Appropriation Art Quotes

I do believe in an everyday sort of magic -- the inexplicable connectedness we sometimes experience with places, people, works of art and the like; the eerie appropriateness of moments of synchronicity; the whispered voice, the hidden presence, when we think we're alone.

If you don't pay appropriate attention to what has your attention, it will take more of your attention than it deserves.

The alternative to appropriation is a world in which artists only reference their own cultures." "That's an oversimplification of the issue." "The alternative to appropriation is a world where white European people make art about white European people with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world don't you? I'm terrified of that world and I don't want to live in a that world, and as a mixed race person, I literally don't exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Korea Town Los Angeles and as any mixed race person will tell you-- to be half of two things is to be whole of nothing.

King Karma; I know that karma is a force in this universe, and that people will receive karmic justice for their actions. I know that this justice will come when the universe deems it appropriate and it may not be in this lifetime or the next, or the one after that.... but it will come.

Everything in creation has its appointed painter or poet and remains in bondage like the princess in the fairy tale 'til its appropriate liberator comes to set it free.

What's one more meaningless act of violence on that zoo of a planet? It would be appropriate. When in Rome; burn it.

Individual cultures and ideologies have their appropriate uses but none of them erase or replace the universal experiences, like love and weeping and laughter, common to all human beings.

I found the Taj Mahal as the most appropriate example of artistically expressed love.

..Acts of appropriation are part of the process by which we make ourselves. Appropriating - taking something for one’s own use - need not be synonymous with exploitation. This is especially true of cultural appropriation. The “use” one makes of what is appropriated is the crucial factor.

Mockingbirds are the true artists of the bird kingdom. Which is to say, although they're born with a song of their own, an innate riff that happens to be one of the most versatile of all ornithological expressions, mocking birds aren't content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world. For example, a mockingbird in South Carolina was heard to blend the songs of thirty-two different kinds of birds into a ten-minute performance, a virtuoso display that serve no practical purpose, falling, therefore, into the realm of pure art.

To tell an honest story, it is not enough for numbers to be correct. They need to be placed in an appropriate context so that a reader or listener can properly interpret them.

We all have emotional blind spots. Often they have to do with the emotions that we were taught were inappropriate growing up. It takes years of practice and effort to get good at identifying blind spots in ourselves and then expressing the affected emotions appropriately. But this task is hugely important, and worth the effort.

[Suggesting an additional definition for 'politics':] The art of organizing and handling men in large numbers, manipulating votes, and, in especial, appropriating public wealth.

Modern literary theory sees a similarity between walking and writing that I find persuasive: words inscribe a text in the same way that a walk inscribes space. In The practicse of Everyday Life, Michel de Certeau writes, 'The act of walking is a process of appropriation of the topographical system on the part of the pedestrian; it is a special acting-out of the place...and it implies relations among differentiated positions.' I think this is a fancy way of saying that writing is one way of making the world our own, and that walking is another.

The real act of, say, building a friendship or creating a community involves performing a series of small, concrete social actions well: disagreeing without poisoning the relationship; revealing vulnerability at the appropriate pace; being a good listener; knowing how to end a conversation gracefully; knowing how to ask for and offer forgiveness; knowing how to let someone down without breaking their heart; knowing how to sit with someone who is suffering; knowing how to host a gathering where everyone feels embraced; knowing how to see things from another’s point of view.

Design is a fundamental human activity, relevant and useful to everyone. Anything humans create—be it product, communication or system—is a result of the process of making inspiration real. I believe in doing what works as circumstances change: quirky or unusual solutions are often good ones. Nature bends and so should we as appropriate. Nature is always right outside our door as a reference and touch point. We should use it far more than we do.

A deep understanding of the business and industry landscape allows board members to identify emerging risks and ensure appropriate mitigation strategies are in place.

While the gun lobby sought to close the courthouse door to all legitimate claims, Zack and other clever lawyers often artfully dodge these efforts with carefully crafted pleadings and appropriate argument, successfully litigating their claims, and holding gun companies responsible.

The phenomenon of relative deprivation applied to education is called—appropriately enough—the “Big Fish–Little Pond Effect.” The more elite an educational institution is, the worse students feel about their own academic abilities.

when the fire is strong, it soon appropriates to itself the matter which is heaped on it, and consumes it, and rises higher by means of this very material.

Balaam’s ass is the patron saint of apologists. Madness, as we shall see, is an appropriate term for the unreality of unbelief.

Inside" Children Inside each of us are the children we were at each developmental stage. With regard to our creative dreams, these inside children can prevent us from living them by "acting out" in order to try to get our attention. Your inner 5-year-old is not going to patiently wait as you learn intricate metalworking techniques or study impressionist painting. Yet, your inner 10-year-old may be perfectly suited to learn and observe new skills. What's really needed is parenting of these inside children so that we bring them to age-appropriate activities.

Any person whom seeks to live a historical existence must devote their efforts to learning about the world, care about people and nature, and seek to express their thoughts in the artistic methodology most appropriate to their particular talent. A person cannot fake self-awareness or imitate an artistic nature. A person must honestly earn a heightened level of conscious awareness.

I’ve never thought of writing as the mere arrangement of words on the page but the attempted embodiment of a vision; a complex of emotions; raw experience. The effort of memorable art is to evoke in the reader or spectator emotions appropriate to that effort.

This skill—of paying attention and then acting—is such an important value and goal for children that many families in Mexico have a term for it: it’s being acomedido. The idea is complex: It’s not just doing a chore or task because someone told you to; it’s knowing which kind of help is appropriate at a particular moment because you’re paying attention.

those at the very top of the class—are going to face a burden that they would not face in a less competitive atmosphere. Citizens of happy countries have higher suicide rates than citizens of unhappy countries, because they look at the smiling faces around them and the contrast is too great. Students at “great” schools look at the brilliant students around them, and how do you think they feel? The phenomenon of relative deprivation applied to education is called—appropriately enough—the “Big Fish–Little Pond Effect.” The more elite an educational institution is, the worse students feel about their own academic abilities. Students who would be at the top of their class at a good school can easily fall to the bottom of a really good school. Students who would feel that they have mastered a subject at a good school can have the feeling that they are falling farther and farther behind in a really good school. And that feeling—as subjective and ridiculous and irrational

The details make life holy. If you want a little happiness in life don’t forget to look at the little things. It is a poet’s work to see the incidental, pluck it, place an appropriate silence around both sides and see the profound in what passes for a passing moment. It is an artist’s job to as much discover art as create it. Prayer is a way of making the common profound by pausing, tying knots around a moment, turning our life into a string of pearls.

It was as if a vital evolutionary advantage had been bestowed centuries ago on those members of the species who lived in a state of concern about what was to happen next. These ancestors might have failed to savour their experiences appropriately, but they had at least survived and shaped the character of their descendants, while their more focused siblings, at one with the moment and with the place where they stood, had met violent ends on the horns of unforeseen bison.

Perhaps the most foundational of these insights is the importance of maintaining an objective emotional detachment when calculating your position relative to your adversary’s. Being ruled by your emotions, exaggerating your strengths, denying your weaknesses, and wishful thinking can only lead to catastrophe. But maintaining your impartiality will allow you to see your circumstances with clarity and will provide opportunities to make sound decisions and respond to changing circumstances appropriately.

When I reached intellectual maturity, and began to ask myself whether I was an atheist, a theist, or a pantheist; a materialist or an idealist; a Christian or a freethinker, I found that the more I learned and reflected, the less ready was the answer; until at last I came to the conclusion that I had neither art nor part with any of these denominations, except the last. The one thing in which most of these good people were agreed was the one thing in which I differed from them. They were quite sure that they had attained a certain 'gnosis'--had more or less successfully solved the problem of existence; while I was quite sure I had not, and had a pretty strong conviction that the problem was insoluble. And, with Hume and Kant on my side, I could not think myself presumptuous in holding fast by that opinion ... So I took thought, and invented what I conceived to be the appropriate title of 'agnostic'. It came into my head as suggestively antithetic to the 'gnostic' of Church history, who professed to know so much about the very things of which I was ignorant; and I took the earliest opportunity of parading it at our Society, to show that I, too, had a tail, like the other foxes.

