A Quote by Donald E. Westlake

Seem to be telling this, but really telling that. Three-dimensional writing, like three-dimensional chess. Nabokov was the other master of that. You could learn something from Nabokov on every page he ever wrote.
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.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
If trading is like chess, then macro is like three-dimensional chess.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.
Painting does what we cannot do—it brings a three-dimensional world into a two-dimensional plane.
Chess, which exists predominantly in two dimensions, is one of the world's most difficult games. Three-dimensional chess is an invitation to insanity. But human relationships, even of the simplest order, are like a kind of four-dimensional chess, a game whose pieces and positions change subtly and inexorably between moves, whose players stare dumbly while their powerful positions deteriorate into hopeless predicaments and while improbable combinations suddenly become inevitable. To make matters worse, some games are open to any number of players, and all sides are expected to win.
Jack White is an extraordinary person because he's like a three-dimensional chess player. He thinks so far ahead.
Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
You can make bad writing 'OK,' but... you really need to start with a good script and with characters that are three-dimensional and with great dialogue. It's a difficult lesson to learn because good writing is hard to come by, but it's definitely worth chasing.
Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.
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.
It is impossible to imagine a four-dimensional space. I personally find it hard enough to visualize a three-dimensional space!
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