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180 II Seeing How It Works<br />

meaning. Before I calculate, all shapes are the same—each is a single, unitary thing, a<br />

simple it. And after I start, units change freely as I go on. They’re different every time I<br />

apply a rule.<br />

This contrast can be traced to embedding. For points, it’s identity, so that each<br />

contains only itself. This is what units require, and it makes counting possible. But for<br />

all of the other basic elements embedding doesn’t end. There are indefinitely many of<br />

the same kind embedded in each one—lines in lines, planes in planes, and solids in<br />

solids. This is the crucial difference between points and lines, etc. It explains the properties<br />

of the algebras I’m going to define for shapes in which basic elements fuse and<br />

divide. And it’s how rules deal with ambiguity as calculating goes on, so that seeing<br />

never stops.<br />

Yet the contrast isn’t categorical. I have reciprocal models of calculating, but each<br />

includes the other in its own way. My algebras of shapes begin with the counting<br />

model. It’s a special case of seeing when embedding and identity coincide. And I can<br />

deal with the seeing model via counting—and approximate it in computer implementations.<br />

These are telling equivalencies that show how complex things containing<br />

units are related to shapes without definite parts.<br />

Whether or not there are units is the question used to distinguish verbal and<br />

visual expression—Susanne Langer’s discursive and presentational forms of symbolism<br />

I mentioned in the introduction. It goes like this—<br />

verbal expression (discursive forms) : units, symbols, or points<br />

< visual expression (presentational forms) : lines, planes, or solids<br />

Verbal and visual expression aren’t incompatible, though, as these relationships are<br />

sometimes thought to imply. <strong>Shape</strong>s with points and shapes made up of lines,<br />

planes, or solids aren’t incommensurable. People calculate all the time. And art and<br />

design whenever they’re visual are as much a matter of calculating as counting. This<br />

is what algebras of shapes and calculating in them show. The claim is figuratively<br />

embedded if not literally rooted in the following details.<br />

<strong>Shape</strong>s in Algebras and Algebras in Rows<br />

Three things go together to define algebras of shapes. First, there are the shapes themselves<br />

that are made up of basic elements. Second, there’s the part relation for shapes<br />

that includes the Boolean operations. And third, there are the Euclidean transformations.<br />

The algebras are enumerated up to three dimensions—of course, there are<br />

more—in this series

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