Null Double Quotes

I cannot write myself. What, after all, is this "I" who would write himself? Even as he would enter into the writing, the writing would take the wind out of his sails, would render him null and void -- futile; a gradual dilapidation would occur, in which the other's image, too, would be gradually involved (to write on something is to outmode it), a disgust whose conclusion could only be: what's the use? what obstructs amorous writing is the illusion of expressivity: as a writer, or assuming myself to be one, I continue to fool myself as to the effects of language: I do not know that the word "suffering" expresses no suffering and that, consequently, to use it is not only to communicate nothing but even, and immediately, to annoy, to irritate (not to mention the absurdity). Someone would have to teach me that one cannot write without burying "sincerity" (always the Orpheus myth: not to turn back). What writing demands, and what any lover cannot grant it without laceration, is to sacrifice a little of his Image-repertoire, and to assure thereby, through his language, the assumption of a little reality. All I might produce, at best, is a writing of the Image-repertoire; and for that I would have to renounce the Image-repertoire of writing -- would have to let myself be subjugated by my language, submit to the injustices (the insults) it will not fail to inflict upon the double Image of the lover and of his other. The language of the Image-repertoire would be precisely the utopia of language: an entirely original, paradisiac language, the language of Adam -- "natural, free of distortion or illusion, limpid mirror of our sense, a sensual language (die sensualische Sprache)": "In the sensual language, all minds converse together, they need no other language, for this is the language of nature.

The weight room is empty except for Peter. He’s at the bench press, lifting weights. When he sees me, he smiles. “Are you here to spot me?” He sits up and wipes sweat off his face with the collar of his T-shirt. My heart squeezes painfully. “I’m here to break up. To fake break up, I mean.” Peter does a double take. “Wait. What?” “There’s no need to keep it going. You got what you wanted, right? You saved face, and so did I. I talked to Josh, and everything’s back to normal with us again. And my sister will be home soon. So…mission accomplished.” Slowly he nods. “Yeah, I guess.” My heart is breaking even as I smile. “So okay, then.” With a flourish I whip our contract out of my bag. “Null and void. Both parties have hereby fulfilled their obligations to each other in perpetuity.” I’m just rattling off lawyer words. “You carry that around with you?” “Of course! Kitty’s such a snoop. She’d find it in two seconds.” I hold up the piece of paper, poised to rip it in half, but Peter grabs it from me. “Wait! What about the ski trip?” “What about it?” “You’re still coming, right?” I hadn’t thought of that. The only reason I was going to go was for Peter. I can’t go now. I can’t be a witness to Peter and Genevieve’s reunion, I just can’t. I want them to come back from the trip magically together again, and it will be like this whole thing was just something I dreamed up. “I’m not going to go.” His eyes widen. “Come on, Covey! Don’t bail on me now. We already signed up and gave the deposits and everything. Let’s just go, and have that be our final hurrah.” When I start to protest, Peter shakes his head. “You’re going, so take this contract back.” Peter refolds it and carefully puts it back in my bag. Why is it so hard to say no to him? Is this what it’s like to be in love with somebody?

Almost all official statistics and policy documents on wages, income, gross domestic product (GDP), crime, unemployment rates, innovation rates, cost of living indices, morbidity and mortality rates, and poverty rates are compiled by governmental agencies and international bodies worldwide in terms of both total aggregate and per capita metrics. Furthermore, well-known composite indices of urban performance and the quality of life, such as those assembled by the World Economic Forum and magazines like Fortune, Forbes, and The Economist, primarily rely on naive linear combinations of such measures.6 Because we have quantitative scaling curves for many of these urban characteristics and a theoretical framework for their underlying dynamics we can do much better in devising a scientific basis for assessing performance and ranking cities. The ubiquitous use of per capita indicators for ranking and comparing cities is particularly egregious because it implicitly assumes that the baseline, or null hypothesis, for any urban characteristic is that it scales linearly with population size. In other words, it presumes that an idealized city is just the linear sum of the activities of all of its citizens, thereby ignoring its most essential feature and the very point of its existence, namely, that it is a collective emergent agglomeration resulting from nonlinear social and organizational interactions. Cities are quintessentially complex adaptive systems and, as such, are significantly more than just the simple linear sum of their individual components and constituents, whether buildings, roads, people, or money. This is expressed by the superlinear scaling laws whose exponents are 1.15 rather than 1.00. This approximately 15 percent increase in all socioeconomic activity with every doubling of the population size happens almost independently of administrators, politicians, planners, history, geographical location, and culture.

Names A name is a letter optionally followed by one or more letters, digits, or underbars. A name cannot be one of these reserved words: abstract boolean break byte case catch char class const continue debugger default delete do double else enum export extends false final finally float for function goto if implements import in instanceof int interface long native new null package private protected public return short static super switch synchronized this throw throws transient true try typeof var volatile void while with Most of the reserved words in this list are not used in the language. The list does not include some words that should have been reserved but were not, such as undefined, NaN, and Infinity. It is not permitted to name a variable or parameter with a reserved word. Worse, it is not permitted to use a reserved word as the name of an object property in an object literal or following a dot in a refinement. Names are used for statements, variables, parameters, property names, operators, and labels.

