The X-files

Episode: 1X08
First aired: 11/12/93
Written by: Chris Carter
Directed by: William Graham

Lt. Col. Belt is a supervisor of a shuttle program at NASA's Mission Control in Houston, Texas. He has flashbacks to 1977 seeing a ghostly face looking at him when he was in space.

Mulder and Scully are approached by Michelle Generoo, the communications commander, who says that a piece of equipment had been sabotaged resulting in the cancelation of a recent liftoff. She fears the next attempt at a lift off because her fiance is on the next mission.
They speak to Belt, who was a childhood hero to Mulder, who tells them there isn't anything wrong and the mission lifts off. Soon, however, the communication with the spacecraft is lost. Generoo's car crashes when she sees the same ghostly image.

Even though the ship is crippled, Belt tells the crew to deliver their payload so that the millions of dollars would not be lost. Mulder is hurt by this lack of concern for the lives of the crewmen, especially from his old hero.

At his apartment, Belt experiences another flashback and screams as the ghostly appearance lifts from his body and heads out towards space. Soon after, the crew feels a thump and the astronauts yell that there was some kind of ghost outside the ship.

Mulder and Scully meanwhile examine records and find that Belt knew about the equipment flaw from before.
Belt collapses at his office and at his urging they alter the shuttle's trajectory, preventing the spacecraft from burning up on reentry. Belt, wrestling with the ghostly presence, leaps to his death.

Important quotes:
Mulder -- "You never wanted to be an astronaut when you were a kid, Scully?"
Scully -- "Guess I missed that phase."

Mulder -- "I have to admit, that fulfilled one of my boyhood fantasies."
Scully -- "Yeah, it ranks right up there with getting a pony and learning how to braid my own hair."

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Back to The X-files: Season 1

Space is a book by Stephen Baxter, the second in his 'Manifold' series. It deals with the Fermi Paradox, and the logical consequences that stem from this. Once this 'paradox' confirmed Reid Malefants opinion that humanity was alone in the universe. The discovery of evidence of extraterrestrial in the Solar System leads to the question;

'What is the equilibrium position for life in the galaxy? If a galaxy wide civilisation is possible, it would have happened, if so what has killed it?'

When contact is made with the Gaijin, and they arrive in their silver flower ships not to save mankind, but to trawl through our historical archives; more questions are raised than answered.

It is the story of mankinds awakening to fact that the universe is in fact a very harsh place indeed. All life in the galaxy will ultimately suffer the same fate, and will go own doing so unless it can raise itself to a level where space can no longer harm it, before being knocked back down the evolutionalary ladder; as has happened in-numerable times before....

"Space, the final frontier" - Star Trek

This is my attempt at collecting articles about space which are fairly scattered around E2 at the moment. It's not intended to be comprehensive and I'll add more as I find them. I’ve tried to categorise them as well as possible – please let me know if there should be additions to this list.

Space nodes:

The Solar System
* Sun * Mercury
* Venus
* Earth * Mars
* Asteroid belt
* Jupiter
* Saturn
* Uranus
* Neptune
* Pluto
* asteroid
* comet
* planet
* satellite
* Satellites of the Planets
* solar system

Astronomy and Cosmology
* 4179 Toutatis
* Astronomer list of astronomers throughout history
* Astronomy e2science metanode
* Astrophysics
* Binary Star
* Black Hole Era
* Copernicus One of the early astronomers, a believer in heliocentrism
* constellation
* Dark Era
* Degenerate Era
* double star
* Doppler effect
* Albert Einstein The great physicist who speculated on relativity, and the curvature of space-time
* evolution of the Universe
* Extraterrestrial alien life-forms
* The Fermi paradox Where are the aliens?
* galactic zero The place where the big bang began
* galaxy
* Galileo
* Galileo Galilei Early astronomer, observations of the planets
* Geocentrism The theory that the universe revolves around the Earth
* InfraRed Astronomy
* interstellar medium
* Halley's Comet Periodic comet which returns every 75 years
* Edmond Halley Discoverer of the comet
* heliocentrism The theory that the universe revolves around the sun
* Hoag's Object
* How to locate Polaris, the North Star
* Lunar standstill
* Mean solar time
* Measuring Distances in Astronomy
* Patrick Moore
* Oort Cloud
* Orion
* Primitive Era
* pulsar A star which emits regular radio signals
* quark star
* quasars A star which emits regular gamma waves
* Ring galaxy
* Southern Cross
* spacetime
* Stellar Era
* Stephen Hawking Physicist and cosmologist who wrote A Brief History of Time
* telescope
* Hubble Space Telescope
* star
* variable star

