Captured Pictures Quotes

You should always be taking pictures, if not with a camera then with your mind. Memories you capture on purpose are always more vivid than the ones you pick up by accident.

That was the thing about pictures. No matter how beautiful, they couldn't capture the truly felt parts of a moment.

The biggest mistake I made is the one that most of us make while doing this. I did not live in the moment enough. This is particularly clear now that the moment is gone, captured only in photographs. There is one picture of the three on them sitting in the grass on a quilt in the shadow of the swing set on a summer day, ages 6, 4, and 1. And I wish I could remember what we ate, and what we talked about, and how they sounded, and how they looked when they slept that night. I wish I had not been in a hurry to get on to the next things: dinner, bath, book, bed. I wish I had treasured the doing a little more and the getting it done a little less.

No, you don't shoot things. You capture them. Photography means painting with light. And that's what you do. You paint a picture only by adding light to the things you see.

Don't become a random photograph in the eyes of friends, and even your enemies, for each glance at your face will cause a declination of value and reputation. Create value, through scarcity.

It's not one of the posed shots- it's one he didn't even realize had been taken, one he definitely didn't think would be released. He should have given the photographer more credit. He managed to capture the moment right when Henry cracked a joke, a candid, genuine photo, completely caught up in each other, Henry's arm around him and his own hand reaching up to grasp for Henry's on his shoulder. The way Henry's looking at him in the picture is so affectionate, so openly loving, that seeing it from a third person perspective almost makes Alex want to look away, like he's staring into the sun. He called Henry the North Star once. That wasn't bright enough.

a picture wasn’t worth anything if it didn’t produce a reaction, that it takes talent to capture feeling with an image.

I look at pictures of you because I am afraid that you would notice me staring in real life. I looked at your picture today for countless minutes. It is closer than I’ll ever get to you for real. I felt like I was looking at a captured animal at a safe distance. If you knew I was doing this, you would feel sickened and frightened. That’s why you’ll never know. Years will go by and you’ll never know. I will never say the things that I want to say to you. I know the damage it would do. I love you more than I hate my loneliness and pain.

If we could capture feelings like we capture pictures, none of us would ever leave our rooms. It would be so tempting to inhabit the good moments over and over again. But I don't want to be the kind of person who lives backwardly, who memorializes moments before she's finished living in them. So I plant my feet here on this hillside beside a boy who is undoing me, and I kiss him back like I mean it. And, God help me, with the sky wrapped around us in every direction, I do mean it.

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.

... but it is always dreadful when the pictures in front of one's eyes become meaningless and the real word is there instead and seems meaningless, too.

When you got captured, I didn't know..." He trailed off, had to chug whiskey before he could continue. "If it'd be like..." "What?" "Like it was with Clotile." "Oh, Jackson, no. I was okay. I'm unharmed." "Didn't know if I'd get there too late," he said with a shudder. Then he crossed over to me, until we stood toe-to-toe. "Evie, if you ever get taken from me again, you better know that I'll be coming for you." He cupped my face with a bloodstained hand. "So you stay the hell alive! You don't do like Clotile, you doan take that way out. You and me can get through anything, just give me a chance."--his voice broke lower "just give me a chance to get to you." He buried his face in my hair, inhaling deeply. "There is nothing that can happen to you that we can't get past." ... "When you say we...?" He pulled back, gazing down at me, his eyes blazing. "I'm goan to lay it all out there for you. Laugh in my face--I don't care. But I'm goan to get this off my chest." "I won't laugh. I'm listening." "Evie, I've wanted you from the first time I saw you. Even when I hated you, I wanted you." He raked his fingers through his hair. "I got it bad, me." My heart felt like it'd stopped--so that I could hear him better. "For as long as you've been looking down your nose at me, I've been craving you, an envie like I've never known." "I don't look down at you! I'm too busy looking up to you." ... "The corners of his lips curled for an instant before he grew serious again. "You asked me if I had that phone with your pictures, if I'd looked at it. Damn right, I did! I saw you playing with a dog at the beach, and doing a crazy-ass flip off a high dive, and making faces for the camera. I learned about you"- his voice grew hoarse -"and I wanted more of you. To see you every day." With a humourless laugh, he admitted, "After the Flash, I was constantly sourcing ways to charge a goddamned phone--that would never make a call." I murmured, "I didn't know...I couldn't be sure." "It's you for me, peekon.

He, Teddy and Eliza entered the room just as someone was snapping a picture: they would be forever captured in a photo they didn't belong in, blinking against the flash.

Sometimes a picture of a moment captures more than the moment itself.

When two people talk, they don’t just fall into physical and aural harmony. They also engage in what is called motor mimicry. If you show people pictures of a smiling face or a frowning face, they’ll smile or frown back, although perhaps only in muscular changes so fleeting that they can only be captured with electronic sensors. If I hit my thumb with a hammer, most people watching will grimace: they’ll mimic my emotional state. This is what is meant, in the technical sense, by empathy. We imitate each other’s emotions as a way of expressing support and caring and, even more basically, as a way of communicating with each other.

There is more to every photograph than what we see-more to the story than the one the camera captures on the plate. You have to look behind the picture to discover the truth.

No picture I saw online truly captured the effect of that tanned, well-structured face in person. Absolutely none. His face is walk-straight-into-a-wall stunning, and I won’t even dwell on his body, but now I understand why his bed is the most coveted spot in town.

Sometimes you have to sacrifice your queen to capture the king.

If you don’t capture the moments, it will be gone forever.

I've always had a good memory a good head for facts although when something is behind you it changes when you try to capture it in words. The past is slippery that way. I know all about that. And even the present is hard to pin down. You think you know everything that's happening around you. But you can't always see clearly when you're standing right there in the picture.

The biggest mistake I made [as a parent] is the one that most of us make. … I did not live in the moment enough. This is particularly clear now that the moment is gone, captured only in photographs. There is one picture of [my three children] sitting in the grass on a quilt in the shadow of the swing set on a summer day, ages six, four, and one. And I wish I could remember what we ate, and what we talked about, and how they sounded, and how they looked when they slept that night. I wish I had not been in such a hurry to get on to the next thing: dinner, bath, book, bed. I wish I had treasured the doing a little more and the getting it done a little less.

Sometimes I think you take photographs instead of seeing, you forget to look in your eagerness to grasp what is seen, to capture it in time's flight. You are absent from your own pictures, not only because you took them yourself, but also because you betray the moments you want to save from oblivion.

Perhaps the cause of our contemporary pessimism is our tendency to view history as a turbulent stream of conflicts – between individuals in economic life, between groups in politics, between creeds in religion, between states in war. This is the more dramatic side of history; it captures the eye of the historian and the interest of the reader. But if we turn from that Mississippi of strife, hot with hate and dark with blood, to look upon the banks of the stream, we find quieter but more inspiring scenes: women rearing children, men building homes, peasants drawing food from the soil, artisans making the conveniences of life, statesmen sometimes organizing peace instead of war, teachers forming savages into citizens, musicians taming our hearts with harmony and rhythm, scientists patiently accumulating knowledge, philosophers groping for truth, saints suggesting the wisdom of love. History has been too often a picture of the bloody stream. The history of civilization is a record of what happened on the banks.

Don't try to be good at everything, don't spread yourself so thin that you accomplish nothing; rather, pick a few things and do them well. Excel in those areas and you'll excel in life.

Capture every moments of your life.

