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This has been extensively discussed separately -- notably with respect to the geometric progression from points, to lines (of argument), to fields (of study), to more complex forms -- including those implying a degree of (fruitful) paradox, as with the Mobius strip and the Klein bottle (Metaphorical Geometry in Quest of Globality, 2009; Engaging with Globality -- through cognitive lines, circlets, crowns or holes, 2009). The implications in support of a sense of identity have also been explored (Geometry, Topology and Dynamics of Identity, 2009).
Especially significant to this exploration is the work of:
A very helpful summary of relevant possibilities is provided by Eileen Clegg and Bonnie DeVarco (What is the Shape of Thought? The Intersection of Nature, Geometry, and Communication, Shape of Thought Approach, 26 July 2010). More comprehensive are the works by John D. Barrow (Cosmic Imagery: key images in the history of science, 2008) and Michel Random (L'Art Visionnaire, 1991)
This argument has necessarily worked with the simplest geometric forms, seeking to relate a flat surface with a sphere through a torus. Each is understood as offering a kind of template over which the dynamics of daily life are variously organized and played out. Board games, as template of choice for competitive sport and (collective) strategy of every kind, are however a challenge to relate comprehensibly to any concern with globality and its governance. The dynamics of games illustrate the manner in which one can be placed at a disadvantage, or gain advantage, by any ability for non-linearity, unpredictability or creativity.
Some of the cognitive surprises in changing from a flat template to one inspired by the sphere have been delightfully explored in a special form of fiction by mathematicians (Edwin A Abbott, Flatland: a romance of many dimensions, 1884; Dionys Burger, Sphereland: a fantasy about curved spaces and an expanding universe, 1965; A.K. Dewdney, The Planiverse, 1984; Ian Stewart, Flatterland, 2001; Rudy Rucker, Spaceland, 2002). These are all designed to give a sense of the multi-dimensionality that people lose when trapped in a space of lower dimensionality. Game developers have now envisaged a "torusland":
Flatland need not be entirely "flat"! It could be Sphereland, for instance, where our (non-Euclidean) Square is restricted to the surface of a sphere. Or Rubberland (as one might call it), which can be stretched and distorted easily in three dimensions. Or Torusland where such well-known characters as Pacman reside (Flatland: the videogame, gamedev.net, January 2010).
The merits of such geometry is that it is typically within a cognitive "grasp" as compared for the far richer patterns otherwise available from mathematics. It is the nature of this comprehensive grasp which can be rendered more consciously explicit through accessible geometry. Excessive complexity effectively creates a horizon effect -- forcing significance "over the horizon" beyond immediate ken and out of range of behaviours dependent on familiarity.
The objective geometry as a template then gives a degree of expression to subjective experience and its organization. This might include the experiential:
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