Can zombies write mathematical poetry? Mathematical poetry as a model for humanistic mathematics by Gizem Karaali's(2014)

Summary

Karaali delves into the rich intersection of mathematics and poetry, highlighting the deeply human aspects of both fields. As a mathematician and a poet, she argues that cognition(rational and logical mind), consciousness (feeling heart), and creativity(Intuitive spirit) intertwine mathematics and poetry, illustrating that both forms of expression rely heavily on language and the engagement of a sentient being.

She reflects on her personal journey, noting the divide between her poetry, written in her native Turkish, and her mathematical studies conducted in English. This distinction shifted when she began to see mathematics not as a rigid set of rules but as a dynamic social phenomenon. This realization led her to co-found the Journal of Humanistic Mathematics in 2011, which emphasizes a philosophical approach to teaching students as if they matter. She emphasizes that both disciplines communicate ideas and emotions, and the creative process in mathematics mirrors that of poetry, requiring intuition and heartfelt expression.

Karaali tested her ideas in a seminar titled "Can zombies do maths?" and discovered that incorporating a literary approach into mathematics had a positive impact.

- Students who had previously disliked math found the literary form refreshing

- Engaging with poetry helped bridge the perceived gap between art and science.

- Using poems to discuss mathematical concepts inspired a newfound appreciation for the subject among her students.

Ultimately, Karaali views mathematical poetry as a vital connection between the emotional and intellectual realms and a powerful tool for fostering a deeper understanding and love for mathematics.

Stop 1

"Both poetry and mathematics may, in fact, be conceived of without or before language, but only with words will they become communicable and complete". Pg.39

This quote illustrates how learners develop ideas in poetry and mathematics before having the words to express them. To share these concepts, they must translate them into language or symbols. In my classroom, I often observe that students often visualize symmetry by imagining or mentally folding paper before using math terminology. They intuitively feel the balance and see how the halves align, which demonstrates that mathematical understanding can exist before language. This reliance on intuition allows them to form ideas that language and symbols then help them express.

Stop 2

"All in all, my personal, professional and pedagogical experiences with mathematical poetry have inspired in me the conviction that mathematical poetry can be seen as the perfect ambassador for humanistic mathematics".Pg.44

I had to pause at this concluding statement because it showcases how both mathematics and poetry reflect our humanity. While poetry captures emotions and intellect, mathematics, which is often seen as a dry and dreary subject, causes many to overlook its creative aspects. By positioning poetry as the 'perfect ambassador,' Karaali suggests it can bridge the gap between these two worlds. As educators, highlighting the similarities between these fields activates a student's 'consciousness and creativity' alongside their 'cognition.' This helps students view mathematics as a form of artistic expression rather than just a collection of rules. This shift in perspective replaces 'zombified' learning with a 'humanistic' experience, enhancing their appreciation for both poetry and math."

Question

How can we, as educators, move beyond the 'zombie' model of instruction to celebrate every 'baby step' of a student's creative journey while treating mathematical poetry not as a rigid exercise, but as a humanistic mirror that proves every student truly matters?

 

                                     Zoom Interview between Susan Gerofsky and Nick Sayer 

 

 "I guess when I was little, when I was about, I remember about 6 or 7, I remember numbers just really terrifying, and I felt like I was really bad at it. My mum got quite impatient with my ability to do longer arithmetic. Remembering times tables and all these sorts of things. So, I had this belief set in my mind quite early on that I was bad at maths".00:05:25

"I've used all sorts of materials to make my, including this one, which is a geodesic haircut, I had, a few years ago, actually, when I went to Bridges Maths Art Conference in 2013, I think, and then I did another one". 00:16:59

Listening to Nick's story deeply resonates with my own journey as a mathematician. It highlights the hurdles we face in our relationship with math as we strive to discover our true selves. Like Nick, I also had parents and teachers who played pivotal roles in my growth and success. This reflects how the people we encounter shape who we become. It is important to note that no matter how daunting math may seem to students, change is always possible. I’m thrilled about the new integration of math and art, which is transforming the way we approach the subject as it helps alleviate the fears many students face. Nick’s haircut, with its unique shape patterns, is a beautiful representation of his evolution through struggles. It symbolizes how he has embraced math as part of his identity, turning challenges into something personal and expressive. This connection between math and art is truly inspiring!

