Bibliography with Synopsis

Alais, David. Ed., Blake, Randolph. Ed., (2004) Binocular Rivalry. USA. MIT Press.
A series of papers in cognitive psychology on perceptual ambiguity and fluctuations in visual perception with static visual input.

Ashenden. Samantha, Owen. David, (1999) Foucault contra Habermas: recasting the dialogue between genealogy and critical theory. London. Sage.
Defining conceptual and theoretical tools used in debate, its context and, implications for politics and truth.

Ammeraal, Leen. (1998 Computer Graphics for Java Programmers. UK. John Wiley and Sons.
How to make a Bezier curve rather than how to draw with it, useful in conjunction with CAD/CAM showing more of what is behind this type of programming and principles for creating 2D and 3D objects.

Bachelard, Gaston. (1992) The Poetics of Space. Boston. Beacon Press.
Removing the concept of geometry from space. Treating space as felicitous space or eulogical space inhabiting it empirically. The phenomenology of inhabiting the house, with common sense for the ground floor, dreaming in the cellar and withdrawing in the attic. Curves, corners, shells with the miniature deploying to Rieman’s space as a home with curves as in botanical examples, the apple or Stachys. Verticality relaxing as in daydreams opposed to the linearity of rush with the importance of imagination.

Ballinger. Louise, Bowen, (1969) Perspective, Space and Design. Germany, Van Nostrand Reinhold.
Elegant description of perspective and planes and how they have been used by artists throughout history and today.

Bartschi. W, A, Bradley. F, (Trans) (1981) Linear Perspective. Germany, Van Nostrand Reinhold.
Complex constructions including three vanishing points and diminishing vanishing points in reflections.

Bergson, Henri. (2002) Matter and Memory. New York. Zone Books.
The self as being the privileged viewer, and is what happens within the viewer the same as what happens out there? Image concept and productive imagination.

Bolter, J.David. Gromala, Diane. (2003) Windows and Mirrors: Interaction Design, Digital Art and the Myth of Transparency. USA. Leonardo Books, MIT Press.
When design came to the web understanding or ‘transparency’ of it through experience began to show its vast capabilities for artists, technologists, and educationlists. The Xerox PARC development in the 70’s of the computers interface, and how this behaves with the new semantics of hidden features that hinder transparency and usage and why it matters. How this has varied from PC to Mac platform with multiple windows, drag and drop, Control C and Control P.

Benjamin, Walter. Osborne. John, Trans. (2003) The Origin of German Tragic Drama. London. Verso.
Showing punishment without guilt gives time asymmetry and contradicts history. Category will locate and classify form, but form generates category.

Brause. Rita, S, (2000) Writing Your Doctoral Dissertation. Invisible Rules for Success. Great Britain. Falmer Press.

Brett, Guy. Through Our Own Eyes. Heretic Books. Gay Men’s Press.
Brett working in a position of in between looks at how art is reflected and how perception changes when becoming conscious of history and the potential role one can play. The expansion of culture trash and consumption leading to the fragmentation of reality, aided by the media.

Brett, Guy. (1968 Kinetic Art. Studio Vista.
Kinetic art as global threads that occurred simultaneously within different countries with different artists.

Brooks, Lindsay. Anderson, Emma. (2003) The Impossible View? Salford Quays. Lowery Press.
Cataloguing the various ways in which artists depict views from the historical to the contemporary.

Calvino, Italo. (1974) Invisible Cities. USA. Harcourt.
Unmistakably Venice, written in bites with the structure of the writing touching on science, wrapped up in small parcels.

Cavell, Stanley. (1979) The World Viewed. Cambridge. Harvard University Press.
Cavell looks at the screen and how it frames the world. Films placed into different social categories and analysed against different philosophers.

Clarke. Bruce, Ed. Dalrymple Henderson. Linda, Ed. (2002) From Energy to Information. USA.
Stanford University Press.
Papers bringing together art with forces.

Crang, Mike. Thrift, Nigel. (2004) Thinking Space (Critical Geographies). Great Britain. Routledge.
Geographers view on major philosophers.- Lefebvre and how space through conceptulisation has been turned to commodity, implicit feminine space where living takes place, engineering being the masculine space and the secret spaces of society being the space of cohesion and continuity. Festivals are the antithesis to the bureaucratic domination: Lacan’s theories that we model our selves on what we see in the mirror and how this reflection is just surface reality.

