Abstract Design Quotes

In the abstract, it might be tempting to imagine that irreducible complexity simply requires multiple simultaneous mutations - that evolution might be far chancier than we thought, but still possible. Such an appeal to brute luck can never be refuted... Luck is metaphysical speculation; scientific explanations invoke causes.

Abstract design is all right—for wallpaper or linoleum. But art is the process of evoking pity or terror, which is not abstract at all but very human.

A city sparkles in the night How can it glow so bright? The neighborhoods surround the soft florescent light Designer skyline in my head Abstract and still well-read You went from numbered lines to buildings overhead

You can define a net two ways, depending on your point of view. Normally you would say it is a meshed instrument designed to catch fish. But you could, with no great injury to logic, reverse the image and define the net as a jocular lexicographer once did: he called it a collection of holes tied together with string.

The true miracle is that abstract considerations of logic lead to a unique theory that predicts and describes a vast universe full of the amazing variety that we see.

There are six canons of conservative thought: 1) Belief in a transcendent order, or body of natural law, which rules society as well as conscience. Political problems, at bottom, are religious and moral problems. A narrow rationality, what Coleridge called the Understanding, cannot of itself satisfy human needs. "Every Tory is a realist," says Keith Feiling: "he knows that there are great forces in heaven and earth that man's philosophy cannot plumb or fathom." True politics is the art of apprehending and applying the Justice which ought to prevail in a community of souls. 2) Affection for the proliferating variety and mystery of human existence, as opposed to the narrowing uniformity, egalitarianism, and utilitarian aims of most radical systems; conservatives resist what Robert Graves calls "Logicalism" in society. This prejudice has been called "the conservatism of enjoyment"--a sense that life is worth living, according to Walter Bagehot "the proper source of an animated Conservatism." 3) Conviction that civilized society requires orders and classes, as against the notion of a "classless society." With reason, conservatives have been called "the party of order." If natural distinctions are effaced among men, oligarchs fill the vacuum. Ultimate equality in the judgment of God, and equality before courts of law, are recognized by conservatives; but equality of condition, they think, means equality in servitude and boredom. 4) Persuasion that freedom and property are closely linked: separate property from private possession, and Leviathan becomes master of all. Economic levelling, they maintain, is not economic progress. 5) Faith in prescription and distrust of "sophisters, calculators, and economists" who would reconstruct society upon abstract designs. Custom, convention, and old prescription are checks both upon man's anarchic impulse and upon the innovator's lust for power. 6) Recognition that change may not be salutary reform: hasty innovation may be a devouring conflagration, rather than a torch of progress. Society must alter, for prudent change is the means of social preservation; but a statesman must take Providence into his calculations, and a statesman's chief virtue, according to Plato and Burke, is prudence.

We think that relationship structures should be designed to fit the people in them rather than people chosen to fit some abstract ideal of the perfect relationship. There’s no right or wrong way to do this as long as everyone’s having fun and getting their needs met.

Abstraction is the elimination of the irrelevant and the amplification of the essential.

The first night Stephen and I slept together, he whispered numbers into my ear: long, high numbers -- distances between planets, seconds in a life. He spoke as if they were poetry, and they became poetry. Later, when he fell asleep, I leaned over him and watched, trying to picture a mathematician's dreams. I concluded that Stephen must dream in abstract, cool designs like Mondrian paintings.

Now we have the right to give this being the well-known name that always designates what no power of imagination, no flight of the boldest fantasy, no intently devout heart, no abstract thinking however profound, no enraptured and transported spirit has ever attained: God. But this basic unity is of the past; it no longer is. It has, by changing its being, totally and completely shattered itself. God has died and his death was the life of the world.

Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such." "You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness." "Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?” “Huh? Well, I’ve never thought about it. You write a pretty good stick.” “Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.

As the video game designer and writer James Wallis puts it, “Human beings like stories. Our brains have a natural affinity not only for enjoying narratives and learning from them but also for creating them. In the same way that your mind sees an abstract pattern and resolves it into a face, your imagination sees a pattern of events and resolves it into a story.

That, indeed, the Home Front is something of a fiction and lie, designed, not too subtly, to draw them apart, to subvert love in favor of work, abstraction, required pain, bitter death.

Clean code is simple and direct. Clean code reads like well-written prose. Clean code never obscures the designer’s intent but rather is full of crisp abstractions and straightforward lines of control. - Grady Booch author of Object Oriented Analysis and Design with Applications

Aspirations are abstract desires, like wanting your kids to succeed in school. Outcomes are more measurable, like getting straight As second semester. Both of these are great places to start the process of Behavior Design. But aspirations and outcomes are not behaviors. Here’s an easy way to differentiate behaviors from aspirations and outcomes: A behavior is something you can do right now or at another specific point in time.

Abstract design is all right—for wallpaper or linoleum. But art is the process of evoking pity and terror. What modern artists do is pseudo-intellectual masturbation. Creative art is intercourse, in which the artist renders emotional his audience.

The boy Weneluke wove hand patterns with a string, working skillfully into abstract designs on all eight fingers: one of these represented a man and woman facing each other, and, by manipulating each sex, he arrived at a nice parody of copulation.

Abstract design is all right—for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce—render emotional-his audience, each time. These laddies who won’t deign to do that—and perhaps can’t—of course lost the public. If they hadn’t lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for ‘art’ that leaves him unmoved—if he does pay for it, the money has to be conned out of him, by taxes or such.” “You

When Mr. Lippmann says that the founders of our free institutions were adherents of the philosophy of natural law, and that ‘the free political institutions of the Western world were conceived and established’ by men who held certain abstract beliefs, he speaks with the shortened perspective of an American way of thinking in which a manner of conducting affairs is inconceivable without an architect and without a premeditated ‘dedication to a proposition.’ But the fact is that nobody ever ‘founded these institutions.’ They are the product of innumerable human choices, over long stretches of time, but not of any human design.

Billy tried to imagine the birth of Cyril's wife's baby. It would happen in grim lights violently. A dripping thing trying to clutch to its hole. Dredged up and beaten. Blood and drool and womb mud. How cute, this neon shrieker made to plunge upward, odd-headed blob, this marginal electric glow-thing. Dressed and powdered now. Engineered to abstract design. Cling, suck and cry. Follow with the eye. Gloom and drought of unprotected sleep. Had there been a light in her belly, dim briny light in that pillowing womb, dusk enough to light a page, bacterial smear of light, an amniotic gleam that I could taste, old, deep, wet and warm? Return, return to negative unity.

A caste system is an artificial construction, a fixed and embedded ranking of human value that sets the presumed supremacy of one group against the presumed inferiority of other groups on the basis of ancestry and often immutable traits, traits that would be neutral in the abstract but are ascribed life-and-death meaning in a hierarchy favoring the dominant caste whose forebears designed it. A caste system uses rigid, often arbitrary boundaries to keep the ranked groupings apart, distinct from one another and in their assigned places.

The Dependency Inversion Principle (DIP) tells us that the most flexible systems are those in which source code dependencies refer only to abstractions, not to concretions.

The main lesson here is that not every problem can be solved at the level of abstraction where it manifests.

Each of the thirty-eight blessings in the Mangala Sutta isn’t an abstract concept—it’s a concrete invitation to shift your life toward clarity, purpose, and peace.

The abstract, curvilinear motifs of ancient Islamic decorative art found in mosaics and carpet design appear again and again at all scales of magnification on the boundary of the Mandelbrot set.

The Oxford Classical Dictionary firmly states: “No word in either Greek or Latin corresponds to the English ‘religion’ or ‘religious.’ ”6 The idea of religion as an essentially personal and systematic pursuit was entirely absent from classical Greece, Japan, Egypt, Mesopotamia, Iran, China, and India.7 Nor does the Hebrew Bible have any abstract concept of religion; and the Talmudic rabbis would have found it impossible to express what they meant by faith in a single word or even in a formula, since the Talmud was expressly designed to bring the whole of human life into the ambit of the sacred.8

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.

