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The Fourth Dimension and Non
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Artikelmerkmale
- Artikelzustand
- ISBN
- 9780262536554
Über dieses Produkt
Product Identifiers
Publisher
MIT Press
ISBN-10
0262536552
ISBN-13
9780262536554
eBay Product ID (ePID)
21050032830
Product Key Features
Book Title
Fourth Dimension and Non-Euclidean Geometry in Modern Art, Revised Edition
Number of Pages
760 Pages
Language
English
Publication Year
2018
Topic
History / Modern (Late 19th Century to 1945)
Genre
Art
Book Series
Leonardo Ser.
Format
Trade Paperback
Dimensions
Item Height
1.3 in
Item Weight
39.8 Oz
Item Length
9.1 in
Item Width
7 in
Additional Product Features
Intended Audience
Trade
TitleLeading
The
Reviews
I think I can say without fear of contradiction that this book is the definitive work on the relationship of non-Euclidean geometry, the fourth dimension, however conceived, and modern art.-- Rob Harle , Leonardo -- Reading this book enriches our knowledge about the interrelation between the different fields of science, culture and art. It is a whole new world waiting to be discovered. -- Mathematical Reviews --
Dewey Edition
23
Dewey Decimal
701/.8
Synopsis
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 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.
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