Analog Girl Quotes

You are an analog girl, living in a digital world.

He was quiet for a moment. “So, in this analogy, you’re Mary Jane?” “You got that right, Tiger.

The Game of Go was one of the 4 Arts of China. It spread to all over Asia and was even mentioned in the Japanese novel, Tales of Genji. More than an ancient board game, the Game of Go is an analogy of life and emphasize balance, challenge, and fun. Not only does my name Kailin Gow has the word "Go" in it, but my philosophy on life of balance, challenge, and fun is similar to the Game. Thus, Kailin Gow's Go Girl TV Series, books, and overall brand reflects this philosophy as well. - Kailin Gow in interview about Kailin Gow's Go Girl Books and TV Series.

Tolkien disapproved of Lewis’s Narnia books because they worked by analogy, taking an existing myth and retelling it with different names and circumstances, whereas he felt that you should make your own myth out of whole cloth. But it’s not possible to read The Silmarillion without seeing how Sauron’s fall mirrors Satan’s. It’s only a question of how you triangulate your relationship to your source material.

While Elstir, at my request, went on painting, I wandered about in the half-light, stopping to examine first one picture, then another. Most of those that covered the walls were not what I should chiefly have liked to see of his work, paintings in what an English art journal which lay about on the reading-room table in the Grand Hotel called his first and second manners, the mythological manner and the manner in which he shewed signs of Japanese influence, both admirably exemplified, the article said, in the collection of Mme. de Guermantes. Naturally enough, what he had in his studio were almost all seascapes done here, at Balbec. But I was able to discern from these that the charm of each of them lay in a sort of metamorphosis of the things represented in it, analogous to what in poetry we call metaphor, and that, if God the Father had created things by naming them, it was by taking away their names or giving them other names that Elstir created them anew.

I read an analogy of depression,’ Meg said, as they steadied, wiping under her eyes with a floppy cuff. ‘About how killing yourself is like jumping out of a tall building when it’s on fire. You don’t want to jump out, but bit by bit, it becomes impossible not to because you’re so scared and in so much pain. No one thinks anyone jumping out of a building on fire wants to do it.

You get all these different cuts of meat cooking at once' he said. 'You've got your sausage, which cooks fast. You've got your big steak, which is your best cut, which takes some time, right? You got to talk to all these girls at once just like you take care of all that meat at once' After he made this analogy, I presented Ajay with a trophy that said 'Most Sexist Food Analogy of All Time: Meat and BBQ division'.

I was twenty-four when I read 'Zarathustra'. I could not understand it, but it made a profound impression upon me, and I felt an analogy between it and the girl in some peculiar way. Later, of course, I found that 'Zarathustra' was written from the unconscious and is a picture of what that man should be. If Zarathustra had come through as a reality for Nietzsche instead of remaining in his 'spirit world,' the intellectual Nietzsche would have had to go. But this feat of realization, Nietzsche could not accomplish. It was more than his brain could master.

Maybe he used to like me, but I doubt he does anymore, now that I’ve insulted his bird fetish.” Peter smiled.   “He’s not going to stop liking you over one little argument.   I don’t think he’s the type to just fall for someone and then hate them the next day.   We don’t live in that kind of world anymore, anyway.” “What do you mean?”   “Well, when there were thousands of possible mates to choose from, it was like being a huge candy store with a billion types of sugary things to choose from.   You could sample one of everything and not worry about whether you’d like it much or whatever, because there was always another jar of candy nearby.   But now, there’s no candy store.   There’s a single jawbreaker that you found in the gutter.   And there are no more jawbreaker factories.   No more candy stores.   No more refined sugar.   That one jawbreaker you found could be the only one you’ll ever have again.   You aren’t going to just eat it and say goodbye.” His analogy wasn’t perfect but I saw where he was going with it.   “So I’m like a jawbreaker.   A dirty one you find in the gutter.” “Yeah.   And he likes that candy.   It’s his favorite.   So he doesn’t care that it has smelly feet.” I scowled at him.   “How do you know he likes jawbreakers so much?” “I just know.   I can tell a good match when I see one.   He needs someone spunky and tough, someone different than other girls.   That’s you.” I smiled, liking how Peter had described me.   “But what if he just decides to eat it real quick and then move on?   I mean, there are other jawbreakers out there.   They’re just more rare.” “That’s not how he is.   He’s methodical.   A thinking person.   He’s not rash. And he knows his odds of finding a jawbreaker of this flavor?   Are pretty slim.” “I’ve seen him do some stupid, rash things … like going after the candy at the Cracker Barrel.” “That was all a very carefully-crafted way of making sure he had a good grip on his jawbreaker.   He wants to keep the candy happy.   Keep it sweet.” I rolled my eyes.   “Ugh.   Your analogy is making me want to eye gouge you right now.

