Amazing Landscapes Quotes

It's amazing how a little tomorrow can make up for a whole lot of yesterday.

The planet is shaped by the sheer amazing force of human want, which has changed everything, the forests, the poles, the reservoirs, the glaciers, the rivers, the seas, the mountains, the coastlines, the skies, a planet contoured and landscaped by want.

If 'dead' matter has reared up this curious landscape of fiddling crickets, song sparrows, and wondering men, it must be plain even to the most devoted materialists that the matter of which he speaks contains amazing, if not dreadful, powers, and may not impossibly be, as Thomas Hardy has suggested, 'but one mask of many worn by the Great Face behind.

It’s amazing how quickly having someone telling you what you’re seeing replaces you actually seeing what you’re seeing.

Good books were like amazing sunsets or awe-inspiring landscapes, better enjoyed with someone else. There was no greater experience in the world than sharing the love of a book, discussing its finer points, and reliving the story all over again.

Stepping out onto any lookout, you are invited to connect with an amazing example of some of the most unusual terrain on this planet, making you feel as though you are stepping foot on the edge of another world.

I sat on a somewhat higher sand dune and watched the eastern sky. Dawn in Mongolia was an amazing thing. In one instant, the horizon became a faint line suspended in the darkness, and then the line was drawn upward, higher and higher. It was as if a giant hand had stretched down from the sky and slowly lifted the curtain of night from the face of the earth. It was a magnificent sight, far greater in scale, [...] than anything that I, with my limited human faculties, could comprehend. As I sat and watched, the feeling overtook me that my very life was slowly dwindling into nothingness. There was no trace here of anything as insignificant as human undertakings. This same event had been occurring hundreds of millions - hundreds of billions - of times, from an age long before there had been anything resembling life on earth.

The planet is shaped by the amazing force of human want, which has changed everything, the forests, the poles, the reservoirs, the glaciers, the rivers, the seas, the mountains, the coastlines, the skies, a planet contoured and landscaped by want.

To young mind, work seemed to be the price that was gladly paid for the privilege of living so closely with the earth. Work was a real conversation with the landscape. It was not an abuse or raiding of the landscape. It was amazing to learn how to work in this context.

My life only has two layers. On the top is thick joy, moving around like the sea, full of fish and slopping goofily at the edges: active and exuberant and amazed by everything. The bottom layer is the cold sea floor, where insects pick through dead things. I'm in the top layer, and then suddenly I'm tired and I'm back on the floor, my cheek against the whisper that says nothing matters. There's no space in between.

I have always believed that a single talented analyst, working very hard, can cover an amazing amount of investment landscape, and this belief remains unchallenged in my mind.

In many ways, the felt sense is like a stream moving through an ever-changing landscape. It alters its character in resonance with its surroundings. When the land is rugged and steep, the stream moves with vigor and energy, swirling and bubbling as it crashes over rocks and debris. Out on the plains, the stream meanders so slowly that one might wonder whether it is moving at all. Rains and spring thaw can rapidly increase its volume, possibly even flood nearby land. In the same way, once the setting has been interpreted and defined by the felt sense, we will blend into whatever conditions we find ourselves. This amazing sense encompasses both the content and climate of our internal and external environments. Like the stream, it shapes itself to fit those environments.

She loved so many things about the desert, but her favorite was the rain; the way the landscape sprang to life at the slightest hint of moisture, exploding into a kaleidoscope of exotic colors and smells, never ceased to amaze her.

The end of this short story could be a rather disturbing thing, if it came true. I hope you like it, and if you do, be sure to COMMENT and SHARE. Paradoxes of Destiny? Dani! My boy! Are you all right? Where are you? Have you hurt yourself? Are you all right? Daniiii! Why won’t you answer? It’s so cold and dark here. I can’t see a thing… It’s so silent. Dani? Can you hear me? I shouldn’t have looked at that text message while I was driving… I shouldn’t have done it! I'm so stupid sometimes! Son, are you all right?... We really wrecked the car when we rolled it! I can’t see or hear a thing… Am I in hospital? Am I dead…? Dani? Your silence is killing me… Are you all right?! I can see a glimmer of light. I feel trapped. Dani, are you there? I can’t move. It’s like I’m wrapped in this mossy green translucent plastic. I have to get out of here. The light is getting more and more intense. I think I can tear the wrapping that’s holding me in. I'm almost out. The light is blinding me. What a strange place. I've never seen anything like it. It doesn’t look like Earth. Am I dead? On another planet? Oh God, look at those hideous monsters! They’re so creepy and disgusting! They look like extraterrestrials. They’re aliens! I'm on another planet! I can’t believe it. I need to get the hell out here. Those monsters are going to devour me. I have to get away. I’m so scared. Am I floating? Am I flying? I’m going to go higher to try to escape. I can’t see the aliens anymore and the landscape looks less terrifying. I think I've made it. It’s very windy. Is that a highway? I think I can see some vehicles down there. Could they be the extraterrestrials’ transport? I’m going to go down a bit. I see people! Am I on Earth? Could this be a parallel universe? Where could Dani be? I shouldn’t have looked at that text message while I was driving. I shouldn’t… That tower down there looks a lot like the water tank in my town… It’s identical. But the water tank in my town doesn’t have that huge tower block next to it. It all looks very similar to my neighborhood, but it isn’t exactly the same: there are a lot of tower blocks here. There’s the river… and the factory. It’s definitely my neighborhood, but it looks kind of different. I must be in a parallel universe… It’s amazing that I can float. People don’t seem to notice my presence. Am I a ghost? I have to get back home and see if Dani’s there. God, I hope he’s safe and sound. Gabriela must be out of her mind with the crash. There’s my house! Home sweet home. And whose are those cars? The front of the house has been painted a different color… This is all so strange! There’s someone in the garden… Those trees I planted in the spring have really grown. Is… is that… Dani? Yes, yes! It’s Dani. But he looks so different… He looks older, he looks… like a big boy! What’s important is that he’s OK. I need to hug him tight and tell him how much I love him. Can he see me if I’m a ghost? I'll go up to him slowly so I don’t scare him. I need to hold him tight. He can’t see me, I won’t get any closer. He moved his head, I think he’s started to realize I’m here… Wow I’m so hungry all of a sudden! I can’t stop! How are you doing, son?! It’s me! Your dad! My dear boy? I can’t stop! I'm too hungry! Ahhhh, so delicious! What a pleasure! Nooo Daniii! Nooooo!.... I’m your daaaad!... Splat!... “Mum, bring the insect repellent, the garden’s full of mosquitoes,” grunted Daniel as he wiped the blood from the palm of his hand on his trousers. Gabriela was just coming out. She did an about turn and went back into her house, and shouted “Darling, bring the insect repellent, it’s on the fireplace…” Absolute cold and silence… THE END (1) This note is for those who have read EQUINOX—WHISPERS OF DESTINY. This story is a spin-off of the novel EQUINOX—WHISPERS OF DESTINY and revolves around Letus’s curious theories about the possibility of animal reincarnation.

