“There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing; I saw a Line that was no Line; Space that was not Space; I was myself, and not myself” (95).
This is how chapter 18 “How I came to Spaceland and what I saw there” of Flatland begins. This is the beginning of A Square’s experience of three dimensional space. A Square expresses an overwhelming sense of nothingness in his first explanation of his experience, there is something but also nothing, a series of negations and an overall expression of space as nothingness, a void. After his first impression subsides, A Square recognizes a “new world” before him, a world received through sight and not simply through inference, conjecture, or dreams (95).
I started this blog and subsequent twitter account for an academic assignment at UBC in 2015. I would like to continue adding to the project and see what happens.
Take a look around and let me know if you like what you see. Thanks for checking it out!
I’m beginning to see my mark-making as a graphic intrusion upon the text of Flatland. Each smudge or chosen image will hopefully interrupt any streamlined reading of the notes while also carrying forward my interpretation of the additional material added to the journal as layers. In this way, while the images causes the reader’s eye to jump around the page, these focal points ultimately act as connections between the layers of meaning, as they represent a space in between the reading of the story.
I’ve been keeping notes in a white Moleskine journal since the beginning of the project. As my research has evolved so has the journal, and I have started to document some of these changes. I’ve noticed, throughout the project, that dimensions can be considered as different layers, and in that case, there can be many dimensions to my journal, only in the form of layers. To illustrate this I have crafted various layers that I will actually be covering up with more materials. I am documenting the inner layers in order to show them after they have been covered up, and I am doing this so that I can play with book making techniques and some craftiness, but also to illustrate different dimensions of textual reality. In most cases, the text underneath would not have been seen by anyone, that is, it would remain hidden from view because I have covered it up. Luckily, I have taken photographs of my progress in order to show how the journal has changed into its final form. In this way, each layer is like another dimension of the journal’s past existence. This calls into question notions of the Index and hints at the fact that there are layers to books that people do not often see, or take for granted once the finished product is in their hands. That is, does the glue ever get admired? I thought that I should include some sort of synthetic smells to the journal to make it sensible in a different way, and also to evoke another sense of dimension: that of the five senses.
So, through my mangling of this Moleskine journal I am exploring different dimensions of experience, such as, the tactile and the visual, but also interacting with the olfactory. I am expanding this sense of layers into the web as well, creating a multi-faceted hub of all things Flatland on the one hand, but also a documentation of my personal experience of the novel. I want to bring facets of the journal into the web in order to make a connection between layers of experience. While I physically create layers in my journal, I am simultaneously creating a web of off shoots and loose ends that are then picked up by the virtual journal that is this very blog.
I was looking into various ways to summarize the text Flatland: A Romance of Many Dimensions and I have decided to use Twitter as a means of doing so. I have started drafting my one-liners of 140 characters or less but it is tricky. I don’t want to just repeat the chapter titles, instead I want to capture a dominant thread in the narrative.
I will tag these tweets as #flatland #chapter(#). I am worried that without reference to an actual chapter they will lose their significance to the story, or their connection with the story.
Here is a link to my Flatland twitter handle: https://twitter.com/3D_Ennui
Books From the Future has created a rendition of Flatland that utilizes the techniques of book design in order to present the 1884 text in a new way, while allowing students to produce a body of work as a collective through a 10-day workshop.
I’m about to write a blog about a novel by Edwin Abbott Abbott called Flatland: A Romance of many Dimensions (1884). These are the moments prior to the accumulation of stuffs regarding the novel, by which I mean, notes pertaining to its existence, its history, its shelf life at Rare Books at UBC’s I.K. Barber Library, and so on.
I also want to discuss what happens to the novel once its copyright is lifted, and what this means for the history of this book.
Further questions I aim to explore:
What is the relationship between these new creations and the book I found at the RBSC?