Livres
récents
@
S. Jan Abbas and A. Shaker Salman
Symmetries of
islamic geometrical patterns
World
Scientific. 1994
[
http://www.wspc.com/books/general/2301.html
]
@
C.W Tyler, Ed.
Human
Symmetry Perception
and its Computational Analysis
Publisher: VSP, Utrecht, The Netherlands, 1996
|
TABLE OF
CONTENTS
Introduction
|
@
J.M. Castera. Arabesques
Arts
décoratifs au Maroc
ACR Editions.
1996
@
J.V. Field. The invention of infinity.
Mathematics
and art in the Renaissance.
Oxford University Press. 1997
@
P. Weibel.(ed) Jenseits von Kunst.(Au
delà de l’art).
Passagen Verlag. Wien. 1997
A
l’initiative de l’artiste et théoricien autrichien Peter
Weibel, aujourd’hui directeur du ZKM à Karlsruhe, cette importante
publication fait le point sur la situation de l’art et de la science en
Autriche et en Hongrie au cours du XX ème siècle.
Dans "Au-delà de l'Art", Peter
Weibel montre comment depuis le tournant du siècle jusqu'à nos
jours l'Autriche et la Hongrie ont contribué à la culture
mondiale par des courants artistiques tels le constructivisme, l'art
cinétique et l'art optique, l'actionisme ou l'architecture visionnaire
et par des courants de pensée tels que la philosophie analytique, la
théorie du jeu, la cybernétique, la psychanalyse et la physique
quantique.
Il insiste sur la
stupéfiante relation entre l'art et la science non pas tant par la
phénoménologie des résultats, mais la similitude sur le
plan des méthodes et des problématiques.
Dans son ouvrage, l'Art et la Science sont
présentées en contrepoint, dans un découpage qui constitue
une manière de programme modèle et de nouvelle cartographie de la
culture :
1.
Perception et
mouvement
2. Symétrie
et brisure de symétrie
3. Mesure et
observation
4. Mathématique
et physique
5. Cybernétique,
information et art d'ordinateur
6.
Théorie de
la science et de l'art
7. Evolution,
systèmes et théorie des jeux
8. Psychanalyse et
actionisme
9. Vision et
déconstruction
10. Communication visuelle
@
J. Willats. Art and
representation : New principles in the analysis of pictures .
Princeton University Press. 1997
En s’appuyant sur les recherches
récentes en perception visuelle et en intelligence artificielle, Willats
se trouve plus près des méthodes de la linguistique structurale
ou de la psycholinguistique que de celles de l’historien d’art.
@
D. Minary, ed.
Savoirs et Littérature 1
Les Belles Lettres. Paris. 1997
@
A.
Sokal et J.
Bricmont
Impostures intellectuelles
Odile Jacob. Paris. 1997
@
L.D. Henderson. Duchamp in
context.
Science
and technology in the large glass and related works.
Princeton University Press.
1998
@
C. Sommerer and L. Mignonneau, eds.
Art@Science
Springer Verlag. 1998
@
R. Herz-Fishler
A mathematical history of the golden number
Dover. 1998
@
N.J. Wade
A natural history of vision
MIT Press. 1998
Histoire
de la compréhension des phénomènes de la vision jusque
vers 1840, lorsque ces phénomènes deviennent l’objet de
véritables expérimentations en
laboratoire, grâce à la
mise au point d’appareils comme le stéréoscope de
Wheatstone.
@
C.A. Jones and P. Galison,
eds.
Picturing Science, Producing Art
Routledge 1998
@
P. Ball
The self-made tapestry
Pattern formation in nature
Oxford University Press 1998
@
J.C. Chirollet. Les mémoires de l’art.
PUF. Paris. 1998
@
R. Pouivet. L’ontologie
de l’œuvre d’art. Une introduction.
Editions Jacqueline Chambon. 1999
@
P.Pylkanen, ed. Bohm-Biederman
correspondance:
Creativity and science;
Routledge.1999
Correspondance entre le physicien David Bohm et
l’artiste et
théoricien de l’art Charles Biederman. Lettres de
l’époque 1960-1962constituant un premier volume.