Remember that today when you try to extend your reach outward—that it’s much better and more appropriately directed inward.

Few places are more important for dressing appropriately than the workplace, where a professional appearance is crucial.

I admire nudity and I like sex, and so did a lot of people in the Thirties. But, to me, overexposure blunts the fun…Sex as something beautiful may soon disappear. Once it was a knife so finely honed the edge was invisible until it was touched and then it cut deep. Now it is so blunt that it merely bruises and leaves ugly marks. Nudity is fine in the privacy of my own bedroom with the appropriate partner. Or for a model in life class at art school. Or as portrayed in stone and paint. But I don’t like it used as a joke or to titillate. Or be so bloody frank about.

Artists and artisans both demonstrate with perfect clarity that a person is least able to appropriate for himself those things which are most peculiarly his. His works leave him as birds do the best in which they were hatched. In this respect an architect's fate is the strangest of all. How often he employs his whole intellect and warmth of feeling in the creation of rooms from which he must exclude himself. Royal halls owe their splendor to him, and he may not share in the enjoyment of their finest effects. In temples he draws the line between himself and the holy of holies; the steps he built to ceremonies that lift up the heady, he may no longer climb; just as the goldsmith worships only from afar the monstrance which he wrought in the fire and set with jewels. With the keys of the palace the architect hands over all it's comforts to the wealthy man, and has not the least part in them. Surely in this way art must little by little grow away from the artist, if the work, like a child provided for, no longer teaches back to touch its father.

Far from freeing us from the need for statistical skills, bigger data and the rise in the number and complexity of scientific studies makes it even more difficult to draw appropriate conclusions.

the Beautiful is the expression of the absolute Spirit, which is truth itself. This region of Divine truth as artistically presented to perception and feeling, forms the center of the whole world of Art. It is a self-contained, free, divine formation which has completely appropriated the elements of external form as material, and which employs them only as the means of manifesting itself.

7. Dress appropriately for your work environment. We get it; you want everyone to know how creative and interesting you are. Well, let your personality do that for you rather than your crop top and feather shoes.

Because cultural difference has long been conceived as a redemptive solution to the ambivalence of a Western culture established in the destruction of its own traditions, the appropriation of other aesthetic and spiritual modes is ultimately self-referential. This means that any attempt to perceive another culture based on the commodification and consumption of difference will fail. Understanding never really was the point.

Earth was the shorthand name for the classroom studio, named Earth, Fire, Air, Water, Spirit. Megan thought the alchemical name was especially appropriate for the art of sculpting, since the medium utilized all of those things.

The key to using abstraction effectively in programming is finding a notion of relevance that is appropriate for both the builder of an abstraction and the potential clients of the abstraction. That is the true art of programming.

Getting things done, and feeling good about it, means being willing to recognize, acknowledge, and appropriately manage all the things that have your consciousness engaged. Mastering the art of stress-free productivity requires it.

The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everone is blind and deaf to any culture or experience that is not their own. I hate that world, don't you? I'm terrified of that worls, and I don't want to live in that world, and as a mixed-race person, I literally don't exist in it.

The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it.

His snickarbod (Swedish for "toolshed") gradually became what I believe today is called a "man cave." In Swedish we also now sometimes call it mansdagis-- a male kindergarten, which makes me smile and which feels like an entirely appropriate word.

In its essence, any art that relies on words makes use of their ability to eat away—of their corrosive function—just as etching depends on the corrosive power of nitric acid. Yet the simile is not accurate enough; for the copper and the nitric acid used in etching are on a par with each other, both being extracted from nature, while the relation of words to reality is not that of the acid to the plate. Words are a medium that reduces reality to abstraction for transmission to our reason, and in their power to corrode reality inevitably lurks the danger that the words themselves will be corroded too. It might be more appropriate, in fact, to liken their action to that of excess stomach fluids that digest and gradually eat away the stomach itself.

Therefore practicing each virtue always must follow learning the lessons appropriate to it, or it is pointless for us to learn about it. The person who claims to be studying philosophy must practice it even more diligently than the person who aspires to the art of medicine or some similar skill, inasmuch as philosophy is more important and harder to grasp than any other pursuit.

Best of all, an honest understanding of what is within our control provides real clarity about the world: all we have is our own mind. Remember that today when you try to extend your reach outward—that it’s much better and more appropriately directed inward.

Verbal virtuosities or the gratuitous expense of time or money that is presupposed by material or symbolic appropriation of works of art, or even, at the second power, the self-imposed constraints and restrictions which make up the "asceticism of the privileged" (as Marx said of Seneca) and the refusal of the facile which is the basis of all "pure" aesthetics, are so many repetition of that variant of the master-slave dialectic through which the possessors affirm their possession of their possessions. In so doing, they distance themselves still further from the dispossessed, who, not content with being slaves to necessity in all its forms, are suspected of being possessed by the desire for possession, and so potentially possessed by the possessions they do not, or do not yet, possess.

I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions. They bring with them memories of pleasant days together. At the moment when they come across him in the play he is staggering under the weight of a burden intolerable to one of his temperament. The dead have come armed out of the grave to impose on him a mission at once too great and too mean for him. He is a dreamer, and he is called upon to act. He has the nature of the poet, and he is asked to grapple with the common complexity of cause and effect, with life in its practical realisation, of which he knows nothing, not with life in its ideal essence, of which he knows so much. He has no conception of what to do, and his folly is to feign folly. Brutus used madness as a cloak to conceal the sword of his purpose, the dagger of his will, but the Hamlet madness is a mere mask for the hiding of weakness. In the making of fancies and jests he sees a chance of delay. He keeps playing with action as an artist plays with a theory. He makes himself the spy of his proper actions, and listening to his own words knows them to be but 'words, words, words.' Instead of trying to be the hero of his own history, he seeks to be the spectator of his own tragedy. He disbelieves in everything, including himself, and yet his doubt helps him not, as it comes not from scepticism but from a divided will. Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation. When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette. That is as far as they can attain to in 'the contemplation of the spectacle of life with appropriate emotions.' They are close to his very secret and know nothing of it. Nor would there be any use in telling them. They are the little cups that can hold so much and no more.

When one watches some tired hack on the platform mechanically repeating the familiar phrases -- bestial atrocities, iron heel, bloodstained tyranny, free peoples of the world, stand shoulder to shoulder -- one often has a curious feeling that one is not watching a live human being but some kind of dummy: a feeling which suddenly becomes stronger at moments when the light catches the speaker's spectacles and turns them into blank discs which seem to have no eyes behind them. And this is not altogether fanciful. A speaker who uses that kind of phraseology has gone some distance toward turning himself into a machine. The appropriate noises are coming out of his larynx, but his brain is not involved as it would be if he were choosing his words for himself. If the speech he is making is one that he is accustomed to make over and over again, he may be almost unconscious of what he is saying, as one is when one utters the responses in church. And this reduced state of consciousness, if not indispensable, is at any rate favorable to political conformity.

If the situation or problem is such that it can be remedied, then there is no need to worry about it. In other words, if there is a solution or a way out of the difficulty, then one needn’t be overwhelmed by it. The appropriate action is to seek its solution. It is more sensible to spend the energy focusing on the solution rather than worrying about the problem. Alternatively, if there is no way out, no solution, no Possibility of resolution, then there is also no point in being worried about it, because you can’t do anything about it anyway. In that case, the sooner you accept this fact, the easier it will be on you. This formula, of course, implies directly confronting the problem. Otherwise you won’t be able to find out whether or not there is a resolution to the problem.

