Most "art and science" books focus on the science of perspective or the psychology of perception. Hidden Harmony does not. Instead, the book addresses the surprising common ground between physics and art from a novel and personal perspective. Viewing the two disciplines as creative processes, J.R. Leibowitz supplements existing and original research with illustrations to demonstrate that physics and art share guiding aesthetics and compositional demands and to show how each speaks meaningfully to the other. Hidden Harmony is the first serious look at what art and physics, as creative processes, have in common. Without assuming a background either in art or physics, the author widens our experience and understanding of both domains by exploring how concepts such as balance and re-balance, coherence and unity, and symmetry and broken symmetry affect and are affected by artistic vision and scientific principle. He reveals shared themes and understandings in each field and adroitly illustrates the parallels between the strategies guiding the dabs of color and layers of images in a work of art and those guiding the assembly of physical evidence into models of the physical world. Featuring examples of paintings and sculptures and complementary examples of physical concepts, this contemplative work helps us see art and physics as artists and physicists do.

​This book is a history of complex function theory from its origins to 1914, when the essential features of the modern theory were in place. It is the first history of mathematics devoted to complex function theory, and it draws on a wide range of published and unpublished sources. In addition to an extensive and detailed coverage of the three founders of the subject – Cauchy, Riemann, and Weierstrass – it looks at the contributions of authors from d’Alembert to Hilbert, and Laplace to Weyl. Particular chapters examine the rise and importance of elliptic function theory, differential equations in the complex domain, geometric function theory, and the early years of complex function theory in several variables. Unique emphasis has been devoted to the creation of a textbook tradition in complex analysis by considering some seventy textbooks in nine different languages. The book is not a mere sequence of disembodied results and theories, but offers a comprehensive picture of the broad cultural and social context in which the main actors lived and worked by paying attention to the rise of mathematical schools and of contrasting national traditions. The book is unrivaled for its breadth and depth, both in the core theory and its implications for other fields of mathematics. It documents the motivations for the early ideas and their gradual refinement into a rigorous theory.​

“Education is not an art of putting sight into the eye that can already see, but one of turning the eye towards the proper gaze of Being. That’s what must be managed!” Plato insists. This claim is the take-off point for Eduardo Duarte’s meditations on the metaphysics and ontology of teaching and learning. In Being and Learning he offers an account of learning as an attunement with Being’s dynamic presencing and unconcealment, which Duarte explores as the capacity to respond and attend to the matter that stands before us, or, in Arendtian terms, to love the world, and to be with others in this world. This book of ‘poetic thinking’ is a chronicle of Duarte’s ongoing exploration of the question of Being, a philosophical journey that has been guided primarily through a conversation with Heidegger, and which also includes the voices of Plato, Aristotle, Heraclitus, Nietzsche, as well Lao Tzu and the Buddha, among others. In Being and Learning, Duarte undertakes a ‘phenomenology of the original’: a writing that consciously and conspicuously interrupts the discursive field of work in philosophy of education. As the late Reiner Schurmann described this method: “it recalls the ancient beginnings and it anticipates a new beginning, the possible rise of a new economy among things, words and actions.” Being and Learning is a work of parrhesia: a composition of free thought that disrupts the conventional practice of philosophy of education, and thereby open up gaps and spaces of possibility in the arrangement of words, concepts, and ideas in the field. With this work Eduardo Duarte is initiating new pathways of thinking about education.

The Harmony of the Soul creates a naturalistic grounding for ethics and a moral grounding for psychotherapy. It is an original and startling synthesis of the ideas of mental health and moral virtue based on neglected affinities between classical Greek ethics, contemporary virtue ethics, sociobiology, and the basic presuppositions of psychotherapy. A central thesis of the book is that we can assume "the worst" about what science tells us about the human animal without having to sacrifice any of the things that are of most importance to ethics: virtue and the good life, harmony of the soul, freedom, conscience, and moral knowledge.

First published in 2003, this is the first encyclopedic work to focus exclusively on medieval Jewish civilization, from the fall of the Roman Empire to about 1492. Based on the research of an international, multidisciplinary team of specialist contributors, the more than 150 alphabetically organized entries, written by scholars from around the world, include biographies, countries, events, social history, and religious concepts. The coverage is international, presenting people, culture, and events from various countries in Europe, Africa, and the Middle East.