“Yet I exist in the hope that these memoirs, in some manner, I know not how, may find their way to the minds of humanity in Some Dimensionality, and may stir up a race of rebels who shall refuse to be confined to limited Dimensionality.” from Flatland, by E. A. Abbott
Again given a framework that is schematically written, how can we lay over top of it, analogies that fit? IN a sense, there is a certain amount of liberation and freedom granted when such schematics are revealed.
The value of non-Euclidean geometry lies in its ability to liberate us from preconceived ideas in preparation for the time when exploration of physical laws might demand some geometry other than the Euclidean. Bernhard Riemann
While being revealed as a dimensional foundation, this shows that while being abstract, there is a possible connection to the real world, and that is the work that must take place. Possible connection, may even be written and explain dimensionally?
Oskar Klein proposed that the fourth spatial dimension is curled up in a circle of very small radius, i.e. that a particle moving a short distance along that axis would return to where it began. The distance a particle can travel before reaching its initial position is said to be the size of the dimension. This, in fact, also gives rise to quantization of charge, as waves directed along a finite axis can only occupy discrete frequencies. (This occurs because electromagnetism is a U(1) symmetry theory and U(1) is simply the group of rotations around a circle).
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 equations governing light and gravity appear to merge together like two pieces of a jigsaw puzzle. Light, in fact, can be explained in the fifth dimension. In this way, we see the laws of light and gravity become simpler in five dimensions.Kaku’s preface of Hyperspace, page ix para 3
“Why must art be clinically “realistic?” This Cubist “revolt against perspective” seized the fourth dimension because it touched the third dimension from all possible perspectives. Simply put, Cubist art embraced the fourth dimension. Picasso’s paintings are a splendid example, showing a clear rejection of three dimensional perspective, with women’s faces viewed simultaneously from several angles. Instead of a single point-of-view, Picasso’s paintings show multiple perspectives, as if they were painted by a being from the fourth dimension, able to see all perspectives simultaneously. As art historian Linda Henderson has written, “the fourth dimension and non-Euclidean geometry emerge as among the most important themes unifying much of modern art and theory.Hyperspace: A Scientific Odyssey
My most recent research is about extra dimensions of space. Remarkably, we can potentially “see” or “observe” evidence of extra dimensions. But we won’t reach out and touch those dimensions with our fingertips or see them with our eyes. The evidence will consist of heavy particles known as Kaluza-Klein modes that travel in extra-dimensional space. If our theories correctly describe the world, there will be a precise enough link between such particles (which will be experimentally observed) and extra dimensions to establish the existence of extra dimensions. Dangling Particles,By LISA RANDALL, Published: September 18, 2005 New York Yimes