Our eyes captures thousands of beautiful pictures everyday.

She capture the hidden mystery that gives a special flavor to the photograph ...

Why no pictures?” While I knew from the beginning that I did not want to include them, it took lengthy discussion with readers to articulate exactly why. It comes down to the fact that photos capture one instant in a person’s life. I hoped to bring these people alive as complex individuals: hopeful, gloomy, anxious, playful, devious, etc. Photos, within these covers, undermine that, in my opinion. So we left them out. Photos

Last night meant as much to me as it did to her and she painted it, capturing it in a way unique to Echo. […] Up close all those colors would look like chaos, but when viewed as a whole it creates this beautiful picture. In the end, that’s the best way to describe me and Echo, our relationship. Our love.

Sometimes I think I’ve got something, only in the next minute to be thrown into confusion once again. I don’t like being confused; I have no tolerance for it. That’s why I wish either I didn’t have this ability to capture details, or I had a greater ability to assemble them into a picture that made some sense.

Stories are not just entertainment, not to me. A story records and transmits the experience of being human. It teaches us what it’s like to be who we are. Nothing but art can do this. There is no science that can capture the inner life. No words can describe it directly. We can only speak of it in metaphors. We can only say: it’s like this—this story, this picture, this song.

I’m not surprised he decided he wants to take pictures for a living. When we were kids, Jamie was always playing with his dad’s camera. I think one of the reasons we always got along so well was because we both saw the world as a series of moments that needed to be captured—we just captured them in different ways.

All she captures is a moment and what she calls it is a memory, Sometimes, it is assumptions that we use; all we need is a theory, Because you don’t know what is there in the future, And all you need is a vision to make a perfect picture. I feel that I have known you for a century, And whatever she calls is a memory.

And I give you this picture because it fairly captures our nearly fifty-year happy marriage, during which I have offered up an astonishing number of foolish pronouncements with absolute assurance, and Ruth, with only limited rancor, has ignored almost every one. A

The very act of recall is like trying to photograph the sky. The infinite and ever-shifting colors of memory, its rippling light, cannot really be captured. Show someone who has never seen the sky a picture of the sky and you show them a picture of nothing. Still I have to try.

The Fae book was definitely filled with the same stories as hers, but this one was filled with picture after picture of Jared. She couldn’t help but flip backward a few pages and see magical images come to life: of Jared defending her in an alley. Sitting in art class with Mina, spinning on the pottery wheel. There was another one of Jared by the lake, teaching her to fight. Jared and her in the storage room, laughing, before their tickling fight. She flipped forward and saw the last page filled with a motion-captured image of Jared and her sharing a kiss.

She wrote somewhere that photographs create their own memories, and supplant the past. In her pictures there isn’t nostalgia for the fleeting moment, captured by chance with a camera. Rather, there’s a confession: this moment captured is not a moment stumbled upon and preserved but a moment stolen, plucked from the continuum of experience in order to be preserved.

What is a writer? A writer is a magician who can create a masterpiece With a wave of a pencil A writer has the key to a new world Capturing readers and taking them on a roller coaster ride away from reality But a writer can be a commanding tyrant Or a hypnotist stealing minds What is a writer? A writer is a powerful being, an intelligent thinker And an artist creating mind pictures through words. A writer is a keeper of secrets Or like a roomful of words waiting for a book But a writer is also a puppet master taking control With no strings attached What is a writer? A writer is a true friend Using words to spread smiles to the world A writer is….. The voice of the hear

I’m gathering Kylie thinks that all it takes to capture an image is to point and shoot. That’s what everyone thinks. But there’s a lot more to it. It’s taken me years to frame things correctly. People assume you can’t take good pictures on an iPhone, but they’re wrong. Some of my best shots are on the phone. They’re raw and simple, and most of the time no one knows you’re taking a picture. It’s much better than the thousand-dollar Nikon my dad got me for Christmas. I don’t think I’ve used it in months.

About half an hour after the show tree, I made Roger pull over so that I could take a picture, and I realized that there was no way to ever capture the entire landscape. So I turned in a circle, taking a picture in every direction, knowing that was the only way I could come close to capturing what it looked like. I lowered my camera and stood still for a moment, just taking in the silence. Even though it probably should have been scary, standing by the side of a deserted desert highway, it wasn't. It felt strangely peaceful.

Let that sink in. You see, the thing about pictures is they’re only a moment captured in time. No one knows what transpires before or after they’re taken.

I gasped. I’d seen photographs people had taken from this point above the river. But no picture captures a vista better than one’s own eyes.

A dirty text a day keeps the doc away." "You sure you're a virgin?" "I'm a virgin, not a priest." He rolled his eyes then went to the pantry to grab a few more marshmallows.

Had to pee his pants for a role, and when they tried to attach the pouch to him so that it would look real,, he shouted, 'No, I do all my own stunts. I got this.

Demetri and advice…" Jaymeson sighed. "… two words that should never go together in a sentence. Almost like ketchup and bunny rabbits.

Hell, my parents forgot my birthday, yet threw a freaking party for the family Chihuahua.

Fine. I'm tame. And boring. I like reading. And the last time I went to a party, I left early because Outlander was on.

The best part of photography is capturing a moment of humanity and freezing it forever.

We can all take pictures but not everyone can capture the beauty that's usually hidden in plain view... We can all open our mouth to sing but not everyone can melodically touch your soul... We can all pick up a pen to write but not everyone can write words in such a way that they leap off of the page for you... We can all part our lips to speak but not everyone can speak life into you... We can all move our bodies to a beat but not everyone can become one with music, stir emotions and shift energy with dance... Point is: WE CAN all do something but Know your gifts, cultivate them and ALWAYS, ALWAYS BE YOURSELF! Then working together becomes effortless. Copies aren't accepted everywhere...ORIGINALS are eventually required!

choose to look at the mountains rather than trying to concentrate on the valleys. It's easier to glance behind you and see the peaks, but it takes actual effort to look down into the darkness of where you've been.

So, maybe we’re the generation of the selfie, but we’re also the generation that grew up in a tainted, Photoshopped world with every impossible beauty standard shoved down our throat through a tube because eating has become a guilty pleasure and condemning beauty ideals won’t go straight to our thighs. And if, by chance, we are able to destroy the demons that you’ve planted inside of us with your constant advertisements and rules that play behind our eyelids and take root in our brains, then let us take our fucking pictures and capture that moment when we felt beautiful because all this world has taught us is that our beauty is the greatest measure of our worth. Scoff at our phones all you like, these delicate extensions of our fingers, but know that through this technology that you couldn’t even begin to understand, we have smudged the entire world with our fingerprints. We are the generation of knowledge, and we are learning more than any that came before us. So, frown at my typing fingers; I am using them to grasp power by the throat. Try to invalidate us, but we’ve heard our parents talking about the world’s crashing and burning since we had sprung from the womb. We know you’ve fucked up, and we’re angry about it- the kind of anger that fuels knowledge, that I feel in my veins every time I read the news from my phone before school, that sticks in my throat like honey in a debate; the kind of anger that simmers, that sharpens teeth into daggers, that makes this generation more dangerous than you could have ever imagined. We are the generation of change, and goddammit, we’re coming.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

I should get rid of those boxes, full of all that junk. Burn them all – make a bonfire in the garden and burn the bloody lot of it. All the captured bits of me, the scraps and pictures and notes and letters, burn it all, burn the lot of it – every last trace of me. Every last bit of me – up in flames and gone for good. Forgotten and gone. Rid me of these memories... Yes, that’s something to do this afternoon. Get out into the garden, and burn the past... To ashes with.

