Compose Key Quotes

Outlaws, like lovers, poets, and tubercular composers who cough blood onto piano keys, do their finest work in the slippery rays of the moon.

Education develops the intellect; and the intellect distinguishes man from other creatures. It is education that enables man to harness nature and utilize her resources for the well-being and improvement of his life. The key for the betterment and completeness of modern living is education. But, ' Man cannot live by bread alone '. Man, after all, is also composed of intellect and soul. Therefore, education in general, and higher education in particular, must aim to provide, beyond the physical, food for the intellect and soul. That education which ignores man's intrinsic nature, and neglects his intellect and reasoning power can not be considered true education.

He knew that the very memory of the piano falsified still further the perspective in which he saw the elements of music, that the field open to the musician is not a miserable stave of seven notes, but an immeasurable keyboard (still almost entirely unknown) on which, here and there only, separated by the thick darkness of its unexplored tracts, some few among the millions of keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by a few great artists who do us the service, when they awaken in us the emotion corresponding to the theme they have discovered, of showing us what richness, what variety lies hidden, unknown to us, in that vast, unfathomed and forbidding night of our soul which we take to be an impenetrable void.

I should have written you a letter, it was too late to make the deaths of my brothers an excuse. Since they died, I wrote a book; why not a letter? A mysterious but truthful answer is that while I can gear myself up to do a novel, letters, real-life communications, are too much for me. I used to rattle them off easily enough; why is the challenge of writing to friends and acquaintances too much for me now? Because I have become such a solitary, and not in the Aristotelian sense: not a beast, not a god. Rather, a loner troubled by longings, incapable of finding a suitable language and despairing at the impossibility of composing messages in a playable key--as if I no longer understood the codes used by the estimable people who wanted to hear from me and would have so much to reply if only the impediments were taken away.

We are all beautiful instruments of God. He created many notes in music so that we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

Keep creating new chapters in your personal book and never stop re-inventing and perfecting yourself. Try new things. Pick up new hobbies and books. Travel and explore other cultures. Never stay in the same city or state for more than five years of your life. There are many heavens on earth waiting for you to discover. Seek out people with beautiful hearts and minds, not those with just beautiful style and bodies. The first kind will forever remain beautiful to you, while the other will grow stale and ugly. Learn a new language at least twice. Change your career at least thrice, and change your location often. Like all creatures in the wild, we were designed to keep moving. When a snake sheds its old skin, it becomes a more refined creature. Never stop refining and re-defining yourself. We are all beautiful instruments of God. He created many notes in music so we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

The question is, shall it or shall it not be linear history. I've always thought a kaleidoscopic view might be an interesting heresey. Shake the tube and see what comes out. Chronology irritates me. There is no chronology inside my head. I am composed of myriad Claudias who spin and mix and part like sparks of sunlight on water. The pack of cards I carry around is forever shuffled and re-shuffled; there is no sequence, everything happens at once. The machines of the new technology, I understand, perform in much the same way: all knowledge is stored, to be summoned up at the flick of a key. They sound, in theory, more efficient. Some of my keys don't work; others demand pass-words, codes, random unlocking sequences. The collective past, curiously, provides these. It is public property, but it is also deeply private. We all look differently at it. My Victorians are not your Victorians. My seventeenth century is not yours. The voice of John Aubrey, of Darwin, of whoever you like, speaks in one tone to me, in another to you.

If there were a way of putting an end to himself by some purely mental act he would put an end to himself at once, without further ado. His mind is full of stories of people who bring about their end - who methodically pay bills, write goodbye notes, burn old love letters, label keys, and then, once everything is in order, don their Sunday best and swallow down pills they have hoarded for the occasion and settle themselves on their neatly made beds and compose features for oblivion. Heroes all of them, unsung, unlauded. I am resolved not to be of any trouble.

I had to write a requiem for all those who died, who had suffered. (...) But how could I do it? I was constantly under suspicion then, and critics counted what percentage of my symphonies was in a major key and what percentage in a minor key. That oppressed me, it deprived me of the will to compose.