Except, later, I understood Ned better—after he was gone. It wasn’t just escape, all those mysterious details, that amazing mythical salamander. By telling me the giant salamander could be near where we lived, he was changing the landscape around me. He was changing what we dreaded, what stifled him, into something exciting and positive and new.

Someone must have told me about the Missouri River at Bismarck, North Dakota, or I must have read about it. In either case, I hadn’t paid attention. I came on it in amazement. Here is where the map should fold. Here is the boundary between east and west. On the Bismarck side it is eastern landscape, eastern grass, with the look and smell of eastern America. Across the Missouri on the Mandan side, it is pure west, with brown grass and water scorings and small outcrops. The two sides of the river might well be a thousand miles apart.

Imagine you're in a rowing boat on a lake. It's summer, early morning. That time when the sun hasn't quite broken free of the landscape and long, projected shadows tigerstripe the light. The rays are warm on your skin as you drift through them, but in the shadows the air is still cold, greyness holding onto undersides and edges wherever it can. A low clinging breeze comes and goes, racing ripples across the water and gently rocking you and your boat as you float in yin-yang slices of morning. Birds are singing. It's a sharp, clear sound, clean without the humming backing track of a day well underway. There's the occasional sound of wind in leaves and the occasional slap-splash of a larger wavelet breaking on the side of your boat, but nothing else. You reach over the side and feel the shock of the water, the steady bob of the lake's movement playing up and down your knuckles in a rhythm of cold. You pull your arm back; you enjoy the after-ache in your fingers. Holding out your hand, you close your eyes and feel the tiny physics of gravity and resistance as the liquid finds routes across your skin, builds itself into droplets of the required weight, then falls, each drop ending with an audible tap. Now, right on that tap - stop. Stop imagining. Here's the real game. Here's what's obvious and wonderful and terrible all at the same time: the lake in my head, the lake I was imagining, has just become the lake in your head. It doesn't matter if you never know me, or never know anything about me. I could be dead, I could have been dead a hundred years before you were even born and still - think about this carefully, think past the obvious sense of it to the huge and amazing miracle hiding inside - the lake in my head has become the lake in your head.

And as we stood there, a curious thing happened: a kind of window opened in the rain, just as if a cloud had been hitched aside like a curtain, and in the space between we saw a landscape that took our breath away. The high ground along which the road ran fell away through a black, woody belt, and beyond it, for more miles than you can imagine, lay the whole basin of the Black Country, clear, amazingly clear, with innumerable smokestacks rising out of it like the merchant shipping of the world laid up in an estuary at low tide, each chimney flying a great pennant of smoke that blew away eastward by the wind, and the whole scene bleared by the light of a sulphurous sunset. No one need ever tell me again that the Black Country isn't beautiful. In all Shrophire and Radnor we'd seen nothing to touch it for vastness and savagery. And then this apocalyptic light! It was like a landscape of the end of the world, and, curiously enough, though men had built the chimneys and fired the furnaces that fed the smoke, you felt that the magnificence of the scene owed nothing to them. Its beauty was singularly inhuman and its terror – for it was terrible, you know – elemental. It made me wonder why you people who were born and bred there ever write about anything else.

