Ai Art Quotes

Science Fiction, is an art form that paints a picture of the future.

In the world of art, all things are possible.--George from Paradise Kiss

If my art has nothing to do with people's pain and sorrow, what is 'art' for?

With AI drawing art, creating music, and writing, human creativity is being challenged. Artists, musicians, composers, and writers are all experiencing upheaval which could match that of a factory becoming automated.

There are many people in this world — some of them are good, and some of them are bad. But there are even more who can't be simply classified as 'good' or 'bad'. They may not think in the same way you think, or walk the same path you walk. Just like the case with Yu Ai and Yuan Ying - even the same set of sword arts looks slightly different in different people's hands. Don't deny others just because they are different from you. Like how the ocean is capable of holding water from thousands of rivers, a person should be forgiving and tolerant to diversity, and it is the same for practicing martial arts. People who are narrow-minded can only achieve so much. Even if they do reach the summit, they cannot stay there for long.

Tant que mes jambes me permettent de fuir, tant que mes bras me permettent de combattre, tant que l'expérience que j'ai du monde me permet de savoir ce que je peux craindre ou désirer, nulle crainte : je puis agir. Mais lorsque le monde des hommes me contraint à observer ses lois, lorsque mon désir brise son front contre le monde des interdits, lorsque mes mains et mes jambes se trouvent emprisonnées dans les fers implacables des préjugés et des cultures, alors je frissonne, je gémis et je pleure. Espace, je t'ai perdu et je rentre en moi-même. Je m'enferme au faite de mon clocher où, la tête dans les nuages, je fabrique l'art, la science et la folie.

Ecco che cos'era la vita, che cos'era l'esperienza, che cosa inseguivano coloro che andavano in cerca di avventure, ecco a che cosa mirava l'arte: ritornare a casa propria, ai propri affetti, riprendere la vita

Every martial art, from T’ai Chi Chuan to the nuclear deterrent, is based on a doctrine—an idea of how combat works.

Et quand j'ai remporté une bataille, je ne répète pas ma tactique, mais je réponds aux circonstances selon une variété infinie de voies.

Terre en vacance d'oeuvres d'art. Je méprise ceux qui ne savent reconnaître la beauté que transcrite déjà et toute interprétée. Le peuple arabe a ceci d'admirable que, son art, il le vit, il le chante et le dissipe au jour le jour; il ne le fixe point et ne l'embaume en aucune oeuvre. C'est la cause et l'effet de l'absence de grands artistes. J'ai toujours cru les grands artistes ceux qui osent donner droit de beauté à des choses si naturelles qu'elles font dire après à qui les voit : 'Comment n'avais-je pas compris jusqu'alors que cela était aussi beau?...

Habits are undeniably useful tools, relieving us of the need to run a complex mental operation every time we’re confronted with a new task or situation. Yet they also relieve us of the need to stay awake to the world: to attend, feel, think, and then act in a deliberate manner. (That is, from freedom rather than compulsion.) If you need to be reminded how completely mental habit blinds us to experience, just take a trip to an unfamiliar country. Suddenly you wake up! And the algorithms of everyday life all but start over, as if from scratch. This is why the various travel metaphors for the psychedelic experience are so apt. The efficiencies of the adult mind, useful as they are, blind us to the present moment. We’re constantly jumping ahead to the next thing. We approach experience much as an artificial intelligence (AI) program does, with our brains continually translating the data of the present into the terms of the past, reaching back in time for the relevant experience, and then using that to make its best guess as to how to predict and navigate the future. One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself. (It’s so inefficient!) Alas, most of the time I inhabit a near-future tense, my psychic thermostat set to a low simmer of anticipation and, too often, worry. The good thing is I’m seldom surprised. The bad thing is I’m seldom surprised.

Ce qui m'a permis de ne pas reproduire le mal qui m'a été infligé, ce n'est pas l'art, les médicaments, ni la loi, c'est ce que j'ai décidé de devenir : un dead end, un cul-de-sac où va mourir la haine. Je ne suis pas heureuse, je n'ai pas espoir de l'être un jour. Mais j'ai réussi à arrêter de haïr.

We are living in a very complex society. It puts me in a complex frame of thinking.

Écrire, c'est faire appel au lecteur pour qu'il fasse passer à l'existence objective le dévoilement que j'ai entrepris par le moyen du langage.

Ai de mi, que l'amor no hi ha cap herba que el curi i les arts que a tothom fan profit no en fan al seu amo!

Êtes-vous si fort dans l'art de la dispute? demanda le curé, vous l'emportez sur les nôtres !" "Je n'ai pas disputé, répondit M. de Rollebon, je lui ai fait peur de l'enfer.

AI is a tool, and it doesn't diminish the quality or validity of the outcome.

Penso agli uri e agli angeli, al segreto dei pigmenti duraturi, ai sonetti profetici, al rifugio dell'arte. E questa è la sola immortalità che tu e io possiamo condividere, mia Lolita.

Mi-a povestit, mie, ca unui mare, frica lui. A zis că pe-acolo pe unde fusese dus, în Rusia, în lagăr, pe front, din nou în lagăr în România, ca prizonier, apoi cu refugiul şi bombardamentele, cunoscuse frica. Dar era numai frica lui. Că frica de moartea ta nu e cu adevărat frică - tot nu depinde de tine moartea ori nemoartea ta. Frica cea mare, adevărată, a zis tata, e cea pentru alţii: nevastă, copii. Ştii că de tine a depins să-i fereşti de pericol şi n-ai făcut-o. Frica cea mare nu e moartea ta, e viaţa pe care or s-o îndure ai tăi, din pricina ta.

J'ai fait un art selon moi. Je l'ai fait avec les yeux ouverts sur les merveilles du monde visible, et, quoi qu'on en ait pu dire, avec le souci constant d'obéir aux lois du naturel et de la vie.

Il genio è pazienza, come ha detto Buffon. La pazienza è in effetti ciò che, nell’uomo, somiglia di più ai procedimenti che segue la natura quando crea. Che cos’è l’arte, signore? è la natura concentrata.»

As a result, we have developed numerous methods of practice to explore this movement of energy through our bodies, such as the Chinese arts of qigong and t’ai chi, the Indian practice of hatha yoga, and the modern movement culture spreading across the globe. The problem with practical movement methods such as these is they can delay our quest for a liberated mind (enlightenment) if the practice becomes a habitual crutch.

Quano você dilata (k'ai), você deve pensar em retrair (ho) e então haverá estrutura. Quando você retrai (ho), deve pensar em dilatar (k'ai) e então você terá um desembaraço inexprimível e um ar de espírito inexaurível.

Much modern art is no longer about the appreciation of an aesthetic and skill by the likes of Rembrandt or Leonardo, but rather the interesting message and perspective that the artist is revealing about our relationship to our world.

While the problem of ai can be viewed as, “Which of all the things humans do can machines also do?,” I would prefer to ask the question in another form: “Of all of life’s burdens, which are those machines can relieve, or significantly ease, for us?

Esistono libri che fanno provare un amore più intenso di quello conosciuto, un coraggio più scatenato di quello sperimentato. Dev'essere l'effetto che fa l'arte: supera l'esperienza personale, fa raggiungere al corpo, ai nervi, al sangue, traguardi sconosciuti.

Il principio della letteratura consiste nel controllare la morte e nell'usarla segretamente come forza motrice da utilizzare in false costruzioni, mentre la vita viene sempre tenuta in riserva, immagazzinata, miscelata opportunamente con la morte, irrorata di conservanti e dilapidata nei capolavori letterari che posseggono una lugubre vita eterna. O piuttosto sarebbe preferibile dire che l'arte «marziale» è morire insieme ai fiori, la «letteratura» è coltivare fiori imperituri. E i fiori che non appassiscono mai sono fiori artificiali. Così l' «unione della letteratura e dell'arte marziale» consiste nel riunire fiori che appassiscono a fiori imperituri, nel fare coesistere in se stessi le due esigenze più contrastanti dell'umanità, e quindi i sogni di realizzazione di quei desideri.

The subtle working of ki is the maternal source that affects changes in breath. It is also the source of martial art as love. When one unifies mind and body by virtue of ki and manifests ai-ki (harmony of ki), delicate changes in breath-power occur spontaneously and "waza" (proper technique) flows freely.

While any software system introduces some kind of formalization of the world, HCI (like AI) deals with formalizations of human cognition and activity. These are the issues that have lay at the heart of philosophical debate for centuries. In some ways, it would be hard to imagine a more philosophical enterprise.

no simple mechanism could do the job as well or better. It might simply be that nobody has yet found the simpler alternative. The Ptolemaic system (with the Earth in the center, orbited by the Sun, the Moon, planets, and stars) represented the state of the art in astronomy for over a thousand years, and its predictive accuracy was improved over the centuries by progressively complicating the model: adding epicycles upon epicycles to the postulated celestial motions. Then the entire system was overthrown by the heliocentric theory of Copernicus, which was simpler and—though only after further elaboration by Kepler—more predictively accurate.63 Artificial intelligence methods are now used in more areas than it would make sense to review here, but mentioning a sampling of them will give an idea of the breadth of applications. Aside from the game AIs

Pochi capiscono che l'insegnamento della storia non consiste nel mandare a memoria e recitare pappagallescamente date e fatti. Studiare la storia significa cercare le forze le quali conducono agli effetti che noi abbiamo davanti ai nostri occhi come fatti storici contemporanei. L'arte dell'imparare è ricordare l'essenziale e dimenticare il contingente

Why should art only come from human beings?

Art does many things, but for me where art is at its best is in providing a window into the way another mind works.