You are the composer and conductor and thus decide what key of life to live. I choose major over minor whenever I can.

I am..." Who was I? Daughter, sister, wife, queen, composer,; these were the titles I had been given and claimed, but they were not the whole of me. They were not me, entire. I closed my eyes. "I am," I said slowly, "a girl with music in her soul. I am a sister, daughter, a friend, who fiercely protects those dear to her. I am a girl who loves strawberries, chocolate torte, songs in a minor key, moments stolen from chores, and childish games. I am short-tempered yet disciplined. I am self-indulgent, selfish, yet selfless. I am compassion and hatred and contradiction. I am... me.

He was at that period of life when the mind of men who think is composed, in nearly equal parts, of depth and ingenuousness. A grave situation being given, he had all that is required to be stupid: one more turn of the key, and he might be sublime.

Trust is a thin line that should be used effectively. The line between the Hell and Heaven

Many people live along with you; you are not the one. Life is not enough to understand the many we have. Do not distress, open-up, explore the world.

Artist gets a closer look at the God. Artists possess positive and positive is another word of God.

It was the sound of something heavy striking something composed of flesh and bone. Hannah wasn’t sure how she knew that, but she did. And her blood ran cold.

The unconscious desire is not the content of the hidden message, it is the active designer of the form that latent thoughts get in a dream. This is why the key in psychoanalysis is not a key to a hidden meaning, but the key that “unlocks” this form itself (makes what has been associated to compose the hidden meaning dissociate). And this is what “the right word” does.

Ernst Dwinger in his Siberian Diary mentions a German lieutenant—for years a prisoner in a camp where cold and hunger were almost unbearable—who constructed himself a silent piano with wooden keys. In the most abject misery, perpetually surrounded by a ragged mob, he composed a strange music which was audible to him alone. And for us who have been thrown into hell, mysterious melodies and the torturing images of a vanished beauty will always bring us, in the midst of crime and folly, the echo of that harmonious insurrection which bears witness, throughout the centuries, to the greatness of humanity.

Programming in different languages is like composing pieces in different keys, particularly if you work at the keyboard. If you have learned or written pieces in many keys, each key will have its own special emotional aura.

Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committed’. Traditionally then, or tediously as some will think, I saw no reason to discard the Orwellian standard in considering modern literature. While a sort of etiolation, tricked out as playfulness, had its way among the non-judgemental, much good work was still done by those who weighed words as if they meant what they said. Some authors, indeed, stood by their works as if they had composed them in solitude and out of conviction. Of these, an encouraging number spoke for the ironic against the literal mind; for the generously interpreted interest of all against the renewal of what Orwell termed the ‘smelly little orthodoxies’—tribe and Faith, monotheist and polytheist, being most conspicuous among these new/old disfigurements. In the course of making a film about the decaffeinated hedonism of modern Los Angeles, I visited the house where Thomas Mann, in another time of torment, wrote Dr Faustus. My German friends were filling the streets of Munich and Berlin to combat the recrudescence of the same old shit as I read: This old, folkish layer survives in us all, and to speak as I really think, I do. not consider religion the most adequate means of keeping it under lock and key. For that, literature alone avails, humanistic science, the ideal of the free and beautiful human being. [italics mine] The path to this concept of enlightenment is not to be found in the pursuit of self-pity, or of self-love. Of course to be merely a political animal is to miss Mann’s point; while, as ever, to be an apolitical animal is to leave fellow-citizens at the mercy of Ideolo’. For the sake of argument, then, one must never let a euphemism or a false consolation pass uncontested. The truth seldom lies, but when it does lie it lies somewhere in between.

(T)here is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture... Colour - that's another thing people don't expect. In her imagination, in her dreams, everything has colour. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard room projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver, pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light.

