Dimensional Time Quotes

If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space.

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.

How to be a Poet (to remind myself) i Make a place to sit down. Sit down. Be quiet. You must depend upon affection, reading, knowledge, skill—more of each than you have—inspiration work, growing older, patience, for patience joins time to eternity… ii Breathe with unconditional breath the unconditioned air. Shun electric wire. Communicate slowly. Live a three-dimensional life; stay away from screens. Stay away from anything that obscures the place it is in. There are no unsacred places; there are only sacred places and desecrated places. iii Accept what comes from silence. Make the best you can of it. Of the little words that come out of the silence, like prayers prayed back to the one who prays, make a poem that does not disturb the silence from which it came.

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

And carefully... tenderly... taking my time with every brushstroke, I sketch the curve of her neck, apply the crimson of her lips, form her face into a two-dimensional tribute to her beauty.

That is why historians surprise me. They seem to have no talent for the likeliness of any situation. They see history like a peepshow; with two-dimensional figures against a distant background.

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.)

That means that the universe is two-dimensional. Matter, energy, time, you, me and the floor are holograms.

Anything can be real. Every imaginable thing is happening somewhere along the dimensional axis. These things happen a billion times over with exactly the same outcome and no one learns anything. Whatever a person can think, imagine, wish for, or believe has already come to pass. Dreams come true all the time, just not for the dreamers.

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.

I’m you, Blake. I’m a reflection of you, a multi-dimensional reflection. It’s easier to see a reflection of yourself than to see yourself in a reflection. It’s an inward/outward thing.

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

Human mental identities are not like shoes, of which we can only wear one pair at a time. We are all multi-dimensional beings. Whether a Mr. Patel in London will think of himself primarily as an Indian, a British citizen, a Hindu, a Gujarati-speaker, an ex-colonist from Kenya, a member of a specific caste or kin-group, or in some other capacity depends on whether he faces an immigration officer, a Pakistani, a Sikh or Moslem, a Bengali-speaker, and so on. There is no single platonic essence of Patel. He is all these and more at the same time.

Could time be all-dimensional—yesterday, today, tomorrow running concurrently in ceaseless repetition? Perhaps

Lay down these words Before your mind like rocks. placed solid, by hands In choice of place, set Before the body of the mind in space and time: Solidity of bark, leaf, or wall riprap of things: Cobble of milky way. straying planets, These poems, people, lost ponies with Dragging saddles -- and rocky sure-foot trails. The worlds like an endless four-dimensional Game of Go. ants and pebbles In the thin loam, each rock a word a creek-washed stone Granite: ingrained with torment of fire and weight Crystal and sediment linked hot all change, in thoughts, As well as things.

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.

With his marine clocks, John Harrison tested the waters of space-time. He succeeded, against all odds, in using the fourth—temporal—dimension to link points on the three-dimensional globe. He wrested the world’s whereabouts from the stars, and locked the secret in a pocket watch.

Julia had a friend, a man named Dennys, who was as a boy a tremendously gifted artist. They had been friends since they were small, and she once showed me some of the drawings he made when he was ten or twelve: little sketches of birds pecking at the ground, of his face, round and blank, of his father, the local veterinarian, his hand smoothing the fur of a grimacing terrier. Dennys’s father didn’t see the point of drawing lessons, however, and so he was never formally schooled. But when they were older, and Julia went to university, Dennys went to art school to learn how to draw. For the first week, he said, they were allowed to draw whatever they wanted, and it was always Dennys’s sketches that the professor selected to pin up on the wall for praise and critique. But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

Goldberg claims time travel is easy. “It is simply a matter of using the Fifth Dimensional Travel exercise,” he says, that he presents on his website.

As all matter is crushed in the final moments before doomsday, intelligent life forms may be able to tunnel into higher-dimensional space or an alternative universe, avoiding the seemingly inevitable death of our universe.

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. . .

TimeTrap raised her head and looked pointedly at St. John. “It was a dimensional portal, silly. Duh.

I AM wealth. I AM abundance. I AM all the gold, all the joy, all the health, all the fulfillment and all the miracles in this Universe, all of the time.

The universe is information and we are stationary in it, not three-dimensional and not in space or time. The information fed to us we hypostatize into the phenomenal world.

An individual is a four-dimensional objectof greatly elongated form; in ordinary language we say he has considerable extension in time and insignificant extension in space.

Long live transfinite mountains, the hollow earth, time machines, fractal writing, aliens, dada, telepathy, flying saucers, warped space, teleportation, artificial reality, robots, pod people, hylozoism, endless shrinking, intelligent goo, antigravity, surrealism, software highs, two-dimensional time, gnarly computation, the art of photo composition, pleasure zappers, nanomachines, mind viruses, hyperspace, monsters from the deep and, of course, always and forever, the attack of the giant ants!

When our mother is seen only as the one-dimensional Mary of modern times, instead of the great dual force of life and death, She is relegated to the same second-class status of most women in the world. She is without desires of Her own, selfless and sexless except for Her womb. She is the cook, the mistress, bearer and caretaker of children and men. Men call upon Her and carry Her love and magic to form a formidable fortress, a team of cannons to protect them against their enemies. But for a long, long time the wars that women have been left to wage on behalf of men, on behalf of the human race, have started much sooner, in the home, in front of the hearth, in the womb. We do what we must to protect and provide for our young our families, our tribes

Our brains contain one hundred billion nerve cells (neurons). Each neuron makes links with ten thousand other neurons to form an incredible three dimensional grid. This grid therefore contains a thousand trillion connections - that's 1,000,000,000,000,000 (a quadrillion). It's hard to imagine this, so let's visualise each connection as a disc that's 1mm thick. Stack up the quadrillion discs on top of each other and they will reach the sun (which is ninety-three million miles from the earth) and back, three times over.

The mass of the sun curves space-time in such a way that although the earth follows a straight path in four-dimensional space-time, it appears to us to move along a circular orbit in three-dimensional space.

For the ten-dimensional universe, however, there are apparemtly millions of ways in which to curl up. To calculate which state the ten-dimensional universe prefers, we need to solve the field theory of strings using the theory of phase transitions, the most difficult problem in quantum theory.