Manned space missions
* Laika The dog who was the first animal to go into space
* Mercury project
* Yuri Gagarin The first man to go into space
* Alan Shepard The first American in space
* Virgil "Gus" Grissom
* Gherman Titov
* Vostok
* John Glenn
* Valentina Tereshkova The first woman in space
* Saturn V
* Wernher von Braun German rocket scientist who helped develop the Saturn V
* Gemini project
* Apollo project The mission to put a man on the moon Project OrionNuclear-powered spacecraft
* Soyuz Soviet project originally intended to reach the moon
* space shuttle * Skylab US space station
* Salyut
* Buran The Russian space shuttle
* astronaut
* Cosmonaut
* European Astronaut Corps
* Kennedy Space Center
* Spacecraft Information Database Project
* Mir Soviet space station
* International Space Station
* space station]
* Shenzhou 5 China's first manned space flight

Unmanned spaceflights
* Chinese Space Program
* Galileo Jupiter probe, also a future ESA GPS satellite
* Giotto
* Magellan Venus probe
* Pioneer Space Program series of probes, some of which have left the solar system
* satellite
* Sputnik
* Venera Program
* Viking Project
* Voyager

* Aeronautics to Astronautics: NACA Research (1952 - 1957)
* Buzz Aldrin's Race Into Space Game inspired by the race to the Moon
* Canadian Space Agency
* commercial space flight
* Effects of an Unprotected Human Body in the Vacuum of Space
* The Life on Mars Problem
* Mars Society Society promoting Mars exploration
* space colonization
* space elevator
* space race
* The One-Way Manned Space Mission
* Dennis Tito, NASA, and the viability of space tourism as a business
* Where were you when the Space Shuttle Challenger exploded?

Released in 1996 on the ForeFront label, Space is the debut album of the Christian Rock/Grunge band Bleach. It consists of eleven tracks.

  1. Eleven (3:02)
  2. Perfect Family (2:57)
  3. Epidermis Girl (3:57)
  4. Tea for Two (4:33)
  5. Cold & Turning Blue (4:18)
  6. Child of Sod (3:23)
  7. Crystals and Cash (3:43)
  8. Wonderful (3:54)
  9. Cannonball (3:56)
  10. Sugarcoated Ways (4:14)
  11. Space (3:43)

Many of the tracks on this album stand as critiques of the ideals of modern society. The first, Eleven, scathingly describes the shallowness of personal appearance, as Davy Baysinger intones sharply

The outside's there, it's a thoroughfare
But on the inside there is not much there
You love your pretties and your things
Are you nothing more than just a fashion scene
Other tracks investigate the nature of sexual desire (Epidermis Girl), greed (Crystal and Cash), and apathy (Cold and Turning Blue).

Interspersed among the more depressing tracks on the album are a few that delve into redemption and strong relationships. Directly before Epidermis Girl, Perfect Family tells the tale of a boy and girl who fall in love, marry, and remain together even with their faults. In Child of Sod and the anthemic Cannonball a man recounts his path to salvation. The title track, which closes out the album, is an invitation that tries to avoid some of the usual nastiness of prosetylization. The lyrics

I don't want to be your priest
I just want to be your friend.
sum up the song nicely.

As a first album, Space is surprisingly philosophic. Musically though, it finds Bleach before they had truly settled into their style. Subsequent works have been markedly warmer and smoother.

The Unicode standard encodes eighteen different space characters, differing in width and layout behavior.

