Dimensional Short Quotes

The family's function is to repress Eros; to induce a false consciousness of security; to deny death by avoiding life; to cut off transcendence; to believe in God, not to experience the Void; to create, in short, one-dimensional man; to promote respect, conformity, obedience. . .

In short: the space of color information is infinite-dimensional, but we perceive, as color, only a three-dimensional surface, onto which those infinite dimensions project.

Actresses talking about characters they’ve played often use the phrase “strong woman”, which kind of irks me. Firstly, the description appears to be reserved for two kinds of female: the gun-toting chick in tiny-vest-and-shorts combo, or the tough-talking businesswoman who secretly longs for a man to bring out her softer side. So obviously, our idea of strength is pretty narrow and one-dimensional. Secondly, why isn’t Brad Pitt ever asked about how much he enjoys playing a “strong man”? Is it automatically assumed that men’s roles will be complex and interesting?

In short, what Brown, Enquist, and West are saying is that evolution structured our circulatory systems as fractal networks to approximate a “fourth dimension” so as to make our metabolisms more efficient. As West, Brown, and Enquist put it, “Although living things occupy a three-dimensional space, their internal physiology and anatomy operate as if they were four-dimensional … Fractal geometry has literally given life an added dimension.

And Esme sees what might be. She shuts her mouth, closes her throat, folds her hands over each other and she does the thing she has perfected. Her speciality. To absent yourself, to make yourself vanish. Ladies and gentlemen, behold. It is most important to keep yourself very still. Even breathing can remind them that you are there, so only very short, very shallow breaths. Just enough to stay alive. And no more. Then you must think yourself long. This is the tricky bit. Think yourself stretched and thin, beaten to transparency. Concentrate. Really concentrate. You need to attain a state so that your being, the bit of you that makes you what you are, that makes you stand out, three-dimensional in a room, can flow out from the top of your head, until, ladies and gentlemen, until it comes to pass that—

In depression you become, in your head, two-dimensional—like a drawing rather than a living, breathing creature. You cannot conjure your actual personality, which you can remember only vaguely ... You live in, or close to, a state of perpetual fear, although you are not sure what it is you are afraid of.

From time to time the by-products of using your inner energy worker will result in your experiencing odd sensations, seeming illnesses, unusual pimples or rashes, and unexpected emotional responses. Remember - these physical and emotional reactions are the by-products of the work you are doing. Release your anxiety over their occurrence and remind yourself they will be short-lived, do not reflect an aging or ill body, but are rather normal responses of a reflective energetic being.

Do not expect to hear of any system or method on my part ; time seems too short and the world too vast for that! I rush from science to philosophy, and from philosophy to our old friends the poets; and then, over-wearied by too much idealism, I fancy I become practical in returning to science. Have you ever attempted to conceive all there is in the world worth knowing—that not one subject in the universe is unworthy of study? The giants of literature, the mysteries of many-dimensional space, the attempts of Boltzmann and Crookes to penetrate Nature's very laboratory, the Kantian theory of the universe, and the latest discoveries in embryology, with their wonderful tales of the development of life—what an immensity beyond our grasp!

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]

The phone rang. By the caller ID she saw it was Hal from the Wizard temp agency. “Hey Valerie,” he said. “Oh, hey Hal. What can I do for you?” she replied. “Oh, there’s this thing. Before I tell you about it, are you free right now to go out? I know it’s short notice, but rather than explain the whole thing to you and then find out you’re busy with something else I just want to ask upfront. Because explaining it to you would be a waste of both of our time if you aren’t available.” “No, sure, yeah. No problem. I could go on something now. I’m not too busy.” “Okay, great. We got a call from the police. They’ve got some crazy thing going on downtown. Something to do with a multi-dimensional demon spirit possessing buildings and some gaping holes in reality or something like that. I don’t really have all the details because the police officer who called me was cut off mid-sentence. He seemed to come down with some kind of horrible case of screaming. Something about clawing his eyeballs out. Anyway, some other officer picked up the phone and said that their regular on-duty wizard was sick and to send someone to meet them near the downtown plaza. You can’t miss the three story tall blob-demon-thing tearing up the city streets, he said.” “Okay. Is it the usual hourly?” “Because it’s for the city rather than a private business, we give them a discounted rate. So it’s $15 an hour. You don’t have to take it.” “No, that’s okay. I need the money.