Politicians in our times feed their clichés to television, where even those who wish to disagree repeat them. Television purports to challenge political language by conveying images, but the succession from one frame to another can hinder a sense of resolution. Everything happens fast, but nothing actually happens. Each story on televised news is ”breaking” until it is displaced by the next one. So we are hit by wave upon wave but never see the ocean. The effort to define the shape and significance of events requires words and concepts that elude us when we are entranced by visual stimuli. Watching televised news is sometimes little more than looking at someone who is also looking at a picture. We take this collective trance to be normal. We have slowly fallen into it. More than half a century ago, the classic novels of totalitarianism warned of the domination of screens, the suppression of books, the narrowing of vocabularies, and the associated difficulties of thought. In Ray Bradbury’s Fahrenheit 451, published in 1953, firemen find and burn books while most citizens watch interactive television. In George Orwell’s 1984, published in 1949, books are banned and television is two-way, allowing the government to observe citizens at all times. In 1984, the language of visual media is highly constrained, to starve the public of the concepts needed to think about the present, remember the past, and consider the future. One of the regime’s projects is to limit the language further by eliminating ever more words with each edition of the official dictionary. Staring at screens is perhaps unavoidable, but the two-dimensional world makes little sense unless we can draw upon a mental armory that we have developed somewhere else. When we repeat the same words and phrases that appear in the daily media, we accept the absence of a larger framework. To have such a framework requires more concepts, and having more concepts requires reading. So get the screens out of your room and surround yourself with books. The characters in Orwell’s and Bradbury’s books could not do this—but we still can.

Now let’s take up the minorities in our civilization, shall we? Bigger the population, the more minorities. Don’t step on the toes of the dog-lovers, the cat-lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that! All the minor minor minorities with their navels to be kept clean. Authors, full of evil thoughts, lock up your typewriters. They did. Magazines became a nice blend of vanilla tapioca. Books, so the damned snobbish critics said, were dishwater. No wonder books stopped selling, the critics said. But the public, knowing what it wanted, spinning happily, let the comic books survive. And the three-dimensional sex-magazines, of course. There you have it, Montag. It didn’t come from the Government down. There was no dictum, no declaration, no censorship, to start with, no! Technology, mass exploitation, and minority pressure carried the trick, thank God. Today, thanks to them, you can stay happy all the time, you are allowed to read comics, the good old confessions, or trade journals.

As every architect or designer knows, there is a critical step between vision and reality. Before imagination becomes three-dimensional, it usually needs to become two-dimensional. It’s as though the unseen order needs to come to life one dimension at a time.

The argument that Hawking has offered may be conveyed by question-and-answer, as in the Catholic catechism.   A Catechism of Quantum Cosmology Q: From what did our universe evolve? A: Our universe evolved from a much smaller, much emptier mini-universe. You may think of it as an egg. Q: What was the smaller, emptier universe like? A: It was a four-dimensional sphere with nothing much inside it. You may think of that as weird. Q: How can a sphere have four dimensions? A: A sphere may have four dimensions if it has one more dimension than a three-dimensional sphere. You may think of that as obvious. Q: Does the smaller, emptier universe have a name? A: The smaller, emptier universe is called a de Sitter universe. You may think of that as about time someone paid attention to de Sitter. Q: Is there anything else I should know about the smaller, emptier universe? A: Yes. It represents a solution to Einstein’s field equations. You may think of that as a good thing. Q: Where was that smaller, emptier universe or egg? A: It was in the place where space as we know it did not exist. You may think of it as a sac. Q: When was it there? A: It was there at the time when time as we know it did not exist. You may think of it as a mystery. Q: Where did the egg come from? A: The egg did not actually come from anywhere. You may think of this as astonishing. Q: If the egg did not come from anywhere, how did it get there? A: The egg got there because the wave function of the universe said it was probable. You may think of this as a done deal. Q: How did our universe evolve from the egg? A: It evolved by inflating itself up from its sac to become the universe in which we now find ourselves. You may think of that as just one of those things. This catechism, I should add, is not a parody of quantum cosmology. It is quantum cosmology.

I had not awakened from some nostalgic dream . . . Could time be all-dimensional - yesterday, today, tomorrow running concurrently in ceaseless repetition?

in string theory, the dimensionality of space-time is fixed at ten dimensions.

Body needs variable of time to be able to settle presence of soul in this three-dimensional space.

…anyway it wasn’t your reading that started this. It was the laugher, the carefree laughter, the three dimensional Coca Cola advertisement that you were, the try-anything-once friends, the imperviousness to all that came before you, the chain phone calls, the in-jokes, the instant success, the beach houses, the white lace underwear, the private dancing, the good-graced acceptance pf part-time shift work, the apparent absence of expectations, the ever-changing disposable cults of the rural, the family, the eastern, the modern, the postmodern, the impoverished, the sleekly deregulated, the orgasm, the feminine, the feminist, and then the way you canceled with the air of one making a salad

As Solomon himself had remarked, 'We can be sure of talent, we can only pray for genius.' But it was a reasonable hope that in such concentrated society some interesting reactions would take place. Few artists thrive in solitude and nothing is more stimulating than the conflict of minds with similar interests. So far, the conflict had produced worthwhile results in sculpture, music, literary criticism and film making. It was still too early to see if the group working on historical research would fulfil the hopes of its instigators, who were frankly hoping to restore mankind's pride in its own achievements. Painting still languished which supported the views of those who considered that static, two dimensional forms of art had no further possibilities. It was noticeable, though a satisfactory explanation for this had not yet been produced that time played an essential part in the colony's achievements.

Afterwards, the princeps asked the science consul, “Did we destroy a civilization in the microcosmos in this experiment?” “It was at least an intelligent body. Also, Princeps, we destroyed the entire microcosmos. That miniature universe is immense in higher dimensions, and it probably contained more than one intelligence or civilization that never had a chance to express themselves in macro space. Of course, in higher dimensional space at such micro scales, the form that intelligence or civilization may take is beyond our imagination. They’re something else entirely. And such destruction has probably occurred many times before.” “Oh?” “In the long history of scientific progress, how many protons have been smashed apart in accelerators by physicists? How many neutrons and electrons? Probably no fewer than a hundred million. Every collision was probably the end of the civilizations and intelligences in a microcosmos.

Bull markets are born on pessimism, grow on skepticism, mature on optimism, and die on euphoria. The time of maximum pessimism is the best time to buy, and the time of maximum optimism is the best time to sell.

[Fire] is lightfooted and shamanic, dancing between the visible and invisible, undoing matter one collapsed molecule at a time, wreaking utter destruction with a touch softer than breath. Its poor cousins, wind and water, are one-dimensional rubes by comparison. Wind is all push, push, push. Water is suffocating, but passively so. And even when water gets it together to be a torrent or a tsunami, it is but wet wind. Fire is at once elemental and otherworldly. Fire dances on the grave of all it destroys. Fire is serious voodoo.

Yes, dimensional warping. Someone had to have done this for the first time in the past. I don’t know who they were, but they must have had a pair on them bigger than my dungeon to be messing around with forces like these.