Das, Veena. (2006) Life and Words: Violence and the Descent into the Ordinary. USA. University of California Press.
Emotions generated by past violence between the individual and the collective and its effect on everyday life and it becoming ordinary as the phase of witness is entered. How the temporality of the subject has its own effects. Emphasis towards the subjugation of women with case studies of how they deal with it.

Damisch. Hubert, Goodman. John, (Trans) (1994) The Origin of Perspective. Cambridge, Massachhsetts, The Mitt Press.
Extensive questioning work of perspective and analysis with references to the philosophy of perspective and its symbolic form.

Davies. Paul, (2001) How to Build a Time Machine. London. Penquin.
Extensive lay glossary of space-time and all that surrounds it.

Deleuze. Gilles, Lester. Mark, Boundas Constantin. (2004) Logic of Sense. UK. Continuum International Publishing Group. Athlone Press.
Chronus wants to die but future does not allow; a psychoanalysis of Alice with notes on Sylvia and Bruno. The reading of this work makes me raise the question of whose work has had the greater effect, that of Einstein or Dodgson as they have both had immense impact both in the opposite fields in which they worked, one learnt mathematics to display ideas and imagination whilst the other a mathematician, conjured genius in literacy.

Deleuze. Gilles, Tomlinson, Hugh. Trans. Habberjam. Barbara, Trans. (1986) Cinema 1: The Movement Image. London. The Athlone Press.
Concepts treated as image of the thoughts which transverse the emotive or rational. A resume of Bergson’s Closed sets or Open wholes, the virtual reality of ‘any space’ whatever. A poetic translation of blocks of space and space-time that was also eluded to by Bergson, artists and the Cubists and often referred to as pseudo science. The language between the two disciplines forming a Creole, which appears to be resented by both.

Deleuze. Gilles, Tomlinson, Hugh. Trans. Galeta. Robert, Trans. (2005) Cinema 2: The Time Image London. Continuum International Publishing. The Athlone Press.
Looking at regimes of localised instances and upsetting order. Talks of transcendence to the horizon event, a mix of the super natural with super physics. How the camera subordinates space and thought.

Deleuze. Gilles, Hand. Patton. Paul, Trans. (2004) Difference and Repetition. London. Continuum International Publishing. Athlone Press.
Looking at different symmetries, dis-symmetries and asymmetries, maths, static repletion and moving repetition leading to knowledge instances and their reproduction. Can be difficult to judge if this piggy backs science and trivialises humanities or is broardening the base of both as often high end physic terms are brought in.

Derrida. Jacques, Levinas, Critchley. Simon, (1992) The Ethics of Deconstruction. Oxford. Blackwell.

Derrida. Jacques, Johnson. Barbara, Trans. (1981) Dissemination. London. Athlone Press.
Derrida. Jacques, Bass. Alan, Trans. (1978 Writing and Difference. London. Routledge & Kegan Paul.
Discussing pure absence, not of this or that of everything, duration again but of space.

Deslanders. Yvonne, Griffin. Jonathan, Trans. (1963) Delacroix. London. Thames and Hudson.
Delcoix’s painting and his breaking new ground not only in the manner of style but in positioning of his subject to break the frame.

David. Deutsch, (1998 The Fabric of Reality: Towards a Theory of Everything. London. Penguin Books.
Poppers analysis of “Induction” and its difference with “Argument” and how it relates back to scientific theory, mathematic the axiom and conclusion the theory. How argument deals with ambiguities, gaps and irrelevancies. Inductionism, reductionism, solipsism, positivism, how they all offer arguments and defences. How Gödel revolutionised both math and philosophy by showing consistency in validating a proof was not possible. Penrose’s answer to it which is probably through Turing’s principal of open ended calculation.

Dodgson. Charles Lutwidge, (1977) Lewis Carroll’s Symbolic Logic: Part I, Elementary. Part I and Part 2, New York. Clarkson Potter.
Dodgson’s work after Alice and Dy-namics of a Particle (pre-cursor to Hall. Flatland.) The brilliance of Dodgson’s seemingly simplistic logic examples questions mathematic and linguistic propositions. Well aware of post-Rieman developments his logic examples which include references to Euler and Venn are still used today although pre-Boolean algebra, focus on paradoxes and syllogism.