"I feel there are these estate agent advertising boards all over the city, cluttering our sort of visual space. Meanwhile, there’s a homelessness crisis, and I was renting a home at the time. trying to get on the housing ladder, and so I wanted to make a statement about homelessness and sustainable architecture and the housing, you know, market and other things. I guess it went, again, beyond just the mathematics of it".00:21:40

In reflecting on Nick's quote, I appreciate how he uses art to illuminate mathematical concepts and address societal issues. His slot-together cord sculptures not only showcase mathematical patterns but also draw attention to pressing topics like homelessness and the clutter of advertising in urban spaces. By incorporating recycled materials, he engages with ideas of sustainability and social responsibility, showing that mathematics can be a lens through which we understand and respond to real-world challenges. This connection highlights the role of ethnography in mathematics, allowing us to see how our lived experiences can inform and enrich our understanding of mathematical concepts. It inspires me to think about how I can use mathematics in similar ways to engage with pressing issues in my own community.

"This is actually the pattern of the 18 gears that this bicycle spirograph has, and you can actually see that top left is just a circle, because that’s where you‘re struggling up the hill, and you‘re at the speed that your crank speed is as the wheel speed, whereas the bottom right, that’s where your"00:36:38

The bicycle spirograph elegantly illustrates the connection between mathematics and motion through repeated rational motion. Each traced point reflects the simultaneous revolutions of the crank and wheel, represented as periodic functions such as sine and cosine. The relationship between these rotations, particularly the gear ratios, is crucial; a 1:1 ratio produces a simple circle, while ratios like 1:3 or 2:5 create intricate multi-petaled shapes. This interplay reveals how algebra (through ratios) manifests as geometric patterns, highlighting concepts such as symmetry and least common multiples (LCM) in rotation. It's fascinating how cycling can so deeply intertwine with mathematical principles.

"I brought this little mascot, which is my Lego Spaceman from the 1980s, but I also went to the vegetable market there and found that Jupiter is a coconut in its shell. And then Saturn is a coconut with its husk taken. And then these two fruits here, Uranus and Neptune, are about the same sort of size and got this wrong. I started doing workshops, making these little cameras, so, rather than using them again, when I started, I brought in a whole bag full of beer cans into schools. I quickly realized it felt a bit weird, so I made another version using soft drink cans".01:07:38

I really appreciate the fact that in explaining his concepts, Nick uses familiar resources like cans for a camera, bottles for Christmas trees, fruits for the description of the planet, a train ticket for a sphere and lots of other things. This helps to drive home the idea that science and mathematics are all around us and not far away. To further make his point more explicit, he carefully selects items that suit the purpose of what he is trying to portray, like coconuts and other fruits, to explain the planets so the children can relate to the size of each planet in relation to one another.

 

 

What Can We Say About “Math/Art”? By George Hart

Summary

In the article "What Can We Say About 'Math/Art'?", George Hart, an applied mathematician and sculptor, explores the maturing yet ill-defined field where mathematics and art intersect. Hart argues that while a vibrant community exists, the discipline lacks a coherent formal framework or even a rigorous definition. He suggests that much of what is produced by this community may be better categorized as craft, design, models, or visualization rather than traditional "fine art," but he views this not as a deficit, but as a unique cultural expression that shares the "mathematical landscapes" and joys of discovery familiar to mathematicians. Ultimately, Hart encourages mathematicians to engage in artistic creation as a rewarding form of self-expression and a way to communicate the wonders of mathematics to a broader audience.

