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There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone.
When you're getting ready to launch into space, you're sitting on a big explosion waiting to happen. So most astronauts getting ready to lift off are excited and very anxious and worried about that explosion — because if something goes wrong in the first seconds of launch, there's not very much you can do.
It was a place without a single feature of the space-time matrix that he knew. It was a place where nothing yet had happened — an utter emptiness. There was neither light nor dark: there was nothing here but emptiness. There had never been anything in this place, nor was anything ever intended to occupy this place...
Fashion as king is sometimes a very stupid ruler. As was observed a little way back, the kernel of Plücker's theory of geometric dimensionality is that the dimensionality of a given space is not an absolute constant, but depends upon the elements, accepted as irreducible, in terms of which the space is described.
These are not books, lumps of lifeless paper, but minds alive on the shelves. From each of them goes out its own voice, as inaudible as the streams of sound conveyed by electric waves beyond the range of our hearing; and just as the touch of button on our stereo will fill the room with music, so by opening one of these volumes, one can call into range a voice far distant in time and space, and hear it speaking, mind to mind, heart to heart.
My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality... What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.