Lattice Quotes

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. Tis some visitor," I muttered, "tapping at my chamber door — Only this, and nothing more." Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; — vainly I had sought to borrow From my books surcease of sorrow — sorrow for the lost Lenore — For the rare and radiant maiden whom the angels name Lenore — Nameless here for evermore. And the silken sad uncertain rustling of each purple curtain Thrilled me — filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating, Tis some visitor entreating entrance at my chamber door — Some late visitor entreating entrance at my chamber door; — This it is, and nothing more." Presently my soul grew stronger; hesitating then no longer, Sir," said I, "or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you"— here I opened wide the door; — Darkness there, and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortals ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, "Lenore?" This I whispered, and an echo murmured back the word, "Lenore!" — Merely this, and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. Surely," said I, "surely that is something at my window lattice: Let me see, then, what thereat is, and this mystery explore — Let my heart be still a moment and this mystery explore; — 'Tis the wind and nothing more." Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door — Perched upon a bust of Pallas just above my chamber door — Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore. Though thy crest be shorn and shaven, thou," I said, "art sure no craven, Ghastly grim and ancient raven wandering from the Nightly shore — Tell me what thy lordly name is on the Night's Plutonian shore!" Quoth the Raven, "Nevermore." Much I marveled this ungainly fowl to hear discourse so plainly, Though its answer little meaning— little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blest with seeing bird above his chamber door — Bird or beast upon the sculptured bust above his chamber door, With such name as "Nevermore.

All the speed he took, all the turns he'd taken and the corners he'd cut in Night City, and still he'd see the matrix in his sleep, bright lattices of logic unfolding across that colorless void...

you said Is there anything which is dead or alive more beautiful than my body,to have in your fingers (trembling ever so little)? Looking into your eyes Nothing,i said,except the air of spring smelling of never and forever. ....and through the lattice which moved as if a hand is touched by a hand(which moved as though fingers touch a girl's breast, lightly) Do you believe in always,the wind said to the rain I am too busy with my flowers to believe,the rain answered

I came out of the park. The city streets rose up around me. There was a hotel with a courtyard with metal tables and chairs for people to sit in more clement weather. Today they were snow-strewn and forlorn. A lattice of wire was strung across the courtyard. Paper lanterns were hanging from the wires, spheres of vivid orange that blew and trembled in the snow and the thin wind; the sea-grey clouds raced across the sky and the orange lanterns shivered against them. The Beauty of the House is immeasurable; its Kindness infinite.

Still more horrible was the color of the flames that licked the latticed cabin vents before shooting skyward, as though - might I say? - the sun itself had crashed to earth, spewing its heavenly fire in all directions.

All the time, I looked out our lattice window. I watched the birds fly by. I followed the clouds on their travels. I studied the moon as it grew larger, then shrank. So much happened outside my window that I almost forgot what was happening inside that room.

A delicate, inexorable lattice of inferences began to assemble themselves, like a crystal, in the old man's mind, shivering, catching the light in glints and surmises.

Vaporized by the sun! Wasn't that what the universe had in store for all of us? There would come a day when the sun exploded like a red balloon, and everyone on earth would be reduced in less than a camera flash to carbon. Didn't Genesis say as much? For dust thou art, and unto dust shalt thou return. This was far more than dull old theology: It was precise scientific observation! Carbon was the Great Leveler--the Grim Reaper. Diamonds were nothing more than carbon, but carbon in a crystal lattice that made it the hardest known mineral in nature. That was the way we all were headed. I was sure of it. We were destined to be diamonds!

A year here and he still dreamed of cyberspace, hope fading nightly. All the speed he took, all the turns he'd taken and the corners he cut in Night City, and he'd still see the matrix in his dreams, bright lattices of logic unfolding across that colourless void... The Sprawl was a long, strange way home now over the Pacific, and he was no Console Man, no cyberspace cowboy. Just another hustler, trying to make it through. But the dreams came on in the Japanese night like livewire voodoo, and he'd cry for it, cry in his sleep, and wake alone in the dark, curled in his capsule in some coffin hotel, hands clawed into the bedslab, temper foam bunched between his fingers, trying to reach the console that wasn't there.

They are crystals, Mr. Williams,” Ferg said, “but unlike any other crystals on this planet. If I were to put a label on the spheres, each is a Dynamically Layered Organic Crystal Lattice. Something like this has been theorized, but it has remained in the theory stage because no one could imagine how to make them.

I obeyed, so far as to quit the chamber; when, ignorant where the narrow lobbies led, I stood still, and was witness, involuntarily, to a piece of superstition on the part of my landlord which belied, oddly, his apparent sense. He got on to the bed, and wrenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of tears. 'Come in! come in!' he sobbed. 'Cathy, do come. Oh, do - ONCE more! Oh! my heart's darling! hear me THIS time, Catherine, at last!' The spectre showed a spectre's ordinary caprice: it gave no sign of being; but the snow and wind whirled wildly through, even reaching my station, and blowing out the light.

As the heavy latticed iron beetled above their heads, Damen found himself wanting it, wanting disruption, a cry of outrage, or of challenge, wanting it as a release to this--feeling. Traitor. Stop. But none came.

What are "I" and "You"? Just lattices In the niches of a lamp Through which the One Light radiates. "I" and "You" are the veil Between heaven and earth; Lift this veil and you will see How all sects and religions are one. Lift this veil and you will ask When "I" and "You" do not exist What is mosque? What is synagogue? What is fire temple?

For a moment, unseen by condemning human eyes, I gave into my fascination and let myself look at her. Her pale skin seemed to glow in the moonlight slanting through the latticed windows, her hair an inky curtain across her back and shoulders. She breathed calmly, her face unguarded in sleep, as it was when she was awake. A jet-black strand of hair came loose to fall into her eyes, and I was filled with and incomprehensible urge to brush it back.

A plumped feather bed may have looked divine, but occupants quickly found themselves sinking into a hard, airless fissure between billowy hills. Support was on a lattice of ropes, which could be tightened with a key when they began to sag (hence the expression "sleep tight").

When my own mother died, there seemed to me to be no answer to anything. For a time the only universality was death. And then I remember walking in the dusk along the quiet little street toward the house now so empty and meaningless. There was light enough from the sky to cast the lattice shadow of leaves on the walk. The sound of the river was steady and swift, and the air smelled of sulphur from the mills beyond it. As I looked up, a delicate petal of moon drifted into the tender blue, and all at once I thought, How beautiful God made the world! How wonderful that the stars still shine! And I was comforted.

The sun in its slow descent filtered great cathedral-moats of gold through latticed boughs of pine and birch and maple. It was that time of day- or afternoon- when the forest's breath, sun-stunned, yearning for night, impalpably swoons to the slow pulsations of blood and time and silence.

Through the smoke she could feel bodies around her. Hot and faint, she felt for them with her hands. The gunfire came from right outside the door, but when the lattice beam fell from the ceiling, all sounds faded away, all faded away, and there was no more fear. Only regret was left. Regret for Alexander.

Diamonds were nothing more than carbon, but carbon in a crystal lattice that made it the hardest known mineral in nature. That was the way we all were headed. I was sure of it. We were destined to be diamonds! How exciting it was to think that, long after the world had ended, whatever was left of our bodies would be transformed into a dazzling blizzard of diamond dust, blowing out towards eternity in the red glow of a dying sun.

He wore a delicate ring with a tiny sleepy diamond embedded in the latticed gold band. He said, "My wife chose this wedding ring for me. It's Victorian, not really my style, but it reminds me of her." And then he said, "My wife crashed the car again." Ah, I thought, as we walked past the golden trees, she does not have a name. She is a wife. I wondered why my male colleague often forgot the names of most of the women he met at social events. He would always refer to them as someone's wife or girlfriend, as if that was all I needed to know. If we don't have names, who are we?