Stop 1

Quote: “From a human perspective, I find no contradiction, rather a great resonance, in the blending of mathematics with fine art. It is a central part of my life. Yet when attempting any rational introspection into the nature and power of mathematical art, one is immediately stymied by the fact that the subject seems ill-suited to our usual tools of formal analysis. One can’t even define “art” in the rigorous way that elementary mathematical practice would require. And even without a universal definition of “art,” if we agree that a particular object is art, people may still disagree on whether it is also “mathematical art.” Pg.521

Explanation: The author talks about how closely connected mathematics and fine art really are, even though most people think they are completely separate. Growing up in Nigeria, I was taught to see math as a tool for science subjects like physics, chemistry, and accounting. In contrast, students who weren’t good at math were encouraged to focus on history, languages, or the arts. This made me think of the two as completely different worlds.

Coming to UBC and studying EDCP 552 has changed that. I now see mathematics as a way to understand patterns, rules, and relationships that are also at the heart of art, like sculpture, music, and design. The author, being both a mathematician and a sculptor, shows that these worlds can overlap. Even if we recognize something as art, people might still debate whether it is “mathematical art.” The real barrier is not math or art itself, but the assumptions we carry about them.

Stop 2

Quote:” I trust that as society evolves, more and more people will be freed to create art. And as a fundamental humanist expression, the scope of art needs to be enriched by the viewpoint of mathematicians. Those who have journeyed through mathematical lands have unique stories to tell of what they found and how they now see the world.pg 525

Explanation: I am excited to see mathematics moving beyond simple number manipulation to meet the creative and expressive needs of the 21st century. I was particularly inspired by the recorded Zoom meeting between Susan and Nick Sayers, where everyday materials like bottles and sand were used to create patterns that not only expressed ideas but also solved problems, such as the creation of dune fractals to convey messages, much like expressive art would. This approach reflects the ideas of ethnography, showing how mathematical patterns can connect to human experience and culture. I also thought of a colleague who creates tie-dye fabrics. While skilled, he produces relatively few designs because he has not incorporated mathematics into his process. I can imagine how much richer and more expansive his work could become if he embraced the beauty and structure of mathematics. Hart’s article suggests precisely this: that mathematical thinking, when applied creatively, can transform art and human expression, revealing patterns and possibilities that traditional methods alone might miss.

 

Question: If Mathematics describes patterns in everything around us, then why do we often strip it of creativity, movement, and culture when we teach it?

 

Draft of My EDCP 552 Assignment on Arts and Embodied Learning

Topic: Uncovering the Hidden Geometry in Atilogwu dance: Heritage Algorithms and Emplaced Learning.

Name: Clementina Uti

Collaborators: Working individually

Due Date:18^th of February,2026

Description of Project

I am excited to begin a project that creatively merges mathematics with the vibrant cultural heritage of dance. In our Grade 7 math curriculum, we study transformations in geometry, such as translations, rotations, and reflections. I believe that integrating the Atilogwu dance from Nigeria into our lessons will make these concepts more engaging and relatable. I often describe dance as a “heritage algorithm” because much like math, it operates under a set of structured rules and patterns. The Atilogwu dance provides an excellent framework for visualizing and grasping geometric transformations, allowing us to explore mathematical principles in a dynamic way that transcends conventional textbook methods.

My primary aim is to demonstrate that dance consists of intentional movements, enabling students to identify various angles formed by the joints—such as acute, obtuse, and right angles. These are essential for comprehending translations (utilizing vector shifts or congruent images), reflections (synchronized movements between partners), and rotations (turns and jumps measured in degrees, like 90, 180, or 360 degrees). This innovative strategy seeks to connect mathematics with cultural expression, enhancing our understanding of geometry while highlighting its significance in daily life and heritage. Ultimately, I envision this project to refine our math skills while deepening our appreciation for how cultural elements, like dance, can seamlessly integrate with academic concepts. It offers a unique chance to investigate geometry in a lively and relevant context.

