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"Enigmatic Plan of Inclusion II, " by Conan Chadbourne (San Antonio, TX)24" x 24", archival inkjet print, 2013
Best photograph, painting, or print
"My work is motivated by a fascination with the occurrence of mathematical and scientific imagery in traditional art forms, and the frequently mystical or cosmological significance that can be attributed to such imagery. "
These images are investigations of the subgroup structure of the icosahedral group (A5). At the center of each image is a graphical representation of A5, as formed by orientationpreserving pairs of reflections in circles and lines in the plane. This is surrounded by similar graphical representations of the seven conjugacy classes of (proper, nontrivial) subgroups of A5, with the trivial group depicted as the space outside of the large circular frame. The interstices between the group images indicate the relationships of inclusion between the different groups, with colors being used to distinguish maximal subgroup relationships, and small graphical markers used to indicate the particular numbers of conjugates involved in each relationship.  Conan chadbourne (http://www.conanchadbourne.com)
May 05, 2014


"Enigmatic Plan of Inclusion I, " by Conan Chadbourne (San Antonio, TX)24" x 24", archival inkjet print, 2013
Best photograph, painting, or print
2014 Mathematical Art Exhibition
"My work is motivated by a fascination with the occurrence of mathematical and scientific imagery in traditional art forms, and the frequently mystical or cosmological significance that can be attributed to such imagery. "
These images are investigations of the subgroup structure of the icosahedral group (A5). At the center of each image is a graphical representation of A5, as formed by orientationpreserving pairs of reflections in circles and lines in the plane. This is surrounded by similar graphical representations of the seven conjugacy classes of (proper, nontrivial) subgroups of A5, with the trivial group depicted as the space outside of the large circular frame. The interstices between the group images indicate the relationships of inclusion between the different groups, with colors being used to distinguish maximal subgroup relationships, and small graphical markers used to indicate the particular numbers of conjugates involved in each relationship.  Conan Chadbourne (http://www.conanchadbourne.com)
May 05, 2014


"Visual Proof," by Anne Burns (professor emerita, Long Island University, Brookville, NY)13" x 13", digital print, 2013
"Visualization is an important aid in the study of mathematics."
Each of the disks in the 3X3 matrix of disks is a picture of the first five backward iterations of f(z)=z^n+c/z^m where c is a small positive real number. The rows represent n=2,3,4 and the columns represent m=2,3,4. The black disks in the center consist of the set of points z such that f(z)>1.1. The second largest sets of disks are blue; they are the inverse images of the black disks under f; ochre disks are the inverse images of blue disks; red disks are the inverse images of ochre disks, etc. First notice the n+m symmetry in each disk. Next, can you identify n and m by this pattern? Hint: choose one blue disk in each entry and count the number of preimages closer to the center and the number of preimages further away from the center.  Anne Burns (http://anneburns.net)
May 05, 2014


"Eleven and Nine Stars," by B Lynn Bodner (Monmouth University, West Long Branch, NJ)20" x 16", paper and ink computergenerated image, 2013
"Geometric Islamic patterns, especially those consisting predominantly of star polygons, fascinate me. "
This pattern was created using Euclidean construction techniques and the electronic equivalent of the compass and straightedge. It was based on a rectangular repeat unit sketch known as Catalog Number 42 (CN42) of the Topkapi Scroll, which contains 114 Islamic architectural and ornamental designs dating from the 15th or 16th century. CN42 has half 11stars along its vertical edges and half 9stars along its horizontal edges. To achieve a complete pattern, this repeat unit must be replicated by reflection across its edges. The image displayed here contains four colored copies of the CN42 repeat unit. Since CN42 is the only sketch in the Topkapi Scroll containing 11pointed star polygons, it was one of the more challenging ones to recreate.  B. Lynn Bodner (http://bluehawk.monmouth.edu/~bodner/papers/index.htm)
May 05, 2014