But even while Rome is burning, there’s somehow time for shopping at IKEA. Social imperatives are a merciless bitch. Everyone is attempting to buy what no one can sell.  See, when I moved out of the house earlier this week, trawling my many personal belongings in large bins and boxes and fifty-gallon garbage bags, my first inclination was, of course, to purchase the things I still “needed” for my new place. You know, the basics: food, hygiene products, a shower curtain, towels, a bed, and umm … oh, I need a couch and a matching leather chair and a love seat and a lamp and a desk and desk chair and another lamp for over there, and oh yeah don’t forget the sideboard that matches the desk and a dresser for the bedroom and oh I need a coffeetable and a couple end tables and a TV-stand for the TV I still need to buy, and don’t these look nice, whadda you call ’em, throat pillows? Oh, throw pillows. Well that makes more sense. And now that I think about it I’m going to want my apartment to be “my style,” you know: my own motif, so I need certain decoratives to spruce up the decor, but wait, what is my style exactly, and do these stainless-steel picture frames embody that particular style? Does this replica Matisse sketch accurately capture my edgy-but-professional vibe? Exactly how “edgy” am I? What espresso maker defines me as a man? Does the fact that I’m even asking these questions mean I lack the dangling brass pendulum that’d make me a “man’s man”? How many plates/cups/bowls/spoons should a man own? I guess I need a diningroom table too, right? And a rug for the entryway and bathroom rugs (bath mats?) and what about that one thing, that thing that’s like a rug but longer? Yeah, a runner; I need one of those, and I’m also going to need…

the DeMille films were foolishness. I was born to do this, and I can do it precisely because I thought the whole religion through when I broke away. It takes someone who knows—not believes—to capture and picture the storytelling truth about Moishe Rabenu in a film.

My mom’s smile is genuine, A lilac beaming In the presence of her Sun. Indentions in the sand prove Time’s linear progression, Her hair yet unblighted, Carrying midnight’s consistency. Clear tracks fading as the Movement slips further In the past. Cheekbones High, soft, In summer’s hue, Hopeful. Each step’s unknown impact, A future looking back. My father’s strength: One whose Life is in his arms. Squinting past the camera, He rests upon a rock Like caramel corn half eaten, Just to the left Of man-made concrete convention Daylight’s eraser Removing color to his right. Dustin sits In my father’s lap, Open mouth of a drooling Big mouth bass; Muscle tone Of a well exercised Jelly fish, He looks at me Half aware; His wheelchair Perched at the edge Of parking lot gravel grafted Like a scar on nature’s beach, Opening to the ironic splendor Of a bitter tasting lake. I took the picture. Age 11. Capturing the pinnacle arc Of a son To my lilac Who Outlived him and weeps, Still. Their sky has staple holes – Maybe that’s how the Light Leaked out.

When this house was built, people used daggers and their fingers,” he said. “And it’ll probably last until the days when men dine off capsules.” “Fancy asking friends to come over for capsules,” I said. “Oh, the capsules will be taken in private,” said Father. “By that time, eating will have become unmentionable. Pictures of food will be considered rare and curious, and only collected by rude old gentlemen.

That's about when people realized that this wasn't some kind of show, an optical illusion or something to stand around and point at. They might not have understood what they were seeing, but whatever instinct humans possessed that triggered that flight response kicked in. It became all about survival- about getting away from the big, bad unknown- while trying to snap pictures of the spectacle at the same time. Got to love the near-innate human response to capture everything on film.

I could have been killed, and their response is to film me?...In that moment, the myth that every time your picture is taken, a part of your soul is stolen strikes me as a certain truth, because I feel my spirit being sucked out of me, into hundreds of all-seeing lenses that simply want to capture my fear, my anger, my performance.

When I miss you, sometimes I listen to music or look at pictures of you, not to remind me of you but to make me feel as if I’m with you. It makes me forget the distance and capture you.

I’m not sure, though, what “for later” means anymore. Something changed in the world. Not too long ago, it changed, and we know it. We don’t know how to explain it yet, but I think we all can feel it, somewhere deep in our gut or in our brain circuits. We feel time differently. No one has quite been able to capture what is happening or say why. Perhaps it’s just that we sense an absence of future, because the present has become too overwhelming, so the future has become unimaginable. And without future, time feels like only an accumulation. An accumulation of months, days, natural disasters, television series, terrorist attacks, divorces, mass migrations, birthdays, photographs, sunrises. We haven’t understood the exact way we are now experiencing time. And maybe the boy’s frustration at not knowing what to take a picture of, or how to frame and focus the things he sees as we all sit inside the car, driving across this strange, beautiful, dark country, is simply a sign of how our ways of documenting the world have fallen short. Perhaps if we found a new way to document it, we might begin to understand this new way we experience space and time. Novels and movies don’t quite capture it; journalism doesn’t; photography, dance, painting, and theater don’t; molecular biology and quantum physics certainly don’t either. We haven’t understood how space and time exist now, how we really experience them. And until we find a way to document them, we will not understand them.

I am being as honest with myself as possible, which is harder than it sounds. Who wouldn’t rather write down pretty things and pretend they are the truth?’ “My photos are a way of telling stories but without the pressure of all those words. I used to think of them as a way to capture everything that’s good. Everything my life wasn’t. but now I take pictures of all of it: the sad, the disturbing, the ugly.

If she captured Tamlin’s power once, who’s to say she can’t do it again?” It was the question I hadn’t yet dared voice. “He won’t be tricked again so easily,” he said, staring up at the ceiling. “Her biggest weapon is that she keeps our powers contained. But she can’t access them, not wholly—though she can control us through them. It’s why I’ve never been able to shatter her mind—why she’s not dead already. The moment you break Amarantha’s curse, Tamlin’s wrath will be so great that no force in the world will keep him from splattering her on the walls.” A chill went through me. “Why do you think I’m doing this?” He waved a hand to me. “Because you’re a monster.” He laughed. “True, but I’m also a pragmatist. Working Tamlin into a senseless fury is the best weapon we have against her. Seeing you enter into a fool’s bargain with Amarantha was one thing, but when Tamlin saw my tattoo on your arm … Oh, you should have been born with my abilities, if only to have felt the rage that seeped from him.” I didn’t want to think much about his abilities. “Who’s to say he won’t splatter you as well?” “Perhaps he’ll try—but I have a feeling he’ll kill Amarantha first. That’s what it all boils down to, anyway: even your servitude to me can be blamed on her. So he’ll kill her tomorrow, and I’ll be free before he can start a fight with me that will reduce our once-sacred mountain to rubble.” He picked at his nails. “And I have a few other cards to play.” I lifted my brows in silent question. “Feyre, for Cauldron’s sake. I drug you, but you don’t wonder why I never touch you beyond your waist or arms?” Until tonight—until that damned kiss. I gritted my teeth, but even as my anger rose, a picture cleared. “It’s the only claim I have to innocence,” he said, “the only thing that will make Tamlin think twice before entering into a battle with me that would cause a catastrophic loss of innocent life. It’s the only way I can convince him I was on your side. Believe me, I would have liked nothing more than to enjoy you—but there are bigger things at stake than taking a human woman to my bed.” I knew, but I still asked, “Like what?” “Like my territory,” he said, and his eyes held a far-off look that I hadn’t yet seen. “Like my remaining people, enslaved to a tyrant queen who can end their lives with a single word. Surely Tamlin expressed similar sentiments to you.” He hadn’t—not entirely. He hadn’t been able to, thanks to the curse. “Why did Amarantha target you?” I dared ask. “Why make you her whore?” “Beyond the obvious?” He gestured to his perfect face. When I didn’t smile, he loosed a breath. “My father killed Tamlin’s father—and his brothers.” I started. Tamlin had never said—never told me the Night Court was responsible for that. “It’s a long story, and I don’t feel like getting into it, but let’s just say that when she stole our lands out from under us, Amarantha decided that she especially wanted to punish the son of her friend’s murderer—decided that she hated me enough for my father’s deeds that I was to suffer.” I might have reached a hand toward him, might have offered my apologies—but every thought had dried up in my head. What Amarantha had done to him … “So,” he said wearily, “here we are, with the fate of our immortal world in the hands of an illiterate human.