Research Plan: Exploring the Interplay Between Dance and Geometry

For my research, I intend to explore the connection between dance and geometry through collaboration with a community dance group called African Friendship Society in Vancouver, British Columbia. This approach is particularly appealing because the Atilogwu dance is known for its energetic acrobatics and complex movements. By partnering with experts in this field, I will be able to document authentic performances related to angle identification and transformation mapping, allowing seventh-grade students to discover the hidden geometry before engaging in semiotic enactment.

Additionally, students will have the opportunity to explore a human-scale coordinate grid outside by using chalk to draw angles on the ground, tangibly reinforcing their learning during our classes. To aid my study, I will record their live dance performances, enabling me to trace the invisible lines created by acrobatic jumps and movements, which I will treat as crucial cultural artifacts. My objective is to meticulously observe and analyze the dancers' performances to uncover the geometric patterns that emerge, focusing on aspects like jumps, rotations, and intentional placements of hands and bodies.

Through detailed observation and analysis, I aspire to reveal how these movements not only convey significant cultural narratives but also expose underlying geometric structures in the air. This research aims to provide a deeper understanding of the intricate relationship between movement, form, and cultural expression.

Bibliography and Annotations

1. Eglash, R., & Bennett, A. G. (2025). African Interlace as Dynamic Grids: New Heritage Algorithms for Diaspora Design Ecologies. Design and Culture, 1-22.

This article establishes a foundational theoretical framework for my project by framing African cultural practices as "Heritage Algorithms," characterized as logically structured and rule-based systems. It draws on Eglash and Bennett's exploration of "Dynamic Grids" and "3D movement paths" in performances such as Capoeira, providing academic support for viewing the Atilogwu dance as a mathematical artifact, transcending its artistic expression. The authors’ concept of "repetition with revision" is particularly relevant as it explains how synchronized dance steps can be seen as geometric transformations, including translations and reflections.

2. Abrahamson, D., Nathan, M. J., Williams-Pierce, C., Walkington, C., Ottmar, E. R., Soto, H., & Alibali, M. W. (2020, August). The future of embodied design for mathematics teaching and learning. In Frontiers in Education (Vol. 5, p. 147). Frontiers Media SA.

Their article emphasizes the significance of the learner’s body in developing mathematical intuition, suggesting that physical movement is foundational before formal symbols are introduced. It employs the concept of "semiotic enactment" to bridge students’ visual analysis of the Atilogwu dance with their own creative outputs. By moving students from a "pre-symbolic" state, where they appreciate the dance's cultural and geometric intricacies, to a "symbolic" state, where they translate those movements into coordinates on a grid, the lesson fosters deeper engagement.

Utilizing Abrahamson’s idea of "multimodal synthesis," this pedagogical approach integrates digital video analysis, collaborative discussion, and hands-on chalk activities to create an embodied understanding of geometry. This methodology highlights the use of energetic cultural artifacts to initiate attentional anchors necessary for understanding abstract transformations, which ultimately aims for a holistic learning experience that connects physical movement with mathematical concepts.

3. Gerofsky, S. (2025). Embodied Outdoors Arts-Based Approaches to Mathematical Understanding. Encounters in Theory and History of Education, 26, 56-87.                                           

The author advocates for "emplaced" and "outdoor" learning that utilizes materials available in the immediate environment to break away from the static, industrial nature of traditional classrooms. I apply this by having students transition from the digital analysis of expert video artifacts to a physical, material-based representation on an outdoor floor. Using chalk as an environmental tool, students will collaboratively map the "heritage algorithms" and geometric transformations they observed in the Atilogwu dance. This approach supports Gerzofsky’s argument that mathematical understanding is deepened when it is arts-based and situated in an open-air, embodied space.

4. Radford, L. (2014). Towards an embodied, cultural, and material conception of mathematics cognition. ZDM, 46(3), 349-361.

The article discusses the concept of "sensuous cognition. “A concept that argues that mathematical thinking is influenced by cultural and historical contexts, while drawing on sensory experiences and the material world as a crucial foundation. This idea is applied to illuminate the significance of the Atilogwu dance, a vibrant cultural expression, as an essential tool for understanding mathematics. By having students observe professional dancers and then translate those movements onto the pavement using chalk, the approach fosters a "multimodal sentient form" of learning. It reframes the act of drawing as a complex process that engages the senses and material tools, enabling students to creatively interpret and reshape abstract geometric ideas.

