6 research outputs found
Number Theory, Analysis and Geometry: In Memory of Serge Lang
Serge Lang was an iconic figure in mathematics, both for his own important work and for the indelible impact he left on the field of mathematics, on his students, and on his colleagues. Over the course of his career, Lang traversed a tremendous amount of mathematical ground. As he moved from subject to subject, he found analogies that led to important questions in such areas as number theory, arithmetic geometry and the theory of negatively curved spaces. Lang's conjectures will keep many mathematicians occupied far into the future.
In the spirit of Lang’s vast contribution to mathematics, this memorial volume contains articles by prominent mathematicians in a variety of areas, namely number theory, analysis and geometry, representing Lang’s own breadth of interests. A special introduction by John Tate includes a brief and engaging account of Serge Lang’s life
Number Theory, Analysis and Geometry: In Memory of Serge Lang
Serge Lang was an iconic figure in mathematics, both for his own important work and for the indelible impact he left on the field of mathematics, on his students, and on his colleagues. Over the course of his career, Lang traversed a tremendous amount of mathematical ground. As he moved from subject to subject, he found analogies that led to important questions in such areas as number theory, arithmetic geometry and the theory of negatively curved spaces. Lang's conjectures will keep many mathematicians occupied far into the future.
In the spirit of Lang’s vast contribution to mathematics, this memorial volume contains articles by prominent mathematicians in a variety of areas, namely number theory, analysis and geometry, representing Lang’s own breadth of interests. A special introduction by John Tate includes a brief and engaging account of Serge Lang’s life
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Criticism in the absence of criticism
English abstract:
Criticism is defined as the examination and judgment about someone or something. This definition includes, at first, an analytical task -with a particular methodology related to it- and, at second, a synthetic activity, translated into a value judgment on what is previously analyzed. Criticism can be done in different ways and depths: from the basic critical thinking -essentially descriptive- to the most truthful one –the poetic criticism-, that transcends pure description or analysis and refers itself to the internal coherence of the object. Any criticism that seeks to reduce the distance to the truth will address both to the intrinsic object relationships -or own laws- and to the extrinsic ones. Furthermore, an objective criticism provides a knowledge of the object regardless of the observer or frame of reference. This provides an effective method and a guaranteed way to approach to the knowledge of the object.
Does this mean that without a regular critical method no criticism is undertaken? The proposal of this paper is to
explain how a critical thought can be undertaken in the
absence of criticism, in which there is no explicit value
judgment. Taking the hypothesis that there is criticism in the absence of criticism, an architectural work –either
being a building, a writing on architecture, etc.- that implies a tacit criticism could work on two levels: as a
practical result –built, literary, etc.- and as a critical thought. The hypothesis proposes that such duality, criticism and practice, may come together in a single work. Although not in any. The existence of criticism in the absence of criticism will depend on the nature of the object and, with no doubt, on the speaker and receiver. At first glance, the guarantees provided by this criticism in the absence of criticism seem less tan through the orthodox one, in which the subject is the weakest part of the chain. However, the absence of explicit value judgment can lead to a series of stimuli –coherency, aesthetic, recreational or other- that, in certain contexts, do more viable the approach to the knowledge than through the conventional method.
Spanish abstract:
La crÃtica se define como el examen y juicio acerca de alguien o algo. Esta definición comprende, por un lado,
una tarea analÃtica -con una determinada metodologÃa
asociada- y, por otro, una actividad sintética, traducida en
un juicio de valor acerca de lo previamente analizado. La crÃtica puede hacerse de distinta forma y con distinto
grado de profundidad: desde la más básica –fundamentalmente, la crÃtica descriptiva- hasta la más veraz -la crÃtica poética-, que trasciende la descripción o el análi sis puro y se refiere a la coherencia interna del objeto de estudio. Toda crÃtica que pretenda reducir la distancia de aproximación a la verdad se ocupará tanto de las relaciones intrÃnsecas o leyes propias del objeto como de las eelaciones extrÃnsecas al mismo. Por otro lado, una crÃtica objetiva facilita el conocimiento del objeto de estudio independientemente del observador o del marco de referencia, lo que la convierte en un método eficaz y con garantÃas para la aproximación al conocimiento del objeto. Pero ¿significa esto que sin crÃtica ortodoxa no puede existir crÃtica?. La propuesta de esta comunicación es dilucidar hasta qué punto puede emprenderse una crÃtica en ausencia de crÃtica, es decir, una crÃtica en la que no sea explÃcito el juicio de valor. Tomando como hipótesis el hecho de que exista crÃtica
