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Art & Physics: Parallel Visions in Space, Time, and Light (Anglais) Broché – 27 février 2007


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Descriptions du produit

Biographie de l'auteur

Leonard Shlain is Chairman of Laparoscopic Surgery at the California Pacific Medical Center in San Francisco and is Associate Professor of Surgery at the University of California, San Francisco. He is the author of The Alphabet Versus the Goddess: The Conflict Between Word and Image and Sex, Time, and Power: How Women's Sexuality Shaped Human Evolution. Dr. Shlain lectures internationally and has been featured on The Newshour with Jim Lehrer and NPR. He lives in Mill Valley, California.



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Détails sur le produit

  • Broché: 496 pages
  • Editeur : William Morrow Paperbacks (27 février 2007)
  • Collection : P.S.
  • Langue : Anglais
  • ISBN-10: 0061227978
  • ISBN-13: 978-0061227974
  • Dimensions du produit: 15,6 x 3,1 x 23,2 cm
  • Moyenne des commentaires client : 3.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 134.127 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par Suzy sur 13 mars 2014
Format: Broché Achat vérifié
This is a book which provides effortless reading, even by people without training in either discipline. I find its content less provocative than announced. Some of the author's positions on art could be challened i.e. Leonardo as a forerunner for Kandinsky, Malevitch and Mondrian who created their art several hundred years later. But the book is well structured and can certainly inspire many readers. I understand that it was the case of Bülent Atalay and it led to his book "Math and the Mona Lisa" which I found somehow more substantial.
In any event, the unifying links between art, physics, astronomy, mathematics and other sciences reveals itself quite forthcoming and popular. It is surprising that the present scope and interest to unify seemingly unrelated fields, corresponds to an overall trend everywhere. When such ideas were first published by Nelson Goodman between 1975 and 1977 (Ways of Worldmaking) his publications were noticed only by an infinite small number of people. According to him, the ultimate product of science (contrary to the arts) is a literal theory, verbal or mathermatical; nevertheless - science and art proceed in the same fashion in research and construction. But it is astonishing, that only some 39 years later, one experiences an avalanche of publications on the same subject.
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Amazon.com: 12 commentaires
8 internautes sur 8 ont trouvé ce commentaire utile 
Amazing correlations 9 janvier 2012
Par Hazel - Publié sur Amazon.com
Format: Broché Achat vérifié
A different and thought provoking book relating artists insights to discoveries in physics.Fascinating reading.I definitely recommend this book. I find I have to read it first thing in the morning when I am able to concentrate. It is not for a relaxed read!
15 internautes sur 18 ont trouvé ce commentaire utile 
Interesting Connections 6 mai 2008
Par Dr. Joan E. Aitken - Publié sur Amazon.com
Format: Broché Achat vérifié
This book seeks to provide connections about art and science. I would have liked more visual illustrations, but anyone who seeks to understand the patterns of this world will find the ideas interesting.

Academic disciplines have become segregated in our individual disciplines, so this kind of synthesis is unique.

I bought this book because it was recommended by one of my graduate students. The book was a gift for an engineer who enjoys art and design.
61 internautes sur 84 ont trouvé ce commentaire utile 
Shallow and confused 31 décembre 2007
Par Fredo Durand - Publié sur Amazon.com
Format: Broché
Leonard Shlain is a surgeon, not an art historian neither a physicist. His culture is impressively broad, but unfortunately shallow. His main thesis in this book is that basically all scientific discoveries were anticipated by artists. I find the interwoven relationship between art and science absolutely fascinating, but this book is not a reference that I would recommand on the topic.

The main problem is that this book abuses of the juxtaposition of unrelated facts, and presents them with such virtuosity that a magical causality seem to appear. Shlain presents ancient thoughts with the enlightenment of modern frameworks, subtly rewriting them, emphasizing concept and translating them such that they seem to fit with forthcoming theories.

This kind of pitfall has been described by Kuhn (the structure of scientific revolution). For example, if Newtonian mechanics can be expressed in the framework of relativity, relativity is NOT and extension of Newtonian physics, there is a fundamental revolution between them. It is only because Newtonian physics has been rewritten that it becomes more compatible with Einstein's new insights.

Moreover, Shlain's understanding of relativity is weak at best. For example, he often makes the confusion between the effect of the finite speed of light (which can be expressed in a Newtonian context) and relativity.

I was all the more disappointed that some of the issues are actually relevant and fascinating: relativity, non Euclidean, surrealism and cubism for example do share a common revolution of the notion of space (and thus of the place of humans in the world). Unfortunately, Shlain's caricatural statements are irrelevant: Manet had absolutely no idea of the concepts involved in relativity, and Einstein himself pointed out that cubism had nothing to deal with relativity (as opposed to Picasso's claims).

If you want a good introduction to art history, read Gombrich, if you want to learn about physics in a broad context, read Zajong (Catching the light).
14 internautes sur 18 ont trouvé ce commentaire utile 
Art & Physics:Parallel Visions in Space, Time, and Light 14 juin 2007
Par Karen Reisdorf - Publié sur Amazon.com
Format: Broché Achat vérifié
I thought this was a wonderful book. Tying the evolution of art to the evolution of thinking and science gave me a more holistic way to look at art. From the ancient Greeks through the Dark and Middle Ages, the Impressionists, and into modern times the parallels of physics to art are simply amazing. Perfect for us "left-brained" types.
3 internautes sur 3 ont trouvé ce commentaire utile 
Selective Sampling in Action 8 janvier 2014
Par D. Dobkin - Publié sur Amazon.com
Format: Broché
I am in close agreement with Mr. Durand's review and will not bother to rehash its points. Dr. Shlain's understanding of post-Newtonian physics is superficial at best. His arguments about the connections between art and physics are often incoherent and always unconvincing. He ignores profoundly obvious issues, such as the fact that the invention of photography in the 19th century meant that the revenue stream of representative artists was threatened by cheap accurate images. They had to invent new things to paint and sculpt in order to make a living -- a much more plausible explanation for the changes in art in that period than assertions of mysterious precognition. He makes a great deal of the abandonment of shadows in modern art as a prelude to relativistic physics -- as a physician, one would have thought that he would realize that people don't store images of objects but representations of objects: you don't remember how something is illuminated, you remember how it is shaped. It is natural to draw or paint a shape and not its illuminated representation, and he correctly points out that many traditional arts do exactly that. Did cave painters at Lascaux or Cosquer -- who were often wonderfully skilled -- anticipate relativity thirty thousand years ago? The argument becomes absurd. And let's not even get started on the chapter on the Universal Mind, a phenomenon for which no evidence whatsoever is presented.

This is all very sad, because the book is actually worth reading even with its faults. The thesis Dr. Shlain should have examined, and the one that is interesting to reflect upon as you progress, is the influence that concepts that are available in a society have on what a scientist or an artist can think of. It is well-known today that the language you speak influences how you think, because you get good at what you practice. Do the ideas that people encounter in their daily life play an important role in creative invention? Are advances delayed because the requisite pictures are not available for the researcher or artist to exploit?

And many of the artworks reproduced (sadly in grayscale) in the book have their own charm irrespective of the interpretations foisted upon them. So don't be afraid to buy or borrow the book -- just have realistic expectations and a bit of skepticism.
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