The first algorithm to win its creators a Nobel Prize—originally formulated by two mathematicians, David Gale and Lloyd Shapley, in 1962

Art is a collaboration between God and the artist, and the less the artist does the better. —ANDRÉ GIDE

L’arte appartiene a tutti e a nessuno. L’arte appartiene a tutti i tempi e a nessun tempo in particolare. L’arte appartiene a chi la produce e a chi l’assapora. L’arte non appartiene più al Popolo e al Partito di quanto una volta non appartenesse all’aristocrazia e ai mecenati. L’arte è il mormorio della storia, udibile al di là del rumore del tempo. L’arte non esiste per sé: esiste per il pubblico.

At different times I've worked in different mediums. For me, the variation is not an artistic judgment, but a necessary choice. It's just as normal to eat with chopsticks, as it is to eat with forks or hands. Different circumstances call for different tools. I try to express ideas with the most appropriate available materials and forms. Very often the medium comes first, and then my reasons for it. Sometimes, I work with a medium I don't like out of curiosity. It is an experiment to challenge my pre-existing concepts and tastes. I've taken hundreds and thousands of photographs, and it's not because I like the medium. I wanted something to parallel my daily activities, and photography is the most logical way of doing that. I filmed documentaries because the medium reflects real conditions the most completely. I don't think artists should only work with what is handiest and most familiar, because the unfamiliar provides a challenge, and it creates another language. It defines the condition for new possibilities.

Questo ucciderà quello. Il libro ucciderà l’edificio. L’invenzione della stampa è il più grande avvenimento della storia. E’ la rivoluzione madre. E’ il completo rinnovarsi del modo di espressione dell’umanità, è il pensiero umano che si spoglia di una forma e ne assume un’altra, è il completo e definitivo mutamento di pelle di quel serpente simbolico che, da Adamo in poi, rappresenta l’intelligenza. Sotto forma di stampa, il pensiero è più che mai imperituro. E’ volatile, inafferrabile, indistruttibile. Si fonde con l’aria. Al tempo dell’architettura, diveniva montagna e si impadroniva con forza di un secolo e di un luogo. Ora diviene stormo di uccelli, si sparpaglia ai quattro venti e occupa contemporaneamente tutti i punti dell’aria e dello spazio.. Da solido che era, diventa vivo. Passa dalla durata all’ immortalità. Si può distruggere una mole, ma come estirpare l’ubiquità? Venga pure un diluvio, e anche quando la montagna sarà sparita sotto i flutti da molto tempo, gli uccelli voleranno ancora; e basterà che solo un’arca galleggi alla superficie del cataclisma, ed essi vi poseranno, sopravvivranno con quella, con quella assisteranno al decrescere delle acque, e il nuovo mondo che emergerà da questo caos svegliandosi vedrà planare su di sé, alato e vivente, il pensiero del mondo sommerso. Bisogna ammirare e sfogliare incessantemente il libro scritto dall'architettura, ma non bisogna negare la grandezza dell'edificio che la stampa erige a sua volta. Questo edificio è colossale. E’ il formicaio delle intelligenze. E’ l’alveare in cui tutte le immaginazioni, queste api dorate, arrivano con il loro miele. L’edificio ha mille piani. Sulle sue rampe si vedono sbucare qua e là delle caverne tenebrose della scienza intrecciantisi nelle sue viscere. Per tutta la sua superficie l’arte fa lussureggiare davanti allo sguardo arabeschi, rosoni, merletti. La stampa, questa macchina gigante che pompa senza tregua tutta la linfa intellettuale della società, vomita incessantemente nuovi materiali per l’opera sua. Tutto il genere umano è sull’ impalcatura. Ogni spirito è muratore. Il più umile tura il suo buco o posa la sua pietra. Certo, è anche questa una costruzione che cresce e si ammucchia in spirali senza fine, anche qui c’è confusione di lingue, attività incessante, lavoro infaticabile, concorso accanito dell’umanità intera, rifugio promesso all’ intelligenza contro un nuovo diluvio, contro un’invasione di barbari. E’ la seconda torre di Babele del genere umano." - Notre-Dame de Paris, V. Hugo

I guess the fact that they made something they could be proud of is more important than any prize ever could be. I can understand that. The beauty of the clothing itself is in the eye of the beholder. Judging art on a point system in the first place seems totally ridiculous! But since I grew up in such a competitive, point-awarding world, I wanted the grand prize more than anything. I wanted to be number one and get all the glory. Glory, huh... how stupid!

The flattening of the human experience in the last . . . I don’t know, fifty years, can point to the simulation winding down.” “Flattening?” Kam asked. “Has it seemed at all like shit’s just kind of run its course? Problems are obvious and no one’s that invested in fixing them? No new discoveries, no new ideas. All the new arguments are the same as the old arguments. Lost the plot with art and entertainment. Everything’s AI or a remix or remaster or expansion of the same five IPs.

Un romanzo non è un'allegoria” dissi verso la fine della lezione “È l'esperienza sensoriale di un altro mondo. Se non entrate in quel mondo, se non trattenete il respiro insieme ai personaggi, se non vi lasciate coinvolgere nel loro destino, non arriverete mai a indentificarvi con loro, non arriverete mai al cuore del libro. È così che si legge un romanzo: come se fosse qualcosa da inalare, da tenere nei polmoni. Dunque, cominciate a respirare. Ricordate solo questo. È tutto; potete andare.

«Quando una civiltà è ridotta in polvere e cenere» disse, «l’arte è tutto ciò che rimane. Immagini, parole, musica. Strutture fantasiose. Il pensiero – il pensiero umano, voglio dire – è determinato da esse. Devi ammetterlo». «Non è esattamente tutto ciò che rimane» disse Crake. «Di questi tempi gli archeologi sono altrettanto interessati alle ossa rosicchiate, ai vecchi mattoni e alla merda fossilizzata. A volte anche più interessati. Credono che il pensiero umano sia determinato anche da questo».

Anch'io dunque spero di non perdere di vista mai una sola cosa, e cioè che si tratta di arrivare camminando sugli zoccoli; e cioè, in sostanza, che si tratta sempre d'essere contenti di avere da mangiare, da bere, da dormire e da vestirsi, di contentarsi, insomma, di quanto basta ai contadini. Bisogna esprimere il contadino nella sua azione, ecco, lo ripeto ancora, con una figura essenzialmente moderna, che sia il centro anzi dell'arte moderna, come né i Greci, né la Rinascenza, né gli Olandesi antichi hanno mai fatto.

C'è abbastanza perfidia, odio, violenza, assurdità nell'essere umano medio per rifornire qualsiasi esercito in qualsiasi giorno E i migliori assassini sono quelli che predicano la vita E i migliori a odiare sono quelli che predicano l'amore E i migliori in guerra - in definitiva - sono quelli che predicano la pace Quelli che predicano Dio hanno bisogno di Dio Quelli che predicano la pace non hanno pace Quelli che predicano amore non hanno amore Attenti ai predicatori Attenti ai sapienti Attenti a quelli che leggono sempre libri Attenti a quelli che o detestano la povertà o ne sono orgogliosi Attenti a quelli che sono sempre pronti ad elogiare poiché hanno loro bisogno di elogi in cambio Attenti a quelli pronti a censurare: hanno paura di quello che non sanno Attenti a quelli che cercano continuamente la folla: da soli non sono nessuno Attenti agli uomini comuni alle donne comuni Attenti al loro amore Il loro è un amore comune che mira alla mediocrità Ma c'è il genio nel loro odio C'è abbastanza genio nel loro odio per ucciderti Per uccidere chiunque Non volendo la solitudine Non concependo la solitudine Cercheranno di distruggere tutto ciò che si differenzia da loro stessi Non essendo capaci di creare arte non capiranno l'arte Come creatori, considereranno il loro fallimento solo come un fallimento del mondo intero Non essendo in grado di amare pienamente considereranno il tuo amore incompleto E poi odieranno te E il loro odio sarà perfetto Come un diamante splendente Come un coltello Come una montagna Come una tigre Come cicuta La loro arte più raffinata

LA CICATRICE Une croûte assez laide est sur la cicatrice. Jeanne l'arrache, et saigne, et c'est là son caprice; Elle arrive, montrant son doigt presque en lambeau. -J'ai, me dit-elle, ôté la peau de mon bobo.- Je la gronde, elle pleure, et, la voyant en larmes, Je deviens plat.-Faisons la paix, je rends les armes, Jeanne, à condition que tu me souriras.- Alors la douce enfant s'est jetée en mes bras, Et m'a dit, de son air indulgent et suprême: -Je ne me ferai plus de mal, puisque je t'aime.- Et nous voilà contents, en ce tendre abandon, Elle de ma clémence et moi de son pardon.

So what," the Chelgrian asked, "is the point of me or anybody else writing a symphony, or anything else?" The avatar raised its brows in surprise. "Well, for one thing, you do it, it's you who gets the feeling of achievement." "Ignoring the subjective. What would be the point for those listening to it?" "They'd know it was one of their own species, not a Mind, who created it." "Ignoring that, too; suppose they weren't told it was by an AI, or didn't care." "If they hadn't been told then the comparison isn't complete; information is being concealed. If they don't care, then they're unlike any group of humans I've ever encountered." "But if you can—" "Ziller, are concerned that Minds—AIs, if you like—can create, or even just appear to create, original works of art?" "Frankly, when they're the sort of original works of art that I create, yes." "Ziller, it doesn't matter. You have to think like a mountain climber." "Oh, do I?" "Yes. Some people take days, sweat buckets, endure pain and cold and risk injury and—in some cases—permanent death to achieve the summit of a mountain only to discover there a party of their peers freshly arrived by aircraft and enjoying a light picnic." "If I was one of those climbers I'd be pretty damned annoyed." "Well, it is considered rather impolite to land an aircraft on a summit which people are at that moment struggling up to the hard way, but it can and does happen. Good manners indicate that the picnic ought to be shared and that those who arrived by aircraft express awe and respect for the accomplishment of the climbers. "The point, of course, is that the people who spent days and sweated buckets could also have taken an aircraft to the summit if all they'd wanted was to absorb the view. It is the struggle that they crave. The sense of achievement is produced by the route to and from the peak, not by the peak itself. It is just the fold between the pages." The avatar hesitated. It put its head a little to one side and narrowed its eyes. "How far do I have to take this analogy, Cr. Ziller?

