The Emergence of the Fourth Dimension describes the development and proliferation of the idea of higher dimensional space in the late nineteenth- and early twentieth-centuries. An idea from mathematics that was appropriated by occultist thought, it emerged in the fin de siècle as a staple of genre fiction and influenced a number of important Modernist writers and artists. Providing a context for thinking of space in dimensional terms, the volume describes an active interplay between self-fashioning disciplines and a key moment in the popularisation of science. It offers new research into spiritualism and the Theosophical Society and studies a series of curious hybrid texts. Examining works by Joseph Conrad, Ford Madox Ford, H.G. Wells, Henry James, H. P. Lovecraft, and others, the volume explores how new theories of the possibilities of time and space influenced fiction writers of the period, and how literature shaped, and was in turn shaped by, the reconfiguration of imaginative space occasioned by the n-dimensional turn. A timely study of the interplay between philosophy, literature, culture, and mathematics, it offers a rich resource for readers interested in nineteenth century literature, Modernist studies, science fiction, and gothic scholarship.

One of the most talented contemporary authors of cutting-edge math and science books conducts a fascinating tour of a higher reality, the Fourth Dimension. Includes problems, puzzles, and 200 drawings. "Informative and mind-dazzling." — Martin Gardner.

In this sequel to The Fourth Dimension, Volume 1, Dr. David Yonggi Cho shows how you can develop the dynamic faith and true communion with God which overcome spiritual obstacles and surpass barriers.

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.

In this insightful book, which is a revisionist math history as well as a revisionist art history, Tony Robbin, well known for his innovative computer visualizations of hyperspace, investigates different models of the fourth dimension and how these are applied in art and physics. Robbin explores the distinction between the slicing, or Flatland, model and the projection, or shadow, model. He compares the history of these two models and their uses and misuses in popular discussions. Robbin breaks new ground with his original argument that Picasso used the projection model to invent cubism, and that Minkowski had four-dimensional projective geometry in mind when he structured special relativity. The discussion is brought to the present with an exposition of the projection model in the most creative ideas about space in contemporary mathematics such as twisters, quasicrystals, and quantum topology. Robbin clarifies these esoteric concepts with understandable drawings and diagrams. Robbin proposes that the powerful role of projective geometry in the development of current mathematical ideas has been long overlooked and that our attachment to the slicing model is essentially a conceptual block that hinders progress in understanding contemporary models of spacetime. He offers a fascinating review of how projective ideas are the source of some of today’s most exciting developments in art, math, physics, and computer visualization.

From the infinity of space to the eternity of time to the possibility of the afterlife, both science and religion have attempted to answer a number of existential quandaries about our place in the universe. Yet these perplexing puzzles cannot be solved by anything provided in our limited three dimensional perspective. This provocative book by atomic physicist Dr. Nasr Saad proposes that a fourth dimension of existence can provide the perspective and comprehension necessary to arrive at logical answers to the unanswered questions of our existence. The Fourth Dimension of Existence draws on Saad's unique education. He is schooled in both philosophy and theology alongside his rigorous training in atomic physics. “I was sure that rational answers could only come from a perfect synthesis of the methodologies of the three major disciplines of the human mind: science, philosophy, and religion,” says Saad. “Most of the times they are in open conflict with one another in their findings and their conclusions; however, this situation should not be the norm all the time; these disciplines are the product of the human reason and the human reason is one.” Saad feels that a thorough fusion of the methodologies of science, philosophy, and religion could yield logical answers to the questions humans have been asking themselves since the dawn of human consciousness. The author admits that the fourth dimension has a robust history of representation in science fiction. He mentions flatland and hyperspace among other fictional fourth dimensions to illustrate the rich and imaginative preoccupations of the human mind. He even explains the curved space-time fourth dimension that haunts the minds of “science fiction mathematicians.” The fourth dimension that preoccupies the author is not the fantastical sci-fi scenario of the popular imagination. Rather, it is an existential dimension that would provide us with the necessary distance to understand our own world and its heretofore unsolvable mysteries. He feels the search for such a dimension is not a pipe dream but can be carried out and executed by rational means. At the same time, we need to realize the fourth dimension would exist on principles completely unrelated to our own three-dimensional world. “It will provide a scientific explanation for the strong link that should exist between matter and spirit and between this life and our existence,” says Saad. “It will make us realize in a logical and powerful way how and why our life is short but our existence is not.” Despite these intriguing scenarios, Saad feels there remains a fourth existential dimension that can bring a rational explanation to all our perplexing questions. His book is a guide to this possible reality and the various ways it could be ascertained.

A detailed description of what the fourth dimension would be like.