Oh, lady bright! can it be right- The window open to the night? The wanton airs, from the tree-top, Laughingly through the lattice drop - The bodiless airs, a wizard rout, Flit through thy chamber in and out, And wave the curtain canopy So fitfully - so fearfully - Above the closed and fringéd lid 'Neath which thy slumb'ring soul lies hid, That, o'er the floor and down the wall, Like ghosts the shadows rise and fall! Oh, lady dear, hast thou no fear?

Summer was meeting everyone by throwing the rich carpet of blue periwinkles over the little hill under one of the spreading apricot trees, and by sparking off the lights of red and lilac decorative peas which crawled on the lattice boarding the vegetable garden

The rapid nightfall of mid-December had quite beset the little village as they approached it on soft feet over a first thin fall of powdery snow. Little was visible but squares of a dusky orange-red on either side of the street, where the firelight or lamplight of each cottage overflowed through the casements into the dark world without. Most of the low latticed windows were innocent of blinds, and to the lookers-in from outside, the inmates, gathered round the tea-table, absorbed in handiwork, or talking with laughter and gesture, had each that happy grace which is the last thing the skilled actor shall capture--the natural grace which goes with perfect unconsciousness of observation. Moving at will from one theatre to another, the two spectators, so far from home themselves, had something of wistfulness in their eyes as they watched a cat being stroked, a sleepy child picked up and huddled off to bed, or a tired man stretch and knock out his pipe on the end of a smouldering log.

The combination of random branching and orderly underlying lattice creates the exquisite complexity of the snowflake, poised on the brink of chaos and minutely sensitive to tiny variations in the temperature and humidity of the air.

It is the disaster of our entire existence that we live thus away from our soul, and stand in such dread of its slightest movement. Did we but allow it to smile frankly in its silence and its radiance, we should be already living an eternal life. We have only to think for an instant how much it succeeds in accomplishing during those rare moments when we knock off its chains – for it is our custom to enchain it as though it were distraught – what it does in love, for instance, for there we do permit it at times to approach the lattices of external life.

The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear. They could look at a peak or a bird or cloud, at a stone right in front of them, or even down into a canyon behind them. But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe. "This was only the beginning of Billy's miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn't know he was on a flatcar, didn't even know there was anything peculiar about his situation. "The flatcar sometimes crept, sometimes went extremely fast, often stopped--went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, 'That's life.

One of the latticed squares in a small cobwebby casement window at the turn of the staircase was glazed with ruby, and that raw wound among the unstained rectangles and its asymmetrical position—a knight’s move from the top—always strangely disturbed me.

if physics is much simpler to describe under the assumption that space is discrete, rather than continuous, is not this fact itself a strong argument for space being discrete? If so, then might space look, on some very small scale, something like Wilson's lattice.

It doesn’t hurt, she explains. And there is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture.

Fiction only really worked if it was built like a lattice through which you were repeatedly offered glimpses of absolute truth.

Unlike we are, unlike, O princely Heart! Unlike our uses and our destinies... Thou, bethink thee, art A guest for queens to social pageantries, With gages from a hundred brighter eyes Than tears even can make mine... What hast though to do With looking from the lattice-lights at me, A poor, tired, wandering singer...

Season late, day late, sun just down, and the sky Cold gunmetal but with a wash of live rose, and she, From water the color of sky except where Her motion has fractured it to shivering splinters of silver, Rises. Stands on the raw grass. Against The new-curdling night of spruces, nakedness Glimmers and, at bosom and flank, drips With fluent silver. The man, Some ten strokes out, but now hanging Motionless in the gunmetal water, feet Cold with the coldness of depth, all History dissolving from him, is Nothing but an eye. Is an eye only. Sees The body that is marked by his use, and Time's, Rise, and in the abrupt and unsustaining element of air, Sway, lean, grapple the pond-bank. Sees How, with that posture of female awkwardness that is, And is the stab of, suddenly perceived grace, breasts bulge down in The pure curve of their weight and buttocks Moon up and, in swelling unity, Are silver and glimmer. Then The body is erect, she is herself, whatever Self she may be, and with an end of the towel grasped in each hand, Slowly draws it back and forth across back and buttocks, but With face lifted toward the high sky, where The over-wash of rose color now fails. Fails, though no star Yet throbs there. The towel, forgotten, Does not move now. The gaze Remains fixed on the sky. The body, Profiled against the darkness of spruces, seems To draw to itself, and condense in its whiteness, what light In the sky yet lingers or, from The metallic and abstract severity of water, lifts. The body, With the towel now trailing loose from one hand, is A white stalk from which the face flowers gravely toward the high sky. This moment is non-sequential and absolute, and admits Of no definition, for it Subsumes all other, and sequential, moments, by which Definition might be possible. The woman, Face yet raised, wraps, With a motion as though standing in sleep, The towel about her body, under her breasts, and, Holding it there hieratic as lost Egypt and erect, Moves up the path that, stair-steep, winds Into the clamber and tangle of growth. Beyond The lattice of dusk-dripping leaves, whiteness Dimly glimmers, goes. Glimmers and is gone, and the man, Suspended in his darkling medium, stares Upward where, though not visible, he knows She moves, and in his heart he cries out that, if only He had such strength, he would put his hand forth And maintain it over her to guard, in all Her out-goings and in-comings, from whatever Inclemency of sky or slur of the world's weather Might ever be. In his heart he cries out. Above Height of the spruce-night and heave of the far mountain, he sees The first star pulse into being. It gleams there. I do not know what promise it makes him.

ah yes I know them well who was the first person in the universe before there was anybody that made it all who ah that they dont know neither do I so there you are they might as well try to stop the sun from rising tomorrow the sun shines for you he said the day we were lying among the rhododendrons on Howth head in the grey tweed suit and his straw hat the day I got him to propose to me yes first I gave him the bit of seedcake out of my mouth and it was leapyear like now yes 16 years ago my God after that long kiss I near lost my breath yes he said I was a flower of the mountain yes so we are flowers all a womans body yes that was one true thing he said in his life and the sun shines for you today yes that was why I liked him because I saw he understood or felt what a woman is and I knew I could always get round him and I gave him all the pleasure I could leading him on till he asked me to say yes and I wouldnt answer first only looked out over the sea and the sky I was thinking of so many things he didnt know of Mulvey and Mr Stanhope and Hester and father and old captain Groves and the sailors playing all birds fly and I say stoop and washing up dishes they called it on the pier and the sentry in front of the governors house with the thing round his white helmet poor devil half roasted and the Spanish girls laughing in their shawls and their tall combs and the auctions in the morning the Greeks and the jews and the Arabs and the devil knows who else from all the ends of Europe and Duke street and the fowl market all clucking outside Larby Sharons and the poor donkeys slipping half asleep and the vague fellows in the cloaks asleep in the shade on the steps and the big wheels of the carts of the bulls and the old castle thousands of years old yes and those handsome Moors all in white and turbans like kings asking you to sit down in their little bit of a shop and Ronda with the old windows of the posadas glancing eyes a lattice hid for her lover to kiss the iron and the wineshops half open at night and the castanets and the night we missed the boat at Algeciras the watchman going about serene with his lamp and O that awful deepdown torrent O and the sea the sea crimson sometimes like fire and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and the pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.