Code should be obvious: When someone needs to make a change, they should be able to find the code to be changed easily and to make the change quickly without introducing any errors. A healthy code base maximizes our productivity, allowing us to build more features for our users both faster and more cheaply. To keep code healthy, pay attention to what is getting between the programming team and that ideal, then refactor to get closer to the ideal. But the most important thing to learn from this example is the rhythm of refactoring. Whenever I’ve shown people how I refactor, they are surprised by how small my steps are, each step leaving the code in a working state that compiles and passes its tests. I was just as surprised myself when Kent Beck showed me how to do this in a hotel room in Detroit two decades ago. The key to effective refactoring is recognizing that you go faster when you take tiny steps, the code is never broken, and you can compose those small steps into substantial changes. Remember that—and the rest is silence.

...the mode by which he "heard" the universe and projected it far beyond himself. Perhaps it was in this, I said to Albertine, this unknown quality of a unique world which no other composer had ever yet revealed, that the most authentic proof of genius lies, even more than in the content of the work itself. "Even in literature?” Albertine inquired. “Even in literature.” And thinking again of the sameness of Vinteuil’s works, I explained to Albertine that the great men of letters have never created more than a single work, or rather have never done more than refract through various media an identical beauty which they bring into the world. “If it were not so late, my sweet,” I said to her, “I would show you this quality in all the writers whose works you read while I’m asleep, I would show you the same identity as in Vinteuil. These key-phrases, which you are beginning to recognise as I do, my little Albertine, the same in the sonata, in the septet, in the other works, would be, say for instance in Barbey dAurevilly, a hidden reality revealed by a physical sign, the physiological blush...

Holy fear is the key to God's sure foundation, unlocking the treasuries of salvation, wisdom, and knowledge. Along with the love of God, it composes the very foundation of life! We will soon learn that we cannot truly love God until we fear Him, nor can we properly fear Him until we love Him.

some few among the millions of keys, keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by certain great artists who do us the service, when they awaken in us the emotion corresponding to the theme which they have found, of shewing us what richness, what variety lies hidden, unknown to us, in that great black impenetrable night, discouraging exploration, of our soul, which we have been content to regard as valueless and waste and void. Vinteuil had been one of those musicians.

If the nature-over-nurture idea that your personality is not your own hard-earned creation but a product of your genes makes you feel uneasy, how about the concept of a personality composed by the bacteria living in your gut? Mice without gut microbes are antisocial, preferring to spend time alone rather than with other mice. Whereas a mouse with a normal microbiota will choose to meet and greet any new mice added to its cage, germ-free mice stick with mice they already know. Simply having gut microbes seems to make them more friendly. Beyond friendship, it’s possible that your microbiota may even affect who you are attracted to.

spirits are composed of weak energy and are not capable of manifesting themselves into sound or sight until they come in contact with a greater amount of energy that they can borrow or take altogether. The presence of an energy source gives them the ability to manifest as sight or sound. This is key to understanding the paranormal.

In the first fright and horror of her situation, Miss Pross passed the body as far from it as she could, and ran down the stairs to call for fruitless help. Happily, she bethought herself of the consequences of what she did, in time to check herself and go back. It was dreadful to go in at the door again; but, she did go in, and even went near it, to get the bonnet and other things that she must wear. These she put on, out on the staircase, first shutting and locking the door and taking away the key. She then sat down on the stairs a few moments to breathe and to cry, and then got up and hurried away. By good fortune she had a veil on her bonnet, or she could hardly have gone along the streets without being stopped. By good fortune, too, she was naturally so peculiar in appearance as not to show disfigurement like any other woman. She needed both advantages, for the marks of gripping fingers were deep in her face, and her hair was torn, and her dress (hastily composed with unsteady hands) was clutched and dragged a hundred ways.

