Caption For Life Quotes

When questioning ourselves, we must identify, where we are heading to. Do we prefer our life to remain untitled. Will we stand bare and naked without dressing any expectations or do we decide to interact with the world around. Will we play a part on the stage of life or do we choose to remain simply a chapter without heading, an episode without caption, an untitled interval. ("Life untitled" )

Barrons knows virtually everything about me. I wouldn’t be surprised if somewhere he has a little file that encompasses my entire life to date, with neatly mounted, acerbically captioned photos—see Mac sunbathe, see Mac paint her nails, see Mac almost die.

A drawing is always dragged down to the level of its caption. A word to the wise is not sufficient if it doesn't make sense.

Sight is seeing what's there, vision is seeing what's possible

My selfie my life!

You can’t believe every word you read while watching TV. (Even with closed captioning turned off).

The only difference between a fresh start and ‘oh my god, my life is a complete failure’ is a good attitude and the right Instagram caption.

On social media it's all or nothing: lavish praise or appalled outrage; sycophants or trolls. Caption-and-comment culture in all its brevity leaves out the middle ground, where most of life is found.

Life shouldn’t be reduced to filtered images and captions, should it? It’s about birth and death and that beautiful, brutal stretch of time between.

Stop writing caption. Go action!

She was staring at a picture of me and Sam when we were seven. No front teeth. We were standing in the front yard. It was summer and the leaves of her mulberry tree were behind us. The caption read: She was always my sister.

Just winging it. My motto for life and eyeliner.” I laughed to myself. She really did have the most corny captions.

My life my selfie!

Great stories are not the ones which have great people in them. Great stories are the ones which have ordinary people, willing to do great things.

Caption-and-comment culture in all its brevity leaves out the middle ground, where most of life is found.

Then I was amused: Something in this man’s thick head had sprung out and beaten him within an inch of his life. I began to laugh at this crazy discovery. Would he have awakened at the point of death? Would Death himself have freed him for wakeful living? But I didn’t linger. I ran away into the dark, laughing so hard I feared I might rupture myself. The next day I saw his picture in the Daily News, beneath a caption stating that he had been ‘mugged.’ Poor fool, poor blind fool, I thought with sincere compassion, mugged by an invisible man!

On social media it’s all or nothing: lavish praise or appalled outrage; sycophants or trolls. Caption-and-comment culture in all its brevity leaves out the middle ground, where most of life is found.

Beautiful,” she said. I turned the page, and she smiled. It was a picture of the day when we built the human pyramid in my backyard, and I was at the top. The caption read: One day, all these Mexicans built a pyramid to the Sun. “You were my pyramid,” she whispered. “All of you.

And if there is water there let it be from a river. And if there is peace let it be from silence and forgetting. From the slow settle of dust on a house worn down, on a history lost, on a woman buried quietly into geography. And if there is memory let it be disjointed and nonsensical, let it disturb understanding and logic, let it rise like birds or hands into the blood blue bone of the sky, whispering its nothing beyond telling. (…) Let someone lose the captions to all of the photographs; let them pile into new logics and forms that outlive us. - “Siberia: Still Life of a Moving Image” (6. Representation)

I saw a cartoon that describes this. A head of iceberg lettuce is sitting in a garden saying, “Oh, no, how did I get in this vegetable garden again? I wanted to be a wildflower!” The caption reads, “Oscar is born again as a head of iceberg lettuce in order to overcome his fear of being eaten.” One can think from a bigger perspective than this whole notion of reward and punishment. You could see your life as an adult education course. Some of the curriculum you like and some you don’t like; some of what comes up you find workable, some you don’t. That’s the curriculum for attaining enlightenment. The question is, how do you work with it?

But the conventions of social media had infiltrated my offline life to the degree that my internal monologue frequently devolved into hashtags and potential captions, each one quippier, more potentially likable, than the last. Who was I doing this for? I wondered. Whose validation did I crave? Was I that desperate to be liked?

We have now reached a level in which many people are not merely unacquainted with the fundamentals of punctuation, but don’t evidently realize that there are fundamentals. Many people—people who make posters for leading publishers, write captions for the BBC, compose letters and advertisements for important institutions—seem to think that capitalization and marks of punctuation are condiments that you sprinkle through any collection of words as if from a salt shaker. Here is a headline, exactly as presented, from a magazine ad for a private school in York: “Ranked by the daily Telegraph the top Northern Co-Educational day and Boarding School for Academic results.” All those capital letters are just random. Does anyone really think that the correct rendering of the newspaper is “the daily Telegraph”? Is it really possible to be that unobservant? Well, yes, as a matter of fact. Not long ago, I received an e-mail from someone at the Department for Children, Schools and Families asking me to take part in a campaign to help raise appreciation for the quality of teaching in Great Britain. Here is the opening line of the message exactly as it was sent to me: “Hi Bill. Hope alls well. Here at the Department of Children Schools and Families…” In the space of one line, fourteen words, the author has made three elemental punctuation errors (two missing commas, one missing apostrophe; I am not telling you more than that) and gotten the name of her own department wrong—this from a person whose job is to promote education. In a similar spirit, I received a letter not long ago from a pediatric surgeon inviting me to speak at a conference. The writer used the word “children’s” twice in her invitation, spelling it two different ways and getting it wrong both times. This was a children’s specialist working in a children’s hospital. How long do you have to be exposed to a word, how central must it be to your working life, to notice how it is spelled?

