Colour Codes Quotes

The world is awash with colours unseen and abuzz with unheard frequencies. Undetected and disregarded. The wise have always known that these inaccessible realms, these dimensions that cannot be breached by our beautifully blunt senses, hold the very codes to our existence, the invisible, electromagnetic foundations upon which our gross reality clumsily rests.

Children with autism are colourful - they are often very beautiful and, like the rainbow, they stand out.

Teachers should be made aware of visual stress symptoms and the potential difference coloured lights, overlays and lenses could make to a learners perception.

The closer we come to understanding the challenges of autism, the better we are placed to accommodate and educate without risking removing that individuality we all love.

In a world now so obsessed with speed, we teachers must step back and learn to wait.

Are we allowing individuals to develop their talents with our current teaching methods? Is there more or maybe less we should be doing?

Raphael painted not just with colour, but with code—each brushstroke concealing a secret yearning to be understood.

We’re all familiar with the Hippie dress code. Long hair, beards, psychedelic colours, sandals, lots of beads, and the women could often be seen wearing long, flowery granny dresses. So much so in fact that it became a uniform. Hippies rebelled so much against inflexible dress codes that eventually they created their own rigid styles. Hippies mutinied so much against conformity that over the course of time they were forced to play the game and comply with what everyone else was wearing. The counter-culture became a counter-counter-culture. Everyone was the same

And of all the objects under my immediate advisement I noted this yacht with the most pleasure and approval. White in colour, in size resembling a young liner, it lent a decided tone to the Chuffnell Regis foreshore.

Harry moved closer to George and muttered out of the corner of his mouth, ‘What are Skiving Snackboxes?’ ‘Range of sweets to make you ill,’ George whispered, keeping a wary eye on Mrs Weasley’s back. ‘Not seriously ill, mind, just ill enough to get you out of a class when you feel like it. Fred and I have been developing them this summer. They’re double-ended, colour-coded chews. If you eat the orange half of the Puking Pastilles, you throw up. Moment you’ve been rushed out of the lesson for the hospital wing, you swallow the purple half –’ ‘“– which restores you to full fitness, enabling you to pursue the leisure activity of your own choice during an hour that would otherwise have been devoted to unprofitable boredom.

...his size drew attention from everyone who happened to glance downwards. But Mulch quickly discovered that Mud People could find a reason to distrust almost anyone. Height, weight, skin colour, religion. It was almost safer to be different in some way.

My aim is to sort the jumble of information we throw at these children and present it in such a way that they will have a greater chance of achieving independence and fulfilment.

Actually, using the Daleks would be a masterstroke. Everyone loves Doctor Who - who wouldn't be thrilled by the sight of a real-life Dalek squadron rolling down the high street, glinting in the sun? The sheer excitement would genuinely make the accompanying loss of liberty seem worthwhile. To liven things up even more, our rasping pepperpot overlords would be colour-coded. Blue Daleks would deal with minor infractions, and would spend most of their time issuing warnings and administering minor shocks - but they'd also be chummy and approachable, and willing to pose for photographs with your nephew. Red Daleks, on the other hand, would be emotionless killing machines. Imagine the atmosphere outside a pub on a hot summer's day: a Red Dalek trundles past, and the convivial hubbub suddenly fades to a whisper. Everyone stiffens. And then he turns the corner and a communal sigh of relief goes up, and the drinking continues and the jukebox plays louder and louder... community spirit lives again. Admit it: it'd be fantastic.

[O]ur percept is an elaborate computer model in the brain, constructed on the basis of information coming from [the environment], but transformed in the head into a form in which that information can be used. Wavelength differences in the light out there become coded as 'colour' differences in the computer model in the head. Shape and other attributes are encoded in the same kind of way, encoded into a form that is convenient to handle. The sensation of seeing is, for us, very different from the sensation of hearing, but this cannot be directly due to the physical differences between light and sound. Both light and sound are, after all, translated by the respective sense organs into the same kind of nerve impulses. It is impossible to tell, from the physical attributes of a nerve impulse, whether it is conveying information about light, about sound or about smell. The reason the sensation of seeing is so different from the sensation of hearing and the sensation of smelling is that the brain finds it convenient to use different kinds of internal model of the visual world, the world of sound and the world of smell. It is because we internally use our visual information and our sound information in different ways and for different purposes that the sensations of seeing and hearing are so different. It is not directly because of the physical differences between light and sound.

