Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice--as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a 'science' of form, whether as lines in a painting, twinned characters in a novel, or wavelike stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll's children's books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.

Bosch provides a lively and accessible introduction to the geometric, algebraic, and algorithmic foundations of optimization. He presents classical applications, such as the legendary Traveling Salesman Problem, and shows how to adapt them to make optimization art--opt art. art.

This historic work consists of several treatises that developed the first consistent, coherent, and systematic conception of algebraic equations. Originally published in 1591, it pioneered the notion of using symbols of one kind (vowels) for unknowns and of another kind (consonants) for known quantities, thus streamlining the solution of equations. Francois Viète (1540-1603), a lawyer at the court of King Henry II in Tours and Paris, wrote several treatises that are known collectively as The Analytic Art. His novel approach to the study of algebra developed the earliest articulated theory of equations, allowing not only flexibility and generality in solving linear and quadratic equations, but also something completely new—a clear analysis of the relationship between the forms of the solutions and the values of the coefficients of the original equation. Viète regarded his contribution as developing a "systematic way of thinking" leading to general solutions, rather than just a "bag of tricks" to solve specific problems. These essays demonstrate his method of applying his own ideas to existing usage in ways that led to clear formulation and solution of equations.

This text on mathematical problem solving provides a comprehensive outline of "problemsolving-ology," concentrating on strategy and tactics. It discusses a number of standard mathematical subjects such as combinatorics and calculus from a problem solver's perspective.