You can work through the physics of interstellar radio attenuation,1 but the problem is captured pretty well by considering the economics of the situation: If your TV signals are getting to another star, you’re wasting money. Powering a transmitter is expensive, and creatures on other stars aren’t buying the products in the TV commercials that pay your power bill. The full picture is more complicated, but the bottom

A business model really is a system where one element influences the other; it only makes sense as a whole. Capturing that big picture without visualizing it is difficult. In fact, by visually depicting a business model, one turns its tacit assumptions into explicit information. This makes the model tangible and allows for clearer discussions and changes. Visual techniques give “life” to a business model and facilitate co-creation.

I saw exactly one picture of Marx and one of Lenin in my whole stay, but it's been a long time since ideology had anything to do with it. Not without cunning, Fat Man and Little Boy gradually mutated the whole state belief system into a debased form of Confucianism, in which traditional ancestor worship and respect for order become blended with extreme nationalism and xenophobia. Near the southernmost city of Kaesong, captured by the North in 1951, I was taken to see the beautifully preserved tombs of King and Queen Kongmin. Their significance in F.M.-L.B. cosmology is that they reigned over a then unified Korea in the 14th century, and that they were Confucian and dynastic and left many lavish memorials to themselves. The tombs are built on one hillside, and legend has it that the king sent one of his courtiers to pick the site. Second-guessing his underling, he then climbed the opposite hill. He gave instructions that if the chosen site did not please him he would wave his white handkerchief. On this signal, the courtier was to be slain. The king actually found that the site was ideal. But it was a warm day and he forgetfully mopped his brow with the white handkerchief. On coming downhill he was confronted with the courtier's fresh cadaver and exclaimed, 'Oh dear.' And ever since, my escorts told me, the opposite peak has been known as 'Oh Dear Hill.' I thought this was a perfect illustration of the caprice and cruelty of absolute leadership, and began to phrase a little pun about Kim Jong Il being the 'Oh Dear Leader,' but it died on my lips.

I don't know why these things have to be transmitted by word of mouth, he thought. It wasn't exactly that they were secrets; God revealed his secrets easily to all his creatures. He had only one explanation for this fact: things have to be transmitted this way because they were made up from the pure life, and this kind of life cannot be captured in pictures or words. Because people become fascinated with pictures and words, and wind up forgetting the Language of the World.

The endless procession of people and things that forms the world is for me an interminable gallery of pictures whose content bores me. It doesn't interest me because the soul is a monotonous thing and is always the same in everyone; it differs only in its personal manifestations and the best part of it is that which overflows into dreams, into mannerisms and gestures, and thus becomes part of the image that so captures my interest [...] This is how I experience the animate exteriors of things and beings, in pure vision, indifferent as a god from another world to their content, to their spirit. I only go deep into the surface of other people, if I want profundity I look for it in myself and in my concept of things.

My prolonged study of these photographs led me to appreciate the importance of preserving certain moments for prosperity, and as time moved forwards I also came to see what a powerful influence these framed scenes exerted over us as we went about our daily lives. To watch my uncle pose my brother a maths problem, and at the same time to see him in a picture taken thirty-two years earlier; to watch my father scanning the newspaper and trying, with a half-smile, to catch the tail of a joke rippling across the crowded room, and at that very same moment to see a picture of him to me that my grandmother had framed and frozen these memories so that we could weave them into the present.When, in the tones ordinarily preserved for discussing the founding of a nation, my grandmother spoke of my grandfather who had died so young, and pointed at the frames on the tables and the walls, it seemed that she, like me, was pulled in two direction , wanting to get on with life but also longing to capture the moment of perfection, savouring the ordinary life but still honouring the ideal. But even as I pondered these dilemmas-if you plucked a special moment from life and framed it, were you defying death, decay and the passage of time, or were you submitting to them? - I grew very bored with them.

Everything in all the books I once pored over is finished for me now. Penelope Leach. T. Berry Brazelton. Dr. Spock. The ones on sibling rivalry and sleeping through the night and early-childhood education, all grown obsolete. Along with ‘Goodnight Moon’ and ‘Where the Wild Things Are,’ they are battered, spotted, well used. But I suspect that if you flipped the pages dust would rise like memories. . . . The biggest mistake I made is the one that most of us make. . . .I did not live in the moment enough. This is particularly clear now that the moment is gone, captured only in photographs. There is one picture of the three of [my children] sitting in the grass on a quilt in the shadow of the swing set on a summer day, ages 6, 4, and 1. And I wish I could remember what we ate, and what we talked about, and how they sounded, and how they looked when they slept that night. I wish I had not been in such a hurry to get on to the next thing: dinner, bath, book bed. I wish I had treasured the doing a little more and the getting it done a little less.

That was the thing about pictures. No matter how beautiful, they couldn't capture the truly felt parts of a moment. Life was different looking through the lens, the colors less vibrant, the beauty less grand. By the time you took the shot, the moment had already passed.

I used to think printing things made them permanent, but that seems so silly now. Everything will be destroyed no matter how hard we work to create it. The idea terrifies me. I want tiny permanents. I want gigantic permanents! I want what I think and who I am captured in an anthology of indulgence I can comfortingly tuck into a shelf in some labyrinthine library. Everyone thinks they’re special—my grandma for her Marlboro commercials, my parents for discos and the moon. You can be anything, they tell us. No one else is quite like you. But I searched my name on Facebook and got eight tiny pictures staring back. The Marina Keegans with their little hometowns and relationship statuses. When we die, our gravestones will match. HERE LIES MARINA KEEGAN, they will say. Numbers one, two, three, four, five, six, seven, eight.

Quantitative historians who use statistical tools to study big-picture historical trends, created a vast database of research on more than 36,000 slave ship voyages that took place over four hundred years. They found that there was a revolt on at least one in ten of these voyages. That was a much higher number than anyone expected. Revolts were never easy, but revolts on slave ships in the middle of the Atlantic Ocean were basically suicide missions. Nonetheless, many captives chose death over this exceptionally horrid new kind of slavery. This type of resistance was so expensive and time-consuming for the slavers, these historians estimate that it prevented at least a million more people from being captured and entering the slave trade. So why would a revolt happen on one ship and not another? The quantitative historians couldn't find a clear pattern, other than that captives tried to revolt whenever they would. But one thing did stand out: The more women onboard a slave ship, the more likely a revolt. Let me emphasize this point: the more women onboard a slave ship, the more likely a revolt would occur.

