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Nick Sousanis
UNFLATTENING
111
111
Harvard University Press
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Copyright © 2015 by Nick Sousanis
All rights reserved
Printed in Canada
First Printing
CONTENTS
111
111
11 ~
the shape of our bodies the fifth
our thoughts . .. 49 in motion .. . 69 dimerision ... 85
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HeRe, eveN CHOICe5
(OF WHICH THeRe ARe
o;eeMINGLY MANY),
ARe PReDeFINeD.
10
THE:<Se E:NCLO<SURE:<S
BE:COME: INTE:RNALIZE:D.
BOXE:D INTO
BUBBL~ OF
IT~ OWN
MAKING ...
14
15
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ANIMATE:D AND
TE:E:MING WITH
POS~IBIL.ITIE:S -
16
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1iE POTENTIAL
~I<.GYIN THI~
~IC CI<.S:ATUI<.e
CUI<.TAILS:D,
LS:AVING ONLY
FLATNS:~~.
17
18
HAVING BE?S'N, A5 MARCU5E?
PUT IT, "I<.E?DUCE?D TO THE?
TE?I<.M5 OF THI5 UNIVE?I<.5E?/'
21
IN TH15 RE:GAIW, THE:Y Re5E:MBLE: THE: TWO-
DIME:N510NAL GE:OME:TRIC INHA61TANT5 OF
E:DWIN A. AB60TT'5 F/..ATLANt7.
TO UNDE:R5TAND WHAT
FLATLANDE:R5 5!:1::, LOOK
FROM ABOVF: AT A PeNNY
ON A TABLE:, THE:N
LOWE:R YOUR GAZE:. THE:
CIRCLE: BE:COMe5 AN
OVAL, 5QU15HING
GRADUALLY UNTIL, A5
YOUR E:Ye RE:ACHe5
TABLE: LE:VE:L, ONLY A
5TRAIGHT LINE: RE:MAIN5.
THI5 15 THE:IR
E:NTIRE: WORLD.
CTHI5 15 WHAT
LINE:LANDE:R5 5!:1::.)
~~~!i··_
~ ~
LINE:5 AND DOT5, ALL
E:XI5TING ON AND MOVING
ALONG A 51NGLE: LINE:. _
__ ..,
@ ;;;, - ------------'-"'---- --!
. !·,;..·
]
JU5T A5 LINE:LANDE:R5
COULDN'T CONCE:Ne OF
MOTION IN A DIRE:CTION
OFF THE: LINE: - THE:
5QUARe COULD NOT
THE: ~QUAl<.!: NE:XT RE:CE:IVE:5 WHO APPE:AR5 A5 A COMPRE:HE:ND THE:
A VI51TOR CLAIMING TO Be CIRCLE: 5TRANGE:LY NOTION OF "UPWARD5
FROM THE: THIIW DIME:N510N, VARYING IN 51ZE:. NOT NO~WARD5."
~--
I
/ ',
_ ___
I
....... ___ /
~
• •
/
\
22
Hl€õ WORD€õ THE: €õPHeRe PULLING, OI<. THE: €õQUARe
IN€õUFFICIE:NT, TURN€õ TO DE:E:D€õ. I<.ATHE:R PE:E:LING, OFF FLATLAND
• ~ .,
A NE:W WORLD AND A NEW
• ,,• •
-• •
VANTAGE: POINT, FROM
WHICH, "I COULD NOW €õee
NOT ME:RE:LY INFE:R."
~~
• ,,
UNDAUNTE:D,A. ~QUAl<.!:
DOOR OPE:NE:D, A FLOOD
O F P05'SIBILITIE:€õ PE:R€õl€õTE:D, FOLLOWING
!:N€õUE:D, PROMPTING THE: THE: €õPHE:RE:'€õ OWN
€õTUDE:NT TO INQUIRE: RE:A€õONING THROUGH
ANALOGY:
IN ONE: DIM!:N€õ10N -
MOVING A POINT
PRODUCE:€õ A LINE:.
.I
IN TWO, MOVING
A LINE: CRE:ATE:€õ
A €õQUARE:.
1
~
:::.
-
AND MOVING A
CUBE: IN FOUR Oo
~ DIME:N€õ10N€õ?
THI€õ OTHE:R €õPACE: -
~ THOUGHTLAND.
23
24
~IWPTING THe5e DeePL.Y INGRAINeD PATTe~N5 TAKe5 A
'ROFOUND NUDGe - A5 THe 5PHe~e GAVe TO THe 5QUA~e -
25
AND L.OOK
ANEW.
. . .. .
· ...
. . . . . .. . . ...
. ..
. ..
....
.··
... ·
....
-----------------
--~Y UNFLATTSNING THS NIGHT ~KY
-:: <EVSAL THS VA~T DSPTH~ OF ~PACS.
