Most often the connections between cubist painting and modern architecture were construed analogically, by reference to shared formal qualities such as fragmentation, spatial ambiguity, transparency, and multiplicity or to techniques used in other media such as film, poetry, and photomontage. Together, the essays show that although there were many points of intersection - historical, metaphorical, theoretical, and ideological - between cubism and architecture, there was no simple, direct link between them. The essays look at works produced in France, Germany, the Netherlands, and Czechoslovakia during the early decades of the twentieth century. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the historical, theoretical, and socio-political relationships between avant-garde practices in painting, architecture, and other cultural forms, including poetry, landscape, and the decorative arts. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. 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.]]>Ī fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. 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. Robbin clarifies these esoteric concepts with understandable drawings and diagrams. 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 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.
He compares the history of these two models and their uses and misuses in popular discussions. Robbin explores the distinction between the slicing, or Flatland, model and the projection, or shadow, model. A pioneering artist continues his visionary inquiry into hyperspace 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.
0 kommentar(er)
