The Artful Universe ExpandedOUP Oxford, 2011 M03 10 - 336 páginas In The Artful Universe (OUP, 1995) John D. Barrow explored the close ties between our aesthetic appreciation and the basic nature of the Universe, challenging the commonly held view that our sense of beauty is entirely free and unfettered. It looked at some of the unexpected ways in which the structure of the Universe, its laws, its environments, and above all its underlying mathematical structure imprints itself on our thoughts, our aesthetic preferences, and our views about the nature of things. The exploration embraced topics such as perspective; the size of things and the origins of aesthetics; computer art (posing the question: is it art?); and the origins of our susceptibility to music. Life sales of the hardback totalled just over 25,000 copies. The study of the evolutionary and mathematical underpinnings of our aesthetic sense, and our understanding of the nature and scale of the universe has grown over the past decade, with developments in evolutionary psychology, and in cosmology. This paperback of the revised edition (OUP, 2005) contains eight new sections covering the recent discoveries of extrasolar planets, fashionable postmodernist rejection of science as uncovering objective reality, growing understanding of key ratios appearing in biological relationships, and studies of the underlying mathematical structure of a Pollock painting. |
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... evolved in a particular type of universe constrains what we think, and how we think, in unsuspected ways. What games and puzzles do we find challenging? Why do we like certain types of art or music? Why do we have a propensity for ...
... evolved in a particular type of universe constrains what we think, and how we think, in unsuspected ways. What games and puzzles do we find challenging? Why do we like certain types of art or music? Why do we have a propensity for ...
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... evolve and adapt to their environments. We are accustomed to think of environments as local and immediate. Here, we shall discover how our existence derives from a cosmic environment that is billions of light-years in size. If life is.
... evolve and adapt to their environments. We are accustomed to think of environments as local and immediate. Here, we shall discover how our existence derives from a cosmic environment that is billions of light-years in size. If life is.
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... evolve and revise his work over a long period of time. He was no longer captive to the irrevocable nature of the medium like the fresco painter or the water-colourist. But such unceasing revisionism was not an acceptable response for ...
... evolve and revise his work over a long period of time. He was no longer captive to the irrevocable nature of the medium like the fresco painter or the water-colourist. But such unceasing revisionism was not an acceptable response for ...
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... evolve towards the most harmonious and perfect structural forms. In Lamarck's scenario, any changes in the environment determine the evolution of living things directly. As trees grew taller, so giraffes would need to develop longer ...
... evolve towards the most harmonious and perfect structural forms. In Lamarck's scenario, any changes in the environment determine the evolution of living things directly. As trees grew taller, so giraffes would need to develop longer ...
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... evolve. Moreover, the three requirements could be met in many different ways. The variations could be in genetic makeup, or in the ability to understand abstract concepts; the mechanism of inheritance could be social, cultural, or ...
... evolve. Moreover, the three requirements could be met in many different ways. The variations could be in genetic makeup, or in the ability to understand abstract concepts; the mechanism of inheritance could be social, cultural, or ...
Contenido
branching | |
the evolution of cooperation | |
the art of landscape | |
the dilemma of computer | |
The heavens and the Earth | |
The natural history of noise | |
Alls well that ends well | |
Tales of the unexpected | |
the fabric of the world | |
Illustration acknowledgements | |
Index | |
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1/f noise ability adaptation aesthetic ancient animals appears appreciation Aratus artistic astrological astronomical atoms axis behaviour body brain Celestial Pole changes colour complexity computer art constellations create creatures cultures cycle display diversity Earth Earth’s surface eclipse Einstein’s emotional environment Eudoxus evolution evolutionarily stable strategy evolutionary evolved exist extrasolar planets extraterrestrial forces fractal frequency galaxies genetic gravity Hipparchus human images increase instinctive inuence landscape language latitude laws of Nature light linguistic living things Mars mathematicians mathematics mind Moon motion natural selection noise obliquity observer orbit organisms patterns period planets Pollock possible precession produce range reality reason reect reection responses rotation sabbath sensitivity shown in Figure simulated simulated reality solar system sound species spectrum stars strategy structure sucient survival symbols symmetry theory Theory of Everything universal grammar University Press variations York