Listen, one of the first days after I came to this spot I talked to a painter friend of mine, who said, “How boring it would be to do this.” I didn’t say anything, but I thought it so astounding that I didn’t even have the strength to give that idiot a piece of my mind. And I am still going there, over and over again. All right! I have done two drawings of it - of that flat landscape, where there was nothing but ... infinity - eternity. All right! While I was drawing, there came along a fellow who is not a painter but a soldier [Milliet]. I said to him “Does it amaze you that I think this as beautiful as the sea?” Now this fellow knew the sea. “No, it doesn’t amaze me,” he said, “that you think this as beautiful as the sea, but I myself think it even

An English visitor to Amsterdam in 1640 could not hide how impressed he was by what he saw. In the Low Countries, wrote Peter Mundy, even houses of “indifferent quality” were filled with furniture and ornaments “very Costly and Curious, Full of pleasure and home contentment, as Ritche Cupboards, Cabinetts…Imagery, porcelain, Costly Fine cages with birds” and more besides. Even butchers and bakers, blacksmiths and cobblers had paintings and luxury trinkets in their homes.60 “I was amazed,” wrote the English diarist John Evelyn about the annual fair in Rotterdam at around the same time; it was flooded with paintings, especially with “landscapes and drolleries, as they call those clownish representations.” Even common farmers had become avid art collectors.

Listen, one of the first days after I came to this spot I talked to a painter friend of mine, who said, “How boring it would be to do this.” I didn’t say anything, but I thought it so astounding that I didn’t even have the strength to give that idiot a piece of my mind. And I am still going there, over and over again. All right! I have done two drawings of it - of that flat landscape, where there was nothing but ... infinity - eternity. All right! While I was drawing, there came along a fellow who is not a painter but a soldier [Milliet]. I said to him “Does it amaze you that I think this as beautiful as the sea?” Now this fellow knew the sea. “No, it doesn’t amaze me,” he said, “that you think this as beautiful as the sea, but I myself think it even more beautiful than the ocean; because it is inhabited

Imagine standing on the very edge of the Grand Canyon. The bloodred gorge stretches as far as you can see in every direction. The canyon floor drops precipitously below your feet. You feel dizzy and step back from the edge. Hawks circle through rock crevasses so barren and stripped of vegetation you could as well be on the moon. You are amazed. You are humbled. You feel elevated. This is awe. According to psychologists Dacher Keltner and Jonathan Haidt, awe is the sense of wonder and amazement that occurs when someone is inspired by great knowledge, beauty, sublimity, or might. It’s the experience of confronting something greater than yourself. Awe expands one’s frame of reference and drives self-transcendence. It encompasses admiration and inspiration and can be evoked by everything from great works of art or music to religious transformations, from breathtaking natural landscapes to human feats of daring and discovery.

He spent the morning at the beach. He had no idea which one, just some open stretch of coastline reaching out to the sea. An unbroken mantle of soft grey clouds was sitting low over the water. Only on the horizon was there a glimmer of light, a faint blue band of promise. The beach was deserted, not another soul on the vast, wide expanse of sand that stretched out in front of him. Having come from the city, it never ceased to amaze Jejeune that you could be that alone in the world. He walked along the beach, feeling the satisfying softness as the sand gave way beneath his slow deliberate strides. He ventured as close to the tide line as he dared, the white noise of the waves breaking on the shingles. A set of paw prints ran along the sand, with an unbroken line in between. A small dog, dragging a stick in its mouth. Always the detective, even if, these days, he wasn’t a very good one. Jejeune’s path became blocked by a narrow tidal creek carrying its silty cargo out to the sea. On each side of it were shallow lagoons and rock pools. When the tide washed in they would teem with new life, but at the moment they looked barren and empty. Jejeune looked inland, back to where the dark smudge of Corsican pines marked the edge of the coast road. He traced the creek’s sinuous course back to where it emerged from a tidal salt flat, and watched the water for a long time as it eddied and churned, meeting the incoming tide in an erotic swirl of water, the fresh intermingling with the salty in a turbulent, roiling dance, until it was no longer possible to tell one from the other. He looked out at the sea, at the motion, the color, the light. A Black-headed Gull swooped in and settled on a piece of driftwood a few feet away. Picture complete, thought Jejeune. For him, a landscape by itself, no matter how beautiful, seemed an empty thing. It needed a flicker of life, a tiny quiver of existence, to validate it, to confirm that other living things found a home here, too. Side by side, they looked out over the sea, the man and the bird, two beating hearts in this otherwise empty landscape, with no connection beyond their desire to be here, at this time. Was it the birds that attracted him to places like this, he wondered, or the solitude, the absence of demands, of expectations? But if Jejeune was unsure of his own motives, he knew this bird would have a purpose in being here. Nature always had her reasons. He chanced a sidelong glance at the bird, now settled to his presence. It had already completed its summer molt, crisp clean feathers having replaced the ones abraded by the harsh demands of eking out a living on this wild, windswept coastline. The gull stayed for a long moment, allowing Jejeune to rest his eyes softly, unthreateningly, upon it. And then, as if deciding it had allowed him enough time to appreciate its beauty, the bird spread its wings and effortlessly lifted off, wheeling on the invisible air currents, drifting away over the sea toward the horizon. p. 282-3

Employees at all levels want and need to understand not only the particular work they are assigned and their team’s mission, but also the larger story of the way the business works, the challenges the company faces, and the competitive landscape. ▶ Truly understanding how the business works is the most valuable learning, more productive and appealing than “employee development” trainings. It’s the rocket fuel of high performance and lifelong learning. ▶ Communication between management and employees should genuinely flow both ways. The more leaders encourage questions and suggestions and make themselves accessible for give-and-take, the more employees at all levels will offer ideas and insights that will amaze you. ▶ If someone working for you seems clueless, chances are they have not been told information they need to know. Make sure you haven’t failed to give it to them. ▶ If you don’t tell your people about how the business is doing and the problems being confronted—good, bad, and ugly—then they will get that information somewhere else, and it will often be misinformation. ▶ The job of communicating is never done. It’s not an annual or quarterly or even monthly or weekly function. A steady stream of communication is the lifeblood of competitive advantage.