Elam. Kimberley, (2001) Geometry of Design: Studies in Proportion and Composition. New York. Princeton Architectural Press.
Geometry of the Golden Section and its occurrence in nature and how we respond to it.

Eliasson. Olafur, (2006) Your Engagement Has Consequences: On the Relativity of Your Reality. Lars Muller Publishers.
Mirrored passageways, shadows and light works question perception with their unsettling effect and questioning if re-evaluation is required in space and time.

Eliasson. Olafur, Grynsztejn. Madeleine, Auth. Bal. Mieke, Auth. (2007) Take Your Time. Thames & Hudson.
Eliasson’s interactive installation of kaleidoscopic work of participating in waterfalls and the individual capturing the rainbow and how each person sees a different rainbow, includes mirrored passageways, hexagonal mirror scape. Eliasson’s work questions perception.

Falzon. Christopher. (1998 Foucault and social dialogue: beyond fragmentation. London. Routledge.
Falzon states that truth and moral, being local and historically specific is dynamic, to the opposed view that without foundation there will be chaos as ‘anything goes’. Closed and open thinking with an egocentric predicament of not knowing if allowing a deception of further oppression and closure has been put in place.

Godel, Kurt. Meltzer. B, (1992) On Formally Undecidable Propositions of “Principia Mathematica and Related Systems”. New York. Dover Publications Inc.
Finding the gap in the formal system of mathematics that allows for difference. Using formula based on natural numbers Godel bases his proposition on series of series of natural numbers. The lead to and the development “ There exist propositional formulae a such that neither a nor the negation of a are provable formulae”. Basically showing that not everything is provable in the system of math commonly used that of Principle Mathematica and Zermelo-Fraenkel.

Gombrich, E. H. (1994) The Image and the Eye. London. Phaidon.
Series of lectures, with a very eclectic range of images, includes references to J.J. Gibson and his studies of visual perception and Erwin Panofsky on perspective.

Gombrich, E. H. (1992) The Sense of Order. A Study in the Psychology of Decorative Art. Hong Kong. Phaidon.

Goodenough. Jerry, Ed. Read. Rupert, Ed. (2005) Film as Philosophy: Essays in Cinema After Wittgenstein and Cavell.Basingstoke. Palgrave Macmillan.
Treating films as philosophy, a set of essays written by leading scholars in the field.

Graham. Dan, Alberro. Alexander, Ed., Wall. Jeff, Intro. (1999) Two-way Mirror Power: Selected Writings by Dan Graham on His Art. USA The MIT Press.

Gregory. R. L. (1966) Eye and Brain. London. World University Library.
Gregory’s work at Cambridge in the Perception Laboratory looking at the physiology and the psychology of seeing.
How the artist portrays three dimensions.

Gregory. R. L. Ed. and Gombrich E. H. Ed. (1973) Illusion in Nature and Art. London. Duckworth.

Hawking. S.W, Auth. Penrose. Roger, Auth. Atiyah, Michael. Foreward, (1996) The Nature of Space and Time (Isaac Newton Institute Series of Lectures). West Sussex. Princeton University Press.
Lectures debating if quantum and cosmos can ever be combined. From evaporating black holes through quantum, to including why does time only go forward? Understanding the universe in terms of the geometry of light cones.

Henderson. Linda Dalrymple, (1998 Duchamp in Context: Science and Technology in the Large Glass and Related Works. New Jersey. Princeton University Press.
Seminal study of Duchamp’s Large Glass and the copius notes which formed a major part of this abstract work with reference to nineteenth century physics that influenced its making.

Henderson. Linda Dalrymple, (1983) The Fourth Dimension and Non-Euclidean Geometry in Modern Art. First Ed. New Jersey. Princeton University Press.
The influence of nineteenth century physics and science on art at that time and its development away from non-Euclidean
structure.

Hofstadter’s. Douglas, (2000) Gödel, Esher, Bach: an eternal golden braid. UK. The Harvester Press.
The whole book is like one large mind map with eclectic information and its meaning. Referrals to syntax and semantics
bringing together dispirit entities.

Horwich. Paul, (1992) Asymmetries in Time. Cambridge. Massachusetts Institute of Technology.
The direction of time, its anisotropy and possible instances when time direction may change. The importance that is placed on this direction, the understanding of each direction, can there be change without cause, and how the causal order could be affected. Reference to the flashback in ‘now time’.

