The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.

A critical study of Louise Bourgeois's art from the 1940s to the 1980s: its departure from surrealism and its dialogue with psychoanalysis.

Assisted by Scott Olsen ( Central Florida Community College, USA ). This volume is a result of the author's four decades of research in the field of Fibonacci numbers and the Golden Section and their applications. It provides a broad introduction to the fascinating and beautiful subject of the OC Mathematics of Harmony, OCO a new interdisciplinary direction of modern science. This direction has its origins in OC The ElementsOCO of Euclid and has many unexpected applications in contemporary mathematics (a new approach to a history of mathematics, the generalized Fibonacci numbers and the generalized golden proportions, the OC goldenOCO algebraic equations, the generalized Binet formulas, Fibonacci and OC goldenOCO matrices), theoretical physics (new hyperbolic models of Nature) and computer science (algorithmic measurement theory, number systems with irrational radices, Fibonacci computers, ternary mirror-symmetrical arithmetic, a new theory of coding and cryptography based on the Fibonacci and OC goldenOCO matrices). The book is intended for a wide audience including mathematics teachers of high schools, students of colleges and universities and scientists in the field of mathematics, theoretical physics and computer science. The book may be used as an advanced textbook by graduate students and even ambitious undergraduates in mathematics and computer science. Sample Chapter(s). Introduction (503k). Chapter 1: The Golden Section (2,459k). Contents: Classical Golden Mean, Fibonacci Numbers, and Platonic Solids: The Golden Section; Fibonacci and Lucas Numbers; Regular Polyhedrons; Mathematics of Harmony: Generalizations of Fibonacci Numbers and the Golden Mean; Hyperbolic Fibonacci and Lucas Functions; Fibonacci and Golden Matrices; Application in Computer Science: Algorithmic Measurement Theory; Fibonacci Computers; Codes of the Golden Proportion; Ternary Mirror-Symmetrical Arithmetic; A New Coding Theory Based on a Matrix Approach. Readership: Researchers, teachers and students in mathematics (especially those interested in the Golden Section and Fibonacci numbers), theoretical physics and computer science."

The most important scientist of the twentieth century and the most important artist had their periods of greatest creativity almost simultaneously and in remarkably similar circumstances. This fascinating parallel biography of Albert Einstein and Pablo Picasso as young men examines their greatest creations -- Picasso's Les Demoiselles d'Avignon and Einstein's special theory of relativity. Miller shows how these breakthroughs arose not only from within their respective fields but from larger currents in the intellectual culture of the times. Ultimately, Miller shows how Einstein and Picasso, in a deep and important sense, were both working on the same problem.

In this insightful book, which is a revisionist math history as well as a revisionist art history, Tony Robbin, well known for his innovative computer visualizations of hyperspace, investigates different models of the fourth dimension and how these are applied in art and physics. Robbin explores the distinction between the slicing, or Flatland, model and the projection, or shadow, model. He compares the history of these two models and their uses and misuses in popular discussions. Robbin breaks new ground with his original argument that Picasso used the projection model to invent cubism, and that Minkowski had four-dimensional projective geometry in mind when he structured special relativity. The discussion is brought to the present with an exposition of the projection model in the most creative ideas about space in contemporary mathematics such as twisters, quasicrystals, and quantum topology. Robbin clarifies these esoteric concepts with understandable drawings and diagrams. Robbin proposes that the powerful role of projective geometry in the development of current mathematical ideas has been long overlooked and that our attachment to the slicing model is essentially a conceptual block that hinders progress in understanding contemporary models of spacetime. He offers a fascinating review of how projective ideas are the source of some of today’s most exciting developments in art, math, physics, and computer visualization.

“[Pynchon's] funniest and arguably his most accessible novel.” —The New York Times Book Review “Raunchy, funny, digressive, brilliant.” —USA Today “Rich and sweeping, wild and thrilling.” —The Boston Globe Spanning the era between the Chicago World's Fair of 1893 and the years just after World War I, and constantly moving between locations across the globe (and to a few places not strictly speaking on the map at all), Against the Day unfolds with a phantasmagoria of characters that includes anarchists, balloonists, drug enthusiasts, mathematicians, mad scientists, shamans, spies, and hired guns. As an era of uncertainty comes crashing down around their ears and an unpredictable future commences, these folks are mostly just trying to pursue their lives. Sometimes they manage to catch up; sometimes it's their lives that pursue them.

This book offers an innovative examination of the interactions of science and technology, art, and literature in the nineteenth and twentieth centuries. Scholars in the history of art, literature, architecture, computer science, and media studies focus on five historical themes in the transition from energy to information: thermodynamics, electromagnetism, inscription, information theory, and virtuality. Different disciplines are grouped around specific moments in the history of science and technology in order to sample the modes of representation invented or adapted by each field in response to newly developed scientific concepts and models. By placing literary fictions and the plastic arts in relation to the transition from the era of energy to the information age, this collection of essays discovers unexpected resonances among concepts and materials not previously brought into juxtaposition. In particular, it demonstrates the crucial centrality of the theme of energy in modernist discourse. Overall, the volume develops the scientific and technological side of the shift from modernism to postmodernism in terms of the conceptual crossover from energy to information. The contributors are Christoph Asendorf, Ian F. A. Bell, Robert Brain, Bruce Clarke, Charlotte Douglas, N. Katherine Hayes, Linda Dalrymple Henderson, Bruce J. Hunt, Douglas Kahn, Timothy Lenoir, W. J. T. Mitchell, Marcos Novak, Edward Shanken, Richard Shiff, David Tomas, Sha Xin Wei, and Norton Wise.

Vibratory Modernism is a collection of original essays that show how vibrations provide a means of bridging science and art - two fields that became increasingly separate in the nineteenth and early twentieth centuries.

One of the most talented contemporary authors of cutting-edge math and science books conducts a fascinating tour of a higher reality, the Fourth Dimension. Includes problems, puzzles, and 200 drawings. "Informative and mind-dazzling." — Martin Gardner.

A detailed description of what the fourth dimension would be like.