3 Dimensional Quotes

Love is made up of three unconditional properties in equal measure: 1. Acceptance 2. Understanding 3. Appreciation Remove any one of the three and the triangle falls apart. Which, by the way, is something highly inadvisable. Think about it — do you really want to live in a world of only two dimensions? So, for the love of a triangle, please keep love whole.

It had become one of the defining truths of my life that, no matter how I tried to keep them flattened, two-dimensional, jailed in paper and ink, there would always be stories that refused to stay bound inside books. It was never just a story. I would know: a story had swallowed my whole life.

At the top of his file was a three-dimensional holograph scanned in from his military graduation. Cress preferred it to the infamous prison photo that had become so popular, the one in which he was winking at the camera, because in the holograph he was wearing a freshly pressed uniform with shiny silver buttons and a confident, one-sided grin. Seeing that smile, Cress melted. Every. Time. "Hello again, Mr. Thorne," she whispered to the holograph.

Stop!” His voice rings out sharply, hard as a slap. He releases me and I stumble backward. “Alex is dead, do you hear me? All of that—what we felt, what it meant—that’s done now, okay? Buried. Blown away.” “Alex!” He has started to turn away; now he whirls around. The moon lights him stark white and furious, a camera image, two-dimensional, gripped by the flash. “I don’t love you, Lena. Do you hear me? I never loved you.” The air goes. Everything goes. “I don’t believe you.” I’m crying so hard, I can hardly speak. He takes one step toward me. And now I don’t recognize him at all. He has transformed entirely, turned into a stranger. “It was a lie. Okay? It was all a lie. Craziness, like they always said. Just forget about it. Forget it ever happened.

Christmas Amnesty. You can fall out of contact with a friend, fail to return calls, ignore e-mails, avoid eye contact at the Thrifty-Mart, forget birthdays, anniversaries, and reunions, and if you show up at their house during the holidays (with a gift) they are socially bound to forgive you—act like nothing happened. Decorum dictates that the friendship move forward from that point, without guilt or recrimination. If you started a chess game ten years ago in October, you need only remember whose move it is—or why you sold the chessboard and bought an Xbox in the interim. (Look, Christmas Amnesty is a wonderful thing, but it’s not a dimensional shift. The laws of time and space continue to apply, even if you have been avoiding your friends. But don’t try using the expansion of the universe an as excuse—like you kept meaning to stop by, but their house kept getting farther away. That crap won’t wash. Just say, “Sorry I haven’t called. Merry Christmas” Then show the present. Christmas Amnesty protocol dictates that your friend say, “That’s okay,” and let you in without further comment. This is the way it has always been done.)

...I am the two-dimensional one in a 3-D family.

You see, proteins, as I probably needn't tell you, are immensely complicated groupings of amino acids and certain other specialized compounds, arranged in intricate three-dimensional patterns that are as unstable as sunbeams on a cloudy day. It is this instability that is life, since it is forever changing its position in an effort to maintain its identity--in the manner of a long rod balanced on an acrobat's nose.

The experience of high-dimensional spatial sense was a spiritual baptism. In one moment, concepts like freedom, openness, profundity, and infinity all gained brand-new meanings.

Alice was scrutinizing my boring jeans-and-a-T-shirt outfit in a way that made me self-conscious. Probably plotting another makeover. I sighed. My indifferent attitude to fashion was a constant thorn in her side. If I'd allow it, she'd love to dress me everyday―perhaps several times a day―like some oversized three-dimensional paper doll.

Just a story. It had become one of the defining truths of my life that, no matter how I tried to keep them flattened, two-dimensional, jailed in paper and ink, there would always be stories that refused to stay bound inside books. It was never just a story. I would know: a story had swallowed my whole life.

Cheng Xin now recalled the strange feeling she had experienced each time she had looked at Van Gogh’s painting. Everything else in the painting—the trees that seemed to be on fire, and the village and mountains at night—showed perspective and depth, but the starry sky above had no three-dimensionality at all, like a painting hanging in space. Because the starry night was two-dimensional. How could Van Gogh have painted such a thing in 1889? Did he, having suffered a second breakdown, truly leap across five centuries

It is a well-known established fact throughout the many-dimensional worlds of the multiverse that most really great discoveries are owed to one brief moment of inspiration. There's a lot of spadework first, of course, but what clinches the whole thing is the sight of, say, a falling apple or a boiling kettle or the water slipping over the edge of the bath. Something goes click inside the observer's head and then everything falls into place. The shape of DNA, it is popularly said, owes its discovery to the chance sight of a spiral staircase when the scientist‘s mind was just at the right receptive temperature. Had he used the elevator, the whole science of genetics might have been a good deal different. This is thought of as somehow wonderful. It isn't. It is tragic. Little particles of inspiration sleet through the universe all the time traveling through the densest matter in the same way that a neutrino passes through a candyfloss haystack, and most of them miss. Even worse, most of the ones that hit the exact cerebral target, hit the wrong one. For example, the weird dream about a lead doughnut on a mile-high gantry, which in the right mind would have been the catalyst for the invention of repressed-gravitational electricity generation (a cheap and inexhaustible and totally non-polluting form of power which the world in question had been seeking for centuries, and for the lack of which it was plunged into a terrible and pointless war) was in fact had by a small and bewildered duck. By another stroke of bad luck, the sight of a herd of wild horses galloping through a field of wild hyacinths would have led a struggling composer to write the famous Flying God Suite, bringing succor and balm to the souls of millions, had he not been at home in bed with shingles. The inspiration thereby fell to a nearby frog, who was not in much of a position to make a startling contributing to the field of tone poetry. Many civilizations have recognized this shocking waste and tried various methods to prevent it, most of them involving enjoyable but illegal attempts to tune the mind into the right wavelength by the use of exotic herbage or yeast products. It never works properly.

Just a story. It had become one of the defining truths of my life that, no matter how I tried to keep them flattened, two-dimensional, jailed in paper and ink, there would always be stories that refused to stay bound inside books. It was never just a story.

I am sorry. It is hard to convey five-dimensional ideas in a language evolved to scream defiance at the monkeys in the next tree

He looks at me incredulously. "I think you're amazing..." Why would he think this? Bailey is amazing and Gram and Big, and of course Mom, but not me. I am the two-dimensional one in a 3-D Family

You Bastard was thinking: there seems to be some growing dimensional instability here, swinging from zero to nearly forty-five degrees by the look of it. How interesting. I wonder what’s causing it? Let V equal 3. Let Tau equal Chi/4. cudcudcud Let Kappa/y be an Evil-Smelling-Bugger* (* Renowned as the greatest camel mathematician of all time, who invented a math of eight-dimensional space while lying down with his nostrils closed in a violent sandstorm.) differential tensor domain with four imaginary spin co-efficients. . .

The thing is you're looking for something two-dimensional and not quite real. It never lasts. But you can't expect something unreal to last anyway, can you?

Just a story. It had become one of the defining truths in my life that, no matter how hard I tried to keep them flattened, two-dimensional, jailed in paper and ink, there would always be stories that refused to stay bound inside books. It was never just a story. I would know: a story had swallowed my whole life.

I am the two-dimensional one in a 3-D family.

The living often don’t appreciate how complicated the world looks when you are dead, because while death frees the mind from the straitjacket of three dimensions it also cuts it away from Time, which is only another dimension. So while the cat that rubbed up against his invisible legs was undoubtedly the same cat that he had seen a few minutes before, it was also quite clearly a tiny kitten and a fat, half-blind old moggy and every stage in between. All at once. Since it had started off small it looked like a white, catshaped carrot, a description that will have to do until people invent proper four-dimensional adjectives.

Sounds are three-dimensional, just like images. They come at you from every direction.

