Birth of a Theorem: A Mathematical Adventure by Cédric Villani

By Cédric Villani

In 2010, French mathematician Cédric Villani got the Fields Medal, the main coveted prize in arithmetic, in popularity of an explanation which he devised together with his shut collaborator Clément Mouhot to provide an explanation for the most mind-blowing theories in classical physics. Birth of a Theorem is Villani’s personal account of the years top as much as the award. It invitations readers contained in the brain of a superb mathematician as he wrestles with an important paintings of his career.But you don’t need to comprehend nonlinear Landau damping to like Birth of a Theorem. It doesn’t simplify or overexplain; fairly, it invitations readers into collaboration. Villani’s diaries, emails, and musings enmesh you within the strategy of discovery. You sign up for him in unproductive lulls and late-night breakthroughs. You’re aware about the dining-hall conversations on the world’s maximum study associations. Villani stocks his favourite songs, his love of manga, and the imaginitive tales he tells his little ones. In arithmetic, as in any artistic paintings, it's the thinker’s entire lifestyles that propels discovery—and with Birth of a Theorem, Cédric Villani welcomes you into his.

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PIT, 43). C'est comme si, voulant se résumer, il ne s'en sortait pas, entassait résumé sur résumé, faute de savoir lequel est le meilleur.

La jeune fille bourgeoise En plein trouble politique, il fait du piano, de l'aquarelle : toutes les fausses occupations d'une jeune fille bourgeoise au x1xe siècle. - J'inverse le problème : qu'est-ce qui, dans les pratiques de la jeune fille bourgeoise d'autrefois, excédait sa féminité et sa classe ? Quelle était l'utopie de ces conduites ? La jeune fille bourgeoise produisait inutilement, bête~ent, poUT elle-même, mais elle produisait : c'était sa forme de dépense à elle. L'amateur L'Amateur (celui qui fait de la peinture, de la musique, du sport, de la science, sans esprit de maîtrise ou de compétition), l'Amateur reconduit sa jouissance (amator : qui aime et aime encore); ce n'est nullement un héros (de la création, de laperformance) ; il s'installe gracieusement (pour rien) dans le signi- fiant : dans la matière immédiatement définitive de la musique, de la peinture ; sa pratique, ordinairement, ne comporte aucun rubato (ce vol de l'objet au profit de l'attribut); il est- il sera peut-être - l'artiste contre-bourgeois.

Au plan des valeurs, l'argent a deux sens contraires (c'est un énantiosème) : il est très vivement condamné, surtout au théâtre (beaucoup de sorties contre le théâtre d'argent, alentour 1954), puis réhabilité, à la suite de Fourier, par réaction contre les trois moralismes qui lui sont opposés : le marxiste, le chrétien et le freudien (SFL, 90). Cependant, bien sûr, ce qui est défendu, ce n'est pas l'argent retenu, engoncé, engorgé; c'est l'argent dépensé, gaspillé, charrié par le mouvement même de la perte, rendu brillant par le luxe d'une production; l'argent devient alors métaphoriquement de l'or : l'Or du Signifiant.

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