He nearly called you again last night. Can you imagine that, after all this time? He can. He imagines calling you or running into you by chance. Depending on the weather, he imagines you in one of those cotton dresses of yours with flowers on it or in faded blue jeans and a thick woollen button-up cardigan over a checkered shirt, drinking coffee from a mug, looking through your tortoiseshell glasses at a book of poetry while it rains. He thinks of you with your hair tied back and the characteristic sweet scent on your neck. He imagines you this way when he is on the train, in the supermarket, at his parents' house, at night, alone, and when he is with a woman. He is wrong, though. You didn't read poetry at all. He had wanted you to read poetry, but you didn't. If pressed, he confesses to an imprecise recollection of what it was you read and, anyway, it wasn't your reading that started this. It was the laughter, the carefree laughter, the three-dimensional Coca-Cola advertisement that you were, the try-anything-once friends, the imperviousness to all that came before you, the chain telephone calls, the in-jokes, the instant music, the sunlight you carried with you, the way he felt when you spoke to his parents, the introductory undergraduate courses, the inevitability of your success, the beach houses, ...

We have one collective hope: the Earth And yet, uncounted people remain hopeless, famine and calamity abound Sufferers hurl themselves into the arms of war; people kill and get killed in the name of someone else’s concept of God Do we admit that our thoughts & behaviors spring from a belief that the world revolves around us? Each fabricated conflict, self-murdering bomb, vanished airplane, every fictionalized dictator, biased or partisan, and wayward son, are part of the curtains of society’s racial, ethnic, religious, national, and cultural conflicts, and you find the human ego turning the knobs and pulling the levers When I track the orbits of asteroids, comets, and planets, each one a pirouetting dancer in a cosmic ballet, choreographed by the forces of gravity, I see beyond the plight of humans I see a universe ever-expanding, with its galaxies embedded within the ever-stretching four-dimensional fabric of space and time However big our world is, our hearts, our minds, our outsize atlases, the universe is even bigger There are more stars in the universe than grains of sand on the world’s beaches, more stars in the universe than seconds of time that have passed since Earth formed, more stars than words & sounds ever uttered by all humans who have ever lived The day we cease the exploration of the cosmos is the day we threaten the continuing of our species In that bleak world, arms-bearing, resource-hungry people & nations would be prone to act on their low-contracted prejudices, and would have seen the last gasp of human enlightenment Until the rise of a visionary new culture that once again embraces the cosmic perspective; a perspective in which we are one, fitting neither above nor below, but within

This is not checkers; this is motherfuckin’ chess. Technology businesses tend to be extremely complex. The underlying technology moves, the competition moves, the market moves, the people move. As a result, like playing three-dimensional chess on Star Trek, there is always a move. You think you have no moves? How about taking your company public with $2 million in trailing revenue and 340 employees, with a plan to do $75 million in revenue the next year? I made that move. I made it in 2001, widely regarded as the worst time ever for a technology company to go public. I made it with six weeks of cash left. There is always a move.

There’s a cellular automaton called TVC. After Turing, von Neumann and Chiang. Chiang’s version was N-dimensional. That leaves plenty of room for data within easy reach. In two dimensions, the original von Neumann machine had to reach further and further - and wait longer and longer - for each successive bit of data. In a six-dimensional TVC automaton, you can have a three-dimensional grid of computers, which keeps on growing indefinitely - each with its own three-dimensional memory, which can also grow without bound. And when the simulated TVC universe being run on the physical computer is suddenly shut down, the best explanation for what I’ve witnessed will be a continuation of that universe - an extension made out of dust. Maria could almost see it: a vast lattice of computers, a seed of order in a sea of random noise, extending itself from moment to moment by sheer force of internal logic, “accreting” the necessary building blocks from the chaos of non-space-time by the very act of defining space and time.

I'm drawing a diagram of what time looks like if you're looking straight into it - like looking down a tunnel and seeing a circle, if the tunnel were an angry ten-dimensional crab, which is what, in vastly oversimplified terms, we mean by the human word time.

In the years before 1920, the picture of space as a three-dimensional space, and of time as a separate thing, was changed by Einstein, first into a combination which we call space-time, and then still further into a curved space-time to represent gravitation.

The ability to feel mixed emotions is a sign of maturity. If people can blend contradictory emotions together, such as happiness with guilt, or anger with love, it shows that they can encompass life’s emotional complexity. Experienced together, opposing feelings tame each other. Once people develop the ability to feel different emotions at the same time, the world ripens into something richer and deeper. Instead of having a single, intense, one-dimensional emotional reaction, they can experience several different feelings that reflect the nuances of the situation.

Rotating in four-dimensional space unifies the concept of space and time, turning one into the other as the velocity is increased. This beautiful, elegant concept, that symmetry unifies seemingly dissimilar entities into a pleasing, harmonious whole, guided Einstein for the next fifty years.

Riemann concluded that electricity, magnetism, and gravity are caused by the crumpling of our three-dimensional universe in the unseen fourth dimension. Thus a "force" has no independent life of its own; it is only the apparent effect caused by the distortion of geometry. By introducing the fourth spatial dimension, Riemann accidentally stumbled on what would become one of the dominant themes in modern theoretical physics, that the laws of nature appear simple when expressed in higher-dimensional space. He then set about developing a mathematical language in which this idea could be expressed.

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.

The rich Renaissance artwork, with its freshly hewn three-dimensionality and deep allegorical meaning, transported me away from myself and my reality to a time and place where true genius was possible, a time like and yet unlike our own. And I knew I had to help transport others in turn. That’s why I first began writing.

When I pause and reflect on our expanding universe, with its galaxies hurtling away from one another, embedded within the ever-stretching, four-dimensional fabric of space and time, sometimes I forget that uncounted people walk this Earth without food or shelter, and that children are disproportionately represented among them.

Because both quantum theory and Einstein's theory of gravity are united in ten-dimensional space, we expect that the question of time travel will be settled decisively by the hyperspace theory. As in the case of wormholes and dimensional windows, the final chapter will be written when we incorporate the full power of the hyperspace theory.

Nothing is static, Energetic frequencies are changing all the time. We, and everything in our world, are made of energy and as such, we too are changing---with or without our awareness.