The most commonly used space character is U+0020 space. Another big favorite is its non-breaking counterpart U+00A0 no break space. These two characters have the same width, but behave differently for line breaking. no break space behaves like a numeric separator for the purposes of bidirectional layout (see Bidirectional Behavior). In ideographic text, U+3000 ideographic space is commonly used because its width matches that of the ideographs (i.e. it is a fullwidth character).

The main difference among other space characters is their width.
U+2000 to U+2006 are standard quad widths used in typography.
U+2007 figure space has the same width as a digit.
U+2008 punctuation space has the same width as a period.
The fixed-width space characters U+2000 to U+200A are derived from conventional (hot lead) typography. Algorithmic kerning and justification in computerized typography do not use these characters. When they are used, they typically do not expand during justification, except for U+2009 thin space which sometimes does.

Space character with special behavior in word or line breaking are described in Line and Word Breaking and Layout Controls.

The use of U+FEFF zero width no break space as a spacing character has been deprecated in Unicode 3.2. The character U+2060 word joiner should be used instead, allowing U+FEFF to be used exclusively for its most common role as a Byte Order Marker (BOM).

Note that the list below contains every Unicode character with the General Category Zs or Spacing Separator.

As of version 4.0, the Unicode standard has 26 semantically distinct varients of the space character. They are enumerated below, separated by code block

Number of characters added in each version of the Unicode standard :
Unicode 1.1 : 22
Unicode 3.0 : 3
Unicode 3.2 : 1

Number of characters in each General Category :

Separator, Space      Zs : 18
Separator, Line       Zl :  1
Separator, Paragraph  Zp :  1
Other, Control        Cc :  6

Number of characters in each Bidirectional Category :

Common Number Separator   CS :  1
Paragraph Separator        B :  4
Segment Separator          S :  2
Whitespace                WS : 19

The columns below should be interpreted as :

  1. The Unicode code for the character
  2. The character in question
  3. The Unicode name for the character
  4. The Unicode General Category for the character
  5. The Unicode Bidirectional Category for the character
  6. The Unicode version when this character was added

If the characters below show up poorly, or not at all, see Unicode Support for possible solutions.


Basic Latin


U+0009 ( ) character tabulation Cc S 1.1
aka horizontal tabulation (ht), tab
U+000A ( ) line feed Cc B 1.1

aka line feed (lf)
aka new line (nl), end of line (eol)
U+000B ( ) line tabulation Cc S 1.1
U+000C ( ) form feed Cc WS 1.1
aka form feed (ff)
U+000D ( ) carriage return Cc B 1.1
aka carriage return (cr)

     ASCII punctuation and symbols

U+0020 ( ) space Zs WS 1.1
* sometimes considered a control code
* other space characters: 2000-200A
ref U+00A0       no break space (Latin-1 Supplement)
ref U+200B   ​   zero width space (General Punctuation)
ref U+2060   ⁠   word joiner (General Punctuation)
ref U+3000       ideographic space (CJK Symbols and Punctuation)
ref U+FEFF      zero width no break space (Arabic Presentation Forms B)


Latin-1 Supplement

     C1 controls

U+0085 () next line Cc B 1.1
aka next line (nel)

     Latin-1 punctuation and symbols

U+00A0 ( ) no break space Zs CS 1.1
aka nbsp
ref U+0020     space (Basic Latin)
ref U+2007       figure space (General Punctuation)
ref U+202F       narrow no break space (General Punctuation)
ref U+2060   ⁠   word joiner (General Punctuation)
ref U+FEFF      zero width no break space (Arabic Presentation Forms B)




