Clay Modelling Quotes

won't you celebrate with me what i have shaped into a kind of life? i had no model. born in babylon both nonwhite and woman what did i see to be except myself? i made it up here on this bridge between starshine and clay, my one hand holding tight my other hand; come celebrate with me that everyday something has tried to kill me and has failed.

The trouble with denying children the freedom to be themselves—with forcing them into an idea of what they should be, not allowing them to choose their own paths—is that all too often, the one drawing the design knows nothing of the desires of their model. Children are not formless clay, to be shaped according to the sculptor’s whim,

I too was pinched off from a piece of clay, I too modeled by omnipotence and flanked by things too wonderful for me

They to whom a boy comes asking, Who am I, and what am I to be? have need of ever so much care. Each word in answer may prove to the after-life what each finger-touch of the artist is to the clay he is modelling.

The trouble with denying children the freedom to be themselves—with forcing them into an idea of what they should be, not allowing them to choose their own paths—is that all too often, the one drawing the design knows nothing of the desires of their model. Children are not formless clay, to be shaped according to the sculptor’s whim, nor are they blank but identical dolls, waiting to be slipped into the mode that suits them best. Give ten children a toy box, and watch them select ten different toys, regardless of gender or religion or parental expectations. Children have preferences. The danger comes when they, as with any human, are denied those preferences for too long.

Ignorant: a state of not knowing what a pronoun is, or how to find the square root of 27.4, and merely knowing childish and useless things like which of the seventy almost identical-looking species of the purple sea snake are the deadly ones, how to treat the poisonous pith of the Sago-sago tree to make a nourishing gruel, how to foretell the weather by the movements of the tree-climbing Burglar Crab, how to navigate across a thousand miles of featureless ocean by means of a piece of string and a small clay model of your grandfather, how to get essential vitamins from the liver of the ferocious Ice Bear, and other such trivial matters. It’s a strange thing that when everyone becomes educated, everyone knows about the pronoun but no one knows about the Sago-sago.

For careers you say you went to be remembered for your art Your obsessions get you known throughout the school for being strange Making life-size models of the Velvet Underground in clay

In Pliny I read about the invention of clay modeling. A Sicyonian potter came to Corinth. There his daughter fell in love with a young man who had to make frequent long journeys away from the city. When he sat with her at home, she used to trace the outline of his shadow that a candle’s light cast on the wall. Then, in his absence she worked over the profile, deepening, so that she might enjoy his face, and remember. One day the father slapped some potter’s clay over the gouged plaster; when the clay hardened he removed it, baked it, and "showed it abroad" (63).

Then, abruptly, it was his turn to feel ashamed, not only for having extended, however momentarily, the consideration of his sympathy to a Nazi, but for having produced work that appealed to such a man. Joe was not the early creator of comic books to perceive the mirror-image fascism inherent in his anti-fascist superman - Will Eisner, another Jew cartoonist, quite deliberately dressed his Allied-hero Blackhawks in uniforms modeled on the elegant death's-head garb of the Waffen SS. But Joe was perhaps the first to feel the shame of glorifying, in the name of democracy and freedom, the vengeful brutality of a very strong man. [...] Now it occurred to Joe to wonder if all they have been doing all along, was indulging their own worst impulses and assuring the creation of another generation of men who revered only strength and domination.

The art of literature stands apart from among its sisters, because the material in which the literary artist works is the dialect of life; hence, on the one hand, a strange freshness and immediacy of address to the public mind, which is ready prepared to understand it; but hence, on the other, a singular limitation.  The sister arts enjoy the use of a plastic and ductile material, like the modeller’s clay; literature alone is condemned to work in mosaic with finite and quite rigid words.

I never felt happier, I never understood nature better, even down to the veriest stem or smallest blade of grass; and yet I am unable to express myself: my powers of execution are so weak, everything seems to swim and float before me, so that I cannot make a clear, bold outline. But I fancy I should succeed better if I had some clay or wax to model.

Inside our gift-wrapped packages there was a doll, kitchen utensils, modeling clay, a recipe book, crayons, a year’s subscription to France Loisirs, a princess outfit, and a magic wand.

Self-questioning is a far more essential ingredient in life than I ever supposed. It’s the water that keeps the modeling clay of our life from hardening into something forever rigid and unchanging.