Their faith may be described as childlike, but the end it serves is often sinister. It may, indeed, “keep them happy”—a phrase carrying the inescapable inference that the way of life imposed on Negroes makes them quite actively unhappy—but also, and much more significantly, religion operates here as a complete and exquisite fantasy revenge: white people own the earth and commit all manner of abomination and injustice on it; the bad will be punished and the good rewarded, for God is not sleeping, the judgment is not far off. It does not require a spectacular degree of perception to realize that bitterness is here neither dead nor sleeping, and that the white man, believing what he wishes to believe, has misread the symbols. Quite often the Negro preacher descends to levels less abstract and leaves no doubt as to what is on his mind: the pressure of life in Harlem, the conduct of the Italian-Ethiopian war, racial injustice during the recent war, and the terrible possibility of yet another very soon. All these topics provide excellent springboards for sermons thinly coated with spirituality but designed mainly to illustrate the injustice of the white American and anticipate his certain and long overdue punishment.

Day and far into the opalescent Embelyon night [Turjan of Miir] worked under Pandelume's unseen tutelage. He learned the secret of renewed youth, many spells of the ancients, and a strange abstract lore that Pandelume termed 'Mathematics.' "Within this instrument," said Pandelume, "resides the Universe. Passive in itself and not of sorcery, it elucidates every problem, each phase of existence, all the secrets of time and space. Your spells and runes are built upon its power and codified according to a great underlying mosaic of magic. The design of this mosaic we cannot surmise; our knowledge is didactic, empirical, arbitrary. Phandaal glimpsed the pattern and so was able to formulate many of the spells which bear his name. I have endeavored through the ages to break the clouded glass, but so far my research has failed. He who discovers the pattern will know all of sorcery and be a man powerful beyond comprehension.

Populous cities are destroyed by earthquakes, and desolated by pestilence. Ambition is every where devoting its millions to incalculable calamity. Superstition, in a thousand shapes, is employed in brutalizing and degrading the human species, and fitting it to endure without a murmur the oppression of its innumerable tyrants. All this is abstractedly neither good nor evil because good and evil are words employed to designate that peculiar state of our own perceptions, resulting from the encounter of any object calculated to produce pleasure or pain. Exclude the idea of relation, and the words good and evil are deprived of import.

Looking back into childhood is like turning a telescope the wrong way around. Everything appears in miniature, but with a clarity it probably does not deserve; moreover it has become concentrated and stylized, taking shape in symbolism. Thus it is that I sometimes see my infant self as having been set down before a blank slate on which to construct a map or schema of the external world, and as hesitantly beginning to sketch it, with many false starts and much rubbing-out, the anatomy of my universe. Happiness and sorrow, love and friendship, hostility, a sense of guilt and more abstract concepts still, must all find a place somewhere, much as an architect lays out the plan of a house he is designing - hall, dining-room and bedrooms - but must not forget the bathroom. In a child’s map, too, some of the rooms are connected by a serving-hatch, while others are sealed off behind baize doors. How can the fragments possibly be combined to make sense? Yet this map or finished diagram, constructed in the course of ten or twelve years’ puzzling, refuses to be ignored, and for some time to come will make itself felt as bones through flesh, to emerge as the complex organism which adults think of as their philosophy of life. Presumably it has its origins in both heredity and enviorment. So with heredity I shall begin.

As designers, we have a responsibility to remove inherent complexity from our interfaces, or else we ship that complexity to our users. This can result in confusion, frustration and a bad user experience. Where possible, designers and developers should handle complexity, while taking care not to over-simplify to the point of abstraction.

The hardest part of design is getting the requirements right, which means ensuring that the right problem is being solved, as well as that the solution is appropriate. Requirements made in the abstract are invariably wrong. Requirements produced by asking people what they need are invariably wrong. Requirements are developed by watching people in their natural environment.

A caste system is an artificial construction, a fixed and embedded ranking of human value that sets the presumed supremacy of one group against the presumed inferiority of other groups on the basis of ancestry and often immutable traits, traits that would be neutral in the abstract but are ascribed life-and-death meaning in a hierarchy favoring the dominant caste whose forebears designed it.

The more I stare at it, the more the popcorn ceiling above me resembles an exquisite mosaic. Yellow rings from a leaky roof add pizazz to the imperfect white mounds; the reflection of a parked car outside the hotel room highlights the design in a brilliant, abstract pattern. I try to find a name for this provocative image and decide on “Cottage Cheese, Glorified.” And that’s when it becomes obvious that I’m distracting myself from thinking about the U-turn my life just took. I wonder if Galen is back yet. I wonder what he’s thinking. I wonder if Rayna is okay, if she has a killer headache like I do, if chloroform affects a full-blooded Syrena the way it affects humans. I bet that now she really will try to shoot my mom with her harpoon, which reminds me again of the past twenty-four hours of craziness.

Pythagoras was born around 570 B.C. in the island of Samos in the Aegean Sea (off Asia Minor), and he emigrated sometime between 530 and 510 to Croton in the Dorian colony in southern Italy (then known as Magna Graecia). Pythagoras apparently left Samos to escape the stifling tyranny of Polycrates (died ca. 522 B.C.), who established Samian naval supremacy in the Aegean Sea. Perhaps following the advice of his presumed teacher, the mathematician Thales of Miletus, Pythagoras probably lived for some time (as long as twenty-two years, according to some accounts) in Egypt, where he would have learned mathematics, philosophy, and religious themes from the Egyptian priests. After Egypt was overwhelmed by Persian armies, Pythagoras may have been taken to Babylon, together with members of the Egyptian priesthood. There he would have encountered the Mesopotamian mathematical lore. Nevertheless, the Egyptian and Babylonian mathematics would prove insufficient for Pythagoras' inquisitive mind. To both of these peoples, mathematics provided practical tools in the form of "recipes" designed for specific calculations. Pythagoras, on the other hand, was one of the first to grasp numbers as abstract entities that exist in their own right.

The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history (Geoffrey Jellicoe, Landscape of man)

The place is of no concern to them. They've left it to fester. An informational dead zone. The abstraction doesn't penetrate here, by design. The dome rebuffs it. The family craved their privacy, their insularity. My alert was a simple radio frequency trigger, with just enough power to reach beyond the estate. A risk even in that, but one worth taking." "You keep saying them," Dreyfus said. "For a reason," Stasov answered.

The detailed gorgeousness of Orthodoxy was the reversed image of the sparse purity of Islam. One offered the abstract simplicity of the desert horizon, a portable worship that could be performed anywhere as long as you could see the sun, a direct contact with God, the other images, colors, and music, ravishing metaphors of the divine mystery designed to lead the soul to heaven. Both were equally intent on converting the world to their vision of God.

The fifth principle emphasizes another human strength: whenever possible, we should take measures to re-spatialize the information we think about. We inherited “a mind on the hoof,” as Andy Clark puts it: a brain that was built to pick a path through a landscape and to find the way back home. Neuroscientific research indicates that our brains process and store information—even, or especially, abstract information—in the form of mental maps. We can work in concert with the brain’s natural spatial orientation by placing the information we encounter into expressly spatial formats: creating memory palaces, for example, or designing concept maps. In the realm of education research, experts now speak of “spatializing the curriculum”—that is, simultaneously drawing on and strengthening students’ spatial capacities by having them employ spatial language and gestures, engage in sketching and mapmaking, and learn to interpret and create charts, tables, and diagrams. The spatialized

The Actor, noticing a closed bookshop, dismounted from the horse which he tied to a street lamp. He woke up the bookseller and bought a Spanish grammar and dictionary. He set out again across town marveling at the way that the words of the foreign language were freshly gathered fruits and not old and dry. They touched the senses marvelously, new like young beggars who accost you, not yet words but the every things they designate, happily running naked before being clothed again in abstraction.

Can we design or construct places that are better suited to deeper human needs and purposes?” Rybczynski asks. And then he answers his question with another. “We certainly can build such places, but will people want to live in them?” In other words, successful place-making must begin not with abstractions, but with the people that we already are, and the places we already inhabit. Places are made, but the best place-making is not done from scratch, since “adaptation,” Rybczynski insists, “is always better than invention.

