Chapter 6 deals with perspective and animation. There were several different areas of the chapter that caught my attention, most of them dealing with the literary aspect of perspective. Of particular attention to me was your small piece on Salvador Dali and his idea of creating a horse thirty kilometers long. This example does an excellent job of introducing the notion of perspective. What made me curious however was the reason behind not building the model? It seems a creative enough endeavour that someone would want to fund it. Also, the discussion on the hypercube and it's relating to Madeline L'Engle's "A Wrinkle in Time" and Robert Heinlein's "... and He Built a Crooked House" was fascinating. Moving away from the literary aspects of the chapter, I also thought that four-space stereographic projections were quite a novel concept. When stereographic projections were explained in three-space, I did not see any type of connection to the next dimension until the introduction of the hypersphere. The diagrams of the Clifford torus were amazingly clear. When were the pictures on page 128 and 129 actually created? Is that kind of technology been around for many decades or is this something that has only evolved over the past few years?