FASCIA: THE TIES THAT BIND Imagine a collagen-rich, stretchy slipcover for every organ, nerve, bone, and muscle in our bodies, and you start to get a sense of how fundamental connective tissue—specifically fascia—is to the entire body. Suspending our organs inside our torso, connecting our head to our back to our feet, fascia protects, supports, and literally binds our body together. Fascia can be gossamer-thin and translucent, like a spider web, or thick and tough like rope. Ounce for ounce, fascia is stronger than steel. Other specialized types of connective tissue include bones, ligaments, tendons, cartilage, and fat (adipose) tissue. Even blood, strictly speaking, is considered connective tissue. But to me, the most exciting aspect of the latest research on connective tissue relates to fascia. Fascia is the stretchy tissue that forms an uninterrupted, three-dimensional web within our body. Our body has sheets, bags, and strings of fascia of varying thickness and size, some superficial and some deep. Fascia envelops both individual microscopic muscle filaments as well as whole muscle groups, such as the trapezius, pectorals, and quadriceps. For example, one of the largest fascia configurations in the body is known as the “trousers,” a massive sheet of fascia that crosses over the knees and ends near the waist, giving the appearance of short leggings. This fascia trouser is thicker around the knees and thinner as it continues up the legs and over the hips, thickening again near the waist. When the fascia trouser is healthy, supple, and resilient, it acts like a girdle, giving the body a firm shape. Fascia helps muscles transmit their force so we can convert that force into movement. The system of fascia is bound by tensile links (think of the structure of a geodesic dome, like the one at Epcot in Disney World), with space and fluid between the links that can help absorb external pressure and more evenly distribute force across the fascial structure. This allows our bodies to withstand tremendous force instead of absorbing it in one local area, which would lead to increased pain and injury. Fascia is also a second nervous system in and of itself, with almost 10 times the number of sensory nerve endings as muscle. Helene Langevin, director of the Osher Center for Integrative Medicine at Harvard Medical School, has done landmark studies on the function and importance of connective tissue and its impact on pain. One of the leading researchers in the field today, Langevin describes fascia as a “living matrix” whose health is essential to our well-being.

They are the subversive force progressively breaking down traditional mechanisms based on sacrificial repetitions of the founding murder and the cover-up that goes with them. Girard is very clear that the bible has had this unique effect which thoroughly pervades our contemporary world. But in these conditions there emerges a stark choice. After the Christian revelation there are no longer truly effective scapegoats and so, in Girard’s own words, ‘the virus of mimetic violence can spread freely’. Thus, ‘Either we choose Christ or we run the risk of self-destruction.’5 I do not disagree, but the way his analysis narrows simply to this statement cuts out a great deal of the field of contemporary reality. It becomes a kind of negative scholastic or churchy judgment on the world. All the deep genealogy he has labored over at this point becomes two dimensional and misses the profound transformative changes Christianity has brought about. In short Girard has produced a structural genealogy of violence; he lacks an equivalent genealogy of compassion. In

The rate of time flow perceived by an observer in the simulated universe is completely independent of the rate at which a computer runs the simulation, a point emphasized in Greg Egan's science-fiction novel Permutation City. Moreover, as we discussed in the last chapter and as stressed by Einstein, it's arguably more natural to view our Universe not from the frog perspective as a three-dimensional space where things happen, but from the bird perspective as a four-dimensional spacetime that merely is. There should therefore be no need for the computer to compute anything at all-it could simply store all the four-dimensional data, that is, encode all properties of the mathematical structure that is our Universe. Individual time slices could then be read out sequentially if desired, and the "simulated" world should still feel as real to its inhabitants as in the case where only three-dimensional data is stored and evolved. In conclusion: the role of the simulating computer isn't to compute the history of our Universe, but to specify it. How specify it? The way in which the data are stored (the type of computer, the data format, etc.) should be irrelevant, so the extent to which the inhabitants of the simulated universe perceive themselves as real should be independent of whatever method is used for data compression. The physical laws that we've discovered provide great means of data compression, since they make it sufficient to store the initial data at some time together with the equations and a program computing the future from these initial data. As emphasized on pages 340-344, the initial data might be extremely simple: popular initial states from quantum field theory with intimidating names such as the Hawking-Hartle wavefunction or the inflationary Bunch-Davies vacuum have very low algorithmic complexity, since they can be defined in brief physics papers, yet simulating their time evolution would simulate not merely one universe like ours, but a vast decohering collection of parallel ones. It's therefore plausible that our Universe (and even the whole Level III multiverse) could be simulated by quite a short computer program.

The fact that our Universe (together with the entire Level III multiverse) may be simulatable by a quite short computer program calls into question whether i makes any ontological difference whether simulations are "run" or not. If, as I have argued, the computer need only describe and not compute the history, then the complete description would probably fit on a single memory stick, and no CPU power would be required. It would appear absurd that the existence of this memory stick would have any impact whatsoever on whether the multiverse it describes exists "for real." Even if the existence of the memory stick mattered, some elements of this multiverse will contain an identical memory stick that would "recursively" support its own physical existence. This wouldn't involve any Catch-22, chicken-or-the-egg problem regarding whether the stick or the multiverse was created first, since the multiverse elements are four-dimensional spacetimes, whereas "creation" is of course only a meaningful notion within a spacetime. So are we simulated? According to the MUH, our physical reality is a mathematical structure, and as such, it exists regardless of whether someone here or elsewhere in the Level IV multiverse writes a computer program to simulate/describe it. The only remaining question is then whether a computer simulation could make our mathematical structure in any meaningful sense exist even more than it already did. If we solve the measure problem, perhaps we'll realize that simulating it would increase its measure slightly, by some fraction of the measure of the mathematical structure within which it's simulated. My guess is that this would be a tiny effect at best, so if asked, "Are we simulated?," I'd bet my money on "No!

