Editing Talk:19: George Clinton
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The author employs the literary concept of 'the unreliable narrator.' We are asked to believe a story told by someone who admits losing touch with reality. The first equation shown on the board, the Laplace transform, takes something that is 'real' and maps it to something 'complex' (having a 'real' and an 'imaginary' part). In the story, we start with something 'real' (George Clinton is a musician). This is transformed into something 'complex' (George Clinton is a musician and a mathematician). The second equation, the inverse Laplace transform, takes something that is 'complex' and maps it to something 'real.' At some point, the narrator's beliefs stop being 'complex' (musician and mathematician). They are transformed back into something real (musician). Therefore, the equations written by the 'imaginary' George Clinton parallel the 'real' journey of the narrator. --[[User:David.poole.9000|DP9000]] ([[User talk:David.poole.9000|talk]]) 23:29, 6 March 2016 (UTC) | The author employs the literary concept of 'the unreliable narrator.' We are asked to believe a story told by someone who admits losing touch with reality. The first equation shown on the board, the Laplace transform, takes something that is 'real' and maps it to something 'complex' (having a 'real' and an 'imaginary' part). In the story, we start with something 'real' (George Clinton is a musician). This is transformed into something 'complex' (George Clinton is a musician and a mathematician). The second equation, the inverse Laplace transform, takes something that is 'complex' and maps it to something 'real.' At some point, the narrator's beliefs stop being 'complex' (musician and mathematician). They are transformed back into something real (musician). Therefore, the equations written by the 'imaginary' George Clinton parallel the 'real' journey of the narrator. --[[User:David.poole.9000|DP9000]] ([[User talk:David.poole.9000|talk]]) 23:29, 6 March 2016 (UTC) | ||
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