Exploring the macrocosm from colossal galactic superclusters to quiet backwater planets, Matt Tweed offers a primer on the cosmos for anyone fascinated by the heavens. Taking a guided tour through the universe, we ride past quasars, jets, and galaxies to land on a curious world and examine an array of ideas about space and time. Tweed traces the evolution of stars and formation of planets, describing our "light bubble" and why we can't see any farther than we do. For a concise and accessible description of extra-solar planetary systems, black holes, pulsars, nebulae, great walls, dark matter, red shifts, and much more, The Compact Cosmos is an indispensable guide. Data tables, lists of cosmological constants, and distances from Earth to other bodies in space form a useful appendix.

Collects six short illustrated volumes covering topics in mathematics, physics, chemistry, biology, evolution, and astronomy.

Exploring common themes in modern art, mathematics, and science, including the concept of space, the notion of randomness, and the shape of the cosmos. This is a book about art—and a book about mathematics and physics. In Lumen Naturae (the title refers to a purely immanent, non-supernatural form of enlightenment), mathematical physicist Matilde Marcolli explores common themes in modern art and modern science—the concept of space, the notion of randomness, the shape of the cosmos, and other puzzles of the universe—while mapping convergences with the work of such artists as Paul Cezanne, Mark Rothko, Sol LeWitt, and Lee Krasner. Her account, focusing on questions she has investigated in her own scientific work, is illustrated by more than two hundred color images of artworks by modern and contemporary artists. Thus Marcolli finds in still life paintings broad and deep philosophical reflections on space and time, and connects notions of space in mathematics to works by Paul Klee, Salvador Dalí, and others. She considers the relation of entropy and art and how notions of entropy have been expressed by such artists as Hans Arp and Fernand Léger; and traces the evolution of randomness as a mode of artistic expression. She analyzes the relation between graphical illustration and scientific text, and offers her own watercolor-decorated mathematical notebooks. Throughout, she balances discussions of science with explorations of art, using one to inform the other. (She employs some formal notation, which can easily be skipped by general readers.) Marcolli is not simply explaining art to scientists and science to artists; she charts unexpected interdependencies that illuminate the universe.

The period covered by the material published in this volume marks the transition in Eric Voegelin's career from Louisiana to Munich. After twenty years in the United States, in 1958 Voegelin accepted an invitation to fill the political science chair at Ludwig Maximilian University, a position left vacant throughout the Nazi period and last occupied by the famous Max Weber, who had died in 1920. The themes most prominent in the fourteen items reprinted here reflect the concerns of a transition, not only in a scholar's career, and in the momentous shifts in world politics taking place around him, but also in the development of his understanding of the stratification of reality and the attendant demands for a science of human affairs adequate to the challenges posed by the persistent crisis of the West in its latest configurations and by contemporary philosophy. Several of the items herein originated as talks to a specific organization on problems facing German democratization and the development of a market economy amid the ruins of a fragmented culture and infrastructure in a society without historically evolved institutional supports for a satisfactory social and political order. Accordingly, pragmatic matters occupy a central place in a number of these pieces, especially the overriding question of how Germany could move from an illiberal and ideological political order into a modern liberal democratic one. Those accustomed to the theoretical profundity of Voegelin's writings may find welcome relief in the down-to-earth, commonsensical drift of this material addressed, often, to laymen and businessmen. But, of course, the philosophical subject matter lurks everywhere. It finds full expression in several instances as the controlling context of even the least pretentious presentations. One of the attractions of these essays is what the author brings forward as serviceable elementary guideposts under adverse conditions of intellectual disarray, social decay, and turmoil.

Wonderful Worlds is an explanation to laymen of events in cosmos and earth history, sequences of species life, and interactions of the brain, mind, soul, genome, enzymes, organs, and body. We see development of cultures directed from positions of logic and reason, eventually describing what makes us human. Proposed as beginning even before the accepted moment of the big bang, the cosmos erupts later over billions of years to first life in a progression of species, eventually leading to a fresh look at Homo erectus and newly thought subspecies of Neanderthal, sapiens, and modern man. Presented here are at least thirty alternatives to generally accepted myth, magic, and misclassifications in history. Man with emotions, including an underlying spirituality, combined with soul, brain, mind, genome, and body has experienced his evolution for over 600,000 years of a 13.7 billion-year existence. Only in the past ten thousand years has man acted in society as an intelligent, technical, communicating, calculating, emotional, and spiritual resident of Earth, even to expanding in the universe. This comprehensive collection of alternative views should be on the reading shelf of every person inquisitive of his or her planet Earths birthright.