Escape Sequences In Quotes

The ultimate technological achievement will be escaping from the mess we've made. There will be none after that because we will reproduce everything that we did on earth, we'll go through the whole sequence all over again somewhere else, and people will read my paper as prophecy, and know that having gotten off one planet, they will be able to destroy another with confidence.

A Faint Music by Robert Hass Maybe you need to write a poem about grace. When everything broken is broken, and everything dead is dead, and the hero has looked into the mirror with complete contempt, and the heroine has studied her face and its defects remorselessly, and the pain they thought might, as a token of their earnestness, release them from themselves has lost its novelty and not released them, and they have begun to think, kindly and distantly, watching the others go about their days— likes and dislikes, reasons, habits, fears— that self-love is the one weedy stalk of every human blossoming, and understood, therefore, why they had been, all their lives, in such a fury to defend it, and that no one— except some almost inconceivable saint in his pool of poverty and silence—can escape this violent, automatic life’s companion ever, maybe then, ordinary light, faint music under things, a hovering like grace appears. As in the story a friend told once about the time he tried to kill himself. His girl had left him. Bees in the heart, then scorpions, maggots, and then ash. He climbed onto the jumping girder of the bridge, the bay side, a blue, lucid afternoon. And in the salt air he thought about the word “seafood,” that there was something faintly ridiculous about it. No one said “landfood.” He thought it was degrading to the rainbow perch he’d reeled in gleaming from the cliffs, the black rockbass, scales like polished carbon, in beds of kelp along the coast—and he realized that the reason for the word was crabs, or mussels, clams. Otherwise the restaurants could just put “fish” up on their signs, and when he woke—he’d slept for hours, curled up on the girder like a child—the sun was going down and he felt a little better, and afraid. He put on the jacket he’d used for a pillow, climbed over the railing carefully, and drove home to an empty house. There was a pair of her lemon yellow panties hanging on a doorknob. He studied them. Much-washed. A faint russet in the crotch that made him sick with rage and grief. He knew more or less where she was. A flat somewhere on Russian Hill. They’d have just finished making love. She’d have tears in her eyes and touch his jawbone gratefully. “God,” she’d say, “you are so good for me.” Winking lights, a foggy view downhill toward the harbor and the bay. “You’re sad,” he’d say. “Yes.” “Thinking about Nick?” “Yes,” she’d say and cry. “I tried so hard,” sobbing now, “I really tried so hard.” And then he’d hold her for a while— Guatemalan weavings from his fieldwork on the wall— and then they’d fuck again, and she would cry some more, and go to sleep. And he, he would play that scene once only, once and a half, and tell himself that he was going to carry it for a very long time and that there was nothing he could do but carry it. He went out onto the porch, and listened to the forest in the summer dark, madrone bark cracking and curling as the cold came up. It’s not the story though, not the friend leaning toward you, saying “And then I realized—,” which is the part of stories one never quite believes. I had the idea that the world’s so full of pain it must sometimes make a kind of singing. And that the sequence helps, as much as order helps— First an ego, and then pain, and then the singing

You weren't designed to cure RM, but you did it anyway. You weren't designed to cross the toxic wasteland, but you did that too, and then you escaped from I don't know how many bad guys, and crossed through the middle of a war zone, and while every other group of weary, bloodied refugees is getting smaller and smaller, yours is getting bigger. You're teaching people, and you're recruiting people, and it's not because you were built that way, or because you had some kind of glorious destiny to fulfill, but because you're you. You're Kira Walker. You're not going to save the world because you're the chosen one, you're going to save it because you want to save it, and nobody in this world works harder for what they want than you do.

Books were a way to escape reality, in pages of characters and worlds that didn’t exist. Characters that you understand, friends that aren’t physically there but make your day better. Somehow you feel like your on an adventure, going through a sequence of events and the most powerful thing about books is that the message books hold means something to anyone who has read the pages of them.