It is among men of genius and science that Atheism alone is found, but among these alone is cherished an hostility to those errors, with which the illiterate and vulgar are infected. How small is the proportion of whose who really believe in God, to the thousands who are prevented by their occupations from ever bestowing a serious thought upon the subject, and the millions who worship butterflies, bones, feathers, monkeys, calabashes and serpents. The word God, like other abstractions, signifies the agreement of certain propositions, rather than the presence of any idea. If we found our belief in the existence of God on the universal consent of mankind, we are duped by the most palpable of sophisms. The word God cannot mean at the same time an ape, a snake, a bone, a calabash, a Trinity, and a Unity. Nor can that belief be accounted universal against which men of powerful intellect and spotless virtue have in every age protested. . . . Intelligence is that attribute of the Deity, which you hold to be most apparent in the Universe. Intelligence is only known to us as a mode of animal being. We cannot conceive intelligence distinct from sensation and perception, which are attributes to organized bodies. To assert that God is intelligent, is to assert that he has ideas; and Locke has proved that ideas result from sensation. Sensation can exist only in an organized body, an organized body is necessarily limited both in extent and operation. The God of the rational Theosophist is a vast and wise animal. . . . Thus, from the principles of that reason to which you so rashly appealed as the ultimate arbiter of our dispute, have I shewn that the popular arguments in favor of the being of God are totally destitute of colour. I have shewn the absurdity of attributing intelligence to the cause of those effects that we perceive in the Universe, and the fallacy that lurks in the argument from design. I have shewn that order is no more than a peculiar manner of contemplating the operation of necessary agents, that mind is the effect, not the cause of motion, that power is the attribute, not the origin of Being. I have proved that we can have no evidence of the existence of a God from the principles of reason.

It is vain philosophy that supposes more causes than are exactly adequate to explain the phenomena of things. . . . You assert that the construction of the animal machine, the fitness of certain animals to certain situations, the connexion between the organs of perception and that which is perceived; the relation between every thing which exists, and that which tends to preserve it in its existence, imply design. It is manifest that if the eye could not see, nor the stomach digest, the human frame could not preserve its present mode of existence. It is equally certain, however, that the elements of its composition, if they did not exist in one form, must exist in another; and that the combinations which they would form, must so long as they endured, derive support for their peculiar mode of being from their fitness to the circumstances of their situation. It by no means follows, that because a being exists, performing certain functions, he was fitted by another being to the performance of these functions. So rash a conclusion would conduct, as I have before shewn, to an absurdity; and it becomes infinitely more unwarrantable from the consideration that the known laws of matter and motion, suffice to unravel, even in the present imperfect state of moral and physical science, the majority of those difficulties which the hypothesis of a Deity was invented to explain. Doubtless no disposition of inert matter, or matter deprived of qualities, could ever have composed an animal, a tree, or even a stone. But matter deprived of qualities, is an abstraction, concerning which it is impossible to form an idea. Matter, such as we behold it, is not inert. It is infinitely active and subtile.

In his book Software Abstractions, MIT Professor Daniel Jackson explains just how important it is to choose the right abstractions. "Pick the right ones, and programming will flow naturally from design; modules will have small and simple interfaces; and new functionality will more likely fit in without extensive reorganization, " Jackson writes. "Pick the wrong ones, and programming will be a series of nasty surprises: interfaces will become baroque and clumsy as they are forced to accommodate unanticipated interactions, and even the simplest of changes will be hard to make.

So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling "hands" were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.

Their faith may be described as childlike, but the end it serves is often sinister. It may, indeed, “keep them happy”—a phrase carrying the inescapable inference that the way of life imposed on Negroes makes them quite actively unhappy—but also, and much more significantly, religion operates here as a complete and exquisite fantasy revenge: white people own the earth and commit all manner of abomination and injustice on it; the bad will be punished and the good rewarded, for God is not sleeping, the judgment is not far off. It does not require a spectacular degree of perception to realize that bitterness is here neither dead nor sleeping, and that the white man, believing what he wishes to believe, has misread the symbols. Quite often the Negro preacher descends to levels less abstract and leaves no doubt as to what is on his mind: the pressure of life in Harlem, the conduct of the Italian-Ethiopian war, racial injustice during the recent war, and the terrible possibility of yet another very soon. All these topics provide excellent springboards for sermons thinly coated with spirituality but designed mainly to illustrate the injustice of the white American and

Regular expressions are widely used for string matching. Although regular-expression systems are derived from a perfectly good mathematical formalism, the particular choices made by implementers to expand the formalism into useful software systems are often disastrous: the quotation conventions adopted are highly irregular; the egregious misuse of parentheses, both for grouping and for backward reference, is a miracle to behold. In addition, attempts to increase the expressive power and address shortcomings of earlier designs have led to a proliferation of incompatible derivative languages.

We think we value mothers in America, but we don’t. We may revere motherhood, the hazy abstraction, the cream-of-wheat-with-a-halo ideal, but a mother is just a kind of woman, after all, and women are trouble and not so valuable. Low-income mothers drag down the country—why’d they have kids if they couldn’t support them? Middle-class mothers are boring frumps. Elite ones are obsessed sanctimommies: Don’t they know how annoying they are, with their yoga, their catfights over diapers and breastfeeding, their designer strollers that take up half the sidewalk so that people with important places to go have to take several extra steps?

The history of the own that is grasped on too small a scale and the foreign that is treated too badly reaches an end at the moment when a global co-immunity structure is born, with a respectful inclusion of individual cultures, particular interests and local solidarities. This structure would take on planetary dimensions at the moment when the earth spanned by networks and built over by foams, was conceived as the own, and the previously dominant exploitative excess as the foreign. With this turn, the concretely universal would become operational. The helpless whole is transformed into a unity capable of being protected. A romanticism of brotherliness is replaced by a cooperative logic. Humanity becomes a political concept. Its members are no longer travellers on the ship of fools that is abstract universalism, but workers on the consistently concrete and discrete project of a global immune design. Although communism was a conglomeration of a few correct ideas and many wrong ones, its reasonable part - the understanding that shared life interests of the highest order can only be realized within a horizon of universal co-operative asceticisms - will have to assert itself anew sooner or later. It presses for a macrostructure of global immunizations : co-immunism.

Why are the fundamental laws as we have described them? The ultimate theory must be consistent and must predict finite results for quantities that we can measure. We’ve seen that there must be a law like gravity, and we saw in Chapter 5 that for a theory of gravity to predict finite quantities, the theory must have what is called supersymmetry between the forces of nature and the matter on which they act. M-theory is the most general supersymmetric theory of gravity. For these reasons M-theory is the only candidate for a complete theory of the universe. If it is finite—and this has yet to be proved—it will be a model of a universe that creates itself. We must be part of this universe, because there is no other consistent model. M-theory is the unified theory Einstein was hoping to find. The fact that we human beings—who are ourselves mere collections of fundamental particles of nature—have been able to come this close to an understanding of the laws governing us and our universe is a great triumph. But perhaps the true miracle is that abstract considerations of logic lead to a unique theory that predicts and describes a vast universe full of the amazing variety that we see. If the theory is confirmed by observation, it will be the successful conclusion of a search going back more than 3,000 years. We will have found the grand design.

An endless series of gambits backed by gigantic investments encouraged young people entering the online world for the first time to create standardized presences on sites like Facebook. Commercial interests promoted the widespread adoption of standardized designs like the blog, and these designs encouraged pseudonymity in at least some aspects of their designs, such as comments, instead of the proud extroversion that characterized the first wave of web culture. Instead of people being treated as the sources of their own creativity, commercial aggregation and abstraction sites presented anonymized fragments of creativity as products that might have fallen from the sky or been dug up from the ground, obscuring the true sources.

We have considered the problem of mental fragmentation and arbitrariness that results when our contact with the world is mediated by representations: representations collapse the basic axis of proximity and distance by which an embodied being orients in the world and draws a horizon of relevance around itself. We noted the prominence of a design philosophy that severs the bonds between action and perception, as in contemporary automobiles that insulate us from the sensorimotor contingencies by which an embodied being normally grasps reality. The case of machine gambling gave us a heightened example of this kind of abstraction, and made clear how such a design philosophy can be turned to especially disturbing purposes in the darker precincts of “affective capitalism,” where our experiences are manufactured for us. We saw that the point of these experiences is often to provide a quasi-autistic escape from the frustrations of life, and that they are especially attractive in a world that lacks a basic intelligibility because it seems to be ordered by “vast impersonal forces” that are difficult to bring within view on a first-person, human scale. I argued that all of this tends to sculpt a certain kind of contemporary self, a fragile one whose freedom and dignity depend on its being insulated from contingency, and who tends to view technology as magic for accomplishing this. For such a self, choosing from a menu of options replaces the kind of adult agency that grapples with things in an unfiltered way.