A strategy is multi-dimensional planning, multi-team collaboration, and multitasking action.

a wicked problem: 1. Is multi-dimensional 2. Has multiple stakeholders 3. Has multiple causes 4. Has multiple symptoms 5. Has multiple solutions, and 6. Is constantly evolving

with you, the sense i have lost my place in a book or simply lost — misplaced the memory which isn't in the last place where I looked. a thought that the clouds don't move — that it is we who thunder past — there it is! an old vacation, a train ride — sense of immobility. as sky and forest scroll past in relation, we are not moved, pretend to love the view, resort at length to scripted conversation by a poet-turned-screenwriter who didn't want this job, career gone grossly wrong and now drafts action film scripts wholly two- dimensional unless you choose to don the 3d glasses that do not stay on —

Of course, I’ve only brought up two examples. Other universal laws of physics have been used as weapons as well, though we don’t know all of them. It’s very possible that every law of physics has been weaponized. It’s possible that in some parts of the universe, even … Forget it, I don’t even believe that.” “What were you going to say?” “The foundation of mathematics.” Cheng Xin tried to imagine it, but it was simply impossible. “That’s … madness.” Then she asked, “Will the universe turn into a war ruin? Or, maybe it’s more accurate to ask: Will the laws of physics turn into war ruins?” “Maybe they already are.… The physicists and cosmologists of the new world are focused on trying to recover the original appearance of the universe before the wars more than ten billion years ago. They’ve already constructed a fairly clear theoretical model describing the pre-war universe. That was a really lovely time, when the universe itself was a Garden of Eden. Of course, the beauty could only be described mathematically. We can’t picture it: Our brains don’t have enough dimensions.” Cheng Xin thought back to the conversation with the Ring again. Did you build this four-dimensional fragment? You told me that you came from the sea. Did you build the sea? “You are saying that the universe of the Edenic Age was four-dimensional, and that the speed of light was much higher?” “No, not at all. The universe of the Edenic Age was ten-dimensional. The speed of light back then wasn’t only much higher—rather, it was close to infinity. Light back then was capable of action at a distance, and could go from one end of the cosmos to the other within a Planck time.… If you had been to four-dimensional space, you would have some vague hint of how beautiful that ten-dimensional Garden must have been.” “You’re saying—” “I’m not saying anything.” Yifan seemed to have awakened from a dream. “We’ve only seen small hints; everything else is just guessing. You should treat it as a guess, just a dark myth we’ve made up.” But Cheng Xin continued to follow the course of the discussion taken so far. “—that during the wars after the Edenic Age, one dimension after another was imprisoned from the macroscopic into the microscopic, and the speed of light was reduced again and again.…” “As I said, I’m not saying anything, just guessing.” Yifan’s voice grew softer. “But no one knows if the truth is even darker than our guesses.… We are certain of only one thing: The universe is dying.” The

We perceive our environment in three dimensions, but we don’t actually live in a 3-D world. 3-D is static. A snapshot. We have to add a fourth dimension to begin to describe the nature of our existence. The 4-D tesseract doesn’t add a spatial dimension. It adds a temporal one. It adds time, a stream of 3-D cubes, representing space as it moves along time’s arrow. This is best illustrated by looking up into the night sky at stars whose brilliance took fifty light-years to reach our eyes. Or five hundred. Or five billion. We’re not just looking into space, we’re looking back through time. Our path through this 4-D spacetime is our worldline (reality), beginning with our birth and ending with our death. Four coordinates (x, y, z, and t [time]) locate a point within the tesseract. And we think it stops there, but that’s only true if every outcome is inevitable, if free will is an illusion, and our worldline is solitary. What if our worldline is just one of an infinite number of worldlines, some only slightly altered from the life we know, others drastically different? The Many-Worlds interpretation of quantum mechanics posits that all possible realities exist. That everything which has a probability of happening is happening. Everything that might have occurred in our past did occur, only in another universe. What if that’s true? What if we live in a fifth-dimensional probability space? What if we actually inhabit the multiverse, but our brains have evolved in such a way as to equip us with a firewall that limits what we perceive to a single universe? One worldline. The one we choose, moment to moment. It makes sense if you think about it. We couldn’t possibly contend with simultaneously observing all possible realities at once. So how do we access this 5-D probability space? And if we could, where would it take us? —

A quantum atom with two electrons is a much more complicated object to visualize, and I'm not aware that it's ever been done very well. The challenge is that for each possible position of one electron, the wave function of the other is a different three-dimensional object. So really, the natural home of the total wave function, for the two-electron system, is a space of 3 + 3 = 6 dimensions. It is quite a challenge to present such an object in a way that human brains find meaningful.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

I know you can’t. Because you’re too kind. It’s very simple. The attacker must first transform themselves into life forms that can survive in a low-dimensional universe. For instance, a four-dimensional species can transform itself into three-dimensional creatures, or a three-dimensional species can transform itself into two-dimensional life. After the entire civilization has entered a lower dimension, they can initiate a dimensional strike against the enemy without concern for the consequences.” Cheng

Just a story. It had become one of the defining truths of my life that, no matter how I tried to keep them flattened, two-dimensional, jailed in paper and ink, there would always be stories that refused to stay bound inside books. It was never just a story. I would know: a story had swallowed my whole life. We

Combat is about time and space and opposing forces. Like a huge four-dimensional diagram. First step is to misinform the enemy. Let him think your diagram is a completely different shape. You assume all communications are penetrated, and then you use them to spread lies and deceit. You buy yourself an advantage.

Marc Marronier es así: finge ser un degenerado bajo su trajecito de pana lisa porque le da vergüenza mostrarse tierno. Acaba de cumplir treinta años: la edad espuria en la que uno es demasiado viejo para ser joven y demasiado joven para ser viejo. Para no decepcionar a nadie, hace todo lo posible por estar a la altura de su reputación. A base de querer aumentar las dimensiones de su press-book, se ha ido convirtiendo poco a poco en una caricatura de sí mismo. Le resulta agotador tener que demostrar que es amable y profundo, así que se las da de canalla superficial, adoptando ese comportamiento desordenado, incluso mortificarte.

Alex, please.” He balls his fists. “Stop saying my name. You don’t know me anymore.” “I do know you.” I’m still crying, swallowing back spasms in my throat, struggling to breathe. This is a nightmare and I will wake up. This is a monster-story, and he has come back to me a terror-creation, patched together, broken and hateful, and I will wake up and he will be here, and whole, and mine again. I find his hands, lace my fingers through his even as he tries to pull away. “It’s me, Alex. Lena. Your Lena. Remember? Remember 37 Brooks, and the blanket we used to keep in the backyard—” “Don’t,” he says. His voice breaks on the word. “And I always beat you in Scrabble,” I say. I have to keep talking, and keep him here, and make him remember. “Because you always let me win. And remember how we had a picnic one time, and the only thing we could find from the store was canned spaghetti and some green beans? And you said to mix them—” “Don’t.” “And we did, and it wasn’t bad. We ate the whole stupid can, we were so hungry. And when it started to get dark you pointed to the sky, and told me there was a star for every thing you loved about me.” I’m gasping, feeling as though I am about to drown; I’m reaching for him blindly, grabbing at his collar. “Stop.” He grabs my shoulders. His face is an inch from mine but unrecognizable: a gross, contorted mask. “Just stop. No more. It’s done, okay? That’s all done now.” “Alex, please—” “Stop!” His voice rings out sharply, hard as a slap. He releases me and I stumble backward. “Alex is dead, do you hear me? All of that—what we felt, what it meant—that’s done now, okay? Buried. Blown away.” “Alex!” He has started to turn away; now he whirls around. The moon lights him stark white and furious, a camera image, two-dimensional, gripped by the flash. “I don’t love you, Lena. Do you hear me? I never loved you.” The air goes. Everything goes. “I don’t believe you.” I’m crying so hard, I can hardly speak. He takes one step toward me. And now I don’t recognize him at all. He has transformed entirely, turned into a stranger. “It was a lie. Okay? It was all a lie. Craziness, like they always said. Just forget about it. Forget it ever happened.” “Please.” I don’t know how I stay on my feet, why I don’t shatter into dust right there, why my heart keeps beating when I want it so badly to stop. “Please don’t do this, Alex.” “Stop saying my name.

I find three basic characteristics that fundamentally distinguish the novel in principle from other genres: (i) its stylistic three-dimensionality, which is linked with the multi-languaged consciousness realized in the novel; (2) the radical change it effects in the temporal coordinates of the literary image; (3) the new zone opened by the novel for structuring literary images, namely, the zone of maximal contact with the present (with contemporary reality) in all its openendedness. These three characteristics of the novel are all organically interrelated and have all been powerfully affected by a very specific rupture in the history of European civilization: its emergence from a socially isolated and culturally deaf semipatriarchal society, and its entrance into international and interlingual contacts and relationships.

