Display in numbered series components

On first encountering the title as "art and mathematics," or in separate quotes, it is very likely that the impression of two different phenomena will never come together in a finite infinite universe. Moreover, the boundaries can be further exacerbated by calling the two phenomena the world of art and the world of mathematics. Even in this situation, does it make sense to say that the two worlds diverge? How much can we talk about the proximity and the distance or the interpenetration of the one and the other, are there no signs that allow for an analogy with mathematics in art or with art in mathematics? Thus, the first component of mathematics, numbers, which featured prominently in Bayçu's pictorial adventure, inevitably increased the expectation of answers to such questions. In this context, the thesis can go so far as to explore whether an analogy can be 3qreached in the process, as the process began to be defined by the practices of both worlds under the same names, which create semantic shifts in what mathematics proves and what art says, in the opposite assessment, "what mathematics says" and "what art proves". The first part of the study provided a general introduction to art and mathematics. The second chapter then concluded with an explanation of number, which gives meaning to both the rarity of the object and the multiplicity of the structured universe, and the attribution of mysterious or super-mathematical powers in a cultural setting in which the world of mathematics is at the heart of everything. The transformation of vision, which captures the eye as a means of understanding in the space where the body is, in the context of space and time; In a process in which technical devices such as cameras and computers lose their significance in vision and image, a discussion that extends to the evolution of the new medium into computer art and digital art, in an attempt to place as the main axis of the thesis in the third chapter. The chapter four explains the process of transforming the pictorial adventure into numbered sequential components on the axis of chapters two and three, as well as the search and orientation of the gaze that attempts to form in pictorial practice; The thesis concludes with chapter five.