Organisms are Algorithms How can we be sure that animals such as pigs actually have a subjective world of needs, sensations and emotions? Aren’t we guilty of humanising animals, i.e. ascribing human qualities to non-human entities, like children believing that dolls feel love and anger? In fact, attributing emotions to pigs doesn’t humanise them. It ‘mammalises’ them. For emotions are not a uniquely human quality – they are common to all mammals (as well as to all birds and probably to some reptiles and even fish). All mammals evolved emotional abilities and needs, and from the fact that pigs are mammals we can safely deduce that they have emotions.16 In recent decades life scientists have demonstrated that emotions are not some mysterious spiritual phenomenon that is useful just for writing poetry and composing symphonies. Rather, emotions are biochemical algorithms that are vital for the survival and reproduction of all mammals. What does this mean? Well, let’s begin by explaining what an algorithm is. This is of great importance not only because this key concept will reappear in many of the following chapters, but also because the twenty-first century will be dominated by algorithms. ‘Algorithm’ is arguably the single most important concept in our world. If we want to understand our life and our future, we should make every effort to understand what an algorithm is, and how algorithms are connected with emotions. An algorithm is a methodical set of steps that can be used to make calculations, resolve problems and reach decisions. An algorithm isn’t a particular calculation, but the method followed when making the calculation.

Consider a resident of Berlin, born in 1900 and living to the ripe age of one hundred. She spent her childhood in the Hohenzollern Empire of Wilhelm II; her adult years in the Weimar Republic, the Nazi Third Reich and Communist East Germany; and she died a citizen of a democratic and reunified Germany. She had managed to be a part of five very different sociopolitical systems, though her DNA remained exactly the same. This was the key to Sapiens’ success. In a one-on-one brawl, a Neanderthal would probably have beaten a Sapiens. But in a conflict of hundreds, Neanderthals wouldn’t stand a chance. Neanderthals could share information about the whereabouts of lions, but they probably could not tell – and revise – stories about tribal spirits. Without an ability to compose fiction, Neanderthals were unable to cooperate effectively in large numbers, nor could they adapt their social behaviour to rapidly changing challenges.

Cole turned and went down the stairs to wait for the inevitable. Soon Blake would descend the stairs and into madness. But Blake had only taken his favorite parts from Cole’s little speech. Livia had tried to find him. Livia needed him to keep her safe. Blake turned to face the organ. The keys had danced mockingly like disjointed puzzle pieces before, but now…Now they waited obediently. His hands knew them. His hands could sweep them together and create. So he did. He leapt right over the Ave Maria as if Livia held his hand to help him jump. No more Ave Maria. His hands flew over the organ, composing, painting, revealing all that was within him. Blake would show Livia all he had inside for her. If she was looking for him, she didn’t hate him. If she was looking for him, he was allowed to love her. Even if Cole was right and Blake didn’t have the common sense to be with her, he could watch her, like a knight and his queen. He could protect her so she never faced anyone like Dentist again. Blake was allowed to love Livia. And he did. Blake loves Livia.

During the so-called Jazz Age, most of the music's key exponents focused their creative energy on soloing not bandleading, on improvisation not orchestration, on an interplay between individual instruments not between sections. [...] Commercial pressures, rather than artistic prerogatives, stand out as the spur that forced many early jazz players (including Armstrong, Beiderbecke, and Hines) to embrace the big band idiom. But even in the new setting, they remained improvisers, first and foremost, not orchestrators or composers.

I am..." Who was I? Daughter, sister, wife, queen, composer; these were the titles I had been given and claimed, but they were not the whole of me. They were not me, entire. I closed my eyes. "I am," I said slowly, "a girl with music in her soul. I am a sister, daughter, a friend, who fiercely protects those dear to her. I am a girl who loves strawberries, chocolate torte, songs in a minor key, moments stolen from chores, and childish games. I am short-tempered yet disciplined. I am self-indulgent, selfish, yet selfless. I am compassion and hatred and contradiction. I am... me.

