An Art-Full Application Using Magic Squares

1982 ◽  
Vol 75 (1) ◽  
pp. 83-89
Author(s):  
Margaret J. Kenney

Blending mathematics and art can be an exciting classroom experience for all students. Essentially there are two types of activities for the mathematics teacher to consider using. On the one hand, units can be developed that uncover and emphasize the mathematics that is present in existing works of art. A viable alternative, which promotes student creativity, is the actual development of designs based on some specific mathematical pattern. This article presents a development of student-made designs using one particular number pattern-the mbgic square. Students, provided with a supply of magic squares and some simply stated rules for producing design elements, will be able to create some striking art.

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value


2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Mario S. Staller ◽  
Swen Koerner

AbstractGamification is regularly defined as the use of game elements in non-gaming contexts. However, discussions in the context of the pedagogical value of gamification suggest controversies on various levels. While on the one hand, the potential is seen in the design of joyful learning environments, critics point out the pedagogical dangers or the problems related to optimizing working life. It becomes apparent that the assumptions guiding action on the subject matter of gamification in educational contexts differ, which leads to different derivations for pedagogical practice—but also allows for different perspectives on initially controversial positions. Being aware of these assumptions is the claim of a reflexive pedagogy. With regard to the pedagogical use of gamifying elements and their empirical investigation, there are three main anchor points to consider from a reflexive stance: (a) the high context-specificity of the teaching undertaken and (b) the (non-)visibility of the design elements and (c) the (non-)acceptance of the gamified elements by the students. We start by providing a discussion of the definitional discourse on what is understood as gamification leading to our argument for a non-definition of gamification. We describe the potential of this non-definition of gamification and exemplify its use in a gamified concept of teaching police recruits professional reflexivity. The concept features the narrative of a potential crime that has been undertaken and that students decide for themselves if they want to engage with it.


1977 ◽  
Vol 7 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Denis Dutton

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances of its employment. ln the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reason to resist the temptation to imagine that because logical aspects of two different types of inquiry—science and criticism—happen to be designated by the same term, they may to that extent be considered to have similar logical structures.


2018 ◽  
Vol 6 (2) ◽  
pp. 68-74
Author(s):  
Rochelle Gutiérrez

We are in an interesting historical moment in mathematics teacher education. On the one and, there is greater realization within our field of the connections between systems of power and mathematics (O'Neil, 2016). We are starting to acknowledge how mathematics education can be viewed as dehumanizing for both students and teachers as well as what might constitute rehumanizing practices (Gutiérrez, in press). Our professional organizations are calling for teachers to move beyond simplistic notions of equity to understand these power dimensions and challenge the system on behalf of (and in community with) Black,1 Indigenous,2 and Latinx3 students in particular


Author(s):  
Lucia Lichnerová

The study To Publish, Make Known and Sell is based on verified existence of competition tensions between the 15th century typographers/publishers, related to the absence of functional regulatory tools of book production of the incunabula period. The increase in the number of book-printers within the relatively narrow geographical area, disregard of publishers’ privileges, the emergence of pirated reprints, as well as insufficient self-promotion on the book market through introducing novelties had concentrated typographers’ attention on devising new tools of securing their triumph in publisher’s competition – the so called book advertisements. The author has analysed 44 promotional posters of the incunabula period from several points of view and attempted to identify their design elements, which on the one hand showed signs of certain standardization, while on the other hand they were subject to personal creativity of their creator. She gives detailed overview of the circumstances of the origin, typographic design and contents of book advertisements of several kinds within the context of promoting either the existing or planned editions, of one edition or a group of books; specifically focusing on the unique types of advertising. In conclusion, the author cites the circumstances of the extinction of book advertisements related to the rise of the new promotional tool – booksellers’ catalogue and submits a bibliography of the book advertisements dating from the 15th century.