Common wisdom provides us with the maxims: Beware the calm before the storm. Hope for the best, prepare for the worst. The worst is yet to come. It gets worse before it gets better. The world might call you a pessimist. Who cares? It’s far better to seem like a downer than to be blindsided or caught off guard. It’s better to meditate on what could happen, to probe for weaknesses in our plans, so those inevitable failures can be correctly perceived, appropriately addressed, or simply endured.

Worship,” Tozer explained, “is to feel in your heart and express in some appropriate manner a humbling but delightful sense of admiring awe and astonished wonder and overpowering love in the presence of that most ancient Mystery, that majesty which philosophers call the First Cause but which we call Our Father Which Art in Heaven.

MOCKINGBIRDS ARE THE TRUE ARTISTS of the bird kingdom. Which is to say, although they’re born with a song of their own, an innate riff that happens to be one of the most versatile of all ornithological expressions, mockingbirds aren’t content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world. For example, a mockingbird in South Carolina was heard to blend the songs of thirty-two different kinds of birds into a ten-minute performance, a virtuoso display that served no practical purpose, falling, therefore, into the realm of pure art.

Imagine what it would be like if we went through life never encountering an enemy, or any other obstacles for that matter, if from the cradle to the grave everyone we met pampered us, held us, hand fed us (soft bland food, easy to digest), amused us with funny faces and the occasional ‘goo-goo’ noise. If from infancy we were carried around in a basket (later on, perhaps on a litter), never encountering any challenge, never tested – in short, if everyone continued to treat us like a baby. That might sound good at first. For the first few months of life it might be appropriate. But if it persisted it could only result in one becoming a sort of gelatinous mass, a monstrosity really – with the mental and emotional development of veal. It’s the very struggle of life that makes us who we are. And it is our enemies that test us, provide us with the resistance necessary for growth.

Princes always are always happy to see developing among their subjects the taste for agreeable arts and for superfluities which do not result in the export of money. For quite apart from the fact that with these they nourish that spiritual pettiness so appropriate for servitude, they know very well that all the needs which people give themselves are so many chains binding them. When Alexander wished to keep the Ichthyophagi dependent on him, he forced them to abandon fishing and to nourish themselves on foods common to other people. And no one has been able to subjugate the savages in America, who go around quite naked and live only from what their hunting provides. In fact, what yoke could be imposed on men who have no need of anything?

The great are deceived if they imagine they have appropriated ambition and vanity to themselves. These notable qualities flourish as notably in a country church and churchyard as in the drawing room or in the closet. Schemes have indeed been laid in the vestry, which would hardly disgrace the conclave. Here is a ministry, and here is an opposition. Here are plots and circumventions, parties and factions equal to those which are to be found in courts. Nor are the women here less practiced in the highest feminine arts than their fair superiors in quality and fortune. Here are prudes and coquettes; here are dressing and ogling, falsehood, envy, malice, scandal -- in short everything which is common to the most splendid assembly or politest circle.

You can be dressed to the nines and have it all going on, but if you don’t have shoes to support your look, they can be your undoing. Your shoes should be appropriate, clean, polished, and maintained if you want to make a great impression and fortify your credibility. If your shoes are scuffed, dirty, or worn, clients may wonder what other details you’ve neglected to attend to.

Radionics was conceived as a diagnostic and treatment technology at a time when modern electronic theory and biomedicine had not become the dominant sciences they are today. Early radionic devices incorporated the new discoveries of radio and electronics into their design. During that period, the functional assumptions of radionic technology did not seem as implausible as it does today. However, it wasn't long before radionics became outmoded and completely non-scientific. As Mizrach has noted, radionics continued to appropriate the methods of orthodox science into its design and terminology, making the probability of understanding what it could accomplish even more difficult to assess. I will examine this appropriation in a spirit of tolerance, given the state of electronics and medicine circa 1910, when radionics was first discovered. I will do so in order to shift the focus of this interesting technology from the scientific to the metaphysical, where the reader not limited by a need for scientific approval can evaluate it. My aim is to provide a reasonable means of evaluating radionic technology as an artistic methodology.

Hitler is all the war-lords and witch-doctors in history rolled into one. Therefore, argues Wells, he is an absurdity, a ghost from the past, a creature doomed to disappear almost immediately. But unfortunately the equation of science with common sense does not really hold good. The aeroplane, which was looked forward to as a civilising influence but in practice has hardly been used except for dropping bombs, is the symbol of that fact. Modern Germany is far more scientific than England, and far more barbarous. Much of what Wells has imagined and worked for is physically there in Nazi Germany. The order, the planning, the State encouragement of science, the steel, the concrete, the aeroplanes, are all there, but all in the service of ideas appropriate to the Stone Age.

Producing works of art doesn't often count as appropriate intellectual work in an arts department: yet the equivalent in a science department, doing physics or chemistry, does. So why is it that in universities writing about novels is thought to be a higher intellectual calling than writing novels; or rather, if writing novels is not thought to be intellectually valid, why is writing about them?

Therefore, in the mature account of love, we should never fall at first glance. We should reserve our leap until we have completed a clear-eyed investigation of the depths and nature of the waters. Only after we have undertaken a thorough exchange of opinions on parenting, politics, art, science, and appropriate snacks for the kitchen should two people ever decide they are ready to love each other.

Most broadly understood, lectio divina involves receiving God's revelation wherever it occurs. This means that there are other media beyond Scriptures that can also be engaged with in this same prayerful way. We can, for example, apply it to the reading of a book or article. In fact, it is very appropriately used when reading something devotional-say, for example, the book you now hold in your hands. But we can also open our senses and attend to God's revelation while listening to music, viewing a work of art, contemplating an icon, talking to a friend, listening to a sermon or watching a sunset.

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

The phenomenon of relative deprivation applied to education is called—appropriately enough—the “Big Fish–Little Pond Effect.” The more elite an educational institution is, the worse students feel about their own academic abilities. Students who would be at the top of their class at a good school can easily fall to the bottom of a really good school. Students who would feel that they have mastered a subject at a good school can have the feeling that they are falling farther and farther behind in a really good school. And that feeling—as subjective and ridiculous and irrational as it may be—matters. How you feel about your abilities—your academic “self-concept”—in the context of your classroom shapes your willingness to tackle challenges and finish difficult tasks. It’s a crucial element in your motivation and confidence.

To my surprise, I found that geology demanded a type of whole-brain thinking I hadn't encountered before. It creatively appropriated ideas from physics and chemistry for the investigation of unruly volcanoes and oceans and ice sheets, It applied scholarly habits one associates with the study of literature and the arts - the practice of close reading, sensitivity to allusion and analogy, capacity for spatial visualization - to the examination of rocks. Its particular form of inferential logic demanded mental versatility and a vigorous but disciplined imagination. And its explanatory power was vast; it was nothing less than the etymology of the world.

A discreet person . . . • is strong, yet humble; • expresses genuine concern and interest; • exercises caution to avoid unnecessary risks; • knows intuitively when a situation or conversation is heading in the wrong direction; • does not need to tear others down to build himself up; • refrains from using foul language or speaking brashly; • regulates her reactions and responds appropriately; • takes the higher road rather than wrestling in the mud; • remains gracious and poised in the heat of the moment; • refrains from unnecessary confrontations; • does not break confidence or share other people’s secrets with which they have been entrusted; • communicates with deliberation and confidence.