31
:."<
~E:E:KING NE:W APPI<!OACHE:~ FOR OPE:NING
EX?AN~IYE: ~PACE:~ AND AWAKE:NING PO~~IBILITIE:~,
O·· · · · · · · · · · · (l:r~~
:
: (NOT TO 6CA~E:.)
7-rv-.f'·
-----------------
-....t=RE:BY UNFLATTE:NING THE: NIGHT ~KY
-o RE:YE:AL THE: YA~T DE:PTH~ OF ~PACE: .
31
'SOMe 2000 YeA~<; eA~Lie~ IN Jo~L.t:N'oNVr<-rf'\,
f:'~TO<;TH!:'Nf:'<; APPLI!:'D A <;IMILA~
TeCHNIQUf:' TO TH!:' f:'A~TH IT<;eLF.
R.ePO~T<; F~M 5YeNe, FA~ TO THe
<;OUTH, INDICATeD THAT AT NOON ON
THe <;UMMe~ <;OLsr!Ce, THe <;UN <;HONe /
TO THe BOTTOM OF A Def:'P WeLL AND
COLUMN<; THe~e CA<;T NO <;HADOW<;.
/ /
YeT, IN ALeXAND~IA AT
THe <;AMe MOMeNT,
~----i <;HADOW<; Pe~<;I<;TeD- 1-------------------------'
THe <;UN WA<; NOT
Dl~eCTLY OYe~HeAD.
e~TO<;THeNe.;
KNeW THAT THe
<;UN WA<; AT <;UCH
A G~eAT DI<;TANCe
THAT IT<$ ~Y<;
~UCKTH!:'
eA~ PA~LL!:'L
TO ONe ANOTHe~,
Ie~TO<;THeNe.; coNTINUeD. I
BY MeA<;U~ING THe LeNGTH
OF A <;HADOW CA<;T AT
ALeXAND~IA AND THe
HeiGHT OF THe COLUMN
CAsr!NG IT, He FOUND THe
ANGLe OF DI<;PLACeMeNT
BeTWef:'N ALeXAND~IA AND
-sYeNe.
32
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33
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34
35
TO Be 5UI<e, THe5e LeN5e5 we'Ve
FA5HIONeD HAVe eNABL!õD Gl<eAT 51GHT
TO eXPAND OU!< UND!õi<5TANDING.
36
IN THI5 NE:W INTE:Gf'ATE:D LAND5CAPe
LIE:5 THe POTE:NTIAL FOR A MORe
COMPRE:HE:N51Ve UNDE:R5TANDING.
37
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TH15 DOE:5N'T
MEiAN Eii<!A51NS
OR ISNORINS
DIFFE'~E'NCE'5.
38
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WHE:N TAKEN TOGE:THE:R,
AOS BAKHTIN OB'SE:I<\IED,
THE:'SE: KALE:IDO'SCOPIC
VIE:W'S OPE:N "OUR OWN
MONOLITHIC AND CLO'SE:D
WORLD" TO "THE: GRE:AT
WORLD OF ONE:''S OWN
PLU'S 'THE: OTHE:R<S.'"
39
Pef<:MIT Me TO PAU5e BRieFL.Y HeRe TO NOTe THAT WHIL.e THI5 DI5CU5510N HA5 BeeN
Re5TRICTeD TO THe VI5UAL., THI5 15 NOT MeANT TO eXCL.UDe OTHeR MODe5 OF
PeRCePTION. AATHeR IT 15 INTeNDeD THAT OUR l.ITeAAl. WAY5 OF 5eE1'1NG MeTAPHORICAL.LY
5eRVe TO eNCOMPA55 OTHeR WAY5 OF MAKING MeANING AND eXPeRieNCING THe WORLD.
40
IN PI'E:PAI'ATION FOR THe JOURNE:Y AHE:AD, LE:T
U$ RE:FLE:CT ON WHAT WE: HAYe E:NCOUNTJeReD.
41
FII<:$T, CON$!Del<: WHAT JAMe$ CAI<:$e $UGGe$T$: We UNDO
BOUNDAI<:Ie$ THI<:OUGH THe AWAI<:eNe$~ THAT "IT 1$ OU!<:
VI$10N, AND NOT WHAT We Al<:e VleWING, THAT I$ L.IMITeD."
CONTINUAL.L.Y $eeKING
WHAT L.le$ BeYOND YOUI<:
HOI<:!ZON 1$ CUI<:!O$!TY.
42
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PIVOTINC.S FWM
THE:' CYCLOPTIC
HAVINC.S APPWACHE:'D
IT He'AD ON, FWM A
5 1NC.SLE:' 51De' -
THE:' DIME:'N510NALITY OF
OBJE:'CT5 Me'AN5 We' CAN
MOVe' AWUND THE:'M.