The objects in my palm seemed to cower there, absolutely still, like little animals in hibernation, sending me no signal at all. They often left me with an uncertain feeling, as though I were trying to make images of the clouds in the sky out of modeling clay.

From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) trapshooting looks comparatively easy, because now the stocky older guy who's replaced the trim bearded guy at the rail is also blowing these little fluorescent plates away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir's wake; (c) a clay pigeon, when shot, undergoes a frighteningly familiar-looking midflight peripeteia -- erupting material, changing vector, and plummeting seaward in a corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster. All the shooters who precede me seem to fire with a kind of casual scorn, and all get eight out of ten or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are L. L. Bean-model-type brothers who spend weeks every year hunting various fast-flying species with their "Papa" in southern Canada, and the last has got not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own trapshooting range in his backyard (31) in North Carolina. When it's finally my turn, the earmuffs they give me have somebody else's ear-oil on them and don't fit my head very well. The gun itself is shockingly heavy and stinks of what I'm told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek NCOs seem extremely bored. I am handed the heavy gun and told to "be bracing a hip" against the aft rail and then to place the stock of the weapon against, no, not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm. (My initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.) Let's not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own trapshooting score was noticeably lower than the other entrants' scores, then simply make a few disinterested observations for the benefit of any novice contemplating trapshooting from a 7NC Megaship, and then we'll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips. (2) A lot of the advice in (1) boils down to exhortations to "lead" the launched pigeon, but nobody explains whether this means that the gun's barrel should move across the sky with the pigeon or should instead sort of lie in static ambush along some point in the pigeon's projected path. (3) Whatever a "hair trigger" is, a shotgun does not have one. (4) If you've never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (5) The well-known "kick" of a fired shotgun is no misnomer; it knocks you back several steps with your arms pinwheeling wildly for balance, which when you're holding a still-loaded gun results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above. Finally, (6), know that an unshot discus's movement against the vast lapis lazuli dome of the open ocean's sky is sun-like -- i.e., orange and parabolic and right-to-left -- and that its disappearance into the sea is edge-first and splashless and sad.

I know hiding your prejudice behind your ignorance isn’t enough. Because I have been the mom scrambling to provide my four-year-old with a somewhat intelligent, unproblematic answer when he went through a phase of questioning bindis (and fashioning his own replicas out of modeling clay). Ignoring things I don’t understand can’t be an option given that I am guiding the next generation.

Epigraph won’t you celebrate with me what i have shaped into a kind of life? i had no model. born in babylon both nonwhite and woman what did i see to be except myself? i made it up here on this bridge between starshine and clay, my one hand holding tight my other hand; come celebrate with me that everyday something has tried to kill me and has failed. —“won’t you celebrate with me,” Lucille Clifton

Jasper was clearly impressed. "Katie," he said, "I didn't realize you knew so much about dinosaurs." "Yeah," said Katie resentfully. "I had to redo a class project on them when I was in fifth grade. They asked us to make a model of a dinosaur, so I made one by covering one of my old Star-Wonder Glitter Ponies with clay. You know, I gave him wings and stuff. The teacher didn't like it because he said there wasn't a real dinosaur that had wings and four legs. And a pink-and-blue sparkly mane. He gave me a D-minus and said it was a sad day for paleontology.

Woman thus emerged as the inessential who never returned to the essential, as the absolute Other, without reciprocity. All the creation myths express this conviction that is precious to the male, for example, the Genesis legend, which, through Christianity, has spanned Western civilization. Eve was not formed at the same time as man; she was not made either from a different substance or from the same clay that Adam was modeled from: she was drawn from the first male’s flank. Even her birth was not autonomous; God did not spontaneously choose to create her for herself and to be directly worshiped in turn: he destined her for man; he gave her to Adam to save him from loneliness, her spouse is her origin and her finality; she is his complement in the inessential mode. Thus, she appears a privileged prey. She is nature raised to the transparency of consciousness; she is a naturally submissive consciousness. And therein lies the marvelous hope that man has often placed in woman: he hopes to accomplish himself as being through carnally possessing a being while making confirmed in his freedom by a docile freedom. No man would consent to being a woman, but all want there to be women. “Thank God for creating woman.” “Nature is good because it gave men woman.” In these and other similar phrases, man once more asserts arrogantly and naively that his presence in this world is an inevitable fact and a right, that of woman is a simple accident—but a fortunate one. Appearing as the Other, woman appears at the same time as a plenitude of being by opposition to the nothingness of existence that man experiences in itself; the Other, posited as object in the subject’s eyes, is posited as in-itself, thus as being. Woman embodies positively the lack the existent carries in his heart, and man hopes to realize himself by finding himself through her.

