The chapter reproduced below was written by （复制下面的章是写的）.pdf

1 The chapter reproduced below was written by the Director of the Faraday Institute for the Exhibition Book published for a Sculpture Exhibition by Simeon Nelson entitled Cryptosphere to mark The First Artist’s Residency at the Royal Geographical Society (with The Institute of British Geographers): Dates: 7 April – 9 May (open Mon – Fri, 10am-5pm) Place: Royal Geographical Society Exhibition Pavilion, Exhibition Road, London, SW7 2AR (/HomePage.htm). Simeon Nelson’s practice () was established in Australia in the 1990s. He lives and works in London, with commissions and exhibitions in Asia, Australia, Europe and the UK. He is Reader in Sculpture at the University of Hertfordshire and Co-director of Elastic Residence, London. His work is held by a number of high-profile public and private collections. Cryptosphere has been made possible through the generous support of The Leverhulme Trust, Arts Council England and The University of Hertfordshire. The Exhibition Book in which this chapter first appeared was published by Parabola (). ******************** Art, Science and Flatland Denis R. Alexander When Edwin Abbott published his Flatland: A Romance of Many Dimensions in 1884, he probably had little idea of the myriad ways in which his parable would be applied in subsequent years, and might have been even more amazed to know that his book was still in print in 2008.1 Abbott described his flat world, constrained to two dimensions, partly as a satire on the hierarchical structures of Victorian society. Told by a lowly square, the tale portrays