@
S. Zeki. Inner vision.
An exploration of art and
brain.
Oxford University Press. 1999
@
V.V. Ivanov. Travaux choisis de
sémiotique et d’histoire de la culture. Tome 1.
Les
langages de la culture russe.Moscou.1999 (en russe).
Le
célèbre sémioticien russe V.V. Ivanov publie ici deux
inédits, versions remaniées de textes plus anciens .
« L’esthétique
d’Eisenstein »
« Impair
et pair. L’asymétrie du cerveau et
la
dynamique des systèmes de signes »
@
A.N. Spalter. The computer in the
visual arts
Addison Wesley.1999
[ http://www.cs.brown.edu/people/ams
]
Une référence et un tour d’horizon
Le site fournit beaucoup de documentation sur la réalité virtuelle
@
N.K. Hayles. How we became posthuman
Virtual bodies in cybernetics,
literature and informatics
University of Chicago Press. 1999
In this age of DNA computers and artificial intelligence, information is
becoming disembodied even as the "bodies" that once carried it vanish
into virtuality. While some marvel at these changes, envisioning consciousness
downloaded into a computer or humans "beamed" Star Trek-style, others view them with
horror, seeing monsters brooding in the machines. In How We Became
Posthuman, N.
Katherine Hayles separates hype from fact, investigating the fate of embodiment
in an information age.
Hayles relates three interwoven stories: how information lost its body,
that is, how it came to be conceptualized as an entity separate from the
material forms that carry it; the cultural and technological construction of
the cyborg; and the dismantling of the liberal humanist "subject" in
cybernetic discourse, along with the emergence of the "posthuman."
Ranging widely across the history of technology, cultural studies, and
literary criticism, Hayles shows what had to be erased, forgotten, and elided
to conceive of information as a disembodied entity. Thus she moves from the
post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard
Wolfe; from the concept of self-making to Philip K. Dick's literary
explorations of hallucination and reality; and from artificial life to
postmodern novels exploring the implications of seeing humans as cybernetic
systems.
Although becoming posthuman can be nightmarish, Hayles shows how it can
also be liberating. From the birth of cybernetics to artificial life, How We
Became Posthuman
provides an indispensable account of how we arrived in our virtual age, and of
where we might go from here.
Subjects:
- Computer Science
- Culture Studies
- History of Science
- Literature and Literary
Criticism: American and Canadian Literature
- Literature and Literary
Criticism: General Criticism and Critical Theory
- Philosophy of
Science
@
D. Aerts, E. Mathijs and
B. Mosselman
Science and art
The red book of “
Einstein meets Magritte”
Kluwer. 1999
@
M. Kemp.
Visualizations : The Nature book
of art and science.
Oxford University Press. 2000
De Mona Lisa aux diagrammes de Feynman
[ http://www.oup.co.uk/isbn/0-19-856476-7 ]
@
H. Diebner, T.
Druckrey and P. Weibel.
Sciences of the interfaces
Genista-Verlag. 2000
@
M.I. Rabinovich, A.B.
Ezersky, P.D. Weidman.
The dynamics of patterns
World Scientific. 2000
Les formes du non linéaire
@
J. Petitot, F.J. Varela, B. Pachoud, J.M. Roy, eds.
Naturalizing Phenomenology
Issues in contemporary
phenomenology and cognitive science
Stanford University Press. 2000
@
J.P. Cometti, J. Morizot et R. Pouivet.
Questions d’esthétique
PUF. 2000
@
Marcin Sobieszczanski
Eléments
d’esthétique cognitive
L’Harmattan. 2000
La place de la perception au sein même de
l’art pris dans tous ses aspects ;
Examen de l’œuvre d’artistes
contemporains :
Les photographies de Zbigniev Dlubak
La chrono-graphie de Jozef Bury
La peinture d’Ernesto Riveiro
Le computer-art de Bernard Caillaud
@
Sian Ede, ed.
Strange and Charmed:
Science and the contemporary
visual arts
Caluste Gulbenkian Foundation.