We know that children with autism like order, that they are often very visual and that they can be quite literal. They deserve beautiful resources and symbols that make sense. If a picture does not explain visually, it is pointless and the child will stop looking to the pictures for information.

Sewing is a visual language. It has a voice. It has been used by people to communicate something of themselves — their history, beliefs, prayers and protests. For some, it is the only means to tell of what matters to them: those who are imprisoned or censored; those who do not know how or are not allowed to write of their lives. For them needlework can carry their autobiographies and testimonies, registering their origin and fate. Using patterns as syntax, symbols and motifs as its vocabulary, the arrangement of both as its grammar, sewing is a graphic way to add information and meaning. But is not a monologue, it is part of a conversation, a dialogue, a correspondence only fully realised once it is seen and its messages are read. It connects the maker to the viewer across time, cultures, generations and geographies. As a shared language, needlework transmits — through techniques, coded symbols, fabrics and colour — the unedited stories, not just of women, but often of those marginalised by oppression and prejudice.

Children with autism are constantly testing and pursuing truth. They are a bundle of contradictions. They love order and routine, yet often have the most amazingly inventive and creative minds. They may appear to follow rules, but are also the most likely people to come up with a revolutionary new idea. They feel emotion intensly, but often seem to struggle to read facial expressions.

Cheshire continued to work on the game in his spare time, but it would never reach a wide audience on the aging, underpowered BBC Micro. If the game were to survive, it had to move to a newer platform. The Mac was the obvious choice. Unlike the PC, it had built-in networking capabilities and a standardised graphical interface, and the same piece of code could run on every Mac from the Mac Plus onwards – regardless of colour capabilities or screen size. It would take less work to do a better game.

But there’s no chance I can possibly be truthful for this particular assessment. Because if I was, I would need to admit that beauty for me is a quiet girl with a brilliant mind, a debate team captain with a calm voice and textbooks covered in colour-coded annotations. Beauty for me is a girl with cold skin and a faraway gaze, a girl who loves children’s books but rarely laughs. Beauty for me is sage-green silk and soft white wool and forget-me-not eyes. My definition of beauty starts and ends with Theodora.

The two other members of Dain's spy troupe also have code names. There's the lean, handsome faerie that looks at least part human, who winks and tells me to call him the Ghost. He has sandy-coloured hair, which is normal for a mortal, but is unusual for a faerie, and ears that come to very subtle points. The other is a tiny, delicate girl, her skin the dappled brown of a doe, her hair a cloud of white around her head, and a miniature pair of blue-grey butterfly wings on her back. She's got at least some pixie in her, if not some imp. ... 'I'm the Bomb,' she says. 'I like blowing things up.

Two Points of View If I forget, — May joy pledge this weak heart to sorrow! If I forget, — May my soul's coloured summer borrow The hueless tones of storm and rain, Of ruth and terror, shame and pain, — If I forget! Though you forget, — There is no binding code for beauty; Though you forget, — Love was your charm, but not your duty; And life's worst breeze must never bring A ruffle to your silken wing, — Though you forget. If I forget, — The salt creek may forget the ocean; If I forget, — The heart whence flows my heart's bright motion, May I sink meanlier than the worst, Abandoned, outcast, crushed, accurst, — If I forget! Though you forget, — No word of mine shall mar your pleasure; Though you forget, — You filled my barren life with treasure, You may withdraw the gift you gave, You still are lord, I still am slave, — Though you forget.

Since he belonged, even at the age of six, to that great clan which cannot keep this feeling separate from that, but must let future prospects, with their joys and sorrow, cloud what is actually at hand, since to such people even in earliest childhood any turn in the wheel of sensation has the power to crystallise and transfix the moment upon which its gloom or radiance rests, James Ramsay, sitting on the floor cutting out pictures from the illustrated catalogue of the Army and Navy stores, endowed the picture of a refrigerator, as his mother spoke, with heavenly bliss. It was fringed with joy. The wheelbarrow, the lawnmower, the sound of poplar trees, leaves whitening before rain, rooks cawing, brooms knocking, dresses rustling--all these were so coloured and distinguished in his mind that he had already his private code, his secret language, though he appeared the image of severity, with his high forehead and fierce blue eyes, impeccably candid and pure, frowning slightly at the sight of human frailty.