The piano entered the story, bringing a new voice to the narrative. Her fingers brushed the keys, her heart straining to find satisfaction in the harmonic shifts and subtle colorings. It wasn't there. Leila closed her eyes, tried new ways of speaking a phrase - holding back, pushing forward, adding an unexpected accent, waiting a breath before the harmonic resolution. But she couldn't find it. She pushed the music forward with frantic exhilaration, dragging the orchestra behind her.  René shot her a warning look. Leila drove hard, demanding they follow, viciously attacking the finale as she searched for what eluded her. But when the last chord exploded, ringing with a rage composed of love and longing, Leila felt nothing but a drained emptiness. It was as if the reins keeping her in control, in the carefully constructed environment where she'd always created music, had snapped and broken away.  Everything had felt just beyond reach. The notes had danced before her but she'd been unable to grasp them, to own and mold them into what she wanted to say. "Brava!" Leila blinked. People stood, flooding the hall with a deluge of approval for her sacrifice on stage.

while the behaviour patterns of archaic humans remained fixed for tens of thousands of years, Sapiens could transform their social structures, the nature of their interpersonal relations, their economic activities and a host of other behaviours within a decade or two. Consider a resident o Berlin, born in 1900 and living to the ripe age of one hundred. She spent her childhood in the Hohenzollern Empire of Wilhelm II; her adult years in the Weimar Republic, the Nazi Third Reich and Communist East Germany; and she died a citizen of a democratic and reunified Germany. She had managed to be a part of five very different sociopolitical systems, though her DNA remained exactly the same. This was the key to Sapiens' success. In a one-on-one brawl, a Neanderthal would probably have beaten a Sapiens. But in a conflict of hundreds, Neanderthals wouldn't stand a chance. Neanderthals could share information about the whereabouts of lions, but they probably could not tell - and revise - stories about tribal spirits. Without an ability to compose fiction, Neanderthals were unable to cooperate effectively in large numbers, nor could they adapt their social behaviour to rapidly changing challenging. (p. 38)

Stacy smiled proudly and he filed the image of her sweet face in the section of his heart he shared with no one else ~ Brian, Song of the Snowman "Mom said if you put ears on your snowman, he’ll hear the music of the angels and sing songs to you.” ~ Stacy, Song of the Snowman The sweet promise of her embrace cured the loneliness in him. In her arms, he was whole. ~ Brian, Song of the Snowman He composed music, dreamed of the future, and kept the situations he couldn’t change at bay to the rhythm of his feet drumming on the concrete. Brian, Song of the Snowman This was as simple as his life got  rhythm, rhyme, and fingertips on cool keys. ~ Brian, Song of the Snowman

A not-so-easy pill to swallow, is the fact that much of the time, you are fighting monsters that you yourself have fashioned. Yes, there are toxic relationships, toxic individuals, but there also exists the monsters that you have fashioned with your own mind. You think you are being chased, captured, wounded, by these monsters when in fact you alone are composed of the entire capability to dismantle them piece-by-piece, because in reality they exist in your mind and you have fashioned them as the creator of your inner world, as the author of your own epic tale. In this sense, you may reassemble your world and you may remake the plot of your own story. The key is realising how much of the darkness is actually your own doing, digging for their roots, and figuring out how to begin dismantling.

Prologue In 1980, a year after my wife leapt to her death from the Silas Pearlman Bridge in Charleston, South Carolina, I moved to Italy to begin life anew, taking our small daughter with me. Our sweet Leah was not quite two when my wife, Shyla, stopped her car on the highest point of the bridge and looked over, for the last time, the city she loved so well. She had put on the emergency brake and opened the door of our car, then lifted herself up to the rail of the bridge with the delicacy and enigmatic grace that was always Shyla’s catlike gift. She was also quick-witted and funny, but she carried within her a dark side that she hid with bright allusions and an irony as finely wrought as lace. She had so mastered the strategies of camouflage that her own history had seemed a series of well-placed mirrors that kept her hidden from herself. It was nearly sunset and a tape of the Drifters’ Greatest Hits poured out of the car’s stereo. She had recently had our car serviced and the gasoline tank was full. She had paid all the bills and set up an appointment with Dr. Joseph for my teeth to be cleaned. Even in her final moments, her instincts tended toward the orderly and the functional. She had always prided herself in keeping her madness invisible and at bay; and when she could no longer fend off the voices that grew inside her, their evil set to chaos in a minor key, her breakdown enfolded upon her, like a tarpaulin pulled across that part of her brain where once there had been light. Having served her time in mental hospitals, exhausted the wide range of pharmaceuticals, and submitted herself to the priestly rites of therapists of every theoretic persuasion, she was defenseless when the black music of her subconscious sounded its elegy for her time on earth. On the rail, all eyewitnesses agreed, Shyla hesitated and looked out toward the sea and shipping lanes that cut past Fort Sumter, trying to compose herself for the last action of her life. Her beauty had always been a disquieting thing about her and as the wind from the sea caught her black hair, lifting it like streamers behind her,