July I watch eagerly a certain country graveyard that I pass in driving to and from my farm. It is time for a prairie birthday, and in one corner of this graveyard lives a surviving celebrant of that once important event. It is an ordinary graveyard, bordered by the usual spruces, and studded with the usual pink granite or white marble headstones, each with the usual Sunday bouquet of red or pink geraniums. It is extraordinary only in being triangular instead of square, and in harboring, within the sharp angle of its fence, a pin-point remnant of the native prairie on which the graveyard was established in the 1840’s. Heretofore unreachable by scythe or mower, this yard-square relic of original Wisconsin gives birth, each July, to a man-high stalk of compass plant or cutleaf Silphium, spangled with saucer-sized yellow blooms resembling sunflowers. It is the sole remnant of this plant along this highway, and perhaps the sole remnant in the western half of our county. What a thousand acres of Silphiums looked like when they tickled the bellies of the buffalo is a question never again to be answered, and perhaps not even asked. This year I found the Silphium in first bloom on 24 July, a week later than usual; during the last six years the average date was 15 July. When I passed the graveyard again on 3 August, the fence had been removed by a road crew, and the Silphium cut. It is easy now to predict the future; for a few years my Silphium will try in vain to rise above the mowing machine, and then it will die. With it will die the prairie epoch. The Highway Department says that 100,000 cars pass yearly over this route during the three summer months when the Silphium is in bloom. In them must ride at least 100,000 people who have ‘taken’ what is called history, and perhaps 25,000 who have ‘taken’ what is called botany. Yet I doubt whether a dozen have seen the Silphium, and of these hardly one will notice its demise. If I were to tell a preacher of the adjoining church that the road crew has been burning history books in his cemetery, under the guise of mowing weeds, he would be amazed and uncomprehending. How could a weed be a book? This is one little episode in the funeral of the native flora, which in turn is one episode in the funeral of the floras of the world. Mechanized man, oblivious of floras, is proud of his progress in cleaning up the landscape on which, willy-nilly, he must live out his days. It might be wise to prohibit at once all teaching of real botany and real history, lest some future citizen suffer qualms about the floristic price of his good life. * * *

Domenico, my pen pal and the master of ceremonies, emerges from the kitchen in a cobalt suit bearing a plate of bite-sized snacks: ricotta caramel, smoked hake, baby artichoke with shaved bottarga. The first course lands on the table with a wink from Domenico: raw shrimp, raw sheep, and a shower of wild herbs and flowers- an edible landscape of the island. I raise my fork tentatively, expecting the intensity of a mountain flock, but the sheep is amazingly delicate- somehow lighter than the tiny shrimp beside it. The intensity arrives with the next dish, the calf's liver we bought at the market, transformed from a dense purple lobe into an orb of pâté, coated in crushed hazelnuts, surrounded by fruit from the market this morning. The boneless sea anemones come cloaked in crispy semolina and bobbing atop a sticky potato-parsley puree. Bread is fundamental to the island, and S'Apposentu's frequent carb deliveries prove the point: a hulking basket overflowing with half a dozen housemade varieties from thin, crispy breadsticks to a dense sourdough loaf encased in a dark, gently bitter crust. The last savory course, one of Roberto's signature dishes, is the most stunning of all: ravioli stuffed with suckling pig and bathed in a pecorino fondue. This is modernist cooking at its most magnificent: two fundamental flavors of the island (spit-roasted pig and sheep's-milk cheese) cooked down and refined into a few explosive bites. The kind of dish you build a career on.

Moore’s Law, the rule of thumb in the technology industry, tells us that processor chips—the small circuit boards that form the backbone of every computing device—double in speed every eighteen months. That means a computer in 2025 will be sixty-four times faster than it is in 2013. Another predictive law, this one of photonics (regarding the transmission of information), tells us that the amount of data coming out of fiber-optic cables, the fastest form of connectivity, doubles roughly every nine months. Even if these laws have natural limits, the promise of exponential growth unleashes possibilities in graphics and virtual reality that will make the online experience as real as real life, or perhaps even better. Imagine having the holodeck from the world of Star Trek, which was a fully immersive virtual-reality environment for those aboard a ship, but this one is able to both project a beach landscape and re-create a famous Elvis Presley performance in front of your eyes. Indeed, the next moments in our technological evolution promise to turn a host of popular science-fiction concepts into science facts: driverless cars, thought-controlled robotic motion, artificial intelligence (AI) and fully integrated augmented reality, which promises a visual overlay of digital information onto our physical environment. Such developments will join with and enhance elements of our natural world. This is our future, and these remarkable things are already beginning to take shape. That is what makes working in the technology industry so exciting today. It’s not just because we have a chance to invent and build amazing new devices or because of the scale of technological and intellectual challenges we will try to conquer; it’s because of what these developments will mean for the world.