5. Fors, V., Bäckström, Å., & Pink, S. (2013). Multisensory Emplaced Learning: Resituating Situated Learning in a Moving World. Mind, Culture, and Activity, 20(2), 170–183. https://doi.org/10.1080/10749039.2012.719991

This article establishes a critical framework of "emplaced learning" that backs up my project's environmental context. The authors advance beyond conventional "situated learning" by positing that knowledge emerges from a multisensory interaction between the dynamic body and its surrounding environment. I apply this innovative theory as evidence of the transition of my Grade 7 students from a traditional classroom to a large-scale outdoor coordinate grid. By engaging in what Fors et al. term a "sensory ensemble," my students transcend mere observation of geometry. They actively embody it by aligning their visual interpretation of the Atilogwu dance with the tactile experience of drawing and moving in an expansive outdoor space.

 

Dancing Mathematics and the Mathematics of Dance by Sarah-Marie Belcastro and Karl Schaffer

Summary

The article offers an innovative viewpoint on teaching mathematics through movement and dance, challenging the notion that math is solely about symbols, digits, and written calculations. It portrays a classroom environment where students actively engage with mathematical ideas such as patterns, symmetry, rotation, and structure by using their bodies. This method transforms the learning experience into a blend of cognitive and physical activity, making abstract concepts more tangible and relatable through gestures and dance. By connecting mathematics with movement, students discover that this subject can be lively and imaginative, exploring rhythm and structure through choreography and bodily expression.

A key takeaway from the article is the transition from passive to active engagement in learning. Rather than merely receiving information from an instructor, learners take initiative in their educational journey, collaborating, investigating, and understanding concepts via their physical experiences. This approach confronts the conventional "banking model" of education that typically prioritizes memorization, instead promoting dialogue, interaction, and student empowerment. Additionally, the authors emphasize that this embodied method is inclusive, enabling students of varying abilities and language proficiencies to participate fully. Reflection plays a vital role in this process, bridging physical movements with formal mathematical principles, thus making learning both experiential and intellectually robust. In conclusion, the article highlights how integrating dance and movement can transform mathematics classrooms into lively, creative, and inclusive environments for every learner.

Stop 1

Quote: If you're not a dancer, and even if you are, you may be wondering how on earth mathematics and dance are related. Page 1

Explanation: Before exploring the connection between mathematics and dance through Karl Schaffer’s YouTube video shared in class and Susan’s teaching, I had never imagined any real link between the two fields. Growing up, I led a choreographic group of teenagers at my local church and later became a mathematics teacher, yet I still saw these as two completely separate worlds. As Mathematics, to me, was confined to numbers, formulas, and written methods, and my goal was to teach it in the usual traditional setting to cover the syllabus, while dance belonged only to artistic expression, mainly for relaxation and fun, but watching how dance illustrated concepts such as symmetry and patterns transformed my understanding. I was amazed that a creative and enjoyable medium could communicate deep mathematical ideas. The movements made abstract concepts more visible and accessible in ways that symbols alone could not. Reflecting on the video and the ideas from the article, I realized that learning takes place not only in the mind but also through the body. Most importantly, I came to see that this embodied approach could reduce fear and tension around mathematics, making it more lively, meaningful, and approachable.

Stop 2

Quote: “Many mathematical ideas pervade dance and, we would argue, are intrinsic to dance. For example, we divide music into counts and use counting to mark the times at which movements are done”. Page 1

Explanation: When you watch a dancer glide across the floor, it’s easy to be captivated by the beauty and emotion of their movements. But beneath that mesmerizing surface lies a fascinating world of mathematics. Every beat of the music counts out a rhythm that guides them every step, and I believe this connection can be a powerful tool in my teaching practice. For instance, when children are doing a presentation, they often count the steps and movements they make to ensure everyone displays a similar pattern, resulting in a visually stunning performance. I can incorporate this idea by integrating rhythm and movement into math lessons, allowing students to physically experience concepts like patterns and sequences. Imagine the joy of perfectly timed movements, stepping forward, withdrawing, spinning, and clapping, all synchronized with the melody, as a way to explore fractions, ratios, and angles. By encouraging students to create their own dance sequences based on mathematical principles, I can foster a deeper understanding of math as they discover how it plays a vital role in creating beauty and harmony, much like in dance, helping to make learning more engaging and interactive.

