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Table of Contents
1 Cover
5 1 Infinity of God and Space of Men in Painting, Conditions of Possibility for the Scientific Revolution 1.1. A brief introduction to infinity 1.2. Infinity in painting and the invention of mathematical space 1.3. Geometrical optics and the subject in projective space 1.4. The limit of time, calculus and algebra 1.5. Rational spaces: from trade to physics 1.6. Setting a priori conditions of representation and knowledge 1.7. Spaces of possibilities for the evolution of life? 1.8. Conclusion and opening: heterogeneous spaces of biological evolution
6 2 Geometry and the Life of Forms 2.1. Introduction 2.2. Taking form 2.3. Art and geometry 2.4. Beyond geometry
7 3 Among the Trees: Iterating Geneses of Forms, in Art and Nature
8 4 The Passion of Flight: From Leonardo da Vinci to Jean Letourneur 4.1. Introduction: from legend to reality 4.2. Leonardo da Vinci and the basis of the theory of flight 4.3. Pioneers of the air and the first fluid movement visualizations 4.4. From Henri Werlé to Jean Letourneur, the sculptor of fluid movement 4.5. Conclusion 4.6. Appendix: additions to the chapter entitled “Why Can’t Man Fly?”, which refers to the article by Marielle Vergès and Kamil Fadel (see footnote 15)
9 5 Sculptor of Fluid Movement 5.1. References
10 6 Internal Geometry of “Salvator Mundi” (The “Cook Version”, Attributed to Leonardo da Vinci) 6.1. Introduction 6.2. Distinctive features of the works of Leonardo da Vinci 6.3. Presentation of the Salvator Mundi, Cook version 6.4. Investigating the compositional mesh 6.5. Compositional format 6.6. Elements of the internal geometry of the Salvator Mundi, Cook version 6.7. A detailed look at the ellipses of the head of the Salvator Mundi 6.8. Visual consonance 6.9. Properties of the type 1 ellipse 6.10. Other applications of the type 1 ellipse 6.11. The decoration of two intersecting bands of the stole 6.12. The internal geometry of the Salvator Mundi (Ganay version) 6.13. Conclusion 6.14. References
11 7 Internal Geometry of a Night Scene by Georges de La Tour: “The Apparition of the Angel to St. Joseph” 7.1. Introduction 7.2. Methodology 7.3. Distinctive features of the work of Georges de La Tour 7.4. Internal geometry of The Appearance of the Angel to St. Joseph 7.5. The search for the compositional mesh 7.6. Compositional format 7.7. The compositional architecture 7.8. The ellipse of light 7.9. Curved or elliptical forms 7.10. Internal geometry of the two protagonists’ heads 7.11. Discussion 7.12. Compositional construction 7.13. Conclusion 7.14. References
12 8 Emergilience, an Art Research Project 8.1. Background of the project Emergilience 8.2. Description of the Emergilience project 8.3. Let us finish with a conclusion that looks to the future 8.4. References
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