With the best of intentions, the generation before mine worked diligently to prepare their children to make an intelligent case for Christianity. We were constantly reminded of the superiority of our own worldview and the shortcomings of all others. We learned that as Christians, we alone had access to absolute truth and could win any argument. The appropriate Bible verses were picked out for us, the opposing positions summarized for us, and the best responses articulated for us, so that we wouldn’t have to struggle through two thousand years of theological deliberations and debates but could get right to the bottom line on the important stuff: the deity of Christ, the nature of the Trinity, the role and interpretation of Scripture, and the fundamentals of Christianity. As a result, many of us entered the world with both an unparalleled level of conviction and a crippling lack of curiosity. So ready with the answers, we didn’t know what the questions were anymore. So prepared to defend the faith, we missed the thrill of discovering it for ourselves. So convinced we had God right, it never occurred to us that we might be wrong. In short, we never learned to doubt. Doubt is a difficult animal to master because it requires that we learn the difference between doubting God and doubting what we believe about God. The former has the potential to destroy faith; the latter has the power to enrich and refine it. The former is a vice; the latter a virtue. Where would we be if the apostle Peter had not doubted the necessity of food laws, or if Martin Luther had not doubted the notion that salvation can be purchased? What if Galileo had simply accepted church-instituted cosmology paradigms, or William Wilberforce the condition of slavery? We do an injustice to the intricacies and shadings of Christian history when we gloss over the struggles, when we read Paul’s epistles or Saint Augustine’s Confessions without acknowledging the difficult questions that these believers asked and the agony with which they often asked them. If I’ve learned anything over the past five years, it’s that doubt is the mechanism by which faith evolves. It helps us cast off false fundamentals so that we can recover what has been lost or embrace what is new. It is a refining fire, a hot flame that keeps our faith alive and moving and bubbling about, where certainty would only freeze it on the spot. I would argue that healthy doubt (questioning one’s beliefs) is perhaps the best defense against unhealthy doubt (questioning God). When we know how to make a distinction between our ideas about God and God himself, our faith remains safe when one of those ideas is seriously challenged. When we recognize that our theology is not the moon but rather a finger pointing at the moon, we enjoy the freedom of questioning it from time to time. We can say, as Tennyson said, Our little systems have their day; They have their day and cease to be; They are but broken lights of thee, And thou, O Lord, art more than they.15 I sometimes wonder if I might have spent fewer nights in angry, resentful prayer if only I’d known that my little systems — my theology, my presuppositions, my beliefs, even my fundamentals — were but broken lights of a holy, transcendent God. I wish I had known to question them, not him. What my generation is learning the hard way is that faith is not about defending conquered ground but about discovering new territory. Faith isn’t about being right, or settling down, or refusing to change. Faith is a journey, and every generation contributes its own sketches to the map. I’ve got miles and miles to go on this journey, but I think I can see Jesus up ahead.

here are the main lessons to make each challenge into a source of growth. 1. Don’t avoid conflict, which is your family’s opportunity to learn and grow if you understand where it originates and manage it appropriately. 2. You naturally think compatibility is key to relationship success, and difference brings conflict. In truth, you need enough compatibility to function, but not all that much. What you really need is complementarity to complete you as a person. 3. The culture of a family can get sick from the virus of negativity. This is a basic emotional-management issue, but applied to a group instead of to you as an individual. 4. The secret weapon in all families is forgiveness. Almost all unresolved conflict comes down to unresolved resentment, so a practice of forgiving each other explicitly and implicitly is extremely important. 5. Explicit forgiveness and almost all difficult communication require a policy of honesty. When families withhold the truth, they cannot be close.

Approachable people . . . 1. Use body language to their advantage. 2. Are open-minded to new people and new experiences. 3. Encourage others to feel better about themselves. 4. Are willing to be told not what they want to hear, but what they need to hear. 5. Provide an inviting aura that is warm and comforting. 6. Realize that authenticity and transparency earn trust. 7. Intuitively tune into the feelings and needs of others. 8. Are emotionally steady and respond appropriately when they sense awkwardness or discomfort in others. 9. Radiate happiness and curbs cynicism. 10. Provide a safe environment for others to express themselves. 11. Make others feel valued and appreciated. 12. Listen and consider other people’s viewpoints and opinions.

The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Koreatown, Los Angeles. And as any mixed-race person will tell you—to be half of two things is to be whole of nothing. And, by the way, I don’t own or have a particularly rich understanding of the references of Jewishness or Koreanness because I happen to be those things. But if Ichigo had been fucking Korean, it wouldn’t be a problem for you, I guess? — Sam and his mother, Anna Lee, arrived in Los Angeles in July of 1984.

The news filled me with such euphoria that for an instant I was numb. My ingrained self-censorship immediately started working: I registered the fact that there was an orgy of weeping going on around me, and that I had to come up with some suitable performance. There seemed nowhere to hide my lack of correct emotion except the shoulder of the woman in front of me, one of the student officials, who was apparently heartbroken. I swiftly buried my head in her shoulder and heaved appropriately. As so often in China, a bit of ritual did the trick. Sniveling heartily she made a movement as though she was going to turn around and embrace me I pressed my whole weight on her from behind to keep her in her place, hoping to give the impression that I was in a state of abandoned grief. In the days after Mao's death, I did a lot of thinking. I knew he was considered a philosopher, and I tried to think what his 'philosophy' really was. It seemed to me that its central principle was the need or the desire? for perpetual conflict. The core of his thinking seemed to be that human struggles were the motivating force of history and that in order to make history 'class enemies' had to be continuously created en masse. I wondered whether there were any other philosophers whose theories had led to the suffering and death of so many. I thought of the terror and misery to which the Chinese population had been subjected. For what? But Mao's theory might just be the extension of his personality. He was, it seemed to me, really a restless fight promoter by nature, and good at it. He understood ugly human instincts such as envy and resentment, and knew how to mobilize them for his ends. He ruled by getting people to hate each other. In doing so, he got ordinary Chinese to carry out many of the tasks undertaken in other dictatorships by professional elites. Mao had managed to turn the people into the ultimate weapon of dictatorship. That was why under him there was no real equivalent of the KGB in China. There was no need. In bringing out and nourishing the worst in people, Mao had created a moral wasteland and a land of hatred. But how much individual responsibility ordinary people should share, I could not decide. The other hallmark of Maoism, it seemed to me, was the reign of ignorance. Because of his calculation that the cultured class were an easy target for a population that was largely illiterate, because of his own deep resentment of formal education and the educated, because of his megalomania, which led to his scorn for the great figures of Chinese culture, and because of his contempt for the areas of Chinese civilization that he did not understand, such as architecture, art, and music, Mao destroyed much of the country's cultural heritage. He left behind not only a brutalized nation, but also an ugly land with little of its past glory remaining or appreciated. The Chinese seemed to be mourning Mao in a heartfelt fashion. But I wondered how many of their tears were genuine. People had practiced acting to such a degree that they confused it with their true feelings. Weeping for Mao was perhaps just another programmed act in their programmed lives. Yet the mood of the nation was unmistakably against continuing Mao's policies. Less than a month after his death, on 6 October, Mme Mao was arrested, along with the other members of the Gang of Four. They had no support from anyone not the army, not the police, not even their own guards. They had had only Mao. The Gang of Four had held power only because it was really a Gang of Five. When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone.

President Trump displays less finesse than a bull in a china shop. Just as Prime Minister May managed - after many months of bitter wrangling - to reach a degree of consensus on what Britain's future relationship with the EU should look like, in comes the marauding beast upending all the finely balanced Wedgwood. Britain may well need some form of future trade deal with the US but it certainly isn't one that should be struck with the co-author of a lame business book more appropriately named 'Art of the Steal'.