en ausencia de crÃtica, una obra arquitectónica –ya sea un edificio construido, un escrito sobre arquitectura, etc.- que implique una crÃtica tácita podrÃa funcionar a dos niveles: como producto práctico -edificado, literario, etc.- y como reflexión crÃtica. La hipótesis planteada propone que tal dualidad, la crÃtica y la práctica, pueda confluir en una misma obra. Aunque no en cualquiera. La existencia de crÃtica en ausencia de crÃtica dependerá de la naturaleza de la obra y, sin lugar a dudas, del emisor y el receptor del mensaje crÃtico. A primera vista, las garantÃas que ofrece la crÃtica en ausencia de crÃtica parecen menores que mediante la crÃtica ortodoxa, para la que el sujeto es la parte más débil de la cadena. Sin embargo, la ausencia de juicio de valor explÃcito puede comportar una serie de estÃmulos – de coherencia, estéticos, lúdicos, prácticos o de otra Ãndole- que, en determinados contextos, hagan más viable y clara la comprensión de la obra que a través del método convencional
Creating for the Stage and Other Spaces: Questioning Practices and Theories
Abstract (ENGLISH)-This volume brings together most of the interventions by artists and scholars of the Third EASTAP Conference (European Association for the Study of Theatre and Performance), which should have been held in Bologna from 27 February to 1 March 2020, scheduled among the events of the VIE Festival 2020 and the activities of the Department of the Arts / DAMSLab. When everything was ready, the Conference, the last part of the Festival and the DAMSLab programme were suddenly canceled due to the first restrictions related to the pandemic. Following those sudden and unexpected events, the need to leave memory of the project arose from many quarters. It was thus decided to propose a publication which, while significantly differentiating from the original structure designed for the Conference, explicitly and directly refers to it, remaining an exceptional and significant testimony of the state of studies on theatre and performance in the pre-Covid era. The Conference plan envisaged two macro-sectors which concerned, one, the practices and theories relating to the composition of the texts; the other, the practices and theories relating to the composition of performative events referable to the methods of scenic writing. The volume takes up this polarity by framing it in a different division of relations, which explains – thanks to the groupings and their titles both the relations between text and text and those between sector and sector. The most consistent chapters are dedicated to performance and post-dramatic textuality: Questioning performance: theories and practices (17 reports) and Creating text for the stage: theories and practices (21 reports). The other chapters then come to place themselves in the force field described by these main groupings. Perfomer's body: the dancer, the actor (6 reports) and Creating for other spaces: landscape, sound, multimedia (7 reports) are ideally framed in the polarity of the performace, where to highlight the centrality of the body and the relational dynamics activated by spaces, sounds, and new technologies. Collective creations and community plays (7 reports), on the other hand, focuses on performance and new textuality. __________
Abstract (ITALIANO)-Il presente volume riunisce la maggior parte degli interventi di artisti e studiosi del III Convegno EASTAP (European Association for the Study of Theatre and Performance), che avrebbe dovuto tenersi a Bologna dal 27 febbraio al 1 marzo 2020, calendarizzato tra gli eventi di VIE Festival 2020 e le attività del Dipartimento delle Arti/DAMSLab. Quando tutto era ormai pronto, il Convegno, l’ultima parte del Festival e il programma DAMSLab sono stati improvvisamente annullati a causa delle prime restrizioni legate alla pandemia. In seguito a quei repentini e inattesi eventi, è nata l’esigenza da più parti avvertita di lasciare memoria del progetto. Si è deciso così di proporre una pubblicazione che, pur differenziandosi sensibilmente dalla struttura originaria pensata per il Convegno, a esso si richiamasse esplicitamente e direttamente, restando eccezionale e significativa testimonianza dello stato degli studi sul teatro e la performance nell’era pre-Covid. Il piano del Convegno prevedeva due macrosettori che riguardavano, l’uno, le pratiche e le teorie relative alla composizione dei testi; l’altro, le pratiche e le teorie relative alla composizione di eventi performativi riferibili alle modalità della scrittura scenica. Il volume riprende questa polarità inquadrandola in una diversa ripartizione delle relazioni, che esplicita – grazie ai raggruppamenti e ai loro titoli – sia le relazioni fra testo e testo che quelle fra settore e settore. Alla performance e alla testualità postdrammatica sono dedicati i capitoli più consistenti: Questioning performance: theories and practices (17 relazioni) e Creating text for the stage: theories and practices (21 relazioni). Gli altri capitoli si vengono quindi a posizionare nel campo di forze descritto da questi raggruppamenti principali. Perfomer’s body: the dancer, the actor (6 relazioni) e Creating for other spaces: landscape, sound, multimedia (7 relazioni) si inquadrano idealmente nella polarità della performace, dove evidenziare la centralità del corpo e le dinamiche relazionali attivate dagli spazi, dai suoni e dalle nuove tecnologie. Collective creations and community plays (7 relazioni) si orienta invece fra performance e nuova testualitÃ