"We often resort to something called Hilbert space, which is described as n-dimensional—it’s like modern sex, any number may be played with."
James Benjamin "Jimmy" Blish was an American science fiction and fantasy writer. He is best known for his Cities in Flight novels and his series of Star Trek novelizations written with his wife, J. A. Lawrence. His novel A Case of Conscience won the Hugo Award. He is credited with creating the term "gas giant" to refer to large planetary bodies.
"Yet the closer he came to it, the more alert he felt; it was as though he were paying more and more attention to fewer and fewer things, so that at the heart of the mystery he would paradoxically be totally intent upon nothing at all."
"“Look at it this way for a moment, Dr. Ware. Very roughly, there are only two general kinds of men who go into the munitions business—those without consciences, who see the business as an avenue to a great fortune, eventually to be used for something else, like Jack here—and of course there’s a subclass of those, people who do have consciences but can’t resist the money anyhow, or the knowledge, rather like Dr. Hess.” Both men stirred, but apparently both decided not to dispute their portraits. “The second kind is made up of people like me—people who actually take pleasure in the controlled production of chaos and destruction. Not sadists primarily, except in the sense that every dedicated artist is something of a sadist, willing to countenance a little or a lot of suffering—not only his own, but other people’s—for the sake of the end product.” “A familiar type, to be sure,” Ware said with a lopsided grin. “I think it was the saintly Robert Frost who said that a painting by Whistler was worth any number of old ladies.” “Engineers are like this too,” Baines said."
"“Your concept is a tremendous network of inconsistencies.” “In what way?” the countess said, not very much interested. “It seems to be based on reverence for the young, and an extremely patient and protective attitude toward their physical and mental welfare. Yet you make them live in these huge caves, utterly out of contact with the natural world, and you teach them to be afraid of death—which of course makes them a little insane, because there is nothing anybody can do about death. It is like teaching them to be afraid of the second law of thermodynamics, just because living matter sets that law aside for a very brief period."
"All but a small percentage of Americans live out of their lives without ever coming closer to murder than the daily tabloid can bring them, though magazine fiction and video confer spurious intimacy with the subject."
"There was one wing of the conservatives, however, which had gone the 12-tone procedure one better. These men composed what was called “stochastic music,” put together by choosing each individual note by consultation with tables of random numbers. Their bible, their basic text, was a volume called Operational Aesthetics, which in turn derived from a discipline called information theory, and not one word of it seemed to touch upon any of the techniques and customs of composition known to Strauss. The ideal of this group was to produce music which would be “universal”—that is, wholly devoid of any trace of the composer’s individuality, wholly a musical expression of the universal Laws of Chance. The Laws of Chance seemed to have a style of their own, all right, but to Strauss it seemed the style of an idiot child being taught to hammer a flat piano to keep him from getting into trouble."
"Of course a sense of guilt has a threshold; at a certain level of intensity it begins to confirm the habit-pattern rather than inhibit it—"