shake tonight, quake and burn with every inch of her. My dick never felt like this in my entire fucking life. It was like I'd downed a handful of the blue shit, and the bastard in my pants was so strong he'd beaten my brain into a coma, taking full control of everything. Bad analogy, though, because I knew I'd need my pulse checked if it ever took a fucking pill to get hard for this woman. “Fuck, baby. You wanna get fucked right here, don't you? No bullshitting, girl.” I scraped my stubble across her neck and sucked the spot beneath her ear.

The dancer's grace and, forty years on, her arthritis - both are functions of the skeleton. It is thanks to an inflexible framework of bones that the girl is able to do her pirouettes, thanks to the same bones, grown a little rusty, that the grandmother is condemned to a wheel chair. Analogously, the firm support of a culture is the prime condition of all individual originality and creativeness; it is also their principal enemy. The thing in whose absence we cannot possibly grow into complete human beings is, all too often, the thing that prevents us from growing.

A man fishes for two reasons: he’s either sport fishing or fishing to eat, which means he’s either going to try to catch the biggest fish he can, take a picture of it, admire it with his buddies and toss it back to sea, or he’s going to take that fish on home, scale it, fillet it, toss it in some cornmeal, fry it up, and put it on his plate. This, I think, is a great analogy for how men seek out women. See, men are, by nature, hunters, and women have been put in the position of being the prey. Think about it: it used to be that a man “picked” a wife, a man “asked” a woman to dinner, a man had to get “permission” from a woman’s father to have her hand in marriage, and even, in some cases, to date her. We pursued—in fact, we’ve been taught all our lives that it was not only a good thing to chase women, but natural. Women have bought into this for years, too; how many times have you or one of your girls said, “I like it when a man pursues me,” or “I need him to romance me and give me flowers and make me feel like I’m wanted”? Flowers, jewelry, phone calls, dates, sweet talk—these are all the weapons in our hunting arsenal when we’re coming for you. But the question always remains: once we hook you, what will we do with you? Taking a cue from my love

On my analysis, misogyny’s primary function and constitutive manifestation is the punishment of “bad” women, and policing of women’s behavior. But systems of punishment and reward—and conviction and exoneration—tend to work together, holistically. So, the overall structural features of the account predict that misogyny as I’ve analyzed it is likely to work alongside other systems and mechanisms to enforce gender conformity. 7 And a little reflection on current social realities encourages pursuing this line of thinking, which would take the hostility women face to be the pointy, protruding tip of a larger patriarchal iceberg. We should also be concerned with the rewarding and valorizing of women who conform to gendered norms and expectations, enforce the “good” behavior of others, and engage in certain common forms of patriarchal virtue-signaling—by, for example, participating in slut-shaming, victim-blaming, or the Internet analog of witch-burning practices.

Moreover,' he mused relentlessly, 'I think that you'll be dreaming of me perhaps until the day you die.' She clapped her book shut then and stood abruptly. 'It was only,' she ground out, 'a kiss.' 'Was it?' He was laughing now. 'And moreover,' she all but growled, 'you, Lord Rawden, murmured my name rather feverishly into my throat, as I recall.' His smile disappeared. Good God, but a man didn't like to be reminded of the things he did or said in the heat of passion. She was a very good player. He eyed her somewhat cautiously. 'And you were breathing rather like a bellows,' she continued. 'Like a mating bull.' 'A mating bull?' Trust a country girl to arrive at this particular analogy.

Analogous examples are innumerable. As I write these lines the papers are full of the story of two little girls found drowned in the Seine. These children, to begin with, were recognised in the most unmistakable manner by half a dozen witnesses. All the affirmations were in such entire concordance that no doubt remained in the mind of the juge d'instruction.

In the opinion of this researcher, a great many of the people who have researched the Carrie White matter - either for the scientific journals or for the popular press - have placed a mistaken emphasis on a relatively fruitless search for incidents of telekinesis in the girl's childhood. To strike a rough analogy, this is like spending years researching the early incidents of masturbation in a rapist's childhood.