This afternoon I walked through the city, making for a café where I was to meet Raphael. It was about half-past two on a day that had never really got light. It began to snow. The low clouds made a grey ceiling for the city; the snow muffled the noise of the cars until it became almost rhythmical; a steady, shushing noise, like the sound of tides beating endlessly on marble walls. I closed my eyes. I felt calm. There was a park. I entered it and followed a path through an avenue of tall, ancient trees with wide, dusky, grassy spaces on either side of them. The pale snow sifted down through bare winter branches. The lights of the cars on the distant road sparkled through the trees: red, yellow, white. It was very quiet. Though it was not yet twilight the streetlights shed a faint light. People were walking up and down on the path. An old man passed me. He looked sad and tired. He had broken veins on his cheeks and a bristly white beard. As he screwed up his eyes against the falling snow, I realised I knew him. He is depicted on the northern wall of the forty-eighth western hall. He is shown as a king with a little model of a walled city in one hand while the other hand he raises in blessing. I wanted to seize hold of him and say to him: In another world you are a king, noble and good! I have seen it! But I hesitated a moment too long and he disappeared into the crowd. A woman passed me with two children. One of the children had a wooden recorder in his hands. I knew them too. They are depicted in the twenty-seventh southern hall: a statue of two children laughing, one of them holding a flute. I came out of the park. The city streets rose up around me. There was a hotel with a courtyard with metal tables and chairs for people to sit in more clement weather. Today they were snow-strewn and forlorn. A lattice of wire was strung across the courtyard. Paper lanterns were hanging from the wires, spheres of vivid orange that blew and trembled in the snow and the thin wind; the sea-grey clouds raced across the sky and the orange lanterns shivered against them. The Beauty of the House is immeasurable; its Kindness infinite.

Most of the low latticed windows were innocent of blinds, and to the lookers-in from outside, the inmates, gathered round the tea-table, absorbed in handiwork, or talking with laughter or gesture, had each that happy grace which is the last thing the skilled actor shall capture – the natural grace which goes with perfect unconsciousness of observation. Moving at will from one theater to another, the two spectators, so far from home themselves, had something of wistfulness in their eyes...

It was one of those delightfully irregular houses where you go up and down steps out of one room into another, and where you come upon more rooms when you think you have seen all there are, and where there is a bountiful provision of little halls and passages, and where you find still older cottage-rooms in unexpected places, with lattice windows and green growth pressing through them.

Either individually or in these larger arrays, microtubules are responsible for cellular and intra-cellular movements requiring intelligent spatiotemporal organization. Microtubules have a lattice structure comparable to computational systems. Could microtubules process information?

She waited barefoot beneath the great reflector for the Kyprian to come and take her to the outer sands. She didn’t scream when they came, she didn’t cry, she simply faded away in silence. I woke to the eye shining through the lattice of my shanty. I could hear Bendo gnawing on the blades of grass outside. Minosh had told me she was sure many more species existed before the Kyprian arrived but only a few survived the induction of gold.

But the age of the Machine-entities swiftly passed. In their ceaseless experimenting, they had learned to store knowledge in the structure of space itself, and to preserve their thoughts for eternity in frozen lattices of light. They could become creatures of radiation, free at last from the tyranny of matter.

He no sooner saw the woman than he saw the aftermath of her - his marriage proposal and her acceptance, the home they would set up together, the drawn rich silk curtains leaking purple light, the bed sheets billowing like clouds, the wisp of aromatic smoke winding from the chimney - only for every wrack of it - its lattice of crimson roof tiles, its gables and dormer windows, his happiness, his future - to come crashing down on him in the moment of her walking past.

Yes, they are alive and can have those colors, But I, in my soul, am alive too. I feel I must sing and dance, to tell Of this in a way, that knowing you may be drawn to me. And I sing amid despair and isolation Of the chance to know you, to sing of me Which are you. You see, You hold me up to the light in a way I should never have expected, or suspected, perhaps Because you always tell me I am you, And right. The great spruces loom. I am yours to die with, to desire. I cannot ever think of me, I desire you For a room in which the chairs ever Have their backs turned to the light Inflicted on the stone and paths, the real trees That seem to shine at me through a lattice toward you. If the wild light of this January day is true I pledge me to be truthful unto you Whom I cannot ever stop remembering. Remembering to forgive. Remember to pass beyond you into the day On the wings of the secret you will never know. Taking me from myself, in the path Which the pastel girth of the day has assigned to me. I prefer "you" in the plural, I want "you," You must come to me, all golden and pale Like the dew and the air. And then I start getting this feeling of exaltation.

In his mind the movement of money forms a fine lattice-work, a three dimensional cat's-cradle of light and motion.

I forgot that there were fields, woods, rivers, seas, an ever-changing sky outside the steam-dimmed lattice of this sick-chamber; I was almost content to forget it.

and still he’d see the matrix in his sleep, bright lattices of logic unfolding across that colorless void. . . .

Beneath her fingernails, the frost makes billions of tiny diadems and coronas on the slats of the bench, a lattice of dumbfounding complexity.

plucked out a slim document. It was latticed with

Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore—

One small shift in the way we each conduct ourselves, and the crystal lattice structure of the world is already different. In this way, we are the world, and when we take responsibility for our small but not insignificant part of it, the whole is already different—the flowering we manifest emotionally and in every other way of some importance, potentially enormous.

Far away, my hands were peeling pomegranates for dinner. Methodically, I scored the rind, revealed the white lattice. Within, the red juice pips glowed though their waxy cells. My mouth stung a little with thirst.

Many of the old houses, round about, speak very plainly of those days when Kingston was a royal borough, and nobles and courtiers lived there, near their King, and the long road to the palace gates was gay all day with clanking steel and prancing palfreys, and rustling silks and velvets, and fair faces.  The large and spacious houses, with their oriel, latticed windows, their huge fireplaces, and their gabled roofs, breathe of the days of hose and doublet, of pearl-embroidered stomachers, and complicated oaths.  They were upraised in the days “when men knew how to build.”  The hard red bricks have only grown more firmly set with time, and their oak stairs do not creak and grunt when you try to go down them quietly. Speaking of oak staircases reminds me that there is a magnificent carved oak staircase in one of the houses in Kingston.  It is a shop now, in the market-place, but it was evidently once the mansion of some great personage.  A friend of mine, who lives at Kingston, went in there to buy a hat one day, and, in a thoughtless moment, put his hand in his pocket and paid for it then and there.

He made a noise she recognized, one that meant he was organizing whatever multidimensional information lattices inhabited his mental space into linear strings amenable to transmission through that inadequate medium, language.

The food in his life was the one thing that remained consistently exciting- from the most expensive black truffle to the freshest apple pie at the bakery around the corner, the scent of cinnamon wafting through the pastry lattice.

the fact that I'd really like to be reading Persuasion right now instead of latticing pies, the fact that I never seem to get past Anne’s first reunion with Captain Wentworth lately, because Jake interrupts, the fact that all the older kids were the same, the fact that I have to hide out like Anne Frank almost, to read anything, the fact that I should have a little closet to go to, with a chair, a lamp, and a lock on the door, the fact that I guess it’s called a bathroom,

The view, as I have said, is charming; but in the day you must keep the lattice-blinds close shut, or the sun would drive you mad; and when the sun goes down you must shut up all the windows, or the mosquitoes would tempt you to commit suicide.  So

(T)here is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture... Colour - that's another thing people don't expect. In her imagination, in her dreams, everything has colour. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard room projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver, pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light.

Thy word remaineth for ever, which word now appeareth unto us in the riddle of the clouds, and through the mirror of the heavens, not as it is because that even we, though the well beloved of thy Son, yet it hath not yet appeared what we shall be. He looked through the lattice of our flesh and he spake us fair, yea, he set us on fire, and we hasten on his scent. But when he shall appear, then shall we be like him, for we shall see him as he is. As he is, Lord, will our sight be, though the time be not yet.