For the philosopher, the most interesting thing about fashion is its extraordinary anticipations. It is well known that art will often-for example, in pictures-precede the perceptible reality by years. It was possible to see streets or rooms that shone in all sorts of fiery colours long before technology, by means of illuminated signs and other arrangements, actually set them under such a light. Moreover, the sensitivity of the individual artist to what is to coming certainly far exceeds that of the grande dame. Yet fashion is in much steadier, much more precise contact with the coming thing, thanks to the incomparable nose which the feminine collective has for what lies waiting in the future. Each season brings, in its newest creations, various secret signals of things to come. Whoever understand how to read these semaphores would know in advance not only about new currents in the arts but also about new legal codes, wars and revolutions.-Here, surely lies the greatest charm of fashion, but also the difficulty of making the charming fruitful.

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

The same year that the Civil War ended, the two states among those with the largest percentage of Black people – Mississippi, with 54 percent in the 1870 census, and South Carolina, with 59 percent – passed what came to be known as “Black codes,” a repressive slate of laws to “regulate the Domestic Relations of Persons of Colour.” These laws forced freedmen into contractual labor agreements, which looked eerily similar to slavery, with white farmers. The South Carolina act even stipulated that “all persons of color who make contracts for service or labor, shall be known as servants, and those with whom they contract, shall be known as masters.” Freedmen without “some lawful and respectable employment” could be charged with vagrancy. They literally made Black unemployment a crime for Black people.

Such creatures were what they saw, because they now rigidly coded the neurons responsible for the sight. For humans too, the brain loses some of its unbounded intelligence whenever it perceives the universe across boundaries. That partial blindness remains inescapable without the ability to transcend. Impressions on our neurons are constantly being set for each of the senses, not just sight. Though we usually call the heavier impressions "stress," all impressions actually create some limitation. For illustrate: In the early 1980s, M.I.T. experts began studying how human hearing function. Hearing seems passive, but in fact every person listens quite selectively to the world and puts his own interpretation on the raw data that comes into his ears. (For example, a skilled singer hears pitch and harmony where a tone-deaf person hears noise.) One experiment involves people listening to fast, basic rhythms (1-2-3 and 1-2-3 and 1-2-3), and teaching them to hear the rhythm differently (1, 2, 3-and-l, 2, 3-and-l, 2). After the noises started to be interpreted distinctly, the participants indicated that the sounds became more vibrant and fresher. The experiment evidently had taught people to change their unseen limits somewhat. The really interesting result, however, was that when they went home these people found the colours seemed lighter, music sounded better, the taste of food immediately became more pleasant, and everyone around them seemed lovable. Just the slightest consciousness opening induced a change in reality. Meditation causes a bigger shift because it opens more channels of awareness and opens them to a deeper level. The shift does not separate us from the normal way we use our consciousness. Building borders will continue to be a fact of life. The twist provided by the rishis was to infuse this behavior with liberation, increasing it to a level which transcends the alienated ego's petty thoughts and desires. The ego typically has no choice but to actively waste life erecting one wall after another.

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Our young generation came together regardless of cultural differences, language, caste or colour on the back of the music of the moment and the international dress code of blue jeans.

Suppose you could pick up a turtle, dip his tail into coloured ink, place him on a piece of paper and make him walk around so that his tail paints a spiral shape, a pentagon or a noughts and crosses grid? This adventure introduces you to different ways that you can create shapes or line drawings using code.

colour coding to decipher. Can you work out what the colour coding means? Is it related to input vs output functions? Or perhaps it’s business vs infrastructure? Existing vs new? Buy vs build? Or maybe different people simply had different colour pens! Who knows.

All joking aside, these diagrams do suffer from one or more of the following problems: • Notation (e.g. colour coding, shapes, etc) is not explained or is inconsistent. • The purpose and meaning of elements is ambiguous. • Relationships between elements are missing or ambiguous. • Generic terms such as “business logic” are used. • Technology choices (or options, if doing up front design) are omitted. • Levels of abstraction are mixed. • Too much or too little detail. • No context or a logical starting point.

If coloured lenses can potentially stop the world seeming fragmented and put an end to nightmare distortions, then the learner with autism who shows signs of visual stress deserves to be screened.

