Visible perfection: maths and art
Article Sidebar
Google Scholar citations
Main Article Content
This article deals with the relationships between mathematicians and art and between mathematics and art, whilst also taking into account the use of information technology, both in art and science. This article is written in terms of mathematicians' perspective on creativity, on mathematics as a creative activity and its relationship with art. It then employs the point of view of a number of artists and historians on the relationship between mathematics and art. It examines some examples in particular, such as the Dutch engraver M. C. Escher and the Swiss artist Max Bill. It goes on to study the new phenomenon of the creation of new "visual" forms by mathematicians using computer graphics, and how, in turn, these forms have influenced artists. Finally, there is a brief conclusion reflecting on the new mathematical and artistic images.
Article Details
Copyright
For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).
Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.
Assignment of intellectual property rights
The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.
I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.
Similar Articles
- Narcís , 1966- Parés, Roc Parés i Burguès, An interaction-driven strategy for virtual reality applications , Artnodes: No. 1 (2002): NODE 1. Art, science and technology
- Ester Jordana Lluch, Ramon Rispoli, The interface as alesthesis: truth as sensible organisation , Artnodes: No. 24: (July 2019). NODE 24. After post-truth (Editor.: Jorge Luis Marzo)
- Pau Waelder, Pain games , Artnodes: No. 7: (December 2007). NODE 7. Gameplay (Editor: Pau Alsina)
- Evru, Art to heal you , Artnodes: No. 3 (2004): NODE 3. Heterotipies
- William J. Mitchell, Pau Alsina, "With the information networks, buildings acquire a kind of nervous system" , Artnodes: No. 3 (2004): NODE 3. Heterotipies
- Pau Waelder, Ars Electronica: visions of the future , Artnodes: No. 4: (July 2005). NODE 4. Calculability (Editor: Pau Alsina)
- Pau Alsina, Editorial , Artnodes: No. 17: (June 2016). NODE 17. Art and Education (Editor: Aida Sánchez de Serdio)
- Jaime del Val, Frontier bodies. Empires and resistances in post-postmodernism , Artnodes: No. 6: (November 2006). NODE 6. (Editor: Pau Alsina)
- Pau Alsina, Editorial , Artnodes: No. 18: (November 2016). NODE 18. Transmedia narratives (Editor: Pau Alsina)
- Marc Downie, Creación de sonido por criaturas virtuales , Artnodes: No. 5: (September 2006). NODE 5. Interviews (Editors: Pau Alsina, Pau Waelder)
<< < 26 27 28 29 30 31 32 33 34 35 > >>
You may also start an advanced similarity search for this article.