Peter Galison, Gerald James Holton, Silvan S. Schweber (eds.): Einstein for the 21st Century: His Legacy in Science, Art, and Modern Culture (2008)

More than fifty years after his death, Albert Einstein’s vital engagement with the world continues to inspire others, spurring conversations, projects, and research, in the sciences as well as the humanities. Einstein for the 21st Century shows us why he remains a figure of fascination.

In this wide-ranging collection, eminent artists, historians, scientists, and social scientists describe Einstein’s influence on their work, and consider his relevance for the future. Scientists discuss how Einstein’s vision continues to motivate them, whether in their quest for a fundamental description of nature or in their investigations in chaos theory; art scholars and artists explore his ties to modern aesthetics; a music historian probes Einstein’s musical tastes and relates them to his outlook in science; historians explore the interconnections between Einstein’s politics, physics, and philosophy; and other contributors examine his impact on the innovations of our time. Uniquely cross-disciplinary, Einstein for the 21st Century serves as a testament to his legacy and speaks to everyone with an interest in his work.

The contributors are Leon Botstein, Lorraine Daston, E. L. Doctorow, Yehuda Elkana, Yaron Ezrahi, Michael L. Friedman, Jürg Fröhlich, Peter L. Galison, David Gross, Hanoch Gutfreund, Linda D. Henderson, Dudley Herschbach, Gerald Holton, Caroline Jones, Susan Neiman, Lisa Randall, Jürgen Renn, Matthew Ritchie, Silvan S. Schweber, and A. Douglas Stone.

Publisher Princeton University Press, 2008
ISBN 0691135207, 9780691135205
363 pages

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John Rajchman: Constructions (1998)

In this series of overlapping essays on architecture and art, John Rajchman attempts to do theory in a new way that takes off from the philosophy of the late Gilles Deleuze. Starting from notions of folding, lightness, ground, abstraction, and future cities, he embarks on a conceptual voyage whose aim is to help “construct” a new space of connections, to “build” a new idiom, perhaps even to suggest a new architecture. Along the way, he addresses questions of the new abstraction, operative form, other geometries, new technologies, global cities, ideas of the virtual and the formless, and possibilities for critical theory after utopia and transgression.

Foreword by Paul Virilio
Publisher MIT Press, 1998
Writing Architecture series
ISBN 0262680963, 9780262680967
143 pages

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Charles Howard Hinton: The Fourth Dimension (1904/1912); A New Era of Thought (1888)

In an 1884 article entitled “What is the Fourth Dimension?”, Hinton suggested that points moving around in three dimensions might be imagined as successive cross-sections of a static four-dimensional arrangement of lines passing through a three-dimensional plane, an idea that anticipated the notion of world lines, and of time as a fourth dimension (although Hinton did not propose this explicitly, and the article was mainly concerned with the possibility of a fourth spatial dimension), in Einstein’s theory of relativity. Hinton later introduced a system of coloured cubes by the study of which, he claimed, it was possible to learn to visualise four-dimensional space (Casting out the Self, 1904). Rumours subsequently arose that these cubes had driven more than one hopeful person insane.

Hinton created several new words to describe elements in the fourth dimension. According to OED, he first used the word tesseract in 1888 in his book “A New Era of Thought”. He also invented the words “kata” (from the Greek “down from”) and “ana” (from the Greek “up toward”) to describe the two opposing fourth-dimensional directions—the 4-D equivalents of left and right, forwards and backwards, and up and down.

Hinton’s Scientific romances, including “What is the Fourth Dimension?” and “A Plane World” were published as a series of nine pamphlets by Swan Sonnenschein & Co. during 1884–1886. In the introduction to “A Plane World”, Hinton referred to Abbott’s recent Flatland as having similar design but different intent. Abbott used the stories as “a setting wherein to place his satire and his lessons. But we wish in the first place to know the physical facts.” Hinton’s world existed on the surface of a sphere rather than a flat plane. He extended the connection to Abbott’s work with “An Episode on Flatland: Or How a Plain Folk Discovered the Third Dimension” (1907).

The Fourth Dimension
Third Edition
Published by London: George Allen & Co, 1912

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A New Era of Thought
Publisher London: Swan Sonneschen & Co, 1888

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