Albert Mohler Jr. for the Christian Post. “In short, [this] God is something like a combination Divine Butler and Cosmic Therapist: he is always on call, takes care of any problems that arise, professionally helps his people to feel better about themselves, and does not become too personally involved in the process.” In continuing his troubling dissertation,

He understood these dreams as showing that the unconscious is the generator of the empirical personality and that the Self assumes human shape in order to enter three-dimensional reality.

The basic principle of Western staff notation is that passing time is represented through a series of marks arranged from left to right on the page. Within the five lines of the staff (or stave), notes are arrayed from high to low. So a score is a kind of two-dimensional plot in which the horizontal axis is time and vertical one is pitch;

So far we have considered the effects of varying the type of illumination, so at this point we can sum up how one specimen can be imaged in four separate ways. In a conventional microscope with bright field illumination, contrast comes from absorbance of light by the sample (Figure 7a). Using dark field illumination, contrast is generated by light scattered from the sample (Figure 7b). In phase contrast, interference between different path lengths produces contrast (Figure 7c), and in polarizing microscopy it is the rotation of polarized light produced by the specimen between polarizer and analyser (Figure 7d). This is ‘converted’ into an image that has colour and a three dimensional appearance by the use of Wollaston prisms in differential interference microscopy. For virtually any specimen, hard or soft, isotropic or anisotropic, organic or inorganic, biological, metallurgical, or manufactured, there will be a variety of imaging modes that will produce complementary information. Some of the types of light microscopy we have looked at above have direct parallels in electron microscopy (Chapter 4).

Many Native American traditions use the word "medicine" to refer to anything that has spiritual power and that keeps us walking in beauty. Each poem, short story and prose in this book is a remedy to the things that cause us to forget what walking in beauty feels like and empowers us to re-story our limiting and repetitive narrative into multi-dimensional abstracts of art from which we can heal ourselves and our collective through. These stories have been wildcrafted from the wilderness: the one within and without - the one above and below – the one we live in now and the one our ancestors call us back to through the eaves. They seam the two worlds together to make medicine for deep and restorative healing.

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

Remembrance of the past may give rise to dangerous insights, and the established society seems to be apprehensive of the subversive contents of memory. Remembrance is a mode of dissociation from the given facts, a mode of "mediation" which breaks, for short moments, the omnipresent power of the given facts. Memory recalls the terror and the hope that passed. Both come to life again, but whereas in reality, the former recurs in ever new forms, the latter remains hope.

I studied space dynamics, in all its phases, Gaean economics, the mathematical basis of trans-dimensional propulsion. I am familiar with Handbook to the Planets and Gaean Cosmography. In short, I am not just another dilettante! I am anxious to apply my knowledge to useful purposes.

Delacorte Review Stories do not write themselves, much as writers may modestly insist they do. Stories exist because writers need to tell them—a need so deep that they will endure false starts, woeful sentences, dead-end paragraphs, two-dimensional characters, flabby prose, wrong turns, and shaky narratives. In short, they will risk all the things that, taken together, comprise the writer’s greatest fear: failure. Specifically, failing to tell the story they need to tell. Still, they persist. If the best fiction is propelled by imagination, we believe that the best narrative nonfiction is propelled by the relentless and often-lonely business of finding out things that are often maddeningly difficult to find. In a word: reporting. Nonfiction storytelling can be as compelling, riveting, and transporting as fiction—so long as you come back, as they say, with the goods. The Delacorte Review’s mission is discovery -- for readers to discover new, original works of ambitious narrative nonfiction. For writers to discover the stories they need to tell.

A true analysis of the incoming signal as to color must reveal the same information as Newton's prismatic analysis. A true analysis, that is to say, would resolve the incoming signal into its pure spectral components, each having its own independent strength. To report the result of such an analysis, we would need to specify a continuous infinity of numbers, one for the strength of each pure spectral component. Thus space of potential color information is not merely infinite, but infinite-dimensional. Instead, our eyes' projection of this information captures, as Maxwell discovered, just three numbers. In short: the space of color information is infinite-dimensional, but we perceive, as color, only a three-dimensional surface, onto which those infinite dimensions project.

When we open the Bible we must do so in faith that God has the power to resurrect dead letters. As Scot McKnight says, "What we are looking for in reading the Bible is the ability to turn the two-dimensional words on paper into a three-dimensional encounter with God." It is nothing short of a miracle when, in what amounts to sorting through ancient mail, my world is addressed, my language spoken, my name called.

As I did so, music began to echo through the apartment, first scales, then something melodic and beautiful. I stopped to listen, marveling at the sound, wondering how it must feel to be able to create something so gorgeous. I closed my eyes, letting it flow through me, remembering the evening when Will had taken me to my first concert and begun to force the world open for me. Live music was so much more three-dimensional than recorded-it short-circuited something deep within.

The long procession of men flickered before her like faces on cards quickly riffled—blurred, two-dimensional. Only their desire for her mattered.