U+1680 () Ogham space mark Zs WS 3.0
* glyph is blank in "stemless" style fonts



     Format controls

U+180E () Mongolian vowel separator Zs WS 3.0
aka mvs


General Punctuation


U+2000 ( ) en quad Zs WS 1.1
U+2001 () em quad Zs WS 1.1
aka mutton quad
U+2002 () en space Zs WS 1.1
aka nut
* half an em
U+2003 () em space Zs WS 1.1
aka mutton
* nominally, a space equal to the type size in points
* may scale by the condensation factor of a font
U+2004 () three per em space Zs WS 1.1
aka thick space
U+2005 () four per em space Zs WS 1.1
aka mid space
U+2006 () six per em space Zs WS 1.1
* in computer typography sometimes equated to thin space
U+2007 () figure space Zs WS 1.1
* space equal to tabular width of a font
* this is equivalent to the digit width of fonts with fixed-width digits
U+2008 () punctuation space Zs WS 1.1
* space equal to narrow punctuation of a font
U+2009 () thin space Zs WS 1.1
* a fifth of an em (or sometimes a sixth)
U+200A () hair space Zs WS 1.1
* thinner than a thin space
* in traditional typography, the thinnest space available

     Formatting characters

U+2028 () line separator Zl WS 1.1
* may be used to represent this semantic unambiguously
U+2029 () paragraph separator Zp B 1.1
* may be used to represent this semantic unambiguously
U+202F () narrow no break space Zs WS 3.0
aka nnbsp
ref U+00A0       no break space (Latin-1 Supplement)


U+205F () medium mathematical space Zs WS 3.2
aka mmsp
* four-eighteenths of an em


CJK Symbols and Punctuation

     CJK symbols and punctuation

U+3000 ( ) ideographic space Zs WS 1.1
ref U+0020     space (Basic Latin)

Liverpool indie band formed in 1993, consisting of Tommy Scott (vocals), Franny Griffith (keyboards), Leon Caffrey (drums), Dave "Yorkie" Palmer (bass) and Stephen Lironi (guitar, keyboard and replacement for drop-out Jamie Murphy). Their music is best described as alternative soft rock with synthesizers being the dominant instrument in tunes; one reviewer describes it as bubblegum techno.

Space is best known hits include The Ballard of Tom Jones, released in 1998 with Welsh wailer Cerys Matthews, and The Female of the Species, released in 1996. They were nominated in 1997 for best newcomer award at the Brits, losing out to Kula Shaker.


Spiders (released 1996)

  • Neighbourhood
  • Mister Psycho
  • Female of the Species
  • Money
  • Me and You versus the World
  • Lovechild of the Queen
  • No-one Understands
  • Voodoo Roller
  • Drop Dead
  • Dark Clounds
  • Major Pager
  • Kill Me
  • Charlie M
  • Growler
  • Spiders
  • Crisis

    Tin Planet (released 1998)

  • Begin Again
  • Avenging Angels
  • The Ballad of Tom Jones
  • One O'Clock
  • Be There
  • The Man
  • A Liddle Biddy Help from Elvis
  • Unluckiest Man
  • Piggies
  • Bad Days
  • There's No You
  • Disco Dolly
  • Fran in Japan

    Suburban Rock 'n Roll (released 2004)

  • Suburban Rock 'n' Roll
  • Zombies
  • Hitch-Hiking
  • Punk Rock Funeral
  • Hell's Barbecue
  • Paranoid 6Teen
  • The English Language
  • Pretty Suicide
  • 20 Million Miles From Earth
  • Quiet Beach
  • The Goodbye Song


  • Female of the Species
  • Loony Tune
  • Give me Something
  • Female of the Species (instrumental)
  • Neighbourhood
  • Neighbourhood (Space Club Mix)
  • Nighthood
  • Rejects
  • Only Half An Angel
  • Crisis
  • Dark Clouds
  • Darker Clouds
  • Dark Clouds (Alternate)
  • Children Of The Night
  • Storm Clouds
  • Influenza
  • Life Of A Miser
  • Blow Your Cover


  • space | order | flexibility

    A question of Space

    Space, as a boundless expanse of nothingness, finds its limits in the construction of houses, where boundaries are pre-negotiated by client and architect, and infrequently, the end user of the building. It materialises into a quantifiable substance when it is defined or negotiated by the presence of elements which impinge on its universality. According to Ching (1987) space is "the prime material in the designer's palette and the essential element in interior design".

