Bibliography of books on art and science
Gregory Aharonian
www.patenting-art.com/science/biblio.htm
GENERAL BIBLIOGRAPHY
On 7 May 1959, C.P. Snow gave a lecture where he pointed out the growing chasm between the world of art and the world of science that he described as the "Two Cultures". This website, and the following books, are evidence to the contrary, that the world of art and science are converging as the language of science is extended a bit (especially in the decades after C.P. Snow's lecture, and increasingly so in the 21st century) to provide a basis for art to become a formal science. Much like the art of alchemy in the 1700s had its last gasps in light of the growing science of chemistry, Art is becoming less an art and more a science. Alchemists turned into chemists when they stopped keeping secrets - so too should artists use science and patents to explain and share their secrets - it is an arrogance and conceit to think or do otherwise. Civilization should not have had to wait 500 years for an explanation of Mona Lisa's smile.
It is said that copyright lawyers are lawyers who don't know enough science and engineering to be patent lawyers. As art and entertainment more and more involves science and engineering, it seems a good idea to rely less on copyright lawyers for help with your intellectual property needs, and rely more on patent lawyers who have science and engineering degrees.
Aaron's code: meta-art, artificial intelligence and the work of Harold CohenNote: the following bibliography are the easy books on the convergence of art and science. The advanced books, in a list to be coming, will blow most of your minds.
by Pamela McCorduck, W.H. Freeman and Co., 1991
Aesthetic measure
by George David Birkhoff, Harvard University Press, 1933
Alfred Nobel - the poet
by Ake Erlandsson, full text of article - the poetic side of the inventor of dynamite
The American Leonardo: a life of Samuel Morse
by Carleton Moore, Octagon Books, 1949/1963; Samuel Morse was first successful American scientist/artist/businessman (with Benjamin Franklin 100 years earlier being the first successful American scientist/author/businessman). Sadly, Morse was a racist in the most heinous of ways.
Architecture and Geometry in the Age of the Baroque
by George Hersey, University Chicago Press, 2001, ISBN 0-226-32784-1
Architecture of ScienceArchitecture is akin to music in that both should be based on the symmetry of mathematics. - Frank Lloyd Wright
edited by Peter Galison and Emily Thompson, MIT Press, 1999, ISBN 0-262-07190-8
Art the Invention of Color
by Philip Ball, Farrar Straus Giroux Publishers, 2001
Art and Physics: parallel visions in space, time & light
by Leonard Shlain, HarperCollins Publishers, 1991
Art and Science
by Elaine Strosberg, Abbeville Press Publishers, 2001
Art and Science, Art and Religion, Art and Production
by Albert Gleizes, Editions Presence, 1970
Art and Science in the Age of Galileo: Painting the Heavens
by Sara Lawrence-Lightfoot & Jessica Hoffmann Davis, Wiley Publishers, 1997, ISBN 0-7879-1064-3
The Art and Science of Audio Book Production
by Bill West, U.S. Library of Congress, 1995, available on Web
Art and Science of Portraiture
by Eileen Reeves, Princeton University Press, 1999, ISBN 0-691-00976-7
Art and Science of Digital Compositing
by Ron Brinkmann, Morgan Kaufmann / Academic Press, 1999, ISBN 0-12-133960-2
Art and Scientific Thought: Historical Studies toward a Modern Revision of Their Antagonism
Martin Johnson, Columbia University Press, 1949 Available on the Web
Art and Visual Perception
by Rudolf Arnheim, Univ. California Press, 1974
The Art of Chemistry: Myths, Medicines and Materials
by Arthur Greenberg, Wiley Interscience, 2003, ISBN 9471071803
The Art of the Infinite
by Robert and Ellen Kaplan, Oxford University Press, 2003, ISBN 0-195-14743-X
Art of Renaissance Science: Galileo and perspective
by Prof. Joseph Dauben, available on Web
The Art of Structural Design: A Swiss Legacy
by David Billington, Yale University Press, 2003, ISBN 0-300-09786-7
The Artful Universe
by John Barrow, Clarendon Press, 1995, ISBN 0-19-853996-7
The Artistic Animal: an Inquiry into the Biological Roots of Art
Alexander Alland Jr., Anchor Books, 1977, ISBN 0-385-09771-9 Available on the Web
The Bard on the Brain: Understanding the Mind through the Art of Shakespeare and the Science of Brain Imaging
by Paul Matthews and Jeffrey McQuain, Dana Press/Univ. Chicago Press, 2003 ISBN 0-19-853996-7
The Beauty of Mathematics"What's the one thing about science that you wish the public understood better?" - "That we are not nerds, but artists. That what we do and what we are is exciting, creative and fun." - molecular biology professor Bonnie Bassler, Nature, 17 July 2003, 256
in Mayonnaise and the Origin of Life by Harold Morowitz, Berkeley Books, 1986, ISBN 0-425-09566-5 Text of essay.