The mind is more comfortable in reckoning probabilities in terms of the relative frequency of remembered or imagined events. That can make recent and memorable events - a plane crash, a shark attack, an anthrax infection - loom larger on one's worry list than more frequent and boring events, such as the car crashes and ladder falls that get printed beneath the fold on page B14. And it can lead risk experts to speak one language and ordinary people to hear another. In hearings for a proposed nuclear waste site, an expert might present a fault tree that lays out the conceivable sequences of events by which radioactivity might escape. For example, erosion, cracks in the bedrock, accidental drilling, or improper sealing might cause the release of radioactivity into groundwater. In turn, groundwater movement, volcanic activity, or an impact of a large meteorite might cause the release of radioactive wastes into the biosphere. Each train of events can be assigned a probability, and the aggregate probability of an accident from all the causes can be estimated. When people hear these analyses, however, the are not reassured but become more fearful than ever. They hadn't realized there are so many ways for something to go wrong! They mentally tabulate the number of disaster scenarios, rather than mentally aggregating the probabilities of the disaster scenarios.

In our universe, we measure time with clocks, and computers have a “clock speed,” but the clocks that govern the digital universe are very different from the clocks that govern ours. In the digital universe, clocks exist to synchronize the translation between bits that are stored in memory (as structures in space) and bits that are communicated by code (as sequences in time). They are clocks more in the sense of regulating escapement than in the sense of measuring time.

Language had arrived from outer space and mated together lizards and monkeys or whatever until it had customized a host which could sustain it. That first person had been introduced to the complicated DNA sequence of proper nouns and compound verbs. Outside of language he didn't exist. There was no method to escape. To feel anything, anymore, required ever-increasing amounts of words. Great landfills and airlifts of words. It took a mountain of talk to achieve even the tiniest insight.

IN THE DAWN there is a man progressing over the plain by means of holes which he is making in the ground. He uses an implement with two handles and he chucks it into the hole and he enkindles the stone in the hole with his steel hole by hole striking the fire out of the rock which God has put there. On the plain behind him are the wanderers in search of bones and those who do not search and they move haltingly in the light like mechanisms whose movements are monitored with escapement and pallet so that they appear restrained by a prudence or reflectiveness which has no inner reality and they cross in their progress one by one that track of holes that runs to the rim of the visible ground and which seems less the pursuit of some continuance than the verification of a principle, a validation of sequence and causality as if each round and perfect hole owed its existence to the one before it there on that prairie upon which are the bones and the gatherers of bones and those who do not gather. He strikes fire in the hole and draws out his steel. Then they all move on again.

I assume that you have read it. I also assume that you set it down as idiotic—a series of words without sense. You are quite right; it is. But now imagine it intoned as it were designed to be intoned. Imagine the slow tempo of a public speech. Imagine the stately unrolling of the first clause, the delicate pause upon the word “then”—and then the loud discharge of the phrase “in understanding,” “in mutuality of interest,” “in concern for the common good,” each with its attendant glare and roll of the eyes, each with a sublime heave, each with its gesture of a blacksmith bringing down his sledge upon an egg—imagine all this, and then ask yourself where you have got. You have got, in brief, to a point where you don’t know what it is all about. You hear and applaud the phrases, but their connection has already escaped you. And so, when in violation of all sequence and logic, the final phrase, “our tasks will be solved,” assaults you, you do not notice its disharmony—all you notice is that, if this or that, already forgotten, is done, “our tasks will be solved.” Whereupon, glad of the assurance and thrilled by the vast gestures that drive it home, you give a cheer. That is, if you are the sort of man who goes to political meetings, which is to say, if you are the sort of man that Dr. Harding is used to talking to, which is to say, if you are a jackass.

There was no escaping math, after all. It was everywhere, especially in nature. You could go as far to say that math was nature. Pi describe the arc of a rainbow, the way ripples spread in a body of water, the dimensions of the moon and sun. Fractals could be observed in halved sections of red cabbage, the topography of deserts, the branching of lightning bolts. And take the old man glaring out from his shirt, Leonardo Fibonacci, who discovered that a basic number sequence predicted the arrangement of scales on a pinecone, the distribution of petals on flowers, the spiral of a snail shell, the furcation of veins in the human body, even the structure of DNA. When all the people were gone, the numbers would persist.

