This is Roger Penrose. Certainly one of the great
scientists of our time, winner of the 2020 Nobel Prize in Physics for his work reconciling black holes with Einstein's general
theory of relativity. But back in the 1970s, Roger Penrose made a contribution
to the world of mathematics and that part of mathematics
known as tiling. You know, tiling, the process
of putting tiles together so that they form a particular pattern. The thing that was remarkable about the pattern
that Roger Penrose developed is that by using only two shapes, he constructed a pattern that could be
expanded infinitely in any direction without ever repeating. Much like the number pi
has a decimal that isn’t random, but it will go on forever
without repeating. In mathematics, this is a property
known as aperiodicity and the notion of an aperiodic tile set
using only two tiles was such a sensation, it was given the name Penrose tiling. Here's Roger Penrose, now Sir Roger Penrose, standing on a field of Penrose tiles. Then in 2007, this man, Peter Lu, who was then a graduate student
in physics at Princeton, while on vacation
with his cousin in Uzbekistan, discovered this pattern
on a 14th century madrassa. And after some analysis, concluded that this was,
in fact, Penrose tiling 500 years before Penrose. (Laughter) That information took
the scientific world by storm and prompted headlines everywhere, including “Discover” magazine, which proclaimed this the 59th
most important scientific discovery of the year 2007. So now we've heard
about this amazing pattern from the point of view of mathematics and from physics and now art
and archeology. So that leads us to the question what was there about this pattern that this ancient culture
found so important that they put it on their
most important building? So for that, we look to the world of anthropology
and ask the question, What was the worldview
of the culture that made this? And this is what we learn. This pattern is life. And as you can see, life's complicated. It's complicated. But not only is life complicated, life is also aperiodic in the sense
that every event, every happening, every decision will make
the future unfold differently, often in ways that are
impossible to predict. Yet, in spite of the complexity and in spite of a future
that's impossible to predict, there remains an underlying unity
that holds everything together and gives rise to everything. Let's see how that works in a design much like the one
Peter Lu found in Uzbekistan. This is that design. Now, it turns out this is actually
based on this set of Penrose tiles, which are reducible to these shapes. And in order to draw these shapes, the medieval craftsmen who did this would have done them
by using these construction lines. And I add here that the construction lines
don't appear in the final work. But if we add them back, we have this. And now if we weave them together,
we will have this. And now if we hide the tiles and just look at the construction lines, we see this. Clearly there's an underlying
structure and unity to things that seem to be
complex and aperiodic. This notion of a hidden underlying unity
was common throughout the ancient world, and one sees it in Egypt, in Greece, in Australia, in Mesoamerica, in North America, in Europe and in the Middle East. Now in the modern West,
we might call this underlying unity “God,” but throughout the ages, other terms have been used
to describe the same thing. This is what Plato called “first cause.” In the medieval period, philosopher Spinoza called this
the “singular substance.” In the 20th century, a number of terms
were coined to describe this, one of my favorites being from philosopher
Alfred North Whitehead, who called this the “undifferentiated
aesthetic continuum.” Doesn't that have
a 20th century sound to it? But for me, a lover of science that I am, I will take the term coined by the great
20th century physicist David Bohm, who called this the “implicate order.” So what's the takeaway here? Very simply, this. When we see these wonderful designs created by cultures
that are separated from our own by thousands of miles
or thousands of years, we can know these aren't decorations. These are statements about the fundamental
values that culture had, what they found important,
how they saw themselves, the world and themselves in the world. It has been said that architecture
is a book written in stone. So when we see these amazing designs,
we can know they're not decorations. They're a statement. They're a message. Look, listen. You can hear their voices. Thank you. (Applause)
