Circular Design Quotes

But Shakespeare never drank coffee. Nor did Julius Caesar, or Socrates. Alexander the Great conquered half the world without even a café latte to perk him up. The pyramids were designed and constructed without a whiff of a sniff of caffeine. Coffee was introduced to Europe only in 1615. The achievements of antiquity are quite enough to cow the modern human, but when you realize that they did it all without caffeine it becomes almost unbearable.

Like all the other arrivals to the tournament, Hank had erected a banner in front. It was a long, tapering pennant with a blue and red circular design in the center and the words GO CUBS! on both sides. Interesting," said Hugo. "What does it mean?" It was a gift from Sam," Hank explained as they entered the tent. "He said it used to represent Triumph over Adversity, but now better represents Impossible Quests and Lost Causes." I think I preferred not knowing that," said Hugo. Hank grinned. "You're a Sox fan too, hey?

When we apply the design principles of permaculture to economics, we end up with an economic ecosystem where every participant adds to and benefits from maximized productivity.

Increases in cyclicality result in increases in efficiency which result in increases in productivity which result in increases in profits.

More often than not, solutions need to be systemic in order to cultivate meaningful and lasting results.

An economy should be regenerative by design. That's what a permaculture economy is.

If we want a circular economy; a permaculture economy - we need to design decay into products and processes as opposed to disposability. Manufacturers should design materials and products to programmatically biodegrade back into an economic ecosystem. This will allow for more efficient upcycling and the cultivation of various business opportunities in the process.

A plain circular bullet is widely disdained for its banality.

Businesses are better positioned in cities that prioritize sustainability. For example, business leaders look at the architectural environment - whether or not the buildings in the city designed for efficiency and resiliency. Business leaders look at energy - whether or not solar and other renewable energy sources are designed into the city's systems. And business leaders look at a variety of other factors regarding sustainability when they're deciding where to establish or relocate a business. So cities that prioritize sustainable development are positioning themselves to be hubs of business success.

Greenwashing is a problem. That's why the practice of just sticking a label like ESG on a company or a project isn't good enough. We need to have a systemic approach. We have to approach it from the ground up with systems design, not from the top down with labels.

From a systems design and capacity sharing perspective — sometimes facilitating access to resources is better than facilitating ownership of resources.

In business, as is the case in nature, circularity amplifies profit.

Circularity is a key component of what makes forests inherently sustainable. And in the same way, circularity is a key component of what makes businesses inherently sustainable.

In the end, the term 'circularity' may just be one way to make us aware that we need a more encompassing, integrated and restorative sustainability path that includes people as much as technology and nature.

He made the analogy, sometimes, almost bitterly, between Harald’s collection of wing-cases and empty ribcages, elephant’s feet and Paradise plumes, and Harald’s interminably circular book on Design, which rambled on from difficulty to difficulty, from momentarily illuminated clearing to prickling thicket of honest doubt.

A purely capitalist ecosystem is like a wild forest — It’s beautiful and great and productive. But the application of design principles which utilize the natural capabilities already there will result in a luscious fruit garden that is more beautiful, more great, and more productive. A permaculture economy is that luscious fruit garden.

Cradle to Cradle is like good gardening; it is not about “saving” the planet but about learning to thrive on it.

Technology, I said before, is most powerful when it enables transitions—between linear and circular motion (the wheel), or between real and virtual space (the Internet). Science, in contrast, is most powerful when it elucidates rules of organization—laws—that act as lenses through which to view and organize the world. Technologists seek to liberate us from the constraints of our current realities through those transitions. Science defines those constraints, drawing the outer limits of the boundaries of possibility. Our greatest technological innovations thus carry names that claim our prowess over the world: the engine (from ingenium, or “ingenuity”) or the computer (from computare, or “reckoning together”). Our deepest scientific laws, in contrast, are often named after the limits of human knowledge: uncertainty, relativity, incompleteness, impossibility. Of all the sciences, biology is the most lawless; there are few rules to begin with, and even fewer rules that are universal. Living beings must, of course, obey the fundamental rules of physics and chemistry, but life often exists on the margins and interstices of these laws, bending them to their near-breaking limit. The universe seeks equilibriums; it prefers to disperse energy, disrupt organization, and maximize chaos. Life is designed to combat these forces. We slow down reactions, concentrate matter, and organize chemicals into compartments; we sort laundry on Wednesdays. “It sometimes seems as if curbing entropy is our quixotic purpose in the universe,” James Gleick wrote. We live in the loopholes of natural laws, seeking extensions, exceptions, and excuses.