There may even be a real relation between certain kinds of effectiveness in literature and totalitarianism in politics. But although the fictions are alike ways of finding out about the human world, anti-Semitism is a fiction of escape which tells you nothing about death but projects it onto others; whereas King Lear is a fiction that inescapably involves an encounter with oneself, and the image of one's end. This is one difference; and there is another. We have to distinguish between myths and fictions. Fictions can degenerate into myths whenever they are not consciously held to be fictive. In this sense anti-Semitism is a degenerate fiction, a myth; and Lear is a fiction. Myth operates within the diagrams of ritual, which presupposes total and adequate explanations of things as they are and were; it is a sequence of radically unchangeable gestures. Fictions are for finding things out, and they change as the needs of sense-making change. Myths are the agents of stability, fictions the agents of change. Myths call for absolute, fictions for conditional assent. Myths make sense in terms of a lost order of time, illud tempus as Eliade calls it; fictions, if successful, make sense of the here and now, hoc tempus. It may be that treating literary fictions as myths sounds good just now, but as Marianne Moore so rightly said of poems, 'these things are important not because a / high-sounding interpretation can be put upon them but because they are / useful.

Here are some practical Dataist guidelines for you: ‘You want to know who you really are?’ asks Dataism. ‘Then forget about mountains and museums. Have you had your DNA sequenced? No?! What are you waiting for? Go and do it today. And convince your grandparents, parents and siblings to have their DNA sequenced too – their data is very valuable for you. And have you heard about these wearable biometric devices that measure your blood pressure and heart rate twenty-four hours a day? Good – so buy one of those, put it on and connect it to your smartphone. And while you are shopping, buy a mobile camera and microphone, record everything you do, and put in online. And allow Google and Facebook to read all your emails, monitor all your chats and messages, and keep a record of all your Likes and clicks. If you do all that, then the great algorithms of the Internet-of-All-Things will tell you whom to marry, which career to pursue and whether to start a war.’ But where do these great algorithms come from? This is the mystery of Dataism. Just as according to Christianity we humans cannot understand God and His plan, so Dataism declares that the human brain cannot fathom the new master algorithms. At present, of course, the algorithms are mostly written by human hackers. Yet the really important algorithms – such as the Google search algorithm – are developed by huge teams. Each member understands just one part of the puzzle, and nobody really understands the algorithm as a whole. Moreover, with the rise of machine learning and artificial neural networks, more and more algorithms evolve independently, improving themselves and learning from their own mistakes. They analyse astronomical amounts of data that no human can possibly encompass, and learn to recognise patterns and adopt strategies that escape the human mind. The seed algorithm may initially be developed by humans, but as it grows it follows its own path, going where no human has gone before – and where no human can follow.

Comparing the two cities — the Berlin I knew in the early thirties and the Berlin I revisited in the early fifties — I have to admit that the latter is, in many respects, a far more exciting setting for a novel or a sequence of stories. Life in the Berlin of 1952 had an intensely dramatic doubleness. Here was a shadow-line cutting a city in half — a frontier between two worlds at war — across which people were actually being kidnapped, to disappear into prisons or graves. And yet this shadow-frontier was being freely crossed in the most humdrum manner every day, on foot, in buses, or in electric trains, by thousands of Berliners commuting back and forth between their work and their homes. Many men and women who lived in West Berlin were on the black list of the East German police; and, if the Russians had suddenly marched in, they couldn’t have hoped to escape. Yet, in this no man’s land between the worlds, you heard the usual talk about business and sport, the new car, the new apartment, the new lover.

When a man is asleep, he has in a circle round him the chain of the hours, the sequence of the years, the order of the heavenly host. Instinctively, when he awakes, he looks to these, and in an instant reads off his own position on the earth’s surface and the amount of time that has elapsed during his slumbers; but this ordered procession is apt to grow confused, and to break its ranks. Suppose that, towards, morning, after a night of insomnia, sleep descends upon him while he is reading, in quite a different position from that in which he normally goes to sleep, he has only to lift his arm to arrest the sun and turn it back in its course, and, at the moment of waking, he will have no idea of the time, but will conclude that he has just gone to bed. Or suppose that he gets drowsy in some even more abnormal position; sitting in an armchair, say, after dinner: then the world will go hurtling out of orbit, the magic chair will carry him at full speed through time and space, and when he opens his eyes again he will imagine that he went to sleep months earlier in another place. But for me it was enough if, in my own bed, my sleep was so heavy as completely to relax my consciousness; for then I lost all sense of the place in which I had gone to sleep, and when I awoke in the middle of the night, not knowing where I was, I could not even be sure at first who I was; I had only the most rudimentary sense of existence, such as may lurk and flicker in the depths of an animal's consciousness; I was more destitute than the cave-dweller; but then the memory - not yet of the place in which I was, but of various other places where I had lived and might now very possibly be - would come like a rope let down from heaven to draw me up out of the abyss of not-being, from which I could never have escaped by myself: in a flash I would traverse centuries of civilisation, and out of a blurred glimpse of oil-lamps, then of shirts with turned-down collars, would gradually piece together the original components of my ego. Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves and not anything else, by the immobility of our conception of them. For it always happened that when I awoke like this, and my mind struggled in an unsuccessful attempt to discover where I was, everything revolved around me through the darkness: things, places, years. My body, still too heavy with sleep to move, would endeavour to construe from the pattern of its tiredness the position of its various limbs, in order to deduce therefrom the direction of the wall, the location of the furniture, to piece together and give a name to the house in which it lay. Its memory, the composite memory of its ribs, its knees, its shoulder-blades, offered it a whole series of rooms in which it had at one time or another slept, while the unseen walls, shifting and adapting themselves to the shape of each successive room that it remembered, whirled round it in the dark.