1954 ◽  
Vol 4 (3-4) ◽  
pp. 151-157
Author(s):  
H. C. Baldry

This article is a survey of familiar ground—those passages of the Poetics of Aristotle which throw light on the treatment of legend by the tragic poets. Although sweeping generalizations are often made on the use of the traditional stories in drama, our evidence on the subject is slight and inconclusive. We have little knowledge of the form in which most of the legends were known to the Attic playwrights, for the few we find in the Iliad and Odyssey appear there in very different versions from those they take on in the plays, and the fragmentary remains of epic and lyric poetry between Homer and the fifth century B.C. present us with a wide field for speculation, but few certain facts; while vase paintings and other works of art supplement only here and there the scanty information gained from literature.The comments of ancient writers on this aspect of tragedy are surprisingly few, and carry us little farther. The Poetics stands out as the one source from which we can draw any substantial account of the matter. Even Aristotle, of course, is not directly concerned with the history of drama, and deals with it only incidentally in isolated passages; and in considering these it must constantly be borne in mind that he is discussing tragedy as he knew it in the late fourth century, for the benefit of fourth-century readers. But even so, his statements are the main foundation on which our view of the dramatists' use of legend must be built.


1921 ◽  
Vol 14 (2) ◽  
pp. 71-77

There comes a time in the school year, usually during the spring term, when the mathematics teacher becomes convinced that as far as algebra is concerned, he might just as well be teaching so many “wooden Indians.” Those pupils, who are not wholly in a trance, are surreptitiously fondling a baseball glove, while x’s and y’s pass by unheeded. The teacher’s first impulse is to give every one a good shaking in a frantic attempt to close the ever-widening gap between the intellectual capacity of his pupils and the intelligibility of his subject. He realizes something must be done at once, if his class is to learn any more algebra that year.


2006 ◽  
Vol 100 (1) ◽  
pp. 5-9
Author(s):  
F. L. Wren

Why should anyone study mathematics? This type of question is not peculiar to mathematics nor to the field of education. Let us look at a corresponding situation in the field of business. Suppose an automobile salesman attempts to sell a car, what are some of the questions he has to answer? The buyer wants to know the make of the car and compares it with other makes from the standpoint of beauty, service, and economy. Before the sale can be made the salesman must present convincing argument on all of these points and surely no real salesman will attempt such a task without being thoroughly familiar with the car himself. While the analogy may not be complete from the case of the automobile salesman to that of the teacher of mathematics, yet it is certainly true that the teachers of mathematics are primarily the ones who should be able to “sell” mathematics to the “doubting public.” There are two questions that every mathematics teacher should be able to answer if he is to be able to give an intelligent answer to the one already proposed: they are “What is mathematics?” and “What relation does mathematics have to the cultural, industrial, and recreational activities of a progressive civilization?”


2020 ◽  
Vol 2020 (46) ◽  
pp. 40-54
Author(s):  
Siegfried Zielinski

In this article, the author examines the contrasting worldviews of specific philosophers, architects, and physicists in an attempt to identify a position that would represent a viable alternative to the concept of universalization. In the history of civilization, he asserts, almost all wars have been of a territorial nature. Territories tend toward uniformity and universalization. He contrasts this worldview with reflections on oceanic thinking, which perceives bodies of water such as the Mediterranean as mediators between continents as well as between opposing worldviews, connecting and dividing at the same time. The sea, however, does not connect in order to homogenize but rather creates distance as an important prerequisite for true communication, thus linking multiplicity in all its variety as a viable alternative to universalism. The author moves on to scrutinize the cosmopolitan attitude as a paradox that on the one hand is oriented to the particular individual and on the other hand to an imaginary world community, that is, the universal. Taking this notion further to consider today’s world that is saturated with the imaginary and symbolic power of the Internet, the author proposes that cosmopolitanism could be understood as an adequate expression for the technologically advanced world community by its capability to strike a balance between the individual and the world as a whole, on one side, and synthetic identity generated by culture and technology, on the other. Nevertheless, deviating from all of these worldviews, the author concludes with a short reflection, inspired by two films, on an alternative to cosmopolitanism that he calls cosmoethics, which employs ethics as the guiding principle of thought and action and commits to a practice that stays in close contact not only with real but also with diverse realities.


2015 ◽  
Vol 63 (6) ◽  
Author(s):  
Daniel Martin Feige

AbstractThe question posed in this paper is in what sense we should say that our judgments about works of art can claim to be objective. It draws upon recent discussions in analytical aesthetics on the one hand and on the work of Hegel, Gadamer and McDowell on the other. The aim of the paper is to argue for the possibility of an objectivistic understanding of judgments on works of art. It does so by trying to render the foundations of subjective accounts of such judgments problematic and by trying to show that the difference between objective and mere intersubjective claims of judgments isn’t a valid difference at all.


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