Another way is via genetic engineering. Here the germ is inserted into plasmid that has been manipulated by scientists. This type of plasmid is circular segments of DNA extracted from bacteria to serve as a vector. Scientists can add multiple genes and whatever genes they want into this plasmid. In case of vaccines, this includes a genetic piece of the vaccine germ and normally a gene for antibiotic resistance. This means that when the toxic gene is cultured inside the yeast, it has been designed with a new genetic code that makes it resistant to the antibiotic it’s coded for. The gene-plasmid combo is inserted into a yeast cell to be replicated. When the yeast replicates, the DNA from the plasmid is reproduced as a part of the yeast DNA. Once enough cells have been replicated, the genetic material in the new and improved yeast cell is extracted and put into the vaccine. Examples of this vaccine are the acellular pertussis and hepatitis B vaccines. One thing that doesn’t seem to concern scientists is the fact that the manmade genetic combination becomes the vaccine component. This mixture of intended and unintended genetic information may cause our immune system to overreact. This can be especially complicated for a child with compromised immune system. Another concern is that this new genetic code can become integrated with our own genetic material. Yeast, for instance, is very much like human DNA. It shares about one third of our proteins.

In the present day, curb cuts are so common, both ordinary and even mundane, that most people know nothing of this history. But the resistance to their widespread implementation was protracted and fierce. Outside a few small communities like Berkeley, where vocal activists won some local implementation, there was little understanding of the chicken-or-egg problem of accessible design. “When we first talked to legislators about the issue, they told us: ‘Curb cuts, why do you need curb cuts? We never see people with disabilities out on the street. Who is going to use them?’” recalled Roberts. “They didn’t understand that their reasoning was circular.

Many speak of the legendary and gigantic starship Titanic, a majestic and luxurious cruise liner launched from the great shipbuilding asteroid complexes of Artrifactovol some hundreds of years ago now, and with good reason. It was sensationally beautiful, staggeringly huge and more pleasantly equipped than any ship in what now remains of history (see page 113 [on the Campaign for Real Time]) but it had the misfortune to be built in the very earliest days of Improbability Physics, long before this difficult and cussed branch of knowledge was fully, or at all, understood. The designers and engineers decided, in their innocence, to build a prototype Improbability Field into it, which was meant, supposedly, to ensure that it was Infinitely Improbable that anything would ever go wrong with any pan of the ship. They did not realize that because of the quasi-reciprocal and circular nature of all Improbability calculations, anything that was Infinitely Improbable was actually very likely to happen almost immediately. The starship Titanic was a monstrously pretty sight as it lay beached like a silver Arcturan Megavoidwhale among the laserlit tracery of its construction gantries, a brilliant cloud of pins and needles of light against the deep interstellar blackness; but when launched, it did not even manage to complete its very first radio message—an SOS—before undergoing a sudden and gratuitous total existence failure.

The designers and engineers decided, in their innocence, to build a prototype Improbability Field into it, which was meant, supposedly, to ensure that it was Infinitely Improbable that anything would ever go wrong with any pan of the ship. They did not realize that because of the quasi-reciprocal and circular nature of all Improbability calculations, anything that was Infinitely Improbable was actually very likely to happen almost immediately. The starship Titanic was a monstrously pretty sight as it lay beached like a silver Arcturan Megavoidwhale among the laserlit tracery of its construction gantries, a brilliant cloud of pins and needles of light against the deep interstellar blackness; but when launched, it did not even manage to complete its very first radio message—an SOS—before undergoing a sudden and gratuitous total existence failure.

Whether an activity is performed in private or in public is by no means a matter of indifference. Obviously, the character of the public realm must change in accordance with the activities admitted into it, but to a large extent the activity itself changes its own nature too. The laboring activity, though under all circumstances connected with the life process in its most elementary, biological sense, remained stationary for thousands of years, imprisoned in the eternal recurrence of the life process to which it was tied. The admission of labor to public stature, far from eliminating its character as a process—which one might have expected, remembering that bodies politic have always been designed for permanence and their laws always understood as limitations imposed upon movement—has, on the contrary, liberated this process from its circular, monotonous recurrence and transformed it into a swiftly progressing development whose results have in a few centuries totally changed the whole inhabited world. The moment laboring was liberated from the restrictions imposed by its banishment into the private realm—and this emancipation of labor was not a consequence of the emancipation of the working class, but preceded it—it was as though the growth element inherent in all organic life had completely overcome and overgrown the processes of decay by which organic life is checked and balanced in nature’s household. The social realm, where the life process has established its own public domain, has let loose an unnatural growth, so to speak, of the natural; and it is against this growth, not merely against society but against a constantly growing social realm, that the private and intimate, on the one hand, and the political (in the narrower sense of the word), on the other, have proved incapable of defending themselves. What

To enable lending to proceed when the IMF’s sustainability criteria were not met, its bureaucrats designed the “systemic risk waiver.” It was a model of circular reasoning that might well be taught to philosophy students. “Severe debt crises all carry the risks of systemic spillovers,” notes Schadler. The global financial system was deemed to be endangered if a debt payment was missed or a haircut imposed on bondholders, because “confidence” was threatened. Any haircut for bondholders might cause panic and “contagion.” So it doesn’t matter what IMF economists say regarding debt sustainability. The IMF is committed to preserving “confidence” at all costs – confidence that the troika will lend governments enough to pay their bondholders and speculators in full (but not pension funds). The systemic risk waiver means that no bondholder should lose. Labor and taxpayers must pay for the losses from risky loans, or else there will be “contagion.