Escape codes let you “escape” from the humdrum, routine interpretation of a sequence of codes and move to a new interpretation. As we’ll see in later chapters, shift codes and escape codes are common when written languages are represented by binary codes.

Prologue “Pain!. Oh, Father of the Dark, how it hurts! My muscles, my bones – every millimeter of my body. Damn locusts! They’re skinning me alive. Do I have any skin left? It seems like it will never end. How many years have passed since I’ve been buried here? One, two, ten? Or maybe, a hundred? Time itself has melded into total dusky looming. A bloody and merciless one. All my thoughts have been mixed up since I’ve been immured in this stone coffin. Without any possibility of escape. Without any chance for freedom. I feel endless agony under the teeny weeny teeth of ghostly beasts. And their small daggers shred my immortal flesh. Time after time, they’re driving me to madness. But I’ll find a way out, or my name is not Rave Eridanus Castro-Firel. And then, I swear, I’ll kill everyone who has taken part in torturing me. Ulfricus, you traitor ass. I hope your soul has never found sanctuary and is being tormented somewhere in the abyss of the Twilight, while I’m decaying here, in immortality. I hope you’re answering for every minute I’ve spent here, in this tomb. Even for every second. And if not, I promise I’ll kill all your relatives. Every person you love. Your wife, your children, your parents, your grandchildren. And your dam cat,...” The man’s interior monologue was interrupted by a restrained growl. “Oh, demons, how it hurts!.. But wait. Someone will surely wander across this damn field again. Someone whom I’ll kill without coming out of the ground. I’ll exhaust the last drop of magic. And, one day, I’ll be able to get out of this trap. Oh, no, who am I kidding? Nobody has appeared here so far. Even animals avoid coming to my field. I don’t sense any living being whose energy I could suck dry and use to appease the burning, even a little... They all sense me. They don’t understand, but they sense that death is there under their feet. Oh, Father of the Dark, I’ll be decomposing here forever! Damn Ulfricus, Banshee take your soul into the Twilight and love it to death.” The internal voice stopped again, and the man stopped short, listening attentively to the sounds of the outer world. “Oh, that just can’t be... Now for the first time since so long ago! A woman. A girl. A very young one. I can almost hear her heart beating... I feel the energy concealed in her blood. Come closer, dear. I don’t have to get out of here to play with you. So sweet... I can practically feel your odor. A strange, unusual smell of blood. What’s wrong with you? You’re a necromancer, for sure. Almost my soulmate. Well, even this won’t save you. Come closer, dear... Yes, this way. Oh Dark! what magic you eradiate! But not black, certainly not. I couldn’t care less. Any energy will suit me...” At this point, somewhere on the surface, somewhere nearby, a woman began singing. The accursed man, chained in the living grave, lay down, having suddenly forgotten the respiratory reflex, which still had not been exterminated through hundreds of years spent under the ground. Without air, without life. “What a pretty voice. A very, very pretty voice. I haven’t heard human voices for so long...” The man’s broad chest rose again. Then, a sequence of dark thoughts continued: “A girl with a ringing voice and strange magic... You’ve come here to the Ash Field in vain. You’re so enigmatic and courageous. You’re alive. But not for long.