We're so distracted, we're missing out own lives. The parent who records his kid's dance recital or first steps or graduation is so busy trying to capture the moment--to create a thing that proves that they were there--they miss out on actually living and enjoying the moment. I've done this before with my camera. I have jockeyed for position, bumping elbows with other parents so I could get into the best spot to look through the viewfinder of my SLR to capture the moment of my daughter's dance recital. Five-year-old Phoebe was so cute in her little sailor outfit, tapping away. And I got some great pictures. It's just that while I remember getting the pictures, I do not recall the moment. So much of the time we don't trust ourselves to experience our world without stuff. Things so often don't enhance our lives, but are barriers to fully living our lives.

Lollipops and raindrops Sunflowers and sun-kissed daisies Rolling surf and raging sea Sailing ships and submarines Old Glory and “purple mountain’s majesty” Screaming guitar and lilting rhyme Flight of fancy and high-steppin’ dances Set free my mind to wander… Imagine the ant’s marching journeys. Fly, in my mind’s eye, on butterfly wings. Roam the distant depths of space. Unfurl tall sails and cross the ocean. Pictures made just to enthrall Creating images from my truth Painting hopes and dreams on my canvas Capturing, through my lens, the ephemeral Let me ruminate ‘pon sensual darkness… Tremble o’er Hollywood’s fluttering Gothics… Ride the edge of my seat with the hero… Weep with the heroine’s desperation. Yet… more than all these things… Give me words spun out masterfully… Terms set out in meter and rhyme… Phrases bent to rattle the soul… Prose that always miraculously inspires me! The trill runs up my spine, as I recall… A touch… a caress…a whispered kiss… Ebony eyes embracing my soul… Two souls united in beat of hearts. A butterfly flutter in my womb My lover’s wonder o’er my swelling The testament of our love given life Newly laid in my lover’s arms Luminous, sweet ebony eyes Just so much like his father’s A gaze of wonder and contentment From my babe at mother’s breast Words of the Divine set down for me Faith, Hope, Love, and Charity Grace, Mercy, and undeserved Salvation “My Shepherd will supply my need” These are the things that inspire me.

She gasped as he captured the picture from her hands, “Pining over what could have been? Funny, if you hadn’t spread your legs for anyone with a pulse, you might be standing here married to the other Karasphalous brother right now,” Nikos growled as he placed the photo back in its original spot and turned just as Adriana's hand made contact with the side of his smug face. “Go to hell!” she spat as she grasp the long folds of her dress and stormed toward the master bedroom like the hounds of hell were on her heels. Just before slamming the door behind her she heard him bark, “I’m already there!

He released my body, and I slumped down the wall, my butt colliding with the hardwood floor as I looked up at him with blurry vision. "What just happened?" Zane Smirked then leaned down, offering me his massive hand. "Demonstration. You want him to kiss you like that. You're welcome. Also, next time a guy tries to kiss you who isn't Lincoln, you slap him.

9. Your Photo Album Many people have a photo album. In it they keep memories of the happiest of times. There may be a photo of them playing by the beach when they were very young. There may be the picture with their proud parents at their graduation ceremony. There will be many shots of their wedding that captures their love at one of its highest points. And there will be holiday snapshots too. But you will never find in your album any photographs of miserable moments of your life. Absent is the photo of you outside the principal’s office at school. Missing is any photo of you studying hard late into the night for your exams. No one that I know has a picture of their divorce in their album, nor one of them in a hospital bed terribly sick, nor stuck in busy traffic on the way to work on a Monday morning! Such depressing shots never find their way into anyone’s photo album. Yet there is another photo album that we keep in our heads called our memory. In that album, we include so many negative photographs. There you find so many snapshots of insulting arguments, many pictures of the times when you were so badly let down, and several montages of the occasions where you were treated cruelly. There are surprisingly few photos in that album of happy moments. This is crazy! So let’s do a purge of the photo album in our head. Delete the uninspiring memories. Trash them. They do not belong in this album. In their place, put the same sort of memories that you have in a real photo album. Paste in the happiness of when you made up with your partner, when there was that unexpected moment of real kindness, or whenever the clouds parted and the sun shone with extraordinary beauty. Keep those photos in your memory. Then when you have a few spare moments, you will find yourself turning its pages with a smile, or even with laughter.

Practically all human literature deals with the present and the past; when literature tries to describe the future, it at once ceases to be human and ceases to be literature; and all the pictures which the Bolsheviks have so far given us of a future world constructed on the design of Lenin are so depressing that nobody would like to read about such a world, much less to live in it.

Are we not, all of us, in some way, damaged mirrors? Are we not constantly engaged in focusing the light of thought—memories out of the depths of human experience—onto the photographic plate of each moment? The image captured in this instant is a snapshot of all eternity, subtly altered by our own brokenness. And who’s to say that the image formed by a damaged mirror is not a truer picture of the universe?

The group of artists and scientists that had so far done least was the one that had attracted the greatest interest—and the greatest alarm. This was the team working on “total identification.” The history of the cinema gave the clue to their actions. First sound, then color, then stereoscopy, then Cinerama, had made the old “moving pictures” more and more like reality itself. Where was the end of the story? Surely, the final stage would be reached when the audience forgot it was an audience, and became part of the action. To achieve this would involve stimulation of all the senses, and perhaps hypnosis as well, but many believed it to be practical. When the goal was attained, there would be an enormous enrichment of human experience. A man could become—for a while, at least—any other person, and could take part in any conceivable adventure, real or imaginary. He could even be a plant or an animal, if it proved possible to capture and record the sense impressions of other living creatures. And when the “program” was over, he would have acquired a memory as vivid as any experience in his actual life—indeed, indistinguishable from reality itself. The prospect was dazzling. Many also found it terrifying, and hoped that the enterprise would fail. But they knew in their hearts that once science had declared a thing possible, there was no escape from its eventual realization…. This, then, was New Athens and some of its dreams. It hoped to become what the old Athens might have been had it possessed machines instead of slaves, science instead of superstition. But it was much too early yet to tell if the experiment would succeed.

I suppose a part of me wished when I put my key in the door, it would magically open into a different apartment, a different life, a place so bright with joy and excitement that I'd be temporarily blinded when I first saw it. I pictured what a documentary film crew would capture in my face as I glimpsed this whole new world before me, like in those home improvement shows Reva liked to watch when she came over. First, I'd cringe with surprise. But then, once my eyes adjusted to the light, they'd grow wide and glisten with awe. I'd drop the keys and the coffee and wander in, spinning around with my jaw hanging open, shocked at the transformation of my dim, gray apartment into a paradise of realized dreams. But what would it look like exactly? I had no idea. When I tried to imagine this new place, all I could come up with was a cheesy mural of a rainbow, a man in a white bunny costume, a set of dentures in a glass, a huge slice of watermelon on a yellow plate—an odd prediction, maybe, of when I'm ninety-five and losing my mind in an assisted-living facility where they treat the elderly residents like retarded children. I should be so lucky, I thought. I opened the door to my apartment, and, of course, nothing had changed.

