The conclusion argues that higher space has always been described as analogous to the imagination itself, referencing arguments made by William Spottiswoode. It summarizes the cultural history of higher space charted over the course of the book and what is described within it: the emergence of a new form of spatial imaginary that has conditioned a new kind of subject. It suggests routes for further research into the ideas of expanded spatiality in the early twentieth century. It argues, following Gillian Beer, that the forms of mistranslation encountered when scientific concepts are treated in literature are generative: in the context of higher-dimensional space, ideas developed in geometry crossed diverse cultural terrains producing hybrid concepts that continue to generate and inform cultural work.
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