Sackcloth (Jonah 3:5). Sackcloth was rough material worn to indicate mourning. It was designed to be uncomfortable. Jonah’s refusal to go (Jonah 1:3; 4:2). As Jonah indicated (chap. 4), he did not want to go because the sequence of events was entirely predictable. He knew that the Assyrians would respond with their appeasement techniques and superficial repentance to his judgment message, but that God would be gracious and relent. He was angry about this easy grace. Object lesson (Jonah 4:5–8). God put Jonah in Nineveh’s shoes. Just as Nineveh faced an impending disaster, Jonah faced an impending weather situation. The Ninevites tried to protect themselves with repentance and Jonah tried to protect himself with his hut. Both were inadequate. God provided extra protection for Jonah through a plant. Then God did to Jonah what Jonah wanted him to do to Nineveh—removed his protection. Jonah was not happy about losing God’s gracious compassion when it was he, not the Ninevites, who had received it. This is how God made the point that his compassion is given as an act of grace. Once that is understood, we realize that if we overestimate the Ninevite response, we minimize the element of God’s compassion. The whole point is that God responds with compassion to even the smallest steps in the right direction. Background Information Nineveh. In the mid-eighth century BC, when Jonah lived (2 Kings 14:25), Nineveh was a major city in the Assyrian province of Nineveh. At this time the kingdom of Assyria was fragmented with provinces acting as almost independent entities. The city was about two and a half miles in circumference, about the same size as Jerusalem. About fifty years later (700 BC), Sennacherib made Nineveh the capital city of the Assyrian Empire, bringing it to prominence in the ancient world. King of Nineveh. One would generally expect the text to refer to the king of Assyria. We would not expect a king of Nineveh, but we would also not expect the king of Assyria to be in Nineveh, because Assyria was fragmented and Nineveh was a province, not the capital. More likely, the ruler of the province would legitimately have been identified with the Hebrew word translated “king.” Mistakes to Avoid Many mistakes are made when teaching the story of Jonah. The inclination is to make Jonah a missionary who brought a message of hope that was followed by a great conversion among the people of Nineveh. But a prophet was not a missionary preaching good news of hope. Jonah did not have a missionary calling, message, or attitude. His message was only one of judgment. The story is also not about salvation or going to heaven. Eternal life in heaven is not set forth in the Old Testament. Therefore, we cannot use the story of Jonah as one to tell our friends about Jesus or about leading people to salvation. When teaching about Jonah’s reluctance to go to Nineveh, we ought not to conclude that his reason was political resentment or prejudice. Furthermore, though it is certainly true that if God is intent on a person doing something or going somewhere, his plan will be irresistible, but the point of the story isn’t that we cannot run from God. God did not allow Jonah to escape the commission, but that does not mean that God will always act in the same way. Focusing on such things detracts from the very important theological message that the book offers: God responds with compassion to small steps in the right direction. God wants people to be responsive to him. New Testament

All trauma sufferers experience the phenomenon of chronic helplessness to some extent. As a result, we have difficulty participating fully, especially in new situations. For those of us who experience and identify with helplessness, any escape or forward movement is virtually impossible. We become the victims of our own thoughts and self-images. When our physiology responds to an event or stimuli with arousal, we do not move into an orienting and defending response like a healthy human. Instead, we move directly from the arousal into immobility and helplessness, bypassing our other emotions as well as the normal sequence of responses. We become victims, waiting to be victimized again and again.

But the power in this case is real indeed. You doubt the mystery and power of these aircraft and their markings? They are aeons old and yet they still operate!” “You’ve seen them fly? Where do they go? I am wondering if there is a city we can reach.” “Before you woke from your coffin, they flew indeed. Turning and turning in the widening gyre. What does that suggest?” “Um. Some rough beast is slouching toward Bethlehem waiting to be born, maybe?” “No doubt the spirit of prophecy escapes your lips! It must be prophecy because I cannot grok what you are saying.” “Sorry. Won’t happen again. It suggests a search pattern.

Andromeda said, “I see that you understand the paradox involved. These are axiomatic beliefs. If life is finite, there can be no math, no logic, nothing which says using the Eschaton Engine to obliterate the majority of the universe in self-preservation is wrong. No game theory applies, because there is no retaliation, no tit for tat. No punishment. But if life is infinite, then an infinite game theory applies, and no act where the ends justifies the means is allowed, because there is no Concubine Vector, no eternal imbalance, no chance of any act escaping unpunished.