St John had always been a fan of the RS Turbo, mainly due to the colour coded rear spoiler and air vents in the bonnet, which distinguished it from the more common and less powerful XR3i.

Our visuals must represent the truth and decode the verbal jumble so these children can find the right direction.

When teaching children with autism we must be quick to adapt, follow our instinct and go off plan.

Adapting our own perception, following rather than leading and building bridges are all keys to helping the child with autism learn.

Could some of the challenging behaviours that often partner autism begin as experiements on measuring human reactions? Are these children exploring boundaries - seeing what makes the toy squeak or the adult shriek?

Could some of the challenging behaviours that often partner autism begin as experiments on measuring human reactions? Are these children exploring boundaries - seeing what makes the toy squeak or the adult shriek?

The risk category and colour codes are to be marked in the prospectus, Statement of Additional Information (SAI), application form and any other communication related to the respective MF scheme.

To educate the investor about the risk profile of the investment securities, SEBI (Securities Exchange Board of India) has come out with colour coding of investment scheme with risk categories: BLUE indicates low risk; YELLOW indicates medium risk and BROWN indicates high risk. The

Like other living cre a t u res, plants' structural characteristics are encoded in the DNA in their cells. In other words, how a plant will re p roduce, how it will breathe, how it will come by its nutrients, its colour, smell, taste, the amount of sugar in it, and other such information, is without exception to be found in all of that plant's cells. The cells in the roots of the plant possess the knowledge of how the leaves will carry out photosynthesis, and the cells in the leaves possess the knowledge of how the roots will take water from the soil. In short, there exist a code and a blueprint for the formation of a complete new plant in every extension that leaves a plant. All the features of the mother plant, based on its inbuilt genetic information, are to be found, complete, down to the last detail in every cell of every little part that splits off from it. So, in that case, how and by whom was the information that can form a complete new plant installed in every part of the plant? The probability of all the information being totally complete and the same inside every cell of a plant cannot be attributed to chance. Nor can it be attributed to the plant itself, or the minerals in the soil that carry out this process. These are all parts of the system which make up the plant. Just as it takes a factory engineer to program production line robots, since the robots cannot come by the instructions themselves, so there must be some being which gives to plants the necessary formula for growth and re p roduction, since the plants, like the robots, cannot acquire these by themselves. It is, of course God who implanted the necessary information in the plants' cells, as in all other living things in the world. It is He who without any doubt created everything in complete form, and who is aware of all creation. God draws attention to this truth in several holy verses: He created the seven heavens one above the other. You will find no flaw in the creation of the All-Merciful. Look again-do you see any gaps? Then look again and again. Your eyes will become dazzled and exhausted. (Surat al-Mulk: 3-4) Do you not see that God sends down water from the sky and then in the morning the earth is covered in green? God is All-Subtle, AllAware. (Surat al-Hajj: 63)

there is a use-by date for everything, a statute of limitations on grief. I wish the custom of wearing a black armband could be reinstated to signal fragility and a need for gentle treatment. We are all in too much of a hurry now to move on, to demonstrate a resilience we may not feel. I long for the unspoken subtleties of the Victorian mourning code with its spectrum of colours from ebony to crimson, indicating various stages of recovery.

During the period between the wars, the term ‘alien’ became attached more and more to extraterrestrial beings, but we should remember that it had earlier roots in 19th-century race theory and politics. Hostility to aliens was institutionalized in the USA by the Chinese Exclusion Act (1882) and Anarchist Exclusion Act (1901). In this same period, quasi-humans on Mars – the favourite possibility at the turn of the 19th century – tended to be described in terms consistent with the racial hierarchy of the period. In Percy Greg’s Across the Zodiac (1880), short humans are discovered on Mars who have an Aryan appearance like Swedes or Germans. And Gustavus W. Pope, in his Journey to Mars (1894), conveniently colour-codes his own Martians into red, yellow, and blue races.

