Vertical Double Quotes

Oh Christ. Her words, come inside me, had a predictable impact on his dick. Fuck and double fuck. Reason was taking a fast exit stage left while his erection was taking the vertical route.

Putin isn’t a full-blown Fascist because he hasn’t felt the need. Instead, as prime minister and president, he has flipped through Stalin’s copy of the totalitarian playbook and underlined passages of interest to call on when convenient. Throughout his time in office, he has stockpiled power at the expense of provincial governors, the legislature, the courts, the private sector, and the press. A suspicious number of those who have found fault with him have later been jailed on dubious charges or murdered in circumstances never explained. Authority within Putin’s “vertical state”—including directorship of the national oil and gas companies—is concentrated among KGB alumni and other former security and intelligence officials. A network of state-run corporations and banks, many with shady connections offshore, furnish financial lubricants for pet projects and privileged friends. Rather than diversify as China has done, the state has more than doubled its share of the national economy since 2005.

Patriotism comes from the same Latin word as father. Blind patriotism is collective transference. In it the state becomes a parent and we citizens submit our loyalty to ensure its protection. We may have been encouraged to make that bargain from our public school education, our family home, religion, or culture in general. We associate safety with obedience to authority, for example, going along with government policies. We then make duty, as it is defined by the nation, our unquestioned course. Our motivation is usually not love of country but fear of being without a country that will defend us and our property. Connection is all-important to us; excommunication is the equivalent of death, the finality we can’t dispute. Healthy adult loyalty is a virtue that does not become blind obedience for fear of losing connection, nor total devotion so that we lose our boundaries. Our civil obedience can be so firm that it may take precedence over our concern for those we love, even our children. Here is an example: A young mother is told by the doctor that her toddler is allergic to peanuts and peanut oil. She lets the school know of her son’s allergy when he goes to kindergarten. Throughout his childhood, she is vigilant and makes sure he is safe from peanuts in any form. Eighteen years later, there is a war and he is drafted. The same mother, who was so scrupulously careful about her child’s safety, now waves goodbye to him with a tear but without protest. Mother’s own training in public school and throughout her life has made her believe that her son’s life is expendable whether or not the war in question is just. “Patriotism” is so deeply ingrained in her that she does not even imagine an alternative, even when her son’s life is at stake. It is of course also true that, biologically, parents are ready to let children go just as the state is ready to draft them. What a cunning synchronic-ity. In addition, old men who decide on war take advantage of the timing too. The warrior archetype is lively in eighteen-year-olds, who are willing to fight. Those in their mid-thirties, whose archetype is being a householder and making a mark in their chosen field, will not show an interest in battlefields of blood. The chiefs count on the fact that young braves will take the warrior myth literally rather than as a metaphor for interior battles. They will be willing to put their lives on the line to live out the collective myth of societies that have not found the path of nonviolence. Our collective nature thus seems geared to making war a workable enterprise. In some people, peacemaking is the archetype most in evidence. Nature seems to have made that population smaller, unfortunately. Our culture has trained us to endure and tolerate, not to protest and rebel. Every cell of our bodies learned that lesson. It may not be virtue; it may be fear. We may believe that showing anger is dangerous, because it opposes the authority we are obliged to appease and placate if we are to survive. This explains why we so admire someone who dares to say no and to stand up or even to die for what he believes. That person did not fall prey to the collective seduction. Watching Jeopardy on television, I notice that the audience applauds with special force when a contestant risks everything on a double-jeopardy question. The healthy part of us ardently admires daring. In our positive shadow, our admiration reflects our own disavowed or hidden potential. We, too, have it in us to dare. We can stand up for our truth, putting every comfort on the line, if only we can calm our long-scared ego and open to the part of us that wants to live free. Joseph Campbell says encouragingly, “The part of us that wants to become is fearless.” Religion and Transference Transference is not simply horizontal, from person to person, but vertical from person to a higher power, usually personified as God. When

he cannot close his eyes without being subjected to the diplopic double image of his lover's steady, supplicating and aging (!?) eyes, and then his own eyes vertical above her, darting from side to side, more concerned with how he is seen than with what he sees.

However, by eleven p.m. it’s a very different situation, as illustrated in figure 6. You’ve now been awake for fifteen hours and your brain is drenched in high concentrations of adenosine (note how the solid line in the figure has risen sharply). In addition, the dotted line of the circadian rhythm is descending, powering down your activity and alertness levels. As a result, the difference between the two lines has grown large, reflected in the long vertical double arrow in figure 6. This powerful combination of abundant adenosine (high sleep pressure) and declining circadian rhythm (lowered activity levels) triggers a strong desire for sleep. Figure 6: The Urge to Sleep

Surprisingly, and almost unbelievably, when a photon is fired through the double slit apparatus, it will end up landing in one of the constructive interference areas of the screen on the other side. If you fire enough photons, you eventually will reform the waveform from the double slit experiment, too – the result is a series of vertical bars, just like before. The same result can be achieved not only with photons, but electrons, whole atoms, and even entire molecules.