[Nero] castrated the boy Sporus and actually tried to make a woman of him; and he married him with all the usual ceremonies, including a dowry and a bridal veil, took him to his house attended by a great throng, and treated him as his wife. This Sporus, decked out with the finery of the empresses and riding in a litter, he took with him to the assizes and marts of Greece, and later at Rome through the Street of the Images,​ fondly kissing him from time to time. That he even desired illicit relations with his own mother, and was kept from it by her enemies, who feared that such a help might give the reckless and insolent woman too great influence, was notorious, especially after he added to his concubines a courtesan who was said to look very like Agrippina. Even before that, so they say, whenever he rode in a litter with his mother, he had incestuous relations with her, which were betrayed by the stains on his clothing. He so prostituted his own chastity that after defiling almost every part of his body, he at last devised a kind of game, in which, covered with the skin of some wild animal, he was let loose from a cage and attacked the private parts of men and women, who were bound to stakes, and when he had sated his mad lust, was dispatched​ by his freedman Doryphorus; for he was even married to this man in the same way that he himself had married Sporus, going so far as to imitate the cries and lamentations of a maiden being deflowered. He made a palace extending all the way from the Palatine to the Esquiline, which at first he called the House of Passage, but when it was burned shortly after its completion and rebuilt, the Golden House. Its size and splendour will be sufficiently indicated by the following details. Its vestibule was large enough to contain a colossal statue of the emperor a hundred and twenty feet high; and it was so extensive that it had a triple colonnade​ a mile long. There was a pond too, like a sea, surrounded with buildings to represent cities,​ besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals. In the rest of the house all parts were overlaid with gold and adorned with gems and mother-of‑pearl. There were dining-rooms with fretted ceils of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet hall was circular and constantly revolved day and night, like the heavens. His mother offended him by too strict surveillance and criticism of his words and acts. At last terrified by her violence and threats, he determined to have her life, and after thrice attempting it by poison and finding that she had made herself immune by antidotes, he tampered with the ceiling of her bedroom, contriving a mechanical device for loosening its panels and dropping them upon her while she slept. When this leaked out through some of those connected with the plot, he devised a collapsible boat,​ to destroy her by shipwreck or by the falling in of its cabin. ...[He] offered her his contrivance, escorting her to it in high spirits and even kissing her breasts as they parted. The rest of the night he passed sleepless in intense anxiety, awaiting the outcome of his design. On learning that everything had gone wrong and that she had escaped by swimming, driven to desperation he secretly had a dagger thrown down beside her freedman Lucius Agermus, when he joyfully brought word that she was safe and sound, and then ordered that the freedman be seized and bound, on the charge of being hired to kill the emperor; that his mother be put to death, and the pretence made that she had escaped the consequences of her detected guilt by suicide.

THE IRIS OF THE EYE WAS TOO BIG TO HAVE BEEN FABRICATED AS A single rigid object. It had been built, beginning about nine hundred years ago, out of links that had been joined together into a chain; the two ends of the chain then connected to form a loop. The method would have seemed familiar to Rhys Aitken, who had used something like it to construct Izzy’s T3 torus. For him, or anyone else versed in the technological history of Old Earth, an equally useful metaphor would have been that it was a train, 157 kilometers long, made of 720 giant cars, with the nose of the locomotive joined to the tail of the caboose so that it formed a circular construct 50 kilometers in diameter. An even better analogy would have been to a roller coaster, since its purpose was to run loop-the-loops forever. The “track” on which the “train” ran was a circular groove in the iron frame of the Eye, lined with the sensors and magnets needed to supply electrodynamic suspension, so that the whole thing could spin without actually touching the Eye’s stationary frame. This was an essential design requirement given that the Great Chain had to move with a velocity of about five hundred meters per second in order to supply Earth-normal gravity to its inhabitants. Each of the links had approximately the footprint of a Manhattan city block on Old Earth. And their total number of 720 was loosely comparable to the number of such blocks that had once existed in the gridded part of Manhattan, depending on where you drew the boundaries—it was bigger than Midtown but smaller than Manhattan as a whole. Residents of the Great Chain were acutely aware of the comparison, to the point where they were mocked for having a “Manhattan complex” by residents of other habitats. They were forever freeze-framing Old Earth movies or zooming around in virtual-reality simulations of pre-Zero New York for clues as to how street and apartment living had worked in those days. They had taken as their patron saint Luisa, the eighth survivor on Cleft, a Manhattanite who had been too old to found her own race. Implicit in that was that the Great Chain—the GC, Chaintown, Chainhattan—was a place that people might move to when they wanted to separate themselves from the social environments of their home habitats, or indeed of their own races. Mixed-race people were more common there than anywhere else.

asterisks the number of times called for. Many crochet patterns are also broken down into rows (for flat crochet) and rounds (for circular crochet). Pattern repeats are often made up of a number of rows or rounds, which the designer will indicate in the pattern. At

When you talk about “saving the planet” you turn it into an ethical question, and I think you won’t solve problems if they are ethical.

what most people see in their garbage cans is just the tip of the material iceberg; the product itself contains on average only 5% of the raw materials involved in the process of making and delivering it.

