that we can color any map on a plane or sphere with only four colors so that no neighboring countries are the same color. On other surfaces, we may need more colors; on a twoholed torus, eight colors are sufficient, and there are maps that require all eight colors.
When this tea set is stacked with the handles aligned, it forms a topological twoholed torus with a map of eight countries, each of which touches all of the others, proving that eight colors are necessary. The teapot has white, red, orange, and yellow countries, and the teacup has black, green, blue and purple countries. At the seam between the pieces, each of the top colors touches each of the bottom colors.
On oneholed tori, such as the teapot and the teacup, seven colors are required for an arbitrary map. Unfortunately, a sevencolor map is incompatible with the tea set's exterior pattern; when the tea set is opened, hidden colors give sixcolor maps of the teacup and the teapot.  Susan Goldstine (http://faculty.smcm.edu/sgoldstine)
Mar 10, 2011


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