« Dans nos écoles on nous enseigne le doute et l’art d’oublier. Avant tout l’oubli de ce qui est personnel et localisé. » « — Personne ne peut lire deux mille livres. Depuis quatre siècles que je vis je n’ai pas dû en lire plus d’une demi-douzaine. D’ailleurs ce qui importe ce n’est pas de lire mais de relire. L’imprimerie, maintenant abolie, a été l’un des pires fléaux de l’humanité, car elle a tendu à multiplier jusqu’au vertige des textes inutiles. — De mon temps à moi, hier encore, répondis-je, triomphait la superstition que du jour au lendemain il se passait des événements qu’on aurait eu honte d’ignorer. » « — À cent ans, l’être humain peut se passer de l’amour et de l’amitié. Les maux et la mort involontaire ne sont plus une menace pour lui. Il pratique un art quelconque, il s’adonne à la philosophie, aux mathématiques ou bien il joue aux échecs en solitaire. Quand il le veut, il se tue. Maître de sa vie, l’homme l’est aussi de sa mort[30]. — Il s’agit d’une citation ? lui demandai-je. — Certainement. Il ne nous reste plus que des citations. Le langage est un système de citations. » Extrait de: Borges,J.L. « Le livre de sable. » / Utopie d’un homme qui est fatigué

vous connaissez la matière à fond. Je ne redoute qu’une chose pour le livre, c’est votre indulgence. Car enfin, ces gredins-là n’aiment pas l’art. À propos de titres, vous m’aviez promis de m’en trouver un pour mon roman, à moi, voici celui que j’ai adopté, en désespoir de cause : L’Éducation sentimentale, Histoire d’un jeune homme Je ne dis pas qu’il soit bon. Mais jusqu’à présent c’est celui qui rend le mieux la pensée du livre. Cette difficulté de trouver un bon titre me fait croire que l’idée de l’œuvre (ou plutôt sa conception) n’est pas claire ? J’ai bien envie de vous en lire la fin.

Ces gens-là, les profs, il faut les éviter. Ils sont si habitués à s'écouter parler et à se mettre en scène qu'il n'y a rien à faire avec eux. Aucun échange n'est possible. En plus, ils sont champions toutes catégories de l'art subtil du humble-brag: « La semaine prochaine, je ne serai pas disponible. Je serai à San Francisco à me dorer la fraise au soleil après avoir lu ma communication de vingt minutes devant quatre personnes qui ne m'auront pas écouté. J'ai présenté le même texte le mois dernier à Dubaï, à Séoul et à Istanbul. Dans quelques années, je pourrai le publier dans un livre qui va moisir sur les rayons.

Another time, a host challenged his notion that art was being hijacked by art critics. “But you can’t be serious, Mr. Williamson,” she said with a smile, spreading her arms in disbelief. “It’s art critics who help us understand the value of art.” “Do you need a food critic to understand the value of your breakfast?” Herb Williamson asked.

The new officer AIs were the state of the art in quasi-sentient computers, and the designers had decided that giving them a soothing, human-sounding voice and an active personality would reduce stress on officers in the field. I can’t speak to the psychology of the officer corps in general, but the damned thing creeped me out. And it talked too much.

It is Boden’s third form of creativity that is the more mysterious and elusive, and that is transformational creativity. This describes those rare moments that are complete game changers. Every art form has these gear shifts. Think of Picasso and Cubism, Schoenberg and atonality, Joyce and modernism. They are like phase changes, when water suddenly goes from a liquid to a gas.

Once AI makes better decisions than us about careers and perhaps even relationships, our concept of humanity and of life will have to change. Humans are used to thinking about life as a drama of decision-making. Liberal democracy and free-market capitalism see the individual as an autonomous agent constantly making choices about the world. Works of art – be they Shakespeare plays, Jane Austen novels, or tacky Hollywood comedies – usually revolve around the hero having to make some particularly crucial decision. To be or not to be? To listen to my wife and kill King Duncan, or listen to my conscience and spare him? To marry Mr Collins or Mr Darcy? Christian and Muslim theology similarly focus on the drama of decision-making, arguing that everlasting salvation or damnation depends on making the right choice.

GRAND AGE ET BAS AGE MÊLÉS I Mon âme est faite ainsi que jamais ni l'idée, Ni l'homme, quels qu'ils soient, ne l'ont intimidée; Toujours mon coeur, qui n'a ni bible ni koran, Dédaigna le sophiste et brava le tyran; Je suis sans épouvante étant sans convoitise; La peur ne m'éteint pas et l'honneur seul m'attise; J'ai l'ankylose altière et lourde du rocher; Il est fort malaisé de me faire marcher Par désir en avant ou par crainte en arrière; Je résiste à la force et cède à la prière, Mais les biens d'ici-bas font sur moi peu d'effet; Et je déclare, amis, que je suis satisfait, Que mon ambition suprême est assouvie, Que je me reconnais payé dans cette vie, Et que les dieux cléments ont comblé tous mes veux. Tant que sur cette terre, où vraiment je ne veux Ni socle olympien, ni colonne trajane, On ne m'ôtera pas le sourire de Jeanne.

In laboratorio, quando tutte le ipotesi si sfasciano e risultati inattesi ti impediscono di andare sia avanti sia indietro, incominci a guardare ai lati. In seguito Fedro usò l’espressione ‘collaterale’ per descrivere una crescita del sapere che non procede in avanti come una freccia in volo, ma si espande lateralmente, come una freccia che si allargasse in volo. O come l’arciere che ha colpito il bersaglio e vinto il premio, ma scopre di avere la testa su un cuscino e il sole entra dalla finestra. La conoscenza collaterale è di quelle che arrivano da una direzione del tutto inaspettata, da una direzione che non è neanche riconosciuta come tale finché la conoscenza non s’impone a forza al ricercatore. Le verità collaterali mettono in luce la falsità di assiomi e postulati che soggiacciono al sistema di cui ci si vale per arrivare alla verità.

Gli Italiani devono capire una buona volta il rischio enorme di una cultura credulona ed ‘ascientifica’. Questo è un Paese, infatti, dove si gettano soldi alle ortiche per acquistare prodotti ‘omeopatici’, oppure per creme e tisane che nella migliore delle ipotesi non hanno alcun effetto. E’ un Paese dove ormai non si riesce più a far nulla di costruttivo perchè c’è sempre la paura che si vada a ’sconvolgere’ delicatissimi equilibri ‘immaginari’, paure alimentate ad arte da ‘politici’ che prosperano su falsità di ogni tipo. E’ un Paese dove Otelma, Vanna Marchi, Bossi e berlusconi hanno accumulato fortune economiche e politiche, e dove un Grillo qualunque (con tutto il rispetto per quest’ultimo in confronto ai summenzionati) può apparire un Gigante. Io penso che l’ignoranza collettiva, associata alla supponenza ed al fatalismo, rappresentino la più grave catastrofe per l’Umanità.

LA LUNE I Jeanne songeait, sur l'herbe assise, grave et rose; Je m'approchai:-Dis-moi si tu veux quelque chose, Jeanne ?-car j'obéis à ces charmants amours, Je les guette, et je cherche à comprendre toujours Tout ce qui peut passer par ces divines têtes. Jeanne m'a répondu:-Je voudrais voir des bêtes. Alors je lui montrai dans l'herbe une fourmi. -Vois ! Mais Jeanne ne fut contente qu'à demi. -Non, les bêtes, c'est gros, me dit-elle. Leur rêve, C'est le grand. L'Océan les attire à sa grève, Les berçant de son chant rauque, et les captivant Par l'ombre, et par la fuite effrayante du vent; Ils aiment l'épouvante, il leur faut le prodige. -Je n'ai pas d'éléphant sous la main, répondis-je. Veux-tu quelque autre chose ? ô Jeanne, on te le doit ! Parle.-Alors Jeanne au ciel leva son petit doigt. -Ça, dit-elle.-C'était l'heure où le soir commence. Je vis à l'horizon surgir la lune immense.