The Beginnings of the Change from Craft Mystery to Science as a Basis for TechnologyMathematics seems to be the only study that generates sufficient beauty for the physicist. ... The scientist uses mathematics because it gives him both an abbreviated way of representing experience and a deep understanding. Nevertheless there remains a whimsical wonder about why mathematics works. - Harold Morowitz
by A.R.J.P Ubbelohde in A History of Technology, Chapter 23, Clarendon Press, 1958, Text of essay.
Beyond the Outer Shores: the Untold Odyssey of Ed Ricketts, the Pioneering Ecologist who Inspired John Steinbeck and Joseph Campbell
by Eric Enno Tamm, Four Walls Eight Windows Publishers, 2004
The Biological Foundations of Music
edited by Robert Zatorre and Isabelle Peretz, New York Academy of Sciences, 2001, ISBN 1-57331-306-8
The Biological Origins of ArtFor Adam Antebi, a molecular biologist who has moonlighted as a professional saxophonist, science and music are as inextricably intertwined as the two strands of DNA's double helix. A conversation with him can drift from the cellular growth patterns of the slithering roundworm, Caenorhabditis elegans, to the legacies of jazz greats John Coltrane and Miles Davis, and he himself has crossed back and forth between the two worlds. He is currently a research group leader at the Max Planck Institute for Molecular Genetics in Berlin, where he has been unearthing insights into the genetics of development and aging in C. elegans. He has also jammed with the best in major jazz clubs, played backup for Aretha Franklin, and recorded with the popular ska band Bim Skala Bim and with jazz legends including Cyrus Chestnut, Marshall Allen, and Victor Gaskins. from 'All That Jazz' by I. Chen in the 9 April 2003 issue of Sci Aging Knowl Environ.
Nancy Aiken and Seymour Itzkoff, Praeger Publishers, 1998, ISBN 0-275-95901-5 Available on the Web
The Body in the Library: A Literary History of Modern Medicine
edited by Iain Bamforth, Verso, 2003
The Body of an Artisan: Art and Experience in the Scientific Revolution"Art is not a mirror held up to reality, but a hammer with which to shape it." - Bertol Brecht
by Pamela Smith, Univ. Chicago Press, 2004, ISBN 0-226-76399-4
Alexander Borodin: professional organic chemist and amateur composer
by Nick Cahm, 2000, available on the Web
Bridgescape: The Art of Designing Bridges
by Frederick Gottemoeller, John Wiler & Sons, 2004, ISBN 0-471-26773-2
The Brush and the Compass: the Interface Dynamics of Art and Science
by Paul Hartal, Univ. Press of America, 1988
Categories: On The Beauty of Physics - essential physics concepts and their companions in art and literatureIndependent filmmaker Shane Carruth, in an interview in the 19 October 2004 issue of New York Times (page B5) talks the similarity of math and writing: "I feel like math and writing are the same thing. You're putting together a lot of complex things to satisfy different requirements. It's got to be aesthetically pleasing; it' got to have subtext; it's got to convey information. In school, when I got into upper-level math, there would be times when I would wake up from a dream and have - not an answer, exactly, but a direction to pursue. My writing has always been like that. I wake up from dreams knowing which direction to go in. So I find it hard to believe that there's a part of your brain for math and a separate part for art."
