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Complex Numbers
Complex Numbers
A complex number is expressed in the standard form a + bi, where a and b are real numbers and i is defined by i^2 = -1 (that is, i is the square root of -1). For example, 3 + 2i is a complex number.
The bi term is often referred to as an imaginary number (though this may be misleading, as it is no more "imaginary" than the symbolic abstractions we know as the "real" numbers). Thus, every complex number has a real part, a, and an imaginary part, bi.
Complex numbers are often represented on a graph known as the "complex plane," where the horizontal axis represents the infinity of real numbers, and the vertical axis represents the infinity of imaginary numbers. Thus, each complex number has a unique representation on the complex plane: some closer to real; others, more imaginary. If a = b, the number is equal parts real and imaginary.
Very simple transformations applied to numbers in the complex plane can lead to fractal structures of enormous intricacy and astonishing beauty.
February 10, 2025 at 7:55am February 10, 2025 at 7:55am
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Logos are kind of the corporate equivalent of a book's cover art, so writers might be interested in this sort of thing from Fast Company:
Calling something "worst" or "best" is, at best, hyperbole. But we shouldn't just brush off the ideas here.
Every time I see the Sherwin-Williams logo, my brain briefly and hopelessly breaks.
I have a very clear memory of myself as a very young kid, seeing that logo for possibly the first time, and thinking, "What? That's not how gravity works!" So my mental break was based on the clear violation of the immutable laws of physics, not the questionable violation of the ever-shifting laws of graphic design.
And like any good intoxicant, I enjoy it. Because it is, hands-down, one of the worst logos in all of existence—but also one of the all-time greats.
Speaking of marketing, please take note: that quote hedges with "one of the..." before the superlatives. It does not claim that it is somehow objectively the worst or the best. The sentence is clearly both opinion (that of the author) and allowing for reasonable people to argue that, no, there might be a worse logo or a better logo. This is in stark contrast with the headline—you know, the marketing part of the article—which declares with no uncertainty that it's both "worst" and "best," absolute, no nuance, no argument possible.
For the uninitiated—and there’s no delicate way to put this—the Sherwin-Williams logo features a moon-size bucket seemingly drowning the Earth with a quadrillion gallons of *blood-red* paint, wholly saturating it to the point where its runoff is in nation-size droplets.
1) the paint can looks to me to be bigger than the Moon at that scale, but okay, maybe they meant "moon" in generic terms.
2) I'd like to do the calculations to see if you'd really need a quadrillion gallons to literally cover the Earth, but I can't be arsed.
3) Nations vary wildly in size, so calling something "nation-size" doesn't mean much.
These things matter more to me than marketing fouls.
And yet, you may be wondering, as I do every time I peruse a hardware store: How in the name of God is that still the company’s logo?!
Well, no, I find it comforting that some things don't change.
And maybe we should celebrate that an anachronism as bold and bizarre still exists (not unlike my other favorite dinosaur-of-a-logo, the, um, Sinclair dinosaur).
The problem with the Sinclair dinosaur is that it reinforced the false idea that crude oil came from dinosaurs. I suppose it's possible that the SWP logo warped some peoples' understanding of gravity, but I don't think that falsehood is nearly as widespread as "oil is dead dinosaurs" myth.
There's a bit more at the link, including a brief history of SWP and its logo, and even more pics of the logo in question (the one I linked earlier is from a different site). I think it paints an interesting picture. |
© Copyright 2025 Robert Waltz (UN: cathartes02 at Writing.Com). All rights reserved. Robert Waltz has granted InkSpot.Com, its affiliates and its syndicates non-exclusive rights to display this work.
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