The theologian and storyteller John Shea once suggested that the kingdom of heaven is open to all who are willing to sit down with all. That’s a one-line caption for discipleship. In essence, the single condition for going to heaven is to have the kind of heart and the kind of openness that makes it possible for us to sit down with absolutely anyone and to share life and a table with him or her. If

In the forty minutes I watched the muskrat, he never saw me, smelled me, or heard me at all. When he was in full view of course I never moved except to breathe. My eyes would move, too, following his, but he never noticed. Only once, when he was feeding from the opposite bank about eight feet away did he suddenly rise upright, all alert- and then he immediately resumed foraging. But he never knew I was there. I never knew I was there, either. For that forty minutes last night I was as purely sensitive and mute as a photographic plate; I received impressions, but I did not print out captions. My own self-awareness had disappeared; it seems now almost as though, had I been wired to electrodes, my EEG would have been flat. I have done this sort of thing so often that I have lost self-consciousness about moving slowly and halting suddenly. And I have often noticed that even a few minutes of this self-forgetfulness is tremendously invigorating. I wonder if we do not waste most of our energy just by spending every waking minute saying hello to ourselves. Martin Buber quotes an old Hasid master who said, “When you walk across the field with your mind pure and holy, then from all the stones, and all growing things, and all animals, the sparks of their souls come out and cling to you, and then they are purified and become a holy fire in you.

At one point in 2015, a few Instagrammers in Barnieh's crowd in Hong Kong took the game to another level: they made a habit of hanging off the side of buildings and the tops of bridges. In one shot by Lucian Yock Lam, @yock7, a man is holding another man's arm while he dangles from the side of a skyscraper at night, hovering above a busy street. The caption is a simple hashtag: #followmebro. It got 2,550 likes, a fleeting reward for putting one's life at risk.

I shook my head and stood up from my seated position. I walked over to the desk and looked at the writing Caleb was talking about. Bronagh Murphy was written in capital letters while the rest was in lower case letters. I’d bet my life that Bronagh carved her name into the desk over the years in school, and Nico added the rest to it when he moved here. What a fucker. I snickered to myself as I took out my phone, took a picture of it, and sent it to Nico and Bronagh with the caption: Vandalising school property. I’m ashamed to know both of you.

Wholeness lies beyond perfection. Perfection is only an idea. For most experts and many of the rest of us it has become a life goal...A perfectionist sees life as if it were one of those little pictures that used to appear in the newspapers over the caption "What's wrong with this picture?" If you looked at the picture carefully you would see that the table only had three legs or the house had no door. I remember the "Aha!" that these pictures evoked in me as a child. I wonder now why anyone would want to take such satisfaction in seeing what is missing, what is wrong, what is "broken." The pursuit of perfection has become a major addiction of our time. Fortunately, perfectionism is learned...which is why it's possible to recover.

All of us, actors and spectators alike, live surrounded by mirrors. In them, we seek reassurance of our capacity to captivate or impress others, anxiously searching out blemishes that might detract from the appearance we intend to project. The advertising industry deliberately encourages this preoccupation with appearances. In the twenties, "the women in ads were constantly observing themselves, ever self-critical. ... A noticeable proportion of magazine ads directed at women depicted them looking into mirrors. . . . Ads of the 1920s were quite explicit about this narcissistic imperative. They unabashedly used pictures of veiled nudes, and women in auto-erotic stances to encourage self-comparison and to remind women of the primacy of their sexuality." A booklet advertising beauty aids depicted on its cover a nude with the caption: "Your Masterpiece-Yourself.