The design intention behind the current industrial infrastructure is to make an attractive product that is affordable, meets regulations, performs well enough, and lasts long enough to meet market expectations

as a buyer you got the item or service you wanted, plus additives that you didn’t ask for and that may be harmful to you and your loved ones.

Once you understand the destruction taking place, unless you do something to change it, even if you never intended to cause such destruction, you become involved in a strategy of tragedy. You can continue to be engaged in that strategy of tragedy, or you can design and implement a strategy of change

Unless materials are specifically designed to ultimately become safe food for nature, composting can present problems as well.

This “solution” to pollution – dilution – is an outdated and ineffective response that does not examine the design that caused the pollution in the first place. The essential flaw remains: badly designed materials and systems that are unsuitable for indoor use.

Increasingly we are acknowledging that people (and their technologies) are just as much part of our 'ecologies' as are nature and the physical features of our planet.

As the 'circular' approach to sustainability begins to gather ground, we humans are finding ourselves within the circle, not without.

So-called 'circular' approaches - to the city, the economy, design - extend well beyond just limiting environmental impacts. They take on a more systemic, cyclical view of how physical and biological processes, together with human interactions, give rise to sustainable living environments - forming a complete self-sustaining 'ecosystem', like a closed circle.

we do not know the physics of climate system responses to warming well enough to blame most of the warming on human activities. Human causation is simply assumed. The models are designed with the assumption that the climate system was in natural balance before the Industrial Revolution, despite historical evidence to the contrary. They only produce human-caused climate change because that is the way they are designed. This is in spite of abundant evidence of past warm episodes, such as 1,000- to 2,000-year-old tree stumps being uncovered by receding glaciers; temperature proxy evidence for the Roman and Medieval Warm Periods covering that same time frame; and Arctic sea ice proxy evidence for a natural decrease in sea ice starting well before humans could be blamed. Natural warming since the Little Ice Age of a few hundred years ago is simply ignored in the design of climate models, since we do not know what caused it. Simply put, the computerized climate models support human causation of climate change because that’s what they assume from the outset. They are an example of circular reasoning. There is little to no evidence of long-term increases in heat waves, droughts, or floods. Wildfire activity has, if anything, decreased, even though poor land management practices are now making some areas more vulnerable to wildfires even without climate change. Contrary to popular perception and new reports, there is little to no evidence of increased storminess resulting from climate change. This includes tornadoes and hurricanes. Long-term increases in monetary storm damages have indeed occurred, but are due to increasing development, not worsening weather. Sea level has been rising naturally since at least the mid-1800s, well before humans could be blamed. Land subsidence in some areas (e.g. Norfolk, Miami, Galveston-Houston, New Orleans) would result in increasing flooding problems even without any sea-level rise, let alone human-induced sea-level rise causing thermal expansion of the oceans. Some evidence for recent acceleration of sea-level rise might support human causation, but the magnitude of the human component since 1950 has been only 1 inch every 30 years. Ocean acidification is now looking like a non-problem, as the evidence builds that sea life prefers somewhat more CO2, just as vegetation on land does. Given that CO2 is necessary for life on Earth, yet had been at dangerously low levels for thousands of years, the scientific community needs to stop accepting the premise that more CO2 in the atmosphere is necessarily a bad thing. Global greening has been observed by satellites over the last few decades, which is during the period of most rapid rises in atmospheric CO2. The benefits of increasing CO2 to agriculture have been calculated to be in the trillions of dollars. Crop yields continue to break records around the world, due to a combination of human ingenuity and the direct effects of CO2 on plant growth and water use efficiency. Much of this evidence is not known by our citizens, who are largely misinformed by a news media that favors alarmist stories. The scientific community is, in general, biased toward alarmism in order to maintain careers and support desired governmental energy policies. Only when the public becomes informed based upon evidence from both sides of the debate can we expect to make rational policy decisions. I hope my brief treatment of these subjects provides a step in that direction. THE END

We had been looking at some land adjoining the zoo and decided to purchase it in order to expand. There was a small house on the new property, nothing too grand, just a modest home built of brick, with three bedrooms and one bathroom. We liked the seclusion of the place most of all. The builder had tucked it in behind a macadamia orchard, but it was still right next door to the zoo. We could be part of the zoo yet apart from it at the same time. Perfect. “Make this house exactly the way you want it,” Steve told me. “This is going to be our home.” He dedicated himself to getting us moved in. I knew this would be our last stop. We wouldn’t be moving again. We laid new carpet and linoleum and installed reverse-cycle air-conditioning and heat. Ah, the luxury of having a climate-controlled house. I installed stained-glass windows in the bathroom with wildlife-themed panes, featuring a jabiru, a crocodile, and a big goanna. We also used wildlife tiles throughout, of dingoes, whales, and kangaroos. We made the house our own. We worked on the exterior grounds as well. Steve transplanted palm trees from his parents’ place on the Queensland coast and erected fences for privacy. He designed a circular driveway. As he laid the concrete, he put his own footprints and handprints in the wet cement. Then he ran into the house to fetch Bindi and me. “Come on,” he said. “Let’s all do it.” We grabbed Sui, too, and put her paw prints in, and then did Bindi, who was just eight months old. It took a couple of tries, but we got her handprints and her footprints as well, and then my own. We stood back and admired the time capsule we had created. That afternoon the rains came. The Sunshine Coast is usually bright and dry, but when it rains, the heavens open. We worried about all the concrete we had worked on getting pitted and ruined. “Get something,” Steve shouted, scrambling to gather up his tools. I ran into the house. I couldn’t find a plastic drop cloth quickly enough, so I grabbed one of my best sheets off the bed. As I watched the linen turn muddy and gray in the rain, I consoled myself. In the future I won’t care that I ruined the sheet, I thought. I’ll just be thankful that I preserved our footprints and handprints. “It’s our cave,” Steve said of our new home. We never entertained. The zoo was our social place. Living so close by, we could have easily gotten overwhelmed, so we made it a practice never to have people over. It wasn’t unfriendliness, it was simple self-preservation. Our brick residence was for our family: Steve and me, Bindi, Sui, and Shasta.