Here I should issue a caveat. In origins-of-life research (and probably in most other disciplines as well), scientists gravitate to models that highlight their personal scientific specialty. Organic chemist Stanley Miller and his cohorts saw life’s origins as essentially a problem in organic chemistry. Geochemists, by contrast, have tended to focus on more intricate origins scenarios involving such variables as temperature and pressure and chemically complex rocks. Experts in membrane-forming lipid molecules promote the “lipid world,” while molecular biologists who study DNA and RNA view the “RNA world” as the model to beat. Specialists who study viruses, or metabolism, or clays, or the deep biosphere have their idiosyncratic prejudices as well. We all do it; we all focus

More or less the same can be said for Art Therapy, which is organized infantilism. Our class was run by a delirious young woman with a fixed, indefatigable smile, who was plainly trained at a school offering courses in Teaching Art to the Mentally Ill; not even a teacher of very young retarded children could have been compelled to bestow, without deliberate instruction, such orchestrated chuckles and coos. Unwinding long rolls of slippery mural paper, she would tell us to take our crayons and make drawings illustrative of themes that we ourselves had chosen. For example: My House. In humiliated rage I obeyed, drawing a square, with a door and four cross-eyed windows, a chimney on top issuing forth a curlicue of smoke. She showered me with praise, and as the weeks advanced and my health improved so did my sense of comedy. I began to dabble happily in colored modeling clay, sculpting at first a horrid little green skull with bared teeth, which our teacher pronounced a splendid replica of my depression. I then proceeded through intermediate stages of recuperation to a rosy and cherubic head with a “Have-a- Nice-Day” smile. Coinciding as it did with the time of my release, this creation truly overjoyed my instructress (whom I’d become fond of in spite of myself), since, as she told me, it was emblematic of my recovery and therefore but one more example of the triumph over disease by Art Therapy.

Sometimes life could be astonishingly efficient in dispensing mortifications. In the space of a minute, she would be exposed before three male visitors to be both freakishly tall and an abominably poor sculptor. What would come next? Perhaps her father would invite the men to count her freckles, one by one. They’d be here until moonrise. Suddenly, Bramwell was at her side. “This?” he asked, touching a finger to the model’s edge. She cringed, wishing she could deny it. “Yes, thank you.” As he retrieved the model from the shelf, she stole glances at him out of the corner of her eye. She had to admit, the Rycliff title suited him. Give the man a mace and a chain mail vest, and she could easily have mistaken him for a medieval warrior, squeezed through some rocky gap in the centuries to emerge in modern day. From the sheer size of him, large and solid all over, to that squared jaw, shadowed with a day’s or more growth of whiskers. He moved with more power than grace, and he wore his dark hair long, tied back at his nape with a bit of leather cord. And the way he’d looked at her just before that kiss-as though he would devour her, and she would enjoy it-was straight from the Dark Ages. As he presented the crumbling mess of sun-dried clay and pasted-on moss, Susanna fought the urge to blow dust off the thing. Evidently the maids couldn’t reach this shelf, either. “Isn’t it clever?” Her father took the model from Bramwell’s hands and held it up. “Susanna made this when she was fifteen years old.” “Fourteen,” she corrected, cursing herself a moment later. Because “fourteen” somehow made it better?

Study Successful People & Businesses, then do what they did to become successful while making slight modifications to fit your life style, your values, your business model & your goals.

One great new idea is Squishy Circuits – edible conductive and non-conductive dough that you mold just like regular modeling clay,

In this way, we make a molehill out of a mountain, leaving for the child a mix of toys that they enjoy most consistently, and for the longest periods of time. Rarely are these favorites complex, or motorized; rarely do they “do” anything. The toys that are too detailed or complicated—too “fixed”—can rob a child of an imaginative experience. Dear nighttime toys can never disappear. Even if they are totally hideous, dear nighttime toys are nonnegotiable. The remaining toys have to include a mixture of active toys: building, digging, construction toys; and more receptive toys, such as dolls and stuffed animals, toys that just receive. There can also be creative materials, such as paints, crayons, and some modeling substances, such as beeswax or clay. The toys with staying power are usually—not always, but pretty consistently—figures of some sort, either dolls or knights or stuffed animals; building toys; and scenes or dwellings of some sort, into which the child loves to project his or her figures, and thus themselves.