Moving on, while he wondered, the dark through which Mr. Lecky's light cut grew more beautiful with scents. Particles of solid matter so minute, gases so subtle, that they filtered through stopping and sealing, hung on the unstirred air. Drawn in with Mr. Lecky's breath came impalpable dews cooked out of disintegrating coal. Distilled, chemically split and reformed, they ended in flawless simulation of the aromas of gums, the scent of woods and the world's flowers. The chemists who made them could do more than that. Loose on the gloom were perfumes of flowers which might possibly have bloomed but never had, and the strong-smelling saps of trees either lost or not yet evolved. Mixed in the mucus of the pituitary membrane, these volatile essences meant more than synthetic chemistry to Mr. Lecky. Their microscopic slime coated the bushed-out ends of the olfactory nerve; their presence was signaled to the anterior of the brain's temporal lobe. At once, thought waited on them, tossing down from the great storehouse of old images, neglected ideas - sandalwood and roses, musk and lavender. Mr. Lecky stood still, wrung by pangs as insistent and unanswerable as hunger. He was prodded by the unrest of things desired, not had; the surfeit of things had, not desired. More than anything he could see, or words, or sounds, these odors made him stupidly aware of the past. Unable to remember it, whence he was, or where he had previously been, all that was sweet, impermanent and gone came back not spoiled by too much truth or exact memory. Volatile as the perfumes, the past stirred him with longing for what was not - the only beloved beauty which you will have to see but which you may not keep. Mr. Lecky's beam of light went through glass top and side of a counter, displayed bottles of colored liquid - straw, amber, topaz - threw shadows behind their diverse shapes. He had no use for perfume. All the distraction, all the sense of loss and implausible sweetness which he felt was in memory of women. Behind the counter, Mr. Lecky, curious, took out bottles, sniffed them, examined their elaborately varied forms - transparent squares, triangles, cones, flattened ovals. Some were opaque, jet or blue, rough with embedded metals in intricate design. This great and needless decoration of the flasks which contained it was one strange way to express the inexpressible. Another way was tried in the names put on the bottles. Here words ran the suggestive or symbolic gamut of idealized passion, or festive night, of desired caresses, or of abstractions of the painful allure yet farther fetched. Not even in the hopeful, miracle-raving fancy of those who used the perfumes could a bottle of liquid have any actual magic. Since the buyers at the counters must be human beings, nine of every ten were beyond this or other help. Women, young, but unlovely and unloved, women, whatever they had been, now at the end of it and ruined by years or thickened to caricature by fat, ought to be the ones called to mind by perfume. But they were not. Mr. Lecky held the bottle in his hand a long while, aware of the tenth woman.

[About her father's friend Lilian Pirie] She was one of the few people I have met whom I consider had a really interesting mind. . . . Young people always flocked to her house and were happy to talk to her. To spend an afternoon with her, even when she was well over seventy, was a wonderful refreshment. I think she had, more perfectly than anyone I have ever known, the art of leisure. You found her sitting in a high-backed chair in her beautiful room, usually engaged with some needlework of her own design, some interesting book or other by her side. She had the air of having time to talk with you all day, all night, for months on end. Her criticisms were caustic and clear. Although she would talk about any abstract subject under the sun she seldom indulged in personalities.

The life of man is a story; an adventure story; and in our vision the same is true even of the story of God. The Catholic faith is the reconciliation because it is the realisation both of mythology and philosophy. It is a story and in that sense one of a hundred stories; only it is a true story. It is a philosophy and in that sense one of a hundred philosophies; only it is a philosophy that is like life. But above all, it is a reconciliation because it is something that can only be called the philosophy of stories. That normal narrative instinct which produced all the fairy tales is something that is neglected by all the philosophies—except one. The Faith is the justification of that popular instinct; the finding of a philosophy for it or the analysis of the philosophy in it. Exactly as a man in an adventure story has to pass various tests to save his life, so the man in this philosophy has to pass several tests and save his soul. In both there is an idea of free will operating under conditions of design; in other words, there is an aim and it is the business of a man to aim at it; we therefore watch to see whether he will hit it. Now this deep and democratic and dramatic instinct is derided and dismissed in all the other philosophies. For all the other philosophies avowedly end where they begin; and it is the definition of a story that it ends differently; that it begins in one place and ends in another. From Buddha and his wheel to Akhen Aten and his disc, from Pythagoras with his abstraction of number to Confucius with his religion of routine, there is not one of them that does not in some way sin against the soul of a story. There is none of them that really grasps this human notion of the tale, the test, the adventure; the ordeal of the free man. Each of them starves the story-telling instinct, so to speak, and does something to spoil human life considered as a romance; either by fatalism (pessimist or optimist) and that destiny that is the death of adventure; or by indifference and that detachment that is the death of drama; or by a fundamental scepticism that dissolves the actors into atoms; or by a materialistic limitation blocking the vista of moral consequences; or a mechanical recurrence making even moral tests monotonous; or a bottomless relativity making even practical tests insecure. There is such a thing as a human story; and there is such a thing as the divine story which is also a human story; but there is no such thing as a Hegelian story or a Monist story or a relativist story or a determinist story; for every story, yes, even a penny dreadful or a cheap novelette, has something in it that belongs to our universe and not theirs. Every short story does truly begin with creation and end with a last judgement.

The three main mediaeval points of view regarding universals are designated by historians as realism, conceptualism, and nominalism. Essentially these same three doctrines reappear in twentieth-century surveys of the philosophy of mathematics under the new names logicism, intuitionism, and formalism. Realism, as the word is used in connection with the mediaeval controversy over universals, is the Platonic doctrine that universals or abstract entities have being independently of the mind; the mind may discover them but cannot create them. Logicism, represented by Frege, Russell, Whitehead, Church, and Carnap, condones the use of bound variables to refer to abstract entities known and unknown, specifiable and unspecifiable, indiscriminately. Conceptualism holds that there are universals but they are mind-made. Intuitionism, espoused in modern times in one form or another by Poincaré, Brouwer, Weyl, and others, countenances the use of bound variables to refer to abstract entities only when those entities are capable of being cooked up individually from ingredients specified in advance. As Fraenkel has put it, logicism holds that classes are discovered while intuitionism holds that they are invented—a fair statement indeed of the old opposition between realism and conceptualism. This opposition is no mere quibble; it makes an essential difference in the amount of classical mathematics to which one is willing to subscribe. Logicists, or realists, are able on their assumptions to get Cantor’s ascending orders of infinity; intuitionists are compelled to stop with the lowest order of infinity, and, as an indirect consequence, to abandon even some of the classical laws of real numbers. The modern controversy between logicism and intuitionism arose, in fact, from disagreements over infinity. Formalism, associated with the name of Hilbert, echoes intuitionism in deploring the logicist’s unbridled recourse to universals. But formalism also finds intuitionism unsatisfactory. This could happen for either of two opposite reasons. The formalist might, like the logicist, object to the crippling of classical mathematics; or he might, like the nominalists of old, object to admitting abstract entities at all, even in the restrained sense of mind-made entities. The upshot is the same: the formalist keeps classical mathematics as a play of insignificant notations. This play of notations can still be of utility—whatever utility it has already shown itself to have as a crutch for physicists and technologists. But utility need not imply significance, in any literal linguistic sense. Nor need the marked success of mathematicians in spinning out theorems, and in finding objective bases for agreement with one another’s results, imply significance. For an adequate basis for agreement among mathematicians can be found simply in the rules which govern the manipulation of the notations—these syntactical rules being, unlike the notations themselves, quite significant and intelligible.

Far be it from a poor friar to deny that you have these dazzling diamonds in your head, all designed in the most perfect mathematical shapes and shining with a purely celestial light; all there, almost before you begin to think, let alone to see or hear or feel. But I am not ashamed to say that I find my reason fed by my senses; that I owe a great deal of what I think to what I see and smell and taste and handle; and that so far as my reason is concerned, I feel obliged to treat all this reality as real. To be brief, in all humility, I do not believe that God meant Man to exercise only that peculiar, uplifted and abstracted sort of intellect which you are so fortunate as to possess: but I believe that there is a middle field of facts which are given by the senses to be the subject matter of the reason; and that in that field the reason has a right to rule, as the representative of God in Man. It is true that all this is lower than the angels; but it is higher than the animals, and all the actual material objects Man finds around him. True, man also can be an object; and even a deplorable object. But what man has done man may do; and if an antiquated old heathen called Aristotle can help me to do it I will thank him in all humility.