London. 2000
@
M. Hammer and C.Lodder
Constructing modernity:
The art and career of Naum
Gabo
Yale University Press. 2000
Contient de très nombreuses informations sur
l’influence des modèles de surfaces mathématiques sur Gabo.
@
T. Puttfarken
The discovery of pictorial
composition:
Theories of visual order in
painting, 1400-1800.
Yale University Press. 2000
@
J.L. Benson
Greek color theory and the four elements
A cosmological interpretation
University of Massachusetts
Amherst. 2000
[ http://www.library.umass.edu/benson/jbgcalt.html
]
Magistrale histoire de la couleur dans l’antiquité
@
J.C. Chirollet. Art fractaliste- La complexité du regard.
Editions 00h00 (
http ://www.00h00.com ). 2000
@
J.C. Chirollet. Photo-archaisme du XX ème siècle.
CY Editions . Nice. 2000
@
J.C. Chirollet. Fractalismes.
Arts et sciences de la complexité fractale
2001
[ http://www.ifrance.com/Fractalismes
]
Site de J.C. Chirollet présentant de
nombreux documents sur les fractales, l’esthétique des fractales,
l’art contemporain et
l’esthétique informationnelle de A. Moles.
Sur le site de la cyber revue Archée
on trouvera aussi les deux articles
Art et théorie de l’information dans
l’œuvre d’Abraham Moles
Quelle esthétique pour les arts
numériques ? Réflexions sur les origines scientifiques et le
sens esthétiques des arts numériques.
@
C. Freeland. But is it art? An
introduction to art theory.
Oxford University Press. 2001
[ http://www.oup.co.uk/isbn/0-19-210055-6 ]
@
L. Manovich. The language of new media.
MIT Press.2001
@
F. Hallyn, ed. Metaphor and
analogy in the sciences. Origins. Studies in the sources of scientific
creativity.
Kluwer. 2001
@
C.H. Chouard. L’oreille musicienne
Les chemins de la musique de l’oreille au
cerveau
Gallimard. 2001
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G. Lakoff and R.E. Nunez.
Where mathematics comes from:
How the embodied mind brings mathematics into being.
Basic Books.2000
Le tout métaphorique, par un
orfèvre de la métaphore.
Cf : G.
Lakoff and M. Johnson.
Philosophy in the
flesh: The embodied mind and its challenge to western thought.
Basic Books. 1999
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Nature 413,
18 - 19 (2001) © Macmillan Publishers Ltd. |
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Counting on the metaphorical
GERALD A. GOLDIN
Gerald A. Goldin is in the Departments of Mathematics and of Physics and
Astronomy, Rutgers University, New Brunswick, New Jersey 08903, USA.
Where
Mathematics Comes From: How the Embodied Mind Brings Mathematics into Being
by
George Lakoff & Rafael E. Núñez
Basic Books: 2000. 451 pp. $30, £21.99 (hbk), $20,
£14.99 (pbk)
Modern cognitive science
has blossomed in the past few decades. Might its ideas offer us a novel
perspective on mathematical thinking, or even on what mathematics itself is?
How do mathematicians
reason when they are defining new constructs or exploring abstract ideas? What
makes certain ways of thinking rational or logical? If mathematics does not
consist of universal truths, what accounts for its remarkable power, apparent
timelessness and cross-cultural validity? Why does it describe nature so well?
Does it consist of ideas and intuitions, or of theorems and formal proofs? And
why do so many students struggle with mathematics, lacking real understanding
of why they are manipulating those symbols and formulae?
George Lakoff and Rafael
Núñez, linguist and philosopher respectively, answer these
questions in a manner surely intended to provoke controversy. They use three
main ideas, which they call cognitive science's "recent discoveries about
the nature of mind". First, 'the embodiment of mind' is the idea that our
bodies and brains, together with our experiences of the everyday world,
structure our concepts and reasoning. Second, 'the cognitive unconscious' is
the notion that essential aspects of our thinking, including low-level
processes and systems of concept images and relationships, are not accessible
to awareness. Finally, 'metaphorical thought' is the idea that we understand
abstract concepts concretely in terms of our bodily experiences of sensation
and movement, through a mechanism called "conceptual metaphor".
