Taylor, Richard; Micolich, Adam P.; Jonas, David.Fractal Expressionism: Can Science Be Used To Further Our Understanding Of Art? (англ.) // Physics World : magazine. — 1999. — October (vol. 12). — P. 25—28. — doi:10.1088/2058-7058/12/10/21. Архивировано 5 августа 2012 года.. — «Pollock died in 1956, before chaos and fractals were discovered. It is highly unlikely, therefore, that Pollock consciously understood the fractals he was painting. Nevertheless, his introduction of fractals was deliberate. For example, the colour of the anchor layer was chosen to produce the sharpest contrast against the canvas background and this layer also occupies more canvas space than the other layers, suggesting that Pollock wanted this highly fractal anchor layer to visually dominate the painting. Furthermore, after the paintings were completed, he would dock the canvas to remove regions near the canvas edge where the pattern density was less uniform.». Архивированная копия (неопр.). Дата обращения: 9 июня 2017. Архивировано из оригинала 5 августа 2012 года.
Cunningham, Lawrence; Reich, John; Fichner-Rathus, Lois.Culture and Values: A Survey of the Western Humanities (англ.). — Cengage Learning[англ.], 2014. — P. 375. — ISBN 978-1-285-44932-6.. — «which illustrate Uccello’s fascination with perspective. The jousting combatants engage on a battlefield littered with broken lances that have fallen in a near-grid pattern and are aimed toward a vanishing point somewhere in the distance.».
Boussora, Kenza; Mazouz, Said.The Use of the Golden Section in the Great Mosque of Kairouan (англ.) // Nexus Network Journal : journal. — Vol. 6, no. 1. — P. 7—16. — doi:10.1007/s00004-004-0002-y. Архивировано 4 октября 2008 года.. — «The geometric technique of construction of the golden section seems to have determined the major decisions of the spatial organisation. The golden section appears repeatedly in some part of the building measurements. It is found in the overall proportion of the plan and in the dimensioning of the prayer space, the court and the minaret. The existence of the golden section in some parts of Kairouan mosque indicates that the elements designed and generated with this principle may have been realised at the same period.». Архивированная копия (неопр.). Дата обращения: 4 июня 2017. Архивировано из оригинала 4 октября 2008 года.
Schreiber, P. A New Hypothesis on Durer's Enigmatic Polyhedron in His Copper Engraving 'Melencolia I' (англ.) // Historia Mathematica[англ.] : journal. — 1999. — Vol. 26. — P. 369—377. — doi:10.1006/hmat.1999.2245.
Wright, Richard. Some Issues in the Development of Computer Art as a Mathematical Art Form (англ.) // Leonardo[англ.] : journal. — 1988. — Vol. 1, no. Electronic Art, supplemental issue. — P. 103—110. — doi:10.2307/1557919. — JSTOR1557919.
Taylor, Richard; Micolich, Adam P.; Jonas, David.Fractal Expressionism: Can Science Be Used To Further Our Understanding Of Art? (англ.) // Physics World : magazine. — 1999. — October (vol. 12). — P. 25—28. — doi:10.1088/2058-7058/12/10/21. Архивировано 5 августа 2012 года.. — «Pollock died in 1956, before chaos and fractals were discovered. It is highly unlikely, therefore, that Pollock consciously understood the fractals he was painting. Nevertheless, his introduction of fractals was deliberate. For example, the colour of the anchor layer was chosen to produce the sharpest contrast against the canvas background and this layer also occupies more canvas space than the other layers, suggesting that Pollock wanted this highly fractal anchor layer to visually dominate the painting. Furthermore, after the paintings were completed, he would dock the canvas to remove regions near the canvas edge where the pattern density was less uniform.». Архивированная копия (неопр.). Дата обращения: 9 июня 2017. Архивировано из оригинала 5 августа 2012 года.