Colored like a sunset tide is a gaze sharply slicing through the reflective glass. A furrowed brow is set much too seriously, as if trying to unfold the pieces of the face that stared back at it. One eyebrow is raised skeptically, always calculating and analyzing its surroundings. I tilt my head trying to see the deeper meaning in my features, trying to imagine the connection between my looks and my character as I stare in the mirror for the required five minutes. From the dark brown hair fastened tightly in a bun, a curl as bright as woven gold comes loose. A flash of unruly hair prominent through the typical browns is like my temper; always there, but not always visible. I begin to grow frustrated with the girl in the mirror, and she cocks her hip as if mocking me. In a moment, her lips curve in a half smile, not quite detectable in sight but rather in feeling, like the sensation of something good just around the corner. A chin was set high in a stubborn fashion, symbolizing either persistence or complete adamancy. Shoulders are held stiff like ancient mountains, proud but slightly arrogant. The image watches with the misty eyes of a daydreamer, glazed over with a sort of trance as if in the middle of a reverie, or a vision. Every once and a while, her true fears surface in those eyes, terror that her life would amount to nothing, that her work would have no impact. Words written are meant to be read, and sometimes I worry that my thoughts and ideas will be lost with time. My dream is to be an author, to be immortalized in print and live forever in the minds of avid readers. I want to access the power in being able to shape the minds of the young and open, and alter the minds of the old and resolute. Imagine the power in living forever, and passing on your ideas through generations. With each new reader, a new layer of meaning is uncovered in writing, meaning that even the author may not have seen. In the mirror, I see a girl that wants to change the world, and change the way people think and reason. Reflection and image mean nothing, for the girl in the mirror is more than a one dimensional picture. She is someone who has followed my footsteps with every lesson learned, and every mistake made. She has been there to help me find a foothold in the world, and to catch me when I fall. As the lights blink out, obscuring her face, I realize that although that image is one that will puzzle me in years to come, she and I aren’t so different after all.

If we put this whole progression in terms of our discussion of the possibilities of heroism, it goes like this: Man breaks through the bounds of merely cultural heroism; he destroys the character lie that had him perform as a hero in the everyday social scheme of things; and by doing so he opens himself up to infinity, to the possibility of cosmic heroism, to the very service of God. His life thereby acquires ultimate value in place of merely social and cultural, historical value. He links his secret inner self, his authentic talent, his deepest feelings of uniqueness, his inner yearning for absolute significance, to the very ground of creation. Out of the ruins of the broken cultural self there remains the mystery of the private, invisible, inner self which yearned for ultimate significance, for cosmic heroism. This invisible mystery at the heart of every creature now attains cosmic significance by affirming its connection with the invisible mystery at the heart of creation. This is the meaning of faith. At the same time it is the meaning of the merger of psychology and religion in Kierkegaard's thought. The truly open person, the one who has shed his character armor, the vital lie of his cultural conditioning, is beyond the help of any mere "science," of any merely social standard of health. He is absolutely alone and trembling on the bring of oblivion-which is at the same time the brink of infinity. To give him the new support that he needs, the "courage to renounce dread without any dread...only faith is capable of," says Kierkegaard. Not that this is an easy out for man, or a cure-all for the human condition-Kierkegaard is never facile. He gives a strikingly beautiful idea: not that [faith] annihilates dread, but remaining ever young, it is continually developing itself out of the death throe of dread. In other words, as long as man is an ambiguous creature he can never banish anxiety; what he can do instead is to use anxiety as an eternal spring for growth into new dimensions of thought and trust. Faith poses a new life task, the adventure in openness to a multi-dimensional reality.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

In accordance with the law of accelerating returns, paradigm shift (also called innovation) turns the S-curve of any specific paradigm into a continuing exponential. A new paradigm, such as three-dimensional circuits, takes over when the old paradigm approaches its natural limit, which has already happened at least four times in the history of computation. In such nonhuman species as apes, the mastery of a toolmaking or -using skill by each animal is characterized by an S-shaped learning curve that ends abruptly; human-created technology, in contrast, has followed an exponential pattern of growth and acceleration since its inception.

One night, Ye was working the night shift. This was the loneliest time. In the deep silence of midnight, the universe revealed itself to its listeners as a vast desolation. What Ye disliked most was seeing the waves that slowly crawled across the display, a visual record of the meaningless noise Red Coast picked up from space. Ye felt this interminable wave was an abstract view of the universe: one end connected to the endless past, the other to the endless future, and in the middle only the ups and downs of random chance—without life, without pattern, the peaks and valleys at different heights like uneven grains of sand, the whole curve like a one-dimensional desert made of all the grains of sand lined up in a row, lonely, desolate, so long that it was intolerable. You could follow it and go forward or backward as long as you liked, but you’d never find the end.

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? —

Transcendental artists are messengers. Their symbolic vocabulary originates from the infinite wisdom of higher spheres, in a non-referential time/space continuum... the way of the shaman. The presence of glyphs speaks a universal language of the soulthat transcends words. If one considers the notion of parallel realities and the plurality of dimensional realms, the premise of art as "consciousness-provoking vessel" can be viewed as an organic and natural occurrence.

It doesn't get any easier. No matter what they say, time doesn't heal the wound. Time just unravels and shows you new and more painful ways to miss someone. The longer they've been gone, the worse it is. You start to forget their smile or the way they tilted their head when they were confused or the way they looked at you and knew exactly what you were thinking. You can look at them in photos, but it's not even close to the real thing, and pretty soon you feel like your real memories are being replaced by the photo memories - like the only way you can picture them anymore is in one of those photographs. They become two-dimensional, and it rips your heart out whenever you think about it so you really try not to.

My earliest memories are of CP4 — that's a Kähler manifold that looks locally like a vector space with four complex directions, though the global topology's quite different. But I didn't really grow up there; I was moved around a lot when I was young, to keep my perceptions flexible. I only used to spend time in anything remotely like this" — he motioned at the surrounding more-or-less-Euclidean space — for certain special kinds of physics problems. And even most Newtonian mechanics is easier to grasp in a symplectic manifold; having a separate visible coordinate for the position and momentum of every degree of freedom makes things much clearer than when you cram everything together in a single three-dimensional space.

The shadows on the flat screen of a shadow play are projections from more complex objects. Our three-dimensional hands can cast a variety of two-dimensional shadows to delight the audience. In the same way there are fabulous beasts that swim in the seas of mathematics. Multidimensional behemoths of incredible beauty that even the best of minds struggle to glimpse. The equations we battle with, the proofs that we use to nibble at the edges of such wonders: these are the shadows cast by those we hunt.

Hinton spent most of his adult years trying to visualize higher spatial dimensions. He had no interest in finding a physical interpretation for the fourth dimension. Einstein saw, however, that the fourth dimension can be taken as a temporal one. He was guided by a conviction and physical intuition that higher dimensions have a purpose: to unify the principles of nature. By adding higher dimensions, he could unite physical concepts that, in a three-dimensional world, have no connection, such as matter and energy.

Relativity theory applies to macroscopic bodies, such as stars. The event of coincidence, that is, in ultimate analysis of collision, is the primitive event in the theory of relativity and defines a point in space-time, or at least would define a point if the colliding panicles were infinitely small. Quantum theory has its roots in the microscopic world and, from its point of view, the event of coincidence, or of collision, even if it takes place between particles of no spatial extent, is not primitive and not at all sharply isolated in space-time. The two theories operate with different mathematical conceptsãthe four dimensional Riemann space and the infinite dimensional Hilbert space, respectively. So far, the two theories could not be united, that is, no mathematical formulation exists to which both of these theories are approximations. All physicists believe that a union of the two theories is inherently possible and that we shall find it. Nevertheless, it is possible also to imagine that no union of the two theories can be found. This example illustrates the two possibilities, of union and of conflict, mentioned before, both of which are conceivable.

