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11 Answer Number Two—Three More Ways to Look at It That Tell a Story<br />

The measure—M—was perfect. You could use it to calculate with numbers to find the<br />

aesthetic value of polygonal shapes like these<br />

and other things such as ornaments, tilings, vases, music, and poems. So I calculated in<br />

earnest. But there were problems when I tried to see in the way Miss H—— implied I<br />

should. <strong>Shape</strong>s that looked different to me had the same aesthetic value. And the value<br />

of a shape didn’t change when I saw it in a new way. One description didn’t seem to be<br />

enough. You could just as well try Birkhoff’s measure with your eyes closed. It was mechanical<br />

and misleading. There wasn’t anything to see.<br />

My question was still there, waiting to be answered. But my time hadn’t been<br />

wasted—now I had Birkhoff’s marvelous idea: that I could calculate to find an answer.<br />

Of course, this didn’t seem to square with what Miss H—— had shown about counting.<br />

But I was young and didn’t mind the inconsistency. Calculating was something I<br />

could do. And maybe it was too soon to tell if it worked. Only what could I use to calculate?<br />

Birkhoff’s measure didn’t work. Was there another formula that would—a kind<br />

of design equation that captured the right variables? No, that was out, too—it was still<br />

a single description. Seeing was the key. Maybe there was another way to paint by<br />

number that went beyond connecting dots. Suppose I could calculate with shapes.<br />

Was this calculating the way I learned in school? Was it just counting out? What did<br />

it mean to calculate anyway? There was more to find out.<br />

Growing Up—How I Learned to Calculate<br />

There are at least two ways to calculate that furnish practical answers to my original<br />

question about where lines go on a blank sheet of paper. There’s the right mathematics<br />

for design, and the special mathematics of design. It’s easy to see that my prepositions<br />

are opposites. They’re almost mirror images—fo’ and of. And if I concatenate them—<br />

the r is for reflection—they form the palindrome<br />

forof<br />

This is probably not what you expected. But it does use symbols to anticipate what I<br />

want to do with shapes. There are two sides to it. First, it suggests a way of calculating.<br />

I’m combining symbols in a deliberate way according to rules that define palindromes.

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