This problem can be illustrated with a mock analogy. Imagine in your golden years you are accused of murdering a child many decades ago and put on trial for it. The prosecution claims you murdered a little girl in the middle of a public wedding in front of thousands of guests. But as evidence all they present is a religious tract written by ‘John’ which lays out a narrative in which the wedding guests watch you kill her. Who is this John? The prosecution confesses they don’t know. When did he write this narrative? Again, unknown. Probably thirty or forty years after the crime, maybe even sixty. Who told John this story? Again, no one knows. He doesn’t say. So why should this even be admissible as evidence? Because the narrative is filled with accurate historical details and reads like an eyewitness account. Is it an eyewitness account? Well, no, John is repeating a story told to him. Told to him by an eyewitness? Well . . . we really have no way of knowing how many people the story passed through before it came to John and he wrote it down. Although he does claim an eyewitness told him some of the details. Who is that witness? He doesn’t say. I see. So how can we even believe the story is in any way true if it comes from unknown sources through an unknown number of intermediaries? Because there is no way the eyewitnesses to the crime, all those people at the wedding, would have allowed John to lie or make anything up, even after thirty to sixty years, so there is no way the account can be fabricated. If that isn’t obviously an absurd argument to you, then you didn’t understand what has just been said and you need to read that paragraph again until you do. Because

Girls fitted easily into their own and your own picture of someone dying of unrequited love. If they slipped out of it before you were ready, that was all right too; their slipping out frequently was the necessary reminder that an affair had run its course. It also was the necessary reminder that the realist in a woman, the good appraiser, makes her want to take a loss and get out before she is—for the purposes of the analogy—ruined.

Issy is a male fantasy of a girl or young woman, but she is also a ‘real’ character who, though invaded and smothered by cultural stereotypes and analogies, retains a particularity. And this goes for all the Wake’s characters, in always being both dreamt and real, that have to contend with the inevitable constraints of culture’s approximate representations. Our readings may find themselves split, like Issy, between these worlds, the dream fantasy reflection and the mimetic realist novel.

But at that particular moment, I sensed also that certain changes in the appearance, the importance, or the size of a person can be explained by the variability of the factors that may interpose between us and the other. One of the most potent in that regard is a belief in our mind: on that evening, within a matter of seconds, my belief that I was going to meet Albertine, then the annihilation of that belief, had made her almost insignificant to me, then infinitely precious; and some years later, the belief that she was faithful to me, followed by disbelief, would have analogous results.

Thank you,” I said. “It’s so nice of you to think of me. But actually, we’ve made the decision I won’t be moving to Washington.” I let her know that we had two little girls in school in Chicago and that I was pretty attached to my job. I explained that Barack was settling into life in D.C., commuting home when he could. I didn’t mention that we were so committed to Chicago that we were looking to buy a new house, thanks to the royalty money that was starting to come in from the renewed sales of his book and the fact that he now had a generous offer on a second book—the surprise harvest of Barack’s magic beans.

Remember during the coverage of Hurricane Katrina, those images of people on their roofs while makeshift boats full of people sailed by? Well, this is my boat-people analogy. We’ve been flooded and I’m in a boat that’s gliding by everyone I know on top of those roofs. But my boat only holds fifteen people. I got my girls, my family, my closest friends. When your boat is full, it’s not like you’re saying to everyone else on those roofs, “I don’t care about you.” It’s just that these are my boat people and I’ve gotta save them. Because they’re in the fight with me. This is crucial: When you take on cancer, you’re not alone. Of course, that’s not how it feels when you first hear those words: “You have cancer.” At that moment, you feel more alone than you’ve ever been. You’re standing in place, numb, and the world is rushing by.

I’m scared, Lane.” I let him pull me to his chest and closed my eyes as his arms wrapped around me. “We’ll be ok.” “This isn’t one of those Zombie movies. We’re not going to find some weird person with a key to the end of this epidemic. If anything, we’re probably bunched in with those that are the first to die.” “No way.” He pressed his lips to my forehead. “Look. We have the guy who has a girlfriend and a kid, the single handsome guy, when the others get here we’ll have the jokers, the one that panics, and the girl who goes off and get herself killed.” He frowned. “Only we’ll make sure Lizzy doesn’t go off on her own.” He nodded, satisfied with his analogy. “We have all the key elements of the main cast of characters.” “And what about us? You left us out.” “Well, obviously, I’m the mature and brave one that will keep everyone from panicking.” He grinned. “And you’ll be the one that ends up rocking in a corner after you lose your mind.