50 e'I<:.AT05THE:'Ne'5 5HOWE:'D
(AND OTHE:'R5 5UB5e'QUe'NTLY
De'MON5TRATE:'D),
CHANC.SINC.S OU!<:.
5TANDPOINT
Re'Ve'AL5 UN5e'e'N
A5Pe'CT5 THAT OPE:'N Ne'W
P05~1BILITIE:'5
43
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FI<.OM THe HOI<.IZON OUT THel<.e, LeT
U5 TUI<.N OU!<. ATTeNTION INWAI<.D.
BUT COA5TL1Ne5,
TO THe CONTI<.AI<.Y...
5UB5eQUeNT
l<.eADING5 DO NOT
CONVeRGe TO A
FINAL l<.e5UL T.
CONTINUING TO
ITei<.ATe YleLD5
50MeTHING
THe TOTAL CI<.INKLY
LeNGTH We eVeRYWHeRe.
OBTAIN DePcND5
cNTII<.cL Y ON THc
51Ze OF OU!<.
MeA5UI<.ING 5TICK.
OVci<.COMING A LINcAI<.,
5TATIC VleW l<.eQUIRe5 5UCH
A 5HIFT IN AWAReNc55.
CLJI</OLJG/il< ANO
HeWING 5TRICTL Y .T o THe eDGe CLJI</OLJG/il<... ATTUNING OUI<.5cLVc5 TO DIFFcReNT WAY5 OF
"BcTWIXT THc ,;õAND AND THE' FOAM/' 5E'SING - AS WITH A DOG'5 5cN!Õc!Õ - cXPAND5
THe ANT eNCOUNT51<.5 A PI<.OFOUNDL Y OU!<. WOI<.LD TO RE'VE'AL UNANTICIPATE'D D5PTH5,
DIF'F'cRcNT 51-iORcLINc TloiAN Tloic HUMAN. CI<.INKL Y 5PACc5 AWAITING cXPLOI<.ATION.
44
.). FURTHE:I<. CI<.E:NULATION: IN
.JL Y!55!:!5 JAME:~ JOYCE:
IJTILIZE:D DIVE:R~E: NARI<ATIVE:
"&R~PE:CTIVE:~ TO CRE:ATE:
JTe:I<ARY PAI<ALL.AX.
45
TO HE:LP U5 FINO O UI<.
WAY BE:YOND THE:
CONFINS OF "HOW IT 15/'
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52
ARE: TH5 PRISONER<; ~c::tD TH5 51TUATION: "WE:
A5 5. I. HAYAKAWA DE:
IM65DD5D IN THE: LANGUAG~~NT
W5ORIE:NTATION<;
HAV5 INH5RIT5D."
---- ------· - -
53
Traditionally, words have been privileged as the proper mode of explanation, as the tool
of thought. Images have, on the other hand, long been sequestered to the realm of spectacle ·and
aesthetics, sidelined in serious discussions as mere illustration to support the text- never as
p. 44). For Plato, human life was a pilgrimage (p. 2) from the
(Jay, 1994, p,·2.7). If appearances were deceiving, images were far more treacherous, these
"shadows ·Of shadows," capable of obscuring the search for truth - mistaking fi.re for the sun.
•, i>
distrust ofwritingas an ~'infê'qbr for memory and live understanding" (p. 22), he
'"'\\;, ~ _,.,
54
WIE:LDING THe
<;;HAI<.P IMPLE:ME:NT
OF UNI<.E:LE:NTING
5KePT1C15M,
WHICH He BE:LieYE:D
CONCE:ALE:D THe "WHE:SL5
AND 5PI<.ING5" OF
CLOCK-LIKS AUTOMATA
THAT MADS U5 TICK.
55
Y!rr DESCARTES WA-5 AT WHILE: MOUNTING AN ATTACK O
000'5 WITH Hl-5 OWN THE: '5E:N'5E:'5, DE:'SCAT<:.Te'S WA-5
VI CW-5, 'STATING: "ALL SIMULTANE:OU'SLY INVe'STIGATI G
THE: CONDUCT OF OUr<:. OPTIC PHE:NOME:NA.
L.Ne'5 DE:PeND'S ON OUr<:.
'SE:N-5!:'5.'' OF THO<SE:, HE:
CON'SIDE:r<:.E:D '5/GHT "THE:
MO<ST NOBLE:/'
*DIFFE:I<.E'NT
WAVE:LE:NGTH-5
OF LIGHT
r<:.E:FI<.ACT TO
D!FFE:I<.E:NT
DE'GI<.E'E'~
Blue
56
E:VeRY LANGUAGe,
HAYAKAWA 5UGGe5T5,
"LeAVe5 WORK
UNDONe FOR OTHeR
LANGUAGe5 TO DO."