He got on to the bed, and wrenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of tears.  ‘Come in! come in!’ he sobbed.  ‘Cathy, do come.  Oh, do—once more!  Oh! my heart’s darling! hear me this time, Catherine, at last!

There’s a cellular automaton called TVC. After Turing, von Neumann and Chiang. Chiang’s version was N-dimensional. That leaves plenty of room for data within easy reach. In two dimensions, the original von Neumann machine had to reach further and further - and wait longer and longer - for each successive bit of data. In a six-dimensional TVC automaton, you can have a three-dimensional grid of computers, which keeps on growing indefinitely - each with its own three-dimensional memory, which can also grow without bound. And when the simulated TVC universe being run on the physical computer is suddenly shut down, the best explanation for what I’ve witnessed will be a continuation of that universe - an extension made out of dust. Maria could almost see it: a vast lattice of computers, a seed of order in a sea of random noise, extending itself from moment to moment by sheer force of internal logic, “accreting” the necessary building blocks from the chaos of non-space-time by the very act of defining space and time.

One of the latticed squares in a small cobwebby casement window at the turn of the staircase was glazed with ruby, and that raw wound among the unstained rectangles in its asymmetrical position — a knight's move from the top — always strangely disturbed me.

The theological perspective of participation actually saves the appearances by exceeding them. It recognizes that materialism and spiritualism are false alternatives, since if there is only finite matter there is not even that, and that for phenomena really to be there they must be more than there. Hence, by appealing to an eternal source for bodies, their art, language, sexual and political union, one is not ethereally taking leave of their density. On the contrary, one is insisting that behind this density resides an even greater density – beyond all contrasts of density and lightness (as beyond all contrasts of definition and limitlessness). This is to say that all there is only is because it is more than it is. (...) This perspective should in many ways be seen as undercutting some of the contrasts between theological liberals and conservatives. The former tend to validate what they see as the modern embrace of our finitude – as language, and as erotic and aesthetically delighting bodies, and so forth. Conservatives, however, seem still to embrace a sort of nominal ethereal distancing from these realities and a disdain for them. Radical orthodoxy, by contrast, sees the historic root of the celebration of these things in participatory philosophy and incarnational theology, even if it can acknowledge that premodern tradition never took this celebration far enough. The modern apparent embrace of the finite it regards as, on inspection, illusory, since in order to stop the finite vanishing modernity must construe it as a spatial edifice bound by clear laws, rules and lattices. If, on the other hand, following the postmodern options, it embraces the flux of things, this is an empty flux both concealing and revealing an ultimate void. Hence, modernity has oscillated between puritanism (sexual or otherwise) and an entirely perverse eroticism, which is in love with death and therefore wills the death also of the erotic, and does not preserve the erotic as far as an eternal consummation. In a bizarre way, it seems that modernity does not really want what it thinks it wants; but on the other hand, in order to have what it thinks it wants, it would have to recover the theological. Thereby, of course, it would discover also that that which it desires is quite other than it has supposed

We tend to think of solid materials as magical barriers. But at the molecular scale they’re not. They’re strands of molecules or lattices of atoms or both. When you get down to the teeny, tiny realm, solid objects are more like thick jungles than brick walls.

The task assigned to the RAND* researcher Paul Baran in 1964 was to develop a communication system that would survive a Soviet nuclear attack. Baran suggested three possible structures for such a system. It could either be ‘centralized’, with one central hub and multiple spokes, ‘decentralized’, with multiple components linked loosely together by a number of weak ties, or ‘distributed’, like a lattice or mesh. In theory, the last option was the most resilient, in that it could withstand the destruction of numerous nodes, and that was indeed

The whipped butter had already started melting across the waffles' latticed brown surface, creating a golden trickling waterfall that pooled in their hollows. Rika bit into the dough, savoring how juicy and moist it had become with all the butter it had absorbed, with a pleasant saltiness.

She wandered to the window, staring out at a path of stone arches that led through the east garden. The arches had overgrown with roses, clematis, and honeysuckle, forming a fragrant tunnel that led to a stone-walled summerhouse with a wood-latticed ceiling. Memories of McKenna were everywhere in the garden... his hands moving carefully among the roses, pruning the dead blossoms... his tanned face dappled with the sunlight that broke through the leaves and lattices... the hair on the back of his neck glittering with sweat as he shoveled gravel onto the path, or weeded the raised flower beds.

If we think of eroticism not as sex per se, but as a vibrant, creative energy, it’s easy to see that Stephanie’s erotic pulse is alive and well. But her eroticism no longer revolves around her husband. Instead, it’s been channeled to her children. There are regular playdates for Jake but only three dates a year for Stephanie and Warren: two birthdays, hers and his, and one anniversary. There is the latest in kids’ fashion for Sophia, but only college sweats for Stephanie. They rent twenty G-rated movies for every R-rated movie. There are languorous hugs for the kids while the grown-ups must survive on a diet of quick pecks. This brings me to another point. Stephanie gets tremendous physical pleasure from her children. Let me be perfectly clear here: she knows the difference between adult sexuality and the sensuousness of caring for small children. She, like most mothers, would never dream of seeking sexual gratification from her children. But, in a sense, a certain replacement has occurred. The sensuality that women experience with their children is, in some ways, much more in keeping with female sexuality in general. For women, much more than for men, sexuality exists along what the Italian historian Francesco Alberoni calls a “principle of continuity.” Female eroticism is diffuse, not localized in the genitals but distributed throughout the body, mind, and senses. It is tactile and auditory, linked to smell, skin, and contact; arousal is often more subjective than physical, and desire arises on a lattice of emotion. In the physicality between mother and child lie a multitude of sensuous experiences. We caress their silky skin, we kiss, we cradle, we rock. We nibble their toes, they touch our faces, we lick their fingers, let them bite us when they’re teething. We are captivated by them and can stare at them for hours. When they devour us with those big eyes, we are besotted, and so are they. This blissful fusion bears a striking resemblance to the physical connection between lovers. In fact, when Stephanie describes the early rapture of her relationship with Warren—lingering gazes, weekends in bed, baby talk, toe-nibbling—the echoes are unmistakable. When she says, “At the end of the day, I have nothing left to give,” I believe her. But I also have come to believe that at the end of the day, there may be nothing more she needs. All this play activity and intimate involvement with her children’s development, all this fleshy connection, has captured Stephanie’s erotic potency to the detriment of the couple’s intimacy and sexuality. This is eros redirected. Her sublimated energy is displaced onto the children, who become the centerpiece of her emotional gratification.

With such luck as this, he rode the beast in the jaunty way that she deserved, back north, seemingly back from Mexico, pulling up finally at an outlying bar-ex-saloon (they had covered the old adobe face with knotty pine, substituted big stone matades for the cuspidors) and having brought her wrecklessly this far did not park her in the little parking lot but in front of the church next door. They had lifted that face too and neonized, but it did no good, they seemed to know they had no chance against an older god, their doors were closed. Thus one could join the pagan worshipers with a self-righteous shrug, through latticed doors.

The master group theorist John Conway, upon encountering the lattice in 1968, worked out all its symmetries in a twelve-hour spree of computation on a single giant roll of paper. These symmetries ended up forming some of the final pieces of the general theory of finite symmetry groups that preoccupied algebraists for much of the twentieth century.

Can we not talk about this?” Tern asked. She fished into her robes and dug out a small cluster of multicolored crystals linked through a lattice of silver wire. “Here, I got this for you, because I listen to you and care about things that interest you, and I thought an attunable thaumaturgic capacitor might be something you’d have fun with.” She shoved it ungraciously into his hand.