Question: How would our mathematics teaching change if we recognized that learning happens not only in the mind but also through the body? What practical steps could we take to integrate this approach in classrooms still dominated by traditional assessment-focused practices?

 

Movement-based Mathematics: Enjoyment and Engagement without Compromising Learning through the EASY Minds Program by Nicholas Riley et al

Summary

The article addresses the concerning decline in mathematics performance among students in Australia. In response, researchers conducted a study involving an intervention for grades 5-6 to understand students' and teachers' perceptions using the Easy Mind program. This study included focus groups with 66 students and 4 teachers, utilizing the NSW Quality Teaching Model as a framework to assess the teaching strategies implemented. The key findings are as follows:

- Nearly all participating students expressed an increased interest in mathematics, finding the program highly engaging. They particularly valued the opportunity to learn outside the traditional classroom, allowing hands-on experiences in a more open environment.

  - The program effectively captivated both high-achieving and struggling students, indicating that it provided benefits across the board, regardless of individual student capabilities.

  - Students reported a deeper understanding of mathematical concepts, as the integration of physical movement enhanced their learning experience without sacrificing academic rigour.

  - Teachers expressed high satisfaction with this teaching approach, noting that it was intuitive and resulted in relatively low discipline among students.

In conclusion, the authors affirm that integrating movement into the primary mathematics curriculum is both feasible and highly effective. Such an approach can significantly boost student engagement and foster exploration through physical activity, all while maintaining academic quality. This underscores the potential of innovative pedagogical methods to transform traditional learning environments that students often find unengaging.

Stop 1

Quote: “Quite a few students commented on “multi-tasking” (doing mathematical and physical activities), noting that being presented with an additional challenge aided in their learning.  Students used different ways to explain these benefits; "the exercise makes the brain work clearer"; "because your mind has been doing exercise, it kind of gets it ready for mathematics”. Page 1665

Explanation: This emphasizes how students see a link between physical activity and better math thinking. It has been proven that physical exercises help improve brain function. When they mention that exercise helps clear their minds and gets them ready for math, it challenges the idea that math should only be learned while sitting still in a classroom. This finding is particularly exciting because it offers a solution to the ongoing issues with declining math performance. By incorporating outdoor activities and sports into math lessons, students can connect what they enjoy with what they need to learn, making math feel less intimidating and more engaging. This inspires a more holistic approach to teaching, highlighting the need to involve both the body and mind.

Stop 2

Quote:” Before EASY minds, most students reported mainly doing paper- and worksheet-based activities as part of their Maths lessons.  Not being able to move around, being inside and simply being exposed to didactic teaching methods were perceived as dull, boring, repetitive, and uninteresting.

Explanation: This quotation strongly resonates with some classroom experiences I witnessed in Nigeria, where I often observed students placing their heads on their desks during classes with teacher-centred instruction. Watching students disengage made me question whether traditional approaches truly support meaningful learning, especially for children who are naturally energetic and curious.

What excites me about this quote is the deliberate effort being made to move away from dull and repetitive teaching practices toward more engaging and embodied ways of learning mathematics. I recall my own experience as an adult learner when Susan took us outside to explore quadratic equations and parabolas through movement. That lesson transformed my understanding of the concept, as the physical movements helped me visualize and feel the shape of the parabola rather than merely memorize it. I became deeply interested in how our bodies could generate mathematical meaning.