57
WE'RE CONCE'RNE'D WITH THE'
WAYS IN WHICH WE' E'MPl.OY
VISUAl. AND VE'RBAl. MODE'S
ITRE'E'-l.IKE' I
58
:.N ~E:L YING ON TE:XT A5 THE:
:>RIMA~Y ME:AN5 OF FO~ULATING
DE:~5TANDING, WHAT 5TAND5
OUT51DE: IT5 LINE:A~ 5T~UCTU~e;
15 D15M15oSE:D,
59
A MEAN-6 OF 6RAPP1-IN6
WITH EXPERIENC.E BEFORE
~ WE HAD NAME-6 FOR IT.
60
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TO UNRAVEEL THe FOiõ:M'5 CAPACITIEE5, LE'ET'5
BEGIN WITH SCOTT MCCI.OUD'5 CON51DEERATION
OF THe 'iôeoUeNTIAL A5 IT5 DEEFINING A5P5CT:
lT'5 A PARTICIPATORY
DANCe, AN ACT OF
THe IMAGINATION,
AND BRING5
IT TO LIFEE.
61
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íHE~E íWO Dl~íiNCí KIND~ OF AWAI<.ENE~S- THE
5SQUSNTIAL.. AND 51MUL.. TANSOU5 - COI<.12.S5POND
WITH IAIN MCGIL..CHI<.I5T'5 CHAI<.ACTEI<.IZATION OF
THS L..SFT AND I<.IGHT HE<M15PHE<I<.E<S OF THE< BI<.AIN.
63
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~cQUcNTIAL
f'MBSDDSD WITHIN THS
~IMULTANcOU~ cC~~M THAT I~ COMIC~,
o
o o
o o o
o
64
COMIC~, BEYOND UNITING TE)(T AND
IMAGE, ALLOW FOI<. THE INTEGI<.ATION
AND INCOI<.POI<.ATION OF MULTIPLE
MOD~ AND ~IGN~ AND ~MBOL~ -
THE~E A~PECT~
COME TOGETHEI<. IN
MUTUALLY AFFECTING
I<.ELATION~HIP~ ...
65
OVSI<. THS COUI<.5S
OF THI5 CHAPTEI<.,
~--------~--~~--~.r
CITING GO!:THe, CHI<.I5 WAI<.E: THI<.OUGH ITS
LIKSN5 COMIC5 TO "FI<.OZSN MULTIPLICITY OF
MUSIC/' A 5PAC5' TO APPI<.OACHe5 FOI<.
I<.!:CON5TITUT5' Mlõ'MOI<.Y. CONSTITUTING
lõ'XPSI<.ISNCe, THIS
FOI<.M CAN PI<.OVID!:
AN lõ'Liõ'VAT!õ'D
P!:I<.5P!:CTIVe FI<.OM
WHICH TO
ILLUMINATe THS
TI<.AP5 OF OUI<. OWN
MAKING AND OFF!õ'!<:
A M!:AN5 TO ...
66
FIWM THI5 VANTAGe POINT
OUT51DE: THE: BOUNDA~IE:5
OF A 51NGLE: MODE:,
67
THc IMAGc-TCXT DIVIDe.••
BIC:cACHcD,
71
....._..."""'"'""""""""~"--'-1 FROM THE1 RE1LATION5HIP
BE1TWE1E1N THE: 5E1PARATE1
VIE1W5 FROM E:ACH E1YE1
PE:RCE:PTION 15 A
DYNAMIC ACTIVITY.
Gi'!LE:ANIN<S FURTHE:R
INFORMATION TO
ACTIVE:L Y FORMULATE:
UNDE1R5TANDIN<S.
72
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73
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I We CAN'T HeLP BUT ~ee IN ReLATION.
CLAWeD, ~CRATCHeD,
TUMBLeD, eRODeD,
DRAGGeD, ~LITHeReD,
FLUNG, ~PARKeD -
MARK~ HAVe ALWAY~
BeeN MADe-
A ReCORD OF
ACTION, PRe~eRVING
TRACe~ OF MOTION.
OUR CAPACITY TO
DIFFeReNTIATe AND
GRA~P VI~UAL
BOUNDARi e~
----------
-------
,.. ....
/
/
I
I
''
-------
74
::;wM CALM TO HeiSHTeNeD,
' D~WN LINe CAI<.I'Ie~ THe I AND 1<.1~e UP. I
'.AKEI<.'~ eXPI<.e~SION.
CLO~ING IN ON IT~eLF,
LINe BeCOMe~ OUTLINe
TO De~CI<.IBe ~HAPe.
