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Four Dimensional Vistas

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Four Dimensional Vistas is a book written by Claude Bragdon that explores the concept of the fourth dimension and its potential applications in art, architecture, and spirituality. Bragdon uses his background as an architect and artist to delve into the theoretical and practical aspects of this concept, discussing topics such as perspective, symmetry, and the nature of reality. The book is divided into four sections, each of which focuses on a different aspect of the fourth dimension and its relationship to the world we perceive. Throughout the book, Bragdon uses diagrams and illustrations to help readers visualize the concepts he is discussing. Overall, Four Dimensional Vistas is a thought-provoking exploration of a complex and abstract concept that has fascinated thinkers for centuries.1916. Partial Contents: Quest of Freedom, Undiscovered Country, Miracles, Failure of Common Sense, Function of Science, Math and Intuition; Dimensional Ladder, From Cosmos to Corpuscle, Dimensional Sequences, Higher, and Highest Space; Physical Phenomena, Symmetry, Isomerism, Orbital Motion of Spheres, Cell-subdivision, Electric Current; Transcendental Physics, Apparitions, Possession, Clairvoyance in Space; Curved Time; Sleep and Dreams, Eastern Teaching in regard to Sleep and Dreams, Space in Dreams; Night Side of Consciousness, Field of Psychic Research, Modifying the Past; Karma and Reincarnation; Eastern Teaching, Oriental Physics and Metaphysics, Self-Recovered Memory of past Births; The Mystics, Hermes, Plato's Shadow Watchers, Swedenborg, Intuition and Reason; Genius; The Gift of Freedom, Concept and Conduct, Selflessness, Humility, the Immanent Divine.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

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Claude Fayette Bragdon (August 1, 1866 - 1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, then in New York City. The designer of Rochester's New York Central Railroad terminal (1909-13) and Chamber of Commerce (1915-17), as well as many other public buildings and private residences, Bragdon enjoyed a national reputation as an architect working in the progressive tradition associated with Louis Sullivan and Frank Lloyd Wright. Along with members of the Prairie School and other regional movements, these architects developed new approaches to the planning, design, and ornamentation of buildings that embraced industrial techniques and building types while reaffirming democratic traditions threatened by the rise of urban mass society. In numerous essays and books, Bragdon argued that only an "organic architecture" based on nature could foster democratic community in industrial capitalist society. Bragdon was born in Oberlin, Ohio. He was raised in Watertown, Oswego, Dansville and Rochester, New York, where his father worked as a newspaper editor. After working for architects in Rochester, New York City, and Buffalo, Bragdon went into practice in Rochester. His major buildings include the city's New York Central Railroad Station, the Rochester First Universalist Church, Bevier Memorial Building, Shingleside, and the Rochester Italian Presbyterian Church, among many others. At Oswego he designed the Oswego Yacht Club. He designed an addition to the Romanta T. Miller House in 1914.[1]:8 While Bragdon's early work reflected the revival of Renaissance architecture associated with the City Beautiful, he soon became a leading participant in the arts and crafts movement, working with Harvey Ellis, Gustav Stickley, and other arts and crafts artists. Around 1900, Bragdon embraced the ideas of Louis Sullivan and began to reorient his work toward the midwestern ideal of a progressive architecture based on nature. His version of organic architecture, however, reflected different social and cultural values than did those of either Sullivan or Bragdon's contemporary Frank Lloyd Wright. Whereas for Sullivan and Wright a building was most organic when it expressed the individual character of its creator, Bragdon saw individualism as a hindrance to the formation of a consensual democratic culture. Accordingly, he promoted regular geometry and musical proportion as ways for architects to harmonize buildings with one another and with their urban context. From 1900 until he closed his architectural practice during World War I, Bragdon applied these principles to his buildings, and he continued to use them through the 1920s in both graphic designs and the theatrical sets he created during a second career as a New York stage designer.