Permission Granted" You do not have to choose the bruised peach or misshapen pepper others pass over. You don't have to bury your grandmother's keys underneath her camellia bush as the will states. You don't need to write a poem about your grandfather coughing up his lung into that plastic tube—the machine's wheezing almost masking the kvetching sisters in their Brooklyn kitchen. You can let the crows amaze your son without your translation of their cries. You can lie so long under this summer shower your imprint will be left when you rise. You can be stupid and simple as a heifer. Cook plum and apple turnovers in the nude. Revel in the flight of birds without dreaming of flight. Remember the taste of raw dough in your mouth as you edged a pie. Feel the skin on things vibrate. Attune yourself. Close your eyes. Hum. Each beat of the world's pulse demands only that you feel it. No thoughts. Just the single syllable: Yes ... See the homeless woman following the tunings of a dead composer? She closes her eyes and sways with the subways. Follow her down, inside, where the singing resides.

A specialist might work for years only on understanding a type of plastic composed of a particular small group of chemical elements. Generalists, meanwhile, might start in masking tape, which would lead to a surgical adhesives project, which spawned an idea for veterinary medicine. Their patents were spread across many classes. The polymaths had depth in a core area—so they had numerous patents in that area—but they were not as deep as the specialists. They also had breadth, even more than the generalists, having worked across dozens of technology classes. Repeatedly, they took expertise accrued in one domain and applied it in a completely new one, which meant they were constantly learning new technologies. Over the course of their careers, the polymaths’ breadth increased markedly as they learned about “the adjacent stuff,” while they actually lost a modicum of depth. They were the most likely to succeed in the company and to win the Carlton Award. At a company whose mission is to constantly push technological frontiers, world-leading technical specialization by itself was not the key ingredient to success.

Alex Honnold, free solo climbing phenom: The Last of the Mohicans soundtrack Rolf Potts, author of Vagabonding and others: ambitones like The Zen Effect in the key of C for 30 minutes, made by Rolfe Kent, the composer of music for movies like Sideways, Wedding Crashers, and Legally Blonde Matt Mullenweg, lead developer of WordPress, CEO of Automattic: “Everyday” by A$AP Rocky and “One Dance” by Drake Amelia Boone, the world’s most successful female obstacle course racer: “Tonight Tonight” by the Smashing Pumpkins and “Keep Your Eyes Open” by NEEDTOBREATHE Chris Young, mathematician and experimental chef: Paul Oakenfold’s “Live at the Rojan in Shanghai,” Pete Tong’s Essential Mix Jason Silva, TV and YouTube philosopher: “Time” from the Inception soundtrack by Hans Zimmer Chris Sacca: “Harlem Shake” by Baauer and “Lift Off” by Jay Z and Kanye West, featuring Beyoncé. “I can bang through an amazing amount of email with the Harlem Shake going on in the background.” Tim Ferriss: Currently I’m listening to “Circulation” by Beats Antique and “Black Out the Sun” by Sevendust, depending on whether I need flow or a jumpstart.