After we had turned from the Muski into the narrower ways of the bazaar, the starlight was cut off by the houses looming high on either hand, and the farther we penetrated into the heart of the maze, the darker it became. The protruding balconies with their latticed wooden shutters jutted into the street, almost meeting overhead. Occasionally a lighted window spilled a golden glimmer onto the pathway, but most of the windows were dark. Parallel slits of light marked closed shutters. The darkness teemed with foul movement; rats glided behind heaps of refuse; lean, vicious stray dogs slunk into even narrower passageways as we approached. The rank stench of rotting fruit, human waste and infected air filled the tunnel-like street like a palpable liquid, clogging the nostrils and the lungs.

Equally disagreeable is the man who, when leaving in the middle of the night, takes care to fasten the cord of his headdress. This is quite unnecessary; he could perfectly well put it gently on his head without tying the cord. And why must he spend time adjusting his cloak or hunting costume? Does he really think that someone may see him at this time of night and criticize him for not being impeccably dressed? A good lover will behave as elegantly at dawn as at any other time. He drags himself out of bed with a look of dismay on his face. The lady urges him on: “Come, my friend, it’s getting light. You don’t want anyone to find you here.” He gives a deep sigh, as if to say that the night has not been nearly long enough and that it is agony to leave. Once up, he does not instantly pull on his trousers. Instead, he comes close to the lady and whispers whatever was left unsaid during the night. Even when he is dressed, he still lingers, vaguely pretending to be fastening his sash. Presently he raises the lattice, and the two lovers stand together by the side door while he tells her how he dreads the coming day, which will keep them apart; then he slips away. The lady watches him go, and this moment of parting will remain among her most charming memories. Indeed, one’s attachment to a man depends largely on the elegance of his leave-taking. When he jumps out of bed, scurries about the room, tightly fastens his trouser-sash, rolls up the sleeves of his Court cloak, over-robe, or hunting costume, stuffs his belongings into the breast of his robe and then briskly secures the outer sash—one really begins to hate him.

We flew gracefully between the complicated lattice of trusses like a pair of nymphs. Add our sexy outfits and transparent metallite alloy spacesuits to our naturally good looks, and you can see what I mean, can't you? I was swept with an overwhelming confidence in how beautiful I must look. That's it! It wasn't that we felt things were going too easily. The fact was, we were frustrated that there wasn't anyone around to admire us.

He was leaning against the ledge of an open lattice, but not looking out: his face was turned to the interior gloom. The fire had smouldered to ashes; the room was filled with the damp, mild air of the cloudy evening; and so still, that not only the murmur of the beck down Gimmerton was distinguishable, but its ripples and its gurgling over the pebbles, or through the large stones which it could not cover. I uttered an ejaculation of discontent at seeing the dismal grate, and commenced shutting the casements, one after another, till I came to his. 'Must I close this?' I asked, in order to rouse him; for he would not stir. The light flashed on his features as I spoke. Oh, Mr. Lockwood, I cannot express what a terrible start I got by the momentary view! Those deep black eyes! That smile, and ghastly paleness! It appeared to me, not Mr. Heathcliff, but a goblin; and, in my terror, I let the candle bend towards the wall, and it left me in darkness.

And now I see the outside of our house, with the latticed bedroom-windows standing open to let in the sweet-smelling air, and the ragged old rooks'-nests still dangling in the elm-trees at the bottom of the front garden. Now I am in the garden at the back, beyond the yard where the empty pigeon-house and dog-kennel are—a very preserve of butterflies, as I remember it, with a high fence, and a gate and padlock; where the fruit clusters on the trees, riper and richer than fruit has ever been since, in any other garden, and where my mother gathers some in a basket, while I stand by, bolting furtive gooseberries, and trying to look unmoved. A great wind rises, and the summer is gone in a moment. We are playing in the winter twilight, dancing about the parlour. When my mother is out of breath and rests herself in an elbow-chair, I watch her winding her bright curls round her fingers, and straitening her waist, and nobody knows better than I do that she likes to look so well, and is proud of being so pretty.

Yearning begets yearning: the pea plant yearns for a lattice, so it grows tendrils—then every tendril too years for a lattice. Yearning draws tendrils out of the spindly green pea-shoot only to find itself compounded, elephantine. Tendril wending is swervy and conjectural; like a dancer who cannot quite hear the music, pea tendrils are antic with inapprehension. Since there is no way for them to apprehend a lattice, the only direction to grow is yonder. Haywire personalities like peas, wobbly personalities with loose ends, iffy ends, result not from having no aim, no object in life, but from having an extrasensory object. What they want is beyond their powers of apprehension—until they hold it in their acute green wisps—so their manner is vagabond. The personality that longs only for perceptible things is down-to-earth, like a dung eater. But the teetery-pea kind send out aerial filaments to hound the yonder, tending every which way, guessing themselves into arabesques, for they are fixed on the imperceptible.

Silver latticed with red fire glimmered through industrial smog. Three figures formed: the women’s sequined skeletons glittered toward them, casting hollow eyes. Kittens clawed the Customs Officer’s back, for strut work pylons gleamed behind the apparitional bellies. “The faces,” he whispered. “As soon as you look away, you can’t remember what they look like. When you look at them, they look like people, but when you look away—” He caught his breath as another passed. “You can’t remember…!” He stared after them. “Dead?

His guess was confirmed when they approached the well-built harbour of a prosperous town and saw the banners flying from the bastions of the citadel. After the sultry heat of Zarzis, the sailors’ hearts were lifted and refreshed by the airy music reaching their ears as they pulled in towards the marble wharf. Only when they docked did they realise that they were listening to the sound of the breeze strumming through countless wind-harps and chiming among webs and lattices of translucent shell. It felt as though the wind that had blown them there was now celebrating their arrival.

The curtains were half drawn, the floor was swept And strewn with rushes, rosemary and may Lay thick upon the bed on which I lay, Where through the lattice ivy-shadows crept. He leaned above me, thinking that I slept And could not hear him; but I heard him say, ‘Poor child, poor child’: and as he turned away Came a deep silence, and I knew he wept. He did not touch the shroud, or raise the fold That hid my face, or take my hand in his, Or ruffle the smooth pillows for my head: He did not love me living; but once dead He pitied me; and very sweet it is To know he still is warm though I am cold.

I remember waking in a field. The sun is above me. It has a face but not like mine. Its eyes are closed. I'm wearing a gown made of the hair we'd never grown. The gown stretches behind me as I walk, winding and clinging against the landscape as if to wed me to it. It pulls the roots of my scalp so wide and far apart you can see straight into my brain, the mounds and nubs there, holes and powder. Beneath the dirt, the blood is dry. Enmassed dreams of the dead hold up the lattice of the unnamed landscape. Where I'd already walked I knew I could not walk back. The light of day is near and thin with no one waiting.

You were angry at Bensimon?” “Yes,” she said. “Because he ignored me, you see. He was busy here on the Hill. I was so angry I would hit things and tear at them. Curtains and scarves. Other children.” She smoothed the salve as gently as she could over the lattice of cuts that feathered like wings across his shoulders. “All thst anger never amounted to anything, though. It never changed the situation. It never brought him back.” “Bensimon did that?” The Prince sounded genuinely surprised. “I never thought of him as someone who could neglect a responsibility.” No one wants to be a responsibility, Lin thought. They want to be loved.

