Gathered from early twentieth-century Italian magazines, manuscripts, correspondence, television recordings, and ephemeral art volumes, Geometry of Shadows is the first comprehensive collection of Giorgio de Chirico's Italian poetry, with award-winning poet Stefania Heim's translations presented alongside the Italian originals.

The aim of this book is to throw light on various facets of geometry through development of four geometrical themes. The first theme is about the ellipse, the shape of the shadow east by a circle. The next, a natural continuation of the first, is a study of all three types of conic sections, the ellipse, the parabola and the hyperbola. The third theme is about certain properties of geometrical figures related to the problem of finding the largest area that can be enclosed by a curve of given length. This problem is called the isoperimetric problem. In itself, this topic contains motivation for major parts of the curriculum in mathematics at college level and sets the stage for more advanced mathematical subjects such as functions of several variables and the calculus of variations. Here, three types of conic section are discussed briefly. The emergence of non-Euclidean geometries in the beginning of the nineteenth century represents one of the dramatic episodes in the history of mathematics. In the last theme the non-Euclidean geometry in the Poincare disc model of the hyperbolic plane is developed.

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.

Reprint of the original, first published in 1877.