-"'"TH I~ IMPLieD BY
.:....-....u>AI<.INS, A~ AI'NHeiM
- - - IT, "WHAT IG WITH
• T 01./GHT TO Be" -
75
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o
NOT ~PRING FROM THe ReAL.M OF PURe,
D l~eMBODieD ReA~ON, BUT ARe GROUNDeD
IN OUR ~eeiNG AND BeiNG IN THe WORL.D.
76
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77
IMPORTANCE
15BIG.
''
'
'
'
UNDER5TANDING
15 GRA5PING.
WE GRAS HOL.D OF AN
IDEA AND ENCL.05E IT
WITHIN A FIRM GRIP.
78
o
.·,:; TH U~ S:XTS:ND
.:-...R THINKING
79
CHIZI$ MOFFeTT WRITE$ THAT MOVING 1$ TH!: P!WPE:R MOD!:
OF THOUGHT: "TH!: WAY W!: FIND OUIZ WAY." TH!: PHY$1CAL
ACTIVITY OF D!ZAWING OCCUIZ$ IN DYNAMIC R!:LATION$HIP
WITH TH!: ARTI$T'$ VI$UAL IZ!:$PON$!: TO WHAT'$ PUT DOWN.
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IN Fi..A ri..ANCJ, A. <;;QUARE: HA5
A FINAL PROPHE:TIC V1510N,
87
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88
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RE:ACHING ACR06~ THE: GAP
TO E:XPE:RIE:NCE: ANOTHE:R'6
WAY OF KNOWING TAKE:6 A
LE:AP OF THE: IMAGINATION.
89
-; -; ~··
90
BOTH BINDING AG5NT AND ACTION,
IMAGINATION ALLOW5 U5 TO 5PAN
GAP5 IN PeRCE'PTION.
91
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92
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I HAD GIVE:N L.OCKE:~N
BUT A <;INGLE: <;PE:CIAL.
ABIL.ITY, TO <;TE:P
THROUGH ANY DOOR
(INITIAL.L.Y ONL.Y
L.OCKE:R<;),
93
!4eFLeCTING UPON THI5 NOW
BRING5 TO MIND 5WIFT He!4Me5,
THe Me5<SeNGeR, GU!De AND
GUARDIAN TO TRAVeLeR5
IN seeKING TO CONVeRse
ACR05<S BORDeR5, we TOO MU5T
OPeRATe IN THe THRe5HOLD5.
I FROM ABove, I
IAND NOT.I
lTS HINGe AI..I..OWS
FOR THe P05<SIBII..ITY
OF AN OPeNING,
94
TO BE' CLE'AR, BY 5TORIE'5, I DON'T ME'AN
ONLY WONDROU5 TALE'5, BUT THAT M05T
HUMAN OF ACTIVITIE'5, THE' FRAMING OF
E'XPE'RIE'NCE' TO GIVE' IT ME'ANING.
ALL. DE'PE'NDE'NT
ON OUR FRAME'
OF RE'FE'RE'NCE'.
95
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IN PA~~ING THROUGH
THS~S THRS~HOLD~,
~~
~_,
97
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102
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105
106
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AND BE1CAME1 WHAT LE1W15 MUMFOIW CALL5 A
ME1CHAN15M TO 5YNCHRONIZE1 OUR ACTION5.
109
WHEN IDEA5 AI<.E WI<.ITTEN IN
5TONE WITH THE CEI<.TAINTY
THAT WE GOT IT "IGHT,
11 o
TO 5HeD FURTHeR LIGHT ON THI5 DI5CU5~10N,
LeT'5 5WITCH TO MATTeR5 MORe MUNDANe.
111
112
113
As you wi11 reca11, through
the action of menta11y bind.ing
and. framing separate
concepts, we generate new
und.erstand.ings.
So then, imagine
if you wi11,
I a puppet.l
117
118
119
120
121
122
123
129
~S:PARATS: '/S:T
CONNS:CTS:D.
130
THROUGH LE1N5E15 BOTH
CONCE1PTUAL AND MeCHANICAL,
WE1'Ve E1XTE1NDeD OUR 51GHT,
E1NABLING U5 TO 5TE1P
OUT 5TILL FARTHeR
131
ou r
Q
> ___ _
nn
~;.
~· ~
.r.. .
132
134
135
PA5~E1D DOWN THWUGH
THE1 COL.LE1CTIVE1 5TOI<.IE15
OF THE111<. ANCE15TOI<.5.
136
'' '
\
\
'\
" \
\,
\
\
\ \
,,
' \
' r,,',-._
\'
145
AND THI~ TAKE~ INTO ACCOUNT
ONL Y ONE ~INGLE PLANE OF
MY FOOT IN A ~TATIC PO~ITION.