Even though the clothing cues could not be missed, Sidra was glad she had downloaded additional social references before leaving home, as the latter two genders were impossible to distinguish through physical features alone. Shons changed reproductive function multiple times throughout a standard, and were always considered fully male or female, depending on the current situation. Calling a shon by a neutral pronoun was considered an insult, unless they were in the middle of a shift. Such terms were reserved for those too young, too old, or simply unable to procreate. As neutral adults of breeding age looked exactly like their fertile counterparts, they generally did not mind the assumptions of other species where gendered pronouns were concerned, but appreciated it when the correct terms were used. Despite knowing that the kit’s Human appearance would absolve her of any pronoun mishaps, Sidra appreciated the colour-coded clothing. She loathed the idea of getting such things wrong.

Why do we as humans create art? Why is Richter’s work regarded as art while a book of Dulux colour samples is not?

Scholars argue about whether khipu should be considered a form of writing. What sources we do have mainly describe the numerical system, noting the hierarchical arrangement of colour-coded knots into decimal units, from 1 to 10,000; but it seems the most elaborate string bundles encoded records of topography and genealogy, and most likely also narratives and songs.

As the laws make clear, the world of fourth-century Rome was one of rigid social hierarchies. These legal codes speak of firm class distinctions, of snobbery distilled into subclauses. There are edicts on who may ride horses (former soldiers may; shepherds absolutely may not); on what colours one may wear (never imperial purple or gold); on who can wear jewels (definitely not actresses); on what fabrics one may dress in and on how foreign one is allowed to look (not very).

For understanding Shakespeare’s confrontation with L.A, it is important to see how these practices helped make L.A into a wasteland. Since American popular culture was self-consciously constructed as only novelty, action without precedent, or form without tradition, L.A., as the emblem of American media, was transformed into a cultural black hole (forgive the colour-coding of the metaphor). L.A., like “covered” music, seemed not only to have no taste for humanly-felt culture but even to drain authenticity from culture. American media forms, derived from this world of premeditated amnesia, seemed to reproduce on their own as formulaic knock-offs of current hits. The banality of this way of making popular culture was palpable, but the social sources of it were profound. Knock-offs were echoes of the covering processes that obscured the roots of pop songs in heart-felt working class, folk culture.

how to make notes ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1584-1589 | Added on Monday, 15 June 2015 11:21:47 wanted to share my ‘colour coded’ way of remembering things with everybody, so they too could benefit. I felt like I had stumbled upon a great secret and my discovery would be hailed. I pictured it being used in schools, colleges and everywhere else as a new memory technique. I wondered why nobody else had thought of such a simple but brilliant technique earlier. As I was waiting for him to finish making the photocopies, my eyes chanced upon small glittering stickers of cartoon characters like Tw eety bird, Fairies and Garfield and some Disney characters, which children use to decorate their books and other objects. I thought the stickers would make a nice finishing touch and I bought twenty sheets. I also came across some very beautiful printed stationery and could not resist buying about eight packets of writing sheets. They looked very beautiful and ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Note at location 1596 | Added on Monday, 15 June 2015 11:24:46 cont. how to make notes ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1590-1596 | Added on Monday, 15 June 2015 11:24:46 I also looked around the shop and discovered some water colours. I had last painted with water colours only in school. On an impulse, I bought a set of water colours and a set of brushes as well. It was like an urgent impulse inside my head that was driving me to buy all this stuff. They seemed absolutely essential. I reached home armed with my large bag of purchases and unpacked them carefully and arranged them all on my desk. Then I sat down and decorated the corners of each set of notes with tiny stickers of cartoon characters. I used highlighter pens and highlighted each set of the notes in my colour coded way with green, purple and orange. There were seventy sets to finish and I was like a woman possessed. I stayed up the whole night doing just this. I was a reservoir of energy. I just couldn' t stop. Strangely I did not feel even a little tired. ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1617-1617 | Added on Monday, 15 June 2015 11:55:29 uncannily ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1650-1650 | Added on Monday, 15 June 2015 14:48:08 besotted ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location

A rainbow is computer code in the sky. It is the subroutines of sunshine and the classifications of colour.

If I forget, — May joy pledge this weak heart to sorrow! If I forget, — May my soul's coloured summer borrow The hueless tones of storm and rain, Of ruth and terror, shame and pain, — If I forget! Though you forget, — There is no binding code for beauty; Though you forget, — Love was your charm, but not your duty; And life's worst breeze must never bring A ruffle to your silken wing, — Though you forget. If I forget, — The salt creek may forget the ocean; If I forget, — The heart whence flows my heart's bright motion, May I sink meanlier than the worst, Abandoned, outcast, crushed, accurst, — If I forget! Though you forget, — No word of mine shall mar your pleasure; Though you forget, — You filled my barren life with treasure, You may withdraw the gift you gave, You still are lord, I still am slave, — Though you forget.