Look at me.” He leaned forward into the light. Slowly. The downlighter beam rode up his chest. Up his neck. Onto his face. It was an incredible face. It had started out ugly and it had gotten much worse. He had straight razor scars all over it. They crisscrossed it like a lattice. They were deep and white and old. His nose had been busted and badly reset and busted again and badly reset again, many times over. He had brows thick with scar tissue. Two small eyes were staring out at me from under them. He was maybe forty. Maybe five-ten, maybe three hundred pounds. He looked like a gladiator who had survived twenty years, deep inside the catacombs.

We got out at Sonning, and went for a walk round the village. It is the most fairy-like little nook on the whole river. It is more like a stage village than one built of bricks and mortar. Every house is smothered in roses, and now, in early June, they were bursting forth in clouds of dainty splendour. If you stop at Sonning, put up at the “Bull,” behind the church. It is a veritable picture of an old country inn, with green, square courtyard in front, where, on seats beneath the trees, the old men group of an evening to drink their ale and gossip over village politics; with low, quaint rooms and latticed windows, and awkward stairs and winding passages.

LIGHT PALE AS MILK guided the old man’s steps over the field to the creek and then to the mountain, stepping into the black wall of pineshadows and climbing up the lower slopes out into the hardwoods, bearded hickories trailing grapevines, oaks and crooked waterless cottonwoods, a quarter mile from the creek now, past the white chopped butt of a bee tree lately felled, past the little hooked Indian tree and passing silent and catlike up the mountain in the darkness under latticed leaves scudding against the sky in some small wind. Light saw him through the thick summer ivy and over windfalls and limestone. Past the sink where on a high bluff among trilobites and fishbones, shells of ossified crustaceans from an ancient sea, a great stone tusk jutted.

Over the seven years that I chipped away at this topic, I found hoarding to be a historically intricate lattice of worry about the unsuitable roles that household furnishings, mass-produced whatnots, curiosa, keepsakes, and clutter play in our daily lives. The majority of these apprehensions over the stuff of normal life originated in the twentieth century, and they are not so far removed from other cultural anxieties. As much as a hoard might be about depression and impulsivity and loss and misplaced stacks of paper, it is also about fears of working-class blacks in 1930s Harlem, post-1960s New Christian Right literatures, and emerging models of appropriate aging in the 1940s and 1950s. Though neglected in the current rhetoric of chronic savers, these unlikely sources each fed into definitions of HD.

his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe. This was only the beginning of Billy’s miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn’t know he was on a flatcar, didn’t even know there was anything peculiar about his situation. The flatcar sometimes crept, sometimes went extremely fast, often stopped—went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, “That’s life.

(To visualize this, consider the simple problem of why the Northeast has so many potholes in its highways. Every winter, water seeps into tiny cracks in the asphalt; the water expands as it freezes, causing the asphalt to crumble and gouging out a pothole. But it violates common sense to think that water expands when it freezes. Water does expand because of hydrogen bonding. The water molecule is shaped like a V, with the oxygen atom at the base. The water molecule has a slight negative charge at the bottom and a positive charge at the top. Hence, when you freeze water and stack water molecules, they expand, forming a regular lattice of ice with plenty of spaces between the molecules. The water molecules are arranged like hexagons. So water expands as it freezes since there is more space between the atoms in a hexagon. This is also the reason snowflakes have six sides, and explains why ice floats on water, when by rights it should sink.)

After The Persian" 1 I have wept with the spring storm; Burned with the brutal summer. Now, hearing the wind and the twanging bow-strings I know what winter brings. The hunt sweeps out upon the plain And the garden darkens. They will bring the trophies home To bleed and perish Beside the trellis and the lattices, Beside the fountain, still flinging diamond water, Beside the pool (Which is eight-sided, like my heart). 2 All has been translated into treasure: Weightless as amber, Translucent as the currant on the branch, Dark as the rose's thorn. Where is the shimmer of evil? This is the shell's iridescence And the wild bird's wing. 3 Ignorant, I took up my burden in the wilderness. Wise with great wisdom, I shall lay it down upon flowers. 4 Goodbye, goodbye! There was so much to love, I could not love it all; I could not love it enough. Some things I overlooked, and some I could not find. Let the crystal clasp them When you drink your wine, in autumn.

Pastry for double-crust, 9-inch pie ¾ cup sugar 1 teaspoon nutmeg Enough pared and sliced apples to fill a 9-inch pie generously 1 ½ tablespoons butter, cut into small pieces ½ cup liquid honey 1 tablespoon grated orange rind Confectioners’ sugar Preheat oven to 425° F. Prepare pastry sufficient for a double-crust, 9-inch pie. Roll out half the dough and line the pie plate. Combine sugar and nutmeg; pour over apples, lifting and tossing with two forks until well combined. Pile fruit into pie pan, heaping to make a nice fat pie, and dot with butter. Roll out remaining pastry and cut into ½-inch strips. Arrange strips lattice fashion over apples, pressing edges down firmly. Bake 10 minutes, then lower the oven temperature to 350°F. Bake 30–40 minutes more, or until apples are tender and crust is brown. Remove from oven. Combine honey and orange rind, and pour mixture through openings in lattice; return pie to oven and bake another 5 minutes. Cool to lukewarm and dredge with confectioners’ sugar. Serve warm or cold.

Tonight Ray will tape the the drenched oasis inside of the silver bowl that sits on the top of the candelabra and fill it with the pale green hydrangeas, pink English garden roses, lilies of the valley, and extravagant lavender sweet peas that R.L., the local florist/antique dealer, delivered a few hours ago. The flowers are all soaking in their respective sugar water jugs in her kitchen- out of the direct sunlight, of course- as is the oasis which she'll mold into every bowl and vase in the house with a similar arrangement. She's even going to make an arrangement in a flat sweetgrass basket to hang on the front door and a round little pomander of pale green hydrangea with a sheer white ribbon for Little Hilda to hold as she greets the guests in the foyer. Ray is tempted to snip the last blossoms of gardenias growing secretly behind Cousin Willy's shed. In her estimation they are the quintessential wedding flower, with their intoxicating fragrance and their delicate cream petals surrounded by those dark, waxy leaves. She bought the seedlings when R.L. and the gals weren't looking at the Southern Gardener's Convention in Atlanta four years ago, and no one has any idea she's been growing them. Sometimes she worries that the fragrance will give her away, but they bloom the same time as the confederate jasmine, which grows along the lattice work of the shed, and she can always blame the thick smell on them. It would take a truly trained nose to pick the gardenias out, and Ray possesses the trained nose of the bunch.

But the crown jewel was the columned Greek Revival mansion, which dated from the mid-1800s, along with the manicured boxwood gardens that would serve as the backdrop for the couple's ceremony. Of course, everything was not only very traditional but also a standard to what one might imagine an over-the-top Southern wedding to be. As I said, "Steel Magnolias on steroids." The ceremony would take place outdoors in the garden, but large custom peach-and-white scalloped umbrellas were placed throughout the rows of bamboo folding chairs to shade the guests. Magnolia blossoms and vintage lace adorned the ends of the aisles. White, trellis-covered bars flanked the entrance to the gardens where guests could select from a cucumber cooler or spiked sweet tea to keep cool during the thirty-minute nuptials. It was still considered spring, but like Dallas, Nashville could heat up early in the year, and we were glad to be prepared. By the time we arrived the tent was well on its way to completion, and rental deliveries were rolling in. The reception structure was located past the gardens near the enormous whitewashed former stable, and inside the ceiling was draped in countless yards of peach fabric with crystal chandeliers hanging above every dining table. Custom napkins with embroidered magnolias on them complemented the centerpieces' peach garden roses, lush greenery, and dried cotton stems. Cedric's carpentry department created floor-to-ceiling lattice walls covered in faux greenery and white wisteria blooms, a dreamy backdrop for the band.

