Top 629 One-Dimensional Quotes & Sayings

Just like we don't live in a two-dimensional world, we don't live two-dimensional lives.

... Rembrandt is not a painter at all. He is a creator, who creates his beings, three dimensional living beings, on a two-dimensional flat surface which acts as a mute, and enforces silence on them.

I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.

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.

The psychedelic mind is a higher dimensional mind, it is not fit for three dimensional space time.

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.

JR was a 1-dimensional, evil character. JR was multi-dimensional, and Larry Hagman is probably one of the greatest actors that we have. Then, you go back and look at 'I Dream of Jeannie' - I mean, he's a comic genius, as well. So, I think they should give him an honorary Emmy Award.

It is impossible to imagine a four-dimensional space. I personally find it hard enough to visualize a three-dimensional space!

With any television series - and it's something that is taken for granted with movies because you have the whole arc within two hours - you establish who the character is and it's a two-dimensional version, or if you're lucky, a two and a half-dimensional character. Once you establish that, you can move forward and break all the rules. Once the audience has accepted who the person is, then you can do the exact opposite. What makes it funny and interesting is doing the opposite.

I regard any behavior we indulge in as a game. The soul is beyond not only three-dimensional space but beyond the illusion of linear time. Any method we use to move through three- or four- dimensional space is a game. It doesn't matter how serious we take it, or how serious its consequences are.

All of the physical universes put together, stretching out endlessly, are only a fraction of the totality of reality. In other words, all of the physical universes are only part of the physical dimensional plane, and there are thousands of dimensional planes.

My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.

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.

Musicals aren't two-dimensional froth.

The Grid makes the history of architecture and all previous lessons of urbanism irrelevant. It forces Manhattan's builders to develop a new system of formal values, to invent strategies for the distinction of one block from another. The Grid's two-dimensional discipline also creates undreamt-of freedom for three-dimensional anarchy. The Grid defines a new balance between control and de-control in which the city can be at the same time ordered and fluid, a metropolis of rigid chaos.

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.

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.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.

Nobody wants to play a one-dimensional character.

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.

Our universe - it's three-dimensional, but we can pretend it's two-dimensional so it's like this sheet of paper - and we live in Pasadena over here and London is over there, and it's thousands of miles from Pasadena to London.

Everything is paradox. The danger is one-dimensional thinking.

Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.

No human beings are one-dimensional, and if they feel one-dimensional to you, it's because you don't know them.

Painting does what we cannot do—it brings a three-dimensional world into a two-dimensional plane.

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.

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.

Carbon has this genius of making a chemically stable, two-dimensional, one-atom-thick membrane in a three-dimensional world. And that, I believe, is going to be very important in the future of chemistry and technology in general.

The joy of painting lies precisely in the challenge of memory and the challenge of translation from the lived experience to the two-dimensional or three-dimensional symbol.

I never want to play a character that's one-dimensional.

Everybody goes into different dimensional planes. You do it every night when you dream. You are journeying into other dimensional planes. Dreams are not just functions of the cerebral cortex.

There are many things one thinks about in a painting. Often, it's how to handle your chosen medium and how to best reveal the light in a three-dimensional form on a two-dimensional surface.

Remember, intelligence is not part of the mind. Intellect is, but intelligence is not; hence, the intellectual is full of mind but in life he behaves very unintelligently. He has a certain expertise, he is trained intellectually to, do a certain thing, his mind is functioning like a computer. But life is not one-dimensional, you cannot exhaust it in one expertise; it is multi-dimensional.

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.

Film is a two dimensional thing - it goes up and down and left to right but if you put that music into that two dimensional medium, it became like a third, fourth, and fifth dimension, I really believe in that.

Formula one is very one-dimensional in terms of what we do in the cockpit.

I was never a one-dimensional guy; I was always able to block shots, play defense, get rebounds, or drive, or pass. My father made me grow up that way. He taught me to work on different things in my game and wanted me to be more than a one-dimensional player.

We put in all the great ideas that can be brought into the film [Doctor Strange] in the service of introducing the world to an audience who's never heard of it and doesn't know it from a hole in the wall. And we thought that an inter-dimensional girlfriend that's the daughter of an inter-dimensional demon-esque creature was a step too far in introducing this world.

I'm not a one-dimensional character.

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.

True time is four-dimensional.

As an actor, you don't want to play a one-dimensional character.

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.

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.

I believe there are talented female rappers out there that aren't one-dimensional. It's OK to be one-dimensional, by the way.

I don't want to be a leader that is one-dimensional or two-dimensional because he's not willing to be open.

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.

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.

I was pretty one-dimensional, a wrestler.

What is revealed through the psychedelic experience, I think, is a higher dimensional perspective on reality. And I use 'higher dimensional' in the mathematical sense.

Comics are so one-dimensional, especially 'Archie.'

The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.

Records are only one-dimensional. Even film is only one-dimensional. That's why music and live theatre is so important, because it's not the same thing. A recording is just a record of part of the experience, but it's not the whole experience.

I regret that it has been necessary for me in this lecture to administer a large dose of four-dimensional geometry. I do not apologize, because I am really not responsible for the fact that nature in its most fundamental aspect is four-dimensional. Things are what they are.

If I lost weight, I'd be two-dimensional!

We are actually fourth dimensional beings in a third dimensional body inhabiting a second dimensional world!

It was interesting to have humanoid villains that were rooted in our three-dimensional reality... or four dimensional reality, I'm not sure which!

I never wanted to be a one-dimensional player.

I love the fact that there are more and more young people out there who still want to make a flat two-dimensional surface come alive with three dimensional magic.

There are no one dimensional people.