CNOT TO MENTION MY
LEFT FOOT. I'EFLECTED
ONTO MY I<.IGHT, WE
~EE HOW EVEN MY OWN
TWO FEET DIVERGE.)
e e
146
147
148
149
UNDE1R~TANDING, LIKE1 ~E1E11NG, I~ GRA~PING
THIG ALWA'/~ IN RE1LATION TO THAT.
150
We ReMIND OUR~eLVS OF WHAT
IT I~ TO OPeN OUR e'YE'~ TO THe
WORLD FOR THe FIR~ nMe.
152
NOTES
CHAPTER 1: FLATNESS
)V\fv-..1.~
{, /b 0"1-t.f) Page 11: An allusion to a splash page from a Batman
1 · comic I read as a child. I made the sketch first and felt a trace
of recognition. I tracked down the image, which turned out
to be two different images, one on the cover and the other on the
inside splash page, in which Batman's profile also contains a scene
within; both images are from Detective Comics 457 vol. 1,
published in 1975.
INTERLUD E: FLATlAND
Page 22-23: Text from the Flatlander sequence is derived nearly directly
or paraphrased from Abbott's original1884 novel.
Page 25: Hermes is (among other things) the god of boundaries and
159
-)ir
gave the winged sandals to Perseus. Perseus is often depicted
riding the winged horse Pegasus. This gift of winged sandals
was intended to transport Perseus to Medusa so he could slay her. In
Greek mythology, Medusa can render inanimate all who look upon her.
We see another angle of this story in Chapter 6.
Page 32: I was familiar with Eratosthenes's method for calculating the
circumference of the earth from my dad's physics class; we used the
opportunity of students traveling from Michigan to Florida on spring
break to perform a similar calculation. Carl Sagan's explanation of this
from his Cosmos TV series was quite helpful-in it, he bends a cardboard
mockup of Alexandria to Syene-and a similar bend shows up in my
drawing.
160
in which I found the passage attributed to Francis
Bacon (p. 24).
~~~~~-
'-l~l-f-H-/itRt.::;;~~~- _:_P ages 35-37: These sequences are informed by the
field of interdisciplinarity as delineated by Klein
(1990), Repko (2008), and Welch (2011). The dialogue
\ -~.J~-~-• --+--~+---
on page 36 is from L. Frank Baum's The Wonde"ifitl
Wizard of Oz (1900), ch. 15 .
Page 38: Snow (1964 / 1993, p. 4) and Dreyfuss (2011, p. 74). The dance
steps and dance notations are my amalgamation of actual notation.
Page 39: Bakhtin (1981, p. 29). Oskin's (2009) article on Scott Page's
work on the value of divergence and diversity for the creation of new
ideas within groups (p. 48) informed some of my thinking here but
wasn't directly cited. The composition of many eyes had me thinking
back to the cover of Madeleine L'Engle's A Wind in the Doar and the
"drive of dragons" pictured on it. Deleuze and Guattari (1987). (I think
their writing really lends itself to being presented in comics form.)
Page 40: For more about canine senses, see Bilger (2012) and Williams
(2011 ).
Page 42: Carse (1986) offers a notion of "horizonal vision," and the
passage comes from p. 75. ]ames (1907, p. 21), Cavafy (2002, p. 80). The
walking figures reference Muybridge's photographic examinations of
movement.
Page 43: My friend and mentor Fred Goodman suggests that tetra-
hedrons enclose a single space in such a way that they 'beg" to be "turned
over in one's mind." For Fred's 80th birthday, I made him a card depicting
different turns of a tetrahedron, which I subsequently reworked for this
page. Latour (2005, pp. 145-146) suggests that an object's dimensionality
allows us to move around it. The page also references sculptor David
Barr's globe-spanning "Four Corners Project"-the largest sculpture ever
made (with the least amount of material).
Page 44: The explanation of fractal coastlines and related concepts is
drawn from Peak and Frame (1994), Peitgen,Jürgens, and Saupe (1992),
Mandelbrot (1983), Briggs and Peat (1999), and McGuire (1991), from
which the passage by Mandelbrot is also drawn. The coastline explored
here is that of Ithaca, Greece.
Page 45: The passage "Did it flow?" is fromjames Joyce's Ulysses (1934,
p. 655), ch. 17 (Ithaca). A trace of some text from my mom, Anne
Sousanis (1987), remains in the text: "Our ecosystems may have visual
boundaries but they are not isolated from one another." And Heraclitus,
who needs no citation at this point, "one cannot step in to the same
waters twice."
Page 49: I had previously used the title of this chapter for an essay
in comics form in the journal of Visual Arts Research (Sousanis, 2012),
and this chapter reworks and greatly expands upon ideas from that
previously published piece. Page 62 is most directly drawn from that
earlier piece; it's a new drawing, but with the same composition and
scene for the most part, with altered text.
