A Quote by Isak Dinesen

It is a sad hardship and slavery to people who live in towns, that in their movements they know of one dimension only; they walk along the line as if they were led on a string. The transition from the line to the plane into the two dimensions, when you wander across a field or through a wood, is a splendid liberation to the slaves, like the French Revolution. But in the air you are taken into the full freedom of the three dimensions; after long ages of exile and dreams the homesick heart throws itself into the arms of space.
While the expressive possibilities of Neoplasticism are limited to two dimensions (the plane), Elementarism realizes the possibility of plasticism in four dimensions, in the field of time-space.
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.
Time is not a line but a dimension, like the dimensions of space.
Time is said to have only one dimension, and space to have three dimensions. ... The mathematical quaternion partakes of both these elements; in technical language it may be said to be 'time plus space', or 'space plus time': and in this sense it has, or at least involves a reference to, four dimensions. And how the One of Time, of Space the Three, Might in the Chain of Symbols girdled be.
Time is not a line but a dimension, like the dimensions of space. If you can bend space you can bend time also, and if you knew enough and could move faster than light you could travel backwards in time and exist in two places at once.
If you have the power to see things through somebody else's eyes, it's like going from black and white to color or two dimensions to three dimensions.
Biology is a science of three dimensions. The first is the study of each species across all levels of biological organization, molecule to cell to organism to population to ecosystem. The second dimension is the diversity of all species in the biosphere. The third dimension is the history of each species in turn, comprising both its genetic evolution and the environmental change that drove the evolution. Biology, by growing in all three dimensions, is progressing toward unification and will continue to do so.
Technically you need the extra dimensions. At first people didn't like them too much, but they've got a big benefit, which is that the ability of string theory to describe all the elementary particles and their forces along with gravity depends on using the extra dimensions.
As of now, string theorists have no explanation of why there are three large dimensions as well as time, and the other dimensions are microscopic. Proposals about that have been all over the map.
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.
The theory has to be interpreted that extra dimensions beyond the ordinary four dimensions the three spatial dimensions plus time are sufficiently small that they haven't been observed yet.
The problem with filming something is that we struggle desperately to make three dimensions out of two dimensions. It can't be done.
Einstein comes along and says, space and time can warp and curve, that's what gravity is. Now string theory comes along and says, yes, gravity, quantum mechanics, electromagnetism - all together in one package, but only if the universe has more dimensions than the ones that we see.
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 Balanchine had any secret, it was one that has endured through two hundred years of classical ballet. It is that dancing correctly in three dimensions, on the music, creates the fourth dimension of meaning.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
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