DURING THE RIDE back up to Telluride, among tablelands and cañons and red-rock debris, past the stone farmhouses and fruit orchards and Mormon spreads of the McElmo, below ruins haunted by an ancient people whose name no one knew, circular towers and cliffside towns abandoned centuries ago for reasons no one would speak of, Reef was able finally to think it through. If Webb had always been the Kieselguhr Kid, well, shouldn’t somebody ought to carry on the family business—you might say, become the Kid? It might’ve been the lack of sleep, the sheer relief of getting clear of Jeshimon, but Reef began to feel some new presence inside him, growing, inflating—gravid with what it seemed he must become, he found excuses to leave the trail now and then and set off a stick or two from the case of dynamite he had stolen from the stone powder-house at some mine. Each explosion was like the text of another sermon, preached in the voice of the thunder by some faceless but unrelenting desert prophesier who was coming more and more to ride herd on his thoughts. Now and then he creaked around in the saddle, as if seeking agreement or clarification from Webb’s blank eyes or the rictus of what would soon be a skull’s mouth. “Just getting cranked up,” he told Webb. “Expressing myself.” Back in Jeshimon he had thought that he could not bear this, but with each explosion, each night in his bedroll with the damaged and redolent corpse carefully unroped and laid on the ground beside him, he found it was easier, something he looked forward to all the alkaline day, more talk than he’d ever had with Webb alive, whistled over by the ghosts of Aztlán, entering a passage of austerity and discipline, as if undergoing down here in the world Webb’s change of status wherever he was now. . . . He had brought with him a dime novel, one of the Chums of Chance series, The Chums of Chance at the Ends of the Earth, and for a while each night he sat in the firelight and read to himself but soon found he was reading out loud to his father’s corpse, like a bedtime story, something to ease Webb’s passage into the dreamland of his death. Reef had had the book for years. He’d come across it, already dog-eared, scribbled in, torn and stained from a number of sources, including blood, while languishing in the county lockup at Socorro, New Mexico, on a charge of running a game of chance without a license. The cover showed an athletic young man (it seemed to be the fearless Lindsay Noseworth) hanging off a ballast line of an ascending airship of futuristic design, trading shots with a bestially rendered gang of Eskimos below. Reef began to read, and soon, whatever “soon” meant, became aware that he was reading in the dark, lights-out having occurred sometime, near as he could tell, between the North Cape and Franz Josef Land. As soon as he noticed the absence of light, of course, he could no longer see to read and, reluctantly, having marked his place, turned in for the night without considering any of this too odd. For the next couple of days he enjoyed a sort of dual existence, both in Socorro and at the Pole. Cellmates came and went, the Sheriff looked in from time to time, perplexed.

to release his bed, and there was probably an alcove behind it with storage, maybe some traps to keep out unwanted visitors. At least, that’s the way Leo would’ve designed it. A fire pole came down from the second floor, even though the cabin didn’t appear to have a second floor from the outside. A circular staircase led down into some kind of basement. The walls were lined with every kind of power tool Leo could imagine, plus a huge assortment of knives, swords, and other implements of destruction. A large workbench overflowed with scrap metal—screws, bolts, washers, nails, rivets, and a million other machine parts. Leo had a strong urge to shovel them all into his coat pockets. He loved that kind of stuff. But he’d need a hundred more coats to fit it all. Looking around, he could almost imagine he was back in his mom’s machine shop. Not the weapons, maybe—but the tools, the piles of scrap, the smell of grease and metal and hot engines. She would’ve loved this place. He pushed that thought away. He didn’t like painful memories. Keep moving—that was his motto. Don’t

The use of the geological record to establish the age of fossils is an exercise in Circular Reasoning.

By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.

When we say “new business designs,” we are referring to new kinds of products and services, business models, and industry models, as well as new ways of creating value for customers. “Blurring the digital and physical” means ending the traditionally clear boundary between the tangible world we live in and the virtual informational world, or “cyberspace,” typically thought of as existing inside computers. Perhaps we shouldn’t use “digital” in the definition because it’s a bit circular, but the word feels comfortable to people in a way that cyber and virtual don’t. Perhaps

Zooming into the boundary of the M-set, we find smaller and smaller island molecules, surrounded by increasingly intricate circular patterns, evocative of Oriental art, particularly in the meditative designs of Buddhism known as mandalas.

