Nick Sousanis - Unflattening-Harvard University Press (2015)

Bacon (p. 24).
~~~~~ -
'-l~l-f-H-/itRt.::;;~~~-
in which I found the passage attributed to Francis
_:_Pages 35-37: These sequences are informed by the
field of interdisciplinarity as delineated by Klein
(1990), Repko (2008), and Welch (2011). The dialogue
\-~.J~-~-•--+--~+---
on page 36 is from L. Frank Baum's The Wonde"ifitl
Wizard of Oz (1900), ch. 15.
Page 38: Snow (1964 / 1993, p. 4) and Dreyfuss (2011, p. 74). The dance
steps and dance notations are my amalgamation of actual notation.
Page 39: Bakhtin (1981, p. 29). Oskin's (2009) article on Scott Page's
work on the value of divergence and diversity for the creation of new
ideas within groups (p. 48) informed some of my thinking here but
wasn't directly cited. The composition of many eyes had me thinking
back to the cover of Madeleine L'Engle's A Wind in the Doar and the
"drive of dragons" pictured on it. Deleuze and Guattari (1987). (I think
their writing really lends itself to being presented in comics form.)
Page 40: For more about canine senses, see Bilger (2012) and Williams
(2011 ).
Page 41: The ship is my recollection of a carved wooden canoe my
parents have.
Page 42: Carse (1986) offers a notion of "horizonal vision," and the
passage comes from p. 75. ]ames (1907, p. 21), Cavafy (2002, p. 80). The
walking figures reference Muybridge's photographic examinations of
movement.
Page 43: My friend and mentor Fred Goodman suggests that tetrahedrons
enclose a single space in such a way that they 'beg" to be "turned
over in one's mind." For Fred's 80th birthday, I made him a card depicting
different turns of a tetrahedron, which I subsequently reworked for this
page. Latour (2005, pp. 145-146) suggests that an object's dimensionality
allows us to move around it. The page also references sculptor David
Barr's globe-spanning "Four Corners Project"-the largest sculpture ever
made (with the least amount of material).