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Chips away at the notion of an accidental relationship between math and art and literature. During the twentieth century, many artists and writers turned to abstract mathematical ideas to help them realize their aesthetic ambitions. Man Ray, Marcel Duchamp, and, perhaps most famously, Piet Mondrian used principles of mathematics in their work. Was it mere coincidence, or were these artists simply following their instincts, which in turn were ruled by mathematical underpinnings, such as optimal solutions for filling a space? If math exists within visual art, can it be found within literary pursuits? In short, just what is the relationship between mathematics and the creative arts? In this provocative, original exploration of mathematical ideas in art and literature, Robert Tubbs argues that the links are much stronger than previously imagined and exceed both coincidence and commonality of purpose. Not only does he argue that mathematical ideas guided the aesthetic visions of many twentieth-century artists and writers, Tubbs further asserts that artists and writers used math in their creative processes even though they seemed to have no affinity for mathematical thinking. In the end, Tubbs makes the case that art can be better appreciated when the math that inspired it is better understood. An insightful tour of the great masters of the last century and an argument that challenges long-held paradigms, Mathematics in Twentieth-Century Literature and Art will appeal to mathematicians, humanists, and artists, as well as instructors teaching the connections among math, literature, and art.
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.
This is a cultural history of mathematics and art, from antiquity to the present. Mathematicians and artists have long been on a quest to understand the physical world they see before them and the abstract objects they know by thought alone. Taking readers on a tour of the practice of mathematics and the philosophical ideas that drive the discipline, Lynn Gamwell points out the important ways mathematical concepts have been expressed by artists. Sumptuous illustrations of artworks and cogent math diagrams are featured in Gamwell's comprehensive exploration. Gamwell begins by describing mathematics from antiquity to the Enlightenment, including Greek, Islamic, and Asian mathematics. Then focusing on modern culture, Gamwell traces mathematicians' search for the foundations of their science, such as David Hilbert's conception of mathematics as an arrangement of meaning-free signs, as well as artists' search for the essence of their craft, such as Aleksandr Rodchenko's monochrome paintings. She shows that self-reflection is inherent to the practice of both modern mathematics and art, and that this introspection points to a deep resonance between the two fields: Kurt Gödel posed questions about the nature of mathematics in the language of mathematics and Jasper Johns asked "What is art?" in the vocabulary of art. Throughout, Gamwell describes the personalities and cultural environments of a multitude of mathematicians and artists, from Gottlob Frege and Benoît Mandelbrot to Max Bill and Xu Bing. Mathematics and Art demonstrates how mathematical ideas are embodied in the visual arts and will enlighten all who are interested in the complex intellectual pursuits, personalities, and cultural settings that connect these vast disciplines.
"Examines the wide-ranging influence of games and play on the development of modern art in the twentieth century"--Provided by publisher.
This book is a well-informed and detailed analysis of the problems and development of algebraic topology, from Poincaré and Brouwer to Serre, Adams, and Thom. The author has examined each significant paper along this route and describes the steps and strategy of its proofs and its relation to other work. Previously, the history of the many technical developments of 20th-century mathematics had seemed to present insuperable obstacles to scholarship. This book demonstrates in the case of topology how these obstacles can be overcome, with enlightening results.... Within its chosen boundaries the coverage of this book is superb. Read it! —MathSciNet
"The ancient Greeks argued that the best life was filled with beauty, truth, justice, play and love. The mathematician Francis Su knows just where to find them."--Kevin Hartnett, Quanta Magazine" This is perhaps the most important mathematics book of our time. Francis Su shows mathematics is an experience of the mind and, most important, of the heart."--James Tanton, Global Math Project For mathematician Francis Su, a society without mathematical affection is like a city without concerts, parks, or museums. To miss out on mathematics is to live without experiencing some of humanity's most beautiful ideas. In this profound book, written for a wide audience but especially for those disenchanted by their past experiences, an award-winning mathematician and educator weaves parables, puzzles, and personal reflections to show how mathematics meets basic human desires--such as for play, beauty, freedom, justice, and love--and cultivates virtues essential for human flourishing. These desires and virtues, and the stories told here, reveal how mathematics is intimately tied to being human. Some lessons emerge from those who have struggled, including philosopher Simone Weil, whose own mathematical contributions were overshadowed by her brother's, and Christopher Jackson, who discovered mathematics as an inmate in a federal prison. Christopher's letters to the author appear throughout the book and show how this intellectual pursuit can--and must--be open to all.
