Art interprets the visible world. Physics charts its unseen workings. The two realms seem completely opposed. But consider that both strive to reveal truths for which there are no words––with physicists using the language of mathematics and artists using visual images. In Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From the classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, artists have foreshadowed the discoveries of scientists, such as when Monet and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughout history. Provicative and original, Art & Physics is a seamless integration of the romance of art and the drama of science––and an exhilarating history of ideas.
Close Encounters of Art and Physics is a voyage in time through the abstract ideas harboured in the minds of humans, starting from the graffiti art of cave dwellers and extending to the street art of contemporary men and women. In seeking parallels with science, the author looks far back to the first geometric ideas of our ancestors as well as ahead to the contemporary science of present-day physicists. The parallelism and analogies between these two fields bear witness to a real entanglement in the human brain. The second part of the book contains about 25 colour images showing the author's stunning glass artwork representing ideas such as dark matter, quantum entanglement, cellular automata and many others that are almost impossible to capture in words. Furthermore, many of the physicists who have themselves made major contributions in these fields provide their comments and analysis of the works. The book provides entertaining and informative reading, not only for practicing artists and physicists, but also anyone curious about art and physics.
Physics in the Arts is a concise, 328-page four-color entry in the Complementary Science Series, designed for science enthusiasts and liberal arts students requiring or desiring a well-developed discussion of physical phenomena, particularly with regard to sound and light. This book offers an alternative route to science literacy for those interested in the arts, music and photography. The material covered is at a level appropriate for self-study or as a complementary textbook. A typical course on sound and light for non-science majors covers the nature of sound and sound perception as well as important concepts and topics including light and light waves, reflection and refraction; lenses; the eye and the ear; photography; color and color vision; and additive color mixing; subtractive color mixing. There are also discussions on color generating mechanisms; periodic oscillations; simple harmonic motion; damped oscillations and resonance; vibration of strings; Fourier analysis; musical scales; and musical instruments. Problems with solutions are presented. For teaching purposes, all figures in the book as well as hints on how to build labs are provided at http://www.elsevierdirect.com/companion.jsp?ISBN=9780123918789. This book will be helpful to non-science students in courses related to the study of physics with light and sound. Offers an alternative route to science literacy for those interested in the arts, music and photography Popular science book with wide readership beyond the classroom at an accessible level Material covered at a level appropriate for self-study or as a complementary textbook For teaching purposes, all figures in the book as well as hints on how to build labs (including seven new labs in March 2012!)
This book uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. Although not a how-to manual, the topics center around hands-on applications, sometimes illustrated by photographic processes that are inexpensive and easily accessible to students (including a versatile new process developed by the author, and first described in print in this series). A central theme is the connection between the physical interaction of light and matter on the one hand, and the artistry of the photographic processes and their results on the other. This is the third volume in this three-part series that uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. It focuses on the physics and chemistry of photographic light-sensitive materials, as well as the human retina. It also considers the fundamental nature of digital photography and its relationship to the analog photography that preceded it.
Intended for students in the visual arts and for others with an interest in art, but with no prior knowledge of physics, this book presents the science behind what and how we see. The approach emphasises phenomena rather than mathematical theories and the joy of discovery rather than the drudgery of derivations. The text includes numerous problems, and suggestions for simple experiments, and also considers such questions as why the sky is blue, how mirrors and prisms affect the colour of light, how compact disks work, and what visual illusions can tell us about the nature of perception. It goes on to discuss such topics as the optics of the eye and camera, the different sources of light, photography and holography, colour in printing and painting, as well as computer imaging and processing.
Written by a physicist with professional dance training, Physics and the Art of Dance explains how dancers can achieve better, safer performances through an understanding of physics in motion. Using simple, non-technical terms, Kenneth Laws combines his knowledge of both physics and dance to describe how the laws of gravity, momentum, and energy affect dancing bodies. The book explores the natural laws that govern the subtleties of balance, the techniques of leaps and pirouettes, and the impressive lifts and turns executed by ballet partners. Finally, Laws offers insight into two current discussions in the dance world--the effect of body size on ballet technique, and the relationship between science and the art of dance. Beautiful, original stop-action photographs by Martha Swope, along with clear diagrams, illustrate the concepts described in the text. Plus, an intriguing "puzzler" at the beginning of each chapter provides an engaging entrée into the topics presented. For those who want a more advanced understanding of the physics, extensive appendices are provided. This new book combines the best features of Laws's widely acclaimed The Physics of Dance and Physics, Dance, and the Pas de Deux by Laws and Cynthia Harvey. Its expert application of the basic principles of physics to the art of dance will be an invaluable resource for dancers and dance instructors and will open a new level of appreciation for lovers of the form. It will also appeal to physicists who seek to include the arts in their scientific pursuits.
This book uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. Although not a how-to manual, the topics center around hands-on applications, most-often illustrated by photographic processes that are inexpensive and easily accessible to students (including a versatile new process developed by the author, and herein first described in print). A central theme is the connection between the physical interaction of light and matter on the one hand, and the artistry of the photographic processes and their results on the other. Geometry and the Nature of Light focuses on the physics of light and the optics of lenses, but also includes extended discussions of topics less commonly covered in a beginning text, including symmetry in art and physics, different physical processes of the scattering of light, photograms (photographic shadow prints) and the nature of shadows, elements of 2-dimensional design, pinhole photography and the view camera. Although written at a beginning undergraduate level, the topics are chosen for their role in a more general discussion of the relation between science and art that is of interest to readers of all backgrounds and levels of expertise.