We end up populating what we call the intelligentsia with people who are delusional, literally mentally deranged, simply because they never have to pay for the consequences of their actions, repeating moderniest slogans stripped of all depth...The principle of intervention, like that of healers, is first do not harm; even more we will argue, those who don't take risks should never be involved in decision making (p.10). Their three flaws 1) they think in statics not dynamics 2) they think in low, not high dimensions 3) they think in terms of actions, never interactions....The first flaw is they are incapable in thinking in second steps and unaware of the need of them...The second flaw is that they are also incapable of distinguishing between multidimensional problems and their single dimensional representations. The third flaw is they can't forecast the evolution of those one helps by attaching, or the magnification one gets from feedback. (p.9)

As scientists would discover after Einstein’s death, Schwarzschild’s odd theory was right. Stars could collapse and create such a phenomenon, and in fact they often did. In the 1960s, physicists such as Stephen Hawking, Roger Penrose, John Wheeler, Freeman Dyson, and Kip Thorne showed that this was indeed a feature of Einstein’s general theory of relativity, one that was very real. Wheeler dubbed them “black holes,” and they have been a feature of cosmology, as well as Star Trek episodes, ever since.3 Black holes have now been discovered all over the universe, including one at the center of our galaxy that is a few million times more massive than our sun. “Black holes are not rare, and they are not an accidental embellishment of our universe,” says Dyson. “They are the only places in the universe where Einstein’s theory of relativity shows its full power and glory. Here, and nowhere else, space and time lose their individuality and merge together in a sharply curved four-dimensional structure precisely delineated by Einstein’s equations.”4 Einstein

Ayaana was surveying the longest line on the globe’s three dimensional grid, the equator, the first line of latitude. Her special point zero, 40,075 kilometers long; 78.7 percent across water, 21.3 percent over land, zero degrees, all the Kenya equator places she had never imagined to claim as her own: Nanyuki, Mount Kenya. The invisible equator line crossed only thirteen countries - Kenya, Ecuador, Colombia, Brazil, São Tomé and Principe, Gabon, Republic of Congo, Uganda, Somalia, Maldives, Indonesia, and Kiribati - thirteen countries that were the center of the world, and hers was one of them.

La hipótesis predominante es que lo que nosotros, los humanos, llamamos «ética» o «moralidad» es una estructura de conducta social en cuatro dimensiones que viene determinada por la interrelación de distintos procesos cerebrales: (1) el cuidado o la atención a los demás (enraizado en el apego a nuestros familiares y la preocupación por su bienestar),11 (2) el reconocimiento de los estados psicológicos de los demás (basado en las ventajas de predecir la conducta de terceros), (3) la resolución de problemas en un contexto social (por ejemplo, cómo deberíamos distribuir los bienes cuando son escasos, cómo resolver disputas territoriales

We know the faces of the ancient Greeks from classical paintings, we have seen Assyrians on the pediment of the palace at Susa. And so, when we actually meet Orientals belonging to a particular group, we feel that we are in the presence of creatures spirited before our eyes by necromancy. Our image of them so far has been a superficial one; now it has acquired depth, it has become three-dimensional, it moves. The young Greek banker’s daughter who is such a society favorite at present, seems like one of those dancers in a ballet, at once historical and aesthetic, who symbolize Hellenic art in flesh and blood; yet the theater setting makes these images seem banal;

To summarize all of this, we have the following: (1) Archaeologists discovered 7 pits for boats around the Great Pyramid. (2) The longest of which is 44 meters; it is called the solar barque. (3) That boat (hypothetically speaking) needs [230/44]*4 steps to complete one single rotation (which looks like a square around the pyramid). (4) It therefore covers a distance which equals to the pyramid's height if it completes seven full rotations around the pyramid's base. (5) This mimics the application of Kaaba; even though the Kaaba has no dimensional merit for its structure (according to pure orthodox Islamic tradition) but the number seven is dominant and serves as an evidence that Egypt tried to plagiarize Adam's heritage and remodeled its theology accordingly.

Because a lake is conceived as having only two primary dimensions, you can't swim inside the lake, though that would seem to make geometric sense. Lederer asks why we say that something can be underwater or underground even though it's surrounded by, not beneath, the water or the ground. It's because water and ground are conceived as 2-D surfaces, not 3-D volumes, geologically improbable though that is. The dimensionality of an object is also the aspect of its geometry that modifiers "see" when they combine with it in a phrase. A big CD, for example, has to have an above-average diameter, not an above-standard thickness (that could only be a thick CD), and a big lake has to be one with an unusually large area, regardless of its depth; it can't be a few yards wide and a mile deep.

Zero dimensions! Have you seen such a thing done?” “No. We’ve only witnessed two-dimensionalization. We’ve never even seen one-dimensionalization. But somewhere, some Zero-Homers must be trying. No one knows if they’ve ever succeeded. Comparatively, it’s easier to lower the speed of light to zero, so we’ve seen more evidence of such attempts to lower the speed of light past zero and return it to infinity.” “Is that even theoretically possible?” “We don’t know. Maybe the Zero-Homers have theories that say yes, but I don’t think so. Zero-lightspeed is an impassable wall. Zero-lightspeed is absolute death for all existence, the cessation of all motion. Under such conditions, the subjective cannot influence the objective in any way, so how can the ‘hour hand’ be shifted past it? I think the Zero-Homers are practicing a kind of religion, a kind of performance art.” Cheng

HEY, LADY? IS THAT PRETTY DECORATION ON THE CURRY... REALLY A PIECE OF CHOCOLATE?!" "How is that even possible?!" "Do you see its delicate, complex design? And they're mass-producing it?! It even has a colorful swirl pattern on it!" "Not even a professional could manage something like this!" "It wasn't hard, really. I just printed those chocolates using a 3-D Food Printer." "A 3-D Printer? Oh, I've heard of those!" "But I didn't know you could use it to print food!" "Dark chocolate makes a perfect accent to curry, y'know. Take some 80 percent cacao chocolate, add a dash of curry spices to it and then print it out in totally cute designs with a 3-D Printer! Put it on top of some piping hot curry, and it will start to melt, adding a rich, colorful undertone to the flavor of the dish!" "Papa, I want some! Buy me that!" "Sure thing! Your papa wants to try it too!" "Mm! The curry itself smells so good I could melt! But then they go and add that beautiful chocolate topping?!" "Man, Totsuki students are amazing!" They like it. "That chocolate is, like, all bonus. It adds a colorful touch and a little sweet scent... without affecting the curry spices you balanced so carefully.

Philotheo. I will do so. If the world is finite and if nothing lieth beyond, I ask you Where is the world? Where is the universe? Aristotle replieth, it is in itself. [1] The convex surface of the primal heaven is universal space, which being the primal container is by naught contained. For position in space is no other than the surfaces and limit of the containing body, so that he who hath no containing body hath no position in space. [2] What then dost thou mean, O Aristotle, by this phrase, that "space is within itself"? What will be thy conclusion concerning that which is beyond the world? If thou sayest, there is nothing, then the heaven [3] and the world will certainly not be anywhere. Fracastoro. The world will then be nowhere. Everything will be nowhere. Philotheo. The world is something which is past finding out. If thou sayest (and it certainly appeareth to me that thou seekest to say something in order to escape Vacuum and Nullity), if thou sayest that beyond the world is a divine intellect, so that God doth become the position in space of all things, why then thou thyself wilt be much embarrassed to explain to us how that which is incorporeal [yet] intelligible, and without dimension can be the very position in space occupied by a dimensional body; and if thou sayest that this incorporeal space containeth as it were a form, as the soul containeth the body, then thou dost not reply to the question of that which lieth beyond, nor to the enquiry concerning that which is outside the universe. And if thou wouldst excuse thyself by asserting that where naught is, and nothing existeth, there can be no question of position in space nor of beyond or outside, yet I shall in no wise be satisfied. For these are mere words and excuses, which cannot form part of our thought. For it is wholly impossible that in any sense or fantasy (even though there may be various senses and various fantasies), it is I say impossible that I can with any true meaning assert that there existeth such a surface, boundary or limit, beyond which is neither body, nor empty space, even though God be there. For divinity hath not as aim to fill space, nor therefore doth it by any means appertain to the nature of divinity that it should be the boundary of a body. For aught which can be termed a limiting body must either be the exterior shape or else a containing body. And by no description of this quality canst thou render it compatible with the dignity of divine and universal nature. [4]

