In 1986, three visionaries - John Lasseter, Ed Catmull, and Steve Jobs - united to form Pixar Animation Studios. Combining their respective abilities in animation, computer graphics, and entrepreneurship, their goal was to create the very first feature length computer animated film. Against all odds and overcoming myriad obstacles, the tiny studio created "Toy Story" and single...(展开全部)

In 1986, three visionaries - John Lasseter, Ed Catmull, and Steve Jobs - united to form Pixar Animation Studios. Combining their respective abilities in animation, computer graphics, and entrepreneurship, their goal was to create the very first feature length computer animated film. Against all odds and overcoming myriad obstacles, the tiny studio created "Toy Story" and single...(展开全部)

伊莱·马奥尔是以色列人，他于1969年从以色列理工学院获得博士学位。长期以来，他对数学和艺术之间的关系有着沈厚的兴趣。他在美国、英国和以色列的期刊上发表过大量论文，所涉及的领域有应用数学、数学教育和数学史。他还积极投身于阐释科学的写作，并因这方面的著作而数次获关奖。他的文章“音乐有什么样的数学特性？”曾在1979年被国家教学教师委员会评选为数学应用最佳文章全国竞赛一等奖。马奥尔博士从1981年以来一直在美国数学学会访问讲师和顾问计划的成员。他在国内外的专业会议上作过多次讲演，而且还就科学和教育问题对一般公众作过多次讲演。

伊莱·马奥尔是以色列人，他于1969年从以色列理工学院获得博士学位。长期以来，他对数学和艺术之间的关系有着沈厚的兴趣。他在美国、英国和以色列的期刊上发表过大量论文，所涉及的领域有应用数学、数学教育和数学史。他还积极投身于阐释科学的写作，并因这方面的著作而数次获关奖。他的文章“音乐有什么样的数学特性？”曾在1979年被国家教学教师委员会评选为数学应用最佳文章全国竞赛一等奖。马奥尔博士从1981年以来一直在美国数学学会访问讲师和顾问计划的成员。他在国内外的专业会议上作过多次讲演，而且还就科学和教育问题对一般公众作过多次讲演。

In this title, Eli Maor examines the role of infinity in mathematics and geometry and its cultural impact on the arts and sciences. He evokes the profound intellectual impact the infinite has exercised on the human mind - from the 'horror infiniti' of the Greeks to the works of M.C. Escher; from the ornamental designs of the Moslems, to the sage Giordano Bruno, whose belief in ...(展开全部)

In this title, Eli Maor examines the role of infinity in mathematics and geometry and its cultural impact on the arts and sciences. He evokes the profound intellectual impact the infinite has exercised on the human mind - from the 'horror infiniti' of the Greeks to the works of M.C. Escher; from the ornamental designs of the Moslems, to the sage Giordano Bruno, whose belief in ...(展开全部)

Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. ...(展开全部)

Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. ...(展开全部)

Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. ...(展开全部)

Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. ...(展开全部)