[PDF] Ernest Irving Freeses Geometric Transformations The Man The Manuscript The Magnificent Dissections eBook
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"A geometric dissection is a cutting of a geometric figure (such as a regular polygon, or a star, or a cross) into pieces that we can rearrange to form another geometric figure. The best dissections are beautiful and possess economy (few pieces), symmetry, or hingeability. They are often challenging to discover. Ernest Irving Freese was an architect who lived and worked in Los Angeles until his death in 1957. Shortly before he passed away, he completed a 200-page manuscript on geometric dissection, the first book-length treatment on that subject.--
Frederickson's book sketches a history of geometric dissections and a biography of Freese, followed by a refurbished copy of Freese's manuscript interleaved with a commentary thath highlights Freese's major contributions as well as singular improvements made by Frederickson and others after Freese.
'Everyone interested in geometric dissections, and this kind of puzzles, either mathematically or recreationally will embrace this publication. But also the readers interested in the history and certainly those who became curious about this mystery man and his manuscript, after reading Frederickson’s 2006 book, will be fully satisfied with this respectful reproduction eventually made available for a general public.'European Mathematical Society'Ernest Irving Freese's Geometric Transformations does not just uncover a mathematical gem. It is also a piece of art and a mind-puzzling set of ingenious dissections done by a master of architectural drawings and amateur mathematician. It is a practical book that shows the beauty of dissection and how we can get from a polygon to another by cutting it to pieces and recollect them in some special way. The book is written in a very elegant style, and nicely presented. Freese’s manuscript was photographed and wasn’t altered in any way — this preserved its beauty. Freese’s drawing shows ingenuity and it shows how meticulous he was. For those people who are interested in geometry or in geometric dissections and for those who admire puzzles and recreational mathematics this book is a must.' (See Full Review)MAA ReviewsA geometric dissection is a cutting of a geometric figure (such as a regular polygon, or a star, or a cross) into pieces that we can rearrange to form another geometric figure. The best dissections are beautiful and possess economy (few pieces), symmetry, or hingeability. They are often challenging to discover.Ernest Irving Freese was an architect who lived and worked in Los Angeles until his death in 1957. Shortly before he passed away, he completed a 200-page manuscript on geometric dissection, the first book-length treatment on that subject. Freese included elegant drawings of dissections that were both original and clever. After his death the manuscript lay forgotten in his former house until Greg Frederickson set in motion its recovery in 2003. What a treat that it was rescued!Frederickson's book sketches a history of geometric dissections and a biography of Freese, followed by a refurbished copy of Freese's manuscript interleaved with a commentary that highlights Freese's major contributions as well as singular improvements made by Frederickson and others after Freese.This book introduces Freese and his creations to math puzzle enthusiasts, by way of his engaging manuscript, his wild adventures, and his lovely dissections. Frederickson also includes remarkable designs that improve on Freese's work, and packs this book with nifty illustrations and tidbits that may well leave you speechless!
A new biography of Lewis Carroll, just in time for the release of Tim Burton's all-star Alice in Wonderland Lewis Carroll was brilliant, secretive and self contradictory. He reveled in double meanings and puzzles, in his fiction and his life. Jenny Woolf's The Mystery of Lewis Carroll shines a new light on the creator of Alice In Wonderland and brings to life this fascinating, but sometimes exasperating human being whom some have tried to hide. Using rarely-seen and recently discovered sources, such as Carroll's accounts ledger and unpublished correspondence with the "real" Alice's family, Woolf sets Lewis Carroll firmly in the context of the English Victorian age and answers many intriguing questions about the man who wrote the Alice books, such as: • Was it Alice or her older sister that caused him to break with the Liddell family? • How true is the gossip about pedophilia and certain adult women that followed him? • How true is the "romantic secret" which many think ruined Carroll's personal life? • Who caused Carroll major financial trouble and why did Carroll successfully conceal that person's identity and actions? Woolf answers these and other questions to bring readers yet another look at one of the most elusive English writers the world has known.
The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.