Can you imagine how incredibly quiet it was everywhere, when the gentlemen from this world" — he made a vague circular gesture towards the battalions of meditating Asians behind him — "were hatching and proclaiming their ideas? Anyone who now tries to follow these ideas in order to find the road back to what they were talking about, is faced with obstacles that would have driven an entire tribe of oriental ascetics into the ravine. The world from which they felt it so necessary to retreat would have seemed idyllic to us. We live in a vision of hell, and we have actually got used to it." He looked at his statues and continued, "We have become different people. We still look the same, but we have nothing in common with them any more. We are differently programmed. Anyone who now wants to become like them must acquire a big dose of madness first; otherwise he will no longer be able to bear the life of our world. We are not designed for their kind of life.

The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

Accompanying her were distinguished Jedi Masters Dooku and Sifo-Dyas, and a tall, powerfully built Jedi Knight named Qui-Gon Jinn, who remained standing while the rest took their designated seats at the circular table.

For thousands of years the creation of mandalas—circular, geometric designs—has been part of both Eastern and Western spiritual traditions.

A psychologist has noted the “garbage in/garbage out” circularity of “elegant experimental designs and statistical analyses applied to biologically meaningless racial categories.”20

FDM (Fused Deposition Modeling) printers There is no hard and fast classification of the FDM 3D printers Cartesian 3D Printers: These are the most common type, operating on a straightforward Cartesian coordinate system with linear rails guiding movement along the X, Y, and Z axes. They are recognized for their simplicity and reliability. Delta 3D Printers: Delta printers employ a triangular configuration of three arms attached to moving carriages at the printer's apex. The print head hangs from these carriages, executing precise movements to craft the intended object. Delta printers excel in speed and consistency, particularly in producing tall items. CoreXY 3D Printers: CoreXY printers utilize a distinctive belt-driven mechanism to maneuver the print head across the X and Y axes. This design separates the print head's motion from that of the build platform, resulting in swifter and more accurate prints. Enthusiasts favor CoreXY printers for their speed and precision. Polar 3D Printers: Polar printers feature a circular build platform and a print head that moves both radially and vertically. This configuration facilitates continuous rotation of the print bed, enabling the creation of objects with intricate geometric shapes. Polar printers are commonly employed for crafting artistic and sculptural pieces. SCARA 3D Printers: SCARA (Selective Compliance Articulated Robot Arm) printers utilize a robotic arm mechanism to navigate the print head in a two-dimensional plane. This design offers rapid and precise movement, making SCARA printers ideal for producing small, intricate objects with exceptional accuracy. Each variant of FDM 3D printer has its own strengths and is tailored to diverse applications, spanning from hobbyist endeavors to industrial-scale manufacturing.

The reason women are more likely to have to transfer is because, like most cities around the world, London’s public transport system is radial.29 What this means is that a single ‘downtown’ area has been identified and the majority of routes lead there. There will be some circular routes, concentrated in the centre. The whole thing looks rather like a spider’s web, and it is incredibly useful for commuters, who just want to get in and out of the centre of town. It is, however, less useful for everything else. And this useful/not so useful binary falls rather neatly onto the male/female binary. But while solutions like London’s hopper fare are an improvement, they are by no means standard practice worldwide. In the US, while some cities have abandoned charging for transfers (LA stopped doing this in 2014), others are sticking with it.30 Chicago for example, still charges for public transport connections.31 These charges seem particularly egregious in light of a 2016 study which revealed quite how much Chicago’s transport system is biased against typical female travel patterns.32 The study, which compared Uberpool (the car-sharing version of the popular taxi app) with public transport in Chicago, revealed that for trips downtown, the difference in time between Uberpool and public transport was negligible – around six minutes on average. But for trips between neighbourhoods, i.e. the type of travel women are likely to be making for informal work or care-giving responsibilities, Uberpool took twenty-eight minutes to make a trip that took forty-seven minutes on public transport.

Design is the first signal of human intention. When we look at plastics in our environment, if it's our intention to do these things then we must question our intentions. If it's not our intention, then what's our plan? The question becomes how we can behave in a way that works.

But Wrieto-San was, if anything, a rugged individualist, a one-man, as we say, like the lone cowboy of the Wild West films. Personally, I like to think that it was the Japanese influence that inspired him to employ a circular design for his final major work, the Guggenheim Museum of New York.

One of the key elements of circular economy thinking is designing-out waste, including and especially from the product inception phase.

You can see this effect at work in the circular labyrinths that are designed for nothing other than contemplative walking. Labyrinths function similarly to how they appear, enabling a sort of dense infolding of attention; through two-dimensional design alone, they make it possible not to walk straight through a space, nor to stand still, but something very well in between. I find myself gravitating toward these kinds of spaces—libraries, small museums, gardens, columbaria—because of the way they unfold secret and multifarious perspectives even within a fairly small area.