Page 53: The terms "anchor" and "relay" are a nod to Roland Barthes's
theory o f the interaction o f image and text, which is quite applicable to
thinking on comics as well.
Page 54: I did set fire to several pages in an attempt to get this to look
just right. That did not go well and I can't recommend trying it at
home. In the dissertation version of this work, I was required by the
Office of Doctoral Studies to include a "List of Figures" at the front
of the document to refer solely to the "figure" on this page-the page
L4+ooJ
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162
Page 56: Stems from Descartes's Discourse on Method (1637 / 2001): "Of
refraction" (pp. 75-83); "Of the eye" (pp. 84-126); and "Of the rainbow"
(pp. 332-345). The moon and telescope belong to Galileo, who is
never mentioned in the text but has his fingerprints all over it. Adam
Gopnik's (2013) article on Galileo helped inform both the imagery and
the integration of reason and perception that doses the page-what he
called a "fluid mixture of sense impression and strong argument."
Page 57: Hayakawa (1944 / 1995, p. 9). You can learn more about the
Dymaxion Map and other projects on the Buckminster Fuller Institute
website, www.bfi.org.
Page 58: Langer (1957, p. 80) , Baxandall (1985, p. 1), and Kosslyn et al.
(2006) draw an important distinction between verbal and visual in terms
of how they function as a means of representation and how they make
"different sorts of information explicit and accessible" (Kosslyn et al.,
p. 12). The sentence diagram was provided by Russell Willerton, who
kindly responded to my request for assistance on social media. Everett
Maroon carne up with an alterna tive approach of which I incorporated
a few elements.
Page 59: Langer (1957) claims that dueto its linear form, language falls
short in conveying feelings and emotions, and thus discursive forms are
seen as intelligent, while everything else is relegated to the realm o f the
irrational (p. 143). My finalline references Wallace Stevens, who said of
poems, "not ideas about the thing but the thing itself." The Cartesian
163
respectively McCloud (1993) and Hogben (1949) connect comics back
in time to a lineage that began with the cave paintings at Lascaux. "A
rose by any other name would smell as sweet" stems (ha!) from Romeo
and]uliet.
Page 61: McCloud (1993, p. 9). The lunar calendar is redrawn from a
30,000-year-old Paleolithic calendar produced at the same time as the
cave paintings in Lascaux. While the connection between cave art and
comics is often made, I was thrilled to link this calendar to comics-as
here, time is literally written in space.
Page 62: Groensteen (2007, p. 146). It should also be noted that while
I initially happened upon the Banyan tree because of the imagery, it
turns out that, like comics themselves, the Banyan, as Thompson (2012)
writes, can be seen as 'both hierarchical and rhizomatic!"
Page 64: Harvey (1979), Lewis (2001, p. 69), and Tufte (1990, p. 12). The
text, appearing alongside Botticelli's The Birth of Venus in the upper left,
is from the opening to Hemingway's The Old Man and the Sea (1952).
Page 66: The Spiegelman quote is from Witek (2007, pp. 276-277), and
Ware from Ball and Kuhlman (2010, p. 182). My composition on the
lower left borrows from Frank Quitely's wonderful perspectiva! panels
in W.E.3, and in the lower right, his collaged compositions from Flex
Mentallo. The imagery also plays with "you're nothing but a pack of
cards" from Alice's Adventures in Wonderland to go along with giant Alice
in the house.
164
CHAPTER 4: OUR BODIES IN MOTION
Page 69: The dancers are alighting across an image drawn from a cloud
chamber-a machine made for detecting particles invisible to our eyes.
Page 75: Arnheim (1965, p. 259). The images visually reference Bang
(2000)-an absolutely wonderful enactment of Arnheim's theories.
Page 76: Lakoff and Johnson (1980, 1999), Lakoff and Núfiez (2000).
The formation of our most basic concepts (what they call conceptual
metaphors) is grounded in our seeing and being in the world, ideas
shaped, as Lakoff and Núfi.ez (2000) suggest, 'by our bodily experiences"
(p. xiv) . They use the term "image schemas" (which I chose not to
include). Image schemas are both perceptual and conceptual, and
bridge "language, reasoning, and vision" (p. 31), from which we derive
conceptual metaphors.
Page 80: Moffett (2011, p. 137). The page also gestures toward
Crockettjohnson's Harold and the Purple Crayon.
165
draws on Burton, Horowitz, and Abeles's (1999) work on
the importance of the arts in curriculum.
Page 85: The title references Rod Serling from the Twilight Zone equat-
ing imagination with the fifth dimension. I picked it up from a Grant
Morrison-written Batman cornic.
Page 87: As with prior instances, the text here hews closely to Ab-
bott's original.