Pointsman is the only one here maintaining his calm. He appears unruffled and strong. His lab coats have even begun lately to take on a Savile Row serenity, suppressed waist, flaring vents, finer material, rather rakishly notched lapels. In this parched and fallow time, he gushes affluence. After the baying has quieted down at last, he speaks, soothing: “There’s no danger.” “No danger?” screams Aaron Throwster, and the lot of them are off again muttering and growling. “Slothrop’s knocked out Dodson-Truck and the girl in one day!” “The whole thing’s falling apart, Pointsman!” “Since Sir Stephen came back, Fitzmaurice House has dropped out of our scheme, and there’ve been embarrassing inquires down from Duncan Sandys—“ “That’s the P.M.’s son-in-law, Pointsman, not good, not good!” “We’ve already begun to run into a deficit—“ “Funding,” IF you can keep your head, “is available, and will be coming in before long… certainly before we run into any serious trouble. Sir Stephen, far from being ‘knocked out,’ is quite happily at work at Fitzmaurice House, and is At Home there should any of you wish to confirm. Miss Borgesius is still active in the program, and Mr. Duncan Sandys is having all his questions answered. But best of all, we are budgeted well into fiscal ’46 before anything like a deficit begins to rear its head.” “Your Interested Parties again?” sez Rollo Groast. “Ah, I noticed Clive Mossmoon from Imperial Chemicals closeted with you day before yesterday,” Edwin Treacle mentions now. “Clive Mossmoon and I took an organic chemistry course or two together back at Manchester. Is ICI one of our, ah, sponsors, Pointsman?” “No,” smoothly, “Mossmoon, actually, is working out of Malet Street these days. I’m afraid we were up to nothing more sinister than a bit of routine coordination over the Schwarzkommando business.” “The hell you were. I happen to know Clive’s at ICI, managing some sort of polymer research.” They stare at each other. One is lying, or bluffing, or both are, or all of the above. But whatever it is Pointsman has a slight advantage. By facing squarely the extinction of his program, he has gained a great of bit of Wisdom: that if there is a life force operating in Nature, still there is nothing so analogous in a bureaucracy. Nothing so mystical. It all comes down, as it must, to the desires of men. Oh, and women too of course, bless their empty little heads. But survival depends on having strong enough desires—on knowing the System better than the other chap, and how to use it. It’s work, that’s all it is, and there’s no room for any extrahuman anxieties—they only weaken, effeminize the will: a man either indulges them, or fights to win, und so weiter. “I do wish ICI would finance part of this,” Pointsman smiles. “Lame, lame,” mutters the younger Dr. Groast. “What’s it matter?” cries Aaron Throwster. “If the old man gets moody at the wrong time this whole show can prang.” “Brigadier Pudding will not go back on any of his commitments,” Pointsman very steady, calm, “we have made arrangements with him. The details aren’t important.” They never are, in these meetings of his.

Thanks.” “For what?” “For everything.” I shrug and my smile wobbles a little. “Thanks for talking me into taking this trip instead of staying home and wallowing in self-pity. For sticking by my side, but also giving me space. For…being my best friend.” She gives the impression of being cool, clipped, controlled, but deep down Fanny is a smushy-mushy sentimental marshmallow. She grabs me and gives me a fierce hug. “It’s just my time,” she finally says, pulling away. “You know?” I shake my head. I don’t know. “Being best friends is like playing baseball. Right now, it’s my turn to step up to the plate and carry the team.” She lifts her chin and looks up at me with her trademark confidence. “Don’t worry. Your time at bat will come.” “I hope I will carry the team as well as you have.” “You will.” “Wait!” I laugh. “Did you just make a baseball analogy?” “Yeah. So?” “The Americanization of Fanny is complete.” I stroke my chin and chuckle maniacally. “Funny!” Fanny snaps. “I don’t think so!” “It starts with reality television binges and baseball analogies. Soon, you’ll be forgoing French chocolate for Hershey’s bars and baguettes for Wonder Bread.

The psychological importance of sexuality and the existence of plausible sexual analogies make a deviation into sex extremely easy in cases of regression, so that it naturally seems as if all one’s troubles were due to a sexual wish that is unjustly denied fulfilment. This reasoning is typical of the neurotic. Primitives seem to know instinctively the dangers of this deviation: when celebrating the hieros gamos, the Wachandi, of Australia, may not look at a woman during the entire ceremony. Among a certain tribe of American Indians, it was the custom for the warriors, before setting out on the warpath, to move in a circle round a beautiful young girl standing naked in the centre. Whoever got an erection was disqualified as unfit for military operations. The deviation into sex is used—not always, but very frequently—as a means of escaping the real problem. One makes oneself and others believe that the problem is purely sexual, that the trouble started long ago and that its causes lie in the remote past. This provides a heaven-sent way out of the problem of the present by shifting the whole question on to another and less dangerous plane. But the illicit gain is purchased at the expense of adaptation, and one gets a neurosis into the bargain.