Nate used his left foot to block a determined Zero from escaping before closing his door with the intention to begin the next step in his own plan. His Plan B if you're keeping track ‒ once again hoping that Twitch had stayed put ‒ and which first required that he be granted his second out of the afternoon. Upon hearing the customary creak of a more tangible step ‒ the second from the bottom on the wooden staircase, which had become gradually loosened from the risers above and below it over time ‒ his mother did an about face from the bar, where she was making last minute modifications to her shopping list. The sound by then had become oddly comforting to each family member ‒ for separate but similar reasons. The step itself been repaired in just minutes, years prior when Dr. Lansing added five nails to the tread. But one evening many months ago it just as abruptly reappeared. Nate was the first to notice when, as Natalie bounded up the stairs ‒ which she so often did en route to his room ‒ it matter-of-factly announced its return. He pondered for the briefest moment if he hadn't simply imagined it, recalling several prior occasions when he'd become temporarily convinced that the faint but familiar cries of X-Ray were whispering to him from directly below his window ‒ though leading to anticlimax in each instance. Before knocking however, Natalie placated his incredulity. "It's back!” she exclaimed with typical unfettered enthusiasm, while smiling unseen from just beyond his closed door. Although he failed to demonstrate even a remotely comparable level of excitement, it turned into a pleasant reunification for Nate nonetheless, and this time ‒ due perhaps in equal parts to its' lesser prioritization and his greater procrastination ‒ their father had left well enough alone. During its previous incarnation it had been labeled by Ms. Lansing as the Cat's Bell due to its function as an auditory cue of the comings and goings in the home, although the cats themselves sauntered about far too lightly to bring about any noticeable effect.. Nate had become so attuned to its mildly disquieting creaks and more subtle wooden groans as to discern ‒ even when his door was closed ‒ whether Natalie had been specifically intent on visiting him, or was instead merely passing by along the way to her own room. A distinction which was due primarily to an initial amplified vibration that he decided brought to mind the recoil of a springboard, then followed by a sequence of forward gliding leaps rather than her usual evenly paced yet swift footsteps.

She walked alone in the rain, half mad with trying not to remember the soft warmth of Onnen’s motherly breast and the smell of her clothes, trying not to think of the glint of firelight on Begu’s escaping hair because then she’d remember it always, one more meory to torment her.

Think about it: there is no physicality to our thoughts. They don’t take up space (even if we sometimes use that metaphor to describe them). Thoughts happen in sequence, in time.

He makes a run for it and Bond follows, giving us one of the greatest moments in cinema history. During the editing of this sequence, a shot was required of Bond peering from behind a rock as Fekkesh makes his escape from Jaws. The problem was that they’d not filmed it, so director Lewis Gilbert asked the art department to help solve the problem. They sourced a photo of Roger that suited their needs then blew it up to size, created a painting of him leaning against a rock and inserted it into the shot. Problem solved. For many, many years I didn’t notice it was there, but once it’s noticed, it’s all you can see – and the same goes for the audience watching the pyramid show as Bond makes his way to his seat – look closely and you’ll notice they are all a painting, too. Movie magic.

Hild was glad to escape the responsibilities she didn’t quite understand and roam the moor.

The message left Kiel at a speed of 300,000 kilometres per second. The sequence of words keyed into Erwin Suess’s laptop at the Geomar Centre entered the net in digital form. Converted by laser diodes into optical pulses, the information raced along with a wavelength of 1.5 thousandths of a millimetre, shooting down a transparent fibreoptic cable with millions of phone conversations and packets of data. The fibres bundled the stream of light until it was no thicker than two hairs, while total internal reflection stopped it escaping. Whizzing towards the coast, the waves surged along the overland cable, speeding through amplifiers every fifty kilometres until the fibres vanished into the sea, protected by copper casing and thick rubber tubing, and strengthened by powerful wires. The underwater cable was as thick as a muscular forearm. It stretched out across the shelf, buried in the seabed to protect it from anchors and fishing-boats. TAT 14, as it was officially known, was a transatlantic cable linking Europe to the States. Its capacity was higher than that of almost any other cable in the world. There were dozens of such cables in the North Atlantic alone. Hundreds of thousands of kilometres of optical fibre extended across the planet, making up the backbone of the information age. Three-quarters of their capacity was devoted to the World Wide Web. Project Oxygen linked 175 countries in a kind of global super Internet. Another system bundled eight optical fibres to give a transmission capacity of 3.2 terabits per second, the equivalent of 48 million simultaneous phone conversations. The delicate glass fibres on the ocean bed had long since supplanted satellite technology.

