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Ron Eglash Interviewed for TiP

Seeing Heritage Algorithms 3952
Ron Eglash shares his project, See­ing Her­itage Algo­rithms, cre­ated in part­ner­ship with Stamps pro­fes­sor Audrey Ben­nett, at Stamps Gallery in 2019

Pro­fes­sor Ron Eglash was fea­tured in TiP, a media out­let that explores new con­cepts and cre­ations across the arts and sci­ence. Eglash stud­ies the rela­tion­ship between math­e­mat­ics and cul­ture. In the inter­view, he takes read­ers on a jour­ney through African div­ina­tion, marx­ism, mys­ti­cism, and why native tribes have a greater crop vari­ety than the West” — all because of frac­tals, shapes of infi­nite detail and self-similarity.

At one time the height of West­ern design prac­tice was exert­ing con­trol. We could sculpt metal into increas­ingly pre­cise forms; level moun­tains, replace diverse forests with uni­form plan­ta­tions. The folly of exclu­sive empha­sis on top-down con­trol came to haunt us with envi­ron­men­tal destruc­tion, labor exploita­tion, and author­i­tar­ian regimes. Indige­nous tra­di­tions have had a much bet­ter under­stand­ing of how to com­bine top-down and bot­tom-up. Frac­tals are just one exam­ple, a sort of sig­na­ture that a self-orga­niz­ing process was at work, because the pat­tern was able to grow in an organic-like process, com­bin­ing neg­a­tive and pos­i­tive feedback.

The Mys­tery of Frac­tals in Indige­nous African Design | tip​.bal​mond​stu​dio​.com

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