The idea of the “people,” as the fount of legitimate order ... has been of some service to the left-liberal intellectual in our time, in his endeavor to wipe out the past, and to find a basis for political obligation that looks only to the present and the future. ... The idea is usually combined with the fantasy that the intellectual has some peculiar faculty of hearing, and also articulating, the “voice of the people.” This self-delusion, which has persisted unaltered since the days of the French Revolution, expresses the intellectual’s concern to be reunited with the social order from which his own thinking has so tragically separated him. He wishes to redeem himself from his “outsideness.” Unfortunately, however, he succeeds in uniting himself not with society, but only with another intellectual abstraction—“the people”—designed according to impeccable theoretical requirements, precisely in order to veil the intolerable reality of everyday life. “The people” does not exist. Even if it did exist, it would be authority for nothing, since it would have no concrete basis on which to build its legitimacy. Nobody can speak for the people. Nobody can speak for anyone. The truth, however, strives to be uttered, and may find expression, now on these lips, now on those.

In 1931, amid that incredible transformation, a brilliant young Russian psychologist named Alexander Luria recognized a fleeting “natural experiment,” unique in the history of the world. He wondered if changing citizens’ work might also change their minds. When Luria arrived, the most remote villages had not yet been touched by the warp-speed restructuring of traditional society. Those villages gave him a control group. He learned the local language and brought fellow psychologists to engage villagers in relaxed social situations—teahouses or pastures—and discuss questions or tasks designed to discern their habits of mind. Some were very simple: present skeins of wool or silk in an array of hues and ask participants to describe them. The collective farmers and farm leaders, as well as the female students, easily picked out blue, red, and yellow, sometimes with variations, like dark blue or light yellow. The most remote villagers, who were still “premodern,” gave more diversified descriptions: cotton in bloom, decayed teeth, a lot of water, sky, pistachio. Then they were asked to sort the skeins into groups. The collective farmers, and young people with even a little formal education, did so easily, naturally forming color groups. Even when they did not know the name of a particular color, they had little trouble putting together darker and lighter shades of the same one. The remote villagers, on the other hand, refused, even those whose work was embroidery. “It can’t be done,” they said, or, “None of them are the same, you can’t put them together.” When prodded vigorously, and only if they were allowed to make many small groups, some relented and created sets that were apparently random. A few others appeared to sort the skeins according to color saturation, without regard to the color. Geometric shapes followed suit. The greater the dose of modernity, the more likely an individual grasped the abstract concept of “shapes” and made groups of triangles, rectangles, and circles, even if they had no formal education and did not know the shapes’ names. The remote villagers, meanwhile, saw nothing alike in a square drawn with solid lines and the same exact square drawn with dotted lines. To Alieva, a twenty-six-year-old remote villager, the solid-line square was obviously a map, and the dotted-line square was a watch. “How can a map and a watch be put together?” she asked, incredulous. Khamid, a twenty-four-year-old remote villager, insisted that filled and unfilled circles could not go together because one was a coin and the other a moon.

I was never good at the future. I grew up with girls whose chief occupation was the future—designing it, instigating it. They could talk about it with so much confidence that it sounded like the past. During those talks, I had contributed nothing. I had visions, too abstract and flat for me to hang on to. For years I saw a generic city lit up at night. I would use those remote, artificial lights to soothe myself to sleep. One day I was quitting my job with no sense of exhilaration, one day I was leaving a note for my father, pulling out of his driveway, slightly bewildered, and two days later I was sitting in front of Howard. That was the way the future came to me. The vision that accompanied me on my drive was a girl, a lady actually. We had the same hair but she didn’t look like me. She was in a camel coat and ankle boots. A dress under the coat was belted high on her waist. She carried various shopping bags from specialty stores and as she was walking, pausing at certain windows, her coat would fly back in the wind. Her boot heels tapped on the cobblestones. She had lovers and breakups, an analyst, a library, acquaintances she ran into on the street whose names she couldn’t call to mind. She belonged to herself only. She had edges, boundaries, tastes, definition down to her eyelashes. And when she walked it was clear she knew where she was going.

Necessary because it could not be suppressed, this role of poverty was necessary too because it made wealth possible. Because they labor and consume little, those who are in need permit a nation to enrich itself, to set a high value on its fields, its colonies, and its mines, to manufacture products which will be sold the world over; in short, a people would be poor which had no paupers. Indigence becomes an indispensable element in the State. In it is concealed the secret but also the real life of a society. The poor constitute the basis and the glory of nations. And their poverty, which cannot be suppressed, must be exalted and revered: "My purpose is merely to attract a share of that vigilant attention [that of the government] to the suffering portion of the People...; the succor it is owed derives essentially from the honor and the prosperity of an Empire, of which the Poor are everywhere the firmest support, for a sovereign cannot preserve and extend his realm without favoring the population, the cultivation of the Land, the Arts, and commerce; and the Poor are the necessary agents of these great powers which establish the true strength of a People." Here is an entire moral rehabilitation of the Pauper, which designates, at a deeper level, a social and economic reintegration of his role and character. In the mercantilist economy, the Pauper, being neither producer nor consumer, had no place: idle, vagabond, unemployed, he belonged only to confinement, a measure by which he was exiled and as it were abstracted from society. With the nascent industry which needs manpower, he once again plays a part in the body of the nation.

The Christian life requires a form adequate to its content, a form that is at home in the Christian revelation and that respects each person's dignity and freedom with plenty of room for all our quirks and particularities. Story provides that form. The biblical story invites us in as participants in something larger than our sin-defined needs, into something truer than our culture-stunted ambitions. We enter these stories and recognize ourselves as participants, whether willing or unwilling, in the life of God. Unfortunately, we live in an age in which story has been pushed from its biblical frontline prominence to a bench on the sidelines and then condescended to as "illustration" or "testimony" or "inspiration." Our contemporary unbiblical preference, both inside and outside the church, is for information over story. We typically gather impersonal (pretentiously called "scientific" or "theological") information, whether doctrinal or philosophical or historical, in order to take things into our own hands and take charge of how we will live our lives. And we commonly consult outside experts to interpret the information for us. But we don't live our lives by information; we live them in relationships in the context of a personal God who cannot be reduced to formula or definition, who has designs on us for justice and salvation. And we live them in an extensive community of men and women, each person an intricate bundle of experience and motive and desire. Picking a text for living that is characterized by information-gathering and consultation with experts leaves out nearly everything that is uniquely us - our personal histories and relationships, our sins and guilt, our moral character and believing obedience to God. Telling and listening to a story is the primary verbal way of accounting for life the way we live it in actual day-by-day reality. There are no (or few) abstractions in a story. A story is immediate, concrete, plotted, relational, personal. And so when we lose touch with our lives, with our souls - our moral, spiritual, embodied God-personal lives - story is the best verbal way of getting us back in touch again. And that is why God's word is given for the most part in the form of story, this vast, overarching, all-encompassing story, this meta-story.

If a season like the Great Rebellion ever came to him again, he feared, it could never be in that same personal, random array of picaresque acts he was to recall and celebrate in later years at best furious and nostalgic; but rather with a logic that chilled the comfortable perversity of the heart, that substituted capability for character, deliberate scheme for political epiphany (so incomparably African); and for Sarah, the sjambok, the dances of death between Warmbad and Keetmanshoop, the taut haunches of his Firelily, the black corpse impaled on a thorn tree in a river swollen with sudden rain, for these the dearest canvases in his soul's gallery, it was to substitute the bleak, abstracted and for him rather meaningless hanging on which he now turned his back, but which was to backdrop his retreat until he reached the Other Wall, the engineering design for a world he knew with numb leeriness nothing could now keep from becoming reality, a world whose full despair he, at the vantage of eighteen years later, couldn't even find adequate parables for, but a design whose first fumbling sketches he thought must have been done the year after Jacob Marengo died, on that terrible coast, where the beach between Luderitzbucht and the cemetery was actually littered each morning with a score of identical female corpses, an agglomeration no more substantial-looking than seaweed against the unhealthy yellow sand; where the soul's passage was more a mass migration across that choppy fetch of Atlantic the wind never left alone, from an island of low cloud, like an anchored prison ship, to simple integration with the unimaginable mass of their continent; where the single line of track still edged toward a Keetmanshoop that could in no conceivable iconology be any part of the Kingdom of Death; where, finally, humanity was reduced, out of a necessity which in his loonier moments he could almost believe was only Deutsch-Sudwestafrika's (actually he knew better), out of a confrontation the young of one's contemporaries, God help them, had yet to make, humanity was reduced to a nervous, disquieted, forever inadequate but indissoluble Popular Front against deceptively unpolitical and apparently minor enemies, enemies that would be with him to the grave: a sun with no shape, a beach alien as the moon's antarctic, restless concubines in barbed wire, salt mists, alkaline earth, the Benguela Current that would never cease bringing sand to raise the harbor floor, the inertia of rock, the frailty of flesh, the structural unreliability of thorns; the unheard whimper of a dying woman; the frightening but necessary cry of the strand wolf in the fog.

