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Mathematics and art are more similar than is commonly thought. Each is concerned with the process of being highly creative with abstract objects and of producing everlasting work of great aesthetic beauty.
Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him.
I will start by looking at the mythology that has gathered around the Golden Ratio, and also consider the fairness of cake-cutting, and changing choices in the Monty Hall problem.
This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.
We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
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