As beautiful as you are my lady, You sick answers to why love is never by your side Your heart wonders around trying to find your ideal love But yet nothing is completing your need. You’re a women of strength and resemble power within, Filled with joy on your angelic face, yet no good man appreciates it A laughter that one can capture for a lifetime, too bad that all the men you seem to meet erase it all You display Emotions that one can wish to dwell in and feel the energy you hold within. Take a stand my lady, no rose ever dies without growing back again, You need no tears to fall for a man who sees less in you You need no sad feeling to crush that happy self, he’ll never be worth the joy in you Show him no sad emotions, you’re too strong to give in now. As a flower you bloomed gracefully and a beautiful lady rose up from that seed the Lord God planted As a pillar you balanced yourself against all negative forces of life and that was your strength As an ocean you cried your tears out but that never hindered the ocean from being full again As a beautiful picture frame you lit up the room and no soul will ever take that away from you. Let yourself love you, is the greatest love one can ever behold, I’m done seeing you cry!!!

In sum, the fruition of 50 years of research, and several hundred million dollars in government funds, has given us the following picture of sub-atomic matter. All matter consists of quarks and leptons, which interact by exchanging different types of quanta, described by the Maxwell and Yang-Mills fields. In one sentence, we have captured the essence of the past century of frustrating investigation into the subatomic realm, From this simple picture one can derive, from pure mathematics alone, all the myriad and baffling properties of matter. (Although it all seems so easy now, Nobel laureate Steven Weinberg, one of the creators of the Standard Model, once reflected on how tortuous the 50-year journey to discover the model had been. He wrote, "There's a long tradition of theoretical physics, which by no means affected everyone but certainly affected me, that said the strong interactions [were] too complicated for the human mind.")

For the person who wants to capture everything that passes before his eyes, [...] the only coherent way to act is to snap at least one picture a minute, from the instant he opens his yes in the morning to when he goes to sleep. This is the only way that he rolls of exposed film will represent a faithful diary of our days, with nothing left out. If I were to start taking pictures, I'd see this thing through, even if it meant losing my mind. But the rest of you still insist on making a choice. What sort of choice? A choice in the idyllic sense, apologetic, consolatory, at peace with nature, the fatherland, the family. Your choice isn't only photographic; it is a choice of life, which leads you to exclude dramatic conflicts, the knots of contradiction, the great tensions of will, passion, aversion. So you think you are saving yourselves from madness, but you are falling into mediocrity, into hebetude." - from "The Adventure of a Photographer

....though he hated to admit it, they were all Anglophiles. They were a family of Anglophiles. Pointed in the wrong direction, trapped outside their own history and unable to retrace their steps because their footprints had been swept away. He explained to them that history was like an old house at night. With all the lamps lit. And ancestors whispering inside. "To understand history," Chacko said, "we have to go inside and listen to what they're saying. And look at the books and the pictures on the wall. And smell the smells."... ..."But we can't go in," Chacko explained, "because we've been locked out. And when we look in through the windows, all we see are shadows. And when we try and listen, all we hear is a whispering. And we cannot understand the whispering, because our minds have been invaded by war. A war that we have won and lost. The very worst sort of war. A war that captures dreams and re-dreams them. A war that has made us adore our conquerors and despise ourselves.

The really strange thing about this is that it was one of the Fog Facts. That is, it was not a secret. It was known. But it was not known. That is, if you asked a knowledgeable journalist, or political analyst, or a historian, they knew about it. If you yourself went and checked the record, you could find it out. But if you asked the man in the street if President Scott, who loved to have his picture taken among the troops and driving armored vehicles and aboard naval vessels, if you asked if Scott had found a way to evade service in Vietnam, they wouldn't have a clue, and, unless they were anti-Scott already, they wouldn't believe it. In the information age there is so much information that sorting and focus and giving the appropriate weight to anything have become incredibly difficult. Then some fact, or event, or factoid mysteriously captures the world's attention and there's a media frenzy. Like Clinton and Lewinsky. Like O. J. Simpson. And everybody in the world knows everything about it. On the flip side are the Fog Facts, important things that nobody seems able to focus on any more than the can focus on a single droplet in the mist. They are known, but not known.

But any picture could deal with the problem of light. The problem with this picture is greater than that of reflective surfaces - it's one of death. You invite a profound theme into your work when you choose cut flowers. You are talking about mortality and time moving forward. You are saying that everything, everything we see and experience and love happens uniquely and happens only once. When you take a picture of a flower in a glass you are, paradoxically, capturing evanescence. You are also showing the indifference of Nature. There is no mourning in a flower photograph, only a shrugging of the shoulders.

Presumably, it won’t be only one way. Even before the age of climate change, the literature of conservation furnished many metaphors to choose from. James Lovelock gave us the Gaia hypothesis, which conjured an image of the world as a single, evolving quasi-biological entity. Buckminster Fuller popularized “spaceship earth,” which presents the planet as a kind of desperate life raft in what Archibald MacLeish called “the enormous, empty night”; today, the phrase suggests a vivid picture of a world spinning through the solar system barnacled with enough carbon capture plants to actually stall out warming, or even reverse it, restoring as if by magic the breathability of the air between the machines. The Voyager 1 space probe gave us the “Pale Blue Dot”—the inescapable smallness, and fragility, of the entire experiment we’re engaged in, together, whether we like it or not. Personally, I think that climate change itself offers the most invigorating picture, in that even its cruelty flatters our sense of power, and in so doing calls the world, as one, to action. At least I hope it does. But that is another meaning of the climate kaleidoscope. You can choose your metaphor. You can’t choose the planet, which is the only one any of us will ever call home.

Christopher . . . are these from you?” she asked at lunch, careful to make her tone light as she placed the two picture-poems on the table. Christopher’s eyes fell to them, and he smiled. “Yes.” He didn’t ask if she liked them, and he didn’t seem embarrassed. Sarah was flustered, and somewhat surprised by Christopher’s easy confidence. Even so, her natural suspicion surfaced. “Why?” “Because,” he answered seriously, “you make a good subject. Your hair, for one, is like a shimmering waterfall. It’s so fair that it catches the light. It makes you seem like you have a halo about you. And your eyes—they’re such a pure color, not washed out at all, deep as the ocean. And your expression . . . intense and yet somehow detached, as if you see more of the world than the rest of us.” Flustered, she could think of no way to respond. Did he just say this stuff from the top of his head? Only her strict Vida control kept her from blushing. Meanwhile Nissa entered the cafeteria. She started to sit, then glanced from the pictures, to Christopher, to Sarah. “Should I go somewhere else?” Christopher nodded to a chair, answering easily, “Sit down. We aren’t exchanging dark secrets—yet.” Nissa flashed a teasing look to her brother as she took a seat. “As his sister, I feel the need to inform you, Sarah, that Christopher has been talking about you incessantly.” Christopher smiled, unembarrassed. “I suppose I might have been.’ “Especially your eyes—he never shuts up about your eyes,” Nissa confided, and this time Christopher shrugged. “They’re beautiful,” he said casually. “Beauty should be looked at, not ignored. I try to capture it on paper, but that’s really impossible with eyes, because they have a life no still portrait can capture.” Sarah’s voice was tied up so tightly she thought she might be able to speak again sometime next year. No one had ever talked about her—or to her—with such admiration.

Words are not cubicles for truth telling. Words do not allow us to touch the face of God or define the contours of the soul. Words are imprecise and cannot capture all aspects of reality or replicate all facets of a person’s emotional mélange. Language allows for limited explorations of reality and minimal probing of the human mind. I accept that the only possible relation between language and the world is the image displayed in each person’s head by the picture invoking ability of language. Select word pictures might accurately portray what I perceive and still be vague, blatantly inaccurate, completely meaningless, misleading, distorted, or incomprehensible in other persons’ minds.