You think that I am naive, but it is you who are naive. You have no idea what is happening inside of you when you look at a painting. You think that you are getting close to art voluntarily, enticed by its beauty, that this intimacy is taking place in an atmosphere of freedom and that delight is being born in you spontaneously, lured by the divine rod of Beauty. In truth, a hand has grabbed you by the scruff of the neck, led you to this painting and has thrown you to your knees. A will mightier than your own told you to attempt to experience the appropriate emotions. Whose hand and whose will? That hand is not the hand of a single man, the will is collective, born in an interhuman dimension, quite alien to you. So you do not admire at all, you merely try to admire.

Our conceptual maps tend to lack a way to conceive the immanence of violence and power in the ideals and practices that have become dominant in the Western tradition. Mass death has tended to be conceived as something accidental, something outside the ordinary run of events. I think the difficulty in coming to terms with the peculiarities of the Western will to power has to do with the absence of a central metaphor capable of describing the link between consumption and death. The consumptive mentality has in many respects been normalized, as has the violence that underpins and is the effect of systems of universal judgment. Certainly the aestheticization of difference is coextensive with the romance with violence that has become so characteristic of contemporary Western society.

She thinks, ‘I’m telling him who I am. He’s interested in who I am.’ That is true, but I am curious about who she is because I want to fuck her. I don’t need all of this great interest in Kafka and Velazquez. Having this conversation with her, I am thinking, how much more am I going to have to go through? Three hours? Four? Will I go as far as eight hours? Twenty minutes into the veiling and already I’m wondering, what does any of this have to do with her skin and how she carries herself? The French art of being flirtatious is of no interest to me. The savage urge is. No, this is not seduction. This is comedy. It is the comedy of creating a connection that is not the connection – created unartificially by lust. This is the instant conventionalizing, the giving us something in common on the spot, the trying to transform lust into something socially appropriate.

We have also always maintained an open, age-appropriate dialogue with our children, reinforcing to them that we know more than they do, that we know more than their friends, that we’re their biggest advocate and supporter, and that we’ll tell them the truth when others won’t. They know because we’ve proven that we love them without condition, we believe in and applaud their strengths, we don’t think they’re defined by their weaknesses, and they have the potential to change the world. And we’ve remained influential because they find us to be credible, reasonable, non-overreacting parents.

like what Martin Amis said: deploring egotism in novelists is like deploring violence in boxers. There was a time when everyone understood this. And there was a time when young writers believed that writing was a vocation—like being a nun or a priest, as Edna O’Brien said. Remember?” “Yes, as I also remember Elizabeth Bishop saying there’s nothing more embarrassing than being a poet. The problem of self-loathing isn’t new. What’s new is the idea that it’s the people with the history of greatest injustice who have the greatest right to be heard, and that the time has come for the arts not just to make room for them but to be dominated by them.” “It’s kind of a double bind, though, isn’t it. The privileged shouldn’t write about themselves, because that furthers the agenda of the imperialist white patriarchy. But they also shouldn’t write about other groups, because that would be cultural appropriation.

Some writers, even some poets, become famous public figures, but writers as such have no social status, in the way that doctors and lawyers, whether famous or obscure, have. There are two reasons for this. Firstly, the so-called fine arts have lost the social utility they once had. Since the invention of printing and the spread of literacy, verse no longer has a utility value as a mnemonic, a devise by which knowledge and culture were handed on from one generation to the next, and, since the invention of the camera, the draughtsman and painter are no longer needed to provide visual documentation; they have, consequently, become “pure” arts, that is to say, gratuitous activities. Secondly, in a society governed by the values appropriate to Labor (capitalist America may well be more completely governed by these than communist Russia) the gratuitous is no longer regarded – most earlier cultures thought differently – as sacred, because, to Man the Laborer, leisure is not sacred but a respite from laboring, a time for relaxation and the pleasures of consumption. In so far such a society thinks about the gratuitous at all, it is suspicious of it – artists do not labor, therefore, they are probably parasitic idlers – or, at best, regards it as trivial – to write poetry or paint pictures is a harmless private hobby.

London, December 1915. In the master bedroom (never was the estate agent's epithet more appropriate) of Flat 21, Carlyle Mansions, Cheyne Walk, Chelsea, the distinguished author is dying - slowly, but surely. In Flanders, less than two hundred miles away, other men are dying more quickly, more painfully, more pitifully - young men, mostly, with their lives still before them, blank pages that will never be filled. The author is seventy-two. He has had an interesting and varied life, written many books, travelled widely, enjoyed the arts, moved in society (one winter he dined out 107 times), and owns a charming old house in Rye as well as the lease of this spacious London flat with its fine view of the Thames. He has had deeply rewarding friendships with both men and women. If he has never experienced sexual intercourse, that was by his own choice, unlike the many young men in Flanders who died virgins either for lack of opportunity or because they hoped to marry and were keeping themselves chaste on principle.

It is essential to seek out enemy agents who have come to conduct espionage against you and to bribe them to serve you. Give them instructions and care for them. Thus doubled agents are recruited and used. It is by means of the doubled agent that native and inside agents can be recruited and employed. This is because the doubled agent knows those of his own countrymen who are covetous as well as those officials who have been remiss in office. These we can tempt into our service. And it is by this means that the expendable agent, armed with false information, can be sent to convey it to the enemy. It is because doubled agents know in what respects the enemy can be deceived that expendable agents may be sent to convey false information. It is by this means also that living agents can be used at appropriate times. The sovereign must have full knowledge of the activities of the five sorts of agents. This knowledge must come from the doubled agents, and therefore it is mandatory that they be treated with the utmost liberality. And therefore only the enlightened sovereign and the worthy general who are able to use the most intelligent people as agents are certain to achieve great things.

So let’s consider an alternative diet, say 1200 kcal consisting of 30% protein, 15% carbs (i.e., 180 kcal or 45 grams), and 55% fat. After a week or two of getting adapted (during which you may experience some of the fuel limitation symptoms discussed above), your serum ketones rise up in the range (1-2 millimolar) where they meet at least half of the brain’s fuel supply. Now if you go for that 5 mile run, almost all of your body’s muscle fuel comes from fat, leaving your dietary carb intake plus gluconeogenesis from protein to meet the minor fraction of your brain’s energy need not provided from ketones. And, oh yes, after your run while on the low carb diet, your ketone levels actually go up a bit (not dangerously so), further improving fuel flow to your brain. So what does this mean for the rest of us who are not compulsive runners? Well, this illustrates that the keto-adapted state allows your body more flexibility in meeting its critical organ energy needs than a ‘balanced’ but energy-restricted diet. And in particular, this also means that your brain is a “carbohydrate dependent organ” (as claimed by the USDA Dietary Guidelines Advisory Committee as noted in Chapter 3) ONLY when you are eating a high carbohydrate diet. When carbohydrate is restricted as in the example above, your body’s appropriate production of ketones frees the brain from this supposed state of ‘carbohydrate dependency’. And because exercise stimulates ketone production, your brain’s fuel supply is better supported during and after intense exercise when on a low carbohydrate diet than when your carbohydrate intake is high (see below).

The good painter has to paint two principal things, man and the intention of his mind,” he wrote. “The first is easy and the second is difficult, because the latter has to be represented through gestures and movements of the limbs.”44 He expanded on this concept in a long passage in his notes for his planned treatise on painting: “The movement which is depicted must be appropriate to the mental state of the figure. The motions and postures of figures should display the true mental state of the originator of these motions, in such a way they can mean nothing else. Movements should announce the motions of the mind.”45 Leonardo’s dedication to portraying the outward manifestations of inner emotions would end up driving not only his art but some of his anatomical studies. He needed to know which nerves emanated from the brain and which from the spinal cord, which muscles they activated, and which facial movements were connected to others. He would even try, when dissecting the brain, to figure out the precise location where the connections were made between sensory perceptions, emotions, and motions. By the end of his career, his pursuit of how the brain and nerves turned emotions into motions became almost obsessive. It was enough to make the Mona Lisa smile.

