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See Flores, The Compositors 78; «The Compositors» Table 4, 15; and «¿Qué hay?» 416. (I did not consider the word-form «Dulzineæ» in the latter article, nor did I mention three other changes from «Dulzinea» to «Dulcinea», because, at the time, I thought that these three occurrences had been set, not by compositor F, but by one of the Cuesta apprentices). (N. from the A.)



A view of the galaxy from above could be obtained by superimposing Figure 6 upon itself, rotating it on its center of gravity by 50 at a time with uniform expansion by a factor of 1.1; see, Pickover, Figure 4.6, p. 46. The resulting graph would be a random dot-display projecting the image of a perfectly circular, spiralling galaxy seen from above. Pickover adds: «if the rotation is much larger, the eye loses the ability to perceive the spiral patterns» (46). Another view from above could be arrived at by drawing a rectangular grid representing the text of the early editions of Don Quixote (number of gatherings x number of pages per gathering = number of squares) and rotating the resulting graph, as outlined above, to obtain a random dot-display. (N. from the A.)



For Don Quixote's last name, see Flores, «¿Qué hay?» (N. from the A.)



The last page of this article contains a cut-out of the Barber. The purpose of the drawings included in this study is to represent visually phenomena which by their very nature are either indescribable with words or subject to different interpretations according to personal idiosyncrasies. Every reader has a different perception of the physical appearance, importance, and character of the Barber (either of the two barbers that appear in Don Quixote) depicted by Cervantes. Identification and shape are, therefore, completely arbitrary. Even «realistic» depictions of the characters are not altogether satisfactory. Which is the «real» Don Quixote: Doré's, Picasso's, Vanderbank's? The word BARBER may be changed to MARITORNES, DUKE, GALGO, etc. at will, and the respective polyhedron may be re-drawn as a shapeless blob of protoplasm or a knotted piece of wood. Something very similar may be said about the clearly arbitrary values assigned to the different events listed in Table 1. Readers are encouraged to play with the shapes given to the characters and with the numerical values entered in Table 1 so that the new shapes and the different numerical values may reflect their own personal perceptions, preferences, and dislikes. None of these changes, on its own or grouped with other changes, would alter in the least the intention of the drawings or the overall conclusions reached in this study. (N. from the A.)



The portraits drawn in Figures 10 and 11 extend a tantalizing, Star-Trekian invitation to investigators. If one could glide, in real space, along the physical horizontal axis of the system, one would be able to contemplate the process of creation from inside Don Quixote. (N. from the A.)



The equation representing the «starting configuration for Don Quixote» (12.a) is set out by Pickover as the simplest system to set up recursive rules of growth for tessellation automata: tessellation «automata (TA) are mathematical idealizations of physical systems in which space and time are discreet... In each of the cases, the starting configuration is only one occupied cell, which can be thought of as a single defect (or perturbation) in a lattice of all 0's» (296). (N. from the A.)



The same standard measure of distance per chapter has been used to draw the 126-unit chapter line (Part I, 52 chapters; Part II, 74 chapters), even though the chapters are of different lengths. The point of origin appears on the left of the graph. References to pages are from my edition of Don Quixote. (N. from the A.)



The more common dimensions are width, length, and thickness; see Figure 1. The fifth dimension of all literary works of fiction is an independent, irrepresentable, constantly-expanding entity made up of the aggregate (black matter) of what all of us make of these works. This study, for instance, is itself one of the elements of «black matter» that makes up the fifth dimension of Don Quixote and, consequently, of all other written works of art. The fifth dimension of all literary works is, in other words, the space of this critical study of Don Quixote. Furthermore, if the word «quixotic» is used in a biography, let us say, the term would exist (1) in that particular word system as one of its elements, (2) in a non-formulart space (works of fiction and biographies do not share the same space), and (3) in the same general area of the space in which this study exists. (N. from the A.)



The only areas free of echoes are the beginning of the story and the interpolated tale of «El curioso impertinente» (Part I, chapters 33–34 and the second half of chapter 35; lines 12068–13679 and 13840–14022). (N. from the A.)



A strange attractor is a structurally stable attractor with a strange geometry where a minute difference in the starting positions of two initially adjacent points leads to an unpredictable trajectory; see, Figure 12. (N. from the A.)