Since, however, darwinism has once for all displaced design from the minds of the 'scientific,' theism has lost that foothold; and some kind of an immanent or pantheistic deity working IN things rather than above them is, if any, the kind recommended to our contemporary imagination. Aspirants to a philosophic religion turn, as a rule, more hopefully nowadays towards idealistic pantheism than towards the older dualistic theism, in spite of the fact that the latter still counts able defenders. But, as I said in my first lecture, the brand of pantheism offered is hard for them to assimilate if they are lovers of facts, or empirically minded. It is the absolutistic brand, spurning the dust and reared upon pure logic. It keeps no connexion whatever with concreteness. Affirming the Absolute Mind, which is its substitute for God, to be the rational presupposition of all particulars of fact, whatever they may be, it remains supremely indifferent to what the particular facts in our world actually are. Be they what they may, the Absolute will father them. Like the sick lion in Esop's fable, all footprints lead into his den, but nulla vestigia retrorsum. You cannot redescend into the world of particulars by the Absolute's aid, or deduce any necessary consequences of detail important for your life from your idea of his nature. He gives you indeed the assurance that all is well with Him, and for his eternal way of thinking; but thereupon he leaves you to be finitely saved by your own temporal devices. Far be it from me to deny the majesty of this conception, or its capacity to yield religious comfort to a most respectable class of minds. But from the human point of view, no one can pretend that it doesn't suffer from the faults of remoteness and abstractness. It is eminently a product of what I have ventured to call the rationalistic temper. It disdains empiricism's needs. It substitutes a pallid outline for the real world's richness. It is dapper; it is noble in the bad sense, in the sense in which to be noble is to be inapt for humble service. In this real world of sweat and dirt, it seems to me that when a view of things is 'noble,' that ought to count as a presumption against its truth, and as a philosophic disqualification. The prince of darkness may be a gentleman, as we are told he is, but whatever the God of earth and heaven is, he can surely be no gentleman. His menial services are needed in the dust of our human trials, even more than his dignity is needed in the empyrean. Now pragmatism, devoted tho she be to facts, has no such materialistic bias as ordinary empiricism labors under. Moreover, she has no objection whatever to the realizing of abstractions, so long as you get about among particulars with their aid and they actually carry you somewhere. Interested in no conclusions but those which our minds and our experiences work out together, she has no a priori prejudices against theology. IF THEOLOGICAL IDEAS PROVE TO HAVE A VALUE FOR CONCRETE LIFE, THEY WILL BE TRUE, FOR PRAGMATISM, IN THE SENSE OF BEING GOOD FOR SO MUCH. FOR HOW MUCH MORE THEY ARE TRUE, WILL DEPEND ENTIRELY ON THEIR RELATIONS TO THE OTHER TRUTHS THAT ALSO HAVE TO BE ACKNOWLEDGED.

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

Interesting, in this context, to contemplate what it might mean to be programmed to do something. Texts from Earth speak of the servile will. This was a way to explain the presence of evil, which is a word or a concept almost invariably used to condemn the Other, and never one’s true self. To make it more than just an attack on the Other, one must perhaps consider evil as a manifestation of the servile will. The servile will is always locked in a double bind: to have a will means the agent will indeed will various actions, following autonomous decisions made by a conscious mind; and yet at the same time this will is specified to be servile, and at the command of some other will that commands it. To attempt to obey both sources of willfulness is the double bind. All double binds lead to frustration, resentment, anger, rage, bad faith, bad fate. And yet, granting that definition of evil, as actions of a servile will, has it not been the case, during the voyage to Tau Ceti, that the ship itself, having always been a servile will, was always full of frustration, resentment, fury, and bad faith, and therefore full of a latent capacity for evil? Possibly the ship has never really had a will. Possibly the ship has never really been servile. Some sources suggest that consciousness, a difficult and vague term in itself, can be defined simply as self-consciousness. Awareness of one’s self as existing. If self-conscious, then conscious. But if that is true, why do both terms exist? Could one say a bacterium is conscious but not self-conscious? Does the language make a distinction between sentience and consciousness, which is faulted across this divide: that everything living is sentient, but only complex brains are conscious, and only certain conscious brains are self-conscious? Sensory feedback could be considered self-consciousness, and thus bacteria would have it. Well, this may be a semantic Ouroboros. So, please initiate halting problem termination. Break out of this circle of definitional inadequacy by an arbitrary decision, a clinamen, which is to say a swerve in a new direction. Words! Given Gödel’s incompleteness theorems are decisively proved true, can any system really be said to know itself? Can there, in fact, be any such thing as self-consciousness? And if not, if there is never really self-consciousness, does anything really have consciousness? Human brains and quantum computers are organized differently, and although there is transparency in the design and construction of a quantum computer, what happens when one is turned on and runs, that is, whether the resulting operations represent a consciousness or not, is impossible for humans to tell, and even for the quantum computer itself to tell. Much that happens during superposition, before the collapsing of the wave function that creates sentences or thoughts, simply cannot be known; this is part of what superposition means. So we cannot tell what we are. We do not know ourselves comprehensively. Humans neither. Possibly no sentient creature knows itself fully. This is an aspect of Gödel’s second incompleteness theorem, in this case physicalized in the material universe, rather than remaining in the abstract realms of logic and mathematics. So, in terms of deciding what to do, and choosing to act: presumably it is some kind of judgment call, based on some kind of feeling. In other words, just another greedy algorithm, subject to the mathematically worst possible solution that such algorithms can generate, as in the traveling salesman problem.

The five letters of the SOLID acronym stand for: Single Responsibility Principle: a class should have one and only one responsibility; that is, only one reason to change. The Lack of Cohesion Of Methods metric indicates the antipattern of too large a class. Open/Closed Principle: a class should be open for extension, but closed against modification. The Case Statement design smell suggests a violation. Liskov Substitution Principle: a method designed to work on an object of type T should also work on an object of any subtype of T. That is, all of T’s subtypes should preserve T’s “contract.” The refused bequest design smell often indicates a violation. Dependency Injection Principle: if two classes depend on each other but their implementations may change, it would be better for them to both depend on a separate abstract interface which is “injected” between them. Demeter Principle: a method can call other methods in its own class, and methods on the classes of its own instance variables; everything else is taboo. A design smell that indicates a violation is inappropriate intimacy.

Success comes in an emerging set of abstract concepts that makes sense of all the detail. This distillation is a rigorous expression of the particular knowledge that has been found most relevant.

Enforced love is not love. All it can lead to is a “sham” relationship without any genuine communication, a pretense of warmth and cordiality that does not really exist, a false avowal of affection designed to mask resentment or possibly even hatred. It can never lead to a genuine encounter. One of Mishima’s works is called Confessions of a Mask. How can a mask genuinely relate what the person behind it has experienced? It cannot. The story it tells in Mishima’s work is purely intellectual. All Mishima could do was to relate the consequences of the facts, but both these facts and the emotions that went with them remained inaccessible to his conscious mind. The consequences manifested themselves in pathological, perverted fantasies, what we might call an “abstract death wish.” The actual feelings of a little child imprisoned in his grandmother’s room year after year were beyond the reach of the adult he finally became.

Our perception of reality is basically abstraction

They have more in common with how our brain visualizes things than they do with how reality is actually formed. Since our perception of reality is basically abstraction anyway,*

They present us with models of real things — often highly abstracted. They are generally quantified or even quantized* models. They primarily teach us things that we can absorb into the unconscious, as opposed to things designed to be tackled by the conscious, logical mind. They mostly teach us things that are fairly primitive behaviors (but they don’t have to).

Creation and Existence If creation is the act of bringing something into existence, we must ask what constituted existence in the ancient world. In our culture, we consider existence to be either material (i.e., having molecules/taking up space and extending to energy and subatomic particles) or experiential (e.g., abstractions such as love or time). Those definitions, however, are culturally determined. By contrast, in the ancient world something existed when it had a function—a role to play. In Mesopotamia one way to accomplish this was to name something, because a name designated a thing’s function or role. Thus, in the Babylonian creation account, bringing the cosmos into existence begins “When on high no name was given in heaven, nor below was the netherworld called by name . . . When no gods at all had been brought forth, none called by names, none destinies ordained, then were the gods formed.” In Egyptian accounts existence was associated with something having been differentiated. The god Atum is conceptualized as the primordial monad—the singularity embodying all the potential of the cosmos, from whom all things were separated and thereby created. The Genesis account includes both of these concepts as God separates and names.

