Exploring common themes in modern art, mathematics, and science, including the concept of space, the notion of randomness, and the shape of the cosmos. This is a book about art—and a book about mathematics and physics. In Lumen Naturae (the title refers to a purely immanent, non-supernatural form of enlightenment), mathematical physicist Matilde Marcolli explores common themes in modern art and modern science—the concept of space, the notion of randomness, the shape of the cosmos, and other puzzles of the universe—while mapping convergences with the work of such artists as Paul Cezanne, Mark Rothko, Sol LeWitt, and Lee Krasner. Her account, focusing on questions she has investigated in her own scientific work, is illustrated by more than two hundred color images of artworks by modern and contemporary artists. Thus Marcolli finds in still life paintings broad and deep philosophical reflections on space and time, and connects notions of space in mathematics to works by Paul Klee, Salvador Dalí, and others. She considers the relation of entropy and art and how notions of entropy have been expressed by such artists as Hans Arp and Fernand Léger; and traces the evolution of randomness as a mode of artistic expression. She analyzes the relation between graphical illustration and scientific text, and offers her own watercolor-decorated mathematical notebooks. Throughout, she balances discussions of science with explorations of art, using one to inform the other. (She employs some formal notation, which can easily be skipped by general readers.) Marcolli is not simply explaining art to scientists and science to artists; she charts unexpected interdependencies that illuminate the universe.

Exploring common themes in modern art, mathematics, and science, including the concept of space, the notion of randomness, and the shape of the cosmos. This is a book about art—and a book about mathematics and physics. In Lumen Naturae (the title refers to a purely immanent, non-supernatural form of enlightenment), mathematical physicist Matilde Marcolli explores common themes in modern art and modern science—the concept of space, the notion of randomness, the shape of the cosmos, and other puzzles of the universe—while mapping convergences with the work of such artists as Paul Cezanne, Mark Rothko, Sol LeWitt, and Lee Krasner. Her account, focusing on questions she has investigated in her own scientific work, is illustrated by more than two hundred color images of artworks by modern and contemporary artists. Thus Marcolli finds in still life paintings broad and deep philosophical reflections on space and time, and connects notions of space in mathematics to works by Paul Klee, Salvador Dalí, and others. She considers the relation of entropy and art and how notions of entropy have been expressed by such artists as Hans Arp and Fernand Léger; and traces the evolution of randomness as a mode of artistic expression. She analyzes the relation between graphical illustration and scientific text, and offers her own watercolor-decorated mathematical notebooks. Throughout, she balances discussions of science with explorations of art, using one to inform the other. (She employs some formal notation, which can easily be skipped by general readers.) Marcolli is not simply explaining art to scientists and science to artists; she charts unexpected interdependencies that illuminate the universe.

Donald Kalsched explores the interior world of dream and fantasy images encountered in therapy with people who have suffered unbearable life experiences. He shows how, in an ironical twist of psychical life, the very images which are generated to defend the self can become malevolent and destructive, resulting in further trauma for the person. Why and how this happens are the questions the book sets out to answer. Drawing on detailed clinical material, the author gives special attention to the problems of addiction and psychosomatic disorder, as well as the broad topic of dissociation and its treatment. By focusing on the archaic and primitive defenses of the self he connects Jungian theory and practice with contemporary object relations theory and dissociation theory. At the same time, he shows how a Jungian understanding of the universal images of myth and folklore can illuminate treatment of the traumatised patient. Trauma is about the rupture of those developmental transitions that make life worth living. Donald Kalsched sees this as a spiritual problem as well as a psychological one and in The Inner World of Trauma he provides a compelling insight into how an inner self-care system tries to save the personal spirit.

How or what were doctors in the Renaissance trained to think, and how did they interpret the evidence at their disposal for making diagnoses and prognoses? This 2001 book addresses these questions in the broad context of the world of learning: its institutions, its means of conveying and disseminating information, and the relationship between university faculties. The uptake by doctors from the university arts course - the foundation for medical studies - is examined in detail, as are the theoretical and empirical bases for medical knowledge, including its concepts of nature, health, disease and normality. Logic, Signs and Nature in the Renaissance ends with a detailed investigation of semiotic, which was one of the five parts of the discipline of medicine, in the context of the various versions of semiology available to scholars. From this survey, Maclean makes an interesting assessment of the relationship of Renaissance medicine to the new science of the seventeenth century.

In Nicolaus Cusanus on Faith and the Intellect, K.M. Ziebart argues convincingly that Cusanus’ epistemology was a direct response to late-medieval debates over the relation between faith and reason—one which sought to resolve these debates by introducing a controversially strong integration of philosophy and theology. By examining his works in the context of debates with his peers, Ziebart shows how and why Cusanus came to articulate a theory of knowledge in which faith is posited as inherent to the very structure of mind, as the vis iudiciaria, or power of judgment. This well-grounded study sheds new light on the Cusan philosophy and expands our view of a crucial, liminal period in European intellectual history.

Extracted from Volume 8. Includes the title essay and "On Psychic Energy."

Written before his better-known philosophical works, these essays fully explain how natural law is known and to what extent it is binding.

THE MAYA BOOK OF LIFE: UNDERSTANDING THE XULTUN TAROT is the companion book to the Xultun Tarot Classic Edition. It explores the archetypes and alchemy of the major arcana of the Xultun Tarot through indigenous teachings and the analytical psychology of C G Jung and casts new light on the meaning of 2012. The Xultun Tarot was created by Peter Balin in 1976 based on images from Maya history and culture. Taken from a single painting, it is the only tarot deck where the major arcana form a complete picture. This picture is a symbolic image of the alchemical marriage of spirit and matter and a map of what Jung called the individuation process. Only 500 copies of the original Xultun Tarot were ever printed. Now Kahurangi Press (xultun.com) has recreated this classic, long out-of-print deck true to its original large size and vibrant colours together with a book that explains the profound symbolism of the cards. Michael Owen is a clinical psychologist in private practice and author of Jung and the Native American Moon Cycles. He lives in New Zealand.