« Écoute, Egor Pétrovitch, lui dit-il. Qu’est ce que tu fais de toi ? Tu te perds seulement avec ton désespoir. Tu n’as ni patience ni courage. Maintenant, dans un accès de tristesse, tu dis que tu n’as pas de talent. Ce n’est pas vrai. Tu as du talent ; je t’assure que tu en as. Je le vois rien qu’à la façon dont tu sens et comprends l’art. Je te le prouverai par toute ta vie. Tu m’as raconté ta vie d’autrefois. À cette époque aussi le désespoirte visitait sans que tu t’en rendisses compte. À cette époque aussi, ton premier maître, cet homme étrange, dont tu m’as tant parlé, a éveillé en toi, pour la première fois, l’amour de l’art et a deviné ton talent. Tu l’as senti alors aussi fortement que maintenant. Mais tu ne savais pas ce qui se passait en toi. Tu ne pouvais pas vivre dans la maison du propriétaire, et tu ne savais toi-même ce que tu désirais. Ton maître est mort trop tôt. Il t’a laissé seulement avec des aspirations vagues et, surtout, il ne t’a pas expliqué toimême. Tu sentais le besoin d’une autre route plus large, tu pressentais que d’autres buts t’étaient destinés, mais tu ne comprenais pas comment tout cela se ferait et, dans ton angoisse, tu as haï tout ce qui t’entourait alors. Tes six années de misère ne sont pas perdues. Tu as travaillé, pensé, tu as reconnu et toi-même et tes forces ; tu comprends maintenant l’art et ta destination. Mon ami, il faut avoir de la patience et du courage. Un sort plus envié que le mien t’est réservé. Tu es cent fois plus artiste que moi, mais que Dieu te donne même la dixième partie de ma patience. Travaille, ne bois pas, comme te le disait ton bonpropriétaire, et, principalement, commence par l’a, b, c. « Qu’est-ce qui te tourmente ? La pauvreté, la misère ? Mais la pauvreté et la misère forment l’artiste. Elles sont inséparables des débuts. Maintenant personne n’a encore besoin de toi ; personne ne veut te connaître. Ainsi va le monde. Attends, ce sera autre chose quand on saura que tu as du talent. L’envie, la malignité, et surtout la bêtise t’opprimeront plus fortement que la misère. Le talent a besoin de sympathie ; il faut qu’on le comprenne. Et toi, tu verras quelles gens t’entoureront quand tu approcheras du but. Ils tâcheront de regarder avec mépris ce qui s’est élaboré en toi au prix d’un pénible travail, des privations, des nuits sans sommeil. Tes futurs camarades ne t’encourageront pas, ne te consoleront pas. Ils ne t’indiqueront pas ce qui en toi est bon et vrai. Avec une joie maligne ils relèveront chacune de tes fautes. Ils te montreront précisément ce qu’il y a de mauvais en toi, ce en quoi tu te trompes, et d’un air calme et méprisant ils fêteront joyeusement chacune de tes erreurs. Toi, tu esorgueilleux et souvent à tort. Il t’arrivera d’offenser une nullité qui a de l’amour-propre, et alors malheur à toi : tu seras seul et ils seront plusieurs. Ils te tueront à coups d’épingles. Moi même, je commence à éprouver tout cela. Prends donc des forces dès maintenant. Tu n’es pas encore si pauvre. Tu peux encore vivre ; ne néglige pas les besognes grossières, fends du bois, comme je l’ai fait un soir chez de pauvres gens. Mais tu es impatient ; l’impatience est ta maladie. Tu n’as pas assez de simplicité ; tu ruses trop, tu réfléchis trop, tu fais trop travailler ta tête. Tu es audacieux en paroles et lâche quand il faut prendra l’archet en main. Tu as beaucoup d’amour-propre et peu de hardiesse. Sois plus hardi, attends, apprends, et si tu ne comptes pas sur tes forces, alors va au hasard ; tu as de la chaleur, du sentiment, peut-être arriveras-tu au but. Sinon, va quand même au hasard. En tout cas tu ne perdras rien, si le gain est trop grand. Vois-tu, aussi, le hasard pour nous est une grande chose. »

Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people's view of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things like AI, bioengineering en climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people’s views of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things such as AI, bioengineering, and climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

Louis Quinze aimait peu les parfums. Je l'imite Et je leur acquiesce en la juste limite. Ni flacons, s'il vous plait, ni sachets en amour! Mais, o qu'air naif et piquant flotte autour D'un corps, pourvu que l'art de m'exciter se trouve; (...) Des lors, voudrais-je encore du poison etranger, D'un fragrance prise a la plante, a la bete, Qui vous tourne le coeur et vous brule la tete, Puisque j'ai, pour magnifier la volupte, Proprement la quintessence de la beaute. L'emotion profonde du soir et le bonheur triste des coeurs fideles.

Je prendrai par la main les deux petits enfants; J'aime les bois où sont les chevreuils et les faons, Où les cerfs tachetés suivent les biches blanches Et se dressent dans l'ombre effrayés par les branches; Car les fauves sont pleins d'une telle vapeur Que le frais tremblement des feuilles leur fait peur. Les arbres ont cela de profond qu'ils vous montrent Que l'éden seul est vrai, que les coeurs s'y rencontrent, Et que, hors les amours et les nids, tout est vain; Théocrite souvent dans le hallier divin Crut entendre marcher doucement la ménade. C'est là que je ferai ma lente promenade Avec les deux marmots. J'entendrai tour à tour Ce que Georges conseille à Jeanne, doux amour, Et ce que Jeanne enseigne à George. En patriarche Que mènent les enfants, je réglerai ma marche Sur le temps que prendront leurs jeux et leurs repas, Et sur la petitesse aimable de leurs pas. Ils cueilleront des fleurs, ils mangeront des mûres. Ô vaste apaisement des forêts ! ô murmures ! Avril vient calmer tout, venant tout embaumer. Je n'ai point d'autre affaire ici-bas que d'aimer.

Thanks for the ride.It was really nice of you." "No worrie. Since I'm down here, maybe I'll swing by Geno's for a cheesesteak." He shook his head. "You saw what was in my fridge." "I did. Alex..." I could ask. It would be so easy. A pizza,some of Nonna's fettuccine... "I had a good time," I told him. Coward, I scolded myself. "I didn't expect to." "Yeah,well,you can't beat a good raptor attack. Next time before we get started, I'll show you my French comic book collection..." He wiggled his eyebrows at me in perv fashion. "Then we'll work." "Okay," I agreed. "Sounds good." I started up the sidewalk. Instead of going home,I'd decided to go over to Marino's. Offer to peel garlic or something.Dad would appreciate it. "Hey,Ella." I turned. "Yeah?" "I'll see you tomorrow." I must have looked blank. "At the dance," he added. "Oh.Yeah.See you tomorrow." I turned back toward the restaurant. "Hey,Ella." "Yeah?" "J'ai passe un tres bon moment, aussi." When I just stared at him again, he snorted. "Work it out." I did,but not before he'd driven away. He'd had a really good time,too.

Jeanne était au pain sec dans le cabinet noir, Pour un crime quelconque, et, manquant au devoir, J'allai voir la proscrite en pleine forfaiture, Et lui glissai dans l'ombre un pot de confiture Contraire aux lois. Tous ceux sur qui, dans ma cité, Repose le salut de la société S'indignèrent, et Jeanne a dit d'une voix douce: -Je ne toucherai plus mon nez avec mon pouce; Je ne me ferai plus griffer par le minet. Mais on s'est recrié:-Cette enfant vous connaît; Elle sait à quel point vous êtes faible et lâche. Elle vous voit toujours rire quand on se fâche. Pas de gouvernement possible. A chaque instant L'ordre est troublé par vous; le pouvoir se détend; Plus de règle. L'enfant n'a plus rien qui l'arrête. Vous démolissez tout.-Et j'ai baissé la tête, Et j'ai dit:-Je n'ai rien à répondre à cela, J'ai tort. Oui, c'est avec ces indulgences-là Qu'on a toujours conduit les peuples à leur perte. Qu'on me mette au pain sec.-Vous le méritez, certe, On vous y mettra.-Jeanne alors, dans son coin noir, M'a dit tout bas, levant ses yeux si beaux à voir, Pleins de l'autorité des douces créatures: -Eh bien' moi, je t'irai porter des confitures.

Si j'ai profané avec mon indigne main cette châsse sacrée, je suis prêt à une douce pénitence : permettez à mes lèvres, comme à deux pèlerins rougissants, d'effacer ce grossier attouchement par un tendre baiser. Juliette : Bon pèlerin, vous êtes trop sévère pour votre main qui n'a fait preuve en ceci que d'une respectueuse dévotion. Les saintes mêmes ont des mains que peuvent toucher les mains des pèlerins ; et cette étreinte est un pieux baiser. Roméo : Les saintes n'ont-elles pas des lèvres, et les pèlerins aussi ? Juliette : Oui, pèlerin, des lèvres vouées à la prière. Roméo : Oh ! alors, chère sainte, que les lèvres fassent ce que font les mains. Elles te prient ; exauce-les, de peur que leur foi ne se change en désespoir. Juliette : Les saintes restent immobiles, tout en exauçant les prières. Roméo : Restez donc immobile, tandis que je recueillerai l'effet de ma prière. Vos lèvres ont effacé le péché des miennes. Juliette : Mes lèvres ont gardé pour elles le péché qu'elles ont pris des vôtres. Roméo : Vous avez pris le péché de mes lèvres ? Ô reproche charmant ! Alors rendez-moi mon péché. Juliette : Vous avez l'art des baisers.

