Work
Gergonne was the first mathematician to employ the word polar. In a series of papers beginning in 1810, he discovered the principle of duality in projective geometry, by noticing that every theorem in the plane connecting points and lines corresponds to another theorem in which points and lines are interchanged, provided that the theorem embodied no metrical notions. In 1816, he devised an elegant solution to the problem of Apollonius: find a circle which touches three given circles.
In 1813, Gergonne wrote the prize-winning essay for the Bordeaux Academy, Methods of synthesis and analysis in mathematics, unpublished to this day and known only via a summary. The essay is very revealing of Gergonne's philosophical ideas. He called for the abandonment of the words analysis and synthesis, claiming they lacked clear meanings. Surprisingly for a geometer, he suggested that algebra is more important than geometry, at a time when algebra consisted almost entirely of the elementary algebra of the real field. He predicted that one day quasi-mechanical methods would be used to discover new results.
In 1815, Gergonne wrote the first paper on the optimal design of experiments for polynomial regression. According to S. M. Stigler, Gergonne is the pioneer of optimal design as well as response surface methodology.
Read more about this topic: Joseph Diaz Gergonne
Famous quotes containing the word work:
““Which is more important to you, your field or your children?” the department head asked. She replied, “That’s like asking me if I could walk better if you amputated my right leg or my left leg.””
—Anonymous Parent. As quoted in Women and the Work Family Dilemma, by Deborah J. Swiss and Judith P. Walker, ch. 2 (1993)
“Thou hast left behind
Powers that will work for thee; air, earth, and skies;
There’s not a breathing of the common wind
That will forget thee; thou hast great allies;
Thy friends are exultations, agonies,
And love, and man’s unconquerable mind.”
—William Wordsworth (1770–1850)
“Human life itself may be almost pure chaos, but the work of the artist—the only thing he’s good for—is to take these handfuls of confusion and disparate things, things that seem to be irreconcilable, and put them together in a frame to give them some kind of shape and meaning. Even if it’s only his view of a meaning. That’s what he’s for—to give his view of life.”
—Katherine Anne Porter (1890–1980)