The existence of the collaboration between math and art has lasted for centuries which had astonished me in this week’s topic. This is evident when Professor Vesna discusses perspective within art. Initially when we think of perspective in math, we have to calculate the height of the building given the length of the parallel flagpost and the shadow it casts. In contrast when we think of art we see how depth is captured by the surrounding environment. Typically we kept these ideas of perspective in their respective fields. However it is wrong to keep them divided. Artist throughout the centuries have challenged the connection of math and art which further developed the theories and their works.

Today we see how works are still developing by challenging the number of dimensions that actual exist. Linda Henderson goes into the depth of the history of the 4^th dimension. In her piece we see how certain art genres have accepted, denied, and further pushed the idea of the 4^th dimension.  This dimension challenges the idea of space, geometry, and perspective.  She quotes Tony Robin to conclude her piece which I believe accurately portrays the works of four dimension artist (Henderson 2006). “We are motivated by a desire to complete our subjective experience by inventing new aesthetic and conceptual capabilities” (Henderson 2006, 209.) Arguably the idea of math and art has developed to incorporate experience.

A prime example of this is an audio and visual performance of the Four Dimensions (Selikoff 2012). In this performance we see how our visual and audio senses are aroused by the geometric patterns presented in the background while an orchestra performs live. Arguably we see how this idea of the 4^th dimension includes experience as well. The visual math representation in the back physically creates this dimension.

https://www.youtube.com/watch?v=N_d8pMxm8Ns

Going back to the history of math and art, an artist that was presented in lecture that portrayed this relationship was Brunelleschi. I recall learning about his works in middle school for being progressive due to the fact he introduce the idea of perspective in his pieces. The surrounding buildings typically portrayed this. He introduced the idea of the vanishing point and understood that there should be a single vanishing point in which all the lines merged.

We see how the idea of the mathematical plane aided, challenged, and further develop theories in both math and art. Painters studied used mathematical knowledge to assist them in creating pieces that further challenged how we view things and the extent of their mediums.

Citations:

Henderson, Linda. "Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion." Leonardo 17.3 (2006): 205-10. Print.

Hundreds, Bobby. "TRIP OUT. | The Hundreds." The Hundreds TRIP OUT Comments. 27 Apr. 2012. Web. 12 Apr. 2015. <http://thehundreds.com/trip-out/>.

Pickover, Cliff. "The Fourth Dimension by Cliff Pickover." The Fourth Dimension. Web. 12 Apr. 2015. <http://sprott.physics.wisc.edu/pickover/fourth.html>.

Selikoff, Nathan. "Four Dimensions - Real-time Audio-visual Performance - Nathan Selikoff."Nathan Selikoff. Web. 12 Apr. 2015. <http://nathanselikoff.com/works/four-dimensions>.

"Giotto Di Bondone - The Complete Works." Giotto Di Bondone - The Complete Works. Web. 12 Apr. 2015. <http://www.giottodibondone.org/>.