Create your 3D Female Fantacy Warrior Character Model and Texturing by GameYan Studio. 3D Game Art Studio are among the most popular entertainment medium for people worldwide and take them into a highly interactive fantastic world that can exist only in imaginations. What are 3D games without the famous 3D character Modelling who have awed a generation? We are experts at creating 3d characters that appear extraordinarily appealing and more than graphics. Our main focus is on the 3D character Modeling and rigging for game development, Movie and short films, cinematic video content, TV advertisement & commercials animation content. Our Professional Team Of Artists Can Develop Variety Of 3d Art Content For Movie And Video Games Along With Low Optimized Characters For Mobile And Virtual Reality Interactive Games. In our modern digital workflows we use software like Autodesk Maya and ZBrush to get that same effect. This combination of tools is like working with digital clay—we are able to create a base model of the design and then sculpt on more complex details and anatomical notes. Once a Game Character Modelling Studio is finalized it’s ready for rigging and the rest of the animation pipeline. This art of modeling and Character sculpting studio characters is a wonderful blend of the technical and creative sides of the brain and a highly rewarding profession. Our team amazes you with their 3D character Models talent and expertise. We break the boundaries with our real to world 3D characters and animations, delivering a near-to-life gaming experience to the game players. Our team of highly skilled and creative 3D artists and developers generate 3D character models using the latest techniques and trends that give your game a competitive edge in the market. With our groundbreaking 3D Character Modeling Services, we deliver fantastic 3D Character Modelling for Games with the highest level of image quality with low poly game character resolution.

Trust is fragile. You have to be careful with it. It’s easy to break someone’s trust, even if you love them. I’m not saying it’s not an important component of a relationship, but it can’t be everything. I was an ornery child, who occasionally got into fights and told many white lies. My parents didn’t always trust me, but they always loved me. They forgave my mistakes and my lies. You have to treat trust like modeling clay that can be broken and repaired a million times, not like a priceless vase that belonged to your dead grandmother.

Shirky principle, named after economics writer Clay Shirky. The Shirky principle states, Institutions will try to preserve the problem to which they are the solution.

Stop!” cried Genevieve, her eyes flashing and her cheeks flaming with indignation. “I have had enough of that. I asked you your opinion on the Indian question and instead you are giving me the model by which you expect to mold your future wife. You had better get one of clay or putty as that will turn into any shape you wish to mold it. You say I have disgraced myself by laboring among the ignorant, idle, treacherous Indians; but never in all the years I have dwelt among them have I been subjected to the insult your words imply. I asked you for an opinion; you have given me vituperation; and not being content with slandering the Indians, you begin on me. Oh, if I pretended to be a man, I’d be a man, and not a sniveling coward. If you were a man, I would reason with you, but you do not understand the first principles of logic.

No nation influenced American thinking more profoundly than Germany, W.E.B. DuBois, Charles Beard, Walter Weyl, Richard Ely, Richard Ely, Nicholas Murray Butler, and countless other founders of modern American liberalism were among the nine thousand Americans who studied in German universities during the nineteenth century. When the American Economic Association was formed, five of the six first officers had studied in Germany. At least twenty of its first twenty-six presidents had as well. In 1906 a professor at Yale polled the top 116 economists and social scientists in America; more than half had studied in Germany for at least a year. By their own testimony, these intellectuals felt "liberated" by the experience of studying in an intellectual environment predicated on the assumption that experts could mold society like clay. No European statesman loomed larger in the minds and hearts of American progressives than Otto von Bismarck. As inconvenient as it may be for those who have been taught "the continuity between Bismarck and Hitler", writes Eric Goldman, Bismarck's Germany was "a catalytic of American progressive thought". Bismarck's "top-down socialism", which delivered the eight-hour workday, healthcare, social insurance, and the like, was the gold standard for enlightened social policy. "Give the working-man the right to work as long as he is healthy; assure him care when he is sick; assure him maintenance when he is old", he famously told the Reichstag in 1862. Bismarck was the original "Third Way" figure who triangulated between both ends of the ideological spectrum. "A government must not waver once it has chosen its course. It must not look to the left or right but go forward", he proclaimed. Teddy Roosevelt's 1912 national Progressive Party platform conspicuously borrowed from the Prussian model. Twenty-five years earlier, the political scientist Woodrow Wilson wrote that Bismarck's welfare state was an "admirable system . . . the most studied and most nearly perfected" in the world.

