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?