    Buckminster Fuller's notes in Synergetics II (1895) describe space as a "non conceptual awareness." (526.18) He reports the following:

    "526.101 Space is the antithesis of solid. Both are misnomers... Space refers to locals of an event frequency per volume too low for our apprehending equipment to tune in."

    In 1928, Rietveld stated that this is the true 'material' of architecture. "The reality which architecture can create is space". It is frequently divided in a cellular fashion, creating areas which are private, and secluded from one another. On the other hand, Mies van der Rohe identified the positive qualities of a 'universal space' which used clearly ordered structural frameworks, usually featuring manufactured steel extrusions infilled with brick and glass. The partitioning of space becomes limitless within the order of the frame.

    Indeed, when architecture becomes a discussion of space, and one's own home is the very subject of this argument, we resort to lines on paper to justify whether or not the configurations of our retreats and work stations are suited to our daily needs. Our preoccupation with the notion of living space serves as an acknowledgement of the role it plays in the quality of our life. On paper, lines enclose spaces, which describe an exact dimensioning, the orientation of door and windows, as well as the probable function of the room. The drawing may include a rough idea of how furnishings of specific sizes will add and subtract to this void. A cellular arrangement may be chosen in favour of a womb-like interior, however, it is most common to find interior plans which include various types of room sizing.

    Thus, Ching (1996) interprets a volume as a space which has been captured and defined by walls, floors and ceiling or as a "quantity of space displaced by the mass of a building." The perception of this duality gives the observer a good understanding of the volumetric element one is dealing with.

    The value of our individual space

    "Of late years there has been a great revival of the hall as a central feature in a house, but as a rule it is practically a sitting-room where no one sits, a kind of show place forming a passage for the servants to the front door and for visitors to the drawing room. This is all very well if we can afford to sacrifice a sitting-room in this way, but in our small house space is far too valuable."

  • Baille-Scott, An Ideal Suburban House 1894-5
  • This famous extract by Baillie-Scott shows an early preoccupation with the increasing price of space, or land in metropolitan areas. This seems to have climaxed in the early 20th century instilled by a need to overcome post war recessions, the 1920s were host to innovation in the housing realm. Moreover, the experimentation on new housing was released to the public using exhibitions and other visual media. Visitors were invited to discover the new sensations by themselves. Ideas previously used in industry and offices were given a new place for breeding.

    Mies van der Rohe commissioned 29 architects to complete the individual design of the 24 flats. He himself designed the interior. A publication by the Deutsche Verlags-Anstalt in 1927 (see Kirsch, Karin) describes how the Rasch brothers were set to the task of creating a flat for a bachelor whilst Ferdinand Kramer was asked to create a space for a 'professional lady.' The distinctions were so fine that three Stuttgart architects were also entrusted with rethinking the living requirements of a 'working woman', while the Swiss Werkbund collectively designed a residence for a family with children. Their brief was otherwise quite open; he only informed them about the means of construction with which the furnishings were to be built.

    Mies" 'houses 1—4' at the exhibition were apartments consisting of four parts with six flats on three floors in each block. The author's own commentary ran as follows: "In the building of rented apartment blocks today, economic considerations demand a rationalisation and standardisation of construction. But, on the other hand, the increasing variety of our housing needs demands the greatest freedom of methods of utilisation. In the future it will be necessary to satisfy both these tendencies. For this, skeleton construction is the most suitable system. It permits rational manufacture while leaving free, the organisation of interior space."

    Each flat corresponded to the individual family situation and needs. He also wished to have the additional advantage that should there be "a change in the family itself the flat could also be changed without extensive structural conversion work."

    The rational sizing of rooms

    The qualitative deliberation of plans with respect to the sizing and positioning of furnishings seems to have been resolved by Ernst Neufert, and his efforts to marry geometry with effective interior planning. It is certainly easy to write off a supposed 'main bedroom' which cannot include a wardrobe and a double bed as bad design. Kahler (2002) suggests that Neufert "has taught generations of architects – without openly stating the fact – that a layout plan should be based on the functional , rational arrangement of furnishings."

    - 'Make it bigger, Hugo, then you can do anything in it.'