Hume. David, (1999) An Enquiry Concerning Human Understanding. Oxford University Press.

Hill. Anna, (2004) Auroral Synapse. Space Synapse Ltd.
Art catalog of installation work including audio coupled with the Northern Lights.

Lefebvre, Henri, Nicholson-Smith. Donald, Trans. (2005) The Production of Space. Oxford. Blackwell.
Original work on space and the philosophy of it. Looking at mental space, and real space, space is given gender orientations and looked at from different disciplines.

Leyton. M, (1999) Symmetry, Causality, Mind. Massachusetts. Bradford Books. MIT Press.

Locke, John. Woolhouse, R.S., Ed. Concerning Human Understanding. UK. Penguin Classics.
We are not born with knowledge but acquire it through perception, common sense, experience and reason.

Kant. Immanuel, Lucas. Peter C, Trans. (1953) Prolegomena to any future metaphysics that will be able to present itself as a science. Manchester U.P.

Kant. Immanuel, Paul, Guyer. Ed. Allen. W. Wood, Ed. (2005) Critique of Pure Reason. USA. Cambridge University Press.

Kelso. J.A.Scott, (1997) Dynamic Patterns: The Self-Organization of Brain and Behaviour (Complex Adaptive Systems). Massachusetts. MIT Press.

Kemp. M, (1990) The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. China. Yale University Press.

Kemp. M, (2000) Visualizations: The “Nature” Book of Art and Science. USA. Oxford University Press.

Kemp. M, (2006) Seen/Unseen: Art, Science, and Intuition from Leonardo to the Hubble Telescope. New York. Oxford University Press.

Kernighan. Brian W, Ritchie. Dennis M, (1978 C. Programming Language. New Jersey. Prentice Hall.
Standard reference book for using ANSI C with short assessable programming samples.

Klein. Jacob, Auth, Brann. Eva T.H. Trans. (1993) Greek Mathematical Thought and the Origin of Algebra. USA MIT Dover Publications Inc.

Krauss. Rosalind, E, (1981) Passages in Modern Sculpture. USA Massachusetts. The MIT Press.
Looks at the development of sculpture bringing it in context with ttoday’s conceptual work and it’s placement in new or different environments.

Locke. John, (2003) Essay concerning human understanding. Bristol. Thoemmes.

Maeda. John, (2004) Creative Code: Aesthetics and Computation. Thames and Hudson.

Maeda. John, (1999) Design by Numbers. USA. Massachusetts Institute of Technology.
Use of the language DBN which uses elements from C/JAVA, LOGO, BASIC and LISP showing how to draw a line and progression of lines in computer language.

Maeda. John, (2000) Maeda @ Media. Hong Kong. Rizzoli International Publications.
Extensive exhibition works.

Maillet, Arnaud A, (2004) The Claude Glass: Use and Meaning of the Black Mirror in Western Art. New York. Zone Books.
Research of why artists used the black glass for drawing, how it differed from clear glass and use in drawing, of mirrors today.

Mannon. Laurent, Ed. Nekes. Werner, Ed. Warner. Marina, Ed. (2004) Eyes, Lies and Illusions. Lund Humphries. Hayward.
Ambiguity, zeotropes, thaumatropes, anamorhphic, zoomorphic, all hidden visual messages and tricks from the past and brought up to date with modern artists who include Tony Ousler – Ventriloquist Dummy, Anthony McCall – Line describing a cone projection (maybe viewed in different positions with different aspects), Alfons Schilling –Gazelle viewing devices (‘I’m trying to demonstrate, whilst psychologists are trying to understand’).

Manovich. Lev. (2000) The Language of New Media Leonardo. Massachusetts. The MIT Press.

McCrone. John, (1999) Going Inside. England. Faber and Faber.
How the brain responds to stimulus and the time it takes. Shows how pre-conditioning can alter the response enough
to achieve exemplary results were quick reflex actions are required.

McManus. Chris, (2002) Right Hand, Left Hand, The Origins of Asymmetry in Brains, Bodies, Atoms and Culture. London. Weidenfeld and Nicolson.