Philotheo. I will do so. If the world is finite and if nothing lieth beyond, I ask you Where is the world? Where is the universe? Aristotle replieth, it is in itself. [1] The convex surface of the primal heaven is universal space, which being the primal container is by naught contained. For position in space is no other than the surfaces and limit of the containing body, so that he who hath no containing body hath no position in space. [2] What then dost thou mean, O Aristotle, by this phrase, that "space is within itself"? What will be thy conclusion concerning that which is beyond the world? If thou sayest, there is nothing, then the heaven [3] and the world will certainly not be anywhere. Fracastoro. The world will then be nowhere. Everything will be nowhere. Philotheo. The world is something which is past finding out. If thou sayest (and it certainly appeareth to me that thou seekest to say something in order to escape Vacuum and Nullity), if thou sayest that beyond the world is a divine intellect, so that God doth become the position in space of all things, why then thou thyself wilt be much embarrassed to explain to us how that which is incorporeal [yet] intelligible, and without dimension can be the very position in space occupied by a dimensional body; and if thou sayest that this incorporeal space containeth as it were a form, as the soul containeth the body, then thou dost not reply to the question of that which lieth beyond, nor to the enquiry concerning that which is outside the universe. And if thou wouldst excuse thyself by asserting that where naught is, and nothing existeth, there can be no question of position in space nor of beyond or outside, yet I shall in no wise be satisfied. For these are mere words and excuses, which cannot form part of our thought. For it is wholly impossible that in any sense or fantasy (even though there may be various senses and various fantasies), it is I say impossible that I can with any true meaning assert that there existeth such a surface, boundary or limit, beyond which is neither body, nor empty space, even though God be there. For divinity hath not as aim to fill space, nor therefore doth it by any means appertain to the nature of divinity that it should be the boundary of a body. For aught which can be termed a limiting body must either be the exterior shape or else a containing body. And by no description of this quality canst thou render it compatible with the dignity of divine and universal nature. [4]

You don’t need to pity them. Really, let me tell you: don’t. The reality of the universe is not something to envy.” “Why?” Yifan lifted a hand and pointed at the stars of the galaxy. Then he let the 3G force pull his arm back to this chest. “Darkness. Only darkness.” “You mean the dark forest state?” Guan Yifan shook his head, a gesture that appeared to be a struggle in hypergravity. “For us, the dark forest state is all-important, but it’s just a detail of the cosmos. If you think of the cosmos as a great battlefield, dark forest strikes are nothing more than snipers shooting at the careless—messengers, mess men, etc. In the grand scheme of the battle, they are nothing. You have not seen what a true interstellar war is like.” “Have you?” “We’ve caught a few glimpses. But most things we know are just guesses.… Do you really want to know? The more you possess of this kind of knowledge, the less light remains in your heart.” “My heart is already completely dark. I want to know.” And so, more than six centuries after Luo Ji had fallen through ice into that lake, another dark veil hiding the truth about the universe was lifted before the gaze of one of the only survivors of Earth civilization. Yifan asked, “Why don’t you tell me what the most powerful weapon for a civilization possessing almost infinite technological prowess is? Don’t think of this as a technical question. Think philosophy.” Cheng Xin pondered for a while and then struggled to shake her head. “I don’t know.” “Your experiences should give you a hint.” What had she experienced? She had seen how a cruel attacker could lower the dimensions of space by one and destroy a solar system. What are dimensions? “The universal laws of physics,” Cheng Xin said. “That’s right. The universal laws of physics are the most terrifying weapons, and also the most effective defenses. Whether it’s by the Milky Way or the Andromeda Galaxy, at the scale of the local galactic group or the Virgo Supercluster, those warring civilizations possessing godlike technology will not hesitate to use the universal laws of physics as weapons. There are many laws that can be manipulated into weapons, but most commonly, the focus is on spatial dimensions and the speed of light. Typically, lowering spatial dimensions is a technique for attack, and lowering the speed of light is a technique for defense. Thus, the dimensional strike on the Solar System was an advanced attack method. A dimensional strike is a sign of respect. In this universe, respect is not easy to earn. I guess you could consider it an honor for Earth civilization.

Leaning back in the couch, she let her mind relax. Think, Heather. Think. She visualized a grid containing the origin of a coordinate system. A perpendicular set of lines labeled “x axis” and “y axis” appeared to float before her. She drew a single point located right three ticks and up four ticks from the origin on the grid, then followed up with another point, connecting the two with a line. It was there, floating perfectly in the air before her. Right, she thought. She added another dimension to the grid to form a cube, and into this cube she drew spheres, ellipsoids, cubes, and pyramids. It was easy. The equations came faster and faster, as if she had fumbled around and found a switch in the dark. A part of her mind turned on, big time. Adding a fourth dimension was easy. She took her three-dimensional grid cube, shrank it to the size of a pinhead, then formed a line of these cubes. Five dimensions formed from a plane of the 3D grid cubes. Six: a cube made of cubes. Seven dimensions: a line made of the new cube of cubes. On and on the mental sequence spun from her mind. Easy. Oh so easy. She no longer had to think about the equations that represented the shapes. Merely visualizing the shape brought the corresponding equations to her mind. She didn’t have to solve them; she just knew them. It was beautiful beyond her wildest imaginings.

(a) A writer always wears glasses and never combs his hair. Half the time he feels angry about everything and the other half depressed. He spends most of his life in bars, arguing with other dishevelled, bespectacled writers. He says very ‘deep’ things. He always has amazing ideas for the plot of his next novel, and hates the one he has just published. (b) A writer has a duty and an obligation never to be understood by his own generation; convinced, as he is, that he has been born into an age of mediocrity, he believes that being understood would mean losing his chance of ever being considered a genius. A writer revises and rewrites each sentence many times. The vocabulary of the average man is made up of 3,000 words; a real writer never uses any of these, because there are another 189,000 in the dictionary, and he is not the average man. (c) Only other writers can understand what a writer is trying to say. Even so, he secretly hates all other writers, because they are always jockeying for the same vacancies left by the history of literature over the centuries. And so the writer and his peers compete for the prize of ‘most complicated book’: the one who wins will be the one who has succeeded in being the most difficult to read. (d) A writer understands about things with alarming names, like semiotics, epistemology, neoconcretism. When he wants to shock someone, he says things like: ‘Einstein is a fool’, or ‘Tolstoy was the clown of the bourgeoisie.’ Everyone is scandalized, but they nevertheless go and tell other people that the theory of relativity is bunk, and that Tolstoy was a defender of the Russian aristocracy. (e) When trying to seduce a woman, a writer says: ‘I’m a writer’, and scribbles a poem on a napkin. It always works. (f) Given his vast culture, a writer can always get work as a literary critic. In that role, he can show his generosity by writing about his friends’ books. Half of any such reviews are made up of quotations from foreign authors and the other half of analyses of sentences, always using expressions such as ‘the epistemological cut’, or ‘an integrated bi-dimensional vision of life’. Anyone reading the review will say: ‘What a cultivated person’, but he won’t buy the book because he’ll be afraid he might not know how to continue reading when the epistemological cut appears. (g) When invited to say what he is reading at the moment, a writer always mentions a book no one has ever heard of. (h) There is only one book that arouses the unanimous admiration of the writer and his peers: Ulysses by James Joyce. No writer will ever speak ill of this book, but when someone asks him what it’s about, he can’t quite explain, making one doubt that he has actually read it.

Aurobindo’s orientation has yielded important new insights into the thought of the Vedic seers (rishi), who “saw” the truth. He showed a way out of the uninspiring scholarly perspective, with its insistence that the Vedic seers were “primitive” poets obsessed with natural phenomena like thunder, lightning, and rain. The one-dimensional “naturalistic” interpretations proffered by other translators missed out on the depth of the Vedic teachings. Thus Sūrya is not only the visible material Sun but also the psychological-spiritual principle of inner luminosity. Agni is not merely the physical fire that consumes the sacrificial offerings but the spiritual principle of purifying transformation. Parjanya does not only stand for rain but also the inner “irrigation” of grace. Soma is not merely the concoction the sacrificial priests poured into the fire but also (as in the later Tantric tradition) the magical inner substance that transmutes the body and the mind. The wealth prayed for in many hymns is not just material prosperity but spiritual riches. The cows mentioned over and over again in the hymns are not so much the biological animals but spiritual light. The Panis are not just human merchants but various forces of darkness. When Indra slew Vritra and released the floods, he not merely inaugurated the monsoon season but also unleashed the powers of life (or higher energies) within the psyche of the priest. For Indra also stands for the mind and Vritra for psychological restriction, or energetic blockage. Aurobindo contributed in a major way to a thorough reappraisal of the meaning of the Vedic hymns, and his work encouraged a number of scholars to follow suit, including Jeanine Miller and David Frawley.2 There is also plenty of deliberate, artificial symbolism in the hymns. In fact, the figurative language of the Rig-Veda is extraordinarily rich, as Willard Johnson has demonstrated.3 In special sacrificial symposia, the hymn composers met to share their poetic creations and stimulate each other’s creativity and comprehension of the subtle realities of life. Thus many hymns are deliberately enigmatic, and often we can only guess at the solutions to their enigmas and allegorical riddles. Heinrich Zimmer reminded us: The myths and symbols of India resist intellectualization and reduction to fixed significations. Such treatments would only sterilize them of their magic.