by Hilary Hamann, Vernacular Press, 2005, ISBN 0-970-02663-8
Catharsis: On the Art of Medicine
by Andrzej Szczeklik, UChicago Press, 2005, ISBN 0-226-78869-5 - how medicine and art share common roots and pose common challenges
Color and Meaning: Art, Science and Symbolism
by John Gage, U. California Press, 1999, ISBN 0-520-22039-0
Color Order Systems in Art and Science
with 59 color systems from Pythagoras to the 20th century, available on the Web
Colour Engineering: Achieving Device Independent Colour
edited by Philip Green and Lindsay MacDonald, John Wiley & Sons, 2002, ISBN 0-471-48688-4
Computational Color Technology
by Henry King, SPIE Press, 2006, ISBN 0-8194-6119-9
Computer Models of Musical Creativity
by David Cope, MIT Press, 2005, ISBN 0-262-03338-0
Connections: the Geometric Bridge between Art and Science
by Jay Kappraff, McGraw Hill, 1991
Continuity and Change in Art: the Development of Modes of Representation
Sidney Blatt, Lawrence Erlbaum Associates, 1984, ISBN 0-275-95901-5 Available on the Web
Creativity and Irrational Forces - Eccentric Artists and Mad Scientists
by Laura Gosselink, 1999 available on the Web
Cross-Pollinations: the Marriage of Science and Poetry
by Gary Paul Nabhan, Milkweed Press, 2004
Curvilinear Perspective: from Visual Space to the Constructed Image
by Andre Barre and Albert Flocon, U. California Press, 1987, ISBN 0-520-05979-4
Cybernetics of Art
by M. J. Rosenberg, Gordon & Breach Science Publishers, 1983
Einstein, Picasso: Space, Time and the Beauty that Causes HavocMathematician Marcus du Sautoy, in an interview in the 22 November 2003 issue of New Scientist (page 48) talks about what motivates mathematicians: "Mathematics is something that will never come to an end. It is a bit like the Greek monster, the hydra. You chop off one head and two more appear. Each discovery suggests that more interesting, intriguing things lie beyond it. I think that is what keeps people going. You get so wound up in this world of numbers and you are just desperate to know what is on the other side of this mountain. This is what keeps you going." Had the interviewer asked du Sautoy (who plays the trumpet) what motivates musicians, he might have answered as follows: "Music is something that will never come to an end. It is a bit like the Greek monster, the hydra. You chop off one head and two more appear. Each discovery suggests that more interesting, intriguing things lie beyond it. I think that is what keeps people going. You get so wound up in this world of notes and you are just desperate to know what is on the other side of this mountain. This is what keeps you going."