The onset of catastrophe is not signaled by the sense of falling through the dark to an accidental death: everything, including a catastrophe, has a moment-by-moment structure - a structure that is beyond measurement or comprehension, one that is maddeningly complex or must be conceived in quite another manner, in which the degree of complexity can be articulated only in terms of images that seem impossible to conjure - visible only if time has slowed down to the point that we see the world as indifferent owing to the available circumstances and having doomed preconditions that arrive at a perfect universal conclusion, if only because they are composed of individual intentions - because the moment is the result of unconscious choices, because a key doesn't automatically fit into the ignition, because we do not start into third gear and move down to second but we start in second and move into third, rolling down the hill then turning onto a highway above the village, because the distance before us is like looking down a tunnel, because the greenery on the boughs still smells of morning dew, because of the death of a dog and someone's badly executed maneuver when turning left, that is to say because of one choice or another, of more choices and still more choices ad infinitum, those maddening had-we-but-known choices impossible to conceptualize because the situation we find ourselves in is complicated, determined by something that is in the nature of neither God nor the devil, something whose ways are impenetrable to us and are doomed to remain so because chance is simply a matter of choosing, but the result of that which might have happened anyway.

We also find *physics*, in the widest sense of the word, concerned with the explanation of phenomena in the world; but it lies already in the nature of the explanations themselves that they cannot be sufficient. *Physics* is unable to stand on its own feet, but needs a *metaphysics* on which to support itself, whatever fine airs it may assume towards the latter. For it explains phenomena by something still more unknown than are they, namely by laws of nature resting on forces of nature, one of which is also the vital force. Certainly the whole present condition of all things in the world or in nature must necessarily be capable of explanation from purely physical causes. But such an explanation―supposing one actually succeeded so far as to be able to give it―must always just as necessarily be burdened with two essential imperfections (as it were with two sore points, or like Achilles with the vulnerable heel, or the devil with the cloven foot). On account of these imperfections, everything so explained would still really remain unexplained. The first imperfection is that the *beginning* of the chain of causes and effects that explains everything, in other words, of the connected and continuous changes, can positively *never* be reached, but, just like the limits of the world in space and time, recedes incessantly and *in infinitum*. The second imperfection is that all the efficient causes from which everything is explained always rest on something wholly inexplicable, that is, on the original *qualities* of things and the *natural forces* that make their appearance in them. By virtue of such forces they produce a definite effect, e.g., weight, hardness, impact, elasticity, heat, electricity, chemical forces, and so on, and such forces remain in every given explanation like an unknown quantity, not to be eliminated at all, in an otherwise perfectly solved algebraical equation. Accordingly there is not a fragment of clay, however little its value, that is not entirely composed of inexplicable qualities. Therefore these two inevitable defects in every purely physical, i.e., causal, explanation indicate that such an explanation can be only *relatively* true, and that its whole method and nature cannot be the only, the ultimate and hence sufficient one, in other words, cannot be the method that will ever be able to lead to the satisfactory solution of the difficult riddles of things, and to the true understanding of the world and of existence; but that the *physical* explanation, in general and as such, still requires one that is *metaphysical*, which would furnish the key to all its assumptions, but for that very reason would have to follow quite a different path. The first step to this is that we should bring to distinct consciousness and firmly retain the distinction between the two, that is, the difference between *physics* and *metaphysics*. In general this difference rests on the Kantian distinction between *phenomenon* and *thing-in-itself*. Just because Kant declared the thing-in-itself to be absolutely unknowable, there was, according to him, no *metaphysics* at all, but merely immanent knowledge, in other words mere *physics*, which can always speak only of phenomena, and together with this a critique of reason which aspires to metaphysics." ―from_The World as Will and Representation_. Translated from the German by E. F. J. Payne. In Two Volumes, Volume II, pp. 172-173

Airbnb’s strategy for photographing its hosts’ rooms offers an instructive example. Early on, Airbnb’s founders discovered that one of the key factors that increased the chances of renting a room on Airbnb was the quality of the photographs of that room. It turns out that most of us aren’t professional photographers, and our poorly composed, poorly shot cell phone pictures don’t do a good job of conveying the awesomeness of our living spaces. So the founders took to the road, visiting hosts and taking photographs for them. Obviously, personally visiting every host was hardly a scalable solution, so the the task was soon outsourced to freelance photographers. As Airbnb grew, the strategy shifted from the founders managing a short list of photographers, to an employee managing a large group of photographers, to an automated system managing a global network of photographers. Founder Brian Chesky describes this strategy succinctly: “Do everything by hand until it’s too painful, then automate it.