Fills the need for an experimental physics text. There are three main sections of the text. The first is an introduction that offers valuable insights into the importance of the human element in physics and traces the course of its historical development. This section also explains the objectives of the physics laboratory and the skills you must master to maintain a ``Notebook'' and analyze data, and presents a general discussion of spectroscopy experiments. The second section discusses the unique and valuable role of the computer in the laboratory and explains how to use it; software is included with the text. The final section contains over twenty experiments, providing students with a broad introduction into the use of a variety of instruments for carrying out many different measurements.
Colleagues and students honor Professor Eugene D. Commins with contributions covering a range of topics in modern atomic, molecular, nuclear and particle physics, as well as astrophysics. This volume includes articles describing new research results and techniques, reviews, and essays providing historical perspectives and theoretical analysis. The contributors include three Nobel laureates.
Everyone knows the name Callaway. The Callaway Golf Company is world famous for its premium golf equipment. What most people do not know is that Ely Callaway might never have gotten his golf manufacturing company off the ground without the expertise offered by the world's premiere golf physicist-Leon Z. Seltzer. Goldwin Golf has described Seltzer as 'the engineer physicist with a passion for golf...a rare individual with equal measures of scientific stature and golf fanaticism. He is respected by his peers and renowned for his theories that have shaped some of the major companies in golf. He is a man with a deep love for the sport, as well as being a fine historian and was one of the better amateur golfers in the country.' John Wong of Hireko Golf says Seltzer's innovative articles 'have given me a much more complete understanding of the how's, why's and what if's of golf physics. He is truly the Grand Master of golf physics.' Golf: The Science and the Art is a wide-ranging must read for students of the game, as well as a technical primer for the professional seeking an understanding of the science of golf. Much more than a technical book, Seltzer also discusses the history of the game, how to master the golf swing and practical keys to lowering your score in the world's most beloved sport. If you're going to purchase one book on golf, look no further than Golf: The Science and the Art. For twenty years Leon Z. Seltzer-who coined the Callaway expression 'you can't argue with physics'-served as a technical consultant for Callaway Golf, Goldwin Golf, Orlimar and several other top manufacturers, sharing his expertise with the finest minds in golf. Now he is ready to share it with you in Golf: The Science and the Art.
An introduction to physics and such concepts as the scientific method, quantum mechanics, elementary particles, the Newtonian world, and the theory of relativity is presented in a format that views the science in relation to the development of Western civilization
Physics has the reputation of being difficult to understand and remote from everyday life. Robert Ehrlich, however, has spent much of his career disproving these stereotypes. In the long-awaited sequel to Turning the World Inside Out and 175 Other Simple Physics Demonstrations, he provides a new collection of physics demonstrations and experiments that prove that physics can, in fact, be "made simple." Intentionally using "low tech" and inexpensive materials from everyday life, Why Toast Lands Jelly-Side Down makes key principles of physics surprisingly easy to understand. After laying out the basic principles of what constitutes a successful demonstration, Ehrlich provides more than 100 examples. Some of the more intriguing include: Terminal Velocity of Falling Coffee Filters; Spinning a Penny; Dropping Two Rolls of Toilet Paper; Avalanches in a Sand Pile; When to Add the Cream to Your Coffee; Deep Knee Bends on a Bathroom Scale; Recoil Force on a Bent Straw; Swinging Your Arms While Walking; Estimating the Net Force on a Moving Book; and, of course, Why Toast Lands Jelly-Side Down. The book begins with a practical introduction on how to design physics demonstrations. The benefits of designing one's own "demos" are numerous, but primary among them is an increased understanding of basic physics. For many people who teach the principles of physics, demonstrations seem dauntingly complex, filled with hard-to-find equipment and too many possibilities for failure. The demonstrations described in this book are exactly the opposite. Ehrlich describes them with characteristic candor: "You can fit many of them in your pocket, bring them to your class without any set-up required, and best of all, you need not fear that your demo will more likely illustrate Murphy's laws rather than Newton's." For anyone with even the slightest interest in physics, Why Toast Lands Jelly-Side Down is filled with learning opportunities. For everyone who is studying physics or teaching the subject at any level, from amateur scientists to professional teachers, it is an essential resource.
A new theory of culture presented with a new method achieved by comparing closely the art and science in 20th century Austria and Hungary. Major achievements that have influenced the world like psychoanalysis, abstract art, quantum physics, Gestalt psychology, formal languages, vision theories, and the game theory etc. originated from these countries, and influence the world still today as a result of exile nurtured in the US. A source book with numerous photographs, images and diagrams, it opens up a nearly infinite horizon of knowledge that helps one to understand what is going on in today’s worlds of art and science.
The result of an unusual collaboration between a physicist with a strong interest in the histories of art and science, and a philosopher with a broad knowledge of science as a human activity,The Art of Science gives readers an appreciation of the activities of science: the hands-on work of experimentation, the struggle to convince people of the validity of novel findings, and the excitement of "eureka" moments. In so doing, the book shows how scientific knowledge is made, and occasionally unmade. The Art of Science steers a course between two important and contradictory images that have a myth-like status: that of the scientist as computer, and that of the scientist as genius. If we abandon these images to focus on what scientists really do, we see that the sciences are also arts. To show the artistry of science, text and images are woven together, so that the book makes its arguments not just through stories of science, but through vibrant and arresting illustrations that help to bring the activity of science to life.The Art of Science shows science not as austere and other-worldly, but as textured and wonderfully human.
The physics and materials science behind paintings: the pigments, binders, canvas, and varnish that go into making a painting appear the way it does. The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films. Chapters on dating, binders, and dendochronology have been contributed by experts in the respective fields.