Mark Blacklock
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780198755487
- eISBN:
- 9780191816680
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198755487.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
The idea of the fourth dimension of space has been of sustained interest to nineteenth-century and Modernist studies since the publication of Linda Dalrymple Henderson’s The Fourth Dimension and ...
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The idea of the fourth dimension of space has been of sustained interest to nineteenth-century and Modernist studies since the publication of Linda Dalrymple Henderson’s The Fourth Dimension and Non-Euclidean Geometry in Modern Art (1983). An idea from mathematics that was appropriated by occultist thought, it emerged in the fin de siècle as a staple of genre fiction and grew to become an informing idea for a number of important Modernist writers and artists. Describing the post-Euclidean intellectual landscape of the late nineteenth century, The Emergence of the Fourth Dimension works with the concepts derived from the mathematical possibilities of n-dimensional geometry—co-presence, bi-location, and interpenetration; the experiences of two consciousnesses sharing the same space, one consciousness being in two spaces, and objects and consciousness pervading each other—to examine how a crucially transformative idea in the cultural history of space was thought and to consider the forms in which such thought was anchored. It identifies a corpus of higher-dimensional fictions by Conrad and Ford, H.G. Wells, Henry James, H.P. Lovecraft, and others and reads these closely to understand how fin de siècle and early twentieth-century literature shaped and were in turn shaped by the reconfiguration of imaginative space occasioned by the n-dimensional turn. In so doing it traces the intellectual history of higher-dimensional thought into diverse terrains, describing spiritualist experiments and how an extended abstract space functioned as an analogue for global space in occult groupings such as the Theosophical Society.Less
The idea of the fourth dimension of space has been of sustained interest to nineteenth-century and Modernist studies since the publication of Linda Dalrymple Henderson’s The Fourth Dimension and Non-Euclidean Geometry in Modern Art (1983). An idea from mathematics that was appropriated by occultist thought, it emerged in the fin de siècle as a staple of genre fiction and grew to become an informing idea for a number of important Modernist writers and artists. Describing the post-Euclidean intellectual landscape of the late nineteenth century, The Emergence of the Fourth Dimension works with the concepts derived from the mathematical possibilities of n-dimensional geometry—co-presence, bi-location, and interpenetration; the experiences of two consciousnesses sharing the same space, one consciousness being in two spaces, and objects and consciousness pervading each other—to examine how a crucially transformative idea in the cultural history of space was thought and to consider the forms in which such thought was anchored. It identifies a corpus of higher-dimensional fictions by Conrad and Ford, H.G. Wells, Henry James, H.P. Lovecraft, and others and reads these closely to understand how fin de siècle and early twentieth-century literature shaped and were in turn shaped by the reconfiguration of imaginative space occasioned by the n-dimensional turn. In so doing it traces the intellectual history of higher-dimensional thought into diverse terrains, describing spiritualist experiments and how an extended abstract space functioned as an analogue for global space in occult groupings such as the Theosophical Society.
Mark Blacklock
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780198755487
- eISBN:
- 9780191816680
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198755487.003.0005
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
Chapter 4 focuses on the work of Charles Howard Hinton, author of the first Scientific Romances and the least well-known yet most influential theorist of higher space of the late nineteenth century. ...
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Chapter 4 focuses on the work of Charles Howard Hinton, author of the first Scientific Romances and the least well-known yet most influential theorist of higher space of the late nineteenth century. ‘Hinton was an important mediating figure,’ writes Steven Connor, ‘because, like some of the physical scientists who investigated Spiritualism, his grasp of scientific principles was extensive and subtle.’ Indeed, his work fed into the literature of occult groupings, avant-garde art, Modernist poetry and fiction, and also back into geometry and orthodox science. ‘Cubes’ give a detailed account of Hinton’s work, highlighting his acknowledged and implied sources, Kepler, Kant, and his father, before focusing on his invention of a system of cubes for training the subject in the visualization of higher space. This set of cubes are read as ‘quasi-objects’, things that make fluid the distinction between thinking thing and thing thought on, between mind and material object.Less
Chapter 4 focuses on the work of Charles Howard Hinton, author of the first Scientific Romances and the least well-known yet most influential theorist of higher space of the late nineteenth century. ‘Hinton was an important mediating figure,’ writes Steven Connor, ‘because, like some of the physical scientists who investigated Spiritualism, his grasp of scientific principles was extensive and subtle.’ Indeed, his work fed into the literature of occult groupings, avant-garde art, Modernist poetry and fiction, and also back into geometry and orthodox science. ‘Cubes’ give a detailed account of Hinton’s work, highlighting his acknowledged and implied sources, Kepler, Kant, and his father, before focusing on his invention of a system of cubes for training the subject in the visualization of higher space. This set of cubes are read as ‘quasi-objects’, things that make fluid the distinction between thinking thing and thing thought on, between mind and material object.