This reflection leads me to imagine how much more powerful such an approach would be for younger students, whose energy and need for movement are even greater. Providing children with opportunities to move, explore, and physically experience mathematics could change their relationship with the subject from one of boredom to one of curiosity and excitement.

Question: If the Ministry sets the curriculum and time for each topic, are these truly the barriers to embodied mathematics learning, or is it our fixed image of what a mathematics lesson should look like? What might change, for better or worse, if teachers began to teach differently?

 

 

Bridges: A World Community for Mathematical Art by KRISTO ́F FENYVESI

Summary

The Bridges community brings together mathematicians, artists, and educators to explore the intersection of mathematics and art. Originating from the vision of Iranian mathematician Reza Sarhangi, the first Bridges conference in 2005 in the Canadian Rockies transformed the typical academic format into a vibrant festival of creativity, where participants engaged in building, performing, and collaborating.

Over the years, Bridges has expanded globally, fostering new partnerships and innovative ways of thinking across countries like Spain, Korea, and Hungary. It emphasizes the idea that mathematics is deeply human and can be expressed through various artistic media. The movement promotes an inclusive atmosphere, blurring the lines between experts and novices and between different disciplines.

Fenyvesi describes Bridges as a “worldview” that celebrates creativity and collaboration, serving as a precursor to the STEAM concept and exemplifying the joyful relationship between mathematics and the arts.

Stop 1

Quote:” As is often the case with active and successful communities and networks, Bridges was begun by a many-sided individual with contacts in both science and culture” pg. 37

“Mathematics, arts, and crafts coexisted side-by-side during the medieval period of Persian history”. Pg 37.

Explanation: I am deeply intrigued by Reza Sarhangi’s vision and the role he played in shaping the Bridges community. The article’s description of him as a “many-sided individual with contacts in both science and culture” resonates with me, especially given how seamlessly he wove mathematics, art, history, and performance into a single intellectual practice. Learning that “mathematics, arts, and crafts coexisted side-by-side during the medieval period of Persian history” immediately reminded me of a workshop I attended at the Secret Lantern, where Malihe presented Persian geometric art. Seeing how mathematical shapes were carefully arranged into patterns on carpets, buildings, and everyday objects—and how Farsi numerals themselves carried aesthetic intention—helped me understand the cultural energy Sarhangi brought into the mathematics community. His work affirms my belief that bridging mathematics and the arts can transform the subject from something feared for its functional calculations into a creative, inviting practice grounded in beauty, pattern, and elegance.

Stop 2

Quote:” Bridges’ transdisciplinary program has elaborated new transdisciplinary standards and has productively solved a high number of unforeseeable and unprecedented challenges. These are risks run by any truly transdisciplinary venture; they may never emerge in relatively homogeneous scientific or artistic communities with established traditions and history. Pg.42

Explanation: In all honesty, I have heard Susan talk about bridges, but I never knew the depth and sacrifices made until I read this article. Bridges’ claim that its transdisciplinary program has had to elaborate new standards reflects the reality that once mathematics is brought into conversation with art, culture, music, dance, and community participation, the traditional rules of either discipline are no longer sufficient.

In homogeneous communities—such as a conventional mathematics department or a traditional art school—everyone shares the same expectations about what counts as good work, how to evaluate it, and what the goals of the field are. But Bridges operates in a space where a geometric proof might appear as a sculpture, where a dance performance can express symmetry, and where cultural artifacts carry mathematical meaning.

This is exactly the kind of challenge Bridges faces: when mathematics becomes a creative, culturally grounded, and aesthetically rich practice, it opens doors for people who fear traditional calculation. However, it also requires new standards for teaching, evaluating, and understanding mathematical knowledge. These are the “unforeseeable and unprecedented challenges” that only a truly transdisciplinary venture encounters, and how it has been able to soar despite the heavy challenges from the various disciplines beats my imagination.

Question: What are the greatest challenges that arise when mathematics intersects with art, performance, or community practice? Additionally, which assumptions or beliefs from your own field might you need to reevaluate or let go of to engage fully in a Bridges-style community?