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48 Introduction: Tell Me All About It<br />

allowed for ambiguity. 5 You could calculate with shapes on a computer only if you<br />

could describe them with symbols. You had to segment shapes into lowest-level constituents<br />

to start. Then there was the combinatorial play with simple things to make<br />

complex ones. Meanwhile, I worked out the details of embedding, so that you could<br />

calculate with shapes in the same way you see. 6 Symbols were unnecessary for shape<br />

grammars—on a computer or not. I still see Gips today, and he’s happy to admit the<br />

wonders of ambiguity in shapes and everywhere else. He likes to tell me I’m a fake. I<br />

look like a strict formalist interested in rigor and rules. But really, it’s the ambiguity<br />

that counts. Being a fake is high praise for a shape grammarist. One use of shape grammars<br />

is to produce new things—fakes—in a known style, for example, villa plans that<br />

look like Palladio’s. 7 Take a look at the pair of plans<br />

Which is the fake? No matter how you answer, you won’t be wrong. Making fakes lets<br />

you see how well you understand a style. The idea is to be rigidly formal, and I’m to<br />

blame for it. Only it’s the magic of shapes as they change that really fascinates me.<br />

I’ve never tried to hide it. It’s magic everyone can see. And I want to show that it’s rigidly<br />

formal without feeling that way. That’s why I’m a fake. But use your own eyes. The<br />

enchantment is always there when you calculate with shapes.<br />

One of the things that I like to say when I talk about shapes is this: ‘‘What you<br />

see is what you get.’’ It pretty much sums up what this book is about. At the very least,<br />

it’s the way I want to calculate. I wish I had been the first to use the phrase—it appears<br />

many times, initially on page 6—but it’s from Geraldine Jones. Flip Wilson created and<br />

played the comic siren on American television. 8 Geraldine used the refrain to describe<br />

herself. She wasn’t lacking in curves, and remember, she was Flip Wilson in drag. The<br />

refrain is always fitting when you’re talking about shapes. Geraldine put seeing ahead<br />

of getting, and you can do this with a twist and a flip. I can use three lines to get the<br />

shape<br />

and then see the triangle

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