Wright, Richard. Some Issues in the Development of Computer Art as a Mathematical Art Form (англ.) // Leonardo[англ.] : journal. — 1988. — Vol. 1, no. Electronic Art, supplemental issue. — P. 103—110. — doi:10.2307/1557919. — JSTOR1557919.
Peterson, Mark.The Geometry of Piero della Francesca (неопр.). — «In Book I, after some elementary constructions to introduce the idea of the apparent size of an object being actually its angle subtended at the eye, and referring to Euclid's Elements Books I and VI, and Euclid's Optics, he turns, in Proposition 13, to the representation of a square lying flat on the ground in front of the viewer. What should the artist actually draw? After this, objects are constructed in the square (tilings, for example, to represent a tiled floor), and corresponding objects are constructed in perspective; in Book II prisms are erected over these planar objects, to represent houses, columns, etc.; but the basis of the method is the original square, from which everything else follows.» Дата обращения: 2 июня 2017. Архивировано из оригинала 1 июля 2016 года.
Boussora, Kenza; Mazouz, Said.The Use of the Golden Section in the Great Mosque of Kairouan (англ.) // Nexus Network Journal : journal. — Vol. 6, no. 1. — P. 7—16. — doi:10.1007/s00004-004-0002-y. Архивировано 4 октября 2008 года.. — «The geometric technique of construction of the golden section seems to have determined the major decisions of the spatial organisation. The golden section appears repeatedly in some part of the building measurements. It is found in the overall proportion of the plan and in the dimensioning of the prayer space, the court and the minaret. The existence of the golden section in some parts of Kairouan mosque indicates that the elements designed and generated with this principle may have been realised at the same period.». Архивированная копия (неопр.). Дата обращения: 4 июня 2017. Архивировано из оригинала 4 октября 2008 года.
O'Connor, J. J.; Robertson, E. F.Mathematics and art – perspective (неопр.). University of St Andrews (январь 2003). Дата обращения: 1 сентября 2015. Архивировано 24 марта 2019 года.
Taylor, Richard; Micolich, Adam P.; Jonas, David.Fractal Expressionism: Can Science Be Used To Further Our Understanding Of Art? (англ.) // Physics World : magazine. — 1999. — October (vol. 12). — P. 25—28. — doi:10.1088/2058-7058/12/10/21. Архивировано 5 августа 2012 года.. — «Pollock died in 1956, before chaos and fractals were discovered. It is highly unlikely, therefore, that Pollock consciously understood the fractals he was painting. Nevertheless, his introduction of fractals was deliberate. For example, the colour of the anchor layer was chosen to produce the sharpest contrast against the canvas background and this layer also occupies more canvas space than the other layers, suggesting that Pollock wanted this highly fractal anchor layer to visually dominate the painting. Furthermore, after the paintings were completed, he would dock the canvas to remove regions near the canvas edge where the pattern density was less uniform.». Архивированная копия (неопр.). Дата обращения: 9 июня 2017. Архивировано из оригинала 5 августа 2012 года.
Salingaros, Nikos.The 'life' of a carpet: an application of the Alexander rules (англ.) // 8th International Conference on Oriental Carpets : journal. — Philadelphia, 1996. — November. Архивировано 5 марта 2016 года. Reprinted in Oriental Carpet and Textile Studies V / Eiland, M.; Pinner, M.. — Danville, CA: Conference on Oriental Carpets, 1998.
vam.ac.uk
Beddard, HonorComputer art at the V&A (неопр.). Victoria and Albert Museum. Дата обращения: 22 сентября 2015. Архивировано 25 сентября 2015 года.
O'Connor, J. J.; Robertson, E. F.Mathematics and art – perspective (неопр.). University of St Andrews (январь 2003). Дата обращения: 1 сентября 2015. Архивировано 24 марта 2019 года.