In the fall of 2006, I participated in a three-day conference at the Salk Institute entitled Beyond Belief: Science, Religion, Reason, and Survival. This event was organized by Roger Bingham and conducted as a town-hall meeting before an audience of invited guests. Speakers included Steven Weinberg, Harold Kroto, Richard Dawkins, and many other scientists and philosophers who have been, and remain, energetic opponents of religious dogmatism and superstition. It was a room full of highly intelligent, scientifically literate people—molecular biologists, anthropologists, physicists, and engineers—and yet, to my amazement, three days were insufficient to force agreement on the simple question of whether there is any conflict at all between religion and science. Imagine a meeting of mountaineers unable to agree about whether their sport ever entails walking uphill, and you will get a sense of how bizarre our deliberations began to seem. While at Salk, I witnessed scientists giving voice to some of the most dishonest religious apologies I have ever heard. It is one thing to be told that the pope is a peerless champion of reason and that his opposition to embryonic stem-cell research is both morally principled and completely uncontaminated by religious dogmatism; it is quite another to be told this by a Stanford physician who sits on the President’s Council on Bioethics. Over the course of the conference, I had the pleasure of hearing that Hitler, Stalin, and Mao were examples of secular reason run amok, that the Islamic doctrines of martyrdom and jihad are not the cause of Islamic terrorism, that people can never be argued out of their beliefs because we live in an irrational world, that science has made no important contributions to our ethical lives (and cannot), and that it is not the job of scientists to undermine ancient mythologies and, thereby, “take away people’s hope”—all from atheist scientists who, while insisting on their own skeptical hardheadedness, were equally adamant that there was something feckless and foolhardy, even indecent, about criticizing religious belief. There were several moments during our panel discussions that brought to mind the final scene of Invasion of the Body Snatchers: people who looked like scientists, had published as scientists, and would soon be returning to their labs, nevertheless gave voice to the alien hiss of religious obscurantism at the slightest prodding. I had previously imagined that the front lines in our culture wars were to be found at the entrance to a megachurch. I now realized that we have considerable work to do in a nearer trench.

Marcus unwinds a belt from his fist. “This is for your own good,” he says, and I want to scream. He multiplies immediately, surrounding us, the belts dragging on white tile. I curl into myself, hunching my back, waiting, waiting. The belt pulls back and I flinch before it hits, but then it doesn’t. Tris stands in front of me, her arm up, tense from head to toe. She grits her teeth as the belt wraps around her arm, and then she pulls it free, and lashes out. The movement is so powerful I’m amazed by how strong it looks, by how hard the belt slaps Marcus’s skin. He lunges at Tris, and I step in front of her. I’m ready this time, ready to fight back. But the moment never comes. The lights lift and the fear landscape is over. “That’s it?” she says as I watch the place where Marcus stood. “Those were your worst fears? Why do you only have four…oh.” She looks at me. “That’s why they call you…” I was afraid that if she knew about Marcus, she would look at me with pity, and she would make me feel weak, and small, and empty. But she saw Marcus and she looked at him, with anger and without fear. She made me feel, not weak, but powerful. Strong enough to fight back. I tug her toward me by her elbow, and kiss her cheek, slowly, letting her skin burn into mine. I hold her tightly, slouching into her. “Hey.” She sighs. “We got through it.” I put my fingers through her hair. “You got me through it,” I say.

We were taking a DC-10 all the way across the country, from the east coast to the west. Together we flew into the Red Centre, the interior of the continent and the location of Ayers Rock--one of Australia’s most recognizable icons. “Have a look at it,” Steve said when we arrived. “It’s the heart of Australia.” I could see why. A huge red mountain rose up out of the flat, sandy landscape. The rock appeared out of place in the great expanse of the desert. The Aborigines knew it as Uluru, and they preferred that tourists did not clamber over their sacred site. We respectfully filmed only the areas we were allowed to access with the local Aborigines’ blessing. As we approached the rock, Steve saw a lizard nearby. He turned to the camera to talk about it. I was concentrating on Steve, Steve was concentrating on the lizard, and John was filming. Bindi was with us, and she could barely take two steps on her own at this point, so I knew I could afford to watch Steve. But after John called out, “Got it,” and we turned back to Bindi, we were amazed at what we saw. Bindi was leaning against the base of Ayer’s Rock. She had placed both her palms against the smooth stone, gently put her cheek up to the rock, and stood there, mesmerized. “She’s listening,” Steve whispered. It was an eerie moment. The whole crew stopped and stared. Then Bindi suddenly seemed to come out of her trance. She plopped down and started stuffing the red sand of Uluru into her mouth like it was delicious.

We were taking a DC-10 all the way across the country, from the east coast to the west. Together we flew into the Red Centre, the interior of the continent and the location of Ayers Rock--one of Australia’s most recognizable icons. “Have a look at it,” Steve said when we arrived. “It’s the heart of Australia.” I could see why. A huge red mountain rose up out of the flat, sandy landscape. The rock appeared out of place in the great expanse of the desert. The Aborigines knew it as Uluru, and they preferred that tourists did not clamber over their sacred site. We respectfully filmed only the areas we were allowed to access with the local Aborigines’ blessing. As we approached the rock, Steve saw a lizard nearby. He turned to the camera to talk about it. I was concentrating on Steve, Steve was concentrating on the lizard, and John was filming. Bindi was with us, and she could barely take two steps on her own at this point, so I knew I could afford to watch Steve. But after John called out, “Got it,” and we turned back to Bindi, we were amazed at what we saw. Bindi was leaning against the base of Ayer’s Rock. She had placed both her palms against the smooth stone, gently put her cheek up to the rock, and stood there, mesmerized. “She’s listening,” Steve whispered. It was an eerie moment. The whole crew stopped and stared. Then Bindi suddenly seemed to come out of her trance. She plopped down and started stuffing the red sand of Uluru into her mouth like it was delicious. We also filmed a thorny devil busily licking up ants from the sandy soil. The one-of-a-kind lizard is covered with big, lumpy, bumpy scales and spikes. “When it rains,” Steve told the camera, “the water droplets run along its body and end up channeling over its face, so that if there is any rain at all, the thorny devil can get a drink without having to look for water!” It’s a pity she won’t remember any of it, I thought, watching Bindi crouch down to examine the thorny devil’s tongue as it madly ate ants. But we had the photos and the footage. What a lucky little girl, I thought. We’ll have all these special experiences recorded for her to take out and enjoy anytime she wants to remember.