Open Source Circular Economy (OSCE) movement. Its worldwide network of innovators, designers and activists aims to follow in the footsteps of open-source software by creating the knowledge commons needed to unleash the full potential of circular manufacturing.

Sustainability in Packaging By Henning Weigand In November, Henning Weigand attended the Sustainability in Packaging Conference in Barcelona, Spain, an event designed to offer a 360 perspective on the key challenges and solutions the supply chain are faced with to evolve towards a circular economy. The over 500 attendees included representatives from across the entire sustainable packaging value chain, NGO, such as the Ellen MacArthur Foundation, as well as delegates from the European Union Commission.

Careful thought here will serve the Church for years to come. Churches often find themselves disconnecting their strategic plans from their grievances with church culture. Leaders see a particular problem, but we want to move past repentance right into obedience. Leadership like this only glorifies our own wisdom and righteousness. Appropriate corporate repentance magnifies the Lord of mercy in the church. Not only this, but members of our churches see what we see. When major unbiblical deviations go unaddressed, it only serves to undermine the membership’s view of the care, courage, or competency of the leadership. If we want to see something in culture change, we need to get specific. Exposition. This next stage of managing change will begin a circular process. In this stage, new identified elements of needed cultural change will be added to the existing healthy elements of culture being maintained and reinforced. The leadership team will find itself running around the process circle from exposition to illustration to incorporation to evaluation and a back again to exposition. It may take more laps than a NASCAR race, but culture will change over time. And the process must never end because the culture must be continually cultivated. Exposition is the step in the process that gives Christ-followers a tremendous confidence in the possible future for any church. While formation is always challenging, who better to understand than those the Lord is sanctifying daily? Every single day, we must come to our Bible expecting God to change us, renew us, and cause us to repent. It should be no different for the Church of God. And the means that God uses to shape individuals is the same means He will use to change a church’s culture. The teaching and preaching of God’s Word is our hope and God’s power for change. This step in culture change is so important. The Word of God is powerful to renew hearts and produce fruit among God’s people.

What about you, prince?” he purred enticingly, diverting the topic once again. “How many daring lovers have you encountered in the course of duty?” Miysis smiled—a heated smile that caught Lyre off guard. Bracing his hand on the cushion beside Lyre’s head, the griffin leaned down until their faces were close. “I’ve found a few here and there.” Lyre looked into those darkening green eyes and wondered who was playing who. Letting sensuousness slide into his body language, he touched a finger to the pattern inked on Miysis’s stomach, then slowly traced the circular design. The griffin didn’t so much as twitch. Hmm. His poker face was damn good. “I thought you were expected elsewhere,” Lyre crooned softly. “They can wait.” Miysis leaned closer. “What if I’ve decided I want your company after all?” Lyre pressed his palm flat against Miysis’s stomach.

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

The contrivance was quite fantastic, and presented the appearance of some new, highly complicated musical instrument. I remember that there were many wires of varying thickness, stretched on a series of concave sounding-boards of some dark, unlustrous metal; and above these, there depended from three horizontal bars a number of square, circular and triangular gongs. Each of these appeared to be made of a different material; some were bright as gold, or translucent as jade; others were black and opaque as jet. A small hammer-like instrument hung opposite each gong, at the end of a silver wire. Averaud proceeded to expound the scientific basis of his mechanism. The vibrational properties of the gongs, he said, were designed to neutralize with their sound-pitch all other cosmic vibrations than those of evil. He dwelt at much length on this extravagant theorem, developing it in a fashion oddly lucid. He ended his peroration: “I need one more gong to complete the instrument; and this I hope to invent very soon. The triangular room, draped in black, and without windows, forms the ideal setting for my experiment. Apart from this room, I have not ventured to make any change in the house or its grounds, for fear of deranging some propitious element or collocation of elements.” More than ever, I thought that he was mad. And, though he had professed on many occasions to abhor the evil which he planned

Okay, I've verified that there are indeed twelve towers.' 'A numeral that harkens to a surfeit of associations: months of the year, the apostles of Christ, fruits of the Cosmic Tree. The list is endless.' 'And let's not forget, the signs of the zodiac.' When he nodded, Edie continued and said, 'Okay, so we've established that twelve is a number chock-full of significance. But it's a mystery to me how these twelve towers relate to the known constellations. I thought the word "zodiac" meant "circle of animals"?' Again, Cadmon nodded. 'The word is taken from the Greek zodiakos, from which is derived the abbreviated "zoo". ' 'As you just mentioned, the signs of the zodiac are based on twelve constellations or star groups, each designated by a different animal; an ancient mnemonic device originated by the Babylonian astrologers.' 'While the circular zodiac is the more familiar design, during the Middle Ages a square zodiac containing the twelve houses was occasionally used. The triangular shape is symbolic of the fact that each house of the zodiac governs mind, body and spirit and does so throughout the course of one's life from birth through adulthood until death.