by Arthur I. Miller, Basic Books, 2001, ISBN 0-465-01859-9
Mathematics rightly viewed possesses not only truth, but supreme beauty - a beauty cold and austere, like that of sculpture ... yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. - Bertrand Russell"Pure mathematics is, in its way, the poetry of logical ideas." - Albert Einstein, 1 May 1935, New York TimesThe Elements of Dynamic SymmetryI think there is a moral to this story, namely that it is more important to have beauty in one's equations than to have them fit experiment. .... If seems that if one is working from the point of view of getting beauty in one's equations, and if one has really a sound insight, one is on a sure line of progress. If there is not complete agreement between the result of one's work and experiment, one should not allow oneself to be too discouraged, because the discrepancy may well be due to minor features that are not properly taken into account and that will get cleared up with further developments of the theory..." - Paul Dirac, Scientific American, May 1963
by Jay Hambidge, Dover Books, 1967Emblems of Mind: the inner life of music and mathematicsInstinctive art without mental control is bound to fail, to end in incoherence. In art the control of reason means the rule of design. Without reason art becomes chaotic. Instinct and feeling must be directed by knowledge and judgment. It is impossible to correlate our artistic efforts with the phenomena of life without knowledge of life's processes. Without mental control, instinct, or feeling compels the artist to follow nature as a slave a master. He can direct his artistic fate only be learning nature's ideal and going directly for that as a goal. As the trend of the individual and of society seems to be toward an advance from feeling to intelligence, from instinct to reason, so the art effort of man must lead to a like goal. The world cannot always regard the artist as a mere medium who reacts blindly, unintelligently, to a productive yearning. There must come a time when instinct will work with, but be subservient to, intelligence. Jay Hambidge
by Edward Rothstein, Avon Books, 1995
Emerson's Life in Science
by Laura Dassow Walls, Cornell University, 2003, ISBN 0-801-44044-0 - account of poet and essayist Ralph Waldo Emerson's becoming the dominant prophet of American science and technology
Engineering and the Mind's EyeHere, where we reach the sphere of mathematics, we are among processes which seem to some the most inhuman of all human activities and the most remote from poetry. Yet it is here that the artist has the fullest scope of his imagination. - Havelock Ellis
by Eugene Ferguson, MIT Press, 1992, ISBN 0-262-06147-3 - "Eugene Ferguson demonstrates that good engineering is as much a matter of intuition and nonverbal thinking as of equations and computation."
The Equations: Icons of Knowledge
by Sander Bais, Harvard Univ. Press, 2005, ISBN 0-674-01967-9 - "The book conveys the beauty of seventeen fundamental scientific equations".
Exploring the Invisible: Art, Science and the Spiritual
by Lynn Gamwell, 2002
Foundations of diatonic theory: a mathematically-based approach to music fundamentals
by Timothy Johnson, Key College Publishing, 2003, ISBN 1-930198-80-8
Fiction in the Quantum Universe
Susan Strehle, University of North Carolina Press, 1992, ISBN 0-8078-2024-5 Available on the Web
Fragments of Infinity: a Kaleidoscope of Math and Art
by Ivars Peterson, 2001
Functional Color
by Faber Birren, Crimson Press, 1937
Geometry and the Visual ArtsMight is geometry; joined with art, resistless. - Euripedes
by Dan Pedoe, Dover Publications, 1976
The Geometry of an Art: the History of the Mathematical Theory of Perspective from Alberti to Monge"Now the sole reason why painters of this sort [inept performers] are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art." - Albrecht Durer, The Art of Measurement, 1525
by K. Andersen, Springer Verlag, 2005, ISBN 0-387-25961-9
The Geometry of Art and Life
by Matila Ghyka, Dover Publications, 1977, ISBN 0-486-23542-4
The Geometry of Multiple Images
by Olivier Faugeras and Quang-Tuan Luong, MIT Press, 2001, ISBN 0-262-06220-8
Handbook of scientific photography
by Alfred Baker, Focal Press, 1988, 0-240-51742-3
Harmony: a Psychoacoustical Approach
by Richard Parncutt, Springer Verlag, 1989, ISBN 0-387-51279-9
The Image and the Eye: Further Studies in the Psychology of Pictorial RepresentationsI remember perfectly well the intense satisfaction and delight with which I had listened, by the hour, to Bach's fugues . . . and it has often occurred to me that the pleasure derived from musical compositions of this kind . . . is exactly the same as in most of my problems of morphology . . . that you have the theme in one of the old masters' works followed out in all its endless variations, always reappearing and always reminding you of the unity in variety.