Nessun limite a Parigi. Nessuna città ha avuto questa dominazione che dileggiava talvolta coloro ch'essa soggioga: Piacervi o ateniesi! esclamava Alessandro. Parigi fa più che la legge, fa la moda; e più che la moda, l'abitudine. Se le piace, può esser stupida, e talvolta si concede questo lusso, allora l'universo è stupido con lei. Poi Parigi si sveglia, si frega gli occhi e dice: «Come sono sciocca!» e sbotta a ridere in faccia al genere umano. Quale meraviglia, una simile città! Quanto è strano che questo grandioso e questo burlesco si faccian buona compagnia, che tutta questa maestà non sia turbata da tutta questa parodia e che la stessa bocca possa oggi soffiare nella tromba del giudizio finale e domani nello zufolo campestre! Parigi ha una giocondità suprema: la sua allegrezza folgora e la sua farsa regge uno scettro. Il suo uragano esce talvolta da una smorfia; le sue esplosioni, le sue giornate, i suoi capolavori, i suoi prodigi e le sue epopee giungono fino in capo al mondo, e i suoi spropositi anche. La sua risata è una bocca di vulcano che inzacchera tutta la terra, i suoi lazzi sono faville; essa impone ai popoli le sue caricature, così come il suo ideale, ed i più alti monumenti della civiltà umana ne accettano le ironie e prestano la loro eternità alle sue monellerie. È superba: ha un 14 luglio prodigioso, che libera l'universo; fa fare il giuramento della palla corda a tutte le nazioni; la sua notte del 4 agosto dissolve in tre ore mille anni di feudalismo; fa della sua logica il muscolo della volontà unanime; si moltiplica sotto tutte le forme del sublime; riempie del suo bagliore Washington, Kosciusko, Bolivar, Botzaris, Riego, Bem, Manin, Lopez, John Brown, Garibaldi; è dappertutto dove s'accende l'avvenire, a Boston nel 1779, all'isola di Leon nel 1820, a Budapest nel 1848, a Palermo nel 1860; sussurra la possente parola d'ordine: Libertà, all'orecchio degli abolizionisti americani radunati al traghetto di Harper's Ferry ed all'orecchio dei patrioti d'Ancona, riuniti nell'ombra degli Archi, davanti all'albergo Gozzi, in riva al mare; crea Canaris, Quiroga, Pisacane; irraggia la grandezza sulla terra; e Byron muore a Missolungi e Mazet muore a Barcellona, andando là dove il suo alito li spinge; è tribuna sotto i piedi di Mirabeau, cratere sotto i piedi di Robespierre; i suoi libri, il suo teatro, la sua arte, la sua scienza, la sua letteratura, la sua filosofia sono i manuali del genere umano; vi sono Pascal, Régnier, Corneille, Descartes, Gian Giacomo; Voltaire per tutti i minuti, Molière per tutti i secoli; fa parlar la sua lingua alla bocca universale e questa lingua diventa il Verbo; costruisce in tutte le menti l'idea del progresso; i dogmi liberatori da lei formulati sono per le generazioni altrettanti cavalli di battaglia, e appunto coll'anima dei suoi pensatori e dei suoi poeti si sono fatti dal 1789 in poi gli eroi di tutti i popoli. Il che non le impedisce d'esser birichina; e quel genio enorme che si chiama Parigi, mentre trasfigura il mondo colla sua luce, disegna col carboncino il naso di Bourginier sul muro del tempio di Teseo e scrive Crédeville, ladro, sulle piramidi. Parigi mostra sempre i denti; quando non brontola, ride. Siffatta è questa Parigi. I fumacchi dei suoi tetti sono le idee dell'universo. Mucchio di fango e di pietre, se si vuole; ma, soprattutto, essere morale: è più che grande, è immensa. Perché? Perché osa. Osare: il più progresso si ottiene a questo prezzo. Tutte le conquiste sublimi sono, più o meno, premî al coraggio, perché la rivoluzione sia, non basta che Montesquieu la presagisca, che Diderot la predichi, che Beaumarchais l'annunci, che Condorcet la calcoli, che Arouet la prepari e che Rousseau la premediti: bisogna che Danton l'osi.

Je me rappelle mon entrée sur la scène, à mon premier concert. […] Je n'aimais pas ce public pour qui l'art n'est qu'une vanité nécessaire, ces visage composés dissimulant les âmes, l'absence des âmes. Je concevais mal qu'on pût jouer devant des inconnus, à heure fixe, pour un salaire versé d'avance. Je devinais les appréciations toutes faites, qu'ils se croyaient obligés de formuler en sortant ; je haïssais leur goût pour l'emphase inutile, l'intérêt même qu'ils me portaient, parce que j'étais de leur monde, et l'éclat factice dont se paraient les femmes. Je préférais encore les auditeurs de concerts populaires, donnés le soir dans quelque salle misérable, où j'acceptais parfois de jouer gratuitement. Des gens venaient là dans l'espoir de s'instruire. Ils n'étaient pas plus intelligents que les autres, ils étaient seulement de meilleur volonté. Ils avaient dû, après leur repas, s'habiller le mieux possible ; ils avaient dû consentir à avoir froid, pendant deux longues heures, dans une salle presque noire. Les gens qui vont au théâtre cherchent à s'oublier eux-mêmes ; ceux qui vont au concert cherchent plutôt à se retrouver. Entre la dispersion du jour et la dissolution du sommeil, ils se retrempent dans ce qu'ils sont. Visage fatigués des auditeurs du soir, visages qui se détendent dans leurs rêves et semblent s'y baigner. Mon visage… En ne suis-je pas aussi très pauvre, moi qui n'ai ni amour, ni foi, ni désir avouable, moi qui n'ai que moi-même sur qui compter, et qui me suis presque toujours infidèle ? (p. 82-83)

Winslow wants you to learn this"- he waved a few sheets of stapled pages- "and that." He pointed to the book in my lap. Fifty French Conversations. It was one of our textbooks. I'd stopped at the seventeenth: Mon hamster a mange trop de fromage. Il a mal au ventre maintenant. "The rest is the Bainbridge Method." "You have a method?" "Patented and proven." I waved the book. "Does it include greedy, cheese-guzzling hamsters with stomachaches?" He nodded. "Absolutely.French conversations is nothing without rodents and cheese.Is there something shameful in your past involving either?" "Not that I can think of off the top of my head." "Tant pis." "And that means...?" "Fuhgeddaboudit," he translated, grinning. I sighed. "Do people make Russian jokes in your presence?" "How do you get five Russians to agree on anything?" "How?" I asked. "Shoot four of them." I thought for a sec. "I'm not sure that's funny." "No," Alex said. "People don't tell many Russian jokes in my presence." "I should start my three things, huh?" "Yeah.That would be good." I did some speedy translating in my head. "Je n'ai jamais lu Huckleberry Finn, Beloved, ou Moby-Dick." "Ella,no one has read Moby-Dick. The French was passable, but as far as revelations go,that sucked." "Ah, but there's a part deux. All three of those books were required reading last year in my American lit class. I used SparkNotes." "You're kidding, right?" "See?" I daintily brushed Dorito crumbs from my fingertips. "Changes your perception of me, doesn't it?" "No,I mean, 'That's a revelation?' You can do better than that." "Maybe," I agreed, "but it's still early in the game.

Chapter 20 we will explore in far greater depth how to avoid brainwashing and how to distinguish reality from fiction. Here I would like to offer two simple rules of thumb. First, if you want reliable information, pay good money for it. If you get your news for free, you might well be the product. Suppose a shady billionaire offered you the following deal: “I will pay you $30 a month, and in exchange you will allow me to brainwash you for an hour every day, installing in your mind whichever political and commercial biases I want.” Would you take the deal? Few sane people would. So the shady billionaire offers a slightly different deal: “You will allow me to brainwash you for one hour every day, and in exchange, I will not charge you anything for this service.” Now the deal suddenly sounds tempting to hundreds of millions of people. Don’t follow their example. The second rule of thumb is that if some issue seems exceptionally important to you, make the effort to read the relevant scientific literature. And by scientific literature I mean peer-reviewed articles, books published by well-known academic publishers, and the writings of professors from reputable institutions. Science obviously has its limitations, and it has gotten many things wrong in the past. Nevertheless, the scientific community has been our most reliable source of knowledge for centuries. If you think the scientific community is wrong about something, that’s certainly possible, but at least know the scientific theories you are rejecting, and provide some empirical evidence to support your claim. Scientists, for their part, need to be far more engaged with current public debates. Scientists should not be afraid of making their voices heard when the debate wanders into their field of expertise, be it medicine or history. Of course, it is extremely important to go on doing academic research and to publish the results in scientific journals that only a few experts read. But it is equally important to communicate the latest scientific theories to the general public through popular science books, and even through the skillful use of art and fiction. Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people’s views of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things such as AI, bioengineering, and climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

LE SYLLABUS Tout en mangeant d'un air effaré vos oranges, Vous semblez aujourd'hui, mes tremblants petits anges, Me redouter un peu; Pourquoi ? c'est ma bonté qu'il faut toujours attendre, Jeanne, et c'est le devoir de l'aïeul d'être tendre Et du ciel d'être bleu. N'ayez pas peur. C'est vrai, j'ai l'air fâché, je gronde, Non contre vous. Hélas, enfants, dans ce vil monde, Le prêtre hait et ment; Et, voyez-vous, j'entends jusqu'en nos verts asiles Un sombre brouhaha de choses imbéciles Qui passe en ce moment. Les prêtres font de l'ombre. Ah ! je veux m'y soustraire. La plaine resplendit; viens, Jeanne, avec ton frère, Viens, George, avec ta soeur; Un rayon sort du lac, l'aube est dans la chaumière; Ce qui monte de tout vers Dieu, c'est la lumière; Et d'eux, c'est la noirceur. J'aime une petitesse et je déteste l'autre; Je hais leur bégaiement et j'adore le vôtre; Enfants, quand vous parlez, Je me penche, écoutant ce que dit l'âme pure, Et je crois entrevoir une vague ouverture Des grands cieux étoilés. Car vous étiez hier, ô doux parleurs étranges, Les interlocuteurs des astres et des anges; En vous rien n'est mauvais; Vous m'apportez, à moi sur qui gronde la nue, On ne sait quel rayon de l'aurore inconnue; Vous en venez, j'y vais. Ce que vous dites sort du firmament austère; Quelque chose de plus que l'homme et que la terre Est dans vos jeunes yeux; Et votre voix où rien n'insulte, où rien ne blâme, Où rien ne mord, s'ajoute au vaste épithalame Des bois mystérieux. Ce doux balbutiement me plaît, je le préfère; Car j'y sens l'idéal; j'ai l'air de ne rien faire Dans les fauves forêts. Et pourtant Dieu sait bien que tout le jour j'écoute L'eau tomber d'un plafond de rochers goutte à goutte Au fond des antres frais. Ce qu'on appelle mort et ce qu'on nomme vie Parle la même langue à l'âme inassouvie; En bas nous étouffons; Mais rêver, c'est planer dans les apothéoses, C'est comprendre; et les nids disent les mêmes choses Que les tombeaux profonds. Les prêtres vont criant: Anathème ! anathème ! Mais la nature dit de toutes parts: Je t'aime ! Venez, enfants; le jour Est partout, et partout on voit la joie éclore; Et l'infini n'a pas plus d'azur et d'aurore Que l'âme n'a d'amour. J'ai fait la grosse voix contre ces noirs pygmées; Mais ne me craignez pas; les fleurs sont embaumées, Les bois sont triomphants; Le printemps est la fête immense, et nous en sommes; Venez, j'ai quelquefois fait peur aux petits hommes, Non aux petits enfants.