Ontological Fourier mathematics is the complete mathematical explanation of Cartesian philosophy. It converts a substance dualism into a dual-aspect substance monism. There is only one substance - mathematics - but it can exist both dimensionlessly (as mind) and dimensionally (as matter, the product of mind). Mind adds the framing dimensions of space (extended real numbers) and time (extended imaginary numbers) to the unextended real and imaginary numbers of the frequency domain. (Ontologically, frequencies are not in space and time. They are instead the source of space and time).

(The secret of unification, we will see, lies in expanding Riemann's metric to N-dimensional space and then chopping it up into rectangular pieces. Each rectangular piece corresponds to a different force. In this way, we can describe the various forces of nature by slotting them into the metric tensor like pieces of a puzzle. This is the mathematical expression of the principle that higher-dimensional space unifies the laws of nature, that there is "enough room" to unite them in N-dimensional space. More precisely, there is "enough room" in Riemann's metric to unite the forces of nature.)

For decades physicists have wondered why the four forces of nature appear to be so fragmented-why the "cheetah" looks so pitiful and broken in his cage. The fundamental reason why these four forces seem so dissimilar, notes Freund, is that we have been observing the "caged cheetah." Our three-dimensional laboratories are sterile zoo cages for the laws of physics. But when we formulate the laws in higher-dimensional space-time, their natural habitat, we see their true brilliance and power; the laws become simple and powerful. The revolution now sweeping over physics is the realization that the natural home for the cheetah may be hyperspace.

There must always remain, however, from the standpoint of normal waking consciousness, a certain baffling inconsistency between the wisdom brought forth from the deep, and the prudence usually found to be effective in the light world. Hence the common divorce of opportunism from virtue and the resultant degeneration of human existence. Martyrdom is for saints, but the common people have their institutions, and these cannot be left to grow like lilies of the field; Peter keeps drawing his sword, as in the garden, to defend the creator and sustainer of the world. The boon brought from the transcendent deep becomes quickly rationalized into nonentity, and the need becomes great for another hero to refresh the word. How teach again, however, what has been taught correctly and incorrectly learned a thousand thousand times, throughout the millenniums of mankind’s prudent folly? That is the hero’s ultimate difficult task. How render back into light-world language the speech-defying pronouncements of the dark? How represent on a two-dimensional surface a three-dimensional form, or in a three-dimensional image a multi-dimensional meaning? How translate into terms of “yes” and “no” revelations that shatter into meaninglessness every attempt to define the pairs of opposites? How communicate to people who insist on the exclusive evidence of their senses the message of the all-generating void?

Introducing higher dimensions may be essential for prying loose the secrets of Creation. According to this theory, before the Big Bang, our cosmos was actually a perfect ten-dimensional universe, a world where interdimensional travel was possible. However, this ten-dimensional world was unstable, and eventually it "cracked" in two, creating two separate universes: a four-and a six dimensional universe. The universe in which we live was born in that cosmic cataclysm. Our four-dimensional universe expanded explosively, while our twin six-dimensional universe contracted violently, until it shrank to almost infinitesimal size. This would explain the origin of the Big Bang. If correct, this theory demonstrates that the rapid expansion of the universe was just a rather minor aftershock of a much greater cataclysmic event, the cracking of space and time itself. The energy that drives the observed expansion of the universe is then found in the collapse of ten-dimensional space and time. According to the theory, the distant stars and galaxies are receding from us at astronomical speeds because of the original collapse of ten-dimensional space and time. This theory predicts that our universe still has a dwarf twin, a companion universe that has curled up into a small six-dimensional ball that is too small to be observed. This six-dimensional universe, far from being a useless appendage to our world, may ultimately be our salvation.

But when who you are changes every day you get to touch the universal more. Even the most mundane details. You see how cherries taste different to different people. Blue looks different. You see all the strange rituals boys have to show affection without admitting it. You learn that if a parent reads to you at the end of the day, it's a good sign that it's a good parent, because you've seen so many other parents who don't make the time. You learn how much a day is truly worth, because they're all so different. If you ask most people what the difference was between Monday and Tuesday, they might tell you what they had for dinner each night. Not me. By seeing the world from so many angles, I get more of a sense of its dimensionality.

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.

Furious, the beast writhed and wriggled its iterated integrals beneath the King’s polynomial blows, collapsed into an infinite series of indeterminate terms, then got back up by raising itself to the nth power, but the King so belabored it with differentials and partial derivatives that its Fourier coefficients all canceled out (see Riemann’s Lemma), and in the ensuing confusion the constructors completely lost sight of both King and beast. So they took a break, stretched their legs, had a swig from the Leyden jug to bolster their strength, then went back to work and tried it again from the beginning, this time unleashing their entire arsenal of tensor matrices and grand canonical ensembles, attacking the problem with such fervor that the very paper began to smoke. The King rushed forward with all his cruel coordinates and mean values, stumbled into a dark forest of roots and logarithms, had to backtrack, then encountered the beast on a field of irrational numbers (F1) and smote it so grievously that it fell two decimal places and lost an epsilon, but the beast slid around an asymptote and hid in an n-dimensional orthogonal phase space, underwent expansion and came out, fuming factorially, and fell upon the King and hurt him passing sore. But the King, nothing daunted, put on his Markov chain mail and all his impervious parameters, took his increment Δk to infinity and dealt the beast a truly Boolean blow, sent it reeling through an x-axis and several brackets—but the beast, prepared for this, lowered its horns and—wham!!—the pencils flew like mad through transcendental functions and double eigentransformations, and when at last the beast closed in and the King was down and out for the count, the constructors jumped up, danced a jig, laughed and sang as they tore all their papers to shreds, much to the amazement of the spies perched in the chandelier-—perched in vain, for they were uninitiated into the niceties of higher mathematics and consequently had no idea why Trurl and Klapaucius were now shouting, over and over, “Hurrah! Victory!!

All have the ability to perceive and live in dimensional synthesis, yet they spend time with the sciences trying to separate these realms, splitting the worlds into minutia, seeking the god particle. They are searching high and low, 'out there', for the source of it all, but no matter how many accelerators they build, no matter how far they go, they will never find the source ‘out there’ because the source is within

In summary, the rather obscure laws of the weather are easy to understand once we view the earth from space. Thus the solution to the problem is to go up into space, into the third dimension. Facts that were impossible to understand in a flat world suddenly become obvious when viewing a three-dimensional earth. Similarly, the laws of gravity and light seem totally dissimilar. They obey different physical assumptions and different mathematics. Attempts to splice these two forces have always failed. However, if we add one more dimension, a fifth dimension, to the previous four dimensions of space and time, then the equations governing light and gravity appear to merge together like two pieces of a jigsaw puzzle. Light, in fact, can be explained as vibrations in the fifth dimension. In this way, we see that the laws of light and gravity become simpler in five dimensions.

