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Humanistic Mathematics Network Journal

Volume 1 | Issue 14

Article 11


Mathematical Rebuses
Florentin Smarandache
Pima Community College

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Recommended Citation
Smarandache, Florentin (1996) "Mathematical Rebuses," Humanistic Mathematics Network Journal: Vol. 1: Iss. 14, Article 11.
Available at: http://scholarship.claremont.edu/hmnj/vol1/iss14/11

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tiful as it does music. Rothstein backs up this premise and truth. Rothstein de scribe s mathematical proof as
with quotes such as this from Hermann Weyl: "My ritual and uses a quote from G. H . Hardy to support
work always tried to unite truth with the beautiful; his contention: "If we were to push it to its extreme,
bu t when I had to choose one or the other, I usua lly we should be led to rather a paradoxical conclusion:
chose the beautiful." The Cantor set, formulae involv - that there is, st rictly, no such thing as mathematical
ing pi, and severa l pa ges on the Golden Ratio are in- proof; that we can, in the last analysis, do nothing but
clude d as examp les of beau ty in mathe matics.
point; that proofs are ... ga s, rhetorical flourishes de signed to affect psycholog y. "
In Chapter 5, "Fugue: The Making of Truth," the aesthetic/religiou s natures of mathematics an d music are We are finally prepared for the point: The mathema tidescribed to show wha t the author consi de rs the re- cian, the mu sician, the poet, all imitate "Na tur e at
ally impor tant connections of these subjects. We are work, reproducing in their creations the emblem s that
Nature had bodied forth in he rs .. . A mathe matician
will spin out a new theory or a composer create a miniature
sonic universe; a poet will turn an experience
"My work always tried to unite truth with the beautiful;
a scene into a source of illumina tion.
but when I hadto choose one or the other, I usually
And each creator will, 'mid circumstances awful and
chose the beautiful."
sublime,' be as astonished by the result as w as Keple r
or Bach."
reminded that both mathematics and m usic ha ve been
closely associated with religious ritual. How do math- The book is really a wonderful w ork which glorifies
ematics and music seem so "othe r world ly" yet im- two subjects of great importance to any civilization.
pact our lives daily? This question is not about the It would be excellent as a required or ancill ary readinternal w or kings of the subjects bu t about how they ing in a Libera l Arts Mat hematics course.
"map into" the world - it is a que stion about meaning

Mathematical Rebuses
Florentin Smarandache
Pima Community College
Tucson, AZ85709


Humanistic Mathematics NetworkJou rnal #14

Symmetrical Matrix

= Method ofthe Littlest Squares


mathematical algorithm involving the Fibonacci sequence and the concept of modularity to compose a
musical piece. we were rather unexpectedly led to a
result in number theory.

lishing Company, Boston (1976).

[31M. Gogins, Iterated Functions Systems Music, Computer Music Journal, 15, (1991) 40-48.

[41 G. Hlooley (ed.), Larousse Em;yclopedia 01 Music, Hamlyn
[1 1R. Bidlack, Chaotic Systems as Simple (butComplex) Com- Publishing Group, Lordon. 1971.
positional Algorithms, ComputerMusicJoumal, 16, (1992) 33-47.

15JJ. Pressing, Non-linearMaps as Generators of Musical De[21 D. Burton, ElementaryNumber Theory, Allyn and Bacon Pub-

Sign, Computer MusicJoumal, 12, (1988) 35-46.

Mathematical Rebuses
Rorentin Smarandache
Pima Community College
Tucson, AZ 85709




Square Root



= Compact Space

Hu manisticMathematics NetworkJournal #14



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Mathematical Rebuses
Florentin Smarandache
Pima Community College
Tucson, Al85709




Noncollinear Points

Markov Chains

Human istic Mathemat ics NetworkJournal #14