Le génie véritable peut développer sans innover : il atteint la perfection, la profondeur et la puissance d'expression, d'une manière presque imperceptible, moyennant les impondérables de vérité et de beauté qui mûrissent dans l'humilité, sans laquelle il n'y a pas de vraie grandeur. Au point de vue l'art sacré ou simplement traditionnel, on ne se préoccupe pas de la question de savoir si une oeuvre est "originale" ou "copiée" : dans une série de copies d'un modèle canonique, telle copie – peut être moins "originale" qu'une autre – est une oeuvre géniale, par un concours de conditions précieuses qui n'ont rien à voir avec une affectation d'originalité ou quelque autre crispation de l'ego. Et ceci nous permet de dégager une double erreur fondamentale sans laquelle les prétentions de soi-disant artistes seraient inconcevables : à savoir qu'une originalité contraire aux normes collectives héréditaires soit psychologiquement possible en dehors des cas d'aliénation mentale, et qu'un homme puisse produire une vraie oeuvre d'art qui ne soit comprise à aucun degré par nombre d'hommes intelligents et cultivés appartenant à la même civilisation, à la même race et à la même époque que le soi-disant artiste. En réalité, les prémisses d'une telle originalité ou singularité n'existent point dans l'âme humaine normale, ni à plus forte raison dans l'intelligence pure; les singularités modernes, loin de relever de quelque "mystère" de la création artistique, ne sont qu'erreur philosophique et déformation mentale. Chacun se croit obligé d'être un grand homme; la nouveauté est prise pour de l'originalité, l'introspection morbide pour de la profondeur, le cynisme pour de la sincérité, la prétention pour du génie, si bien qu'on finit par prendre un schéma d'anatomie ou une peau de zèbre pour de la peinture; on fait de la "sincérité" un critère absolu, comme si une oeuvre ne pouvait pas être psychologiquement "sincère", mais spirituellement fausse ou artistiquement nulle. La grande erreur de ces artistes est d'ignorer délibérément la valeur objective et qualitative des formes et des couleurs et de se croire à l'abri dans un subjectivisme qu'ils estiment intéressant et impénétrable, alors qu'il n'est que banal et ridicule; leur erreur même les oblige à recourir, dans le monde des formes, aux possibilités les plus inférieures, comme Satan qui, voulant être aussi "original" que Dieu, n'avait plus d'autre choix que l'horreur.

Vous n'êtes que chaos, confusion, marmelade de souvenirs et de peurs et de fantômes et de vaines anticipations, mais quelqu'un de plus calme, à l'intérieur de vous, veille et fait son rapport. Evidemment, l'alcool et les drogues font de cet agent secret un agent double, pas fiable du tout. Pourtant je continuais, j'ai toujours plus ou moins continué et si je m'obstine à écrire ce livre, ma version à moi de ces livres de développement personnel qui marchent si bien en librairie, c'est pour rappeler ce que disent rarement les livres de développement personnel : que les pratiquants d'arts martiaux, les adeptes du zen, du yoga, de la méditation, de ces grandes choses lumineuses et bienfaisantes que j'ai toute ma vie courtisées, ne sont pas forcément des gens calmes, apaisés et sereins, mais quelques fois, mais souvent, des gens comme moi, pathétiquement névrosés, et que ça n'empêche pas, et qu'il faut, selon la forte phrase de Lénine, "travailler avec le matériel existant", et que même s'il ne vous conduit nulle part on a raison malgré tout de s'obstiner sur ce chemin.

In either case, we now have a good reason to believe that the difference we observed in the experiment was probably not due to chance. This is referred to in technical jargon with a confusing double negative: “rejection of the null hypothesis.” To determine exactly what caused the difference we observed requires much more research, but at the initial stage when we just want to know if there are any differences at all, this outcome provides ample motivation to keep on investigating. In particular, even if an experiment produces extremely high odds against chance, this doesn’t mean that the effect we’re interested in is proven. All the annoying cautions and qualifications commonly used in scientific lingo—it might be this, it could possibly be that, the purported results may perhaps be such and such—sound like a curious lack of enthusiasm, or an unwillingness to take a firm stand. But the prudence is intentional. It prevents existing knowledge from coagulating into unshakable dogma, which is the forte of religious faith. Also, just because a statistical test ends up with huge odds against chance doesn’t necessarily mean that the effect we were measuring is what we imagined it to be. To gain that sort of confidence it takes many independent scientists repeatedly examining the same effect in different ways, and for the results to be consistent on average.

O the Swiss and the Swedes Are at it all right A bore of a war And no end in sight They’re killing each other With unlikely skill Who’d have believed it Neutral and Nil It’s a bore What a bore It’s a bore of a war Logically sound But soft at the core When Vienna surrenders To Cambridge symbolic The null class is Z The peace terms a frolic O bore What a bore It’s a bore of a war Deft but bereft Of a Renaissance roar VOICE 1: What’s black and white, left or right, growing little and has no middle? O bring on a genuine algebra war Del Ferro, Fontana, Cardano, Fior None of these formalist postulate sets Less of this Either and Or Fourth dimension Yorkshireman and versifying Jew Pedagogic modern logic came too late for you One is one, two is one, three is two anew Theory of invariants Turbulence serene Higher space contains a trace Of double umbral sheen (...) O recite a litany in extremis To the peaceful end of logical premise Our Lady of Inferred Entities Prey on us Wielder of Occam’s Razor Spare our multiplicities Expounder of the Unthinkable Have mercy on our system of signs Elucidator of Logical Form Guide our superstitions Annihilator of Tautologies Bless our refrains Language Inviolate Forgive us our stammer