Kuan Yin looks very traditional. Her hands are folded together. The thick cloth of her costume is folded perfectly," describes Lena. "Just as in the previous session, I’m reminded of the significance of the folds. I’m having an interesting vision that I haven’t thought about in many years. I see a beautiful tree where I used to go when I was a teenager. It stands majestic, atop the rolling hills behind the house where I grew up. Kuan Yin is at the tree looking very luminous. I see the bark of the tree, which looks very real, very three-dimensional. For some reason, Kuan Yin is touching the trunk of the tree. She suddenly seems very small next to me and she wants me to touch the tree. I’m not sure why. There is a tiny bird, with pretty feathers in its nest. It is about the size of a wren. I see the texture of the tree. I think it might be a birch. I’m not sure. ’Why should I touch the tree,’ I ask. She’s telling me that I created the tree, that it is another realm I was able to visit because life was too painful and lonely at home.” “You created the tree. You create your whole world with thoughts,” assures Kuan Yin. “Every time I try to touch the tree, Kuan Yin wants to help me touch it. There’s something different about this conversation. Usually we work on something about the earth. Because we’re revisiting my childhood, I get the impression Kuan Yin’s trying to show me something that maybe I created in my childhood.” “Well, do we all create our reality?” Kuan Yin asks of Lena. “I think she’s going to answer her own question,” comments Lena, from her trance. “Yes, you can create your reality. Once you free yourself from the negative effects of karma. I know it is sometimes difficult to differentiate between free will and karma. Focus upon your free will and your ability to create reality. I’m optimistic and hopeful you can do this.

A singular confusion exists about the notions of 'culture' and 'civilization'. Culture began with the 'prologue in heaven.' With its religion, art, ethics, and philosophy, it will always be dealing with man's relation to that heaven from whence he came. Everything within culture means a confirmation or a rejection, a doubt or a reminiscence of the heavenly origin of man. Culture is characterized by this enigma and goes on through all time with the steady striving to solve it. On the other hand, civilization is a continuation of the zoological, one-dimensional life, the material exchange between man and nature. This aspect of life differs from other animals' lives, but only in its degree, level, and organization. Here, one does not find man embarrassed by evangelical, Hamletian, or Karamasovian problems. The anonymous member of society functions here only by adopting the goods nature and changing the world by his work according to his needs.

A city finds its life through the humans who inhabit it. When they go, what is truly left? Just silent stones, witnesses to the history but mute in its telling, remaining thus while slowly turning to rubble. It saddens me that life’s moments are thus lost, that one cannot experience the past in the same rich vibrancy as the present. You live the moments and then relegate them to memory, now just two-dimensional shadows, pictures without depth, stripped of their purest emotion, their tactile connections no longer accessible. You try to recall, but can bring back only a fraction of the event lived. The rest is gone, never to be as full and complete as it was in that one place at that one time. That was what I thought as I studied these stone remains; that all the tangible things experienced here abide somewhere in time, but can never again be wholly re-animated, now just ghosts imbedded in the crumbling walls and in the fading memories of those who once lived here.

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

Speaking of which, a Dominion brushed past me carrying the final digits to a half-dozen transcendental numbers. It passed them along to a whirling Throne who appeared to be acting as an impromptu sub-foreman, who passed them up the chain to where they could do some good. A cloud of Powers surveyed the damage and orchestrated the repair effort with a thousand-dimensional bird’s-eye view. Somebody had built scaffolding out of a mathematics both consistent and complete (chew on that, Gödel) and now the spackle went on one axiom at a time.

space-time is not flat, as had been previously assumed: it is curved, or ‘warped,’ by the distribution of mass and energy in it. Bodies like the earth are not made to move on curved orbits by a force called gravity; instead, they follow the nearest thing to a straight path in a curved space, which is called a geodesic. A geodesic is the shortest (or longest) path between two nearby points. For example, the surface of the earth is a two-dimensional curved space. A geodesic on the earth is called a great circle, and is the shortest route between two points (Fig. 2.7). As the geodesic is the shortest path between any two airports, this is the route an airline navigator will tell the pilot to fly along. In general relativity, bodies always follow straight lines in four-dimensional space-time, but they nevertheless appear to us to move along curved paths in our three-dimensional space. (This is rather like watching an airplane flying over hilly ground. Although it follows a straight line in three-dimensional space, its shadow follows a curved path on the two-dimensional ground.)

The ten-dimensional universe was a world of light. The entire universe was constructed upon energy exchange between photons. All particles and antiparticles were formed from photons, and their mutual annihilation resulted in yet more photons. Thus, everything occurred at the speed of light, which was infinite. Even more marvelously, because particles and antiparticles balanced each other out, the total energy level of the universe was zero. This was an incredible state of symmetry, and the foundation of the emergence of intelligence in the ten-dimensional universe.” Matter, life, sentience, civilization … in this Edenic universe, everything was part of the same whole. All matter possessed life, and all life possessed sentience, and all sentience existed in a state of harmonious civilization. Unlike the three-dimensional universe, in which lonely stars hung in the vast emptiness of space, the entire universe was a living being. All life was but a part of this one grand Life, and all intelligence but a component of the highest Intelligence. The dark forest state was an impossibility for this transcendent being of unified matter and spirit. Tianming felt awe at the root of his soul. This was the original form of the Master. The ten-dimensional universe was itself alive. Sophon offered more explanations. “The Master is not an individual like a human being; rather, it is the sum of an infinite number of self-aware consciousnesses. Every consciousness shares the awareness of every other consciousness as well as the presence of the universe itself, and yet each possesses an independent will. This is a state of existence simply unimaginable by humans: individual presence absolutely, seamlessly harmonized with the universe, akin to the geometric construction of the Spirit you saw.

