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One of the reasons why the world-picture developed by Einstein in his Theory of Relativity deserves to be acknowledged as a step forward in comparison with the picture drawn by classical physics, lies in the fact that the old conception of three-dimensional space as a kind of 'cosmic container', extending in all directions into infinity and filled, as it were, with the content of the physical universe, is replaced by a conception in which the structure of space results from the laws interrelating this content.
Through virtual reality, movement in three-dimensional grids over hundreds of square kilometers, offer precise location and movement control, both during day and night in conditions of unprecedented confidence. This occurs in real time. Denying or deceiving the adversary, including real-time manipulation of senses and inputs, is part of this control.
But no; it was definitely just a shadow, for it had stopped right in front of her. Then the shadow stood up as it became a three-dimensional human being. "Good morning," said the shadow, who had now taken the form of a very ordinary man. This awoke the others, who were surprised to see a man in a baseball uniform. "Forgive me for startling you all," said the man.
Now could it be shown that the two-dimensional symmetry observed in nature is the result of a three-dimensional movement, the right-and left-handed symmetry of solids would by analogy be the result of a four-dimensional movement.
What we must say is that the representation of three-dimensional space is neither irrelevant nor essential to all art, and that every other sort of representation is irrelevant. That there is an irrelevant representative or descriptive element in many great works of art is not in the least surprising. Why it is not surprising I shall try to show elsewhere.
It is difficult to imagine how atoms, alike in number, nature, and relative proportion, can be so grouped as somehow to produce compounds with different properties, particularly as in three-dimensional space four is the greatest number of points whose mutual distances, six in number, are all independent of each other.
As the captain is capable of a kind of movement, an amplitude of motion, which does not enter into his thoughts with regard to the directing of the ship over the plane surface of the ocean, so the soul is capable of a kind of movement, has an amplitude of motion, which is not used in its task of directing the body in the three-dimensional region in which the body's activity lies.
If for any reason it becomes necessary for the captain to consider three-dimensional motions with regard to his ship, it would not be difficult for him to gain the materials for thinking about such motions; all he has to do is to call experience into play. As far as the navigation of the ship is concerned, however, he is not obliged to call on such experience.
Every space-ship within range of her powerful detectors was represented by two brilliant, slowly moving points of light; one upon a great micrometer screen, the other in the "tank" the immense, three-dimensional, minutely cubed model of the entire Solar System. A brilliantly intense red light flared upon a panel and a bell clanged brazenly the furious signals of the sector alarm.
Within the locator plate the green pinpoint of light reappeared, red-ringed and suspended now against the three-dimensional immensities of the Milky Way. It stayed still a moment, began a smooth drift towards Galactic East. Gefty let his breath out carefully. He sensed Kerim's eyes on him but kept his gaze fixed on the locator plate. The green dot slowed, came to a stop.
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