|
Next > |
||
|
|
||
|
4. Acknowledgements, References and Notes
|
||
|
I want to express my thanks to Andrew Lewis, who checked the paper for the linguistic correctness, and to Domenico Loda, who helped me with HTML. |
||
|
|
||
|
[1] P. Klee, Das Bildnerische Denken (Basel: Benno Schwabe & Co., 1956), p. 3 and foll. [2] P. Klee [1] p. 9[3] Some deepening about the connections between artistic work and evolutionary processes in Nature by Klee, can be found in: R. Giunti, "Una linea ondulata lievemente vibrante. I ritmi naturali nell’opera di Paul Klee," Argomenti di estetica, n. 2, 2000, pp. 199--213 [4] P. Klee [1] p. 9[5] P. Klee [1] p. 3[6] P. Klee [1] p. 17[7] R. Giunti, "Percorsi della complessità in arte. I casi di Klee, Escher e Duchamp", in M. Emmer (ed.) Matematica e Cultura 2003, (Milano: Springer-Verlag Italia, in print). The paper is based on a talk given at the Venice yearly conference "Matematica e Cultura", organised by Prof. Michele Emmer. [8] W. D’Arcy Thompson, On Growth and Form (Cambridge: Cambridge University Press: 1942). D’Arcy Thompson devoted the whole third chapter of his masterwork to the subject. Notice that the first edition of the book was issued in 1917, whereas in 1920 Klee started his pedagogical activity at Bauhaus, which led him to make theoretically explicit his assumptions, in his pedagogical writings. I have already highlight several contact points between D’Arcy Thompson and Klee in a paper cited in [10]. However, as far as I know, there are no evidences that Klee knew D’Arcy Thompson’s work and vice versa.[9] R. May, "Simple Mathematical Models with Very Complicated Dynamics," Nature, 261, pp 456--467 (1976) [10] R. Giunti, "Paul Klee on computer. Biomathematical models help us understand his work", in M. Emmer (ed.) The Visual Mind 2 (Cambridge USA: MIT Press, in print) [11] P. Klee [1] p. 219[12] P. Klee, Unendliche Naturgeschichte (Basel: Benno Schwabe & Co., 1970), pp. 286-287. See also: P. Klee [1] p. 231[13] W. D’Arcy Thompson [8] pp. 923 and foll.[14] P. Prusinkiewicz, A. Lindenmayer, The Algorithmic Beauty of Plants (New York, Springer-Verlag, 1990) [15] P. Klee [12] pp. 18--20[16] P. Klee [1] pp. 398--400; see also P. Klee [12] pp. 289--293[17] W. D’Arcy Thompson [8] devoted to the subject the chapters XI and XII.[18] P. Klee, Paedagogisches Skizzenbuch (Meinz – Berlin, Florian Kupferberg Verlag, 1965). Reprint of the original version issued in 1925 in the series Bauhausbuecher by Walter Gropius and Lazlo Moholy-Nagy. See also: P. Klee [1] p. 137, 139, 219.[19] P. Klee [1] pp. 168--175[20] L. Darlymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art (Princeton, Princeton University Press, 1983) [21] P. Klee [12] p. 4[22] P. Klee [12] pp. 7, 128, 130[23] P. Klee [12] p. 41[24] R. Giunti [7][25] R. Hedrich, "Le scienze della complessità: una rivoluzione Kuhniana?" in Epistemologia, Vol.1 anno XXII (1999) [26] P. Klee [1] pp. 69--71. The essay was first issued in: Bauhaus, II, n. 2 (Dessau, 1928)[27] P. Klee, Tagebücher von Paul Klee 1898-1918 (Köln:Verlag M. Dumont Scauberg, 1957), note 636 [28] P. Klee [1] p. 71[29] R. Giunti [3] p. 199--202 |
||
|
|
||
|
Next > |
||