Our world is an artful illusion—of light, color, and sound. It feels spontaneous when you’re in it, but it isn’t. Beneath it all, or above it all, there’s something both significant and unknowable. A design. A sequence that can be maneuvered within, but never escaped.

Throughout the chase, Cerridwen retains her gender as she becomes a greyhound, an otter, a hawk (the female of which is reputed to be the more effective hunter), and finally a black-crested (or tufted) hen. In each case she initiates the transformative process. Immediately before her claws seize upon the escaping initiate, she forces him to transform, to leave the significance of one element and enter another. The chase is a complex and symbolic process that is controlled by the witch in her various guises. She is forcing the initiate forward, and we can assume that in this liminal state the true meaning of the entire sequence is made clear to her. Previously she was driven by the needs of a mother, but within the chase she is partially liberated from her human component; we are informed that her form is changed but not her nature. Therefore, in the shapes of animals and birds, she maintains aspects of her humanity whilst simultaneously accessing the source. Ultimately her task is to initiate.

That’s crazy! We can’t go the way of—” “Since when has human history been anything else?” asks the woman with the camera on her shoulder—Donna, being some sort of public archivist, is in Sirhan’s estimate likely to be of use to him. “Remember what we found in the DMZ?” “The DMZ?” Sirhan asks, momentarily confused. “After we went through the router,” Pierre says grimly. “You tell him, love.” He looks at Amber. Sirhan, watching him, feels it fall into place at that moment, a sense that he’s stepped into an alternate universe, one where the woman who might have been his mother isn’t, where black is white, his kindly grandmother is the wicked witch of the west, and his feckless grandfather is a farsighted visionary. “We uploaded via the router,” Amber says, and looks confused for a moment. “There’s a network on the other side of it. We were told it was FTL, instantaneous, but I’m not so sure now. I think it’s something more complicated, like a lightspeed network, parts of which are threaded through wormholes that make it look FTL from our perspective. Anyway, Matrioshka brains, the end product of a technological singularity—they’re bandwidth-limited. Sooner or later the posthuman descendants evolve Economics 2.0, or 3.0, or something else, and it, uh, eats the original conscious instigators. Or uses them as currency or something. The end result we found is a howling wilderness of degenerate data, fractally compressed, postconscious processes running slower and slower as they trade storage space for processing power. We were”—she licks her lips—“lucky to escape with our minds. We only did it because of a friend. It’s like the main sequence in stellar evolution; once a G-type star starts burning helium and expands into a red giant, it’s ‘game over’ for life in what used to be its liquid-water zone.

I’d allowed myself to become very out of touch with the latest technologies. I’d used samples but didn’t really know how sampling worked. I’d used sequencing but, again, didn’t really know how sequencers worked, and so on. Synths had moved on, but those advances had escaped me. My reliance on the PPG, and my reliance on Mike and Ian operating it, had rendered me a technical dimwit. It amazed me how quickly I’d lost touch. It seemed like only yesterday that I was on top of everything and now just a review of a new synth read like a foreign language.

She was caught in what felt like a dream, one of those endless dreams that turned on itself, one she couldn’t escape. It unfurled with dreadful lack of surprise. It had all happened before.

xxx you can't escape yourself, and you're the only thing that hurts you in the long run.

The illusion that Nature … adopts the same complexity scale used by people … arises each time we face … configuration [space]…. The second law of Thermodynamics, for example, has been interpreted in many textbooks as though Nature exhibits an incurable tendency to disrupt order. Nature, of course, could not prefer one state of affairs to any other simply because we found an elegant description to the former, not more than the sequence HHHHHH is preferred to any other sequence in a coin-flipping experiment. The second law implies only that a … system tends to “escape” from any narrow region of phase space toward regions of larger volume. The illusion of an irreversible trend toward disorder originates with the fact that the volume occupied by states to which people can find concise descriptions … is extremely small compared to the entire space of possibilities. The escape from the [describable] to the [formless] is merely a perceptual distortion of the underlying transition from the narrow to the wider, as people fail to record the much more frequent transitions from the complex to the complex.

But then she imagined the kind of person who could see that pain and not hurt, and she did not want to be that person, either. The prisons into which you locked yourself, you could not escape.