Volume 2 of an authoritative two-volume set that covers the essentials of mathematics and features every landmark innovation and every important figure, including Euclid, Apollonius, and others.
Throughout the long centuries of western metaphysics the problem of the infinite has kept surfacing in different but important ways. It had confronted Greek philosophical speculation from earliest times. It appeared in the definition of the divine attributed to Thales in Diogenes Laertius (I, 36) under the description "that which has neither beginning nor end. " It was presented on the scroll of Anaximander with enough precision to allow doxographers to transmit it in the technical terminology of the unlimited (apeiron) and the indeterminate (aoriston). The respective quanti tative and qualitative implications of these terms could hardly avoid causing trouble. The formation of the words, moreover, was clearly negative or privative in bearing. Yet in the philosophical framework the notion in its earliest use meant something highly positive, signifying fruitful content for the first principle of all the things that have positive status in the universe. These tensions could not help but make themselves felt through the course of later Greek thought. In one extreme the notion of the infinite was refined in a way that left it appropriated to the Aristotelian category of quantity. In Aristotle (Phys. III 6-8) it came to appear as essentially re quiring imperfection and lack. It meant the capacity for never-ending increase. It was always potential, never completely actualized.
In this book, Flora Levin explores how and why music was so important to the ancient Greeks. She examines the distinctions that they drew between the theory of music as an art ruled by number and the theory wherein number is held to be ruled by the art of music. These perspectives generated more expansive theories, particularly the idea that the cosmos is a mirror-image of music's structural elements and, conversely, that music by virtue of its cosmic elements - time, motion, and the continuum - is itself a mirror-image of the cosmos. These opposing perspectives gave rise to two opposing schools of thought, the Pythagorean and the Aristoxenian. Levin argues that the clash between these two schools could never be reconciled because the inherent conflict arises from two different worlds of mathematics. Her book shows how the Greeks' appreciation of the profundity of music's interconnections with philosophy, mathematics, and logic led to groundbreaking intellectual achievements that no civilization has ever matched.
'What is the basic building block of the universe?' Thales of Miletus was the first to ask this fundamental, yet to be answered, question in the sixth century B.C. This book offers an in-depth account of the answers he gave and of his adventure into many areas of learning: philosophy, science, mathematics and astronomy. Thales proved that the events of nature were comprehensible to man and could be explained without the intervention of mythological beings. Henceforth they became subject to investigation, experiment, questioning and discussion. Presenting for the first time in the English language a comprehensive study of Thales of Miletus, Patricia O'Grady brings Thales out of pre-Socratic shadows into historical illumination and explores why this historical figure has proved to be of lasting significance.
This book explores the rich and elegant interplay between the two main currents of mathematics, the continuous and the discrete. Such fundamental notions in discrete mathematics as induction, recursion, combinatorics, number theory, discrete probability, and the algorithmic point of view as a unifying principle are continually explored as they interact with traditional calculus.
A significant number of works have set forth, over the past decades, the emphasis laid by seventeenth-century mathematicians and philosophers on motion and kinematic notions in geometry. These works demonstrated the crucial role attributed in this context to genetic definitions, which state the mode of generation of geometrical objects instead of their essential properties. While the growing importance of genetic definitions in sixteenth-century commentaries on Euclid’s Elements has been underlined, the place, uses and status of motion in this geometrical tradition has however never been thoroughly and comprehensively studied. This book therefore undertakes to fill a gap in the history of early modern geometry and philosophy of mathematics by investigating the different treatments of motion and genetic definitions by seven major sixteenth-century commentators on Euclid’s Elements, from Oronce Fine (1494–1555) to Christoph Clavius (1538–1612), including Jacques Peletier (1517–1582), John Dee (1527–1608/1609) and Henry Billingsley (d. 1606), among others. By investigating the ontological and epistemological conceptions underlying the introduction and uses of kinematic notions in their interpretation of Euclidean geometry, this study displays the richness of the conceptual framework, philosophical and mathematical, inherent to the sixteenth-century Euclidean tradition and shows how it contributed to a more generalised acceptance and promotion of kinematic approaches to geometry in the early modern period.