And the ladies dressed in red for my pain and with my pain latched onto my breath, clinging like the fetuses of scorpions in the deepest crook of my neck, the mothers in red who sucked out the last bit of heat that my barely beating heart could give me — I always had to learn on my own the steps you take to drink and eat and breathe, I was never taught to cry and now will never learn to do this, least of all from the great ladies latched onto the lining of my breath with reddish spit and floating veils of blood, my blood, mine alone, which I drew myself and which they drink from now after murdering the king whose body is listing in the river and who moves his eyes and smiles, though he’s dead and when you’re dead, you’re dead, for all the smiling you do, and the great ladies, the tragic ladies in red have murdered the one who is floating down the river and I stay behind like a hostage in their eternal custody. I want to die to the letter of the law of the commonplace, where we are assured that dying is the same as dreaming. The light, the forbidden wine, the vertigo. Who is it you write for? The ruins of an abandoned temple. If only celebration were possible. A mournful vision, splintered, of a garden of broken statues. Numb time, time like a glove upon a drum. The three who compete in me remain on a shifting point and we neither are nor is. My eyes used to find rest in humiliated, forsaken things. Nowadays I see with them; I’ve seen and approved of nothing. Seated at the bottom of a lake. She has lost her shadow, but not the desire to be, to lose. She is alone with her images. Dressed in red, and unseeing. Who has reached this place that no one ever reaches? The lord of those dead who are dressed in red. The man who is masked in a faceless face. The one who came for her takes her without him. Dressed in black, and seeing. The one who didn’t know how to die of love and so couldn’t learn a thing. She is sad because she is not there. There are words with hands; barely written, they search my heart. There are words condemned like the lilac in a tempest. There are words resembling some among the dead, and from these I prefer the ones that evoke the doll of some unhappy girl. Ward 18 when I think of occupational therapy I think of poking out my eyes in a house in ruin then eating them while thinking of all my years of continuous writing, 15 or 20 hours writing without a break, whetted by the demon of analogies, trying to configure my terrible wandering verbal matter, because — oh dear old Sigmund Freud — psychoanalytic science forgot its key somewhere: to open it opens but how to close the wound? for other imponderables lovelier than the smile of the Virgin of the Rocks the shadows strike blows the black shadows of the dead nothing but blows and there were cries nothing but blows

She ran her hand up my thigh and said, “I like it when you fill me deep, Rhys.” I laughed, not realizing it was an attempt at seduction, not a joke. She blinked, that slightly hurt look she gets when she thinks she's being rejected crossing her face. So I kissed her and used washing-machine analogies to dirty-talk her until she was smiling again. Jesus Christ. I think I might love her.

Just remember that we are not standing on a corner 'trick or treating' for the wrong kind of 'tricks and treats' okay?" Cassie said as she stepped out of the car. Elora rolled her eyes, but then added, "That was actually a pretty good analogy". "So glad I meet your approval," she responded, shoving the door closed.

Comparisons of women and Blacks continue throughout the book, but they never meet in, say, the category of “black woman.” In one section, de Beauvoir compares anti-Black racism to anti-feminism, saying that antifeminists offer “separate but equal” status to women in the same way that Jim Crow subjects Blacks to extreme forms of discrimination. There are, she says, “deep analogies” between women and Blacks; both must be liberated from the same paternalism and master class that wants to keep them in their place. In every comparison that de Beauvoir makes between women and Blacks, however, the Blacks are assumed to be American and male and the women are assumed to be white. In The Second Sex, she uses the character Bigger Thomas in Richard Wright’s Native Son to evoke the parallel—but not intersecting—situation of women: “he watches planes pass and knows that because he is black the sky is out of bounds for him. Because she is woman, the girl knows that the sea and the poles, a thousand adventures, a thousand joys are forbidden to her: she is born on the wrong side.”9 It does not seem to occur to her that one could be oppressed by both of these systems, race and gender.