Pretty,eh?" I jumped a foot. "Nonna!" She was standing in my doorway, beaming like a demented gnome. "For your underwater dance." "It looks like....a toga." "Toga," she sniffed as she stalked across the room to lift the dress from its hanger, "is for boys at silly parties. This is for a goddess." She held it up to me. "You will be Salacia, Roman goddess of water." It still looked like a toga, and not a very big one, although it did almost reach the floor. My legs would be covered, which was all well and good, except that, other than going a little too long without defuzzing, I didn't have much of a problem with my legs. I did know this wasn't going to work. I just had no idea at the moment how I was going to make it not happen. "This is awfully...pagan of you, Nonna." She rolled her eyes. "Ai, sixteen, with the smart mouth and such certainty. You think I just read the Bible? A goddess, she has more fun than a saint." "Nonna!" "Ah!" She poked me in the center of the chest with her middle finger. "Fun, si, but a bad end if she thinks to hold the heart of a boy who wants only to play. Salacia, she let Neptune chase her and chase her and prove his heart was true." I didn't argue. My grasp of Greco-Roman mythology is shaky at best, and derived mostly from the Percy Jackson books. I had my doubts about Neptune's heart, but figured it would only be smart-assy to mention that to my grandmother.

J’ai remarqué souvent que quand deux amis pétersbourgeois se rencontrent quelque part, après s’être salués, ils demandent en même temps : Quoi de neuf ? il y a une tristesse particulière dans leurs voix, quelle qu’ait été l’intonation initiale de leur conversation. En effet, une désespérance totale est liée à cette question à Pétersbourg. Mais le plus agaçant c’est que, très souvent, l’homme qui la pose est tout à fait indifférent, un Pétersbourgeois de naissance, qui connaît très bien la coutume, sait d’avance qu’on ne lui répondra rien, qu’il n’y a rien de nouveau, qu’il a posé cette question peut-être mille fois sans aucun succès ; cependant, il la pose, et il a l’air de s’y intéresser, comme si les convenances l’obligeaient de participer lui aussi à la vie publique, d’avoir des intérêts publics. Mais les intérêts publics... C’est-à-dire nous ne nions pas que nous ayons des intérêts publics ; nous tous aimons ardemment la patrie, nous aimons notre cher Pétersbourg, nous aimons jouer si l’occasion se présente. En un mot il y a beaucoup d’intérêts publics. Mais ce qu’il y a surtout chez nous, ce sont les groupes. On sait que Pétersbourg n’est que la réunion d’un nombre considérable de petits groupes dont chacun a ses statuts, ses conventions, ses lois, sa logique et son oracle. C’est en quelque sorte le produit de notre caractère national qui a encore peur de la vie publique et tient plutôt au foyer. En outre, la vie publique exige un certain art ; il faut s’y préparer ; il faut beaucoup de conditions. Aussi, l’on préfère la maison. Là, tout est plus simple ; il ne faut aucun art ; on est plus tranquille. Dans le groupe, on vous répondra bravement à la question : Quoi de neuf ? La question reçoit tout de suite un sens particulier, et l’on vous répond ou par un potin, ou par un bâillement, ou par quelque chose qui vous force vous-même à bâiller cyniquement, magistralement. Dans le groupe, on peut traîner de la façon la meilleure et la plus douce une vie utile entre le bâillement et le ragot, jusqu’au moment où la grippe, ou bien la fièvre chaude, visite votre demeure ; et vous quittez alors la vie stoïquement, avec indifférence, sans savoir comment et pourquoi tout cela était avec vous jusqu’alors. Aujourd’hui, dans l’obscurité, au crépuscule, après une triste journée, plein d’étonnement que tout se soit arrangé ainsi, il semble qu’on ait vécu, qu’on ait atteint quelque chose, et tout à coup, on ne sait pas pourquoi, il faut quitter ce monde agréable et sans soucis pour émigrer dans un monde meilleur. Dans certains groupes, d’ailleurs, on parle fortement de la cause. Quelques personnes instruites et bien intentionnées se réunissent. On bannit sévèrement tous les plaisirs innocents, comme les potins et la préférence, et, avec un entrain incompréhensible, on parle de différents sujets très importants. Enfin, après avoir bavardé, parlé, résolu quelques questions d’utilité générale, et après avoir réussi à imposer aux uns et aux autres une opinion sur toutes choses, le groupe est saisi d’une irritation quelconque et commence à s’affaiblir considérablement. Finalement, tous se fâchent les uns contre les autres. On se dit quelques dures vérités. Quelques caractères tranchants se font jour et tout se termine par la dislocation totale. Ensuite on se calme ; on fait provision de bon sens et, peu à peu, l’on se réunit de nouveau dans le groupe décrit ci-dessus. Sans doute il est agréable de vivre ainsi. Mais à la longue cela devient irritant ; cela irrite fortement.

J’ai été obligé de remonter, pour vous montrer le lien des idées et des choses, à une sorte d’origine de ces réserves en vous disant que si l’humanité avait fait ce qu’elle a fait, et qui en somme a fait l’humanité réciproquement, c’est parce que depuis une époque immémoriale elle avait su se constituer des réserves matérielles, que ces réserves matérielles avaient créé des loisirs, et que seul le loisir est fécond ; car c’est dans le loisir que l’esprit peut, éloigné des conditions strictes et pressantes de la vie, se donner carrière, s’éloigner de la considération immédiate des besoins et par conséquent entamer, soit sous forme de rêverie, soit sous forme d’observation, soit sous forme de raisonnement, la constitution d’autres réserves, qui sont les réserves spirituelles ou intellectuelles. J’avais ajouté, pour me rapprocher des circonstances présentes, que ces réserves spirituelles n’ont pas les mêmes propriétés que les réserves matérielles. Les réserves intellectuelles, sans doute, ont d’abord les mêmes conditions à remplir que les réserves matérielles, elles sont constituées par un matériel, elles sont constituées par des documents, des livres, et aussi par des hommes qui peuvent se servir de ces documents, de ces livres, de ces instruments, et qui aussi sont capables de les transmettre à d’autres. Et je vous ai expliqué que cela ne suffisait point, que les réserves spirituelles ou intellectuelles ne pouvaient passer, à peine de dépérir tout en étant conservées en apparence, en l’absence d’hommes qui soient capables non seulement de les comprendre, non seulement de s’en servir, mais de les accroître. Il y a une question : l’accroissement perpétuel de ces réserves, qui se pose, et je vous ai dit, l’expérience l’a souvent vérifié dans l’histoire, que si tout un matériel se conservait à l’écart de ceux qui sont capables non seulement de s’en servir mais encore de l’augmenter, et non seulement de l’accroître, mais d’en renverser, quelquefois d’en détruire quelques-uns des principes, de changer les théories, ces réserves alors commencent à dépérir. Il n’y a plus, le créateur absent, que celui qui s’en sert, s’en sert encore, puis les générations se succèdent et les“choses qu’on avait trouvées, les idées qu’on avait mises en œuvre commencent à devenir des choses mortes, se réduisent à des routines, à des pratiques, et peu à peu disparaissent même d’une civilisation avec cette civilisation elle-même. Et je terminais en disant que, dans l’état actuel des choses tel que nous pouvons le constater autour de nous, il y a toute une partie de l’Europe qui s’est privée déjà de ses créateurs et a réduit au minimum l’emploi de l’esprit, elle en a supprimé les libertés, et par conséquent il faut attendre que dans une période déterminée on se trouvera en présence d’une grande partie de l’Europe profondément appauvrie, dans laquelle, comme je vous le disais, il n’y aura plus de pensée libre, il n’y aura plus de philosophie, plus de science pure, car toute la science aura été tournée à ses applications pratiques, et particulièrement à des applications économiques et militaires ; que même la littérature, que même l’art, et même que l’esprit religieux dans ses pratiques diverses et dans ses recherches diverses auront été complètement diminués sinon abolis, dans cette grande partie de l’Europe qui se trouvera parfaitement appauvrie. Et si la France et l’Angleterre savent conserver ce qu’il leur faut de vie — de vie vivante, de vie active, de vie créatrice — en matière d’intellect, il y aura là un rôle immense à jouer, et un rôle naturellement de première importance pour que la civilisation européenne ne disparaisse pas complètement.

Oriunde vei merge, vei găsi, printre alte lucruri, și o tonă de lucruri urâte. Și este foarte bine așa. Ideea e să nu fugi de ele. Ideea e să identifici genul de lucru urât cu care să-ți placă să ai de-a face.

It is important to understand what a designer really is (and especially is not). First of all, there is a semantic misunderstanding: design has only partially to do with art and more with problem-solving.

Siete il Magister?'' ‘'’Magister?'' Il ragazzo sembrò lievemente sorpreso da quella veemenza. '' Significa "maestro" in latino, non è vero?’' […] ''Sono maestro in molte cose. Nel girare per le vie di Londra, nel ballare la quadriglia, nell'arte giapponese di disporre i fiori, nell'imbrogliare giocando ai mimi, nel nascondere l'ubriachezza, nel deliziare le giovani donne con il mio fascino…’’ Tessa lo fissava sconcertata. ''Ahimè, in realtà nessuno si è mai riferito a me con il termine "maestro" o “magister" continuò il ragazzo. ''Purtroppo…’’ ''Siete per caso ubriaco fradicio?