Political correctness exhorts us to be as ‘inclusive’ as we can, to discriminate neither in thought, word nor deed against ethnic, sexual, religious or behavioural minorities. And in order to be inclusive we are encouraged to denigrate what is felt to be most especially ours. The Director-General of the BBC recently condemned his organization and its programmes as obnoxiously white and middle-class. Academics sneer at the curriculum established by ‘Dead White European Males’. A British race-relations charity has condemned the affirmation of a ‘British’ national identity as racist. All such abusive utterances express the code of political correctness. For although they involve the deliberate condemnation of people on grounds of class, race, sex or colour, the purpose is not to exclude the Other but to condemn Ourselves. The gentle advocacy of inclusion masks the far from gentle desire to exclude the old excluder: in other words, to repudiate the cultural inheritance that defines us.

Someone Who Does Not Wait for Your Sentence, Does Not Wait for Your Sword!

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What is the Third-Class Degree and the Colonial Education Dilemma The introduction of Macaulay’s Minute on Education in 1835, followed by Wood’s Despatch in 1854, laid the foundation for a British-style education system in colonial India. Designed to produce a class of Indians who were “Indian in blood and colour, but English in tastes, in opinions, in morals, and in intellect,” this system emphasized English-language education, liberal arts, and European epistemology, effectively displacing indigenous systems of learning rooted in Sanskrit, Persian, and Tamil traditions. Initially, Indian universities (established in Bombay, Calcutta, and Madras in 1857) adopted a rigid system of academic classification, with students qualifying for a first class at 60%, and second class at 45%. This system quickly exposed disparities in performance, particularly among students from varied caste backgrounds. While upper-caste Brahmin communities had long-standing access to education—especially in Sanskritic traditions—they struggled with the new colonial syllabus and pedagogy, which emphasized logic, Western literature, and sciences. By the late 19th century, British educators were alarmed by the high failure rates among Indian students, especially in South India, where Tamil Brahmins—despite their traditional academic roles—were not performing well under the British evaluative framework. In an effort to boost the number of graduates and maintain a steady supply of clerks and civil servants, British officials proposed the creation of a “third class” degree with a pass mark of 33%. This move was formalized in the Indian Universities Commission Report of 1902. What is notable—but often underemphasized—is how upper-caste Hindus, especially the Dwija castes (Brahmins, Kshatriyas, and Vaishyas), rallied behind the idea of introducing this lower threshold. Many of these groups, who had historically benefited from hereditary access to religious and scriptural education, were now struggling to adapt to modern, secular, and English-language education. The third-class degree became a lifeline—ironically endorsed by the very castes that later would oppose caste-based affirmative action, arguing for "merit" as the only valid criterion. The creation of a third-class degree, thus, serves as an early historical example of structural adjustment to accommodate dominant castes—a form of affirmative accommodation before the term “reservation” even entered Indian political discourse. While it was framed as a meritocratic concession to help Indian students succeed, it was in fact a policy born of practical necessity and caste-based pressure, aiming to preserve the hegemony of upper castes in the emerging modern bureaucracy. This irony becomes even more stark when viewed against the later history of Dalit and Bahujan struggles for access to education, especially in the 20th century. Leaders like Jyotirao Phule, Periyar, and Dr. B.R. Ambedkar would go on to expose how education remained deeply caste-coded. For centuries, the Dalits (Scheduled Castes) and Shudras had been denied access to learning altogether. When reservations were introduced to level the field post-Independence, these very upper-caste communities began to resist them, invoking the rhetoric of "merit"—a notion that was conveniently malleable when they needed the third class to survive colonial assessments. Thus, the colonial education system did not eliminate caste—it subtly reinforced it by repackaging privilege under new labels. The introduction of the third-class degree exemplifies how colonial policy was not caste-neutral but often aligned with the interests of dominant castes. It laid the groundwork for ongoing debates around meritocracy, reservation, and educational justice in India—a legacy that continues to shape the nation's politics and social dynamics well into the 21st century.

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