To see objects that live in the fourth dimension we humans would need to add a fourth dimension to our three-dimensional vision. An example of such an object that lives in the fourth dimension is a hyper-sphere or “3-sphere.” The quest to imagine the elusive 3-sphere has deep historical roots: medieval poet Dante Alighieri used a 3-sphere to convey his allegorical vision of the Christian afterlife in his Divine Comedy. In 1917, Albert Einstein visualized the universe as a 3-sphere, describing this imagery as “the place where the reader’s imagination boggles. Nobody can imagine this thing.” Over time, however, understanding of the concept of a dimension evolved. By 2003, a researcher had successfully rendered into human vision the structure of a 4-web (think of an ever increasingly-dense spider’s web). In this text, Stephen Lipscomb takes his innovative dimension theory research a step further, using the 4-web to reveal a new partial image of a 3-sphere. Illustrations support the reader’s understanding of the mathematics behind this process. Lipscomb describes a computer program that can produce partial images of a 3-sphere and suggests methods of discerning other fourth-dimensional objects that may serve as the basis for future artwork.

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.

Discusses space in art and mathematics, the geometry of the fourth dimension, pattern recognition, time in space, and spatial concepts

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.

Exposition of fourth dimension, concepts of relativity as Flatland characters continue adventures. Topics include curved space time as a higher dimension, special relativity, and shape of space-time. Includes 141 illustrations.

This colorful, visual introduction to the fourth dimension provides a clear explanation of the concepts and numerous illustrations. It is written with a touch of personality that makes this an engaging read instead of a dry math text. The content is very accessible, yet at the same time detailed enough to satisfy the interests of advanced readers. This book is devoted to geometry; there are no spiritual or religious components to this book. May you enjoy your journey into the fascinating world of the fourth dimension! Contents: Introduction Chapter 0: What Is a Dimension? Chapter 1: Dimensions Zero and One Chapter 2: The Second Dimension Chapter 3: Three-Dimensional Space Chapter 4: A Fourth Dimension of Space Chapter 5: Tesseracts and Hypercubes Chapter 6: Hypercube Patterns Chapter 7: Planes and Hyperplanes Chapter 8: Tesseracts in Perspective Chapter 9: Rotations in 4D Space Chapter 10: Unfolding a Tesseract Chapter 11: Cross Sections of a Tesseract Chapter 12: Living in a 4D House Further Reading Glossary About the Author Put on your spacesuit, strap on your safety harness, swallow your anti-nausea medicine, and enjoy this journey into a fourth dimension of space! 10D, 9D, 8D, 7D, 6D, 5D, 4D, 3D, 2D, 1D, 0D. Blast off!