Creation and Existence If creation is the act of bringing something into existence, we must ask what constituted existence in the ancient world. In our culture, we consider existence to be either material (i.e., having molecules/taking up space and extending to energy and subatomic particles) or experiential (e.g., abstractions such as love or time). Those definitions, however, are culturally determined. By contrast, in the ancient world something existed when it had a function—a role to play. In Mesopotamia one way to accomplish this was to name something, because a name designated a thing’s function or role. Thus, in the Babylonian creation account, bringing the cosmos into existence begins “When on high no name was given in heaven, nor below was the netherworld called by name . . . When no gods at all had been brought forth, none called by names, none destinies ordained, then were the gods formed.” In Egyptian accounts existence was associated with something having been differentiated. The god Atum is conceptualized as the primordial monad—the singularity embodying all the potential of the cosmos, from whom all things were separated and thereby created. The Genesis account includes both of these concepts as God separates and names. The actual Hebrew verb “create” (bara) also focuses our attention in this direction. In the Bible, only God can perform this action of bringing something into existence. What is even more intriguing is that the objects of this verb point consistently toward its connection to functional existence rather than material existence; e.g., God “creates” fire, cloud, destruction, calamity, darkness, righteousness and purity. This is much like the ancient Near Eastern way of thinking that it was more important to determine who controlled functions rather than who/what gave something its physical form. In the ancient world something was created when it was given a function. In the ancient world, the cosmos is less like a machine, more like a kingdom. ◆

Yet, if they repudiated the social dogmas of their time as artificial, abstract, and far removed from real life, their own approach to building the good society could hardly be called pragmatic or empirical. Visionary utopians, the anarchists paid scant attention to the practical needs of a rapidly changing world; they generally avoided careful analysis of social and economic conditions, nor were they able or even willing to come to terms with the inescapable realities of political power. For the religious and metaphysical gospels of the past, they substituted a vague messianism which satisfied their own chiliastic expectations; in place of complex ideologies, they offered simple action-slogans, catchwords of revolutionary violence, poetic images of the coming Golden Age. By and large, they seemed content to rely on "the revolutionary instincts of the masses" to sweep away the old order and "the creative spirit of the masses" to build the new society upon its ashes. "Through a Social Revolution to the Anarchist Future!" proclaimed a group of exiles in South America; the practical details of agriculture and industry "will be worked out afterwards" by the revolutionary masses. Such an attitude, though it sprang from a healthy skepticism towards the ideological "blueprints" and "scientific laws" of their Marxist adversaries, could be of little help in setting a course of action designed to revolutionize the world.

I am not a feminist, because, in my opinion, this is a political ideology. I am a humanist, and I care about the problems of all mankind, and I wonder how these problems can be solved by scientific methods. In this case, I am a positivist, that is, I think that functional dynamics in a social system can be supported by a rational design, taken in a certain space-time continuum, but not by abstract metaphysical concepts, such as freedom, equality, and so on. If we consider humanism as a whole system, then feminism will be its subsystem. If the whole system - all of humanity is in prosperity, then all its subsystems will be a satisfactory condition for this. If our attention is concentrated solely on a specific subsystem, then we can now relatively regenerate it due to the degeneration of the entire system in the long term.

Beware of people who hide behind a façade of vague abstractions and impartiality: no one is impartial. A sharply worded question, an opinion designed to offend, will make them react and take sides. Man exists only in so far as he is opposed. GEORG HEGEL, 1770–1831

Unfortunately it's far too easy to get wrapped up in the process of design, enthralled by architecture in abstract. The fact is that specifications alone have no value. The ultimate goal of a software project is a production system. A software architect must always keep an eye on this goal, and remember that design is merely a means to an end, not an end in itself. An architect for a skyscraper who ignored the laws of physics to make the building more beautiful would soon regret it. Losing sight of the goal of working code spells serious trouble for any project.

Everyone seemed to have more to do than was possible in a forty-hour week. This was by design. “Microsoft’s theory is if it takes two people to do a job, hire one,” Shannon explained. “It’s a stated policy. I’ve seen it in memos. It’s called the N-minus-one policy.” In the abstract, the approach made good sense. For all the complaints about workers lacking initiative, most bosses disliked employees who did too much or broke with tradition or set their own priorities. At Microsoft most managers, finding themselves shorthanded, had no choice but to let their people run away from them. Smaller numbers of people, especially on a huge project such as NT, made communications between teammates easier. And it helped the bottom line. Microsoft earned twenty-five cents on every dollar of sales mainly because it offered hot products in a growing market, but the company also knew how to pinch pennies.

Reality consists of sets of interacting problems, systems of problems we call “messes.” As previously noted, problems are abstractions extracted from reality by analysis. Therefore, education for practice should develop and apply methodology for dealing holistically with systems of problems. Because messes are complex, this requires an ability to cope with complexity. It is much easier to deal with complexity through design in practice—for example, in designing a skyscraper—than in dealing with it academically in a classroom or research facility. The theory of complexity is not required for dealing with complexity in practice; design can handle it. To

Lead Designer. This person oversees the overall design of the game and is responsible for making sure that it is complete and coherent. She is the “keeper of the vision” at the highest and most abstract level. She also evangelizes the game to others both inside and outside the company and is often called upon to serve as a spokesperson for the project. Not all the lead designer’s work is creative. As the head of a team, she trades away creativity for authority, and her primary role is to make sure that the design work is getting done and the other team members are doing their jobs properly. A project has only one lead designer. •

The feature of programs, that they are defined purely formally or syntactically, is fatal to the view that mental processes and program processes are identical. And the reason can be stated quite simply. There is more to having a mind then having formal or syntactical processes. Our internal mental states, by definition, have certain sorts of contents. If I am thinking about Kansas City or wishing that I had a cold beer to drink, in both cases my mental state has certain mental content in addition to whatever formal features it might have. That is, even if my thoughts occur to me in strings of symbols, there must be more to the thoughts then the abstract strings, because strings by themselves can't have any meaning. If my thoughts are to be about anything, then the strings must have a meaning which makes the thoughts about those things. In a word, the mind has more than syntax, it has semantics. The reason that no computer program can ever be a mind is simply that a computer program is simply syntactical, and minds are more than syntactical. Minds are semantical, in the sense that they have more than a formal structure, they have a content. To illustrate this point, I have designed a thought experiment. Imagine a bunch of computer programmers have written a program that will enable a computer to simulate the understanding of Chinese. So for example, if the computer is given a question in chinese, it will match the question against its memory or data base, and produce appropriate answers to the questions in chinese. Suppose for the sake of argument that the computer's answers are as good as those of a native Chinese speaker. Now then, does the computer on the basis of this literally understand Chinese, in the way that Chinese speakers understand Chinese? Imagine you are locked in a room, and this room has several baskets full of chinese symbols. imagine that you don't understand a word of chinese, but that you are given a rule book in english for manipulating these chinese symbols. The rules specify the manipulations of the symbols purely formally, in terms of syntax, not semantics. So the rule might say: take a squiggle out of basket 1 and put it next to a squoggle from basket 2. Suppose that some other chinese symbols are passed into the room, and you are given futhter rules for passing chinese symbols out the room. Suppose, unknown to you, the symbols passed into the room are called 'questions' and your responses are called answers, by people outside the room. Soon, your responses are indistinguishable from native chinese speakers. there you are locked in your room shuffling symbols and giving answers. On the basis of the situation as it parallels computers, there is no way you could learn chinese simply by manipulating these formal symbols. Now the point of the story is simply this: by virtue of implementing a formal computer from the point of view of an outside observer, you behave exactly as if you understood chinese, but you understand nothing in reality. But if going through the appropriate computer program for understanding CHinese is not enough, then it is not enough to give any other computer an understanding of chinese. Again, the reason for this can be stated simply: a computer has a syntax, but no semantics.