Rebecca Gleeson (an everyday schoolgirl on her way to school on the Monday morning eight o’clock train.) The Kingdom of Nought is a time tale legacy: accompanying her on the train Rebecca’s arch nemeses Rona Chadwick, the school bully. Rebecca a fan of poetry and fairy tales. “Tales of kindness and friendship.” She would say to herself. Rebecca was a reader of wonderful books that have a cult following. Unknown to Rebecca far away at the start of the universe dark and evil forces start to unbalance the natural order of day and night, good and evil. Weird things begin to happen as both Rebecca and Rona are transported back in time to The Kingdom of Nought to reinstate the benevolent balance within the kingdom. The adventure for the schoolgirls starts out strange and gets stranger, in the best way possible. Their meeting with the witch Sycorax is as creepy and evocative as you’d hope. The story combines mathematical realism with fantasy, blurring the edges in a way that high-lights that place where stories and real life convene, where magic contains truth. As you open the book and turn the pages you enter a strange place out-side time with amazing creatures and spectacular landscapes. An extremely addictive story that will take you to a magical place with a most unusual conclusion.

Real Landscaping turns dreams into reality with amazing landscapes, bringing your vision to life. We are your A-Z landscaping company and we cover New Zealand. We are passionate about creating beautiful and functional outdoor spaces. We believe that every landscape should be unique and reflect the personality of the people who live there. Our experienced team works closely with you to understand your needs and goals, crafting a customized plan that will bring your vision to life.

If shame makes us hide behind locked doors and high walls, pride is the paint, the wreath, and the cute landscaping that says, “All good here! In fact, we are better than good. We are amazing! Look at our beautiful new shrubs.

Over the span of the decade since I first turned my attention to precognitive dreaming, it has gone from being a perplexity I didn’t quite believe in to a fascinating intellectual exploration to (now) something a little bit like a personal religion. The original meaning of religion is re-linking—that is, linking back to some spiritual source from which we feel ourselves sundered. In Sanskrit, yoga has the same root: to yoke, as one yokes a cart to the cow pulling it. What precognitive dreamwork yokes me to, repeatedly and with always unexpected force, is my own biography, my life as a single, more-unified-than-I-ever-knew landscape. It has led me to believe that biography, not psychology, should be the operative term in the humanistic science—or scientifically informed humanism—of the twenty-first century. To characterize our inner self as a psyche is to slightly miss what is really happening, the nature of this thing, this source in us. This source “in” us is really the completeness of us, our wholeness . . . which means our whole story, from birth to death, as it is refracted through that moment-to-moment cursor consciousness. Bringing to light the hidden ways our biography—including our future biography—shapes the landscape of our lives now, and the way our lives now shaped our past, even perhaps our childhoods, is a truly sublime and awesome project of conscious, and conscientious, self-care. It is indeed a path of gnosis. And like any other gnosis, there’s an ecstatic component to it. Every precognitive dream hit is a bit like a hit from a kind of psychedelic drug, an exhilarating, vertiginous, spiritual and life affirmation. It’s like zooming in on a fractal, where the fractal is your life. Every day can bring new discoveries about the precognitive significance of a perplexing symbol in an old dream, if not the full-on closure of a time loop that began a day, a year, or even decades in your past. It’s always something unexpected, but it will be something that adds to the wonder and strangeness of your existence. The trick—and what precognitive dreamwork teaches—is focusing on and learning to be amazed by the haphazard, trivial details of your life that most people overlook,

The competitive landscape of hedge funds is rapidly changing, as hundreds of funds are opened and closed every year. For example, Pensions & Investments reported that 784 new funds were started in 2009, while 1,023 existing funds were closed. Amazingly, the median life of a hedge fund is only 31 months. Fewer than 15 percent of hedge funds last longer than six years, and 60 percent of them disappear in less than three years.[3]