Frame control creates power and power attracts. BY JOSH (JETSET) KING MADRID WHAT DO KANYE WEST AND ELON MUSK HAVE IN COMMON? When you put the two together, there may be few similarities, but I believe one trait they share is the ability to control their frame, also known as frame control. Frame control is a little-known underlying phenomenon that may be one of the reasons they are so influential and successful despite the controversy. Nonetheless, they maintain their status as some of our culture's most powerful figures. The power of how we frame our personal realities is referred to as frame control. A frame is a tool that you can use to package your power, authority, strength, information, and status. Standing firm in your beliefs can persuade and influence. I first discovered frame control in 2016 after coming across the book Pitch Anything by Oren Klaff. I was hooked instantly. I was a freshman in college at UC Irvine at the time and was earning a few thousand dollars a month in my online business. In just a few short months after applying the concept of frame control in my life and business, everything changed — I started dating the girl of my dreams, cleared my first $27,000 in one month and dropped out of college to go all in on my business. Since then, I've read every book, watched every video, and studied every expert-written blog I can find on the subject. This eventually led me to obtain NLP and neuro-marketing certifications, both of which explain the underlying psychology of how our brains frame social interactions and provide techniques for controlling these frames in oneself and others in order to become more likable, influential, and lead a better life overall. Frame control is about establishing your own authority, but it isn't just some self-help nonsense. It is about true and verified beliefs. The glass half-empty or half-full frame is a popular analogy. If you believe the glass is half-empty, that is exactly what it will be. But someone with a half-full frame can come in and convince you to change your belief, simply by backing it up with the logic of “an empty glass of water would always be empty, but having water in an empty glass makes it half-full.” Positioning your view as the one that counts does take some practice because you first have to believe in yourself. You won’t be able to convince anyone of your authority if you are not authentic or if you don’t actually believe in what you’re trying to sell. Whether they realize it or not, public figures are likely to engage in frame control. When you're in the spotlight, you have to stay focused on the type of person you want the rest of the world to see you as. Tom Cruise, for example, is an example of frame control because of his ability to maintain dominance in media situations. In a well-known BBC interview, Tom Cruise assertively puts the interviewer in his place when he steps out of line and begins probing into his personal life. Cruise doesn't do it disrespectfully, which is how he maintains his own dominance, but he does it in such a way that the interviewer is held accountable. How Frame Control Positions the User as Influential or Powerful Turning toward someone who is dominant or who seems to know what they are doing is a natural occurrence. Generally speaking, we are hard-wired to trust people who believe in themselves and when they are put on a world stage, the effects of it can be almost bewildering. We often view comedians as mere entertainers, but in fact, many of them are experts in frame control. They challenge your views by making you laugh. Whether you want to accept their frame or not, the moment you laugh, your own frame has been shaken and theirs have taken over.

You have to be an optimist to believe in the Singularity,” she says, “and that’s harder than it seems. Have you ever played Maximum Happy Imagination?” “Sounds like a Japanese game show.” Kat straightens her shoulders. “Okay, we’re going to play. To start, imagine the future. The good future. No nuclear bombs. Pretend you’re a science fiction writer.” Okay: “World government … no cancer … hover-boards.” “Go further. What’s the good future after that?” “Spaceships. Party on Mars.” “Further.” “Star Trek. Transporters. You can go anywhere.” “Further.” I pause a moment, then realize: “I can’t.” Kat shakes her head. “It’s really hard. And that’s, what, a thousand years? What comes after that? What could possibly come after that? Imagination runs out. But it makes sense, right? We probably just imagine things based on what we already know, and we run out of analogies in the thirty-first century.” I’m trying hard to imagine an average day in the year 3012. I can’t even come up with a half-decent scene. Will people live in buildings? Will they wear clothes? My imagination is almost physically straining. Fingers of thought are raking the space behind the cushions, looking for loose ideas, finding nothing. “Personally, I think the big change is going to be our brains,” Kat says, tapping just above her ear, which is pink and cute. “I think we’re going to find different ways to think, thanks to computers. You expect me to say that”—yes—“but it’s happened before. It’s not like we have the same brains as people a thousand years ago.” Wait: “Yes we do.” “We have the same hardware, but not the same software. Did you know that the concept of privacy is, like, totally recent? And so is the idea of romance, of course.” Yes, as a matter of fact, I think the idea of romance just occurred to me last night. (I don’t say that out loud.) “Each big idea like that is an operating system upgrade,” she says, smiling. Comfortable territory. “Writers are responsible for some of it. They say Shakespeare invented the internal monologue.” Oh, I am very familiar with the internal monologue. “But I think the writers had their turn,” she says, “and now it’s programmers who get to upgrade the human operating system.” I am definitely talking to a girl from Google. “So what’s the next upgrade?” “It’s already happening,” she says. “There are all these things you can do, and it’s like you’re in more than one place at one time, and it’s totally normal. I mean, look around.” I swivel my head, and I see what she wants me to see: dozens of people sitting at tiny tables, all leaning into phones showing them places that don’t exist and yet are somehow more interesting than the Gourmet Grotto. “And it’s not weird, it’s not science fiction at all, it’s…” She slows down a little and her eyes dim. I think she thinks she’s getting too intense. (How do I know that? Does my brain have an app for that?) Her cheeks are flushed and she looks great with all her blood right there at the surface of her skin. “Well,” she says finally, “it’s just that I think the Singularity is totally reasonable to imagine.