Page 92: Lockerman first appeared in print in 1986 and was distributed
courtesy of the Almont High School copy machines.
Page 93: My brother takes issue with my use of "tall tales" here.
Page 95: The opening depicts scenes from The 1001 Arabian Nights. The
turn to science here draws on Saliba's (1999) description of the works
of Nasir al-Din al-Tusi, whose works aided Copernicus's discoveries.
Goodman (1978, p. 2).
Page 96: After Bill Watterson's Calvin and Hobbes, Superman changing
in a phone booth, and the Tardis from Dr. Who. Bachelard (1964 / 1994,
p. 134). String theorists surmise that dimensions we can't experience are
curled up tightly within those we can.
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Page 109' Mumfocd ( 1967, p. 286). \ \ {
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Page 110: The column and upper panel backdrop are both re~~~~ \
from the stele upon which the C ode of Hammurabi was written. ~ ::::>:>~
()~ n
Page 111: Dewey (1916 / 1966, p. 49). For the record, it took me a long \ ..,.,_
time to go slowly enough to consciously break down the steps o f how I
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tie my shoes. I consulted the web and was relieved that my method was
a proper and effective one.
Page 112: My wife mapped six o f her actual daily commutes. Regarding
the dérive, see Debord (1957-1961 I 1992).
Page 122: "Who are you?" is the first line the caterpillar says to Alice
in Alice's Adventures in Wonderland (1865). Monarch caterpillars do turn
over into an upside-down question mark.
CHAPTER 7: VECTORS
Page 125: Artemis is not only the goddess of the hunt and
the moon, but also a midwife.
Page 129: Besides looping back to the opening pages, the text also refer-
ences the Calvino (1993) passage from the Flatland Interlude that comes
from his chapter on "lightness"-to work against forces of heaviness
and inertia. /
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Page 132: Elements on this page are drawn from a wide
variety of sources, including Zimmer (2006): eye development, squid
eye, lancelet; Davies (2014): DNA proteins, heart development; Shlain
(1991): grasping hand; Pilcher (2013): grasping hand, eyes; Lisieska
(2010): squid eye; Robson (2014) : stone tools and evolution. The central
figureis from Vesalius's "On the Fabric of Human Body."
Page. 133: Building on Latour (2005) and his notion of "trace of associ-
ations" as part of Actor-Network-Theory
CHAPTER 8: AWAKING
Pages 145, 147-149: Attributions for the feet depicted here are listed in
the acknowledgments. People sent me feet from at least three continents
based on a call I broadcast on social media. The call read as follows:
168
the outline of each one of your feet and then label it
/left, malelfemale (what shoe you wear, not your gender),
and US shoe size. In my case, this looks like R, M, 10.5, and L,
M, 10.5. Then scan or take a digital photo of the tracing, low-
is fine (and preferred), as ali I need is a clear outline.
Label the picture / scan as above without any additional
identifying information. Send it to me at nsousanis@gmail.
com with subject heading "foot project" (or some dever pun
if you'd prefer).
I will not identify your feet in any way in the work, and
will save ali the image files in a folder without retaining the
sender's information. I'li be redrawing the outlines, for visual
clarity and consistency as well.
-~)
169
BIBLIOGRAPHY
In the process of making this book I read and was influenced by many books
and images. Some of them are named in the preceding pages; others have
left an invisible, yet no less important, imprint on my words and drawings.
Traditional bibliographies are partia! to the written word and list mostly books
and articles. Images of ali sorts have been just as important to me as I made
this book. If you wish to learn more about these images and their influence on
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171
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175
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189
ACKNOWlEDGMENTS
191
*. :i' .
192
@cogdog, Edgar Castro, Ronelle Kallman, Sue Uhlig, Pedro Cabral,
Adele Holoch & boys, Tracy Dawson & Parkes High School-
NSW Australia, Elizabeth Branch Dyson, Samantha Cooper, ]esse
Carbonaro, Tracy Scholz, Michael Hoffrnan, and Dean Sousanis.
To Russell Willerton and Everett Maroon, who pitched in on my
sentence diagramming.
To Professor Bart Beaty and the University of Calgary Eyes High
Postdoctoral Fellowship.
To the bestest editor ever Sharmila Sen and the entire team at
Harvard University Press.
To my dear, departed dog Sledge whose ways of seeing run
through this work.
To my brother Dan and my brother John, his wife, Autumn, and
their growing family.
To my parents, Anne and Dean, educators in the best sense o f the
word.
And to my wife, Leah.
193
First ide a map for Unflattening, April14, 2011
lnitial working roadmap (pari 1) 'January 20, 2012
lnitial working roadmap (pari 2) , January 21 . 2012
Roadmap (cha pter 1). March 19 , 2012
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