I could hear her teeth chattering when she talked but neither of us wanted to stop looking up at the latticed sky. “Okay, so there’s this scientist, and he’s giving a lecture to a huge audience about the history of the earth, and he explains that the earth was formed billions of years ago from a cloud of cosmic dust, and then for a while the earth was very hot, but then it cooled enough for oceans to form. And single-celled life emerged in the oceans, and then over billions of years, life got more abundant and complex, until two hundred fifty thousand or so years ago, humans evolved, and we started using more advanced tools, and then eventually built spaceships and everything. “So he gives this whole presentation about the history of earth and life on it, and then at the end, he asks if there are any questions. An old woman in the back raises her hand, and says, ‘That’s all fine and good, Mr. Scientist, but the truth is, the earth is a flat plane resting on the back of a giant turtle.’ “The scientist decides to have a bit of fun with the woman and responds, ‘Well, but if that’s so, what is the giant turtle standing upon?’ “And the woman says, ‘It is standing upon the shell of another giant turtle.’ “And now the scientist is frustrated, and he says, ‘Well, then what is that turtle standing upon?’ “And the old woman says, ‘Sir, you don’t understand. It’s turtles all the way down.’” I laughed. “It’s turtles all the way down.” “It’s turtles all the way fucking down, Holmesy. You’re trying to find the turtle at the bottom of the pile, but that’s not how it works.” “Because it’s turtles all the way down,” I said again, feeling something akin to a spiritual revelation.

O My children, there is the sound of the turtledove echoing throughout the land. It is the voice of the Bridegroom calling His Bride. It is the wooing of the Spirit bringing forth a people for His Name. It is the Lord of Glory, Jesus Christ Himself, drawing together those who are His. It is the call of love, and those who truly love Him will respond. Like attracts like; and love has always been the test of true discipleship. Those whose hearts are fixed on things above will not be held by worldly entanglements (even though they may be within the organized church). Those who are listening to the voice of their Beloved will not be deafened by the cries of men. In a world filled with noises, each demanding attention, they will hear Him. Yes, they shall even hear the tender cooing of the turtledove! Another stands beside them and hears only the voice of the preacher. Another may be giving attention to the opinions and arguments of men. In the words of the beloved hymn writer: “The love of Jesus, what it is, none but His loved ones know.” You need not fear that you will miss it. Be it ever so soft, you shall hear. Your heart shall hear, and your heart shall leap with joy. You will be like Elizabeth when she was greeted by Mary. The response was immediate—an inner, involuntary response to the nearness of the Christ, even while He was yet unborn and unseen by the world. I tell you, there shall be a revelation of My nearness given to My dear ones before My second coming. Anticipate Me. Watch for Me. Your heart will listen, and your heart shall hear. I am not far off. I am looking through the lattice (see Song of Solomon 2:9). You shall see Me—you shall know—you shall rejoice.

The quality of our thinking is largely influenced by the mental models in our heads. While we want accurate models, we also want a wide variety of models to uncover what’s really happening. The key here is variety. Most of us study something specific and don’t get exposure to the big ideas of other disciplines. We don’t develop the multidisciplinary mindset that we need to accurately see a problem. And because we don’t have the right models to understand the situation, we overuse the models we do have and use them even when they don’t belong. You’ve likely experienced this first hand. An engineer will often think in terms of systems by default. A psychologist will think in terms of incentives. A business person might think in terms of opportunity cost and risk-reward. Through their disciplines, each of these people sees part of the situation, the part of the world that makes sense to them. None of them, however, see the entire situation unless they are thinking in a multidisciplinary way. In short, they have blind spots. Big blind spots. And they’re not aware of their blind spots. [...] Relying on only a few models is like having a 400-horsepower brain that’s only generating 50 horsepower of output. To increase your mental efficiency and reach your 400-horsepower potential, you need to use a latticework of mental models. Exactly the same sort of pattern that graces backyards everywhere, a lattice is a series of points that connect to and reinforce each other. The Great Models can be understood in the same way—models influence and interact with each other to create a structure that can be used to evaluate and understand ideas. [...] Without a latticework of the Great Models our decisions become harder, slower, and less creative. But by using a mental models approach, we can complement our specializations by being curious about how the rest of the world works. A quick glance at the Nobel Prize winners list show that many of them, obviously extreme specialists in something, had multidisciplinary interests that supported their achievements. [...] The more high-quality mental models you have in your mental toolbox, the more likely you will have the ones needed to understand the problem. And understanding is everything. The better you understand, the better the potential actions you can take. The better the potential actions, the fewer problems you’ll encounter down the road. Better models make better decisions.

It's basty!" "There's definitely a soup underneath the crust. I see carrots. Gingko nuts. Mushrooms. And... Shark fin! Simmered until it's falling apart!" Aah! It's all too much! I-I don't care if I burn my mouth... I want to dive in right now! Mm! Mmmm! UWAAAAH! "Incredible! The shark fin melts into a soft wave of warm umami goodness on the tongue... ...with the crispy piecrust providing a delectably crunchy contrast!" "Mmm... this piecrust shows all the signs of the swordsmanship he stole from Eishi Tsukasa too." Instead of melting warm butter to mix into the flour, he grated cold butter into granules and blended them... ... to form small lumps that then became airy layers during the baking, making the crust crispier and lighter. A light, airy crust like that soaks up the broth, making it the perfect complement to this dish! "Judge Ohizumi, what's that "basty" thing you were talking about?" "It's a dish in a certain style of cooking that's preserved for centuries in Nagasaki- Shippoku cuisine." "Shippoku cuisine?" Centuries ago, when Japan was still closed off from the rest of the world, only the island of Dejima in Nagasaki was permitted to trade with the West. There, a new style of cooking that fused Japanese, Chinese and Western foods was born- Shippoku cuisine! One of its signature dishes is Basty, which is a soup covered with a lattice piecrust. *It's widely assumed that Basty originated from the Portuguese word "Pasta."* "Shippoku cuisine is already a hybrid of many vastly different cooking styles, making it a perfect choice for this theme!" "The lattice piecrust is French. Under it is a wonderfully savory Chinese shark fin soup. And the soup's rich chicken broth and the vegetables in it have all been thoroughly infused with powerfully aromatic spices... ... using distinctively Indian spice blends and techniques!" "Hm? Wait a minute. There's more than just shark fin and vegetables in this soup. This looks just like an Italian ravioli! I wonder what's in it? ?!" "Holy crap, look at it stretch!" "What is that?! Mozzarella?! A mochi pouch?!" "Nope! Neither! That's Dondurma. Or as some people call it... ... Turkish ice cream. A major ingredient in Dondurma is salep, a flour made from the root of certain orchids. It gives the dish a thick, sticky texture. The moist chewiness of ravioli pasta melds together with the sticky gumminess of the Dondurma... ... making for an addictively thick and chewy texture!

