This volulme features eight original papers dedicated to the theme ldquo;Persian Architecture and Mathematics;rdquo; guest edited by Reza Sarhangi. All papers were approved through a rigorous process of blind peer review and edited by an interdisciplinary scientific editorial committee. Topics range from symmetry in ancient Persian architecture to the elaborate geometric patterns and complex three-dimensional structures of standing monuments of historical periods; from the expression of mathematical ideas to architectonic structures; and from decorative ornament to the representation of modern group theory and quasi-crystalline patterns. The articles discuss unique monuments Persia; including domed structures and two-dimensional patterns; which have received significant scholarly attention in recent years. This book is a unique contribution to studies of Persian architecture in relation to mathematics.
2013-03-14 2013-03-14File Name: B00KSC27TC
Review
2 of 2 people found the following review helpful. But is it Art?By CustomerWhat is Found Object? This term is used as a source of material for an artist. But is it Art? That would be like me informing you that I write this review as an art critic. A good Duchamp-like pun would be: Found Object = ldquo;Art is what I can get away withrdquo; (Andy Warhol).In Mr. Bunchrsquo;s introduction to this book an insightful trove of wisdom is revealed. It diagrams the utility of inspecting the Art of Found Object as a means for the artist to express; through this medium; a sense of subjective objectivity. He outlines the key points of his rationale that links collage and assemblage to found object.As an art critic I take issue with the individual artistsrsquo; role in the manner it affects some viewersrsquo; limited capacity to ldquo;understandrdquo; the work.There is the exquisite morbidity of Dario Robleto whose work tends to under-whelm in subject matter as it overwhelms in psychological residue.The close definition of John Mark Sagerrsquo;s ldquo;Hagia Sophiardquo; (2010) with David McManawayrsquo;s ldquo;Jomo Board #2rdquo; (1968).Also the mono-chromatic array of Jim Loversquo;s ldquo;Area Coderdquo; (1962) and the countless later imitations of such.Mr. Bunch succeeds in bridging the difficult task of taming one of Artrsquo;s wild child; which is the making of art from object instead of subject. All in all this is a great and valuable book that will inspire and create future attempts in connecting the numerous tangents that make up the matter of art.I would also like to make an argument for Volume 2 of this book to be one based on the notion of ldquo;Found Conceptrdquo;.David A. Elizondo 2016
