A Quote by Gaspard Monge

Descriptive geometry has two objects: the first is to establish methods to represent on drawing paper which has only two dimensions,-namely, length and width,-all solids of nature which have three dimensions,-length, width, and depth,-provided, however, that these solids are capable of rigorous definition. The second object is to furnish means to recognize accordingly an exact description of the forms of solids and to derive thereby all truths which result from their forms and their respective positions.
I think the most remarkable thing about ice, in my opinion at least, is that it occurs in many, many, many different forms. Most solids occur in typically one or maybe two or three different forms, and ice has approximately 15 different crystal forms, as well as two forms that are called amorphous, which means without any shape at all.
I find it beyond stunning that there is a school of thought or two out there that swears we are into solids and that solids are bad and liquids are good.
The problem comes up because we ask the question in the wrong way. We supposed that solids were one thing and space quite another, or just nothing whatever. Then it appeared that space was no mere nothing, because solids couldn't do without it. But the mistake in the beginning was to think of solids and space as two different things, instead of as two aspects of the same thing. The point is that they are different but inseparable, like the front end and the rear end of a cat. Cut them apart, and the cat dies.
I think not in two or three dimensional terms but in five dimensional terms when I consider a novel. There's height, width, and depth, there's the time factor, and then there's the factor which I call the cerebral factor of the reader, the way the reader adjusts to all the other dimensions, which is the fifth dimension.
You are a victim of your own neural architecture which doesn't permit you to imagine anything outside of three dimensions. Even two dimensions. People know they can't visualise four or five dimensions, but they think they can close their eyes and see two dimensions. But they can't.
In the surface of the paper there is only length and width-there is no such thing as thickness.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
One thing is sure - we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. ..To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.
Proportion is that agreeable harmony between the several parts of a building, which is the result of a just and regular agreement of them with each other; the height to the width, this to the length, and each of these to the whole.
To find the length of an object, we have to perform certain physical operations. The concept of length is therefore fixed when the operations by which length is measured are fixed that is, the concept of length involves as much as and nothing more than the set of operations by which length is determined.
You had been a paper boy to me all these years - two dimensions as a character on the page and two different, but still flat, dimensions as a person. But that night you turned out to be real.
We can't do much about the length of our lives, but we can do plenty about it's width and depth.
You can't do anything about the length of your life, but you can do something about its width and depth.
According to String Theory, what appears to be empty space is actually a tumultuous ocean of strings vibrating at the precise frequencies that create the 4 dimensions you and I call height, width, depth and time.
Because of the many dimensions of forms of though which you can also put into physical form, you have the possibility to create much which we cannot fashion in the same manner.
Because there is something psychologically wrong with you on some level if you want to be on TV, if the only way you can fulfill yourself is by literally going from three dimensions to two dimensions.
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