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The Visual Mind II (Leonardo Books)

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Synopses & Reviews

Please note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.

Publisher Comments:

andlt;Pandgt;Mathematical forms rendered visually can give aesthetic pleasure; certain works of art — Max Bill's Moebius band sculpture, for example — can seem to be mathematics made visible. This collection of essays by artists and mathematicians continues the discussion of the connections between art and mathematics begun in the widely read first volume of The Visual Mind in 1993.Mathematicians throughout history have created shapes, forms, and relationships, and some of these can be expressed visually. Computer technology allows us to visualize mathematical forms and relationships in new detail using, among other techniques, 3D modeling and animation. The Visual Mind proposes to compare the visual ideas of artists and mathematicians — not to collect abstract thoughts on a general theme, but to allow one point of view to encounter another. The contributors, who include art historian Linda Dalrymple Henderson and filmmaker Peter Greenaway, examine mathematics and aesthetics; geometry and art; mathematics and art; geometry, computer graphics, and art; and visualization and cinema. They discuss such topics as aesthetics for computers, the Guggenheim Museum in Bilbao, cubism and relativity in twentieth-century art, the aesthetic value of optimal geometry, and mathematics and cinema.andlt;/Pandgt;

Synopsis:

Mathematicians throughout history have created shapes, forms, and relationships, and some of these can be expressed visually. Computer technology allows us to visualize mathematical forms and relationships in new detail using, among other techniques, 3D modeling and animation. The Visual Mind proposes to compare the visual ideas of artists and mathematicians — not to collect abstract thoughts on a general theme, but to allow one point of view to encounter another. The contributors, who include art historian Linda Dalrymple Henderson and filmmaker Peter Greenaway, examine mathematics and aesthetics; geometry and art; mathematics and art; geometry, computer graphics, and art; and visualization and cinema. They discuss such topics as aesthetics for computers, the Guggenheim Museum in Bilbao, cubism and relativity in twentieth-century art, the aesthetic value of optimal geometry, and mathematics and cinema.

Synopsis:

Essays on mathematics and art as visual expression.

Synopsis:

Mathematical forms rendered visually can give aesthetic pleasure; certain works of art--Max Bill's Moebius band sculpture, for example--can seem to be mathematics made visible. This collection of essays by artists and mathematicians continues the discussion of the connections between art and mathematics begun in the widely read first volume of

Synopsis:

Mathematical forms rendered visually can give aesthetic pleasure; certain works of art — Max Bill's Moebius band sculpture, for example — can seem to be mathematics made visible. This collection of essays by artists and mathematicians continues the discussion of the connections between art and mathematics begun in the widely read first volume of The Visual Mind in 1993.Mathematicians throughout history have created shapes, forms, and relationships, and some of these can be expressed visually. Computer technology allows us to visualize mathematical forms and relationships in new detail using, among other techniques, 3D modeling and animation. The Visual Mind proposes to compare the visual ideas of artists and mathematicians — not to collect abstract thoughts on a general theme, but to allow one point of view to encounter another. The contributors, who include art historian Linda Dalrymple Henderson and filmmaker Peter Greenaway, examine mathematics and aesthetics; geometry and art; mathematics and art; geometry, computer graphics, and art; and visualization and cinema. They discuss such topics as aesthetics for computers, the Guggenheim Museum in Bilbao, cubism and relativity in twentieth-century art, the aesthetic value of optimal geometry, and mathematics and cinema.

About the Author

Michele Emmer is Professor of Mathematics at the University of Rome "La Sapienza."

Product Details

ISBN:
9780262550635
Author:
Emmer, Michele
Publisher:
The MIT Press
Location:
Cambridge
Subject:
Essays
Subject:
Aesthetics
Subject:
General Art
Subject:
Art - General
Subject:
Art-Theory and Criticism
Edition Description:
Trade paper
Series:
Leonardo Book Series The Visual Mind II
Publication Date:
20060908
Binding:
Paperback
Grade Level:
from 17
Language:
English
Illustrations:
400 illus., 12-page color insert
Pages:
712
Dimensions:
9 x 7 in

Related Subjects

Arts and Entertainment » Art » Theory and Criticism
Science and Mathematics » Mathematics » General

The Visual Mind II (Leonardo Books) New Trade Paper
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Product details 712 pages MIT Press - English 9780262550635 Reviews:
"Synopsis" by , Mathematicians throughout history have created shapes, forms, and relationships, and some of these can be expressed visually. Computer technology allows us to visualize mathematical forms and relationships in new detail using, among other techniques, 3D modeling and animation. The Visual Mind proposes to compare the visual ideas of artists and mathematicians — not to collect abstract thoughts on a general theme, but to allow one point of view to encounter another. The contributors, who include art historian Linda Dalrymple Henderson and filmmaker Peter Greenaway, examine mathematics and aesthetics; geometry and art; mathematics and art; geometry, computer graphics, and art; and visualization and cinema. They discuss such topics as aesthetics for computers, the Guggenheim Museum in Bilbao, cubism and relativity in twentieth-century art, the aesthetic value of optimal geometry, and mathematics and cinema.
"Synopsis" by , Essays on mathematics and art as visual expression.
"Synopsis" by , Mathematical forms rendered visually can give aesthetic pleasure; certain works of art--Max Bill's Moebius band sculpture, for example--can seem to be mathematics made visible. This collection of essays by artists and mathematicians continues the discussion of the connections between art and mathematics begun in the widely read first volume of
"Synopsis" by , Mathematical forms rendered visually can give aesthetic pleasure; certain works of art — Max Bill's Moebius band sculpture, for example — can seem to be mathematics made visible. This collection of essays by artists and mathematicians continues the discussion of the connections between art and mathematics begun in the widely read first volume of The Visual Mind in 1993.Mathematicians throughout history have created shapes, forms, and relationships, and some of these can be expressed visually. Computer technology allows us to visualize mathematical forms and relationships in new detail using, among other techniques, 3D modeling and animation. The Visual Mind proposes to compare the visual ideas of artists and mathematicians — not to collect abstract thoughts on a general theme, but to allow one point of view to encounter another. The contributors, who include art historian Linda Dalrymple Henderson and filmmaker Peter Greenaway, examine mathematics and aesthetics; geometry and art; mathematics and art; geometry, computer graphics, and art; and visualization and cinema. They discuss such topics as aesthetics for computers, the Guggenheim Museum in Bilbao, cubism and relativity in twentieth-century art, the aesthetic value of optimal geometry, and mathematics and cinema.
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