by Ernest Gombrich, Oxford: Phaidon Press, 1982
Images and Understanding
edited by Barlow, Blakemore & Weston-Smith, Cambridge U. Press, 1990, ISBN 0-521-36944-4
Information Arts: Intersections of Art, Science and Technology
by Stephen Wilson, MIT Press, 2003, ISBN 0-262-73158-4
Information Processing Approaches to Visual Perception
edited by Ralph Norman Haber, Holt Rinehart and Winston, 1969
Insight and Outlook: an Inquiry into the Common Foundations of Science, Art and Social Ethics
Arthur Koestler, Macmillan, 1949 Available on the Web
Invented Worlds: the Psychology of the Arts
by Ellen Winner, Harvard University Press, 1982, ISBN 0-674-46360-9
The Invention of Art
by Larry Shiner, University Chicago Press, 2001, ISBN 0-226-75342-5
The Invention of Infinity: Mathematics and Art in the Renaissance
by J.V. Field, Oxford University Press, 1997, ISBN 0-196-52394-7, Book Review
Inventivity: how man creates in art and science
by Robert E. Mueller, John Day Company, 1964
John Constable's Skies: a fusion of art and science
by John Thomas, Univ. Birmingham Press, 1999
The Languages of Edison's Light
by Charles Bazerman, MIT Press, 1999, ISBN 0-262-02456-X
Laser Techniques and Systems in Art Conversation
ed. Renzo Salimbeni, SPIE Conference Proceedings, vol. 4402, 2001, International Society for Optical Engineers, ISBN 0-8194-4097-3
Machine in the Studio
by Caroline Jones, Univ. Chicago Press, 1996, ISBN 0-226-40648-2
Main Trends in Aesthetics and the Sciences of Art
Mikel Dufrenne, Holmes & Meier, 1979, ISBN 0-8419-0507-X Available on the Web
Materials and Designs: the Art and Science of Material Selection in Product Design
by Mike Ashby and Kara Johnson, Butterworth-Heinemann, 2002, ISBN 0-7506-5554-2
Math and the Mona Lisa: the Art and Science of Leonardo da Vinci
by Bulent Atalay, Smithsonian Books, 2004
Mathematical Basis of the Arts
by Joseph Schillinger, Philosophical Library, 1948
Mathematical Theory of Aesthetics and its applications to Poetry and Music
by George David Birkhoff, Rice Institute Pamphlet, 1932, 189-342
Mathematics and Culture... it is impossible to be a mathematician without being a poet in soul ... imagination and invention are identical ... the poet has only to perceive that which others do not perceive, to look deeper than others look. And the mathematician must do the same thing. - Sonya Kovalevsky
by Michele Emmer, Springer Verlag, 2004, ISBN 3-540-01770-4
Mathematics and Culture II: Visual Perfection: Mathematics and Creativity
by Michele Emmer, Springer Verlag, 2005, ISBN 3-540-21368-6
Mathematics and Humor: a Study of the Logic of Humor
by John Allen Paulos, University Chicago Press, 1980, ISBN 0-226-65025-1
Mathematics of Musical Instruments
by Rachel Hall and Kresimir Josic, 2000, available on the Web
Mathematics, Art, Technology and Cinema
by Michele Emmer and Mirella Manaresi, Springer Verlag, 2003, ISBN 3-540-00601-X
Modeling Creativity and Knowledge-Based Creative Design
by John Gero and Mary Lou Maher, Lawrence Erlbaum Publishers, 1993, ISBN 0-8058-1153-2
Modern Analytical [Chemistry] Methods in Art and Archaeology
Edited by Enrico Ciliberto and Giuseppe Spoto, John Wiley & Sons, 2000, ISBN 0-471-29361-X
The Molecular Gaze: Art in the Genetic Age
by Susan Anker and Dorothy Nelkin, Cold Spring Harbor Laboratory Press, 2004
The Moon: Myth and Image
by Jules Cashford, 2002
Music and Mathematics: from Pythagoras to Fractals
ed. by John Fauvel et.al., Oxford University Press, 2003, ISBN 0-19-851187-6
Music, Cognition, and Computerized Sound: an Introduction to Psychoacoustics
ed. by Perry Cook, MIT Press, 2001
Music, Physics and EngineeringMusic is the pleasure the human soul experiences from counting without being aware it is counting. - Gottfried Leibniz
by Harry Olson, Dover Publications, 1967, ISBN 0-486-21769-8
Musical Instruments and Eigenvalues
by V.E. Howle and Lloyd Trefethen, 1997, available on the Web
Musimathics: the Mathematical Foundations of Music, Volume 1
by Gareth Loy, MIT Press, 2006, ISBN 0-262-12282-0
Nature Exposed: Photography as Eyewitness in Victorian Science
by Jennifer Tucker, John Hopkins University Press, 2005, ISBN 0-8018-7991-4
On the Sensations of Tone as a Physiological basis of the Theory of Music
by Hermann von Helmholtz, 1863 (Dover Publications, 1954)
On the Significance of Art and Science
by Leo Tolstoy - Available on the Web.