In the beginning, there’s a blank mind. Then that mind gets an idea in it, and the trouble begins, because the mind mistakes the idea for the world. Mistaking the idea for the world, the mind formulates a theory and, having formulated a theory, feels inclined to act. Because the idea is always only an approximation of the world, whether that action will be catastrophic or beneficial depends on the distance between the idea and the world. Mass media’s job is to provide this simulacra of the world, upon which we build our ideas. There’s another name for this simulacra-building: storytelling. Megaphone Guy is a storyteller, but his stories are not so good. Or rather, his stories are limited. His stories have not had time to gestate—they go out too fast and to too broad an audience. Storytelling is a language-rich enterprise, but Megaphone Guy does not have time to generate powerful language. The best stories proceed from a mysterious truth-seeking impulse that narrative has when revised extensively; they are complex and baffling and ambiguous; they tend to make us slower to act, rather than quicker. They make us more humble, cause us to empathize with people we don’t know, because they help us imagine these people, and when we imagine them—if the storytelling is good enough—we imagine them as being, essentially, like us. If the story is poor, or has an agenda, if it comes out of a paucity of imagination or is rushed, we imagine those other people as essentially unlike us: unknowable, inscrutable, inconvertible. Our venture in Iraq was a literary failure, by which I mean a failure of imagination. A culture better at imagining richly, three-dimensionally, would have had a greater respect for war than we did, more awareness of the law of unintended consequences, more familiarity with the world’s tendency to throw aggressive energy back at the aggressor in ways he did not expect. A culture capable of imagining complexly is a humble culture. It acts, when it has to act, as late in the game as possible, and as cautiously, because it knows its own girth and the tight confines of the china shop it’s blundering into. And it knows that no matter how well-prepared it is—no matter how ruthlessly it has held its projections up to intelligent scrutiny—the place it is headed for is going to be very different from the place it imagined. The shortfall between the imagined and the real, multiplied by the violence of one’s intent, equals the evil one will do.

Where do I come from? We are the children of the Great Explosion of Love that begot the whole Universe. We bear a common lineage that unites us in its interminable matrix, that is manifested in all of the different and infinite dimensions, allowing us to participate in this unending co-creation with an attitude of loving co-responsibility. Who am I? I am a being of light (Love), with innumerable dimensional manifestations of shadings of Love and Life. The transitory experience within matter, time and space (human being) resides in those manifestations. This allows me the use of my free will in a co-responsible way in the co-creative process of life.

But historically the fourth dimension has been considered a mere curiosity by physicists. No evidence has ever been found for higher dimensions. This began to change in 1919 when physicist Theodor Kaluza wrote a highly controversial paper that hinted at the presence of higher dimensions. He started with Einstein's theory of general relativity, but placed it in five dimensions (one dimension of time and four dimensions of space; since time is the fourth space-time dimension, physicists now refer to the fourth spatial dimension as the fifth dimension). If the fifth dimension were made smaller and smaller, the equations magically split into two pieces. One piece describes Einstein's standard theory of relativity, but the other piece becomes Maxwell's theory of light! This was a stunning revelation. Perhaps the secret of light lies in the fifth dimension! Einstein himself was shocked by this solution, which seemed to provide an elegant unification of light and gravity. (Einstein was so shaken by Kaluza's proposal that he mulled it over for two years before finally agreeing to have this paper published.) Einstein wrote to Kaluza, "The idea of achieving [a unified theory] by means of a five-dimensional cylinder world never dawned on me...At first glance, I like your idea enormously...The formal unity of your theory is startling.

The objection we are dealing with argues from the standpoint of an agent that presupposes time and acts in time, but did not institute time. Hence the question about 'why God's eternal will produces an effect now and and not earlier' presupposes that time exists; for 'now' and 'earlier' are segments of time. With regard to the universal production of things, among which time is also to be counted, we should not ask, 'Why now and not earlier?' Rather we should ask: 'Why did God wish this much time to intervene?' And this depends on the divine will, which is perfectly free to assign this or any other quantity to time. The same may be noted with respect to the dimensional quantity of the world. No one asks why God located the material world in such and such a place rather than higher up or lower down or in some other position; for there is no place outside the world. The fact that God portioned out so much quantity to the world that no part of it would be beyond the place occupied in some other locality, depends on the divine will. However, although there was no time prior to the world and no place outside the world, we speak as if there were. Thus we say that before the world existed there was nothing except God, and that there is no body lying outside the world. But in thus speaking of 'before' and 'outside,' we have in mind nothing but time and place as they exist in our imagination.

Athletes, by and large, are people who are happy to let their actions speak for them, happy to be what they do. As a result, when you talk to an athlete, as I do all the time in locker rooms, in hotel coffee shops and hallways, standing beside expensive automobiles—even if he’s paying no attention to you at all, which is very often the case—he’s never likely to feel the least bit divided, or alienated, or one ounce of existential dread. He may be thinking about a case of beer, or a barbecue, or some man-made lake in Oklahoma he wishes he was waterskiing on, or some girl or a new Chevy shortbed, or a discothèque he owns as a tax shelter, or just simply himself. But you can bet he isn’t worried one bit about you and what you’re thinking. His is a rare selfishness that means he isn’t looking around the sides of his emotions to wonder about alternatives for what he’s saying or thinking about. In fact, athletes at the height of their powers make literalness into a mystery all its own simply by becoming absorbed in what they’re doing. Years of athletic training teach this; the necessity of relinquishing doubt and ambiguity and self-inquiry in favor of a pleasant, self-championing one-dimensionality which has instant rewards in sports. You can even ruin everything with athletes simply by speaking to them in your own everyday voice, a voice possibly full of contingency and speculation. It will scare them to death by demonstrating that the world—where they often don’t do too well and sometimes fall into depressions and financial imbroglios and worse once their careers are over—is complexer than what their training has prepared them for. As a result, they much prefer their own voices and questions or the jabber of their teammates (even if it’s in Spanish). And if you are a sportswriter you have to tailor yourself to their voices and answers: “How are you going to beat this team, Stu?” Truth, of course, can still be the result—“We’re just going out and play our kind of game, Frank, since that’s what’s got us this far”—but it will be their simpler truth, not your complex one—unless, of course, you agree with them, which I often do. (Athletes, of course, are not always the dummies they’re sometimes portrayed as being, and will often talk intelligently about whatever interests them until your ears turn to cement.)

The definition of superb animation is that each character on the screen makes you believe it is a thinking being. Whether it’s a T-Rex or a slinky dog or a desk lamp, if viewers sense not just movement but intention—or, put another way, emotion—then the animator has done his or her job. It’s not just lines on paper anymore; it’s a living, feeling entity. This is what I experienced that night, for the first time, as I watched Donald leap off the page. The transformation from a static line drawing to a fully dimensional, animated image was sleight of hand, nothing more, but the mystery of how it was done—not just the technical process but the way the art was imbued with such emotion—was the most interesting problem I’d ever considered. I wanted to climb through the TV screen and be part of this world.