Constant lack of support is a big issue in Asperger marriages, that’s why I’d like to extend this a bit further with another analogy. Imagine that you are going for a hike in the mountains with two other couples. You are planning to stay overnight in a hut and return the next day. The climb up to the summit is very hard and strenuous. Your girl friends, who are wearing sandals, soon feel exhausted and the husbands decide to give them a piggyback. You’re also tired but your partner doesn’t seem to care, instead he lets you drag him up the hill. You might be annoyed and resent the fact that you have to climb up by yourself, but don’t forget in the end it will make you stronger. If you climb a mountain knowing that your husband suffers from asthma, you wouldn’t expect him to carry you. Instead you would slow down and make sure that he doesn’t exhaust himself. You’d realize that in pushing him to accelerate or, even worse, carry you, he might suffer an asthma attack. Surely you wouldn’t want that. So don’t expect to be carried, instead wear good shoes, take food and drink along and be strong enough to reach the summit without your partner’s help.

human labor was analogous to machine work-only the product of the labor had any value, while workers themselves were expendable.

Yeah, young coders abound, but mostly only string together preassembled digital beads, and even today's brightest young nerdlets aren't immune to eventual wrinkles. As for real experts, well, as the dawn of the computer age recedes, so too have the hairlines of your true computer wizards, the males I mean. We females never change, we are eternally young.

It’s a poor analogy,” Caldwell says. There’s an edge in her voice you could part a hair on. “And overestimating risk isn’t even an issue here. The danger–all the danger–lies in ignoring it.” “Caroline.

I visited McBeth’s eleventh and twelfth grade classes, which were both working on prototypes for projects they had approached through design thinking. One was a revitalization scheme for Toronto’s waterfront, and the other was creating an indoor agriculture system. The students were producing all sorts of creative solutions, from elaborate models of their waterfront developments to fish farms where the fish’s own waste would fertilize the plants that cleaned the water. It was loud, messy work. At one point, three girls were hand-sawing a piece of lumber balanced between two desks, and sawdust quickly coated their preppy uniforms and hair. With a few exceptions, all the students said they preferred to work without computers on this type of project. They felt they had more creative freedom, were less distracted, could be more accurate to their vision, and gained a better understanding of the scale and materials involved. It also seemed more fun. The groups building models and contraptions around the room were laughing and joking as they glued and taped and cut and broke things. The only ones working on computers were two girls who gave up on a model and decided to make an app instead. They sat side by side, quietly checking out the pricing options on various app-building websites, flipping over to Facebook whenever McBeth was out

Nat's face is like thunder. Which is an analogy that makes no sense because thunder is sound so technically it doesn't look like anything, but I don't have time to find a better one because my best friend is about to kill me.

Noreen’s therapist had once quoted a writer, comparing grief to having a broken leg that doesn’t heal right and still hurts when it’s damp outside, but eventually you learn to dance with a limp. It was a weird analogy, but it had stuck.

This continuity between Cynicism and Socratic thought can be expressed in an another way. Socrates made a sharp differentiation between the self and external objects as moral ends. External objects are morally neutral and hence cannot serve as ultimate ends; material wealth is neither good nor evil in itself, but wise use makes it so.50 Aristotle adopts this view in a more complex way, opening up at least the quasi-Cynic possibility that wisdom is self-sufficient and in no need of externals. For Aristotle, the highest life we can imagine is the life of God-pure thought and actuality, selfsufficient, unmoved, wholly non-material. Such a God has no need for wealth, for Hesiod's plough, ox, and slave-girl. In certain intense moments, one may begin to "immortalize" oneself and become like this God; through contemplation, the philosopher becomes at least psychologically more selfsufficient, less dependent on community.51 Only a god or animal may live without community,52 and, unlike the Cynic, the Aristotelian philosopher is more god than "dog." Yet, like the Cynics, Aristotle stresses the ontological difference between this highest state and materiality. God's well-being is not caused by externals, and analogously the thinker's most powerful experiences have nothing to do with material possessions. Wealth is not constitutive of perfect virtue and well-being as such; instead, it is a merely accidental feature of human life as ordinarily experienced. Therefore, Aristotle speaks of wealth as the material through which virtues like magnanimity express themselves; generosity is not caused by wealth, but has its origin elsewhere and so is in itself autonomous of wealth.

