The Description for this book, The Fourth Dimension And Non-Euclidean Geometry in Modern Art, will be forthcoming.

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.

The idea of the fourth dimension of space has been of sustained interest to nineteenth-century and Modernist studies since the publication of Linda Dalrymple Henderson’s The Fourth Dimension and Non-Euclidean Geometry in Modern Art (1983). An idea from mathematics that was appropriated by occultist thought, it emerged in the fin de siècle as a staple of genre fiction and grew to become an informing idea for a number of important Modernist writers and artists. Describing the post-Euclidean intellectual landscape of the late nineteenth century, The Emergence of the Fourth Dimension works with the concepts derived from the mathematical possibilities of n-dimensional geometry—co-presence, bi-location, and interpenetration; the experiences of two consciousnesses sharing the same space, one consciousness being in two spaces, and objects and consciousness pervading each other—to examine how a crucially transformative idea in the cultural history of space was thought and to consider the forms in which such thought was anchored. It identifies a corpus of higher-dimensional fictions by Conrad and Ford, H.G. Wells, Henry James, H.P. Lovecraft, and others and reads these closely to understand how fin de siècle and early twentieth-century literature shaped and were in turn shaped by the reconfiguration of imaginative space occasioned by the n-dimensional turn. In so doing it traces the intellectual history of higher-dimensional thought into diverse terrains, describing spiritualist experiments and how an extended abstract space functioned as an analogue for global space in occult groupings such as the Theosophical Society.

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.

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."

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.