We've taken it away too much, the funeral people take over. No. Let people bury their own." "Do you think it helps people to go through the process and be intimately involved?" "Yes of course, of course!" It's the most emphatic Steve has been about anything. "Keep the body at home, put it on the dining table, let the kids sleep under the table, paint the coffin, decorate it, eat. When my brother died we had fights over the coffin drinking whiskey. I remember one brother pounding Bill's coffin 'Oh you bastard!' It was our lives. We carried the coffin, we filled in the hole. I used to work in the garden as a boy with my father. And I dug the hole to put his plants in and filled in the hole. In the end we put Dad into the ground and I helped my brothers fill in the hole. We need to do it ourselves." "Why do you think it helps to have that involvement?" "It's our responsibility, it's not to help, it's enabling us to grieve, it's enabling us to go through it together. Otherwise it's taken away and whoosh - it's gone. And you can't grieve. You've got to feel, you've got to touch, you've got to be there." Steve is passionate. He reaches into his bag to pull out something to show me. It's an old yellowing newspaper clipping. The caption reads 'Devastation: a woman in despair at the site of the blasts near the Turkey-Syrian border'. The photograph is a woman, she has her arms open to the sky and she is wailing, her head thrown back. "I pray in front of that" Steve tells me as I look at it. "That's a wonderful photo of the pain of our world. I don't know if she's lost relatives or what's blown up. You have a substance to your life if you've felt pain, you've got understanding, that's where compassion is, it makes you a deeper richer human being.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the power she was carrying some sort of project about World War II—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some poignant music, out is in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the poster board chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain as it’s happening, and then the moment is over.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the poster she was carrying, some sort of project about World War Two—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration-camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some sort of poignant music, put us in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the posterboard chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain it as it’s happening, and then the moment is over.

That girl is me. Me and Peter, in the hot tub on the ski trip. Oh my God. I scream. Margot comes racing in, wearing one of those Korean beauty masks on her face with slits for eyes, nose, and mouth. “What? What?” I try to cover the computer screen with my hand, but she pushes it out of the way, and then she lets out a scream too. Her mask falls off. “Oh my God! Is that you?” Oh my God oh my God oh my God. “Don’t let Kitty see!” I shout. Kitty’s wide-eyed. “Lara Jean, I thought you were a goody-goody.” “I am!” I scream. Margot gulps. “That…that looks like…” “I know. Don’t say it.” “Don’t worry, Lara Jean,” Kitty soothes. “I’ve seen worse on regular TV, not even HBO.” “Kitty, go to your room!” Margot yells. Kitty whimpers and clings closer to me. I can’t believe what I am seeing. The caption reads Goody two shoes Lara Jean having full-on sex with Kavinsky in the hot tub. Do condoms work underwater? Guess we’ll find out soon enough. ;) The comments are a lot of wide-eyed emojis and lols. Someone named Veronica Chen wrote, What a slut! Is she Asian?? I don’t even know who Veronica Chen is! “Who could have done this to me?” I wail, pressing my hands to my cheeks. “I can’t feel my face. Is my face still my face?” “Who the hell is Anonybitch?” Margot demands. “No one knows,” I say, and the roaring in my ears is so loud I can hardly hear my own voice. “People just re-gram her. Or him. Am I talking really loud right now?” I’m in shock. Now I can’t feel my hands or feet. I’m gonna faint. Is this happening? Is this my life?

Nicki laughs. “This matters to me, Carrie. Putting my whole soul into this game matters to me. These tournaments matter. I’ve dedicated my life to this.” “Well, so have I,” I say. “And you had your chance to shine––you were given that opportunity.” “I took it,” I say. “It wasn’t given to me. Nobody wanted me to be the face of women’s tennis. They still don’t. I had to demand it. Just like I am doing now. So if you want it, you’re going to have to take it from me.” “No,” Nicki says. “That’s what you don’t seem to get. I have taken it from you. I have the record. And if you want it, you’re going to have to take it from me.” I stare at her, and she continues. “I am the best player women’s tennis has seen,” she says. “And I deserve to be recognized for it.” “You are recognized for it,” I say. “Constantly.” Nicki shakes her head. “No, by you. By the person I’ve respected my entire life. The woman I’ve looked up to.” There is no smile on her face anymore. Not even the hint of one. I look over at the TV. It’s playing sports commentary with the sound off. The closed captioning says they are talking about Nicki and me right now. “I see it,” I say, finally looking at her. “Me hating it is me seeing it.” Nicki sighs. “Okay, Soto. I guess I can’t squeeze blood from a stone.” “Look, what do you want from me?” Nicki looks me in the eye. “Don’t worry about what I say,” I tell her. “Pay attention to what I do. I’m back, aren’t I? I’m playing here today. That’s how good you are.” The trainer is done. I stand up. I walk past Nicki and put my hand on her shoulder. “Good luck,” I say. “I’m rooting for you up until the last second when I play you.” Nicki smiles. “You should be so lucky.” I put my hand out for her to shake. And she takes it.

