A Quote by Kate Tempest
Actually in the moment in which the idea has life, when it's listened to read, engaged with, acted on stage, it gains another dimension, it becomes three dimensional.
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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.
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.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
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.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
Most of my comedy writing happens through improvisation on stage; doing it in the moment. Going up with an idea and fleshing it out over time on stage and in front of people until it becomes a full bit.
Well, I do not mind telling you I have been at work upon this geometry of Four Dimensions for some time. Some of my results are curious. For instance, here is a portrait of a man at eight years old, another atfifteen, another at seventeen, another at twenty-three, and so on. All these are evidently sections, as it were, Three-Dimensional representations of his Four-Dimensioned being, which is a fixed and unalterable thing.
The book was Maniacs in the Fourth Dimension, by Kilgore Trout. It was about people whose mental diseases couldn't be treated because the causes of the diseases were all in the fourth dimension, and three-dimensional Earthling doctors couldn't see those causes at all, or even imagine them.
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.
Here life goes on, even and monotonous on the surface, full of lightning, of summits and of despair, in its depths. We have now arrived at a stage in life so rich in new perceptions that cannot be transmitted to those at another stage - one feels at the same time full of so much gentleness and so much despair - the enigma of this life grows, grows, drowns one and crushes one, then all of a sudden in a supreme moment of light one becomes aware of the sacred.
To grasp the essence of chirality, it is instructive to withdraw for a moment from the familiar three-dimensional world into a two-dimensional one, into a plane, and enquire what chirality means there.
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
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.
Essentially, I look for what is interesting to me, out there in the three-dimensional world, and translate or interpret so that it becomes visually pleasing in a two-dimensional photographic print. I search for subject matter with visual patterns, interesting abstractions and graphic compositions.
I often like to think that our map of the world is wrong, that where we have centered physics, we should actually place literature as the central metaphor that we want to work out from. Because I think literature occupies the same relationship to life that life occupies to death. A book is life with one dimension pulled out of it. And life is something that lacks a dimension which death will give it. I imagine death to be a kind of release into the imagination in the sense that for characters in a book, what we experience is an unimaginable dimension of freedom.
At the moment, I'm toying with a new idea for a book, but fully engaged with writing screenplays, so the book idea - which needs empty space in my head - is barely formed yet.
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