Art & Physics: Parallel Visions in Space, Time, and Light

I am not a scholar in these subjects, but I am an avid reader, thinker, and idea tinkerer. If you're someone who gets caught up on details and technicality, this book probably isn't for you. If you have your Master's in Art or Physics, you'll probably get too caught up in the technical details to appreciate this style of writing. Shlain is vague, and at times makes some assertions that are a little far-fetched, but I think the point of this book is to make you think of things in a different way, not necessarily to teach you to think certain things.You don't need to accept every part of this book, or any book for that matter. I think it's important to read things like this that challenge you to look at the world in a different way. I think Shlain does a good job of that if you are open to it.This book had a couple of main takeaways for me:- Physics are Art are two disciplines that explain the world in non-verbal terms. It's nearly impossible for people to understand Physics without Math, and it's nearly impossible for someone to say in words what a good artist can express in Art. Both disciplines explain the same Universe and Human Experience in different ways.- Art has the advantage of not being weighed down by the technical details of math & science. Art is intuitive. Therefore, artists typically are ahead of their time in expressing new cultural ideas. That doesn't mean they have a mystical power. Good artists are acute observers and their art speaks for itself.- Lots of fun and interesting stories in the book that make it very engaging. It does take a couple of chapters to get going.Currently reading Shlain's other book -- The Alphabet & The Goddess. He has a similar tendency here to have slightly weak arguments, but the point of these books isn't necessarily to convince you that his theories are absolutely correct, I think. The point is more to show people that these things are very real forces and factors to the whole picture. He admits in both books to not showing the whole picture or alternate theories due to the limitations of a single book. I highly recommend this book to the curious mind. Doesn't mean you need to accept every theory and idea put forth in this...or any book!

There are too many "educated" yet unenlightened trousered apes who insist on seeing math and science as disciplines in opposition to the arts and humanities. This ignorant attitude, unfortunately, has as much to do with the state of American public education as it does with the myopic bigots who promulgate the stifling division.Brain lateralization, or, the division of the right and left brain into proprietary functions of affect and logic, respectively, has been largely dismissed. Nevertheless, it takes two legs to walk: a right leg and a left leg. Right and left legs and arms do not function in adversarial opposition to each other; they function in co-operative coordination with each other for the synergistic benefit and advantage of the whole. The same can be said for seeing various human intellectual endeavors as vital components to a larger ecological whole. Ignoring traditionally characterized "right brain" or "left brain" endeavors is functionally tantamount to giving one's self a "right brain" or "left brain" lobotomy. A truly well-educated person is firing on all cylinders, as it were.Many scientists and mathematicians at the forefront of their fields, who are at the cutting edge of research, can go into rapture about the aesthetics of their work and the profound beauty of their discoveries. Likewise, many artists, in all media, are fascinated with the latest discoveries in science and developments in technology, seeing them as inspiration, and using them as instruments of artistic exploration, investigation, and expression.Shlain's central thesis is that the arts are prescient. In the realm of art and aesthetics, artists articulate intuitive insights, usually without realizing the power of their own intuition, which the sciences later, independently and empirically, discover, explore, and develop. It's all part and parcel of the structure of human consciousness, which might be thought of as a product of the zeitgeist of an era, or an aspect of the larger universal mind. Citing instance after instance throughout the ages, Shlain makes the case, with aplomb, that art and physics are united in that higher realm known as "the universal mind."This book is a cornerstone of my library, and it is highly recommended to all who value intellectual adventure and the insight that meta-analysis can provide. Consider purchasing this with Alan Lightman's wonderful little book, Einstein's Dreams.

Could have been so good, instead pretentious and silly. there is so much REAL physics in art, colour, perspective, geometry, perception, optics, light, pigment, materials, emr/matter interaction, ageing, tension, strength, diffusion, ... etc why go all shamanistic about the parallels between 'weird physics' (ie relativity and quantum) and 'revolutionary art'.

There are two main aspects to this book, firstly there is a very readable history of art and scientific achievements similar to something like Bill Bryson's "A short history of nearly everything" except with a strong focus on art - particularly post-impressionist art - and secondly the two histories are contrasted to illustrate an argument that art and science are related in the sense that when a society changes its ideas about the world, these changes are first 'visualised' through the work of artists before being formally articulated by scientists.As far as the historic discussion is concerned I found the book hugely rewarding even if the basic argument is rejected. The book doesn't aim to cover every artistic movement or medium and certainly makes no claim to cover all scientific developments, but what is covered is done so admirably and complex ideas (such as relativity and quantum mechanics) are made exceptionally simple. Where the argument linking art to science is concerned however, I found the discussion a little unconvincing. For such a controversial idea there is very little space afforded to counter arguments or progressively making a case for Mr Shlain's position. Instead the book reads a little like a massive case study, where simply illustrating the similarities between certain artistic movements and developments in science is taken as proof that the two are linked in the manner outlined in the first chapter. In reality there are many plausible explanations relying on general social changes which could address the same phenomena, but none of these explanations are ever considered.Overall then I've given this 4 stars as it's well researched, well written and genuinely rewarding as an overview of developments in western art and science, but the basic argument is never given a proper airing or defence against counter positions.

I found the first chapter a little clumsy as writing is not the authors main profession. However as the book progresses this settles down and it becomes incredibly interesting. As an artist myself I have always felt that art is the imagination of mankind and science is the implementation. This book explores these ideas giving examples across the history of both art and science. It's also an interesting take on the subconscious and the conscious mind. I think anyone with an interest in art and science should give this a read as it draws the two together in a way you might not have thought of

As described

Love this book. Got it from the library when it was first published - it began my deep interest in science...and art and the link between. Often think that those 'outside' academic science can offer some amazingly interesting thoughts about cross-connections. Now I've got my own copy!