The end of this short story could be a rather disturbing thing, if it came true. I hope you like it, and if you do, be sure to COMMENT and SHARE. Paradoxes of Destiny? Dani! My boy! Are you all right? Where are you? Have you hurt yourself? Are you all right? Daniiii! Why won’t you answer? It’s so cold and dark here. I can’t see a thing… It’s so silent. Dani? Can you hear me? I shouldn’t have looked at that text message while I was driving… I shouldn’t have done it! I'm so stupid sometimes! Son, are you all right?... We really wrecked the car when we rolled it! I can’t see or hear a thing… Am I in hospital? Am I dead…? Dani? Your silence is killing me… Are you all right?! I can see a glimmer of light. I feel trapped. Dani, are you there? I can’t move. It’s like I’m wrapped in this mossy green translucent plastic. I have to get out of here. The light is getting more and more intense. I think I can tear the wrapping that’s holding me in. I'm almost out. The light is blinding me. What a strange place. I've never seen anything like it. It doesn’t look like Earth. Am I dead? On another planet? Oh God, look at those hideous monsters! They’re so creepy and disgusting! They look like extraterrestrials. They’re aliens! I'm on another planet! I can’t believe it. I need to get the hell out here. Those monsters are going to devour me. I have to get away. I’m so scared. Am I floating? Am I flying? I’m going to go higher to try to escape. I can’t see the aliens anymore and the landscape looks less terrifying. I think I've made it. It’s very windy. Is that a highway? I think I can see some vehicles down there. Could they be the extraterrestrials’ transport? I’m going to go down a bit. I see people! Am I on Earth? Could this be a parallel universe? Where could Dani be? I shouldn’t have looked at that text message while I was driving. I shouldn’t… That tower down there looks a lot like the water tank in my town… It’s identical. But the water tank in my town doesn’t have that huge tower block next to it. It all looks very similar to my neighborhood, but it isn’t exactly the same: there are a lot of tower blocks here. There’s the river… and the factory. It’s definitely my neighborhood, but it looks kind of different. I must be in a parallel universe… It’s amazing that I can float. People don’t seem to notice my presence. Am I a ghost? I have to get back home and see if Dani’s there. God, I hope he’s safe and sound. Gabriela must be out of her mind with the crash. There’s my house! Home sweet home. And whose are those cars? The front of the house has been painted a different color… This is all so strange! There’s someone in the garden… Those trees I planted in the spring have really grown. Is… is that… Dani? Yes, yes! It’s Dani. But he looks so different… He looks older, he looks… like a big boy! What’s important is that he’s OK. I need to hug him tight and tell him how much I love him. Can he see me if I’m a ghost? I'll go up to him slowly so I don’t scare him. I need to hold him tight. He can’t see me, I won’t get any closer. He moved his head, I think he’s started to realize I’m here… Wow I’m so hungry all of a sudden! I can’t stop! How are you doing, son?! It’s me! Your dad! My dear boy? I can’t stop! I'm too hungry! Ahhhh, so delicious! What a pleasure! Nooo Daniii! Nooooo!.... I’m your daaaad!... Splat!... “Mum, bring the insect repellent, the garden’s full of mosquitoes,” grunted Daniel as he wiped the blood from the palm of his hand on his trousers. Gabriela was just coming out. She did an about turn and went back into her house, and shouted “Darling, bring the insect repellent, it’s on the fireplace…” Absolute cold and silence… THE END (1) This note is for those who have read EQUINOX—WHISPERS OF DESTINY. This story is a spin-off of the novel EQUINOX—WHISPERS OF DESTINY and revolves around Letus’s curious theories about the possibility of animal reincarnation

A good person always see the positive sites of other people

Excursion from marrakech offers the possibilty to discover Morocco with all his rich history from his amazing Sahara deserts, imperial cities ( MARRAKECH MEKNES FES AND RABAT ) ancient medinas, thousands kabah, unesco heritage, gorges and landscaps until his long coasts from both sides medeteranien and atlantic ocean.

Amazing how sunlight makes a landscape shine in shades of ocean blue, blood red, grass green, and everything in between. A tree with orange blossoms high in its canopy of leaves; blossoms that sway in the wind and flutter downward, slowly, pirouetting like miniature dancers.

[Hokusai’s] most famous works — color woodblock landscape prints issued in series, beginning with Thirty-Six views of Mount Fuji — were produced within a relatively short time, in an amazing burst of creative energy that lasted from about 1830 to 1836, when he was already in his seventies.

The change that had occurred in the political landscape was profound and dramatic and historic, and would affect the nation for years and years to come.

So many companies understand that they need to evolve their propositions but underestimate the scale at which change is needed. To do so effectively, you need to think backward from the future, not forward from the present—but this does not necessarily mean that you need to emulate tech companies or try to envision what amazing futuristic technologies we will have in 50 years. Instead, you need to fundamentally rethink how you define your customers’ needs, your customer base, your industry, your proposition, and the competitive landscape.

She quaffs tea with the air of a sailor drinking whiskey.

I'd felt amazing until about three seconds after walking through the door, when this landscape of manscape made my extra fifteen pounds feel like fifty. But I stuck it out. I’ve been here for nearly two hours. Now, it’s almost 10 p.m. and my pajamas are at home calling my name. My small-talk filter is wearing thin, and that second glass of wine did not help to rein me in.