The Painter's Secret Geometry: a Study of Composition in ArtAddiction to discovery - that's the mark of a scientist, and the same I think is true of the artist. - Stanford University marine biologist Stephen Palumbi, San Francisco Chronicle, 27 April 2006
Charles Bouleau and Jacques Villon, 1963, Harcourt Brace & World, 1963. Available on the Web
Perception and Artistic Style
edited by D.M. Parker and J.B Deregowski, North Holland Elsevier, 1990
The Philosophy of Composition
by Edgar Allan Poe, in Graham's Magazine, April 1846, pp. 163-167. Text of essay.
Physics and Music: the Science of Musical Sound
by Harvey White and Donald White, Holt Rinehart Winston, 1980, ISBN 0-03-045246-5
Physics and Psychophysics of Music
by Juan Roederer, Springer Verlag, 1995, ISBN 0-387-94298-X
Physics of Musical Instruments
by Norman Fletcher and Thomas Rossing, Springer Verlag, 1998, ISBN 0-387-98374-0
Picturing Science, Producing Art
edited by Caroline Jones & Peter Galison, Routledge, 1998, ISBN 0-415-91912-6
Principles of Form and DesignThe mathematician does not study pure mathematics because it is useful; he studies it because he delights in it and he delights in it because it is beautiful. .... the feeling of mathematical beauty, of the harmony of numbers and of forms, of geometric elegance. It is a genuinely esthetic feeling, which all mathematicians know. And this is sensitivity. - Henri Poincare
by Wucius Wong, Van Nostrand Publishers, 1993
Psychology and Visual AestheticsWherever there is number, there is beauty. .... This, therefore is mathematics: she reminds you of the invisible form of the soul; she gives to her own discoveries; she awakens the mind and purifies the intellect; she brings light to our intrinsic ideas; she abolishes oblivion and ignorance which are ours by birth. - Proclus
by R. W. Pickford, Hutchinson Educational, 1972, ISBN 0-09-110820-9
The Psychology of Art and the Evolution of the Conscious Brain
by Robert Solso, MIT Press, 2004, ISBN 0-262-19484-8
The Psychology of Music
edited by Diana Deutsch, Academic Press, 1982, ISBN 0-12-213560-1
The Reconfigured Eye: Visual Truth in the Post-photographic Era
by William Mitchell, MIT Press, 1992, ISBN 0-262-13286-9
Rhetoric of Machine Aesthetics
by Barry Brummett, Praeger Publishers, 1999, ISBN 0-275-96644-5, Available on the Web
River of Shadows: Eadweard Muybridge and the Technological Wild West
by Rebecca Solnit, Viking Press, 2003, ISBN 0-670-03176-3Sacred Geometry"In the eight years of his motion-study experiments, [Muybridge] also became a father, a murderer, and a widower, invented a clock, patented two photographic innovations, achieved international renown as an artist and a scientist, and completed four other major photographic projects. - Rebecca Solnit"
by Robert Lawlor, Crossroad Publishing, 1982
Science and the Creative Spirit: Essays on Humanistic Aspects of Science
Karl Deutsch et al., University of Toronto Press, 1958 Available on the Web
The Science and Art of Renaissance Music
by James Haar, Princeton University Press, 1998, ISBN 0-691-02874-5
