Fractals and chaos theory lead to startling graphics in this book by a renowned scientist, inventor, and artist, who coordinates information from disparate fields. Over 275 illustrations, 29 in color.

Do a little armchair time-travel, rub elbows with a four-dimensional intelligent life form, or stretch your mind to the furthest corner of an uncharted universe. With this astonishing guidebook, Surfing Through Hyperspace, you need not be a mathematician or an astrophysicist to explore the all-but-unfathomable concepts of hyperspace and higher-dimensional geometry. No subject in mathematics has intrigued both children and adults as much as the idea of a fourth dimension. Philosophers and parapsychologists have meditated on this mysterious space that no one can point to but may be all around us. Yet this extra dimension has a very real, practical value to mathematicians and physicists who use it every day in their calculations. In the tradition of Flatland, and with an infectious enthusiasm, Clifford Pickover tackles the problems inherent in our 3-D brains trying to visualize a 4-D world, muses on the religious implications of the existence of higher-dimensional consciousness, and urges all curious readers to venture into "the unexplored territory lying beyond the prison of the obvious." Pickover alternates sections that explain the science of hyperspace with sections that dramatize mind-expanding concepts through a fictional dialogue between two futuristic FBI agents who dabble in the fourth dimension as a matter of national security. This highly accessible and entertaining approach turns an intimidating subject into a scientific game open to all dreamers. Surfing Through Hyperspace concludes with a number of puzzles, computer experiments and formulas for further exploration, inviting readers to extend their minds across this inexhaustibly intriguing scientific terrain.

Although the patterns are computer-generated, the book is informal and emphasis is on the fun that the true pattern lover finds in doing rather than in reading about the doing.

Explains the significance and beauty of fractals using over 170 illustrations.

"When the Machine Made Art covers the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when ideological differences fragment the art movement. The text begins by identifying the various divisions between the humanistic and scientific cultures that inform early criticism. The fact that the first computer art has military origins and is imbued with various techno-science mythologies, places the movement at odds with artworld orthodoxy. Yet, while mainstream art critics reproach computerized art, a comparison between similar art forms of the era, such as conceptual art, reveals that the criticism of computer art was motivated more by the fear of the machine than by aesthetics. Dr. Grant Taylor shows that social anxiety, often fueled by Cold War dystopianism, posited the computer as a powerful instrument in the overall subordination of the individual to the emerging technocracy. But even though anti-computer sentiment abated in the late 1970s, computer art did not find acceptance. The book illustrates how computer art's exponents, desiring artworld legitimacy, traced its lineage back to modernism. Conversely, in the 1980s, art theorists, employing the latest critical theory, began critiquing the assumptions of modernism, and thus viewed computer art's modernist history as hopelessly outdated. And yet other critics reconciled computer technology with the critical insights of postmodernism, viewing the computer as a pluralistic agent that could challenge modernist conventions. Nonetheless, while postmodernist criticism enabled the formation of new discourses for emerging digital arts, it left computer art, which was committed to modernist and techno-science philosophies, in a state of crisis"--