Yet, the cosmic view comes with a hidden cost. When I travel thousands of miles to spend a few moments in the fast-moving shadow of the moon during a total solar eclipse, sometimes I lose sight of Earth. When I pause and reflect on our expanding universe with its galaxies hurdling away from one another, embedded within the ever-stretching four-dimensional fabric of space and time, sometimes I forget that uncounted people walk this Earth without food or shelter, and that children are disproportionally represented among them. When I pour over the data that established the mysterious presence of dark matter and dark energy throughout the universe, sometimes I forget that every day, every 24 hour rotation of Earth, people kill and get killed in the name of someone else's conception of God, and that some people who do not kill in the name of God kill in the name of needs or wants of political dogma. When I track the orbits of asteroids, comets, and planets, each one a pirouetting dancer in a cosmic ballet, choreographed by the forces of gravity, sometimes I forget that too many people act in wanton disregard for the delicate interplay of Earth's atmosphere, oceans, and land, with consequences that our children and our children's children will witness and pay for with their health and wellbeing. And sometimes I forget that powerful people rarely do all they can to help those who cannot help themselves. I occasionally forget these things because however big the world is in our hearts, our minds, and our outsized digital maps, the universe is even bigger. A depressing thought to some, but a liberating thought to me.

One method that Einstein employed to help people visualize this notion was to begin by imagining two-dimensional explorers on a two-dimensional universe, like a flat surface. These “flatlanders” can wander in any direction on this flat surface, but the concept of going up or down has no meaning to them. Now, imagine this variation: What if these flatlanders’ two dimensions were still on a surface, but this surface was (in a way very subtle to them) gently curved? What if they and their world were still confined to two dimensions, but their flat surface was like the surface of a globe? As Einstein put it, “Let us consider now a two-dimensional existence, but this time on a spherical surface instead of on a plane.” An arrow shot by these flatlanders would still seem to travel in a straight line, but eventually it would curve around and come back—just as a sailor on the surface of our planet heading straight off over the seas would eventually return from the other horizon. The curvature of the flatlanders’ two-dimensional space makes their surface finite, and yet they can find no boundaries. No matter what direction they travel, they reach no end or edge of their universe, but they eventually get back to the same place. As Einstein put it, “The great charm resulting from this consideration lies in the recognition that the universe of these beings is finite and yet has no limits.” And if the flatlanders’ surface was like that of an inflating balloon, their whole universe could be expanding, yet there would still be no boundaries to it.10 By extension, we can try to imagine, as Einstein has us do, how three-dimensional space can be similarly curved to create a closed and finite system that has no edge. It’s not easy for us three-dimensional creatures to visualize, but it is easily described mathematically by the non-Euclidean geometries pioneered by Gauss and Riemann. It can work for four dimensions of spacetime as well. In such a curved universe, a beam of light starting out in any direction could travel what seems to be a straight line and yet still curve back on itself. “This suggestion of a finite but unbounded space is one of the greatest ideas about the nature of the world which has ever been conceived,” the physicist Max Born has declared.

So they rolled up their sleeves and sat down to experiment -- by simulation, that is mathematically and all on paper. And the mathematical models of King Krool and the beast did such fierce battle across the equation-covered table, that the constructors' pencils kept snapping. Furious, the beast writhed and wriggled its iterated integrals beneath the King's polynomial blows, collapsed into an infinite series of indeterminate terms, then got back up by raising itself to the nth power, but the King so belabored it with differentials and partial derivatives that its Fourier coefficients all canceled out (see Riemann's Lemma), and in the ensuing confusion the constructors completely lost sight of both King and beast. So they took a break, stretched their legs, had a swig from the Leyden jug to bolster their strength, then went back to work and tried it again from the beginning, this time unleashing their entire arsenal of tensor matrices and grand canonical ensembles, attacking the problem with such fervor that the very paper began to smoke. The King rushed forward with all his cruel coordinates and mean values, stumbled into a dark forest of roots and logarithms, had to backtrack, then encountered the beast on a field of irrational numbers (F_1) and smote it so grievously that it fell two decimal places and lost an epsilon, but the beast slid around an asymptote and hid in an n-dimensional orthogonal phase space, underwent expansion and came out fuming factorially, and fell upon the King and hurt him passing sore. But the King, nothing daunted, put on his Markov chain mail and all his impervious parameters, took his increment Δk to infinity and dealt the beast a truly Boolean blow, sent it reeling through an x-axis and several brackets—but the beast, prepared for this, lowered its horns and—wham!!—the pencils flew like mad through transcendental functions and double eigentransformations, and when at last the beast closed in and the King was down and out for the count, the constructors jumped up, danced a jig, laughed and sang as they tore all their papers to shreds, much to the amazement of the spies perched in the chandelier—perched in vain, for they were uninitiated into the niceties of higher mathematics and consequently had no idea why Trurl and Klapaucius were now shouting, over and over, "Hurrah! Victory!!

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.

You may not recognize the name Steven Schussler, CEO of Schussler Creative Inc., but you are probably familiar with his very popular theme restaurant Rainforest Café. Steve is one of the scrappiest people I know, with countless scrappy stories. He is open and honest about his wins and losses. This story about how he launched Rainforest Café is one of my favorites: Steve first envisioned a tropical-themed family restaurant back in the 1980s, but unfortunately, he couldn’t persuade anyone else to buy into the idea at the time. Not willing to give up easily, he decided to get scrappy and be “all in.” To sell his vision, he transformed his own split-level suburban home into a living, mist-enshrouded rain forest to convince potential investors that the concept was viable. Yes, you read that correctly—he converted his own house into a jungle dwelling complete with rock outcroppings, waterfalls, rivers, and layers of fog and mist that rose from the ground. The jungle included a life-size replica of an elephant near the front door, forty tropical birds in cages, and a live baby baboon named Charlie. Steve shared the following details: Every room, every closet, every hallway of my house was set up as a three-dimensional vignette: an attempt to present my idea of what a rain forest restaurant would look like in actual operation. . . . [I]t took me three years and almost $400,000 to get the house developed to the point where I felt comfortable showing it to potential investors. . . . [S]everal of my neighbors weren’t exactly thrilled to be living near a jungle habitat. . . . On one occasion, Steve received a visit from the Drug Enforcement Administration. They wanted to search the premises for drugs, presuming he may have had an illegal drug lab in his home because of his huge residential electric bill. I imagine they were astonished when they discovered the tropical rain forest filled with jungle creatures. Steve’s plan was beautiful, creative, fun, and scrappy, but the results weren’t coming as quickly as he would have liked. It took all of his resources, and he was running out of time and money to make something happen. (It’s important to note that your scrappy efforts may not generate results immediately.) I asked Steve if he ever thought about quitting, how tight was the money really, and if there was a time factor, and he said, “Yes to all three! Of course I thought about quitting. I was running out of money and time.” Ultimately, Steve’s plan succeeded. After many visits and more than two years later, gaming executive and venture capitalist Lyle Berman bought into the concept and raised the funds necessary to get the Rainforest Café up and running. The Rainforest Café chain became one of the most successful themed restaurants ever created, and continues that way under Landry’s Restaurants and Tilman Fertitta’s leadership. Today, Steve creates restaurant concepts in fantastic warehouses far from his residential neighborhood!

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.