Actually, only the third
idea is recent — Lakoff himself, together with Mark Johnson, has
developed and vigorously propounded bodily-based conceptual metaphor as a
near-universal explanatory construct, accounting not only for the language we
use but also for how we think about space, time, life, love, good and bad
feelings, and much else. Although it is far from being fully accepted in cognitive
science or linguistics, the theory is presented in the book as if firmly
established.
With these tools to hand,
the authors take apart some of the most important ideas in mathematics.
Non-mathematicians will find many of the explanations difficult, but should be
able to grasp the general direction of the discussion. Topics covered include
symbolic logic, sets and hypersets, transfinite numbers and infinitesimals,
fractal curves, Dedekind's construction of the real numbers and Weierstrass's
formal definitions in calculus. The book culminates in detailed "case
studies" of e
(the base of the natural logarithms), of i (the square root of -1), and of Euler's famous
formula e
i + 1 = 0. For each idea, the authors
give us a conceptual metaphor that lies behind the mathematics; that is,
imagery that grounds the concept in everyday experience (a "grounding
metaphor") or that links it to another domain of mathematics (a
"linking metaphor").
Several dozen conceptual
metaphors are introduced, and each is given a proper name. Sometimes these are
just new names for familiar notions, and add little. Thus, the 'Measuring
Stick' metaphor lets us associate physical lengths with numbers, and the
'Numbers are Physical Segments' metaphor permits the opposite association.
According to the "cognitive unconscious" notion, mathematicians
typically do not realize that they are thinking metaphorically. For instance,
in defining operations on functions with numerical values, they tacitly use the
'Functions are Numbers' metaphor. Complicated constructs such as the Cartesian
plane (with x
and y coordinate
axes) involve "conceptual blends" of metaphors.
The most interesting and
fully developed example of a conceptual metaphor is the 'Basic Metaphor of
Infinity'. Lakoff and Núñez propose this as a general mechanism
of cognition that originates outside mathematics, grounded in our everyday
experiences with repeated processes (ordinary actions and movements) that come
to completion. They call these experiences the source domain. They contend that
mathematicians extend these experiences metaphorically to describe
"iterative processes that go on and on" — the target domain.
Whereas the source domain has a concrete, unique final state, in the target
domain the final state is metaphorical and is called "actual
infinity". The metaphor conceptually maintains the uniqueness and finality
of actual infinity. By invoking the Basic Metaphor of Infinity, the authors
describe as metaphorical a wide variety of mathematical concepts — from
proof by induction and transfinite arithmetic, to the symbol 
that is used to write formal
infinite series.
As a survey of ideas in
mathematics, this book does not compare favourably with other popular
expositions. Occasional misconceptions, and frequent imprecision of
mathematical language in otherwise valid explanations, make close page-by-page
reading frustrating. Of course, the authors are not mathematical scientists.
Like students new to the subject who are striving to understand the ideas
behind formal mathematics, they "discover" that multiplication by i implements a 90° rotation, that
space-filling curves do not fill space (when hyper-real coordinates are
included) and that symbolic logic is "not absolutely true". Such
interpretations, while not original, are the best parts of the book. But Lakoff
and Núñez write as if they are the first to discover them,
calling them "not new mathematical results, but new ways of understanding
well-known results". They seem unaware that these and similar ideas are
commonly used by good teachers of mathematics. And they often seem to assume,
quite unjustifiably, that each mathematical construct can be understood in only
one such way — the one they have discovered — and that they have
found the real
metaphor from which the mathematics originates.
Lakoff and
Núñez make many far-reaching claims based on their
conceptual-metaphor analysis. They regard their work not merely as explaining
imagery in mathematical thinking, but as profoundly affecting mathematics
itself. They claim to have overturned what they call "The Romance of Mathematics"
— conventional beliefs they attribute to most mathematicians, such as
"mathematical truth is universal, absolute, and certain", and
"the book of nature is written in mathematics" — and to have
sketched, for the first time, what mathematics really is. They see their
philosophy of "mind-based" or "embodied" mathematics as
inconsistent with any existing philosophy, and "mathematical idea
analysis" as a new discipline they themselves have launched, dethroning
the queen of the sciences. Mathematicians sceptical of their ideas, they
suggest, are likely to be Platonists (who believe in ideal forms), naive
realists or empty formalists, influenced by self-interest, elitism and possibly
a sense of wounded identity.
