Angular Single Quotes

As Cotton holds the door open for me, and our bodies grow closer, I notice how much older he is than me. At least eight years, I’d guess. Too old, and yet young enough for me to admire the single dimple in his left cheek — a sharp contrast to his angular face.

[The] structural theory is of extreme simplicity. It assumes that the molecule is held together by links between one atom and the next: that every kind of atom can form a definite small number of such links: that these can be single, double or triple: that the groups may take up any position possible by rotation round the line of a single but not round that of a double link: finally that with all the elements of the first short period [of the periodic table], and with many others as well, the angles between the valencies are approximately those formed by joining the centre of a regular tetrahedron to its angular points. No assumption whatever is made as to the mechanism of the linkage. Through the whole development of organic chemistry this theory has always proved capable of providing a different structure for every different compound that can be isolated. Among the hundreds of thousands of known substances, there are never more isomeric forms than the theory permits.

The elder couple were stunning in their elegance, floating forward as if carried on air. The elder man had tan skin and dark blond hair, lightly touched with grey, pulled into a single plait. The woman seemed otherworldly with her fair complexion and platinum tresses that fell in a silken sheet to the curve of her waist. Both had angular features that accentuated their cold, cunning eyes. I noted how they offered only a subtle dip of their chin as they approached.

He made an immediate impression, biker tough. The men admired him. A sexual rush made women blush. He was a turn-on. There was a wildness to Jake that unsettled the ladies. A roughness that dared them to domesticate him. Other guys were equally tall, broad shouldered, and muscled. It was Jake's face that set him apart. Angular and strong boned. Alpha and masculine. His sharp gaze undressed and penetrated a woman's deepest thoughts. His cheekbones slashed to a single dimple, unshaved jaw. Wicked grin. His mouth promised midnight arousal and morning satisfaction.

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The Total Mirror: Post-Human or Post-Linguistic Self? The geometric self of modern democracy is built upon a silent convention: Euclidean geometry. The straight line, the measurable angle, the closed contour, the centred perspective – these are not laws of nature but agreements. They are conventions that have stabilised vision and allowed representation to appear natural. The human face, framed within a rectangular canvas or a digital screen, is treated as if it were a Euclidean object: proportioned, measurable, reproducible. From Renaissance perspective to high-definition video, the self has been disciplined into geometry. Democracy itself, in its modern visual form, presupposes this geometry: the citizen as a discrete unit, the vote as a countable point, the public as an aggregate of equal positions arranged within a common frame. Yet Euclid does not exist in nature. Nature curves, folds, mutates, dissolves. The geometric self is a political fiction that became functional because it could be drawn, painted, photographed, televised, digitised. High-quality Venetian mirrors and the glass of Saint-Gobain did not merely reflect faces; they stabilised them. They trained humans to recognise themselves as centred, bounded figures. The mirror became a technology of selfhood long before photography. Then came the camera lucida, the perspectival discipline of painters, the optical exactitude of Vermeer’s interiors. Then photography, film, television, animation, digital video, and finally deepfakes. Each stage intensified the Euclidean ordering of the self: the face as surface, the body as outline, identity as contour. Modern art shattered this order. Egon Schiele’s self-portraits are not Euclidean at all. The body twists, elongates, fractures into angular tensions. Flesh appears as nervous line rather than harmonious volume. Oskar Kokoschka’s portraits refuse stable geometry; the face dissolves into colour storms, a psychological topography rather than a measurable form. Pablo Picasso’s Cubism breaks the face into simultaneous planes; the self is no longer a single perspective but a fractured multiplicity. Francis Bacon smears and distorts the human figure into existential meat, as if geometry had collapsed under the pressure of sensation. Jean-Michel Basquiat overlays masks, crowns, anatomical fragments, graffiti, skeletal signs; the self becomes an archive of references, a collision of codes. These artists did not abandon representation; they exposed its conventions. They revealed that the Euclidean self was never natural. It was an agreement sustained by habit and technology. Once the mirror became portable and the camera ubiquitous, the self could be standardised. But once the canvas became experimental, the self could be fractured. Modernism anticipated the post-Euclidean self: a self no longer anchored in stable lines but dispersed across planes, fragments, and overlapping perspectives.