My dissertation illuminates the status of mathematical knowledge in relation to other intellectual domains and racialized social forms-particularly American Orientalism-in the twentieth-century United States. Observers and practitioners have long engaged in drawing relations between mathematics and the arts. Around the turn of the twentieth century, however, when mathematicians reconceived mathematics around notions of abstraction, formalism, and "made" theories bearing no necessary relationship to the empirical world, understandings of the relationship of mathematics to the arts changed. Historians of mathematics, mathematicians, and historians of art have since referred to these twentieth-century intellectual changes as a "modernist" transformation. They refer to mathematical modernism in terms of metaphors that reflect shared values of being autonomous, creative, and a form of self-expression. My dissertation recovers an alternative history that upends the assumption that mathematical modernism developed within pre-existing boundaries of its discipline. It tracks a series of collective efforts between mathematicians, artists, critics, and historians, to use and articulate a place for formally abstract and axiomatically derived mathematical techniques within humanistic and artistic inquiries. Drawing from archival and published sources across four main chapters, I trace four specific efforts that reflect changes and transformations in American higher education and academic institutions between the 1890s and the present. Chapter one chronicles mathematicians', historians', and art collectors' interpretations of Japanese and Chinese mathematical traditions between the 1890s and 1920s. It shows how their conclusions that the resulting "oriental mathematics" was universal but inferior to the current practices were informed by a racialized discourse, treating Japanese and Chinese math as symbols of exotic difference. Chapter two recounts and describes the production of a mathematical theory of aesthetic measure at Harvard University in the 1930s. It shows how the theory was part of a broader artistic movement to articulate a theory of pure design. Chapter three examines the valuation and nature of mathematics within the liberal arts setting at Black Mountain College in the 1940s and 50s. It recovers how rather than being essential to high art, mathematics was also critical to the resurgence of craft. The final chapter elucidates the contradictions in valuing mathematics as abstract, creative, and autonomous, by examining a copyright dispute between a mathematical origami designer and a conceptual artist in the 2000s. The resulting view of US mathematical modernism as embedded within broader intellectual domains illuminates a more nuanced view of changes in what has or has not counted as a mathematical subject.
An illuminating, millennia-spanning history of the impact mathematics has had on the world, and the fascinating people who have mastered its inherent power Counting is not innate to our nature, and without education humans can rarely count past three — beyond that, it’s just “more.” But once harnessed by our ancestors, the power of numbers allowed humanity to flourish in ways that continue to lead to discoveries and enrich our lives today. Ancient tax collectors used basic numeracy to fuel the growth of early civilization, navigators used clever geometrical tricks to engage in trade and connect people across vast distances, astronomers used logarithms to unlock the secrets of the heavens, and their descendants put them to use to land us on the moon. In every case, mathematics has proved to be a greatly underappreciated engine of human progress. In this captivating, sweeping history, Michael Brooks acts as our guide through the ages. He makes the case that mathematics was one of the foundational innovations that catapulted humanity from a nomadic existence to civilization, and that it has since then been instrumental in every great leap of humankind. Here are ancient Egyptian priests, Babylonian bureaucrats, medieval architects, dueling Swiss brothers, renaissance painters, and an eccentric professor who invented the infrastructure of the online world. Their stories clearly demonstrate that the invention of mathematics was every bit as important to the human species as was the discovery of fire. From first page to last, The Art of More brings mathematics back into the heart of what it means to be human.