The Dogon Kanaga mask -which is worn in rituals that transport the souls of the deceased- resembles the Ka in ancient Egypt. Interestingly enough it does look like the crab zodiac sign in the form of a double-barred cross with short vertical elements projecting from the tips of each horizontal bar. And this is where the Great Pyramid is located on the circular zodiac of Dendera.

axis, all of those straight-ish lines would look like the first graph above of Andy’s tribble family—horizontal most of the way, then suddenly close to vertical at the end. And there would really be no way to graph them all together—the numbers involved are just too different. Logarithmic scaling takes care of these issues and allows us to get a clear overall picture of improvement in digital gear. It’s clear that many of the critical building blocks of computing—microchip density, processing speed, storage capacity, energy efficiency, download speed, and so on—have been improving at exponential rates for a long time. To understand the real-world impacts of Moore’s Law, let’s compare the capabilities of computers separated by only a few doubling periods. The ASCI Red, the first product of the U.S. government’s Accelerated Strategic Computing Initiative, was the world’s fastest supercomputer when it was introduced in 1996. It cost $55 million to develop and its one hundred cabinets occupied nearly 1,600 square feet of floor space (80 percent of a tennis court) at Sandia National Laboratories in New Mexico.10 Designed for calculation-intensive tasks like simulating nuclear tests, ASCI Red was the first computer to score above one teraflop—one trillion floating point operations* per second—on the standard benchmark test for computer speed. To reach this speed it used eight hundred kilowatts per hour, about as much as eight hundred homes would. By 1997, it had reached 1.8 teraflops.

Sirius mimed blasting the tapestry with a wand and laughed sourly. Harry, however, did not laugh; he was too busy staring at the names to the right of Andromeda’s burn mark. A double line of gold embroidery linked Narcissa Black with Lucius Malfoy and a single vertical gold line from their names led to the name Draco.

There are many kinds of windows, but nothing’s better for your fenestration vocabulary than learning the names of the parts of the most common window style — the double-hung. Now you can talk the talk! Let’s start from the top. The header is the top horizontal piece of the frame. The jamb refers to the vertical side pieces of the frame. The sill is the horizontal part at the bottom of the frame. (Looking at the window from outside, you’d see the stool where the sill is, often supported by a small board called an apron.) Now let’s get to the real business of this window. Double-hungs have two moving pieces, called the sash. The piece on top is the upper sash, which can be lowered from its closed position, and on the bottom is the lower sash, which can be raised. The rails are the horizontal part of the sash frame and the stiles are the vertical parts. The sash, upper and lower, hold the glass portion of the window. A single piece of glass is called a pane. A sash can have one or more panes; the dividers between the panes are called muntins. On both vertical sides of the sash are channels, which guide the sash up or down in a straight line. The small molding piece that runs up the front, at the sides of the lower sash is called the inside stop, which keeps the sash running smoothly in its channel. The sashes lock together by means of a two-piece latch, positioned atop the upper rail of the lower sash, and the bottom rail of the upper sash. If your windows look like double-hungs, but the upper sash doesn’t move, these are called single-hung windows.

Reacher saw a vertical array of green message bubbles. Texts. Unreadable foreign words, but mostly regular letters, the same as English. Some were doubled up. Some had strange accents above or below. Umlauts and cedillas.

is well known that increases in computer power and speed have been exponential. But exponential growth sneaks up on you in a way that isn’t intuitive. Start with a penny and double your money every day, and in thirty-nine days you’ll have over two billion dollars. But the first day your wealth only increases by a single penny, an amount that’s beneath notice. On the thirty-ninth day, however, your wealth will increase from one billion to two billion dollars—now that is a change impossible to miss. So like a hockey stick, the graph of exponential growth barely rises from the ground for some time, but when it reaches the beginning of the handle, watch out, because you suddenly get an explosive rise that is nearly vertical. It’s becoming crystal clear that we are entering the hockey-stick phase of progress with computers and other technologies. Yes, progress in artificial intelligence has been discouraging. But if we don’t self-destruct, does anyone imagine that we won’t develop computers within a few hundred years that will make the most advanced supercomputers of today seem like a toddler counting on his or her fingers? Does anyone doubt that at some point a computer could get so powerful it could direct its own future evolution? And given the speed at which such evolution would occur, does anyone doubt that a computer could become self-aware within the next few centuries? Visionaries like Ray Kurzweil believe this will happen well within this century, but even the most conservative among us must admit the likelihood that by the time the USS Enterprise pulls out of space dock, either our computers will have evolved into gods and obsoleted us, or, more likely, we will have merged with our technology to reach almost god-like heights of intelligence ourselves. And while this bodes well for these far-future beings, it isn’t so great for today’s science fiction writers.

A stronger analogy to Eisenstein's analysis of the rising pattern in the music and the visuals can be found in the contrapuntal practice in music whereby a theme is juxtaposed against either an augmented (the note values are doubled) or diminished (the note values are halved) version of itself. The listener can thus simultaneously experience two different temporal elaborations of the same melodic line across a single block of chronological time, just as the viewer/listener in Alexander Nevsky can experience two different temporal elaborations of the rising motion across a single block of chronological time. (Needless to say, an oppositional "counterpoint" could also be set up by creating, for instance, an upward movement in the music and a downward one in the visuals.) But the experience here is doubly enriched, since the simultaneity also includes two different modes of perception, visual and aural, which is, one suspects, one of the underlying raisons d'être of the gesamtkunstwerk. Even on the simplest of levels, then, Eisenstein's "vertical montage" involves the simultaneous, layered presentation of a number of different elements. For the first shot, these layers would stack up as follows: 1. Graphic perception (photography) 2. Musical perception (score) 3. Upward movement 1 (graphic) 4. Upward movement 2 (musical) 5. Synchronicity 1 (graphic) 6. Synchronicity 2 (musical)

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