The Addams dwelling at 25 West Fifty-fourth Street was directly behind the Museum of Modern Art, at the top of the building. It was reached by an ancient elevator, which rumbled up to the twelfth floor. From there, one climbed through a red-painted stairwell where a real mounted crossbow hovered. The Addams door was marked by a "big black number 13," and a knocker in the shape of a vampire. ...Inside, one entered a little kingdom that fulfilled every fantasy one might have entertained about its inhabitant. On a pedestal in the corner of the bookcase stood a rare "Maximilian" suit of armor, which Addams had bought at a good price ("a bargain at $700")... It was joined by a half-suit, a North Italian Morion of "Spanish" form, circa 1570-80, and a collection of warrior helmets, perched on long stalks like decapitated heads... There were enough arms and armaments to defend the Addams fortress against the most persistent invader: wheel-lock guns; an Italian prod; two maces; three swords. Above a sofa bed, a spectacular array of medieval crossbows rose like birds in flight. "Don't worry, they've only fallen down once," Addams once told an overnight guest. ... Everywhere one looked in the apartment, something caught the eye. A rare papier-mache and polychrome anatomical study figure, nineteenth century, with removable organs and body parts captioned in French, protected by a glass bell. ("It's not exactly another human heart beating in the house, but it's close enough." said Addams.) A set of engraved aquatint plates from an antique book on armor. A lamp in the shape of a miniature suit of armor, topped by a black shade. There were various snakes; biopsy scissors ("It reaches inside, and nips a little piece of flesh," explained Addams); and a shiny human thighbone - a Christmas present from one wife. There was a sewing basket fashioned from an armadillo, a gift from another. In front of the couch stood a most unusual coffee table - "a drying out table," the man at the wonderfully named antiques shop, the Gettysburg Sutler, had called it. ("What was dried on it?" a reporter had asked. "Bodies," said Addams.)...

I have entered the New Yorker's Cartoon Caption Contest almost weekly virtually since it began and have never even been a finalist. I have done more writing for free for the New Yorker in the last five years than for anybody in the previous 40 years. It's not that I think my cartoon captions are better than anyone else's, although some weeks, understandably, I do. It's that just once I want to see one of my damn captions in the magazine that publishes the best cartoons in the world." - Roger Ebert (By the way, in 2011 Ebert finally won, after 107 tries.)

The testimony is followed by another montage of Team Impact feats of strength. “Ladies and Gentlemen,” an amped up announcer voice a la Monster Truck Rally proclaims, “We are Team Impaaaaact. Standing on faith tonight let’s give it up for the King of Kings and Lord of Lords, the one, the only, the Risen Warrioooooor!” Are they talking about Jesus? Is he a cage fighter or the Lamb of God? If ever there was a cross-denying tribute to a theology of glory, it would be Team Impact. As is the case with the rest of TBN, the scandal of Jesus’ birth, life, teachings, death, and resurrection are ignored entirely in favor of a Jesus-as-Rambo theology; here the Lord just kicks ass and takes names, much like the freakishly muscular Team Impact guys. Taking one’s Christology from a couple of chapters of Revelation (ignoring the central Christ image, that of the Lamb who was slain) rather than the gospels is baffling to me. I recently saw an “inspirational” self-mocking emerging church poster. The word “incarnational” rested below an image of a heavily tattooed guy wearing a crown of thorns made of barbed wire. The caption read “What would Jesus do? I’m pretty sure he’d do stuff I think is cool.” We all wish to make Christ in our own image because the truth of a God who dies is too much. We’ll believe anything but that, and if that anything happens to bring us power and victory and glory then all the better.

When the sun comes out in Portland, the city changes. All spring, there are hints of how good it’s going to be. It’s a Saturday morning, you walk outdoors and there are no clouds. Suddenly, you see people emerging from their homes, looking at the sky, confused. Everyone just stands there, soaking up the vitamin D. A few minutes later, they snap out of their stupor. They say: “Oh. Outside! I get it! This is how life used to be!” Sunglasses are uncovered, bikes are taken out of storage, and men remember what women are. People point their cameras toward the sky, take a picture of pure blue and immediately post it online. The caption will be a series of capitalized vowels followed by a field of exclamation points. But this is just a tease, because it will rain again. The city has to wait for the Fourth of July. After that, there won’t be rain for four months. That four months is what Portland is all about.

Life shouldn't be reduced to filtered images and captions, should it? It's about birth and death and that beautiful, brutal stretch of time between.