When I work with Godfrey, I don’t spend a lot of time looking at the image. I look at it once. Maybe twice, but not more than twice. Then I depend on the inaccuracy of my memory to create the appropriate distance between the music and the image. I knew right away that the image and the music could not be on top of each other, because then there would be no room for the spectators to invent a place for themselves. Of course, in commercials and propaganda films, the producers don’t want to leave a space: the strategy of propaganda is not to leave a space, not to leave any question. Commercials are propaganda tools in which image and music are locked together in order to make an explicit point, like “Buy these shoes” or “Go to this casino.” The strategy of art is precisely the opposite. I would describe it this way: When you listen to a piece of music and you look at an image at the same time, you are metaphorically making a journey to that image. It’s a metaphorical distance, but it’s a real one all the same, and it’s in that journey that the spectator forms a relationship to the music and the image. Without that, it’s all made for us and we don’t have to invent anything. In works like Godfrey’s, and in works, for that matter, like Bob Wilson’s, the spectators are supposed to invent something. They are supposed to tell the story of Einstein. In Godfrey’s movies Koyaanisqatsi and Powaqqatsi, the words in the title are the only words there are. The journey that we make from the armchair to the image is the process by which we make the image and the music our own. Without that, we have no personal connection. The idea of a personal interpretation comes about through traversing that distance.

Much of the colony’s musical experimenting was, quite consciously, concerned with what might be called “time span.” What was the briefest note that the mind could grasp—or the longest that it could tolerate without boredom? Could the result be varied by conditioning or by the use of appropriate orchestration? Such problems were discussed endlessly, and the arguments were not purely academic. They had resulted in some extremely interesting compositions. But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

In other words, for your personal reality to be created purposefully, rather than haphazardly, you must understand your mind. But the kind of understanding required isn’t just intellectual, which is ineffective by itself. Like a naturalist studying an organism in its habitat, we need to develop an intuitive understanding of our mind. This only comes from direct observation and experience. For life to become a consciously created work of art and beauty, we must first realize our innate capacity to become a more fully conscious being. Then, through appropriately directed conscious activity, we can develop an intuitive understanding of the true nature of reality. It’s only through this kind of Insight that you can accomplish the highest purpose of meditative practice: Awakening. This should be the goal of your practice. When life is lived in a fully conscious way, with wisdom, we can eventually overcome all harmful emotions and behavior. We won’t experience greed, even in the face of lack. Nor will we have ill will, even when confronted by aggression and hostility. When our speech and action comes from a place of wisdom and compassion, they will always produce better results than when driven by greed and anger. All this is possible because true happiness comes from within, which means we can always find joy, in both good times and bad. Although pain and pleasure are an inevitable part of human life, suffering and happiness are entirely optional. The choice is ours. A fully Awake, fully conscious human being has the love, compassion, and energy to make change for the better whenever it’s possible, the equanimity to accept what can’t be changed, and the wisdom to know the difference. Therefore, make the aim of your meditation the cultivation of a mind capable of this type of Awakening.

If we analyse the classes of life, we readily find that there are three cardinal classes which are radically distinct in function. A short analysis will disclose to us that, though minerals have various activities, they are not "living." The plants have a very definite and well known function-the transformation of solar energy into organic chemical energy. They are a class of life which appropriates one kind of energy, converts it into another kind and stores it up; in that sense they are a kind of storage battery for the solar energy; and so I define THE PLANTS AS THE CHEMISTRY-BINDING class of life. The animals use the highly dynamic products of the chemistry-binding class-the plants-as food, and those products-the results of plant-transformation-undergo in animals a further transformation into yet higher forms; and the animals are correspondingly a more dynamic class of life; their energy is kinetic; they have a remarkable freedom and power which the plants do not possess-I mean the freedom and faculty to move about in space; and so I define ANIMALS AS THE SPACE-BINDING CLASS OF LIFE. And now what shall we say of human beings? What is to be our definition of Man? Like the animals, human beings do indeed possess the space-binding capacity but, over and above that, human beings possess a most remarkable capacity which is entirely peculiar to them-I mean the capacity to summarise, digest and appropriate the labors and experiences of the past; I mean the capacity to use the fruits of past labors and experiences as intellectual or spiritual capital for developments in the present; I mean the capacity to employ as instruments of increasing power the accumulated achievements of the all-precious lives of the past generations spent in trial and error, trial and success; I mean the capacity of human beings to conduct their lives in the ever increasing light of inherited wisdom; I mean the capacity in virtue of which man is at once the heritor of the by-gone ages and the trustee of posterity. And because humanity is just this magnificent natural agency by which the past lives in the present and the present for the future, I define HUMANITY, in the universal tongue of mathematics and mechanics, to be the TIME-BINDING CLASS OF LIFE.

Thus political economy — despite its worldly and voluptuous appearance — is a true moral science, the most moral of all the sciences. Self-renunciation, the renunciation of life and of all human needs, is its principal thesis. The less you eat, drink and buy books; the less you go to the theater, the dance hall, the public house, the less you think, love, theorize, sing, paint, fence, etc., the more you save — the greater becomes your treasure which neither moths nor rust will devour — your capital. The less you are, the less you express your own life, the more you have, i.e., the greater is your alienated life, the greater is the store of your estranged being. Everything which the political economist takes from you in life and in humanity, he replaces for you in money and in wealth; and all the things which you cannot do, your money can do. It can eat and drink, go to the dance hall and the theater; it can travel, it can appropriate art, learning, the treasures of the past, political power — all this it can appropriate for you — it can buy all this: it is true endowment. Yet being all this, it wants to do nothing but create itself, buy itself; for everything else is after all its servant, and when I have the master I have the servant and do not need his servant. All passions and all activity must therefore be submerged in avarice. The worker may only have enough for him to want to live, and may only want to live in order to have that.

Science can now help us to understand ourselves in this way by giving factual information about brain structure and function, and how the mind works. Then there is an art of self knowledge, which each person has to develop for himself. This art must lead one to be sensitive to how his basically false approach to life is always tending to generate conflict and confusion. The role of art here is therefore not to provide a symbolism, but rather to teach the artistic spirit of sensitive perception of the individual and particular phenomena of one's own psyche. This spirit is needed if one is to understand the relevance of general scientific knowledge to his own special problems, as well as to give effect to the scientific spirit of seeing the fact about one's self as it is, whether on elikes it or not, and thus helping to end conflict. Such an approach is not possible, however, unless one has the spirit that meets life wholly and totally. We still need the religious spirit, but today we no longer need the religious mythology, which is now introducing an irrelevant and confusing element into the whole question. Itwould seem, then, that in some ways the modern person must manage to create a total approach to life which accomplishes what was done in earlier days by science, art and religion, but in a new way that is appropriate to the modern conditions of life. An important part of such an action is to see what the relationshipbetween science and art now actually is, and to understand the direction in which this relationship might develop.

passions without truth, truths without passion; heroes without heroic deeds, history without events; development, whose sole driving force seems to be the calendar, wearying with constant repetition of the same tensions and relaxations; antagonisms that periodically seem to work themselves up to a climax only to lose their sharpness and fall away without being able to resolve themselves; pretentiously paraded exertions and philistine terror at the danger of the world’s coming to an end, and at the same time the pettiest intrigues and court comedies played by the world redeemers, who in their laisser aller remind us less of the Day of Judgment than of the times of the Fronde – the official collective genius of France brought to naught by the artful stupidity of a single individual; the collective will of the nation, as often as it speaks through universal suffrage, seeking its appropriate expression through the inveterate enemies of the interests of the masses, until at length it finds it in the self-will of a filibuster. If any section of history has been painted gray on gray, it is this.