Translating cold numbers into a graphic picture of the hard economic realities in the lives of ordinary people is a challenge. In the 1990s, economist Edward Hyman of the ISI Group devised the Misery Index to capture the stress on average families by costly, unavoidable items that take a big bite out of family budgets and crimp what families have left to live on. The Misery Index tracked four items— income taxes, Social Security taxes, medical costs, and interest payments. In 1960, these four items took 24 percent of family budgets; but by the 1990s, they were taking more than 42 percent. Income taxes were lower, but Social Security payroll taxes had risen along with medical costs and interest payments on mortgages and debt. In sum, necessities, not lavish spending habits, were eating up family income.

I despise people who are forever taking pictures and go around with cameras hanging from their necks, always on the lookout for a subject, snapping anything and everything, however silly. All the time they have nothing in their heads but portraying themselves, in the most distasteful manner, though they are quite oblivious of this. What they capture in their photos is a perversely distorted world that has nothing to do with the real world except this perverse distortion, for which they themselves are responsible. Photography is a vulgar addiction that is gradually taking hold of the whole of humanity, which is not only enamored of such distortion and perversion but completely sold on them, and will in due course, given the proliferation of photography, take the distorted and perverted world of the photograph to be the only real one. Practitioners of of photography are guilty of one of the worst crimes it is possible to commit--of turning nature into a grotesque. The people in their photographs are nothing but pathetic dolls, disfigured beyond recognition, staring in alarm into the pitiless lens, brainless and repellent. Photography is a base passion that has taken hold of every continent and every section of the population, a sickness that afflicts the whole of humanity and is no longer curable. The inventor of the photographic art was the inventor of the most inhumane of all arts. To him we owe the ultimate distortion of nature and the human beings who form part of it, the reduction of human beings to perverse caricatures--his and theirs. I have yet to see a photograph that shows a normal person, a true and genuine person, just as I have yet to see one that gives a true and genuine representation of nature. Photography is the greatest disaster of the twentieth century.

In the last week of April 2004, a handful of the Abu Ghraib photographs were broadcast on 60 minutes and published in The New Yorker, and within a couple of days they had been rebroadcast and republished pretty much everywhere on earth. Overnight, the human pyramid, the hooded man on the box, the young woman soldier with a prisoner on a leash, and the corpse packed in ice had become the defining images of the Iraq war...Never before had such primal dungeon scenes been so baldly captured on camera...But above all, it was the posing soldiers, mugging for their buddies' cameras while dominating the prisoners in trophy stances, that gave the photographs the sense of unruly and unmediated reality. The staging was part of the reality they documented. And the grins, the thumbs-up, the arms crossed over puffed-out chests—all this unseemly swagger and self-regard was the height of amateurism. These soldier-photographers stood, at once, inside and outside the events they recorded, watching themselves take part in the spectacle, and their decision not to conceal but to reveal what they were doing indicated that they were not just amateur photographers, but amateur torturers. So the amateurism was not merely a formal dimension of the Abu Ghraib pictures. It was part of their content, part of what we saw in them, and it corresponded to an aspect of the Iraq War that troubled and baffled nearly everyone: the reckless and slapdash ineptitude with which it had been prosecuted. It was an amateur-run war, a murky and incoherent war. It was not clear why it was waged; too many reasons were given, none had held up, and the stories we invented to explain it to ourselves hardly seemed to matter, since once it was started the war had become its own engine—not a means to an end but an end in itself. What had been billed as a war of ideas and ideals had been exposed as a war of poses and posturing.

He got up out of bed, walked across the room, and put his glowing hand to her face with hesitation. On a sigh she leaned into the imprint of his palm and the warmth of his flesh. “Is this you?” he said hoarsely. She nodded and reached out to his cheeks, which were a little red. “You’ve been crying.” He captured her hand. “I feel you.” “Me, too.” He touched her neck, her shoulder, her sternum. Brought her arm forward and looked at it…well, through it. “Um…so I can sit on things,” she said for no particular reason. “I mean…while I was waiting out there, I sat on the couch. I also moved a picture on the wall, put a penny back in your change dish, picked up a magazine. It’s a little weird, but all I have to do is concentrate.” Shit. She had no idea what she was saying. “The, ah…the Scribe Virgin said I could eat but I didn’t have to. She said…I could drink, too. I’m not sure how it all works, but she seems to know. Yeah. So. Anyway, I think it’s going to take some time to figure out the drill, but…” He put his hand into her hair and it felt the same as it had before. Her nonexistent body registered the sensations exactly as it had before. He frowned, then looked downright angry. “She said it required a sacrifice. To bring someone back. What did you give her? What did you bargain with?” “How do you mean?” “She doesn’t give things away without demanding something in return. What did she take from you?” “Nothing. She never asked me for anything.” He shook his head and seemed like he was going to speak. But then he wrapped his heavy arms around her and held her against his trembling, glowing body. Unlike the other times when she had to concentrate to find solidity, with V it just happened. Against him, she was corporeal with no effort on her part. She could tell he was crying by the way he breathed and the fact that he leaned on her, but she knew that if she made any mention of it, or tried to soothe him with words, he would stop on a dime. So she just held him and let him go. Then again, she was kind of busy holding herself together. “I thought I would never get to do this again,” he said in a voice that cracked. -Vishous & Jane

Spill-what’s the deal with Hottie McDreamMan?” “Sage?” I laughed. “No, I mean Minister Sanders.” She threw a pillow at me. “Of course I mean Sage! He’s the one, right? The guy from your dreams. Oh my God-he’s real and he’s hot! Does he kiss as well in real life as he did in your dreams?” “I wouldn’t know,” I admitted. “We haven’t kissed.” “What are you waiting for?” “So the whole randomly-popping-up-in-pictures thing doesn’t bother you?” “Nope.” “The whole strange-cultists-chasing-after-him? That doesn’t bother you either?” “Nobody’s perfect, Clea.” “How about if I told you he might be a serial killer? Would that bother you?” “Debatable. Elaborate.” I told her about the nightmares and about what I’d seen in his house. As I unrolled the story, her expression went from flip and giddy to openmouthed and riveted. “Oh my God, Clea.” “Crazy, right? And I still have no idea how he got into all those pictures.” “That part’s easy.” “Really?” “Of course,” she said. “You’re soulmates. “Rayna…” “Fine, I know, you don’t like that word. But you can’t possibly deny that you have a deep, powerful soul connection. By definition you have that. You said yourself, he found you in four different countries and four different times. Out of all the people in the world at any given time, he found you. The only possible way he could have done that is if your souls were connected. He’s a soul-seeking missile.” “But he told me he wasn’t there for any of the pictures.” “Yes, he was! Don’t you get it, Clea? Your souls are connected-he’s always with you, whether he’s there physically or not. And you’re the one who told me about cameras capturing people’s souls, right? So that’s what it’s doing-capturing the soul that’s always with you, because you’re always connected. It’s very romantic.” I thought about what she said, ignoring the last sentence because I knew by now that everything was very romantic to Rayna. “Okay,” I ceded, “I’ll give you the connection. But what about the serial killer thing? What fi we’re connected because he tracks these women down, acts like he loves them, and then kills them?” “Kills you. You’re them.” “Yeah, thanks, that’s a much nicer way to put it,” I said, rolling my eyes.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