    'Attitudes toward size are curiously programmed. Some things are admired for being miniaturised – portable electronics, for instance. Many more, however, are preferred large – or, to be precise, larger than one has. When it comes to living space, Western ideals tend to be conservatively focused on accretion, which is to say, acquiring more. Indeed, "spacious' is always a term of approval.'

  • Michael Freeman, Japanese Design Solutions for Compact Living (2004)
  • As one would expect, the idea of a larger space appears in literature as a design tool which can achieve greater possibilities. Mies van der Rohe is reported to have once said to Hugo Haring: "Make it bigger, Hugo, then you can do anything in it." Baillie Scott's (1894-5) radical 19th century thoughts on 'An Ideal Suburban House' encouraged new design solutions which freed from the inconveniences one is faced with when rooms in a house are too small.

    Along with size, generally come openness and grandeur. Kaltenbach (2002) refers to Jean Nouvel's statement that "a large dwelling is a good dwelling" and reflects that, the smaller the footprint area is, the more one must pay attention to ensuring optimal usage.

    - Smaller spaces

    On the other hand, the Japanese identify smallness as an appreciable quality of a room. Freeman explains that floor-level living and tea ceremonies precedes such an arrangement of space which provides an amplified level of intimacy and creates "a separate world removed from that of work and the city". The allocation of space demands the very modern exclusion of that which is not needed, freeing the surroundings from clutter. At the same time, relative proximities enable every item to be within reach. The genre"s main inspirational spin-off is usually the provision of awkward sites, which due to Tokyo's high land prices frequently constitute the only purchasable metropolitan sites for construction. They are generally, deep and narrow with a front elevation often described as 'eel-like'.

    When ceiling heights permit this, it is commonplace to suspend a mezzanine within this volume, where families sleep together on low-level mattressing.

    Malta has the 4th highest population density while Japan ranks 18th. Out of Tokyo's 23 wards (Ku), Nakano rates almost as highly as Senglea, Malta"s most densely populated enclosed maritime city. Nakano has a density of 19,854 inhabitants/square km. In 1995, Senglea's was 22,066. And yet, the careful Japanese attitude towards floor space is not as popular.

    space | order | flexibility


    Just some thoughts I have been mulling over about space, particularly regarding performance space and it's affect on the performance events.

    It is first of all important to recognize space as nonexistent. How is space defined? It can only be defined in negative: The walls make the room, not the space. No space can be defined positively- for example: an apple is a round bulbous red, green, or yellow fruit with a stem and seeds. This thought can possibly be continued indefinitely until the apple is ultimately defined, and it is defined for what it is. Space cannot be so defined. How would one do so? “Space is everything other than definable objects?” Not only is this stated within the negative, it is probably not true. Quality, as explored thoroughly in Zen and the Art of Motorcycle Maintenance, is also indefinable. So how is space explained? One can only say some of the things it is not. Given infinity, one might say everything that it is not, but one would still not be able to positively identify what it is.

    What, then, can be said about any given space so far as it’s qualities and effects on events? Not much- but much can be said of context. The context of any given space is definable only for short periods of time and in relationship to society. The context, therefore, is totally subjective- it depends upon the subject to help define it. Thus, a concert hall is for concerts, not because of anything particular about that space, except that it is used for concerts. Two hundred years later, that same space may be used for a whore house or a church, or anything in between and there is no cosmic explanation for the relationship. Concerning context, the subject helps to decide the qualities of the object.

    This is not to say that a certain contexts are not better suited to certain activities, given a subjective understanding of good and bad, and with no intention of inflicting a moral good and bad on the conversation. The context of a concert hall might lead it to be better suited to concerts in ways that affect the space. The knowledge of the potential audience that the building houses concerts does not affect the space, except possibly concerning certain types of energy which I will not discuss at present- but the fact that the walls have been engineered for optimum acoustics does affect the space in very certain and real ways. This engineering changes the interaction of art and space, creating a reverberation of sounds aesthetically pleasing, given culture. So, here too, the space is not limited, except by culture, which in this instance may be seen as societal preference. And though it can be said in the microcosm of current cultural ideologies that the space is therefore ‘better’ for holding concerts (or other such sound based events), this idea cannot hold. Only the perception of correct usage can be interpreted (due to the context), and therefore the space is left indefinable and independent of such interpretations. That’s like saying Swiss cheese is better than American cheese- the idea is based on personal preference, and can therefore never even be argued, let alone be proven.