It’s easy for you to tell what it’s a photo of, but to program a function that inputs nothing but the colors of all the pixels of an image and outputs an accurate caption such as “A group of young people playing a game of frisbee” had eluded all the world’s AI researchers for decades. Yet a team at Google led by Ilya Sutskever did precisely that in 2014. Input a different set of pixel colors, and it replies “A herd of elephants walking across a dry grass field,” again correctly. How did they do it? Deep Blue–style, by programming handcrafted algorithms for detecting frisbees, faces and the like? No, by creating a relatively simple neural network with no knowledge whatsoever about the physical world or its contents, and then letting it learn by exposing it to massive amounts of data. AI visionary Jeff Hawkins wrote in 2004 that “no computer can…see as well as a mouse,” but those days are now long gone.

A group of young people playing a game of frisbee”—that caption was written by a computer with no understanding of people, games or frisbees.

THIS IS YOUR WIFE,” THE CAPTION OF THE BELL TELEPHONE ad reads. Above it, five identical women’s heads are lined up in a row. One head wears a chef’s toque; the next, a nurse’s bonnet; another, a chauffeur’s cap; and so on. Thanks to the telephone, readers are told, “the pretty girl you married” can order groceries, call for a sick child’s medicine, find out what time to meet her husband’s train, and more. Behold the modern American housewife: five women neatly bundled into one.

When we look at the old photographs, we always ask three main questions: Are they alive? If they are, where are they? And finally, what is their life story? Photography is an art of creating many questions in the mind of the viewer!

He considers making a TikTok of the reunion: turn the camera on himself, hold out his arm to capture the moment they embrace, edit it later with captions. This seems crazy but also a way to diffuse the situation, to make it content rather than pain. Rather than terror. Life hurts less when made into funny videos.

a Yale University psychology professor is developing an alternative SAT. Professor Robert Sternberg calls his test the Rainbow Project—and it certainly sounds like a lot more fun than the pressure-packed exam many of us endured as teenagers. In Sternberg’s test, students are given five blank New Yorker cartoons—and must craft humorous captions for each one. They must also write or narrate a story, using as their guide only a title supplied by the test givers (sample title: “The Octopus’s Sneakers”). And students are presented with various real-life challenges—arriving at a party where they don’t know anybody, or trying to convince friends to help move furniture—and asked how they’d respond. Although still in its experimental stages, the Rainbow Project has been twice as successful as the SAT in predicting how well students perform in college. What’s more, the persistent gap in performance between white students and racial minorities evident on the SAT narrows considerably on this test.

The Victorian sketches that have come to define Trader Joe’s merchandizing were cost control: books published before 1906 were pre-copyright and so free for Joe to repurpose with a funny caption. He spent hours cutting them out himself at his home easel.

Life is sweet when the whisky's sour.

At the end of every month, she does a post with the worst, unedited outtakes from her photo shoots, the caption reading: THIS IS A FEED OF CURATED IMAGERY MEANT TO MAKE YOU PINE FOR A LIFE THAT DOES NOT EXIST. I GET PAID FOR THIS.

The Goal of Pleasing God by Obeying His Commands (4: 1-2)American culture is caught up with the grand goal of enjoying life and pleasing oneself. For example, a recent magazine article discussing vacation homes as investments led with the caption: "The No. 1 reason to build a vacation home is to enjoy yourself. " Today more than ever society is caught up in concern for health and personal well-being. Churches sometimes try to attract people to their services by advertising that what goes on at church will be enjoyable to them. Some churches advertise that contemporary music and coffee will be served throughout the service. One can even enjoy breakfast beforehand at a church cafeteria or be entertained by "sitcom-like" plays. Some of these things may not be bad in themselves, but the impression is that of the church attempting to attract people by dangling before them the kinds of pleasures that they can find outside the church. If a church does this too consistently, then what it may have to offer may be no different, ultimately, than what the world offers. We must not fool ourselves and think that things were radically different in the first century. A few years ago I went to Turkey (old Asia Minor) to see the ancient sites of the towns where the seven churches of Revelation were located. At Pergamum I visited the ruins of an ancient Roman health spa, where, among other things, people would go to be rejuvenated emotionally because of depression. There were even rooms where a patient could rest; in the ceiling were little holes through which the priestly attendants of the spa would whisper encouraging things to help the victims recuperate psychologically. Whether in the ancient world or today, the chief end of humanity has often been to take pleasure in this life. In contrast, our passage begins by affirming the opposite: humanity's chief goal ought to be to take pleasure in pleasing God. Such passages in Scripture as this fueled the great confession, "The chief end of man is to glorify God and to enjoy Him forever. " Granted, Christians enjoy the material pleasures of this life, but only as a gift from the gracious God whom they serve (1 Tim 4: 4). This world is not an end in itself to be enjoyed. On the basis that God has begun to work in the readers and that they are beginning to live in order to please God, Paul appeals to them to excel in this: we ask you and urge you in the Lord Jesus to do this more and more. The main point of 4: 1 is that the ultimate purpose of living as a Christian is not to please oneself but increasingly to please God (Rom 8: 8; 15: 1-6). This develops further the earlier reference to pleasing God (2: 4) and walking worthily for the goal of achieving God's glory for which they have been called (2: 12). The Greek text of 4: 1 reads "just as you received from us how it is necessary for you to walk so as to please God. " Although the NIV leaves out "it is necessary" (dei; so also Moffatt 1970 and NLT), most other translations attempt to express it, typically by "you must" or "you ought. " Some readers may understand this to mean that Christians should live in the way Paul had instructed, but if they do not they will not experience the full blessing they could otherwise. Paul's urging of them to excel, however, suggests that there is a necessity that his readers live this lifestyle and that such living is not optional for less seriously minded Christians. Indeed, this necessity is heightened by the fact that such a lifestyle is a divine commandment (4: 2), that God has called believers to this conduct (4: 7), that God has given true believers the power to fulfill this commandment (3: 12-13) and that to reject living in this manner is tantamount to rejecting God (4: 8). Consequently, it is necessary that God's true people live this way if they want to avoid the inevitable last judgment (4: 6). Paul says the basis for his appeal that they please God is grounded in the authority of the Lord Jesus