O Come, O Come, Emmanuel “T hey shall call his name Immanuel” (which means, God with us)” (Matthew 1:23 ESV). This is perhaps our oldest Christmas carol. Historians say its roots go back to the 8th century. In its earliest form, it was a “plain song” or a chant and the monks sang it a cappella. It was sung or chanted in Latin during the seven days leading up to Christmas. Translated into English by John Mason Neale in 1851, we sing it to the tune “Veni, Emmanuel,” a 15th-century melody. Many churches sing it early in the Advent season because of its plaintive tone of expectant waiting. Traditionally Advent centers on the Old Testament preparation for the coming of the Messiah who will establish his kingdom on the earth. When the words form a prayer that Christ will come and “ransom captive Israel,” we ought to remember the long years of Babylonian captivity. Each verse of this carol features a different Old Testament name or title of the coming Messiah: “O come, O come, Emmanuel.” “O come, Thou Wisdom from on high.” “O come, Thou Rod of Jesse.” “O come, Thou Day-spring.” “O come, Thou Key of David.” “O come, Thou Lord of Might.” “O come, Desire of Nations.” This carol assumes a high level of biblical literacy. That fact might argue against singing it today because so many churchgoers don’t have any idea what “Day-spring” means or they think Jesse refers to a wrestler or maybe to a reality TV star. But that argument works both ways. We ought to sing this carol and we ought to use it as a teaching tool. Sing it—and explain it! We can see the Jewish roots of this carol in the refrain: Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. But Israel’s Messiah is also our Savior and Lord. What Israel was waiting for turns out to be the long-expected Jesus. So this carol rightly belongs to us as well. The first verse suggests the longing of the Jewish people waiting for Messiah to come: O come, O come, Emmanuel And ransom captive Israel That mourns in lonely exile here Until the Son of God appears The second verse pictures Christ redeeming us from hell and death: O come, Thou Rod of Jesse, free Thine own from Satan’s tyranny From depths of Hell Thy people save And give them victory o’er the grave This verse reminds us only Christ can take us home to heaven: O come, Thou Key of David, come, And open wide our heavenly home; Make safe the way that leads on high, And close the path to misery. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. Let’s listen as Selah captures the Jewish flavor of this carol. Lord, we pray today for all those lost in the darkness of sin. We pray for those who feel there is no hope. May the light of Jesus shine in their hearts today. Amen.

The Memory Business Steven Sasson is a tall man with a lantern jaw. In 1973, he was a freshly minted graduate of the Rensselaer Polytechnic Institute. His degree in electrical engineering led to a job with Kodak’s Apparatus Division research lab, where, a few months into his employment, Sasson’s supervisor, Gareth Lloyd, approached him with a “small” request. Fairchild Semiconductor had just invented the first “charge-coupled device” (or CCD)—an easy way to move an electronic charge around a transistor—and Kodak needed to know if these devices could be used for imaging.4 Could they ever. By 1975, working with a small team of talented technicians, Sasson used CCDs to create the world’s first digital still camera and digital recording device. Looking, as Fast Company once explained, “like a ’70s Polaroid crossed with a Speak-and-Spell,”5 the camera was the size of a toaster, weighed in at 8.5 pounds, had a resolution of 0.01 megapixel, and took up to thirty black-and-white digital images—a number chosen because it fell between twenty-four and thirty-six and was thus in alignment with the exposures available in Kodak’s roll film. It also stored shots on the only permanent storage device available back then—a cassette tape. Still, it was an astounding achievement and an incredible learning experience. Portrait of Steven Sasson with first digital camera, 2009 Source: Harvey Wang, From Darkroom to Daylight “When you demonstrate such a system,” Sasson later said, “that is, taking pictures without film and showing them on an electronic screen without printing them on paper, inside a company like Kodak in 1976, you have to get ready for a lot of questions. I thought people would ask me questions about the technology: How’d you do this? How’d you make that work? I didn’t get any of that. They asked me when it was going to be ready for prime time? When is it going to be realistic to use this? Why would anybody want to look at their pictures on an electronic screen?”6 In 1996, twenty years after this meeting took place, Kodak had 140,000 employees and a $28 billion market cap. They were effectively a category monopoly. In the United States, they controlled 90 percent of the film market and 85 percent of the camera market.7 But they had forgotten their business model. Kodak had started out in the chemistry and paper goods business, for sure, but they came to dominance by being in the convenience business. Even that doesn’t go far enough. There is still the question of what exactly Kodak was making more convenient. Was it just photography? Not even close. Photography was simply the medium of expression—but what was being expressed? The “Kodak Moment,” of course—our desire to document our lives, to capture the fleeting, to record the ephemeral. Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera? But that wasn’t how the Kodak Corporation of the late twentieth century saw it. They thought that the digital camera would undercut their chemical business and photographic paper business, essentially forcing the company into competing against itself. So they buried the technology. Nor did the executives understand how a low-resolution 0.01 megapixel image camera could hop on an exponential growth curve and eventually provide high-resolution images. So they ignored it. Instead of using their weighty position to corner the market, they were instead cornered by the market.

YOU FIRST When entering into relationships, we have a tendency to bend. We bend closer to one another, because regardless of what type of relationship it might be — romantic, business, friendship — there’s a reason you’re bringing that other person into your life, and that means the load is easier to carry if you carry it together, both bending toward the center. I picture people in relationships as two trees, leaning toward one another. Over time, as the relationship solidifies, you both become more comfortable bending, and as such bend farther, eventually resting trunk to trunk. You support each other and are stronger because of the shared strength of your root system and entwined branches. Double-tree power! But there’s a flaw in this mode of operation. Once you’ve spent some time leaning on someone else, if they disappear — because of a breakup, a business upset, a death, a move, an argument — you’re all that’s left, and far weaker than when you started. You’re a tree leaning sideways; the second foundation that once supported you is…gone. This is a big part of why the ending of particularly strong relationships can be so disruptive. When your support system presupposes two trunks — two people bearing the load, and divvying up the responsibilities; coping with the strong winds and hailstorms of life — it can be shocking and uncomfortable and incredibly difficult to function as an individual again; to be just a solitary tree, alone in the world, dealing with it all on your own. A lone tree needn’t be lonely, though. It’s most ideal, in fact, to grow tall and strong, straight up, with many branches. The strength of your trunk — your character, your professional life, your health, your sense of self — will help you cope with anything the world can throw at you, while your branches — your myriad interests, relationships, and experiences — will allow you to reach out to other trees who are likewise growing up toward the sky, rather than leaning and becoming co-dependent. Relationships of this sort, between two equally strong, independent people, tend to outlast even the most intertwined co-dependencies. Why? Because neither person worries that their world will collapse if the other disappears. It’s a relationship based on the connections between two people, not co-dependence. Being a strong individual first alleviates a great deal of jealousy, suspicion, and our innate desire to capture or cage someone else for our own benefit. Rather than worrying that our lives will end if that other person disappears, we know that they’re in our lives because they want to be; their lives won’t end if we’re not there, either. Two trees growing tall and strong, their branches intertwined, is a far sturdier image than two trees bent and twisted, tying themselves into uncomfortable knots to wrap around one another, desperately trying to prevent the other from leaving. You can choose which type of tree to be, and there’s nothing inherently wrong with either model; we all have different wants, needs, and priorities. But if you’re aiming for sturdier, more resilient relationships, it’s a safe bet that you’ll have better options and less drama if you focus on yourself and your own growth, first. Then reach out and connect with others who are doing the same.