What you’re saying makes no sense. At least, it doesn’t make sense to lower spatial dimensions as a weapon. In the long run, that’s the sort of attack that would kill the attacker as well as the target. Eventually, the side that initiated attack would also see their own space fall into the two-dimensional abyss they created.” Nothing but silence. After a long while, Cheng Xin called out, “Dr. Guan?” “You’re too … kind-hearted,” Guan Yifan said softly. “I don’t understand—” “There’s a way for the attacker to avoid death. Think about it.” Cheng Xin pondered and then said, “I can’t figure it out.” “I know you can’t. Because you’re too kind. It’s very simple. The attacker must first transform themselves into life forms that can survive in a low-dimensional universe. For instance, a four-dimensional species can transform itself into three-dimensional creatures, or a three-dimensional species can transform itself into two-dimensional life. After the entire civilization has entered a lower dimension, they can initiate a dimensional strike against the enemy without concern for the consequences.” Cheng Xin was silent again. “Are you reminded of anything?” Yifan asked. Cheng Xin was thinking of more than four hundred years ago, when Blue Space and Gravity had stumbled into the four-dimensional fragment. Yifan had been a member of the small expedition that conversed with the Ring. Did you build this four-dimensional fragment? You told me that you came from the sea. Did you build the sea? Are you saying that for you, or at least for your creators, this four-dimensional space is like the sea for us? More like a puddle. The sea has gone dry. Why are so many ships, or tombs, gathered in such a small space? When the sea is drying, the fish have to gather into a puddle. The puddle is also drying, and all the fish are going to disappear. Are all the fish here? The fish responsible for drying the sea are not here. We’re sorry. What you said is really hard to understand. The fish that dried out the sea went onto land before they did this. They moved from one dark forest to another dark forest. “Is it worth it to pay such a price for victory in war?” Cheng Xin asked. She could not imagine how it was possible to live in a world of one fewer dimension. In two-dimensional space, the visible world consisted of a few line segments of different lengths. Could anyone who was born in three-dimensional space willingly live in a thin sheet of paper with no thickness? Living in three dimensions must be equally confining and unimaginable for those born to a four-dimensional world. “It’s better than death,” said Yifan. While

The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface. Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia. . . . It made him feel naked and weak and brave. The lens can see half of the universe -- the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in. Down inside the computer are three lasers -- a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing. In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack. So Hiro's not actually here at all. He's in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.

EXERCISE 10: DEVELOPING A GRAND VISION You may want to do this exercise alone, out in a natural setting somewhere. 1. See Your Interests, Values, and Abilities. The next step is to discover how your interests and your deep values connect into and form your mission. It can be accomplished by seeing a grand, whole, meaningful image of what purpose you could dedicate your life to. This will be formed from your interests, values, and present goals. Begin to play with the images that you see, which represent some kind of direction that you want to take. As you get a sense of what your mission can be, see various snapshots of yourself doing what you love to do, snapshots of your abilities. 2. Focus on Heroes and Heroines. Take a look at what your favorite heroes or heroines do. See yourself doing things that give you the same feeling you get when you think of them. See snapshots of the person you want to become. Any images you don’t like can fade away. 3. Direct a Movie of Yourself. See yourself the way you want to be—doing the things you love to do. Whatever you choose to put on the screen, you’re the Spielberg, you’re the director. See the images that you feel passionate about. You can play with the images in front of you. Pretend that you’re in the middle of an inner, three-dimensional movie theater. It’s a place where you can see and hear and feel with great fidelity. Notice how much you can see, letting the wisdom from within guide the visual display that you see in front of you. Visualize it, feel it, enjoy it. The images are often up close and in full, rich color. See yourself living out a scenario that gives you tingles in your spine. You can zoom in on that glorious, fun-filled, exciting future that you see. It allows you to do what you love to do and accomplish what you believe in. 4. Recall Your Deep Values. List your deep values as you watch your mission scenario. Notice how your values and your images can fit together with a remarkable consistency. 5. Ask for Help from Your Inner Wisdom. Ask for your inner wisdom, the higher powers, or God to guide your grand vision. This vision is going to be more of a discovery than a creation. Let it come to you. Ask and it will come. Take the time to see and hear those aspects of life that unify into a whole that you feel a powerful passion for. See some more images. See some time going by. See various bright, radiant, up-close, colorful images of what it is that you could create in your life. They can begin going in a certain direction, coalescing and representing many of your current goals, some of the things that you want. See them develop into a kind of grand visionary collection of images that represents your purpose and your mission. 6. Do What It Takes. Take whatever time you need—five minutes, an hour, a whole afternoon. This is your life, your future that you are creating. When you finish, write it down. Your images are so attractive, you have some glimpses of what your mission is. Now you can develop it more fully. Ask the visionary in you to give you the gift of this grand vision. Now that you can see your grand vision of what you want to contribute to, you can make that vision into a cause to work for—a specific direction to channel your efforts to.

La cábala es una búsqueda espiritual. Su aprendizaje no puede ser teórico ni venir enlatado. Debe hacer un trabajo íntimo, apoyado en tres dimensiones:     l. Personal. De buceo, de búsqueda, de autorreferencia. 2.  De apoyo. Identificada con un maestro o referente que, como se mencionó, no dice lo que hay que hacer, sino que se muestra como un ejemplo para que veamos su manera de traducir ideas o valores en acciones, virtudes y prácticas. Atención: la idea no  es imitarlo (mucho menos idolatrado),  sino respetar la sabiduría que encarna sólo como un camino para adquirir la propia. 3.  Sociocultural. El contexto, el grupo de pertenencia, el lugar en el que se vive, los contratos sociales establecidos. La existencia del texto,  no en el sentido enciclopédico, sino como la vivencia existencial de un grupo de personas a su alrededor a partir de los valores o las propuestas que registra, como un contenedor que guarda acciones o maneras de organizarse, de ver el mundo, de interpretarlo y de discutirlo.

Graphics experts led by computer scientists at Harvard have created an add-on software tool that translates video game characters — or any other three-dimensional animations — into fully articulated action figures, with the help of a 3D printer.

Clayton and Birren’s (1980) definition of wisdom, viewed as an integration of cognitive, reflective, and affective characteristics. Ardelt (2003) adopted Clayton and Birren’s (1980) definition of wisdom in creating the Three-Dimensional Wisdom Scale (3D-WS). The three integrated and

Four-Step Dimensional Design Process The four key decisions made during the design of a dimensional model include: 1. Select the business process. 2. Declare the grain. 3. Identify the dimensions. 4. Identify the facts.

Dimensions for Descriptive Context Dimensions provide the “who, what, where, when, why, and how” context surrounding a business process event. Dimension tables contain the descriptive attributes used by BI applications for filtering and grouping the facts. With the grain of a fact table firmly in mind, all the possible dimensions can be identified. Whenever possible, a dimension should be single valued when associated with a given fact row. Dimension tables are sometimes called the “soul” of the data warehouse because they contain the entry points and descriptive labels that enable the DW/BI system to be leveraged for business analysis. A disproportionate amount of effort is put into the data governance and development of dimension tables because they are the drivers of the user's BI experience. Chapter 1 DW/BI and Dimensional Modeling Primer Chapter 3 Retail Sales Chapter 11 Telecommunications Chapter 18 Dimensional Modeling Process and Tasks Chapter 19 ETL Subsystems and Techniques

It was easy. The equations came faster and faster, as if she had fumbled around and found a switch in the dark. A part of her mind turned on, big time. Adding a fourth dimension was easy. She took her three-dimensional grid cube, shrank it to the size of a pinhead, then formed a line of these cubes. Five dimensions formed from a plane of the 3D grid cubes. Six: a cube made of cubes. Seven dimensions: a line made of the new cube of cubes. On and on the mental sequence spun from her mind. Easy. Oh so easy.

real object, yet it exists only within the computer. Even though the way we are interacting with the object is still based on a two-dimensional display device (the computer's monitor), the model itself is a mathematical simulation of a true three-dimensional object. This model can be lit, textured, and given the ability to move and change. Once a particular camera view is chosen and the color, lighting, and animation are acceptable, special software will render the scene to produce a sequence of images. While the 3D aspect of visual effects seems to get a great deal of recognition,

fundamentally distinguish the novel in principle from other genres: (i) its stylistic three-dimensionality, which is linked with the multi-languaged consciousness realized in the novel; (2) the radical change it effects in the temporal coordinates of the literary image; (3) the new zone opened by the novel for structuring literary images, namely, the zone of maximal contact with the present (with contemporary reality) in all its openendedness.