    So let it be said for the time being that space in unknowable, but that context, which is confined to space, can affect events, at least culturally.

    In chess, "space" is a type of positional advantage in which one player has more squares to which they can move their pieces than the other player. Creating space, gaining additional space, and denying one's opponent space are all important parts of playing "positional" chess.

    In earlier time periods, chess players did not pay so much attention to the concept of space. However, this changed with the positional chess revolution of the late 1800s and early 1900s. Even so, space was considered less important than other types of positional advantage and material advantage. However, space has become more and more important over time in chess. In recent years, so-called "super GMs" and advanced neural network chess engines such as Alpha Zero have increasingly shown a willingness to sacrifice other advantages and even material simply to gain more space.

    I don’t know
    That I believe in
    Two become one


    I miss that space
    Sharing skin
    Entwined intensity
    Losing track of
    Where you end
    And I begin
    Two becoming tangled

    Most days it sits
    Comfortably in the
    Back of my mind
    A delicious ache
    Waiting for future
    Escapes together

    Then some days
    You catch me off guard
    An unexpected, intentional touch
    A secret letter hidden in plain sight
    Dapper new garb that leaves hints of collar bone
    And my knees get weak
    And I have to remember
    There are people around

    But you know
    In my mind
    I’m breathless
    Touching your core

    Space (?), n. [OE. space, F. espace, from L. spatium space; cf. Gr. to draw, to tear; perh. akin to E. span. Cf. Expatiate.]


    Extension, considered independently of anything which it may contain; that which makes extended objects conceivable and possible.

    Pure space is capable neither of resistance nor motion. Locke.


    Place, having more or less extension; room.

    They gave him chase, and hunted him as hare; Long had he no space to dwell [in]. R. of Brunne.

    While I have time and space. Chaucer.


    A quantity or portion of extension; distance from one thing to another; an interval between any two or more objects; as, the space between two stars or two hills; the sound was heard for the space of a mile.

    Put a space betwixt drove and drove. Gen. xxxii. 16.


    Quantity of time; an interval between two points of time; duration; time.

    "Grace God gave him here, this land to keep long space."

    R. of brunne.

    Nine times the space that measures day and night. Milton.

    God may defer his judgments for a time, and give a people a longer space of repentance. Tillotson.


    A short time; a while.

    [R.] "To stay your deadly strife a space."



    Walk; track; path; course.


    This ilke [same] monk let old things pace, And held after the new world the space. Chaucer.

    7. print. (a)

    A small piece of metal cast lower than a face type, so as not to receive the ink in printing, -- used to separate words or letters.


    The distance or interval between words or letters in the lines, or between lines, as in books.

    ⇒ Spaces are of different thicknesses to enable the compositor to arrange the words at equal distances from each other in the same line.

    8. Mus.

    One of the intervals, or open places, between the lines of the staff.

    Absolute space, Euclidian space, etc. See under Absolute, Euclidian, etc. -- Space line Print., a thin piece of metal used by printers to open the lines of type to a regular distance from each other, and for other purposes; a lead. Hansard. -- Space rule Print., a fine, thin, short metal rule of the same height as the type, used in printing short lines in tabular matter.


    © Webster 1913.

    Space, v. i. [Cf. OF. espacier, L. spatiari. See Space, n.]

    To walk; to rove; to roam.


    And loved in forests wild to space. Spenser.


    © Webster 1913.

    Space, v. t. [imp. & p. p. Spaced (?); p. pr. & vb. n. Spacong (?).] [Cf. F. espacer. See Space, n.] Print.

    To arrange or adjust the spaces in or between; as, to space words, lines, or letters.


    © Webster 1913.

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