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417 Index ‘‘palm-leaf umbrella,’’ 324–329, 340, 372, 388, 403–404n1 Panofsky, E., 55, 395n35 Papert, S., 51, 395n20 paradigm switch (see gestalt switch) parallel lines, 261, 265 rules, 273, 288, 303, 304, 355–356, 364, 367– 368, 369, 384, 388 parametric models, 14, 130, 392n3 variation, 325, 329, 335, 370, 383, 384–385 parenthesis strings, 16, 21, 36, 269 part ambiguity, 393–394n12 relation, 184–185 parti, 249–250 partial order, 167 parts closed, 207–208, 209, 285–287, 298, 306 largest, 196 open, 207–208, 209, 306 smallest, 18, 196, 285, 306, 398–399n9 pattern language, 65, 156, 275, 392n3, 392– 393n6, 401n24 peer review, 57, 156 Peirce, C. S., 37–39, 41, 42, 55, 56, 71, 148, 233, 308, 389, 395n37, 401–402n25 perceptual atomism, 57 permutations, 54 perspective, 12, 13, 52, 63, 143, 226, 933– 394n12, 405–406n20 phenomenology, 51, 52, 57, 142–143, 157, 392n3 philosophers, 1, 47, 55, 76, 155, 210–211, 251, 391n2 philosophy, 18, 21, 27, 53, 401–402n25 photography, 18, 21, 27, 53, 401–402n25 physical properties, 223–224 Picasso, P., 136, 403n1 pictorial composition and expression, 9 picture language, 65, 155–156, 275 properties, 2, 13, 37, 54, 134, 307–308, 310, 394n16, 397n14 theory of meaning, 54 ‘‘picture-writing,’’ 385 Pinker, S., 310, 392n1, 394n24 plagiarism, 386–387, 403–404n1 planar maps and plans, 347 planes (basic element), 2, 164–165 Plato, 1, 47, 52, 55, 62, 76, 153, 308, 310, 354, 391n2, 392n3, 397n9 plumbing (see readymade) poetic image, 392n3 language, 12–13 poetry, 51, 137, 392n3 point and line to plane, 50, 393–394n12 point of view, 41, 49, 57–58, 142, 386, 403– 404n1, 405–406n20 point sets, 31, 211–212, 228, 305, 306 points basic element, 2, 164–165 and lines in rules, 244, 258–260, 279–280 lowest-level constituents, 80 politics and design, 47, 76, 153 polygons, 11, 90, 94–95, 104, 117–121, 252, 300–301, 316–317, 335, 369, 371–372, 393– 394n12 polyhedra, 32, 52, 55, 164 polyhedral nets, 32 polyominos, 347 pornography, 308 Post, E. L., 16, 17, 18, 20, 21 Pound, E., 13, 37, 45, 51, 308, 394n17 pragmatists, 49, 64, 153 predicate calculus, 64 predicates, 126–129, 280–281 prepositions, 11, 36 ‘‘preposterism,’’ 157, 184, 193–194, 228, 300, 303 primitives elements, 65, 138–139, 163 logical, 146 Princess of Anhalt-Dessau, 54 printing, 91 product and boundaries, 199–201 definition, 192 infinite, 206, 208–209 production systems, 16, 275, 403n37 professional activity, 7, 8, 49, 341 proofreading, 82 puns, 12 Putnam, H., 145–148, 150, 151, 158, 398n29
418 Index Quine, W. V., 57, 58, 210, 305, 308, 396n46– 48, 402n30 50 ‘‘rationalist,’’ 337 rationality, 57, 76, 130, 143, 153, 157 reading books, 2, 49 conventions of, 91 maps and plans, 44 readymade, 403–404n1 reasoning and ambiguity, 41, 44, 55 analysis, 74 calculating, 52, 62–63, 154 common sense, 139–140, 140–141 counting, 44, 57, 302 design, 8 embedding, 64, 82 inference, 62 learning, 64, 116, 130, 233 novelty, 41, 44, 56, 64, 131, 405–406n20 point of view, 57–58, 131 sagacity, 64, 116, 130, 233 seeing, 44, 61, 66, 74, 302 reciprocal subtraction, 27, 391n2 rectangular dissections, 347 recursion in architecture and drawing, 251–252 and shapes, 54, 81–82, 180–181, 193–194, 228, 310, 315, 367 and words, 17, 20, 54, 81–82, 310, 367 Red Sox, 33 redescription, 153, 233 reduction rules and boundaries, 199–201 for difference, 191–192 for sum, 186–188 reflection, 194 reflective thought, 141 ‘‘reframing,’’ 7, 49 regions, 174, 211, 305 registration marks and rule application, 260–265 in rules, 229 and shape equivalence, 261–262 in shapes, 260–261 ‘‘Registry of Standard Biological Parts,’’ 401n24 regulating lines, 249–250 relative complement, 188, 222, 226, 275 discreteness, 94, 157 entropy, 50 remembering (see memory) Renaissance perspective, 13, 393–394n12 repeatable results, 76, 148, 387 representation, 61, 67, 72, 104, 109, 115, 133, 134, 140–141, 156, 157, 163, 303, 311, 318, 401–402n25 representational ambiguity, 393–394n12 art, 136 Republican art, 33, 55, 56 Requicha, A. A. G., 402n32 ‘‘results,’’ 49 rigidity, 149 Reuleaux, F., 301–302, 309–310, 401n24, 403n44, n45 Roché, H.-P., 403–404n1 romanticism, 353 Rorty, R., 153, 158, 398n30 ‘‘. . . a rose is a rose . . .’’ (see [hear] ‘‘. . . Eros is Eros . . .’’) Ross, D., 385–386, 389 Rota, G.-C., 52, 142–143, 397n19 rotating squares, 25–28 triangles, 296–297 rotation, 194 Royal Commission on Technical Instruction, 403n1 ‘‘rubber-band effect,’’ 149, 157 rule of three, 18 rule schema application, 314–318 definition, 126 rules application, 66, 78–84, 232–234 complexity, 139, 149, 179–180, 268–272, 300, 367 context free, 268–271 context sensitive, 268, 270–271 definition, 228–229 description, 355–357 and embedding, 64
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( 2006 Massachusetts Institute of T
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Contents Acknowledgments ix INTRODU
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INTRODUCTION: TELL ME ALL ABOUT IT
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3 Answer Number One—What Do You S
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33 Trying to Be Clear Points aren
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35 Trying to Be Clear and twenty-fo
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37 Trying to Be Clear things look.
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39 Trying to Be Clear on correspond
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41 Tables, Teacher’s Desks, and R
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43 Tables, Teacher’s Desks, and R
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45 It Always Pays to Look Again In
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47 Background always more when you
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49 Background Getting it first and
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51 Background and not These are the
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53 Background and count as I please
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55 Background and time. The way Eul
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57 Background them apart—a triang
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59 Background without ‘‘agreeme
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62 I What Makes It Visual? (2) What
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64 I What Makes It Visual? Whenever
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66 I What Makes It Visual? calculat
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68 I What Makes It Visual? And my r
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72 I What Makes It Visual? Table 1
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306 II Seeing How It Works Table 12
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308 II Seeing How It Works initial
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310 II Seeing How It Works Kinemati
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312 III Using It to Design (3) desi
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338 III Using It to Design But this
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344 III Using It to Design to start
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346 III Using It to Design The rule
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352 III Using It to Design Let’s
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Page 402 and 403: Notes Introduction 1. S. Pinker, Th
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Page 421 and 422: 410 Index Aristotle, 81, 167, 337 A
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Page 433: 422 Index Van Gogh, V., 403n1 Vanto
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