Boger knew that stories have to be accessible and that what investors want most from them is affirmation, so he molded Vertex’s slide show not as a disquisition on science or business strategy, but as a quest. The grail—the object of the quest—was structure-based design and its transcendent prize of safer, smarter, more profitable drugs. The impetus, as always in such stories, was a combination of righteousness and greed; Vertex had a better way to discover drugs than screening and biotechnology (both of which, Boger would say, were terminally limited) and was intent on capturing the spoils of its victory whole. The rationale for the quest was the company’s unique melding of disciplines and technologies, which he represented as a kind of circular flying wedge, and its scientists, who, he noted, all came from the world’s most powerful research institutions. Harvard, naturally, was a key supporting element, as was Merck, and on the financial side, Benno Schmidt. FK-506 and immunosuppression were the story’s set pieces, meant to illustrate its correctness.

The judges believed Uber and Lyft to be more powerful than they were willing to admit, but they also conceded that the companies did not have the same power over employees as an old-economy employer like Walmart. “The jury in this case will be handed a square peg and asked to choose between two round holes,” Judge Chhabria wrote. Judge Chen, meanwhile, wondered whether Uber, despite a claim of impotence at the center of the network, exerted a kind of invisible power over drivers that might give them a case. In order to define this new power, he decided to turn where few judges do: the late French philosopher Michel Foucault. In a remarkable passage, Judge Chen compared Uber’s power to that of the guards at the center of the Panopticon, which Foucault famously analyzed in Discipline and Punish. The Panopticon was a design for a circular prison building dreamed up in the eighteenth century by the philosopher Jeremy Bentham. The idea was to empower a solitary guard in the center of the building to watch over a large number of inmates, not because he was actually able to see them all at once, but because the design kept any prisoner from knowing who was being observed at any given moment. Foucault analyzed the nature and working of power in the Panopticon, and the judge found it analogous to Uber’s. He quoted a line about the “state of conscious and permanent visibility that assures the automatic functioning of power.” The judge was suggesting that the various ways in which Uber monitored, tracked, controlled, and gave feedback on the service of its drivers amounted to the “functioning of power,” even if the familiar trappings of power—ownership of assets, control over an employee’s time—were missing. The drivers weren’t like factory workers employed and regimented by a plant, yet they weren’t independent contractors who could do whatever they pleased. They could be fired for small infractions. That is power. It can be disturbing that the most influential emerging power center of our age is in the habit of denying its power, and therefore of promoting a vision of change that changes nothing meaningful while enriching itself. Its posture is not entirely cynical, though. The technology world has long maintained that the tools it creates are inherently leveling and will serve to collapse power divides rather than widen them.

I often refer to the great mythologist and American author Joseph Campbell (1904-1987) in this book. He used the designation of „hero“ to describe individuals who embark on the monumental psychological task of expanding and evolving consciousness and famously charted this journey. This hero‘s journey begins in our inherent state of blindness, separation, and suffering and progresses on a circular (as opposed to linear) route made up of stages shared by myths and legends spanning all cultures and epochs. From Buddha to Christ, Arjuna to Alice in Wonderland, the hero‘s journey is one of passing through a set of trials and phases: seeking adventure, encountering mentors, slaying demons, finding treasure, and returning home to heal others. Tibetan Buddhism‘s and Campbell‘s descriptions of the hero both offer a travel-tested road map of a meaningful life, a path of becoming fully human – we don‘t have to wander blindly, like college kids misguidedly hazed by a fraternity, or spiritual seekers abused in the thrall of a cult leader. The hero archetype is relevant to each of us, irrespective of our background, gender, temperament, or challenges, because we each have a hero gene within us capable of following the path, facing trials, and awakening for the benefit of others. Becoming a hero is what the Lam Rim describes as taking full advantage of our precious human embodiment. It‘s what Campbell saw as answering the call to adventure and following our bliss – not the hedonic bliss of chasing a high or acquiring more stuff, but the bliss of the individual soul, which, like a mountain stream, reaches and merges with the ocean of universal reality. (p. 15)

design of circular glyphs on the floor and wall in all their esoteric

One of the tricks that Logo-using children discover is that they can insert a word inside its own definition, a practice known as recursion. For instance, a child might generate a circular design consisting of many rotated squares, as follows: TO DESIGN SQUARE RIGHT 10 DESIGN END

Although the Greek philosophers thought that nature reflected an underlying order, they nevertheless believed that this order issued not from a designing mind, but from an underlying and self-evident logical principle. For this reason, many assumed that they could deduce how nature ought to behave from first principles without actually observing nature. In astronomy, for example, the Greeks (Aristotle and Ptolemy) assumed that planets must move in circular orbits. Why? Because according to the Greek cosmology, the planets moved in the “quintessential” realm of the crystalline spheres, a heavenly realm in which only perfection was possible. Since, they deduced, the most perfect form of motion was circular, the planets must move in circular orbits. What could be more logical?

There were two enormous hip baths, three wooden towel rails, and a fireguard which had probably been in use some seventy or eighty years earlier in the girls’ nursery. There were several dismantled iron bedsteads stacked against one wall, the legacy probably of servants long-dead, and a pile of circular hat boxes towering over a wicker chair with a dilapidated cushion showing signs of mouse occupancy. Tennis racquets of antique design,

Instead of copying fast fashion failures from the Global North, let’s design a future that regenerates, restores, and remembers who we are.