Peterson, Mark.The Geometry of Piero della Francesca (неопр.). — «In Book I, after some elementary constructions to introduce the idea of the apparent size of an object being actually its angle subtended at the eye, and referring to Euclid's Elements Books I and VI, and Euclid's Optics, he turns, in Proposition 13, to the representation of a square lying flat on the ground in front of the viewer. What should the artist actually draw? After this, objects are constructed in the square (tilings, for example, to represent a tiled floor), and corresponding objects are constructed in perspective; in Book II prisms are erected over these planar objects, to represent houses, columns, etc.; but the basis of the method is the original square, from which everything else follows.» Дата обращения: 2 июня 2017. Архивировано из оригинала 1 июля 2016 года.
Boussora, Kenza; Mazouz, Said.The Use of the Golden Section in the Great Mosque of Kairouan (англ.) // Nexus Network Journal : journal. — Vol. 6, no. 1. — P. 7—16. — doi:10.1007/s00004-004-0002-y. Архивировано 4 октября 2008 года.. — «The geometric technique of construction of the golden section seems to have determined the major decisions of the spatial organisation. The golden section appears repeatedly in some part of the building measurements. It is found in the overall proportion of the plan and in the dimensioning of the prayer space, the court and the minaret. The existence of the golden section in some parts of Kairouan mosque indicates that the elements designed and generated with this principle may have been realised at the same period.». Архивированная копия (неопр.). Дата обращения: 4 июня 2017. Архивировано из оригинала 4 октября 2008 года.
Salingaros, Nikos.The 'life' of a carpet: an application of the Alexander rules (англ.) // 8th International Conference on Oriental Carpets : journal. — Philadelphia, 1996. — November. Архивировано 5 марта 2016 года. Reprinted in Oriental Carpet and Textile Studies V / Eiland, M.; Pinner, M.. — Danville, CA: Conference on Oriental Carpets, 1998.
Ashforth, Pat; Plummer, SteveMenger Sponge (неопр.). Woolly Thoughts: In Pursuit of Crafty Mathematics. Дата обращения: 23 сентября 2015. Архивировано 17 апреля 2021 года.
Ashforth, Pat; Plummer, SteveAfghans for Schools (неопр.). Woolly Thoughts: Mathghans. Дата обращения: 23 сентября 2015. Архивировано 18 сентября 2015 года.
Cunningham, Lawrence; Reich, John; Fichner-Rathus, Lois.Culture and Values: A Survey of the Western Humanities (англ.). — Cengage Learning[англ.], 2014. — P. 375. — ISBN 978-1-285-44932-6.. — «which illustrate Uccello’s fascination with perspective. The jousting combatants engage on a battlefield littered with broken lances that have fallen in a near-grid pattern and are aimed toward a vanishing point somewhere in the distance.».
Grendler, P. What Piero Learned in School: Fifteenth-Century Vernacular Education (англ.) / M.A. Lavin. — Piero della Francesca and His Legacy. — University Press of New England[англ.], 1995. — P. 161—176.
Schreiber, P. A New Hypothesis on Durer's Enigmatic Polyhedron in His Copper Engraving 'Melencolia I' (англ.) // Historia Mathematica[англ.] : journal. — 1999. — Vol. 26. — P. 369—377. — doi:10.1006/hmat.1999.2245.
Wright, Richard. Some Issues in the Development of Computer Art as a Mathematical Art Form (англ.) // Leonardo[англ.] : journal. — 1988. — Vol. 1, no. Electronic Art, supplemental issue. — P. 103—110. — doi:10.2307/1557919. — JSTOR1557919.
Ashforth, Pat; Plummer, SteveMenger Sponge (неопр.). Woolly Thoughts: In Pursuit of Crafty Mathematics. Дата обращения: 23 сентября 2015. Архивировано 17 апреля 2021 года.
Ashforth, Pat; Plummer, SteveAfghans for Schools (неопр.). Woolly Thoughts: Mathghans. Дата обращения: 23 сентября 2015. Архивировано 18 сентября 2015 года.
