“While I was pursuing the concept of geometrical product, as this idea was established by my father… I concluded that not only rectangles, but also parallelograms, may be viewed as products of two adjacent sides, provided that the sides are viewed not merely as lengths, but rather as directed magnitudes. When I joined this concept of geometrical product with the previously established idea of geometrical sum the most striking harmony resulted. Thus when I multiplied the sum of two vectors by a third coplaner vector, the result coincided (and must always coincide) with the result obtained by multiplying separately each of the two original vectors by the third… and adding together (with due attention to positive and negative values) the two products. [Thus A(B + C) = AB + AC. ]
From this harmony I came to see a whole new area of analysis was opening up which could lead to important results.”

— Hermann Grassmann

Ausdehnungslehre (1844)

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Hermann Grassmann 10

German polymath, linguist and mathematician 1809–1877

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“As I was reading the extract from your paper in the geometric sum and difference… I was struck by the marvelous similarity between your results and those discoveries which I made even as early as 1832…
I conceived the first idea of the geometric sum and difference of two or more lines and also of the geometric product of two or three lines in that year (1832). This idea is in all ways identical to that presented in your paper. But since I was for a long time occupied with entirely different pursuits, I could not develop this idea. It was only in 1839 that I was led back to that idea and pursued this geometrical analysis up to the point where it ought to be applicable to all mechanics. It was possible for me to apply this method of analysis to the theory of tides, and in this I was astounded by the simplicity of the calculations resulting from this method.”

Hermann Grassmann (1809–1877) German polymath, linguist and mathematician

Letter to Saint-Venant (1845) as quoted by Michael J. Crowe, A History of Vector Analysis: The Evolution of the Idea of a Vectorial System (1967)

“The first impulse came from the consideration of negatives in geometry; I was accustomed to viewing the distances AB and BA as opposite magnitudes. Arising from this idea was the conclusion that if A, B, and C are points of a straight line, then in all cases AB + BC = AC, this being true whether AB and BC are directed in the same direction or in opposite directions (where C lies between A and B). In the latter case AB and BC were not viewed as merely lengths, but simultaneously their considered since they were oppositely directed, Thus dawned the distinction between the sum of lengths and the sum of distances which were fixed in direction. From this resulted the requirement for establishing this latter concept of sum, not simply for the case where the distances were directed in the same or opposite directions, but also for any other case. This could be done in the most simple manner, since the law that AB + BC = AC remains valid when A, B, and C do not lie on a straight line.
This then was the first step which led to a new branch of mathematics… I did not however realize how fruitful and how rich was the field that I had opened up; rather that result seemed scarcely worthy of note until it was combined with a related idea.”

Hermann Grassmann (1809–1877) German polymath, linguist and mathematician

Ausdehnungslehre (1844)

“The concept of rotation led to geometrical exponential magnitudes, to the analysis of angles and of trigonometric functions, etc. I was delighted how thorough the analysis thus formed and extended, not only the often very complex and unsymmetric formulae which are fundamental in tidal theory, but also the technique of development parallels the concept.”

Hermann Grassmann (1809–1877) German polymath, linguist and mathematician

Ausdehnungslehre (1844)

“Some… agreeing with Philolaus, believe that the proportion is called harmonic because it attends upon all geometric harmony, and they say that 'geometric harmony' is the cube because it is harmonized in all three dimensions, being the product of a number thrice multiplied together. For in every cube this proportion is mirrored; there are in every cube 12 sides, 8 angles and 6 faces; hence 8, the [harmonic] mean between 6 and 12, is according to harmonic proportion…”

Nicomachus (60–120) Ancient Greek mathematician

this harmonic proportion may be expressed as <math>\frac{12}{6}=\frac{12-8}{8-6}</math> or inversely.
Nicomachus of Gerasa: Introduction to Arithmetic (1926)

“Measure-relations can only be studied in abstract notions of quantity, and their dependence on one another can only be represented by formulæ. On certain assumptions, however, they are decomposable into relations which, taken separately, are capable of geometric representation; and thus it becomes possible to express geometrically the calculated results. In this way, to come to solid ground, we cannot, it is true, avoid abstract considerations in our formulæ, but at least the results of calculation may subsequently be presented in a geometric form. The foundations of these two parts of the question are established in the celebrated memoir of Gauss, Disqusitiones generales circa superficies curvas.”

Bernhard Riemann (1826–1866) German mathematician

On the Hypotheses which lie at the Bases of Geometry (1873)

“At the moment there is a great tendency in painting to discover the 'new' harmony by constructive means whereby the rhythmic is built on an almost geometric form... I am certain that our own modern harmony is not to be found in the 'geometric' way, but rather in the anti-geometric, anti-logical way. And this way is that of 'dissonance in art', in painting, therefore, just as much as in music. And 'today's' dissonance in painting and music is merely the consonance of 'tomorrow.”

Wassily Kandinsky (1866–1944) Russian painter

Quote in Kandinsky's letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
1910 - 1915