Today mammography requires an expensive, large, stationary machine that takes a crude, two-dimensional picture. But imagine a ‘bra’ that has tiny X-ray pixel emitters on the top and X-ray sensors on the bottom. It’s self-contained, self-powered, has a 3G or Wi-Fi-enabled network, and can be shipped to a patient in a FedEx box. The patient puts on the bra, pushes a button, and the doctor comes online and starts talking: ‘Hi. All set to take your mammogram? Hold still.’ The X-ray pixels fire, the detectors assemble and transmit the image, and the doctor reads it on the spot. The patient ships back the package, and she’s done. With little time and little money.

Reviews and essays that call attention to the critic are kind of like those movies that insist the viewer wear 3-D glasses. They promise depth, middle distance, a more fulsome experience, three-dimensionality: some additional layer of life. But the promise is redundant. Good criticism, like good films, will always give the impression of depth, of a presiding, trustworthy personality. Smart sentences, one after the other, are usually heartbeat enough.

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What’s that?” Lauren sounded as awed as Kat felt. “Is it a black hole?” Xairn made a strange, deep rumbling sound from low in his chest that made Kat drag her eyes away from the strange sight on the viewscreen. After a moment, she realized the big Scourge warrior was laughing. It was a rusty sound, as though he didn’t laugh very often, but kind of nice anyway. “Of course not,” he said, one corner of his mouth twitching with amusement. “If it were, our ship would have been broken to bits and sucked in by its huge gravitational pull even before we saw it. That, Lauren, is an inter-dimensional gateway. A wormhole.” “A

In this chapter we will look at the entire edifice of QFT. We will see that it is based on three simple principles. We will also list some of its achievements, including some new insights and understandings not previously mentioned. THE FOUNDATION QFT is an axiomatic theory that rests on a few basic assumptions. Everything you have learned so far, from the force of gravity to the spectrum of hydrogen, follows almost inevitably from these three basic principles. (To my knowledge, Julian Schwinger is the only person who has presented QFT in this axiomatic way, at least in the amazing courses he taught at Harvard University in the 1950's.) 1. The field principle. The first pillar is the assumption that nature is made of fields. These fields are embedded in what physicists call flat or Euclidean three-dimensional space-the kind of space that you intuitively believe in. Each field consists of a set of physical properties at every point of space, with equations that describe how these particles or field intensities influence each other and change with time. In QFT there are no particles, no round balls, no sharp edges. You should remember, however, that the idea of fields that permeate space is not intuitive. It eluded Newton, who could not accept action-at-a-distance. It wasn't until 1845 that Faraday, inspired by patterns of iron filings, first conceived of fields. The use of colors is my attempt to make the field picture more palatable. 2. The quantum principle (discetization). The quantum principle is the second pillar, following from Planck's 1900 proposal that EM fields are made up of discrete pieces. In QFT, all physical properties are treated as having discrete values. Even field strengths, whose values are continues, are regarded as the limit of increasingly finer discrete values. The principle of discretization was discovered experimentally in 1922 by Otto Stern and Walther Gerlach. Their experiment (Fig. 7-1) showed that the angular momentum (or spin) of the electron in a given direction can have only two values: +1/2 or -1/2 (Fig. 7-1). The principle of discretization leads to another important difference between quantum and classical fields: the principle of superposition. Because the angular momentum along a certain axis can only have discrete values (Fig. 7-1), this means that atoms whose angular momentum has been determined along a different axis are in a superposition of states defined by the axis of the magnet. This same superposition principle applies to quantum fields: the field intensity at a point can be a superposition of values. And just as interaction of the atom with a magnet "selects" one of the values with corresponding probabilities, so "measurement" of field intensity at a point will select one of the possible values with corresponding probability (see "Field Collapse" in Chapter 8). It is discretization and superposition that lead to Hilbert space as the mathematical language of QFT. 3. The relativity principle. There is one more fundamental assumption-that the field equations must be the same for all uniformly-moving observers. This is known as the Principle of Relativity, famously enunciated by Einstein in 1905 (see Appendix A). Relativistic invariance is built into QFT as the third pillar. QFT is the only theory that combines the relativity and quantum principles.

Dr. Anders Sandberg, in the research paper, “Quantum Gravity Treatment of the Angel Density Problem” for the Royal Institute of Technology in Stockholm, Sweden, actually derived a number for the density of angels at critical mass that could fit on the head of a pin. He arrived at 8.6766*10exp49 angels (3.8807*10exp-34 kg), thus theoretically fixing through physics how an entire legion of demons (forty-two hundred to fifty-two hundred spirits, plus auxiliaries) in the fifth chapter of the New Testament book of Mark could possess the inner space of a single man.[12]

The Banach-Tarski Theorem is an astonishing result. We have decomposed a ball into finitely many pieces, moved around the pieces without changing their size or shape, and then reassembled them into two balls of the same size as the original. I think the theorem teaches us something important about the notion of volume. As noted earlier, it is an immediate consequence of the theorem that some of the Banach-Tarski pieces must lack definite volumes and, therefore, that not every subset of the unit ball can have a well-defined volume. A little more precisely, the theorem teaches us that there is no way of assigning volumes to the Banach-Tarski pieces while preserving three-dimensional versions of the principles we called Uniformity and (finite) Additivity in chapter 7. (Proof: Suppose that each of the (finitely many) Banach-Tarski pieces has a definite finite volume. Since the pieces are disjoint, and since their union is the original ball, Additivity entails that the sum of the volumes of the pieces must equal the volume of the original ball. But Uniformity ensures that the volume of each piece is unchanged as we move it around. Since the reassembled pieces are disjoint, and since their union is two balls, Additivity entails that the sum of their volumes must be twice the volume of the original ball. But since the volume of the original ball is finite and greater than zero, it is impossible for the sum of the pieces to equal both the volume of the original ball and twice the volume of the original ball.) If I were to assign the Banach-Tarski Theorem a paradoxicality grade of the kind we used in chapter 3, I would assign it an 8. The theorem teaches us that although the notion of volume is well-behaved when we focus on ordinary objects, there are limits to how far it can be extended when we consider certain extraordinary objects - objects that can only be shown to exist by assuming the Axiom of Choice.

Neat rooms are much like one-dimensional characters—they remain static, unchanging. They lack depth. Now this reminds me of a dynamic character—much more personality!

Just a story. It had become one of the defining truths of my life that, no matter how I tried to keep them flattened, two-dimensional, jailed in paper and ink, there would always be stories that refused to stay bound inside books. It was never just a story. It would know: a story had swallowed my whole life.

Women are many things, so treating them as one-dimensional bodies whose sole aim is to provide you with a hole for your cock and an heir for your throne will lead to nothing but cold sheets on a lonely deathbed.

And this particular camel, the result of millions of years of selective evolution to produce a creature that could count the grains of sand it was walking over, and close its nostrils at will, and survive under the broiling sun for many days without water, was called You Bastard. And he was, in fact, the greatest mathematician in the world. You Bastard was thinking: there seems to be some growing dimensional instability here, swinging from zero to nearly forty-five degrees by the look of it. How interesting. I wonder what’s causing it? Let V equal 3. Let Tau equal Chi/4. cudcudcud Let Kappa/y be an Evil-Smelling-Bugger22 differential tensor domain with four imaginary spin co-efficients … Ptraci hit him across the head with her sandal. ‘Come on, get a move on!’ she yelled. You Bastard thought: Therefore H to the enabling power equals V/s. cudcudcud Thus in hypersyllogic notation …

Forgetfulness is common because knowledge should be protected.  When evolved enough to use and share all the ancient information with integrity, honesty and only for the highest interest of the Universe, you will remember everything. Another reason for forgetfulness is you are accessing higher dimensional vibrations or knowledge and then lowering it down to the 3D physical reality.  Once again, your own vibrations will need to be higher.  For example, you may need to go through an ego-transforming journey before remembering ancient truths.  It is necessary for you to work on your Light body, preparing your physical vessel, so that you may hold this higher vibrational information within, and then use it for the good of others.

A tactician does things right. The strategist does the right things.

All of the old lessons of identifying Russian mantraps started to come back to me as the stolen DNC data was revealed. It had a pattern that was familiar and that virtually every other intelligence officer could recognize. The pattern showed that someone was playing 3 Dimensional chess with our democracy.

It is the time of the token woman … Paradoxically the triumph of the rhetoric of feminism has taken place exactly at a time when the actual conditions of women’s lives have worsened, and this rhetoric has been used to justify policies which will harm women.3

The poem succeeds by being 3-dimensional in the reader's mind rather than 1-dimensional words on paper.

