Skip to main content

Mathematics and Art: a cultural history - Lynn Gamwell ****

I have to start by saying that I have never really understood the point of coffee table books. There is no way anyone is going to comfortably read Mathematics + Art as it's around 25 cm by 32 cm, and weighs in at a wrist-crunching 3 kg, heavier than many laptops. (The price is fairly wallet-crunching too.) Although it is heavily and beautifully illustrated, though, this is much more than just a picture book of images with a mathematical association. It is a genuinely interesting text, running across over 500 pages, which I found I liked far more than I wanted to.

While there is, as is often the case with this kind of attempt to link science and the arts, sometimes a rather tenuous link to the mathematics, it is still fascinating to discover how the influence of maths on culture at large has had an impact on the arts. Sometimes this is in a quite explicit form, where an image, say, is mathematically derived or features a mathematician at work, while on other occasions it's a much more subtle connection where a topic or context is derived from the way mathematics is influencing the world at large.

Lynn Gamwell does not shy away from including a surprising amount of detail about the maths itself, with occasional boxes explaining everything from calculus to the double slit experiment in quantum physics. Her writing style feels rather closer to that of a textbook than a work intended for a wide audience, but it is nonetheless reasonably approachable, and time and again the illustrations capture the attention and the imagination.

An oddity, then - but a genuinely interesting one.
Review by Brian Clegg


Popular posts from this blog

Adam Roberts - Four Way Interview

Adam Roberts is commonly described as one of the UK's most important writers of SF. He is the author of numerous novels and literary parodies. He is Professor of 19th Century Literature at Royal Holloway, London University, and has written a number of critical works on both SF and 19th Century poetry. His latest novel is The Real-Town Murders.

Why science fiction?

Because it's the best thing in the world. I work for the University of London, which is to say: in effect, I'm paid to read books (and teach them, and write about them) and that means I read a lot of books; and that means you can believe me when I say that SF/Fantasy, and especially (even though it's not something I write) YA SF/Fantasy, is where all the most exciting writing is happening nowadays. You might wonder why I think so: but that's a whole other question, and you've already used up your four ...

Why this book?

So, I came across an account of one of Alfred Hitchcock's (many) unfinished projec…

UFO Drawings from the National Archives - David Clarke ***

This is a lovely little book that, sadly, not every reader will see the point of. If somebody’s anecdotal account of a presumed alien encounter is obviously a misperception of a mundane occurrence, or else too vague – or too far-fetched – to be taken seriously, then it’s all too easy to dismiss it as worthless. But that’s missing the point. The fact that so many incidents are reported in these terms makes the witnesses’ testimony worthy of serious study – to teach us, not about extraterrestrial civilisations, but about our own culture.

That was the core message of David Clarke’s excellent How UFOs Conquered the World published a couple of years ago. Now Clarke is back with another take on the same basic theme.  His day job is Reader and Principal Lecturer in Journalism at Sheffield Hallam University, but for the last ten years he’s also acted as consultant for the National Archives project to release all of Britain’s official Ministry of Defence (MoD) files on UFOs. Throughout the Cold…

Crashing Heaven (SF) - Al Robertson ****

There's an engaging mix of powerful thriller and science fiction in this impressive novel. After the Earth has been rendered uninhabitable, human life is limited to vast space station. Our central character, Jack, has a symbiotic artificial intelligence, Hugo Fist, designed to destroy other AIs in a mysterious collective that is said to have committed an atrocity - but with a kick in the tail that because of an unbreakable contract, Fist will take over Jack's body in a few weeks' time.

Al Robertson packs remarkable technology concepts into the cyber side of this story, from AI corporations that act as a pantheon of gods to the 'puppet' that is Fist (he usually come across as a virtual cross between Mr Punch and an evil ventriloquist's dummy). Robertson does all the cyber stuff so well that it's easy to miss that this is, in effect, a myth in electronic clothing - you could substitute the myths of 'real' Greek gods and magic for what happens here. Alt…