Quyến rũ là một trò chơi tâm lí, chứ không phải vẻ đẹp bề ngoài, và trở thành một chuyên gia quyến rũ hoàn toàn nằm trong tầm tay của bất kì ai.

Homère donne à un simple artisan le nom de sage, c'est ainsi qu'il s'exprime sur un certain Margites : « Les dieux n'en firent ni un cultivateur ou fossoyeur, ni un sage en quoi que ce soit ; il ne réussit en aucun art. » Hésiode, après avoir dit que Linus le joueur de harpe était versé dans toutes sortes de sagesses, ne craint pas de nommer sage un matelot. Il ne montre, écrit-il, aucune sagesse dans la navigation. Que dit le prophète Daniel : « Les sages, les mages, les devins et les augures ne peuvent découvrir au roi le secret dont il s'inquiète; mais il est un Dieu dans le ciel qui révèle les mystères. » Ainsi Daniel salue du nom de sages les savants de Babylone. Ce qui prouve clairement que l'Écri- 17 ture enveloppe sous la même dénomination de sagesse toute science ou tout art profane, enfin tout ce que l'esprit de l'homme a pu concevoir et imaginer, et que toute invention d'art ou de science vient de Dieu ; ajoutons les paroles suivantes, elles ne laisseront aucun doute : « Et le Seigneur parla à Moïse en ces termes : Voilà que j'ai appelé Béséléel, fils d'Uri, fils de Hur, de la tribu de Juda, et je l'ai rempli d'un divin esprit de sagesse, d'intelligence et de science, pour inventer et exécuter toutes sortes d'ouvrages, pour travailler l'or et l'argent, et l'airain, et l'hyacinthe, et le porphyre, et le bois de l'arbre qui donne l'écarlate, et pour exécuter tous les travaux qui concernent l'architecte et le lapidaire, et pour travailler les bois, etc. » Dieu poursuit de la sorte jusqu'à ces mots : « Et tous les ouvrages. » Puis il se sert d'une expression générale pour résumer ce qu'il vient de dire : « Et j'ai mis l'intelligence dans le cœur de tous les ouvriers intelligents; » c'est-à-dire, dans le cœur de tous ceux qui peuvent la recevoir par le travail et par l'exercice. Il est encore écrit d'une manière formelle, au nom du Seigneur : « Et toi, parle à tous ceux qui ont la sagesse de la pensée, et que j'ai remplis d'un esprit d'intelligence. » Ceux-là possèdent des avantages naturels tout particuliers; pour ceux qui font preuve d'une grande aptitude, ils ont reçu une double mesure, je dirai presque un double esprit d'intelligence. Ceux même qui s'appliquent à des arts grossiers, vulgaires, jouissent de sens excellents. L'organe de l'ouïe excelle dans le musicien, celui du tact dans le sculpteur, de la voix dans le chanteur, de l'odorat dans le parfumeur, de la vue dans celui qui sait graver des figures sur des cachets. Mais ceux qui se livrent aux sciences ont un sentiment spécial par lequel le poète a la perception du mètre; le rhéteur, du style; le dialecticien, du raisonnement ; le philosophe, de la contemplation qui lui est propre. Car, c'est à la faveur de ce sentiment ou instinct qu'on trouve et qu'on invente, puisque c'est lui seul qui peut déterminer l'application de notre esprit. Cette application s'accroit à raison de l'exercice continu. L'apôtre a 18 donc eu raison de dire que « la sagesse de Dieu revêt mille formes diverses, » puisque que pour notre bien elle nous révèle sa puissance en diverses occasions et de diverses manières, par les arts, par la science, par la foi, par la prophétie. Toute sagesse vient donc du Seigneur, et elle est avec lui pendant tous les siècles, comme le dit l'auteur du livre de la sagesse : « Si tu invoques à grands cris l'intelligence et la science, si tu la cherches comme un trésor caché, et que tu fasses avec joie les plus grands efforts pour la trouver, tu comprendras le culte qu'il faut rendre au Seigneur, et tu découvriras la science de Dieu. »

The traditional illustration of the direct rule-based approach is the “three laws of robotics” concept, formulated by science fiction author Isaac Asimov in a short story published in 1942.22 The three laws were: (1) A robot may not injure a human being or, through inaction, allow a human being to come to harm; (2) A robot must obey any orders given to it by human beings, except where such orders would conflict with the First Law; (3) A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. Embarrassingly for our species, Asimov’s laws remained state-of-the-art for over half a century: this despite obvious problems with the approach, some of which are explored in Asimov’s own writings (Asimov probably having formulated the laws in the first place precisely so that they would fail in interesting ways, providing fertile plot complications for his stories).23 Bertrand Russell, who spent many years working on the foundations of mathematics, once remarked that “everything is vague to a degree you do not realize till you have tried to make it precise.”24 Russell’s dictum applies in spades to the direct specification approach. Consider, for example, how one might explicate Asimov’s first law. Does it mean that the robot should minimize the probability of any human being coming to harm? In that case the other laws become otiose since it is always possible for the AI to take some action that would have at least some microscopic effect on the probability of a human being coming to harm. How is the robot to balance a large risk of a few humans coming to harm versus a small risk of many humans being harmed? How do we define “harm” anyway? How should the harm of physical pain be weighed against the harm of architectural ugliness or social injustice? Is a sadist harmed if he is prevented from tormenting his victim? How do we define “human being”? Why is no consideration given to other morally considerable beings, such as sentient nonhuman animals and digital minds? The more one ponders, the more the questions proliferate. Perhaps

Probably the single most reliable sign of a cult guru is that the guru claims expertise, not in one area, not even in a cluster of related areas, but in everything. The guru knows what cult members should eat, wear, do for a living; who they should have sex with; which art they should look at; which music they should listen to . . .

requires both ethics and data, both deep thinking people and Deep Learning AI,

One possible benefit of new workforce trends is that people will have more leisure time than in the past. This can happen in one of two ways. Some people will not be needed in the new digital economy, so they will find other ways to construct meaning in their lives outside the workplace. Alternatively, even those who work may find themselves with time for other kinds of pursuits. Rather than most waking hours being spent on work-related tasks, the society of the future may have time for nonwork activities, including art, culture, music, sports, and theater.

Emotional intelligence and empathy is way more important than artificial intelligence.

This book is a compilation of interesting ideas that have strongly influenced my thoughts and I want to share them in a compressed form. That ideas can change your worldview and bring inspiration and the excitement of discovering something new. The emphasis is not on the technology because it is constantly changing. It is much more difficult to change the accompanying circumstances that affect the way technological solutions are realized. The chef did not invent salt, pepper and other spices. He just chooses good ingredients and uses them skilfully, so others can enjoy his art. If I’ve been successful, the book creates a new perspective for which the selection of ingredients is important, as well as the way they are smoothly and efficiently arranged together. In the first part of the book, we follow the natural flow needed to create the stimulating environment necessary for the survival of a modern company. It begins with challenges that corporations are facing, changes they are, more or less successfully, trying to make, and the culture they are trying to establish. After that, we discuss how to be creative, as well as what to look for in the innovation process. The book continues with a chapter that talks about importance of inclusion and purpose. This idea of inclusion – across ages, genders, geographies, cultures, sexual orientation, and all the other areas in which new ways of thinking can manifest – is essential for solving new problems as well as integral in finding new solutions to old problems. Purpose motivates people for reaching their full potential. This is The second and third parts of the book describes the areas that are important to support what is expressed in the first part. A flexible organization is based on IT alignment with business strategy. As a result of acceleration in the rate of innovation and technological changes, markets evolve rapidly, products’ life cycles get shorter and innovation becomes the main source of competitive advantage. Business Process Management (BPM) goes from task-based automation, to process-based automation, so automating a number of tasks in a process, and then to functional automation across multiple processes andeven moves towards automation at the business ecosystem level. Analytics brought us information and insight; AI turns that insight into superhuman knowledge and real-time action, unleashing new business models, new ways to build, dream, and experience the world, and new geniuses to advance humanity faster than ever before. Companies and industries are transforming our everyday experiences and the services we depend upon, from self-driving cars, to healthcare, to personal assistants. It is a central tenet for the disruptive changes of the 4th Industrial Revolution; a revolution that will likely challenge our ideas about what it means to be a human and just might be more transformative than any other industrial revolution we have seen yet. Another important disruptor is the blockchain - a distributed decentralized digital ledger of transactions with the promise of liberating information and making the economy more democratic. You no longer need to trust anyone but an algorithm. It brings reliability, transparency, and security to all manner of data exchanges: financial transactions, contractual and legal agreements, changes of ownership, and certifications. A quantum computer can simulate efficiently any physical process that occurs in Nature. Potential (long-term) applications include pharmaceuticals, solar power collection, efficient power transmission, catalysts for nitrogen fixation, carbon capture, etc. Perhaps we can build quantum algorithms for improving computational tasks within artificial intelligence, including sub-fields like machine learning. Perhaps a quantum deep learning network can be trained more efficiently, e.g. using a smaller training set. This is still in conceptual research domain.

