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BOULEVARD DU TEMPLE III Painting

Heine Takegawa

Denmark

Painting, Oil on Canvas

Size: 39.4 W x 39.4 H x 0.7 D in

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Originally listed for $2,540
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About The Artwork

This is a representation of Cantor's 1891 proof that this it is not possible to count the reals. Cantor proved this using an ingenious diagonal construction. One can proceed by Reductio Ad Absurdum and show that from any assumed enumeration (of just the real numbers between 0 and 1), at least one number must be missing, which can be constructed by taking any number that is different from the I’th number in the enumeration in the I’th digit. Today Cantor’s results are recognized as revolutionary and classical, but they were initially considered controversial, and he was even accused of humbug. One reason was that his theory was associated with a number of paradoxes. The perhaps best known paradox was Russell’s paradox. Frege had tried to formalize Cantor’s set theory in a formal system, but Russel discovered in 1901 that there was a paradox hidden in Frege’s formalization. Russell considered the set of all sets that do contain themselves and then asked the question whether this set contains itself. If the answer is yes, it is no, and vice versa – i.e. a blatant paradox. This work is part of the series THEOREMS AND PROOFS. The works illustrate – directly or indirectly – a theorem with a beautiful proof, according to the criteria put forth by the mathematician Hardy in his classical book A Mathematician's Apology: surprise combined with something inevitable, economy and depth.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 39.4 H x 0.7 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

In our works we try to convey the aesthetics of deep ideas in poetry, philosophy and mathematics in a manner which is also visually appealing. Some works start out from a text, others from a theorem or a proof. They usually contain multiple layers of both paint and ideas. The result in each case is hopefully a work which can be approached and appreciated by means of intuition and immediate dialog, but which will also lend itself to increasing reflection and surprise over time. Our materials and production of the paintings are largely industrial, proceeding as one would when painting a building or a piece of furniture. We were not consciously inspired by any one particular artist initially. However, we saw in hindsight a resemblance with Franz Kline and Mark Rothko and accepted the herritage along the way.

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