A Quote by Ray Dalio
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.
Related Quotes
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.
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.
Do you think it's possible that things that seem to be discrete in three dimensions might all be part of the same bigger object in four dimensions? ...What if humanity- that collective noun we so often employ- really is, at a higher level, a singular noun? What it what we perceive in three dimensions as seven billion individual human beings are really all just aspects of one giant being?
Your understanding of the astral dimensions can help you alter structures in the physical dimensions. It is in and through the medium of the astral dimensions that all of the siddha powers function and work.
There are dimensions of power, there are dimensions of knowledge, and there are dimensions of confusion. The universe is a very, very big place. To think the universe is only composed of the physical universe is to be rather shortsighted.
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.
Nowadays, people shoot digitally and it's all in color, but you press a button and it all goes to black and white. But it's not lit for black and white. So, it's a tricky thing. If you're going do black and white, you better remember to separate things with light, because color ain't gonna be there.
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.
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.
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.
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.
I'm interested in color belonging to something, where it takes on a completely new kind of vibrancy, rather than being what you would call straight abstract paintings. And anyway it is so much more exciting trying to find out about the three dimensions of color and sticking it down on a two dimensional surface.
Choosing a director is like choosing a therapist - you want somebody who is going to be a step or two ahead of you, who can interpret and articulate your intentions better than you can, with the benefit of objectivity. I look for a collaborator who is going to help bring to life, on stage, in three dimensions, what is on the page. I wouldn't want a director who imposes conceits or distrusts the text or who has prejudged the characters.
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.
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