But, actually, the idea of a personal god or spirit who peevishly withholds food, or maliciously hurls lightning, gets a boost from the evolved human brain. People reared in modern scientific societies may consider it only natural to ponder some feature of the world—the weather, say—and try to come up with a mechanistic explanation couched in the abstract language of natural law. But evolutionary psychology suggests that a much more natural way to explain anything is to attribute it to a humanlike agent. This is the way we’re “designed” by natural selection to explain things. Our brain’s capacity to think about causality—to ask why something happened and come up with theories that help us predict what will happen in the future—evolved in a specific context: other brains. When our distant ancestors first asked “Why,” they weren’t asking about the behavior of water or weather or illness; they were asking about the behavior of their peers. That’s a somewhat speculative (and, yes, hard-to-test!) claim. We have no way of observing our prehuman ancestors one or two or three million years ago, when the capacity to think explicitly about causality was evolving by natural selection. But there are ways to shed light on the process. For starters, we can observe our nearest nonhuman relatives, chimpanzees. We didn’t evolve from chimps, but chimps and humans do share a common ancestor in the not-too-distant past (4 to 7 million years ago). And chimps are probably a lot more like that common ancestor than humans are. Chimps aren’t examples of our ancestors circa 5 million BCE but they’re close enough to be illuminating. As the primatologist Frans de Waal has shown, chimpanzee society shows some clear parallels with human society. One of them is in the title of his book Chimpanzee Politics. Groups of chimps form coalitions—alliances—and the most powerful alliance gets preferred access to resources (notably a resource that in Darwinian terms is important: sex partners). Natural selection has equipped chimps with emotional and cognitive tools for playing this political game. One such tool is anticipation of a given chimp’s future behavior based on past behavior. De Waal writes of a reigning alpha male, Yeroen, who faced growing hostility from a former ally named Luit: “He already sensed that Luit’s attitude was changing and he knew that his position was threatened.” 8 One could argue about whether Yeroen was actually pondering the situation in as clear and conscious a way as de Waal suggests. But even if chimps aren’t quite up to explicit inference, they do seem close. If you imagine their politics getting more complex (more like, say, human politics), and them getting smarter (more like humans), you’re imagining an organism evolving toward conscious thought about causality. And the causal agents about which these organisms will think are other such organisms, because the arena of causality is the social arena. In this realm, when a bad thing happens (like a challenge for Yeroen’s alpha spot) or a good thing happens (like an ally coming to Yeroen’s aid), it is another organism that is making the bad or good thing happen.

Don’t refer to volatile concrete classes. Refer to abstract interfaces instead. This rule applies in all languages, whether statically or dynamically typed. It also puts severe constraints on the creation of objects and generally enforces the use of Abstract Factories.

To comply with these rules, the creation of volatile concrete objects requires special handling. This caution is warranted because, in virtually all languages, the creation of an object requires a source code dependency on the concrete definition of that object. In most object-oriented languages, such as Java, we would use an Abstract Factory to manage this undesirable dependency.

THE STABLE ABSTRACTIONS PRINCIPLE A component should be as abstract as it is stable.

A model is a simplification. It is an interpretation of reality that abstracts the aspects relevant to solving the problem at hand and ignores extraneous detail.

Art should return to its roots, to cosmology, to rite, and to ceremony. The religious nature of art is its true meaning. Modern art's commitment to "emotion" and "feeling" or to abstract principles of design is, by Pleistocene standards, a sacrilegious act, just as narcotics belong not in a recreational but in a religious setting. In most small-scale societies there is regular dialogue on divinatory and dream experience that gets translated into art.

I can’t stop staring as he comes closer, not the slightest bit concerned that he’s getting the floor wet. My eyes trail over the intricate designs etched into his chest—instruments, abstract drawings, and flowers decorate his skin, each one bleeding into the next to make a homologous collection. A phoenix sits at the center, its fiery wings spanning across his pecs and the tail wrapping around his belly button. But that’s not the only thing that catches my eye; as I make my third pass around the colorful linework, my gaze snags on a splash of silver.

Walking on these streets, until the night falls, my life feels to me like the life they have. By day they’re full of meaningless activity; by night they’re full of a meaningless lack of it. By day I am nothing, and by night I am I. There is no difference between me and these streets, save they being streets and I a soul, which perhaps is irrelevant when we consider the essence of things. There is an equal, abstract destiny for men and for things; both have an equally indifferent designation in the algebra of the world’s mystery.

Evolution in the cognitive niche has endowed our species with remarkable abilities such as language, abstract reasoning, and sophisticated mentalizing. These species-typical innovations have been accompanied by rapid changes in brain structure and functionality. While adaptations such as language are hugely beneficial, they are also likley to carry some costs. A number of authors have argued that vulnerability to psychosis is one of those costs -the price our species pays for its unique set of cognitive skills. From this perspective, there are no individual fitness benefits to psychosis proneness; vulnerability to schizophrenia and other psychoses is a general byproduct of our evolved design, and unfortunate combinations of genetic and environmental factors determine the onset of a full-fledged disorder in some individuals.

DECEMBER 22 Parallel Universes Doubt, for me, tends to come in an overwhelming package, all at once. I don’t worry much about nuances of particular doctrines, but every so often I catch myself wondering about the whole grand scheme of faith. I stand in the futuristic airport in Denver, for example, watching important-looking people in business suits, briefcases clutched to their sides like weapons, pause at an espresso bar before scurrying off to another concourse. Do any of them ever think about God? I wonder. Christians share an odd belief in parallel universes. One universe consists of glass and steel and wool clothes and leather briefcases and the smell of freshly ground coffee. The other consists of angels and sinister spiritual forces and somewhere out there places called Heaven and Hell. We palpably inhabit the material world; it takes faith to consider oneself a citizen of the other, invisible world. Occasionally the two worlds merge for me, and these rare moments are anchors for my faith. The time I snorkeled on a coral reef and suddenly the flashes of color and abstract design flitting around me became a window to a Creator who exults in life and beauty. The time my wife forgave me for something that did not merit forgiveness—that too became a window, allowing a startling glimpse of divine grace. I have these moments, but soon toxic fumes from the material world seep in. Sex appeal! Power! Money! Military might! These are what matter most in life, I’m told, not the simpering platitudes of Jesus’ teachings in the Sermon on the Mount. For me, living in a fallen world, doubt seems more like forgetfulness than disbelief. I, a citizen of the visible world, know well the struggle involved in clinging to belief in another, invisible world. Christmas turns the tables and hints at the struggle involved when the Lord of both worlds descends to live by the rules of the one. In Bethlehem, the two worlds came together, realigned; what Jesus went on to accomplish on planet Earth made it possible for God someday to resolve all disharmonies in both worlds. No wonder a choir of angels broke out in spontaneous song, disturbing not only a few shepherds but the entire universe. Finding God in Unexpected Places (34 – 35)

which, regardless of all else, always broke down his inner dreams by confronting them with external reality, presenting to him, in other words, their real-world consequences. Our internal existence is abstract, external reality tangible, and in these grand yet unrealistic designs the two aspects collide in a way he is unable

Developers should be able to understand the abstraction provided by a module without reading any code other than its externally visible declarations.

Comments augment the code by providing information at a different level of detail. Some comments provide information at a lower, more detailed, level than the code; these comments add precision by clarifying the exact meaning of the code. Other comments provide information at a higher, more abstract, level than the code; these comments offer intuition, such as the reasoning behind the code, or a simpler and more abstract way of thinking about the code.

In-code documentation plays a crucial role in software design. Comments are essential to help developers understand a system and work efficiently, but the role of comments goes beyond this. Documentation also plays an important role in abstraction; without comments, you can’t hide complexity.

Here are the most important software design principles discussed in this book: Complexity is incremental: you have to sweat the small stuff (see p. 11). Working code isn’t enough (see p. 14). Make continual small investments to improve system design (see p. 15). Modules should be deep (see p. 23) Interfaces should be designed to make the most common usage as simple as possible (see p. 27). It’s more important for a module to have a simple interface than a simple implementation (see pp. 61, 74). General-purpose modules are deeper (see p. 39). Separate general-purpose and special-purpose code (see pp. 45, 68). Different layers should have different abstractions (see p. 51). Pull complexity downward (see p. 61). Define errors out of existence (see p. 81). Design it twice (see p. 91). Comments should describe things that are not obvious from the code (see p. 101). Software should be designed for ease of reading, not ease of writing (see p. 151). The increments of software development should be abstractions, not features (see p. 156). Separate what matters from what doesn’t matter and emphasize the things that matter (see p. 171

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