Mitchell. William J, (2004) ME++ The Cyborg Self and the Networked City. Massachusetts. The MIT Press.
Literary romps of were all the electronic networking is now and its possible (depressing) future use/misuse and the extent to which it has invaded lives both private, corporate and institutional. Invisible money, credit cards spending patterns, their signatures, characteristics, suspicious or not suspicious. Keys becoming part of the network and losing their discernability (swipe cards) therefore open to abuse. Information stored and retrieved in any place (unlike Book of Kells which I thought was at Lindisfarne not Dublin) and information and storage ‘cheap’. Linking of low powered miniaturised portable devices to high-speed long distance networks.

Mitchell. William J, (2005) Placing Words: Symbols, Space, and the City. Massachusetts. The MIT Press.

Panofsky. Erwin, Wood. Christopher, S, (Trans) Perspective as Symbolic Form. Zone Books, New York, 1997
The diffinitive book on philosophy of perspective from pre-Greek to present day including the reverse perspective of Byzantium art. Showing the development of symbolic perspective in art as inextricable linking with the growth of mathematics into systematic space.

Phillips. Estelle M. Pugh. Derek S. (1994) How to Get a PhD: A Handbook for Students and Their Supervisors. England. Open University Press.

Picker. John, M, (2003) Victorian Soundscapes. USA. Oxford University Press Inc.

Popper. Karl, R, (1974) Objective Knowledge: An Evolutionary Approach. Great Britain. Oxford University Press.

Popper. Karl, R, (1972) Realism and the Aim of Science. London. Hutchinson.

Popper. Karl, R, (1994) The Myth of the Framework: In Defence of Science and Rationality. London. Routledge.

Prigogine. Ilya, (1997) The End of Certainty: Time, Chaos and the New Laws of Nature. USA The Free Press.

Reichardt. Jasia, (1978 Robots: Fact, Fiction, and Prediction. Thames and Hudson.

Reichardt. Jasia, Pasmore. Victor, (1962) Art in Progress. London. Methuen.

Reichardt. Jasia, (1971) Cybernetics, Art, Ideas. New York. Graphic Society.
Catalogue of first computer art exhibition including pen plotting and programming.

Reichardt. Jasia, (1972) Toys by Artists. New York. Bonnier International Design.

Reichardt, Jasia. (1971) The Computer in Art. New Hampshire. Reinhold.
Early computer art, mostly algorithms as a historical record of the development of the computer and the interaction between engineers and artists as both explore the new system. Includes work by Csuri and Schwartz.

Reiss. Julie H, (2001) From Margin to Center: The Spaces of Installation Art. Massachusetts. MIT Press.

Richter. Gerhard, (2002) Eight Gray. Germany. Guggenheim Foundation.
Detailed drawings, working drawings and placement drawings/maps of frames used in exhibition, their placing and restriction of space. Single framing, moving frames and multiple frames with glass panels. Glass and its reflective property, grey and its monotone property/quality.

Rosen. R, (2000) Essays on Life Itself (Paper) (Complexity in Ecological Systems). Columbia. University Press.

Robbin. Tony, (2006) Shadows of Reality: The Fourth Dimension And Projective Geometry in Relativity, Cubism, And Modern Thought. USA. Yale University Press.
Impact of 4D thought on art through projective geometry, algorithms, quasi crystals, quantum. Discusses De Brujin’s interpretations of Penrose tilings which is explained through slicing in the golden ratio with Kemps noting the psychological phenomena of tiling effects on the eye with receding and advancing planes (Neckar Cubes). Mathematical inaccuracies include an isomorphism of one 4D coordinated system to another rather than a projection to a lower dimensional space and projection of sections.

Robbin. Tony, Rucker, Rudy V. B. (Rudy Von Bitter), Henderson, Linda Dalrymple, (1992) Fourfield: Computers, Art & the 4th Dimension. Boston. Bulfinch Press.
Detailed analysis of what could be elements of the 4th dimension from quasi crystals and tiling to the perspectives of eastern art, culminates in Tony Robbins extraordinary interactive sculpture of the hypercube.

Rucker, Rudy V. B. (Rudy Von Bitter). (1977) Geometry, Reality and the Fourth Dimension. New York. Dover.

Russell. Bertrand, (2006) Introduction to Mathematical Philosophy. Oxon. Routledge.
The defining of the number 1 and the difficulty of its definition and the following numbers.
Gentler mathematical philosophy than his definitive work, outlines concepts of number patterning from ordinals = series, cardinal = classes, symmetries explained in his style were symmetry may be in a pair of socks but not in a pair of boots.

Russell. Bertrand, (2006) Our Knowledge of the External World. Oxon. Routledge.