I wish I understood it,” she said. “It’s okay,” I said. “Nobody gets anybody else, not really. We’re all stuck inside ourselves.” “You just, like, hate yourself? You hate being yourself?” “There’s no self to hate. It’s like, when I look into myself, there’s no actual me—just a bunch of thoughts and behaviors and circumstances. And a lot of them just don’t feel like they’re mine. They’re not things I want to think or do or whatever. And when I look for the, like, Real Me, I never find it. It’s like those nesting dolls, you know? The ones that are hollow, and then when you open them up, there’s a smaller doll inside, and you keep opening hollow dolls until eventually you get to the smallest one, and it’s solid all the way through. But with me, I don’t think there is one that’s solid. They just keep getting smaller.” “That reminds me of a story my mom tells,” Daisy said. “What story?” I could hear her teeth chattering when she talked but neither of us wanted to stop looking up at the latticed sky. “Okay, so there’s this scientist, and he’s giving a lecture to a huge audience about the history of the earth, and he explains that the earth was formed billions of years ago from a cloud of cosmic dust, and then for a while the earth was very hot, but then it cooled enough for oceans to form. And single-celled life emerged in the oceans, and then over billions of years, life got more abundant and complex, until two hundred fifty thousand or so years ago, humans evolved, and we started using more advanced tools, and then eventually built spaceships and everything. “So he gives this whole presentation about the history of earth and life on it, and then at the end, he asks if there are any questions. An old woman in the back raises her hand, and says, ‘That’s all fine and good, Mr. Scientist, but the truth is, the earth is a flat plane resting on the back of a giant turtle.’ “The scientist decides to have a bit of fun with the woman and responds, ‘Well, but if that’s so, what is the giant turtle standing upon?’ “And the woman says, ‘It is standing upon the shell of another giant turtle.’ “And now the scientist is frustrated, and he says, ‘Well, then what is that turtle standing upon?’ “And the old woman says, ‘Sir, you don’t understand. It’s turtles all the way down.’” I laughed. “It’s turtles all the way down.” “It’s turtles all the way fucking down, Holmesy. You’re trying to find the turtle at the bottom of the pile, but that’s not how it works.” “Because it’s turtles all the way down,” I said again, feeling something akin to a spiritual revelation.

One possibility is that many of these universes are unstable and decay to our familiar universe. We recall that the vacuum, instead of being a boring, featureless thing, is actually teeming with bubble universes popping in and out of existence, like in a bubble bath. Hawking called this the space-time foam. Most of these tiny bubble universes are unstable, jumping out of the vacuum and then jumping back in. In the same way, once the final formulation of the theory is found, one might be able to show that most of these alternate universes are unstable and decay down to our universe. For example, the natural time scale for these bubble universes is the Planck time, which is 10−43 seconds, an incredibly short amount of time. Most universes only live for this brief instant. Yet the age of our universe, by comparison, is 13.8 billion years, which is astronomically longer than the lifespan of most universes in this formulation. In other words, perhaps our universe is special among the infinity of universes in the landscape. Ours has outlasted them all, and that is why we are here today to discuss this question. But what do we do if the final equation turns out to be so complex that it cannot be solved by hand? Then it seems impossible to show that our universe is special among the universes in the landscape. At that point I think we should put it in a computer. This is the path taken for the quark theory. We recall that the Yang-Mills particle acts like a glue to bind quarks into a proton. But after fifty years, no one has been able to rigorously prove this mathematically. In fact, many physicists have pretty much given up hope of ever accomplishing it. Instead, the Yang-Mills equations are solved on a computer. This is done by approximating space-time as a series of lattice points. Normally, we think of space-time being a smooth surface, with an infinite number of points. When objects move, they pass through this infinite sequence. But we can approximate this smooth surface with a grid or lattice, like a mesh. As we let the spacing between lattice points get smaller and smaller, it becomes ordinary space-time, and the final theory begins to emerge. Similarly, once we have the final equation for M-theory, we can put it on a lattice and do the computation on a computer. In this scenario, our universe emerges from the output of a supercomputer. (However, I am reminded of the Hitchhiker’s Guide to the Galaxy, when a gigantic supercomputer is built to find the meaning of life. After eons doing the calculation, the computer finally concluded that the meaning of the universe was “forty-two.”)

This brings me to an objection to integrated information theory by the quantum physicist Scott Aaronson. His argument has given rise to an instructive online debate that accentuates the counterintuitive nature of some IIT's predictions. Aaronson estimates phi.max for networks called expander graphs, characterized by being both sparsely yet widely connected. Their integrated information will grow indefinitely as the number of elements in these reticulated lattices increases. This is true even of a regular grid of XOR logic gates. IIT predicts that such a structure will have high phi.max. This implies that two-dimensional arrays of logic gates, easy enough to build using silicon circuit technology, have intrinsic causal powers and will feel like something. This is baffling and defies commonsense intuition. Aaronson therefor concludes that any theory with such a bizarre conclusion must be wrong. Tononi counters with a three-pronged argument that doubles down and strengthens the theory's claim. Consider a blank featureless wall. From the extrinsic perspective, it is easily described as empty. Yet the intrinsic point of view of an observer perceiving the wall seethes with an immense number of relations. It has many, many locations and neighbourhood regions surrounding these. These are positioned relative to other points and regions - to the left or right, above or below. Some regions are nearby, while others are far away. There are triangular interactions, and so on. All such relations are immediately present: they do not have to be inferred. Collectively, they constitute an opulent experience, whether it is seen space, heard space, or felt space. All share s similar phenomenology. The extrinsic poverty of empty space hides vast intrinsic wealth. This abundance must be supported by a physical mechanism that determines this phenomenology through its intrinsic causal powers. Enter the grid, such a network of million integrate-or-fire or logic units arrayed on a 1,000 by 1,000 lattice, somewhat comparable to the output of an eye. Each grid elements specifies which of its neighbours were likely ON in the immediate past and which ones will be ON in the immediate future. Collectively, that's one million first-order distinctions. But this is just the beginning, as any two nearby elements sharing inputs and outputs can specify a second-order distinction if their joint cause-effect repertoire cannot be reduced to that of the individual elements. In essence, such a second-order distinction links the probability of past and future states of the element's neighbours. By contrast, no second-order distinction is specified by elements without shared inputs and outputs, since their joint cause-effect repertoire is reducible to that of the individual elements. Potentially, there are a million times a million second-order distinctions. Similarly, subsets of three elements, as long as they share input and output, will specify third-order distinctions linking more of their neighbours together. And on and on. This quickly balloons to staggering numbers of irreducibly higher-order distinctions. The maximally irreducible cause-effect structure associated with such a grid is not so much representing space (for to whom is space presented again, for that is the meaning of re-presentation?) as creating experienced space from an intrinsic perspective.

Mike Romano slipped into the confessional. The screen behind the lattice grill slid open. “Bless me, Father, for I have sinned.” “For the love of God, Romano, not again.” “Will you hear my confession, Father?” “No.” “What do you mean?” “I mean you haven’t sinned. You didn’t sin yesterday or the day before, last week or last month, and you haven’t sinned today.” “How do you know? “I’m playing the odds.” “I need absolution.” “No, you don’t. You need some fun. Go have a beer, see a movie, take in a comedy show. Do some damn thing that’ll make you laugh.” “It’s your job. You have to do it.” “Jesus, Mary, and Joseph! I absolve you from your imaginary sins in the name of the Father and of the Son and of the Holy Spirit, Amen. Get lost.” “That’s not right. It’s not the whole thing.” The priest slammed the sliding screen shut.

Anna held up her white parasol and nervously glanced down at the vendors selling everything from fresh sherbet to fried fish with chilli. There were strange-looking fruits, chiffon sarees, books and jewellery, and, behind fine latticed windows, women losing

In their spare time Feynman and Welton used the same machines to earn money through a Depression agency, the National Youth Administration, calculating the atomic lattices of crystals for a professor who wanted to publish reference tables. They worked out faster methods of running the calculator. And when they thought that they had their system perfected, they made another calculation: how long it would take to complete the job. The answer: seven years. They persuaded the professor to set the project aside.

Hopfield proposed an equation for the overall "state" of the lattice of connected neurons, analogous to the overall energy in an array of interacting iron particles. The same mathematics that governs the Ising model also governs the Hopfield model: two neurons that both either fire, or do not fire, increase the state of connectedness, while neurons performing opposing actions decrease the state of connectedness.