As I stared at the trail map, I saw the friendly little red arrow that pointed to where I was on the map, its caption: You Are Here. It seemed not only to serve as a locator, but as a reminder that I was living right now, breathing in the woods, that there was life around me, that the natural world was right here and I was a part of it; I was nature too.

A subtitle or caption of a book: "How far would you run to escape from your life?" A title or lead of a life: Until you catch my life and reach my heartbeat, I will stop escaping.

Did you wake up and see someone you loved? Isn't that enough, to love and be loved?

If there were captions explaining their history next to these dedications they would be proof of the richness of relationships in Panikkar’s life and of how my collection came from many directions. In order to sing my glories, I will select names of several famous authors who gave their books with dedications to Panikkar and to me: Francesco Alberoni, Hans Urs von Balthasar, Bettina Baümer, Massimo Cacciari, Enrico Castelli, Emil Cioran, Victoria Cirlot, Oscar Cullman, Jacques Albert Cuttat, Henri e Lubac, Mircea Eliade, Jean Guitton, Alois Maria Haas, Martin Heidegger, Johannes Kakichi Kadowaki, Károly Kerényi, Ursula King, Serge Latouche, Javier Meloni, Salvador Pániker, Octavio Paz, Emanuele Severino, Raniero La Valle, Amador Vega, Uma Marina Vesci,

Halfway through the day, Megan started dicking around on the internet. She made her browser window as small as she could, paused for a second, and then looked up “Carrie Wilkins.” She found Carrie’s website, and on it, this bio: Hi, my name’s Carrie. I’m 26. I make things. I paint and I write, but mostly I design. I like to make things beautiful, or creative. I make my own food and I’m trying to grow my own beets. A lot of people around me seem unhappy and I don’t understand why. I freelance because I know I’d go insane if I couldn’t make my own schedule—I believe variety is the zest of life. I know I want a dog someday soon, and sometimes I make lunch at 3 a.m. I believe in the power of collaboration, and I’d love to work with you! What a total asshole. What does she have, some kind of a pact with Satan? The picture next to Carrie’s bio had some kind of heavy filter on it that made it look vintage, and she had a friendly but aloof look on her face. She was flanked on both sides by plants and was wearing an oxford shirt with fancy shorts and had a cool necklace. It was an outfit, for sure, like all of Carrie’s clothes were outfits, which Megan always thought of as outdated or something only children did. The website linked to a blog, which was mostly photos of Carrie doing different things. It didn’t take too long to find the picture of her with the llama with a caption about how she and her boss got it from a homeless guy. And then just products. Pictures and pictures of products, and then little captions about how the products inspired her. Motherfucker, thought Megan. She doesn’t get it at all. It was like looking at an ad for deodorant or laundry soap that made you feel smelly and like you’d been doing something wrong that the person in the ad had already figured out, but since it was an ad, there was no real way to smell the person and judge for yourself whether or not the person stank, and that was what she hated, hated, hated most of all. I make things, gee-wow. You think you’re an artist? Do you really thing this blog is a representation of art, that great universalizer? That great transmigrator? This isolating schlock that makes me feel like I have to buy into you and your formula for happiness? Work as a freelance designer, grow beets, travel, have lots of people who like you, and above all have funsies! “Everything okay?” asked Jillian. “Yeah, what?” “Breathing kind of heavy over there, just making sure you were okay and everything.” “Oh, uh-huh, I’m fine,” said Megan. “It’s not . . . something I’m doing, is it?” “What? No. No, I’m fine,” said Megan. How could someone not understand that other people could be unhappy? What kind of callous, horrible bullshit was that to say to a bunch of twenty-yearolds, particularly, when this was the time in life when things were even more acutely painful than they were in high school, that nightmare fuck, because now there were actual stakes and everyone was coming to grips with the fact that they’re going to die and that life might be empty and unrewarding. Why even bring it up? Why even make it part of your mini-bio?