The arguments they offer as
to why mathematics is not absolute are mostly familiar, although presented as
novel. Their philosophical direction, which relies on our having access only to
mathematics developed through human cognition, resembles well-known arguments
for the essential subjectivity of all human knowledge. And the arguments are
directed against naive, stereotypical opinions; serious philosophers are
neither quoted extensively nor challenged. The profound evolution of
mathematicians' understanding of 'truth' and 'existence', stretching across
millennia, is omitted entirely.
I was most troubled by the
narrowness of the book's base in cognitive science. No relation is acknowledged
to most other work involving sensorimotor experiences, concrete and abstract
understanding, or imagery in mathematics. There is some discussion of the
brain, of arithmetic in animals and human infants, and of schemas and cognitive
operations, but almost nothing about learning, human developmental and
cognitive psychology, or problem-solving heuristics and strategies. Essential
ideas of cognitive science, such as analogical reasoning, systems of internal
representation, information-processing models, developmental stages, cognitive
structures, or affect and motivation, find no place. Rather, "conceptual
metaphor" subsumes or excludes all other constructs. By treating
everything as metaphor — mathematical statements, definitions, proofs,
representations and models, as well as notations, images, analogies,
generalizations, mappings, conceptualizations and examples — Lakoff and
Núñez disregard cognitively important distinctions. And the
notion of metaphor itself loses explanatory power.
In short, although I
strongly favour analysing the ideas and imagery of mathematics, and agree with
the authors' view that the "portrait of mathematics" has a human
face, I regard this book as fundamentally flawed. Its flaws are independent of
the straw opponents its authors set up.
Nature © Macmillan Publishers Ltd 2001 Registered No. 785998 England.
@
R. Packer and K. Jordan, eds.
From Wagner to virtual reality
Norton. 2001
[ http://www.artmuseum.net/w2vr/Book.html ]
Une
anthologie d’essais de base sur la réalité virtuelle,
répartis selon les catégories d’intégration,
d’interactivité, d’hypermedia, d’immersion et de
narrativité.
Ces
textes accompagnent une exposition en ligne
Multimedia. From Wagner to
virtual reality.
[ http://www.artmuseum.net/w2vr/contents.html
]
Très
riche documentation historique et théorique.
@
L.
Zuppiroli et M.N. Bussac
Traité
des couleurs
Presses
polytechniques et universitaires romandes.
Lausanne. 2001
@
H. Roberts, ed.
Romanticism and complexity
University of Maryland. 2001
Se
trouve entièrement en ligne
[ http://www.rc.umd.edu/praxis/complexity/toc.html
]
William Blake et les conceptions scientifiques du XX ème
siècle.
A. Plotnitsky.
Chaosmic orders : Nonclassical physics, allegory, and the epistemology of
Blake minute particulars.
R.P. Yoder. Unlocking
language : self-similarity in Blake’s Jerusalem.
@
A. Richardson
British romanticism and the
science of the mind
Cambridge University Press. 2001
In this provocative and original study, Alan
Richardson examines an entire range of intellectual, cultural, and ideological
points of contact between British Romantic literary writing and the pioneering
brain science of the time. Richardson breaks new ground in two fields,
revealing a significant and undervalued facet of British Romanticism while
demonstrating the "Romantic" character of early neuroscience. Crucial
notions like the active mind, organicism, the unconscious, the fragmented
subject, instinct, and intuition, arising simultaneously within the literature
and psychology of the era, take on unsuspected valences that transform
conventional accounts of Romantic cultural history. Neglected issues like the
corporeality of mind, the role of non-linguistic communication, and the
peculiarly Romantic understanding of cultural universals are reopened in
discussions that bring new light to bear on long-standing critical puzzles,
from Coleridge's suppression of "Kubla Khan," to Wordsworth's
perplexing theory of poetic language, to Austen's interest in head-injury.