15: The Seal of the Wisdom of Prophethood in the Word of 'Isa (Jesus) He was manifested from the water of Maryam and the breath of Jibril in the form of man existing from clay. The spirit was in an essence purified of nature which it called prison. For that reason, the spirit stayed in it for more a thousand years in the designation of time. (1) A spirit from Allah, no other. For that reason, he revived the dead and formed the bird from clay. Since his relation with his Lord is proven, by it he has effective action in both the higher and lower worlds. Allah purified his body, and made his spirit pure, and He made him a model of taking-form.

The “East Asian development model” is an adaptation of the strategy advocated by German economist Friedrich List (1789–1846), which in turn drew inspiration from the “American System” created in the early United States by Alexander Hamilton and Henry Clay. The United States and Bismarck’s Germany (which adopted much of List’s program) were the two most successful “catch-up” economies of the nineteenth century. Japan’s first modernization drive, which turned it from an agrarian feudal state to Asia’s first industrial power in the decades after 1870, more or less copied the German model.17

She asked for clay and started to make models and sculptures. She

There are at least four Sumerian narratives that explain the origin of man. They are so different that we must assume a plurality of traditions. One myth relates that the first human beings sprouted from the ground like the plants. According to another version, man was fashioned from clay by certain divine artisans; then the goddess Nammu modeled a heart for him, and En-ki gave him life.

It is good to model from the unformed clay of society a bust that will be memorable for eternity

Now, using the clay make a model of your experience during the visualisation. Objectives The flight in a light aircraft takes clients through a range of emotions. All the way through the visualisation clients make choices for themselves. This gives them control of how their own story develops. Clients can experience different emotions throughout the flight. They are encouraged to acknowledge their own thoughts and feelings.

We often make heroes or celebrities of people for their virtues (not just their actions) in one area of their lives. Later we discover feet of clay in other areas of their lives, and we are disproportionately disillusioned. A new biography revealing hitherto unknown faults in some public figure's private life affects our view of the person as whole for the worse.' If we admire people for their virtue on the basis merely of one area of their lives, we risk being prematurely satisfied in our heroes and role models, and this will frequently lead to later disappointment, not just with the particular person but with the whole project of becoming brave, generous, or whatever.

Fredi had always focused on getting kids excited to learn. He cared less about covering the required curriculum and more about finding hands-on projects. To many students, school felt sterile and bureaucratic. Fredi’s music was just one way he tried to change the ambience. It didn’t necessarily matter if they liked it. It was enough to be different. He also fought for unstructured time in the school day. When he arrived at Carl Hayden in 1987, he started a class called Science Seminar. There was no curriculum. Fredi just told students to find something fun to build or an idea to test. Over the years, students had embarked on a variety of unusual projects. One student tried to teach color-blind rats the differences among colors. Another student constructed a 1:60 clay model of downtown Phoenix, placed it in a wind tunnel, and blew carbon dioxide across it. The goal: determine how architecture could be used to increase air circulation and help dissipate trapped air pollution. Fredi’s room became the refuge of tinkerers, inventors, and frustrated dreamers.

Morgan and Simone are a younger couple. Morgan, an albino with long, silver hair, is from Belfast, Northern Ireland. He's always joking around, and is very dramatic. He has been an actor and an artist's model. His husband, Simone, is very quiet. He's from Mexico, and is very artistic. We've spent countless hours together drawing, painting, and working with clay...Daddy Matt joined us one time, and sculpted a gift for Father Timothy. Father took one look at it, turned scarlet with embarrassment, and promptly hid it in their nightstand. I felt rather sorry for Dad, because he had worked so hard on it, and Father didn't proudly display it in the front room as he did with my work... I don't know why. It looked like a perfectly good hot dog to me. I told Father so, and he promptly sent me to my room, which was completely unfair, as I was only asking a question.

