The main focus of this volume is the question: is spacetime nothing more than a mathematical space (which describes the evolution in time of the ordinary three-dimensional world) or is it a mathematical model of a real four-dimensional world with time entirely given as the fourth dimension? The book contains fourteen invited papers which either directly address the main question of the nature of spacetime or explore issues related to it.

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.

Puts the emphasis on conceptual questions: Why is there no such thing as absolute motion? What is the physical meaning of relativity of simultaneity? But, the most important question that is addressed in this book is "what is the nature of spacetime?" or, equivalently, "what is the dimensionality of the world at the macroscopic level?" Develops answers to these questions via a thorough analysis of relativistic effects and explicitly asking whether the objects involved in those effects are three-dimensional or four-dimensional. Discusses the implication of the result (this analysis clearly shows that if the world and the physical objects were three-dimensional, none of the kinematic relativistic effects and the experimental evidence supporting them would be possible) for physics, philosophy, and our entire world view are discussed.

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.

A unified theory embracing all physical phenomena is a major goal of theoretical physics. In the early 1980s, many physicists looked to eleven-dimensional supergravity in the hope that it might provide that elusive superunified theory. In 1984 supergravity was knocked off its pedestal by ten-dimensional superstrings, one-dimensional objects whose v

Scale -- Space and time -- Energy and matter -- The quantum world -- Thermodynamics and the arrow of time -- Unification -- The future of physics -- The usefulness of physics -- Thinking like a physicist.

A journey through the otherworldly science behind Christopher Nolan’s award-winning film, Interstellar, from executive producer and Nobel Prize-winning physicist Kip Thorne. Interstellar, from acclaimed filmmaker Christopher Nolan, takes us on a fantastic voyage far beyond our solar system. Yet in The Science of Interstellar, Kip Thorne, the Nobel prize-winning physicist who assisted Nolan on the scientific aspects of Interstellar, shows us that the movie’s jaw-dropping events and stunning, never-before-attempted visuals are grounded in real science. Thorne shares his experiences working as the science adviser on the film and then moves on to the science itself. In chapters on wormholes, black holes, interstellar travel, and much more, Thorne’s scientific insights—many of them triggered during the actual scripting and shooting of Interstellar—describe the physical laws that govern our universe and the truly astounding phenomena that those laws make possible. Interstellar and all related characters and elements are trademarks of and © Warner Bros. Entertainment Inc. (s14).