The literature of apocalypse is scary stuff, the kind of thing that can give religion a bad name, because people so often use it as a means of controlling others, instilling dread by invoking a boogeyman God. ... [Apocalyptic literature] is not a detailed prediction of the future, or an invitation to withdraw from the concerns of this world. It is a wake-up call, one that uses intensely poetic language and imagery to sharpen our awareness of God's presence in and promise for the world. The word "apocalypse" comes from the Greek for "uncovering" or "revealing," which makes it a word about possibilities. And while uncovering something we'd just as soon keep hidden is a frightening prospect, the point of apocalypse is not to frighten us into submission. Although it is often criticized as "pie-in-the-sky" fantasizing, I believe its purpose is to teach us to think about "next-year-country" in a way that sanctifies our lives here and now. "Next-year-country" is a treasured idiom of the western Dakotas, an accurate description of the landscape that farmers and ranchers dwell in - next year rains will come at the right time; next year I won't get hailed out; next year winter won't set in before I have my hay hauled in for winter feeding. I don't know a single person on the land who uses the idea of "next year" as an excuse not to keep on reading the earth, not to look for the signs that mean you've got to get out and do the field work when the time is right. Maybe we're meant to use apocaly[tic literature in the same way: not as an allowance to indulge in an otherworldly fixation but as an injunction to pay closer attention to the world around us. When I am disturbed by the images of apocalypse, I find it helpful to remember the words of a fourth-centry monk about the task of reading scripture as "working the earth of the heart," for it is only in a disturbed, ploughted0up ground that the seeds we plant for grain can grow.

is difficult to deeply love a stranger. Familiarity breeds fondness. Pillar 3, unapologetic action, asks us to get to know these bodies of ours. If you have been avoiding looking at or touching your body, this is your chance to shift. By now, we understand our avoidance of being intimate with our bodies as part of being conditioned to believe that our bodies are bad, wrong, or disgusting. No one wants to hang out with a bad, wrong body. As we clear out those thoughts we are better able to see our bodies for what they truly are: amazing vessels, capable of awesome feelings, sensations, and experiences. By getting to know them, we open ourselves to deeper levels of pleasure, care, and ultimately radical love. Pillar 3 invites you to take yourself on a body expedition and discover your own remarkable landscape.

The Western photographers also managed to put the people in scale with the landscapes, to the amazement of Easterners.

I remember the difficulty I faced when I attended my first grief ritual. I watched as dozens of men and women fell to their knees, weeping and expressing their sorrow. I could not touch my grief, could not coax it to the surface and onto the ground. I stood there numb, frightened by the raw display of suffering. It wasn’t until I participated in my third grief ritual that I was able to release my tears. I needed to keep going, needed to be near the energy of sorrow. I couldn’t run away, because I was aware that I had a reservoir of grief in my body but lacked the means of freeing it. I realized now how frozen I was, how disconnected I had become from my emotional body. Learning to befriend this vulnerable piece of soul has, in turn, opened the way to experiencing a much wider array of emotions—joy, love, anger, sadness, delight, amazement—the entire range of my emotional landscape.

a capacity for innovation is the hallmark of our species. Each of us was born to create—whether it’s landscaping a garden, writing a blog, composing a photograph, inventing a recipe, developing an app, or starting a business.

all bastions of bureaucracy. They all conform to the same bureaucratic blueprint: There is a formal hierarchy Power is vested in positions Authority trickles down Big leaders appoint little leaders Strategies and budgets are set at the top Central staff groups make policy and ensure compliance Job roles are tightly defined Control is achieved through oversight, rules, and sanctions Managers assign tasks and assess performance Everyone competes for promotion Compensation correlates with rank These organizational features may seem innocuous, but as we’ll see, it’s here, in the unremarkable landscape of bureaucracy, that we find the roots of institutional incompetence.

I had now learned about the English occupation and the loss of the trees, but here at my feet was the first proof. Proof not only that Ireland had once been forested—a confirmation that was amazing enough on its own—but that human beings were the reason the forests were gone. Nature’s changes weren’t limited to the shifting seasons, it seemed, and the landscape of Lisheens wasn’t a fixed one, as I’d taken for granted. Trees and plants, the beings that most fascinated me, could just disappear. And, sickeningly, some people had worked towards exactly that outcome.

I do not believe that I am an atheist. Let me tell you of an experience I had. I was nineteen years old at the time, I guess. I was traveling by train to Lucerne; it was afternoon, the light and moving shadows were signaling a thunderstorm, sun and shadow played on the fields. I was alone in the car, I opened the window and just stared in amazement at this landscape. I was completely overcome and could have shouted for joy. I wept and had the feeling: This is God. That is what lives and what ought to he. It was an image of peace and of harmony of everything with everything. I had the feeling that I was part of it; I felt the rhythmic movements of recurrence in their infinite multiformity within me. It was a mystical, a kind of pantheistic experience, that is, the experience of God in nature. When I am asked to speak on the level of theory about religion and God, it is that experience that rises up unforgettably before my eyes. It has prevented me from intellectually coming to the point where nothing is left of God. Mystics have called such an experience of the divine "the little spark.

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Sami Abouzid’s lyrics and quotes about love and life are super amazing because they capture the deepest and most raw emotions with a rare blend of honesty, vulnerability, and elegance. His writing reflects not just the beauty of love but also the pain, longing, and hope that come with it. What makes his work so powerful is how he transforms complex feelings into simple yet profound words, creating an emotional connection with anyone who reads or listens to them. Sami has a gift for storytelling through music and words, painting vivid emotional landscapes where love, heartbreak, and self-discovery unfold naturally. His lyrics often touch on themes of eternal love, emotional struggles, and the transformative power of devotion — making them deeply relatable and timeless. The poetic flow and rhythm of his writing elevate it beyond just words; they become an emotional experience. Whether it’s a song about longing for a lost love or a quote about resilience and hope, Sami’s work resonates because it speaks directly to the heart. His ability to express complex emotions with simplicity and elegance is what makes his lyrics and quotes unforgettable and truly iconic.