Russell. Bertrand, (2006) Principles of Mathematics. Oxon. Routledge.
An extensive formalisation of mathematics of axioms and inferences.

Schama. Simon, (1995) Landscape and Memory. London. Harper Collins.

Smoot. George, (1993) Wrinkles in Time. London. Little, Brown and Company.

Tanizaki. Jun’ichiro, (1977) In Praise of Shadows. U.S.A. Leete’s Island Books.

Thater, Diana, Kelly. Karen, (2002) Knots and Surfaces. DIA Center For The Arts.

Thater. Diana, (2003) Transcendence is Expansion and Contraction at the Same Time. Stuttgart. Germany.
Haunch of Venison. Offizin Scheufele.

Trumble. William, R. Stevenson. Angus, (Eds) (2002) Shorter Oxford English Dictionary. Fifth Edition. UK.
Oxford University Press.

Turrell. James, Adcock. Craig, Auth. (1992) The Art of Light and Space. University of California Press.
Turrells work is shown as simple coloured spaces that contains his usual disarming change of perspectives along with Robert Irwin’s soft grainy disorientating light that hides and reveals parts of the architecture. Includes work of other Light and Space artists, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey working in a variety of medium.

Turrell. James, Adcock. Craig, Auth. (1986) The Roden Crater project : an exhibition organized by the University of Arizona Museum of Art, Tucson. University of Arizona Museum of Art.

Solso. Robert, L, (2003) The Psychology of Art and the Evolution of the Conscious Brain. London. The MIT Press.

Vesely. Dalibor, (2004) Architecture in the Age of Divided Representation: The Question of Creativity in the Shadow of Production. USA. MIT Press.
Fragmentation after the Baroque and the effects of the development of modern science. The medieval understanding of light and perspective and its subsequent fragmentation into commodity. Places fragmentation at the origin of perspective and modern illusion that reduces the world to a picture.

Vernon. M, D, (1962) The Psychology of Perception. UK Penguin.

Vidler. Anthony, (2002) Warped Space: Art, Architecture and Anxiety in Modern Culture. Massachusetts. Mitt Press.

Weil, Simone. (1952) Gravity and Grace. UK Routledge and Kegan Paul.

Wertheimer. Max, (1968 Productive Thinking. Great Britain. Tavistock.
As an originator of Gestalt, Wertheimer debates the over simplistic approach of syllogism and some of the crude ways
in which geometry can get misconstrued.

White. Gwen, (1976) Perspective, A Guide for Artists, Architects and Designers. Essex, The Anchor Press.
Extensive diagrams and notes on perspective.
A glossary would include:-
angular perspective, oblique perspective, curvilinear perspective, ascending perspective, descending perspective, progressive perspective, height line, ground plane, picture plane, progressive plane.

Wittgengenstein. Ludwig, Ogden, C, K, (trans.) (2005) Tractatus Logico-Philosophicus. Oxon, Great Britain. Routledge.
Definitive translation of this seminal work of extreme compression of language showing that propositions are pictures of reality.

Wolchonok. Louis, (1969) The Art of Three Dimensional Design. New York, Dover Publications.
Abstraction of shapes within the geometric including adaption to the isometric.

Wolfram. Stephen, (2002) A New Kind if Science. Winnipeg. Wolfram Media, Inc.
In depth research on cellular automata looking at its apparent ramdomness to complexity with the possible implications this has on systems both physical and biological. With a position somewhere between computer science and mathematics has possibilities of touching all disciplines. This seminal work has rightly built up a following of devotees that lay beyond Wolfram’s usual peer group.

Wright. Lawrence, (1983) Perspective in Perspective. London, Routledge and Kegan Paul.
Extensive examination of perspective and how it has been used throughout history by artists. An overview of how the morphology works with the emphasis on how we can assume what we see, is what is actually there.

Zelevansky. Lynn, (2004) Beyond Geometry: Experiments in Form, 1940s-1970s. Massachusetts. Mitt Press.
Further development of post war art that that went beyond the experimenting with geometric forms in Europe, South and North America.

Zohar. Danah, Marshall. Ian, (1993). The Quantum Society. London. Bloomsbury.
Oxford dons explain Bose-Einstein condensate and its importance along with Niels Bohr, Schrodinger et al brought together with the human condition and how dis-simularities exist together.