His gaze dropped to the studio bed: still half-unmade. On the undisturbed half, nearest the wall, there stretched out a long, colorful scatter of magazines, science-fiction paperbacks, a few hardcover detective novels still in their wrappers, a few bright napkins taken home from restaurants, and a half-dozen of those shiny little Golden Guides and Knowledge Through Color books—his recreational reading as opposed to his working materials and references arranged on the coffee table beside the bed. They'd been his chief—almost his sole—companions during the three years he'd laid sodden there stupidly goggling at the TV across the room; but always fingering them and stupefiedly studying their bright, easy pages from time to time. Only a month ago it had suddenly occurred to him that their gay casual scatter added up to a slender, carefree woman lying beside him on top of the covers—that was why he never put them on the floor; why he contented himself with half the bed; why he unconsciously arranged them in a female form with long, long legs. They were a "scholar's mistress," he decided, on the analogy of "Dutch wife," that long, slender bolster sleepers clutch to soak up sweat in tropical countries—a very secret playmate, a dashing but studious call girl, a slim, incestuous sister, eternal comrade of his writing work.

His gaze dropped to the studio bed: still half-unmade. On the undisturbed half, nearest the wall, there stretched out a long, colorful scatter of magazines, science-fiction paperbacks, a few hardcover detective novels still in their wrappers, a few bright napkins taken home from restaurants, and a half-dozen of those shiny little golden Guides and Knowledge Through Color books—his recreational reading as opposed to his working materials and references arranged on the coffee table beside the bed. They'd been his chief—almost his sole—companions during the three years he'd laid sodden there stupidly goggling at the TV across the room; but always fingering them and stupefiedly studying their bright, easy pages from time to time. Only a month ago it had suddenly occurred to him that their gay casual scatter added up to a slender, carefree woman lying beside him on top of the covers—that was why he never put them on the floor; why he contented himself with half the bed; why he unconsciously arranged them in a female form with long, long legs. They were a "scholar's mistress," he decided, on the analogy of "Dutch wife," that long, slender bolster sleepers clutch to soak up sweat in tropical countries—a very secret playmate, a dashing but studious call girl, a slim, incestuous sister, eternal comrade of his writing work.

When I was a graduate student, I read an article by Peter Singer arguing that citizens of prosperous countries should direct most of their money toward helping the truly needy. Singer argued that choosing to spend our money on luxuries like fancy clothing and expensive meals is really no different from seeing a girl drowning in a shallow lake and doing nothing because you don’t want to ruin your expensive shoes by wading in to save her. I was moved by this argument and would repeat the analogy to my friends, often when we were in bars and restaurants, and it suddenly occurred to me that we were engaged in the moral equivalent of killing children.

It's hard to explain to Tiana that her feelings about this aren't indicative of what a great guy her 'daddy' is but rather an indictment against how awful all the adults in her life have been...If you haven't had proper love and care, then a substitute will feel like the real thing, because you've got nothing to compare it to. For Tiana, whose entire fifteen years on the earth have been filled with physical violence, neglect, and horrific abuse, this analogy doesn't really make sense. Her 'daddy' is the first person who's shown her any type of kindness, who's modeled what a 'real' family looks like- even though after dinner he takes her and the other girls out and sells them on the street.

Natural selection may be unconscious but, as Darwin and his successors made clear, it is the opposite of a random force. It can drive changes in an organism in a very linear, per sis tent fashion—as had been observed in the laboratory, in nature, and in simulations such as the one that modeled eye evolution. Denton was wrong about evolution’s being one big lottery. The correct analogy would be a game of darts in which the players cannot see the target. Some darts will find their mark while the majority will miss—a random process. But the rules of the game eliminate all but the best-thrown darts. Because nature tosses an im mense number of darts—the mutation rate in any single gene in an organism will run in the millions—natural selection has plenty of well-targeted darts to choose from, and the march toward new and complex forms is not so difficult to understand, after all. But presenting an accurate meta phor would not have supported an attack on evolution.