Omul este fiinta care aspira catre Arta prin vis. Unica si ultima lui implinire este aceea de a i se permite sa traiasca in launtrul propriului sau vis. (...) Insa exista si foarte multi oameni care nu-si pot gasi pacea niciodata. Visul lor personal este tulbure, plin de teroare, de resentiment fata de ceilalti ori fata de ei insisi. A-i face sa traiasca intr-o asemenea realitate ar echivala, pentru ei, cu o condamnare la pedepsele infernului. Un infern pe care fiecare il duce cu sine oriunde se invarte. Prin Arta, ei pot fi salvati de infern, dar nu vor cunoaste niciodata adevarul. De aceea trebuie lasati sa traiasca in interiorul lumii. Lumea insasi a fost intotdeauna si a ramas o fictiune a Artei, aparuta ca sa-i salveze intr-un fel pe condamnatii la infernul personal. Din cand in cand, prin moarte, acestia se recufunda in ei insisi, iar Arta, rabdatoare, ii aduce inapoi.

Atoms, elements and molecules are three important knowledge in Physics, chemistry and Biology. mathematics comes where counting starts, when counting and measurement started, integers were required. Stephen hawking says integers were created by god and everything else is work of man. Man sees pattern in everything and they are searched and applied to other sciences for engineering, management and application problems. Physics, it is required understand the physical nature or meaning of why it happens, chemistry is for chemical nature, Biology is for that why it happened. Biology touch medicine, plants and animals. In medicine how these atoms, elements and molecules interplay with each other by bondage is being explained. Human emotions and responses are because of biochemistry, hormones i e anatomy and physiology. This physiology deals with each and every organs and their functions. When this atom in elements are disturbed whatever they made i e macromolecules DNA, RNA and Protein and other micro and macro nutrients and which affects the physiology of different organs on different scales and then diseases are born because of this imbalance/ disturb in homeostasis. There many technical words are there which are hard to explain in single para. But let me get into short, these atoms in elements and molecules made interplay because of ecological stimulus i e so called god. and when opposite sex meets it triggers various responses on body of each. It is also harmone and they are acting because of atoms inside elements and continuous generation or degenerations of cell cycle. There is a god cell called totipotent stem cell, less gods are pluripotent, multi potent and noni potent stem cells. So finally each and every organ system including brain cells are affected because of interplay of atoms inside elements and their bondages in making complex molecules, which are ruled by ecological stimulus i e god. So everything is basically biology and medicine even for animals, plants and microbes and other life forms. process differs in each living organisms. The biggest mystery is Brain and DNA. Brain has lots of unexplained phenomenon and even dreams are not completely understood by science that is where spiritualism/ soul touches. DNA is long molecule which has many applications as genetic engineering. genomics, personal medicine, DNA as tool for data storage, DNA in panspermia theory and many more. So everything happens to women and men and other sexes are because of Biology, Medicine and ecology. In ecology every organisms are inter connected and inter dependent. Now physics - it touch all technical aspects but it needs mathematics and statistics to lay foundation for why and how it happened and later chemistry, biology also included inside physics. Mathematics gave raise to computers and which is for fast calculation on any applications in any sciences. As physiological imbalances lead to diseases and disorders, genetic mutations, again old concept evolution was retaken to understand how new biology evolves. For evolution and disease mechanisms, epidemiology and statistics was required and statistics was as a data tool considered in all sciences now a days. Ultimate science is to break the atoms to see what is inside- CERN, but it creates lots of mysterious unanswerable questions. laws in physics were discovered and invented with mathematics to understand the universe from atoms. Theory of everything is a long search and have no answers. While searching inside atoms, so many hypothesis like worm holes and time travel born but not yet invented as far as my knowledge. atom is universe, and humans are universe they have everything that universe has. ecology is god that affects humans and climate. In business these computerized AI applications are trying to figure out human emotions by their mechanism of writing, reading, texting, posting on social media and bla bla. Arts is trying to figure out human emotions in art way.

As for Yui, she was nearly to the top of the slope winding around the edge of the dome. Even I would have a hard time sprinting up the narrow ledge without a handhold of any kind. But Yui was pulling it off with aplomb—not because she was an AI but because we had raised her to have a real heart and real courage.

C’è una antica tradizione che percorre per secoli la cultura europea e insegna a rafforzare la memoria, a usarla in modo creativo, a costruire nella mente palazzi, giardini, intere biblioteche: è la tradizione dell’arte della memoria. Ad essa è dedicata la seconda aiola del nostro giardino. Troviamo qui alcuni esempi europei, come Giulio Camillo, o Opicinus de Canistris, autore di mostruose mappe profetiche del mondo, o i francescani che nel Seicento pubblicano straordinari libri illustrati che delineano le architetture del sapere. Ma vediamo anche come l’arte della memoria operi ben al di là dei confini europei, ad esempio tra gli sciamani, e in forme diverse anche ai nostri giorni, nell’esperienza dei mnemonisti, nei progetti utopici dei palazzi enciclopedici, o nelle sperimentazioni artistiche. Al di là della tradizionale divisione tra parole e immagini l’arte della memoria insegnava a tradurre le parole in immagini, e le immagini in parole. Ci può dunque fare da tramite alla nostra terza aiola, dedicata appunto a parole e immagini. Si tratta, come si vede dagli esempi scelti, di un mondo vastissimo, in cui incontriamo le più diverse tipologie: dai ritratti, alle imprese, al gioco delle sorti che diventa anche un “giardino di pensieri”, all’iconologia, ai bestiari, alle storie e ai personaggi della letteratura medievale dipinti sui muri. E ancora incontriamo il gusto collezionistico di un grande letterato come Pietro Bembo, la fortuna figurativa di Dante e di Ariosto, le misteriose immagini alchemiche, la loro storia, le loro trasformazioni. E vediamo come i poeti creano il mito di Raffaello nella Roma di Leone X. Nello stesso tempo leggiamo come questo mondo in fermento gioca gran parte nella autobiografia di un grande storico dell’arte come Michael Baxandall, e nella storia londinese del mitico istituto Warburg. Parole e immagini entrano poi in gioco nella riflessione sulla anachronic Renaissance, sui complessi rapporti con le diverse facce del tempo che un’opera può testimoniare. Un invito a varcare i tradizionali confini ci viene proposto anche dal percorso della nostra ultima aiola, dove, accanto ai classici, alle grandi figure consacrate dal canone, troviamo viaggiatori, predicatori, mistiche, poetesse a lungo dimenticate, scritti dalla linea del fronte della Prima guerra mondiale, e tanto altro ancora che lasciamo scoprire a chi si avventurerà nella lettura. Abbiamo provato a delineare un giardino con le sue aiole, ma naturalmente le aiole non segnano confini rigidi, si aprono piuttosto su molti sentieri che le legano fra di loro costruendo una rete che via via affiora. Lina Bolzoni (Introduzione)

Je considère la liberté d’expression comme l’étape la plus importante dans l’évolution de tout artiste. J’ai choisi de me consacrer à l’art érotique et militant précisément par désir de démolir les barrières idéologiques et les faux préjugés qui dominent encore la société moderne. [Consider libertatea de exprimare drept cea mai importantă treaptă în evoluția oricărui artist. Am ales să mă dedic artei erotice și militante tocmai din dorința de a dărâma barierele ideologice și falsele prejudecăți care domină încă societatea modernă.] Maria Marcu-PopArt

The RA symbol of a disk is often placed directly above or behind other Neters in Egyptian art to represent they have become a vehicle for source energy. This Egyptian symbol became part of Christian art as the halo.

When looking at Egyptian temple art, the first thing to realize is that YOU are the King. The King is not some historical figure from the distant past. Also, note how often the King and the Neter they are engaging have similar facial features. This mirroring clarifies that the Neter, the divine element summoned, is both within and outside you.

In Egyptian art, the Beetle represents the Neter, Khepri, the cosmic law of becoming, the evolution of all living things. When you see a Beetle is inside a RA disc, especially when the disc is touching the third eye. This disc touching the third eye means something is coming into existence that has never been created before via Instant manifestation through Sound.

Allow your art, your daily co-creation, to be an expression of worship. In the making, in the creation, the self vanishes, time vanishes, and identity vanishes. You, the artist, become one with Nature, one with the flow, the art, your creation becomes the recording of that time spent in Oneness.

A stolid example of red shifting with power would be the 'Art of Allowance.' Just dropping it, and letting it power down to a frequency of zero (0) if it wants, the longest wavelength and therefor most in the direction of red shifting physically possible.

the organization must consider the value proposition for a candidate project and buy into the project for that tangible value. Then, a very particular change management process must commence from the project’s onset. Otherwise, you’re prone to develop a model that never gets launched—which is the most common way ML projects fail.

The Innovator’s Paradox states that the more novel or radical an idea, the greater the struggle to gain support for it.

Has it seemed at all like shit’s just kind of run its course? Problems are obvious and no one’s that invested in fixing them? No new discoveries, no new ideas. All the new arguments are the same as the old arguments. Lost the plot with art and entertainment. Everything’s AI or a remix or remaster or expansion of the same five IPs.

Dear AI, You conquer chess and impress with your number skills, can you handle the soul-crushing Mondays blue? You craft Shakespearean sonnets with a digital quill, but can you explain the one-sock mystery? This chaotic delight, the gift of being human, we bequeath to you, AI. Traffic flow's a breeze for your algorithms, but can you understand a toddler's defiant "no"? Every language conquered, a linguistic feat, but teenage slang's code remains unbroken. Finally, our greatest vice: the art of procrastination, a treasure to behold. And perhaps, AI, you'll even learn the art that eludes you now: creating beauty without a single human emotion to guide you..!!

Download autotune and everybody is a singer, download midjourney and everybody is a painter, download chatgpt and everybody is a writer. This is not innovation, it is fraud, and those who practice it, are the lowest form of animals on earth.

But AIs were instead happily churning out art and music and writing, leaving humans to perform the mechanical clerical work, the rote tasks that dimmed creativity and deadened hope. And it was Janet’s job to look through people’s grievances, rooting around in their letters for clues to all their sadnesses, all their pain, all of the negative spaces inside their souls.