"Spring Forest (5,3)," by sarahmarie belcastro (Hadley, MA)Embedded, unembedded, and cowl; 12" x 11" x 9", Knitted wool (Dream in Color Classy, in colors Happy Forest and Spring Tickle), 2009 and 2013
"I am a mathematician who knits as well as a knitter who does mathematics."
A (p,q) torus knot traverses the meridian cycle of a torus p times and the longitudinal cycle q times. Here are three instantiations of a (5,3) torus knot:
(a, middle) The knot embedded on a torus. A (p,q) torus knot may be drawn on a standard flat torus as a line of slope q/p. The challenge is to design a thickened line with constant slope on a curved surface. (b, top) The knot projection knitted with a neighborhood of the embedding torus. The knitting proceeds meridianwise, as opposed to the embedded knot, which is knitted longitudinally. Here, one must form the knitting needle into a (5,3) torus knot prior to working rounds. (c, bottom) The knot projection knitted into a cowl. The result looks like a skinny knotted torus.  saramarie belcastro (http://www.toroidalsnark.net)
May 05, 2014


"A cm Pattern from a Minneapolis Skyline, (vertical format)," by Frank A. Farris, Santa Clara University, CAInk jet on paper.
Fantastical samurai appeared when I used a photograph of the Minneapolis skyline on an autumn day in conjunction with wave functions adapted for cm patterns.  Frank A. Farris
Sep 18, 2013


"Land and the Sea," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratioafter every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures  Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013


"Manifold II (Bird's Eye View) in memory of Bill Thurston," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratioafter every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures  Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013


"Manifold 5," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratioafter every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures  Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013


"Manifold II (in tree) in memory of Bill Thurston," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratioafter every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures  Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013


Autumn (Thanksgiving), by Daina Taimina (Cornell University, Ithaca, NY), photo @Daina Taimina44x44x29 cm, 20062010, wool, silk
Inspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratioafter every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures  Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013


"Seven Shades of Purple," by Daina Taimina (Cornell University, Ithaca, NY), photo © Daina TaiminaInspired by William Thurston's paper creations back in the 1960s, I thought if something can be made out of paper, it can also be crocheted, so I made my first crocheted hyperbolic planes in June 1997 by increasing stitches in constant ratioafter every two stitches I did an increase by one stitch. The number of stitches in each row grew exponentially, so after finishing my first small, very ruffled one I realized that to explore the hyperbolic plane I have to change the ratio of increase. For classroom use the best is to use the ratio 12:13it means to increase one stitch after every 12 single crochet stitches. See more crochet examples on my blog, Daina Taimina Fiber Sculptures  Daina Taimina (Cornell University, Ithaca, NY)Jun 21, 2013


"Turtles with Local Symmetry," Frank A. Farris, Santa Clara University, CAInk jet on paper, 2012.
There is no mirror symmetry in this image, only 6fold rotational symmetry. And yet our eye cannot help seeing symmetry in the turtle shapes. This "local symmetry" is the topic of an article, "Local symmetry in wallpaper," in preparation.  Frank A. FarrisJun 21, 2013


"A cmm Pattern from Peppers on a Cutting Board," by Frank A. Farris, Santa Clara University, CAInk jet on paper.
The bright oranges in this cmm pattern come from a photograph of assorted chopped peppers, with collard greens and the glint of the knife as nice contrasts.  Frank A. FarrisJun 21, 2013


"Tiffany Glass from a Mountain Gentian and its Negative," by Frank A. Farris, Santa Clara University, CAInk jet on paper, 2012.
Using a composite photograph of a mountain gentian juxtaposed with its negative to produce an intense contrast of purple with the original green, I used just the right waves to make wallpaper with horizontal mirrors, vertical glides, and 2fold rotational symmetry. In the notation of the International Union of Crystallographers, the symmetry group of this pattern is pmg, but if we allow colorswapping transformations as generalized symmetries, the larger group is cmm, so this pattern type is called cmm/pmg. The "Seeing Symmetry" virtual exhibition at includes more works and details.  Frank A. Farris
Jun 21, 2013


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