The Russian edition of this book appeared in 1976 on the hundred-and-fiftieth anniversary of the historic day of February 23, 1826, when LobaeevskiI delivered his famous lecture on his discovery of non-Euclidean geometry. The importance of the discovery of non-Euclidean geometry goes far beyond the limits of geometry itself. It is safe to say that it was a turning point in the history of all mathematics. The scientific revolution of the seventeenth century marked the transition from "mathematics of constant magnitudes" to "mathematics of variable magnitudes. " During the seventies of the last century there occurred another scientific revolution. By that time mathematicians had become familiar with the ideas of non-Euclidean geometry and the algebraic ideas of group and field (all of which appeared at about the same time), and the (later) ideas of set theory. This gave rise to many geometries in addition to the Euclidean geometry previously regarded as the only conceivable possibility, to the arithmetics and algebras of many groups and fields in addition to the arith metic and algebra of real and complex numbers, and, finally, to new mathe matical systems, i. e. , sets furnished with various structures having no classical analogues. Thus in the 1870's there began a new mathematical era usually called, until the middle of the twentieth century, the era of modern mathe matics.

Classic exploration of topics of perennial interest to geometers: fundamental ideas of incidence, parallelism, perpendicularity, angles between linear spaces, polytopes. Examines analytical geometry from projective and analytic points of view. 1929 edition.

Examines various attempts to prove Euclid's parallel postulate — by the Greeks, Arabs and Renaissance mathematicians. Ranging through the 17th, 18th, and 19th centuries, it considers forerunners and founders such as Saccheri, Lambert, Legendre, W. Bolyai, Gauss, Schweikart, Taurinus, J. Bolyai and Lobachewsky. Includes 181 diagrams.

The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.