This collection of essays explores the ancient affinity between the mathematical and the aesthetic, focusing on fundamental connections between these two modes of reasoning and communicating. From historical, philosophical and psychological perspectives, with particular attention to certain mathematical areas such as geometry and analysis, the authors examine ways in which the aesthetic is ever-present in mathematical thinking and contributes to the growth and value of mathematical knowledge.

This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister’s theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience (in mathematics), aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory’s explanatory capabilities.

Lively prose and imaginative exercises draw the reader into this unique introductory real analysis textbook. Motivating the fundamental ideas and theorems that underpin real analysis with historical remarks and well-chosen quotes, the author shares his enthusiasm for the subject throughout. A student reading this book is invited not only to acquire proficiency in the fundamentals of analysis, but to develop an appreciation for abstraction and the language of its expression. In studying this book, students will encounter: the interconnections between set theory and mathematical statements and proofs; the fundamental axioms of the natural, integer, and real numbers; rigorous ε-N and ε-δ definitions; convergence and properties of an infinite series, product, or continued fraction; series, product, and continued fraction formulæ for the various elementary functions and constants. Instructors will appreciate this engaging perspective, showcasing the beauty of these fundamental results.

In this innovative book, Nathalie Sinclair makes a compelling case for the inclusion of the aesthetic in the teaching and learning of mathematics. Using a provocative set of philosophical, psychological, mathematical, technological, and educational insights, she illuminates how the materials and approaches we use in the mathematics classroom can be enriched for the benefit of all learners. While ranging in scope from the young learner to the professional mathematician, there is a particular focus on middle school, where negative feelings toward mathematics frequently begin. Offering specific recommendations to help teachers evoke and nurture their students’ aesthetic abilities, this book: Features powerful episodes from the classroom that show students in the act of developing a sense of mathematical aesthetics. Analyzes how aesthetic sensibilities to qualities such as connectedness, fruitfulness, apparent simplicity, visual appeal, and surprise are fundamental to mathematical inquiry. Includes examples of mathematical inquiry in computer-based learning environments, revealing some of the roles they play in supporting students’ aesthetic inclinations.

This anthology fosters an interdisciplinary dialogue between the mathematical and artistic approaches in the field where mathematical and artistic thinking and practice merge. The articles included highlight the most significant current ideas and phenomena, providing a multifaceted and extensive snapshot of the field and indicating how interdisciplinary approaches are applied in the research of various cultural and artistic phenomena. The discussions are related, for example, to the fields of aesthetics, anthropology, art history, art theory, artistic practice, cultural studies, ethno-mathematics, geometry, mathematics, new physics, philosophy, physics, study of visual illusions, and symmetry studies. Further, the book introduces a new concept: the interdisciplinary aesthetics of mathematical art, which the editors use to explain the manifold nature of the aesthetic principles intertwined in these discussions.

The worlds of visual art and mathematics beautifully unite in this spectacular volume by award-winning writer Stephen Ornes. He explores the growing sensation of math art, presenting such pieces as a colorful crocheted representation of non-Euclidian geometry that looks like sea coral and a 65-ton, 28-foot-tall bronze sculpture covered in a space-filling curve. We learn the artist's story for every work, plus the mathematical concepts and equations behind the art.

The most important concepts underlying beauty are the concepts of symmetry and fractality, but the relationship of these concepts has not yet remained clear. For centuries, beauty was understood only as a stable order and symmetry. Synergetic worldview allows us to give a new assessment: beauty can be seen as an attractor, the result of self-organization of nature, or the flight of human thought. On the one hand, fractality can be considered one of the manifestations of symmetry in an expansive sense.