Great Currents Of Mathematical Thought

50 essays by eminent scholars include meditations on "Structures," Disciplines," "Space," "Function," "Group," "Probability," and "The Mathematical Epic" (Volume I) and on "Mathematics and the Human Intellect," "Mathematics and Technology," and "Mathematics and Civilization" (Volume II). 1962 edition.

50 essays by eminent scholars include meditations on "Structures," Disciplines," "Space," "Function," "Group," "Probability," and "The Mathematical Epic" (Volume I) and on "Mathematics and the Human Intellect," "Mathematics and Technology," and "Mathematics and Civilization" (Volume II). 1962 edition.

This book is the first major study of advanced mathematical thinking as performed by mathematicians and taught to students in senior high school and university. Topics covered include the psychology of advanced mathematical thinking, the processes involved, mathematical creativity, proof, the role of definitions, symbols, and reflective abstraction. It is highly appropriate for the college professor in mathematics or the general mathematics educator.

This is the first book by a sociologist devoted exclusively to a general sociology of mathematics. The author provides examples of different ways of thinking about mathematics sociologically. The survey of mathematical traditions covers ancient China, the Arabic-Islamic world, India, and Europe. Following the leads of classical social theorists such as Emile Durkheim, Restivo develops the idea that mathematical concepts and ideas are collective representations, and that it is mathematical communities that create mathematics, not individual mathematicians. The implications of the sociology of mathematics, and especially of pure mathematics, for a sociology of mind are also explored. In general, the author's objective is to explore, conjecture, suggest, and stimulate in order to introduce the sociological perspective on mathematics, and to broaden and deepen the still narrow, shallow path that today carries the sociology of mathematics. This book will interest specialists in the philosophy, history, and sociology of mathematics, persons interested in mathematics education, students of science and society, and people interested in current developments in the social and cultural analysis of science and mathematics.

The renowned naturalist, Loren Eisely, observed that we humans have given up the “certainty of the animal that what it senses is exactly there in the shape the eye beholds.” The big question is, what did we get in return? This book provides a convincing answer to this question, arguing that, instead of recording reality, your brain uses your experience to create a story, a narrative, about how what happened to you in the past led to what is happening to you now. This narrative is your private reality. The book continues by showing how replacing recorded reality with private narrative enabled humans to anticipate the fundamentally unknowable immediate and remote future and expose potential threats. It then shows how private narrative enabled complex thought and communication with others. Drawing upon a wide range of research, the book provides a stimulating new way of viewing human experience, thinking, communicating, and action.

Chips away at the notion of an accidental relationship between math and art and literature. During the twentieth century, many artists and writers turned to abstract mathematical ideas to help them realize their aesthetic ambitions. Man Ray, Marcel Duchamp, and, perhaps most famously, Piet Mondrian used principles of mathematics in their work. Was it mere coincidence, or were these artists simply following their instincts, which in turn were ruled by mathematical underpinnings, such as optimal solutions for filling a space? If math exists within visual art, can it be found within literary pursuits? In short, just what is the relationship between mathematics and the creative arts? In this provocative, original exploration of mathematical ideas in art and literature, Robert Tubbs argues that the links are much stronger than previously imagined and exceed both coincidence and commonality of purpose. Not only does he argue that mathematical ideas guided the aesthetic visions of many twentieth-century artists and writers, Tubbs further asserts that artists and writers used math in their creative processes even though they seemed to have no affinity for mathematical thinking. In the end, Tubbs makes the case that art can be better appreciated when the math that inspired it is better understood. An insightful tour of the great masters of the last century and an argument that challenges long-held paradigms, Mathematics in Twentieth-Century Literature and Art will appeal to mathematicians, humanists, and artists, as well as instructors teaching the connections among math, literature, and art.