Energy, we have noted, is the capacity to do work. In human economy work may be (1) useful or (2) neutral or (3) harmful. These words have no significance except in human economy. The energy of the human intellect is a time-binding energy, for it is able to direct, to use, to transform other energies. This time-binding energy is of higher rank—of higher dimensionality—than the other natural energies which it directs, controls, uses, and transforms. [pg 089] This higher energy—which is commonly called the mental or spiritual power of man—is time-binding because it makes past achievements live in the present and present activities in time-to-come. It is an energy that initiates; it is an energy that creates; it is an energy that can understand the past and foretell the future—it is both historian and prophet; it is an energy that loads abstract time—the vehicle of events—with an ever-increasing burden of intellectual achievements, of spiritual wealth, destined for the civilization of posterity. And what is the natural law of the increase? What is the natural law of human advancements in all great matters of human concern?

By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic sound track. So Hiro’s not actually here at all. He’s in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse.

Nine years later another computer hit 1.8 teraflops. But instead of simulating nuclear explosions, it was devoted to drawing them and other complex graphics in all their realistic, real-time, three-dimensional glory. It did this not for physicists, but for video game players. This computer was the Sony PlayStation 3, which matched the ASCI Red in performance, yet cost about five hundred dollars, took up less than a tenth of a square meter, and drew about two hundred watts.11 In less than ten years exponential digital progress brought teraflop calculating power from a single government lab to living rooms and college dorms all around the world. The PlayStation 3 sold approximately 64 million units.

So Disney merely has to stoop down to pick up reality as it is. 'Built-in spectacle', as Guy Debord would say. But we are no longer in the society of the spectacle, which has itself become a spectacular concept. It is no longer the contagion of spectacle which alters reality, it is the contagion of the virtual which obliterates the spectacle. With its diverting, distancing effects, Disneyland still represented spectacle and folklore, but with Disneyworld and its tentacular extension, we are dealing with a generalized metastasis, with a cloning of the world and of our mental universe, not in the imaginary register, but in the viral and the virtual. We are becoming not alienated, passive spectators, but interactive extras, the meek, freeze-dried extras in this immense reality show. This is no longer the spectacular logic of alienation, but a spectral logic of disembodiment; not a fantastic logic of diversion, but a corpuscular logic of transfusion, transubstantiation of each of our cells. An undertaking of radical deterrence of the world, then, but from the inside this time, not from outside, as we saw in what is now the almost nostalgic world of capitalist reality. In virtual reality the extra is no longer either an actor or a spectator; he is off-stage, he is a transparent operator. And Disney wins on yet another level. Not content with obliterating the real by turning it into a 3-D, but depthless, virtual image, it obliterates time by synchronizing all periods, all cultures in the same tracking shot, by setting them alongside each other in the same scenario. In this way, it inaugurates real time — time as a single point, one-dimensional time, a thing which is also without depth: neither present, past nor future, but the immediate synchrony of all places and all times in the same timeless virtuality. The lapsing or collapsing of time: this is the real fourth dimension . The dimension of the virtual, of real time, the dimension which, far from superadding itself to the three dimensions of real space, obliterates them all. So it has been suggested that in a century or a millennium, the old 'swords and sandals' epics will be seen as actual Roman films, dating from the Roman period, as true documentaries on Antiquity; that the Paul Getty Museum at Malibu, a pastiche of a villa from Pompeii, will be confused anachronistically with a villa from the third century B.C. (as will the works inside: Rembrandt and Fra Angelico will all be jumbled together in the same flattening of time); and that the commemoration of the French Revolution at Los Angeles in 1989 will be confused retrospectively with the real event. Disney achieves the de facto realization of this timeless Utopia by producing all events, past or future, on simultaneous screens, remorselessly mixing all the sequences as they would — or will — appear to a civilization other than our own. But this is already our civilization. It is already increasingly difficult for us to imagine the real, to imagine History, the depth of time, three-dimensional space - just as difficult as it once was, starting out from the real world, to imagine the virtual one or the fourth dimension.

Since it had started off small it looked like a white, cat-shaped carrot, a description that will have to do until people invent proper four-dimensional adjectives.

Hiro’s view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic sound track. So Hiro’s not actually here at all. He’s in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse.

tableau /tablo/ I. nm 1. (œuvre d'art) picture; (peinture) painting voir aussi: galerie, vieux 2. (description) picture • brosser un ~ sombre de la situation | to paint a black picture of the situation • et pour achever or compléter le ~ | and to cap it all 3. (spectacle) picture • des enfants jouant dans un jardin, quel ~ charmant! | children playing in a garden, what a charming picture! • le ~ général est plus sombre | the overall picture is more gloomy • en plus, il était ivre, tu vois un peu le ~○! | on top of that he was drunk, you can just imagine! 4. (présentation graphique) table, chart • ‘voir ~’ | ‘see table’ • ~ des marées | tide table • ~ des températures | temperature chart • ~ synchronique/synoptique | historical/synoptic chart • ~ à double entrée | (Ordinat) two-dimensional array • présenter qch sous forme de ~ | to present sth in tabular form 5. blackboard • écrire qch au ~ | to write sth on the blackboard • passer or aller au ~ | to go (up) to the blackboard 6. (affichant des renseignements) board; (Rail) indicator board • ~ des départs/arrivées | departures/arrivals indicator • ~ horaire | timetable 7. (support mural) board • ~ des clés | key rack • ~ pour fusibles | fuse box 8. (liste) register (GB), roll (US) 9. short scene II. Idiomes 1. jouer or miser sur les deux tableaux | to hedge one's bets 2. gagner/perdre sur tous les tableaux | to win/to lose on all counts

While chapter 2 asks how one-dimensional discourses of queerness underpin liberal capitalism, chapter 3 attends to how those discourses undergirded transformations within US cities. More specifically, this chapter examines how the mainstreaming of queerness and the closeting of race have promoted the development of neoliberal urban space. This version of neoliberalization involves the use of queerness as an alibi for an economic and racial cleansing of disfranchised neighborhoods, a move that requires the ideological separation of sexuality from other struggles. Indeed, if single-issue politics have worked to deradicalize homosexuality and separate it from issues of racial, gender, and class justice, then the neoliberal city is the embodiment of that deradicalization. As a result, the chapter looks at gentrifying practices in metropolitan areas as an instance in which queerness helps to define hipness, a hipness that is established by spatially dislocating working-class communities and people of color.

Computer vision (CV) is the subbranch of AI that focuses on the problem of teaching computers to see. The word “see” here does not mean just the act of acquiring a video or image, but also making sense of what a computer sees. Computer vision includes the following capabilities in increasing complexity: Image capturing and processing—use cameras and other sensors to capture real-world 3D scenes in a video. Each video is composed of a sequence of images, and each image is a two-dimensional array of numbers representing the color, where each number is a “pixel.” Object detection and image segmentation—divide the image into prominent regions and find where the objects are. Object recognition—recognizes the object (for example, a dog), and also understands the details (German Shepherd, dark brown, and so on). Object tracking—follows moving objects in consecutive images or video. Gesture and movement recognition—recognize movements, like a dance move in an Xbox game. Scene understanding—understands a full scene, including subtle relationships, like a hungry dog looking at a bone.

value velocity, an idea which emphasizes that value must happen quickly to be perceived as value. The more time that passes, the more diluted the sense of the value becomes.

Libera... Forte... E arrabbiata!