Chapter Contents
List of illustrations; Preface; List of abbreviations; 1. Introduction: neural Romanticism; 2. Coleridge and the new unconscious; 3. A beating mind: Wordsworth's poetics and the "science of feelings"; 4. Of heartache and head injury: minds, brains, and the subject of Persuasion; 5. Keats and the glories of the brain; 6. Embodied universalism, Romantic discourse, and the anthropological imagination; 7. Epilogue; Notes; Bibliography; Index.
@
P. Weibel, ed.
Oliafur Eliasson: Surroundings
Surrounded.
Essays on space and science
ZKM Karlsruhe
MIT Press 2001
“Catalogue”
accompagnant une exposition d’Oliafur Eliasson
constitué
de textes destinés à éclairer le contexte de son oeuvre.
En
fait une anthologie -art et science -de textes déja publiés et de
textes nouveaux.
Quelques
textes :
H.C. von Baeyer.
Impossible
crystals
P. Bak. The science of self-organized
criticality
C. Balmond. Powers
L. Bek. Creating reality by sight. A
contribution to the history of man’s visual relation to his surroundings.
J. Crary. Visionary abstractions.
G. Darvas. Symmetry and asymmetry in our
surroundings. Aspects of symmetry in the phenomena of nature, physical laws and
human perception.
W. Day. Motion
P. Galison. Objectivity is romantic
B. Greene. Space, time and the eye of the
beholder
E. Grosz. The future of space: toward an
architecture of invention
I. Hargittai, M. Hargittai. Symmetry within and
without
M. Krogh Jensen. Mapping virtual materiality
M. de Landa. Meshworks, hierarchies, and
interfaces
G. Leising. Light and order
F. Pichler. Victor Schauberger and the
turbulence of water
O. E. Rössler, P. Weibel. Endophysics or our rainbow
world
K. Schilcher. Water structuring dynamics and
order in liquid water.
E. Thorsteinn. A mathematical order of
polyhedrons. Fourfold to fivefold symmetry transitions
@
B.
Caillaud
La création numérique visuelle
Aspects du computer art depuis ses origines
Europia Productions. Paris. 2001
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/ Publisher - 15, avenue de SEGUR - 75007 PARIS, FRANCE |
@
K.H. Pfenninger
and V.R. Shubik, eds.
The origins of
creativity
Oxford University
Press. 2001
Contributions de biologistes, de
psychologues et d’artistes.
@
S. Wilson
Information
arts : Intersections of art, science and technology.
MIT
Press. A Leonardo Book. 2001
945 pp. 279 illus.
Dans
ce très riche compendium l’auteur offre une revue des artistes
internationaux qui incorporent dans leurs oeuvres des concepts et des
recherches des mathématiques, de la physique, de la biologie, de la
cinétique, des télécommunications, du calcul et de
l’intelligence artificielle. En plus de la documentation visuelle et des
déclarations des artistes, il examine les écrits
théoriques artistiques et explore les recherches scientifiques et
technologiques susceptibles d’avoir une signification culturelle dans
l’avenir. Il fournit aussi une liste des ressources incluant les
organisations, les publications, les conférences, les musées, les
centres de recherche et les sites web.
Ce travail gigantesque s’appuie sur
une information présente sur le site web de l’auteur
[ http://userwww.sfsu.edu/~swilson ]
où l’on aura accès
à un portail géant qui complète le livre.
@
A. Miller
Einstein,
Picasso: Space, time and the beauty
that
causes havoc
Basic
Books 2001
Par
l’auteur de
Insights
of genius: Imagery and creativity in science and art.
1996
Interview dans Physics World de
Novembre 2002
[ http://physicsweb.org/article/world/15/11/8
]
@
P. Ball
Bright earth :
Art and the invention of color
Penguin/Farar,
Straus and Giroux 2001
@
A.
Lanciani
Mathématiques et musique
Les Labyrinthes de la
phénoménologie
Jérome Millon. 2001
Dans la collection Krisis
dirigée par Marc Richir
Mathématiques intuitionnistes et
Offrande musicale de J.S. Bach