I snap a picture of him with his back turned to me and post it to my Instagram with a rosy filter. I caption it with three hearts and Game night with my love! No better way to cap off an awesome day, and there’s no one else I’d rather spend it with. xoxo. #LivinTheLife #MarryingMyBestFriend #TrueLovesKissFromARose

I open my eyes and gaze softly at the room in front of me. Then I close them again. Once I’m anchored in bliss, it doesn’t matter whether my eyes are open or closed. I can maintain this expansive state of awareness either way. My intention is to take this awareness into my workday after meditation. I don’t want to think or act from anywhere else. After a while, I look down again at my body sitting in the chair. I realize I’ve been drifting, one with the light, basking in bliss, for a long time. My heart fills with joy and my eyes fill with tears, as I’m overwhelmed with gratitude. For my life, exactly the way it is. For every detail of what is. For everything that will happen in the future, no matter what it might be. I give thanks for all of it. I connect with everyone who’s meditating at this same time anywhere in the world. I open my eyes and look at the sunlight outside the room I’m meditating in. I’m aware of both time and space again. The forgotten cup of coffee in my hands is completely cold. Tears of gratitude flow down my cheeks. I look at my cup. The words printed on it read: Find Joy in the Journey. After we moved into the new house that replaced the one destroyed by fire, I went on a hunt for mugs printed with inspirational words; those bequeathed by the fire victims’ shelter with captions like Construction Equipment Dealer’s Association and My Dang Dog Also Drinks from My Cup didn’t echo the energy of the meditative state. I feel grateful for everything. My hands, with which I hold the coffee cup. My feet, with which I can walk. My breath, bringing life to my cells. My connection to the universe. The wonderful people in my life. I close my eyes and I am immediately in the light once again. I open them and the light remains. In a trance, I stand up and get a fresh cup of coffee. My wife has woken up and she comes into the room to get her morning cup of coffee. We embrace wordlessly. I bury my face in her hair and am enraptured by its scent. We gaze deeply into each other’s eyes and say nothing as she sits down to meditate too. When I close my eyes again, I’m back in Bliss Brain.

THE DREAM OF back-to-nature surfing solitude had a predictable by-product: rank nostalgia. A high percentage of the stories I wrote in my journals involved time travel, most often back to an earlier California. Imagine going back to the days of the Chumash Indians, or the Spanish missions, if you could just take a modern surfboard with you. Malibu had been breaking exactly like this, unridden, for centuries, eons. You would probably be worshipped as a god by the locals once they saw you surf, and they would feed you, and you could ride great waves with perfect concentration—uncontested ownership, accumulating mastery—for the rest of your days. There were a couple of photos in Surfing Guide to Southern California that illustrated, to my mind, just how narrow a margin in time we had all missed paradise by. One was of Rincon, taken in 1947 from the mountain behind the point on a sheet-glass, ten-foot day. The caption, unnecessarily, invited the reader to note “a tantalizing absence of people.” The other was of Malibu in 1950. It showed a lone surfer streaking across an eight-foot wall, with members of the public playing obliviously on the sand in the foreground. The surfer was Bob Simmons, a brilliant recluse who essentially invented the modern finned surfboard. He drowned while surfing alone in 1954.

Caption and cancel culture brevity leaves out the middle ground, where most of life is found.

People curse caption's along with gusty frame's those I never advertised but surfed in reality

Now it was run down, crumbling, beautiful, and inhabited only by Grandpa, entirely alone. But then hope had crept in. A man, Grandpa wrote, had offered to rent Hudson Castle. He had offered to transform it into a school. Grandpa would stay on as a governor; it would give him new purpose, something to do. No paperwork had been signed, but the man was eager to begin renovations. The man’s name was Sorrotore, a New York millionaire. He enclosed a press cutting, showing a man standing outside a vast New York building, smiling at the camera with Hollywood teeth. “Victor Sorrotore outside his home in the Dakota,” read the caption. “Victor Sorrotore,” whispered Vita, and she memorized his face, just in case. Within a week, Sorrotore struck. Grandpa returned from an afternoon walk to find his way back home barred. A strange man with two guard dogs came out of the caretaker’s cottage and pointed a rifle at him. “Hudson Castle belongs to Mr. Sorrotore,” the guard had said. “Scram!” Grandpa had never in his adult life been told to scram. He had tried to push past the guard, and one of the dogs had bitten his ankle; not a snap but a true bite, which drew blood. The gun was leveled at his chest. Bewildered, he took the train to New York, rented the tiny apartment on Seventh Avenue, and found Sorrotore’s lawyer.

