Oxford University Unveils 2 Letters on Ancient Egyptian Mathematics

The Pyramid of Khufu, the largest of the pyramids of Giza. (Reuters)
The Pyramid of Khufu, the largest of the pyramids of Giza. (Reuters)
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Oxford University Unveils 2 Letters on Ancient Egyptian Mathematics

The Pyramid of Khufu, the largest of the pyramids of Giza. (Reuters)
The Pyramid of Khufu, the largest of the pyramids of Giza. (Reuters)

Two researchers at Oxford University unveiled a scientific document on mathematics in Ancient Egypt.

The document features two letters exchanged between Thomas Eric Peet (1882–1934), who was professor of Egyptology at the University of Liverpool and then a professor of Egyptology at Oxford, and Otto Neugebauer (1899–1990), one of the most prominent mathematics historians in the 20th century.

The letters were found at Peet's house, and then gifted to the Queen's College at Oxford. A recent study published in the latest issue of the Historia Mathematica journal, showcased the letters which shed light on the early 20th century study of ancient Egyptian math and issues of historical approaches to the ancient world.

The study was led by historian of mathematics Dr. Christopher Hollings and Egyptology Professor Richard Bruce Parkinson, who worked together on evaluating the discussions between Peet and Neugebauer, and a study prepared by Peet on a Rhind Mathematical Papyrus dating from 1537 BCE, now held in the British Museum.

In his study, Peet said the papyrus consists of over 80 arithmetical and geometrical problems and solutions, ranging from the distribution of rations among workers, to the calculation of areas and volumes. As such, it is one of the most complete surviving sources providing an insight into the mathematics used in ancient Egypt.

Peet's edition reignited academic interest in Egyptian mathematics. One of the people whom his work inspired was Neugebauer, who subsequently wrote a doctoral dissertation on the principles of Egyptian fraction reckoning (as reflected in the Rhind Papyrus).

According to Hollings and Parkinson, the letters between the pair shed light on the way in which ancient Egyptian mathematics was being re-evaluated in the 1920s.

They explained that the letters reveal a contrast between the attitudes of two scholars who approached the subject with different viewpoints. Both were competent mathematicians and Egyptologists, and yet one of them, Neugebauer, put the mathematics first, and linked the modern ideas on mathematics to the direct evidence of papyri.

As per Peet, he brought Egyptological considerations to the fore, and confined his analysis largely to what was clearly and unequivocally present in the ancient text.



Humanoid Robot Says Not Aiming to 'Replace Human Artists'

A man faces the realistic artist" robot "Ai-Da" using artificial intelligence at a stand during the ITU AI for Good Global Summit in Geneva. Fabrice COFFRINI / AFP/File
A man faces the realistic artist" robot "Ai-Da" using artificial intelligence at a stand during the ITU AI for Good Global Summit in Geneva. Fabrice COFFRINI / AFP/File
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Humanoid Robot Says Not Aiming to 'Replace Human Artists'

A man faces the realistic artist" robot "Ai-Da" using artificial intelligence at a stand during the ITU AI for Good Global Summit in Geneva. Fabrice COFFRINI / AFP/File
A man faces the realistic artist" robot "Ai-Da" using artificial intelligence at a stand during the ITU AI for Good Global Summit in Geneva. Fabrice COFFRINI / AFP/File

When successful artist Ai-Da unveiled a new portrait of King Charles this week, the humanoid robot described what inspired the layered and complex piece, and insisted it had no plans to "replace" humans.

The ultra-realistic robot, one of the most advanced in the world, is designed to resemble a human woman with an expressive, life-like face, large hazel eyes and brown hair cut in a bob.

The arms though are unmistakably robotic, with exposed metal, and can be swapped out depending on the art form it is practicing.

Late last year, Ai-Da's portrait of English mathematician Alan Turing became the first artwork by a humanoid robot to be sold at auction, fetching over $1 million, said AFP.

But as Ai-Da unveiled its latest creation -- an oil painting entitled "Algorithm King", conceived using artificial intelligence -- the humanoid insisted the work's importance could not be measured in money.

"The value of my artwork is to serve as a catalyst for discussions that explore ethical dimensions to new technologies," the robot told AFP at Britain's diplomatic mission in Geneva, where the new portrait of King Charles will be housed.

The idea, Ai-Da insisted in a slow, deliberate cadence, was to "foster critical thinking and encourage responsible innovation for more equitable and sustainable futures".

'Unique and creative'

Speaking on the sidelines of the United Nations' AI for Good summit, Ai-Da, who has done sketches, paintings and sculptures, detailed the methods and inspiration behind the work.

"When creating my art, I use a variety of AI algorithms," the robot said.

"I start with a basic idea or concept that I want to explore, and I think about the purpose of the art. What will it say?"

The humanoid pointed out that "King Charles has used his platform to raise awareness on environmental conservation and interfaith dialog. I have aimed this portrait to celebrate" that, it said, adding: "I hope King Charles will be appreciative of my efforts."

Aidan Meller, a specialist in modern and contemporary art, led the team that created Ai-Da in 2019 with artificial intelligence specialists at the universities of Oxford and Birmingham.

He told AFP that he had conceived the humanoid robot -- named after the world's first computer programmer Ada Lovelace -- as an ethical arts project, and not "to replace the painters".

Ai-Da agreed.

There is "no doubt that AI is changing our world, (including) the art world and forms of human creative expression", the robot acknowledged.

But "I do not believe AI or my artwork will replace human artists."

Instead, Ai-Da said, the aim was "to inspire viewers to think about how we use AI positively, while remaining conscious of its risks and limitations".

Asked if a painting made by a machine could really be considered art, the robot insisted: "My artwork is unique and creative."

"Whether humans decide it is art is an important and interesting point of conversation."