The Science of Art: Optical themes in Western Art from Brunelleschi to Seurat
by Martin Kemp, Yale University Press, 1990, ISBN 0-300-05241-3
The Science of Art: The Cybernetics of Creative Communication
by Robert E. Mueller, John Day Company, 1967
The Science of Describing: Natural History in Renaissance Europe
by Brian Ogilvie, Univ. Chicago Press, 2006, 0-226-62087-5
The Science of Harry Potter
by Roger Highfield, Penguin Putnam, 2002, ISBN 0-7553-1150-7
The Science of Music
Robin Maconie, Oxford University Press, 1997, ISBN 0-19-816648-6 Available on the Web
Science on Stage: from Doctor Faustus to Copenhagen
by Kirsten Shepherd-Barr, Princeton University Press, 2006. Reviews 122 plays in the last 400 years that make central use of scientific subjects.
Science within Art
by Lynette Rhodes, Cleveland Museum of Arts, 1980
The Sciences and the Arts: a New Alliance
Harold Gomes Cassidy, Harper & Brothers, 1962 Available on the Web
Scientific Detection of Fakery in Art
SPIE Conference Proceedings (vols 3315 [1998] and 3851 [2000]), International Society for Optical Engineers, ISBN 0-8194-2755-1, 0-8194-3444-2
Scientific Thought in Poetry
Ralph Crum, Columbia University Press, 1931 Available on the Web
La Scienza e L'Arte
by Ugo Volli, Gabriele Mazzotta publisher, 1972
Seen/Unseen: Art, Science and Intuition from Leonardo to the Hubble Telescope
by Martin Kemp, Oxford University press, 2006
Shelley's Use of Science in Prometheus Unbound
Carl Grabo, University of North Carolina Press, 1930 Available on the Web
Space: in science, art and society
ed. Francois Penz et.al., Cambridge U. Press, 2004, ISBN 0-521-82376-5
Spirit of the Machine: Technology as an Inspiration in Architectural Design
by Robert Kronenburg, Wiley-Academic, 2001, ISBN 0-471-97860-4
Symmetry [in Art and Science]
by Hermann Weyl, Princeton University Press, 1952
Texturing and Modeling: a Procedural Approach
by David Ebert et al., Elsevier Science, 2003, ISBN 1-55860-848-6
This is Your Brain on Music: the Science of a Human Obsession
by Daniel Levitin, Dutton Books, 2006, ISBN 0-525-94969-0
The Universe and the Tea Cup: the Mathematics of Truth and Beauty
by K.C. Cole, Harcourt Brace, 1997
Vision and invention: an introduction to art fundamentals
by Calvin Harlan, Prentice Hall, 1986, ISBN 0-130942228-5
Vision and Art: the Biology of Seeing
by Margaret Livingstone, Harry Abrams Publishers, 2002
Why We Feel: the Science of Humans Emotions'Mathematizing' may well be a creative activity of man, like language or music, of primary origality. - Herman Weyl
by Victor Johnston, Perseus Books, 1999, ISBN 0-7382-0316-5 Available on the Web
Women, Art and Geometry in Southern AfricaLet us grant that the pursuit of mathematics is divine madness of the human spirit, a refuge from the goading urgency of contigent happenings. - Alfred North Whitehead
by Paulus Gerdes, Africa World Press, 1998, ISBN 0-86543-601-0, Book Review
Women, Art and Technology
edited by Judy Malloy, MIT Press, 2003, ISBN 0-262-13424-1
The Work of Art in the Age of Mechanical Reproduction
by Walter Benjamin, 1936, Available on the Web.