There's a part of you that can never change. That's the inner you, your soul.

THE BEST THINGS IN LIFE ARE FREE.. mungkin ini salah satu quote favorit JOMBLO dimana kebebasan adalah dasar dari kebahagiaan. ya emang kenapa tidak? jika harus memilih 1000 orang dekat dengan kita hilang hanya karna 1 orang cinta sialan yang belum tentu menjadi pendamping hidup. bukankah itu merusak keseimbangan jagat raya? so, mari mainkan yang keras Bell of Freedom. terbanglah sebebas sang angin!

The original flagship for the company was the MS City of New York, commanded by Captain George T. Sullivan, On March 29, 1942, she was attacked off the coast of Cape Hatteras, North Carolina, by the German submarine U-160. The torpedo struck the MS City of New York at the waterline under the ship’s bridge, instantly disabling her. After allowing the survivors to get into lifeboats the submarine sunk the ship. Almost two days after the attack, a destroyer, the USS Roper, rescued 70 survivors, of which 69 survived. An additional 29 others were picked up by USS Acushnet, formerly a seagoing tugboat and revenue cutter, operated by the U.S. Coast Guard. All these survivors were taken to the Naval Base in Norfolk, Virginia. Almost two weeks later, on April 11, 1942, a U.S. Army bomber on its way to Europe spotted a lifeboat drifting in the Gulf Stream. The boat contained six passengers: four women, one man and a young girl plus thirteen crew members. Tragically two of the women died of exposure. The eleven survivors picked up by the U.S. Coast Guard Cutter CG-455 and were brought to Lewes, Delaware. The final count showed that seven passengers died as well as one armed guard and sixteen crewmen. Photo Caption: the MS City of New York Hot books by Captain Hank Bracker available at Amazon.com “Salty & Saucy Maine,” is a coming of age book that recounts Captain Hank Bracker’s formative years. “Salty & Saucy Maine – Sea Stories from Castine” tells many sea stories of Captain Hank’s years at Maine Maritime Academy and certainly demonstrates that life should be lived to the fullest! In 2020 it became the most talked about book Down East! “The Exciting Story of Cuba -Understanding Cuba’s Present by Knowing Its Past” ISBN-13: 978 1484809457. This multi-award winning history of Cuba is written in an easy-to-read style. Follow in the footsteps of the heroes, beautiful movie stars and sinister villains, who influenced the course of a country that is much bigger than its size! This book is on the shelf as a reference book at the American Embassy in Havana and most American Military and Maritime Academies.

Leary and Haynes published a fanzine called Strange V.D., which featured the most horrendous medical photographs they could find accompained by captions describing fictitious diseases like “taco leg” and “pine cone butt.

We were inundated with food. Delivery, vans from local supermarkets arrived, laden with crates of booze, fine chocolates, cooked meats, exotic fruits.... What once had felt necessary, then abundant, now began to feel obscene. In part, we revelled in that obscenity. We took pictures of ourselves awash with food, not, just eating it, but rolling in it, lying on it, burying ourselves in it. When people found this offensive, we simply absorbed and digested their disgust in much the same way as we re-absorbed the shit we produced from our bodies. Zelma, in particular, enjoyed this aspect of what we did. It harked back to her adjustment of adverts. Her violent hatred of consumerism. This isn't our life, she wrote in the caption of a particularly excessive and indulgent image - Kim lying on her back while from above eight bottles of champagne were emptied over her face - it's yours. The post attracted a particularly high level of outrage. What was this? People wanted to know. Was this a protest? Or just debauchery? Were we anti-consumerist, as many seemed to feel we should be, or in fact, hyper-consumerist, an idea which some people found it offensive as the idea that we were some sort of plague cult. (p.266)

My greatest writing ambition is to write and publish fiction precisely because it is so incredibly hard for me to really be able to sustain the perspective of multiple characters. This challenge is also part of the reason for using those captions when watching videos. I need as much help as I can to understand what’s going on with the plays if I’m to stick with the plot. And no matter how much illustrative language an author uses, I cannot actually imagine the faces and places she describes. Never do I get to a movie and think, “Oh, that’s not how I imagined it to look.

And that quote, “The only disability in life is a bad attitude,” the reason that that’s bullshit is because it’s just not true, because of the social model of disability. No amount of smiling at a flight of stairs has ever made it turn into a ramp. Never. Smiling at a television screen isn’t going to make closed captions appear for people who are deaf. No amount of standing in the middle of a bookshop and radiating a positive attitude is going to turn all those books into braille. It’s just not going to happen.