Five years from today. Where, exactly, do you want to be?" Her eyes lit up. Sadie loves that kind of question. "Ooh. Wow. Let me think. December, getting close to Christmas. I'll be twenty-one..." "Passed out under the tree with a fifth of Jack, half a 7-Eleven rotisserie chicken, and a cat who poops in your shoes." Frankie returned our startled glances with his lizard look. "Oh, wait. That's me. Sorry." I opted to ignore him. "Five years to the day,Sadie." She glanced quickly between Frankie and me. "Do we need a time-out here?" "Nope," I said. "Carry on." "Okay. Five years. I will be in New York visiting the pair of you because, while NYU is fab, I will be halfwau through my final year of classics at Cambridge, trying to decide whether I want to be a psychologist or a pastry chef. You," she said sternly to Frankie, "will be drinking appropriate amounds of champagne with your boyfriend, a six-three blond from Helsinki who happens to design for Tory Burch. Ah! Don't say anything. It's my future. You can choose a different designer when it's you go. I want the Tory freebies." She turned to me. "We will be sipping said champagne in the middle of the Gagosian Galley, because it is the opening night of your first solo exhibit. At which everything will sell." She punctuated the sentence by poking the air with a speared black olive. "I love you," I told her. Then, "But that wasn't really about you." "Oh,but it was," she disagreed, going back to her salad. "It's exactly where I want to be. Although" -she grinned over a tomato wedge- "I might have the next David Beckham in tow." "The next David Beckham is a five-foot-tall Welshman named Madog Cadwalader. He has extra teeth and bow legs." "Really?" Sadie asked. Frankie snorted. "No.Not really.

8 Ways to Shine a Positive Light on Others 1. Let the other person appear smart. The person who desperately tries to be the smartest person in the room inevitably comes off as the least. 2. Don’t bring attention to anything which may embarrass another person. Whether your conversation partner has poor grammar, a pimple on his chin, or lacks social grace, a discreet person does not say or do anything which would make another feel ashamed, embarrassed, or humiliated. Allow the other person to maintain his own grace and dignity. 3. Ask their opinions, seek their advice, ask them inquiring questions. By allowing them to reveal their opinions and knowledge, you will demonstrate respect and make them feel important. 4. Practice patience. Sometimes it takes a person a moment to gather her thoughts, process information, or respond appropriately. Your patience is respectful and appreciated. 5. Maintain your calm. Rather than react with anger or defensiveness, regulate your response and shift the energy into a more positive direction. 6. Put your ego aside. Allow another to triumph and enjoy the spotlight. 7. Be aware and concerned for the feelings of others. 8. Purposely seek ways to put others at ease and make them feel comfortable.

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

All of the stimuli of awe and wonder, whose capacity is invested in the human mind, have been appropriated by religious faiths across centuries, in masterpieces of literature, the visual arts, music, and architecture. Three thousand years of Yahweh have wrought an aesthetic power in these creative arts second to none. There is nothing in my own experience more moving than the Roman Catholic Lucernarium, when the lumen Christi (light of Christ) is spread by Paschal candlelight into a darkened cathedral; or the choral hymns to the standing faithful and approaching procession during an evangelical Protestant altar call. These benefits require submission to God, or his Son the Redeemer, or both, or to His final chosen spokesman Muhammad. This is too easy. It is necessary only to submit, to bow down, to repeat the sacred oaths. Yet let us ask frankly, to whom is such obeisance really directed? Is it to an entity that may have no meaning within reach of the human mind—or may not even exist? Yes, perhaps it really is to God. But perhaps it is to no more than a tribe united by a creation myth. If the latter, religious faith is better interpreted as an unseen trap unavoidable during the biological history of our species. And if this is correct, surely there exist ways to find spiritual fulfillment without surrender and enslavement. Humankind deserves better.

Remember, please remember, you do not (you must not!) fear, attack, or hate the False Self. That would only continue a negative and arrogant death energy, and it is delusional and counterproductive anyway. It would be trying to “drive out the devil by the prince of devils,” as Jesus puts it. In the great economy of grace, all is used and transformed, and nothing is wasted. God uses your various False Selves to lead you beyond them. Note that Jesus' clear message to his beloved, Mary Magdalene, is not that she squelch, deny, or destroy her human love for him. He is much more subtle than that. He just says to her, “Do not cling to me” (John 20:17). He is saying, “Don't hold on to your needy False Self. We are all heading for something much bigger and much better, Mary.” This is the spiritual art of detachment, which is not taught much in capitalistic worldview where clinging and possessing are not just the norm but even the goal. You see how trapped we are. Great love is both very attached (“passionate”) and yet very detached at the same time. It is love but not addiction. The soul, the True Self, has everything, and so it does not require any particular thing. When you have all things, you do not have to protect any one thing. True Self can love and let go. The False Self cannot do this. The “do not cling to me” encounter between Jesus and Mary Magdalene is the most painted Easter scene, I am told. The artistic imagination knew that a seeming contradiction was playing out here: intense love and yet appropriate distance. The soul and the spirit tend to love and revel in paradoxes; they operate by resonance and reflection. The ego (False Self) wants to resolve all paradoxes in a most glib way and thinks that it can. It operates in a way that is mechanical and instrumental. This is not always bad, but it is surely limited. The ego would like Mary Magdalene and Jesus to be caught up in a passionate love affair. Of course they are, in the deepest sense of the term, but only the True Self knows how to enjoy and picture “a love of already satisfied desire.” The True Self and False Self see differently; both are necessary, but one is better, bigger, and even eternal.

Conceive a world-society developed materially far beyond the wildest dreams of America. Unlimited power, derived partly from the artificial disintegration of atoms, partly from the actual annihilation of matter through the union of electrons and protons to form radiation, completely abolished the whole grotesque burden of drudgery which hitherto had seemed the inescapable price of civilization, nay of life itself. The vast economic routine of the world-community was carried on by the mere touching of appropriate buttons. Transport, mining, manufacture, and even agriculture were performed in this manner. And indeed in most cases the systematic co-ordination of these activities was itself the work of self-regulating machinery. Thus, not only was there no longer need for any human beings to spend their lives in unskilled monotonous labour, but further, much that earlier races would have regarded as highly skilled though stereotyped work, was now carried on by machinery. Only the pioneering of industry, the endless exhilarating research, invention, design and reorganization, which is incurred by an ever-changing society, still engaged the minds of men and women. And though this work was of course immense, it could not occupy the whole attention of a great world-community. Thus very much of the energy of the race was free to occupy itself with other no less difficult and exacting matters, or to seek recreation in its many admirable sports and arts. Materially every individual was a multi-millionaire, in that he had at his beck and call a great diversity of powerful mechanisms; but also he was a penniless friar, for he had no vestige of economic control over any other human being. He could fly through the upper air to the ends of the earth in an hour, or hang idle among the clouds all day long. His flying machine was no cumbersome aeroplane, but either a wingless aerial boat, or a mere suit of overalls in which he could disport himself with the freedom of a bird. Not only in the air, but in the sea also, he was free. He could stroll about the ocean bed, or gambol with the deep-sea fishes. And for habitation he could make his home, as he willed, either in a shack in the wilderness or in one of the great pylons which dwarfed the architecture even of the American age. He could possess this huge palace in loneliness and fill it with his possessions, to be automatically cared for without human service; or he could join with others and create a hive of social life. All these amenities he took for granted as the savage takes for granted the air which he breathes. And because they were as universally available as air, no one craved them in excess, and no one grudged another the use of them.