The first thing companies did with computer technology back in the 1980s was to multiply the number of choices for their customers. More colors, more styles, more features, more models, more messages, more channels, more services, more brand extensions, more SKUs. The siren call of “consumer choice” proved impossible for companies to resist. If a little choice was good, they reasoned, more choice was better. Customers loved it. For about 15 minutes. Today their lives are so cluttered by choice that they can barely breathe. Americans now see that a little choice increases their freedom, but too much takes it away. Do you really want to spend three hours learning how to use the features on your new Samsung TV? Or sort through 17 varieties each time you buy Crest toothpaste at the supermarket? Or deal with the 3,000 pages of items shown in Restoration Hardware’s 15-pound set of catalogs? Not if you have a life. Of course, none of us wants to give up this lavish banquet of choice. We just want it off the floor and out of the way. “It’s not information over-load,” media consultant Clay Shirky famously said. “It’s filter failure.” Our brains can’t handle the deluge. We’re desperate for a way to organize, access, and make use of so many options. Amazon founder Jeff Bezos called it “cognitive overhead.

I brought you some pictures of my work,” he said proudly. His name was William Weinstein, which may have explained why he left Jews off his hate list. He had been born in Brooklyn, and moved to Santa Fe ten years before. He took an envelope out of his pocket, rifled through some pictures, and handed them to Paris. They were ten-foot phallic symbols made of clay. The man had penises on the brain. “It’s very interesting work,” Paris said, pretending to be impressed. “Do you use live models?” she asked more in jest, and he nodded. “Actually, I use my own.” He thought that hysterically funny and laughed so hard he almost coughed himself to death. Along with the clay under his nails, enough of it to create another sculpture, his fingers were stained with nicotine. “Do you like to ride?” “Yes, but I haven’t in a long time. Do you?

Paris,” a Seventh Army soldier wrote his wife. “It was wonderful, but I slept on the floor because the bed was just too much like sleeping in butter.” A woman working for the OSS described fleets of vélos, odd contraptions like “canvas-covered bathtubs and drawn or propelled by motorcycles or bicycles,” carting around GIs “who little count the cost in their exuberance at being alive.” The writer Simone de Beauvoir concluded that “the easygoing manner of the young Americans incarnated liberty itself.” Troops packed movie theaters along the Champs-Élysées, and two music halls featured vaudeville shows. Post Number One of the American Legion served hamburgers and bourbon, and bars opened with names intended to entice the homesick, like The Sunny Side of the Street and New York. Army special services organized activities ranging from piano recitals to jitterbug lessons, while distributing thousands of hobby kits for sketching, clay modeling, and leather craft. The Bayeux Tapestry, long tucked away for safekeeping, reemerged in an exhibit at the Louvre, with the segment depicting the Norman defeat of the Anglo-Saxons in 1066 tactfully

History is subjective. History is alterable. History is, finally, little more than modeling clay in a very warm room.

... all this time the personality of Lincoln was gradually sinking deeper and deeper into my soul. I was modeling the man in clay, but he was being engraven still more deeply upon my heart...

Self-reliance developed fully crowds out God. A godless society fosters selfishness and creates a loveless world. And without love the world is modeling clay in his hands. He could twist it into vile and hideous shapes.

A man's character is only formed after the impressions of childhood and early youth have become blended with the indefinable and hidden influences both atavistic and of more immediate heredity. When, like soft clay, the newborn human spirit has been first fashioned by the firm hand of the modeller and then allowed to set and harden, this is the moment of the final character emerges, fixed for life. While the part played by heredity will always remains elusive and uncertain, the influence of a man's early years are not difficult to unfurl if we know where to seek and consider seriously what we find.

Harvard Business School professor and author Clay Christensen believes that you need to focus on the concept of the “job-to-be-done”; that is, when a customer buys a product, she is “hiring” it to do a particular job. Then there’s Brian Chesky of Airbnb, who said simply, “Build a product people love. Hire amazing people. What else is there to do? Everything else is fake work.” As Andrea Ovans aptly put it in her January 2015 Harvard Business Review article, “What Is a Business Model?”, it’s enough to make your head swim! For the purposes of this book, we’ll focus on the basic definition: a company’s business model describes how it generates financial returns by producing, selling, and supporting its products. What sets companies like Amazon, Google, and Facebook apart, even from other successful high-tech companies, is that they have consistently been able to design and execute business models with characteristics that allow them to quickly achieve massive scale and sustainable competitive advantage. Of course, there isn’t a single perfect business model that works for every company, and trying to find one is a waste of time. But most great business models have certain characteristics in common. If you want to find your best business model, you should try to design one that maximizes four key growth factors and minimizes two key growth limiters.