(PuzzleBoxGPL) Inventor, Jonathan Roy McKinney >Unique 1< >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 2, 6, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “PuzzleBoxGPL forsees rainbow facets Inna hash table, and gets prefixes, suffixes, searches, and sorts randomized objects Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, SNES'S Secret Of Mana, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain, given that the five pointed star encapsulates the hexagon Inna Model View Projection Matrix, it halves the coins Inna three-dimensional P2P hashing scheme

*>PGEMSIX< GPL >Unique 1< >Diadem Ring Circlet 8, 6, 1< >Abstracter 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “>PGEMSIX< GPL forsees rainbow facets in randomized hash tables, prefixes, suffixes, searches, and sorts globs Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, SNES'S Secret Of Mana, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain. The five pointed star forgoes Model View Projection Matrices, and halves coins Inna 3-dimensional P2P hashing scheme

(PuzzleBoxGPL) Inventor, Jonathan Roy McKinney >Unique 1< >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 2, 6, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “PuzzleBoxGPL forsees rainbow facets in hash tables, prefixes, suffixes, searches, and sorts randomized glob objects in the standard normal distribution, inspired by Blizzard Entertainment’s Diablo, SNES'S Secret Of Mana, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain. The five pointed star gives out the Model View Projection Matrix vertices, and halves the coins Inna three-dimensional P2P hashing scheme

Superstring theory in the thirteenth century?!” Katherine wasn’t buying it. “Come on!” Superstring theory was a brand-new cosmological model. Based on the most recent scientific observations, it suggested the multidimensional universe was made up not of three . . . but rather of ten dimensions, which all interacted like vibrating strings, similar to resonating violin strings. Katherine waited as her brother heaved open the book, ran through the ornately printed table of contents, and then flipped to a spot near the beginning of the book. “Read this.” He pointed to a faded page of text and diagrams. Dutifully, Katherine studied the page. The translation was old-fashioned and very hard to read, but to her utter amazement, the text and drawings clearly outlined the exact same universe heralded by modern superstring theory—a ten-dimensional universe of resonating strings. As she continued reading, she suddenly gasped and recoiled. “My God, it even describes how six of the dimensions are entangled and act as one?!” She took a frightened step backward. “What is this book?!” Her brother grinned. “Something I’m hoping you’ll read one day.” He flipped back to the title page, where an ornately printed plate bore three words. The Complete Zohar. Although Katherine had never read the Zohar, she knew it was the fundamental text of early Jewish mysticism, once believed so potent that it was reserved only for the most erudite rabbis. Katherine eyed the book. “You’re saying the early mystics knew their universe had ten dimensions?” “Absolutely.” He motioned to the page’s illustration of ten intertwined circles called Sephiroth. “Obviously, the nomenclature is esoteric, but the physics is very advanced.” Katherine didn’t know how to respond. “But . . . then why don’t more people study this?” Her brother smiled. “They will.” “I don’t understand.” “Katherine, we have been born into wonderful times. A change is coming. Human beings are poised on the threshold of a new age when they will begin turning their eyes back to nature and to the old ways . . . back to the ideas in books like the Zohar and other ancient texts from around the world. Powerful truth has its own gravity and eventually pulls people back to it. There will come a day when modern science begins in earnest to study the wisdom of the ancients . . . that will be the day that mankind begins to find answers to the big questions that still elude him.

<> >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 8, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “Paisbox randomizer finds Rainbow Facets Inna hash table, prefixes, suffixes, searches, and sorts globs Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, Secret Of Mana on Nintendo, Altered Carbon, B2B B2C Business Intelligence, Knowledge Management, and Blockchain. The Five pointed star forges the model view projection matrix, and binds coins Inna two-dimensional P2P hashing scheme.

*PO GPL >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 8, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “Paisbox randomizer finds Rainbow Facets Inna hash table, prefixes, suffixes, searches and sorts globs Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, Secret Of Mana on Super Nintendo, Altered Carbon, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain. The Five pointed star forges the Model View Projection Matrix, binds or halves coins Inna 3-dimensional P2P hashing scheme.

>Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 8, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “Paisbox randomizer finds Rainbow Facets Inna hash table, prefixes, suffixes, searches, and sorts globs Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, Secret Of Mana on Nintendo, Altered Carbon, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain. The Five pointed star forges the model view projection matrix, binds, and halves coins Inna 3-dimensional P2P hashing scheme.

Because there is a growing belief among the community of thinking beings that by 2050 men and women will be marrying human like robots. At that point, how Craig Raine will describe his experiences will be fascinating to know. And in my imagination I have already travelled with the Green Man into the future called 2075 and witnessed How humans will experience love in 2075. Because this science fiction novel navigates through the possibility of men and women falling in love with machines, without knowing they are robots imitating human emotions. Will you still dare to fall in love in 2075 or will you strive to tell the difference between a human lover and a robotic lover? Now it is your turn to join the Green Man on this exciting journey into 2075, where he will reveal to you what the world would look like in 2075, and take you on an excitingly epic journey with the protagonist, Saabir, who criss crosses the highways and all by ways of emotional trajectory in the midst of synthetic emotions and feelings that engulf him. To know more, travel with the Green Man via the science fiction titled, They Loved in 2075. With this anticipation I shall dream of you tonight and hope that you will be able to unlock the alien imagination within you, to realise the part of you that is from Heaven. If you have any doubts, here is the poem by ​​Craig Raine to make you a dreamer who while asleep is always awake in his/her subconscious state too. Because he/she has learned the art of having a rendezvous with the light that radiates through the universe, to eventually settle in a dreamer's eyes who dares to dream beyond the ordinary and the 3 dimensional reality. "A Martian Sends A Postcard Home” Caxtons are mechanical birds with many wings and some are treasured for their markings-- they cause the eyes to melt or the body to shriek without pain. I have never seen one fly, but sometimes they perch on the hand. Mist is when the sky is tired of flight and rests its soft machine on the ground: then the world is dim and bookish like engravings under tissue paper Rain is when the earth is television. It has the properites of making colours darker. Model T is a room with the lock inside -- a key is turned to free the world for movement, so quick there is a film to watch for anything missed. But time is tied to the wrist or kept in a box, ticking with impatience. In homes, a haunted apparatus sleeps, that snores when you pick it up. If the ghost cries, they carry it to their lips and soothe it to sleep with sounds. And yet, they wake it up deliberately, by tickling with a finger. Only the young are allowed to suffer openly. Adults go to a punishment room with water but nothing to eat. They lock the door and suffer the noises alone. No one is exempt and everyone's pain has a different smell. At night, when all the colours die, they hide in pairs and read about themselves -- in colour, with their eyelids shut. Dedicated to you, the Green Man and Saabir who hails from 2075 and dares to love a real woman in 2075 because he loves her a lot!

(PuzzleBoxGPL) Inventor, Jonathan Roy McKinney >Unique 1< >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 2, 6, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “PuzzleBoxGPL ingots rainbow facets Inna hash table, forges prefixes, suffixes, and finds randomized objects Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, SNES'S Secret Of Mana, LOTR, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain, given the five pointed star binds the hexagon Inna Model View Projection Matrix, it halves the coins Inna three-dimensional P2P hashing scheme. "Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie. One Ring to rule them all...”-LOTR. Given that the one ring was forged from one too many golden ingots, it was forseen that Sauron's deception poisoned all the land and covered it in a sickened darkness for the one ring that finds them, and one ring that binds them, for they were all deceived...I before E except after C.

*PO >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 8, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “Paisbox randomizer finds Rainbow Facets Inna hash table, prefixes, suffixes, searches and sorts globs Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, Secret Of Mana on Nintendo, Altered Carbon, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain. The Five pointed star forges the Model View Projection Matrix, binds or halves coins Inna 3-dimensional P2P hashing scheme.

(PuzzleBoxGPL) Inventor, Jonathan Roy McKinney >Unique 1< >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 2, 6, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “PuzzleBoxGPL ingots rainbow facets Inna hash table, forges prefixes, suffixes, and finds randomized objects Inna standard normal distribution, inspired by Blizzard Entertainment’s Diablo, SNES'S Secret Of Mana, LOTR, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain, given the five pointed star binds the hexagon Inna Model View Projection Matrix, it halves the coins Inna three-dimensional P2P hashing scheme. "Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie. One Ring to rule them all...”-LOTR. Given that the one ring was forged from one too many golden ingots, it was forseen that Sauron's deception poisoned all the land and covered it in a sickened darkness for the one ring that finds them and one ring that binds them, for they were all deceived...I before E except after C.

Fig. 148. Cartesian Equation of the Cone Mid-point of base as Origin. The distance (d) between two points (P1 and P2) in 3-dimensional space (Fig. 147) is given by: d2 = (x2 − x1)2 + (y2 − y1)2 + (z2 − z1)2 It is sometimes easier to obtain the Cartesian equation of a figure by first defining it in cylindrical co-ordinates and substituting: y = r sin A; x = r cos A Figs. 148 and 149 disclose the genesis of Cartesian equations which describe the cone and the sphere:

Grew told him of variations of chess. There was four-handed chess, in which each player had a board, touching each other at the corners, with a fifth board filling the hollow in the center as a common No Man’s Land. There were three-dimensional chess games in which eight transparent boards were placed one over the other and in which each piece moved in three dimensions as they formerly moved in two, and in which the number of pieces and pawns were doubled, the win coming only when a simultaneous check of both enemy kings occurred. There were even the popular varieties, in which the original position of the chessmen were decided by throws of the dice, or where certain squares conferred advantages or disadvantages to the pieces upon them, or where new pieces with strange properties were introduced.