There’s a story that comes from the tradition of the Desert Fathers, an order of Christian monks who lived in the wastelands of Egypt about seventeen hundred years ago. In the tale, a couple of monks named Theodore and Lucius shared the acute desire to go out and see the world. Since they’d made vows of contemplation, however, this was not something they were allowed to do. So, to satiate their wanderlust, Theodore and Lucius learned to “mock their temptations” by relegating their travels to the future. When the summertime came, they said to each other, “We will leave in the winter.” When the winter came, they said, “We will leave in the summer.” They went on like this for over fifty years, never once leaving the monastery or breaking their vows. Most of us, of course, have never taken such vows—but we choose to live like monks anyway, rooting ourselves to a home or a career and using the future as a kind of phony ritual that justifies the present. In this way, we end up spending (as Thoreau put it) “the best part of one’s life earning money in order to enjoy a questionable liberty during the least valuable part of it.” We’d love to drop all and explore the world outside, we tell ourselves, but the time never seems right. Thus, given an unlimited amount of choices, we make none. Settling into our lives, we get so obsessed with holding on to our domestic certainties that we forget why we desired them in the first place. Vagabonding is about gaining the courage to loosen your grip on the so-called certainties of this world. Vagabonding is about refusing to exile travel to some other, seemingly more appropriate, time of your life. Vagabonding is about taking control of your circumstances instead of passively waiting for them to decide your fate. Thus, the question of how and when to start vagabonding is not really a question at all. Vagabonding starts now. Even if the practical reality of travel is still months or years away, vagabonding begins the moment you stop making excuses, start saving money, and begin to look at maps with the narcotic tingle of possibility. From here, the reality of vagabonding comes into sharper focus as you adjust your worldview and begin to embrace the exhilarating uncertainty that true travel promises. In this way, vagabonding is not a merely a ritual of getting immunizations and packing suitcases. Rather, it’s the ongoing practice of looking and learning, of facing fears and altering habits, of cultivating a new fascination with people and places. This attitude is not something you can pick up at the airport counter with your boarding pass; it’s a process that starts at home. It’s a process by which you first test the waters that will pull you to wonderful new places.

What is a novel, anyway? Only a very foolish person would attempt to give a definitive answer to that, beyond stating the more or less obvious facts that it is a literary narrative of some length which purports, on the reverse of the title page, not to be true, but seeks nevertheless to convince its readers that it is. It's typical of the cynicism of our age that, if you write a novel, everyone assumes it's about real people, thinly disguised; but if you write an autobiography everyone assumes you're lying your head off. Part of this is right, because every artist is, among other things, a con-artist. We con-artists do tell the truth, in a way; but, as Emily Dickenson said, we tell it slant. By indirection we find direction out -- so here, for easy reference, is an elimination-dance list of what novels are not. -- Novels are not sociological textbooks, although they may contain social comment and criticism. -- Novels are not political tracts, although "politics" -- in the sense of human power structures -- is inevitably one of their subjects. But if the author's main design on us is to convert us to something -- - whether that something be Christianity, capitalism, a belief in marriage as the only answer to a maiden's prayer, or feminism, we are likely to sniff it out, and to rebel. As Andre Gide once remarked, "It is with noble sentiments that bad literature gets written." -- Novels are not how-to books; they will not show you how to conduct a successful life, although some of them may be read this way. Is Pride and Prejudice about how a sensible middle-class nineteenth-century woman can snare an appropriate man with a good income, which is the best she can hope for out of life, given the limitations of her situation? Partly. But not completely. -- Novels are not, primarily, moral tracts. Their characters are not all models of good behaviour -- or, if they are, we probably won't read them. But they are linked with notions of morality, because they are about human beings and human beings divide behaviour into good and bad. The characters judge each other, and the reader judges the characters. However, the success of a novel does not depend on a Not Guilty verdict from the reader. As Keats said, Shakespeare took as much delight in creating Iago -- that arch-villain -- as he did in creating the virtuous Imogen. I would say probably more, and the proof of it is that I'd bet you're more likely to know which play Iago is in. -- But although a novel is not a political tract, a how-to-book, a sociology textbook or a pattern of correct morality, it is also not merely a piece of Art for Art's Sake, divorced from real life. It cannot do without a conception of form and a structure, true, but its roots are in the mud; its flowers, if any, come out of the rawness of its raw materials. -- In short, novels are ambiguous and multi-faceted, not because they're perverse, but because they attempt to grapple with what was once referred to as the human condition, and they do so using a medium which is notoriously slippery -- namely, language itself.

Gossip is perhaps the most familiar and elementary form of disguised popular aggression. Though its use is hardly confined to attacks by subordinates on their superiors, it represents a relatively safe social sanction. Gossip, almost by definition has no identifiable author, but scores of eager retailers who can claim they are just passing on the news. Should the gossip—and here I have in mind malicious gossip—be challenged, everyone can disavow responsibility for having originated it. The Malay term for gossip and rumor, khabar angin (news on the wind), captures the diffuse quality of responsibility that makes such aggression possible. The character of gossip that distinguishes it from rumor is that gossip consists typically of stories that are designated to ruin the reputation of some identifiable person or persons. If the perpetrators remain anonymous, the victim is clearly specified. There is, arguably, something of a disguised democratic voice about gossip in the sense that it is propagated only to the extent that others find it in their interest to retell the story.13 If they don’t, it disappears. Above all, most gossip is a discourse about social rules that have been violated. A person’s reputation can be damaged by stories about his tightfistedness, his insulting words, his cheating, or his clothing only if the public among whom such tales circulate have shared standards of generosity, polite speech, honesty, and appropriate dress. Without an accepted normative standard from which degrees of deviation may be estimated, the notion of gossip would make no sense whatever. Gossip, in turn, reinforces these normative standards by invoking them and by teaching anyone who gossips precisely what kinds of conduct are likely to be mocked or despised. 13. The power to gossip is more democratically distributed than power, property, and income, and, certainly, than the freedom to speak openly. I do not mean to imply that gossip cannot and is not used by superiors to control subordinates, only that resources on this particular field of struggle are relatively more favorable to subordinates. Some people’s gossip is weightier than that of others, and, providing we do not confuse status with mere public deference, one would expect that those with high personal status would be the most effective gossipers.

Knowing one’s emotions. Self-awareness—recognizing a feeling as it happens—is the keystone of emotional intelligence. As we will see in Chapter 4, the ability to monitor feelings from moment to moment is crucial to psychological insight and self-understanding. An inability to notice our true feelings leaves us at their mercy. People with greater certainty about their feelings are better pilots of their lives, having a surer sense of how they really feel about personal decisions from whom to marry to what job to take. 2. Managing emotions. Handling feelings so they are appropriate is an ability that builds on self-awareness. Chapter 5 will examine the capacity to soothe oneself, to shake off rampant anxiety, gloom, or irritability—and the consequences of failure at this basic emotional skill. People who are poor in this ability are constantly battling feelings of distress, while those who excel in it can bounce back far more quickly from life’s setbacks and upsets. 3. Motivating oneself. As Chapter 6 will show, marshaling emotions in the service of a goal is essential for paying attention, for self-motivation and mastery, and for creativity. Emotional self-control—delaying gratification and stifling impulsiveness—underlies accomplishment of every sort. And being able to get into the “flow” state enables outstanding performance of all kinds. People who have this skill tend to be more highly productive and effective in whatever they undertake. 4. Recognizing emotions in others. Empathy, another ability that builds on emotional self-awareness, is the fundamental “people skill.” Chapter 7 will investigate the roots of empathy, the social cost of being emotionally tone-deaf, and the reason empathy kindles altruism. People who are empathic are more attuned to the subtle social signals that indicate what others need or want. This makes them better at callings such as the caring professions, teaching, sales, and management. 5. Handling relationships. The art of relationships is, in large part, skill in managing emotions in others. Chapter 8 looks at social competence and incompetence, and the specific skills involved. These are the abilities that undergird popularity, leadership, and interpersonal effectiveness. People who excel in these skills do well at anything that relies on interacting smoothly with others; they are social stars.