He said he commenced it on the deck of their vessel, in the fervor of the moment when he saw the enemy hastily retreating to their ships, and looked at the flag he had watched for so anxiously as the morning opened: that he had written some lines or brief notes that would aid him in calling them to mind upon the back of a letter which he happened to have in his pocket, and for some of the lines as he proceeded he was obliged to rely altogether on his memory, and that he finished it in the boat on his way to the shore and wrote it out as it now stands at the hotel on the night he reached Baltimore, and immediately after he arrived; he said that on the next day he immediately sent it to a printer, and directed copies to be struck off in hand-bill form, and that he — Mr. Key — believed it to have been favorably received by the Baltimore public.” In fact, Key composed the song on the back of a letter he was carrying in his pocket, and he completed it during a stay at the Indian Queen Hotel following his release. He titled his work, “Defence of Fort M’Henry.

Do You Know How Search Engine Optimization Can Help You? In order to market your website and/or business effectively, you need to have the proper information to guide you along the way. Without the right info, you'll be swinging blindly in the most competitive marketplace in the world. Read the article below and find out about some tips you can use for optimizing your website. You will need to make your website pop up in the google search results. Build a really solid website and use search engine optimization to get it found. If other local businesses in your area don't have this, you will stand out like a shining star from the crowd. When it comes to linking your keywords, whether on your own site or on someone else's, quality beats quantity any day of the week. Make sure that your keywords are linked naturally in quality content. One proper, quality link will earn you much higher placement than 10 garbage links. Since web business is a marathon, it is good to plan around quality so that you last the long haul. To know where you stand with your particular niche market, you should check on your page rank at least once a week. By checking your rank, you will find out varying information about how competitors are finding you and you will also realize what you need to do in order to shoot up in the rankings. Your goal should be a page rank of 1. To search engine optimize your website, don't include more than 150 internal linking hyperlinks on your home page. Too many internal links on one page can dilute a web page's search engine rank. Huge numbers of links also make it hard for visitors to find the information that they need quickly. A great way to get more people to your site is to list your site with Google so that when people search through Google your page will come up. Listing your site in this way, will give you a vast venue where thousands of people will be introduced to your site and to your links. The future development strategy for all companies with a web site should include a strategy for search engine optimization, getting more traffic to their site. One key point is to be aware of the use of appropriate key words. Appropriate key words should be placed strategically throughout your site, the title tag and page header are generally the most important spots for keywords, be careful with your choices. Linking to lists is very popular for website owners and bloggers and can help your search engine optimization. You can find a lot of articles on the internet that are written as a top 10 list or top 100 list of tips or small facts. If possible, present well- written articles with relevant content composed as lists with numbers, not bullets, such as "10 ways to buy a new car." It's all about what the websites want in SEO, and that's what you need to realize. It doesn't matter if you're a simple blog or a legitimate business; you still need the proper optimization if you hope to achieve a high ranking. What you've read here will help you achieve that, but you still need to put the information to good use.

The key to Lincoln’s success was his uncanny ability to break down the most complex case or issue “into its simplest elements.” He never lost a jury by fumbling with or reading from a prepared argument, relying instead “on his well-trained memory.” He aimed for intimate conversations with the jurors, as if conversing with friends. Though his arguments were “logical and profound,” they were “easy to follow,” fellow lawyer Henry Clay Whitney observed. “His language was composed of plain Anglo-Saxon words and almost always absolutely without adornment.” An Illinois judge captured the essence of Lincoln’s appeal: “He had the happy and unusual faculty of making the jury believe they—and not he—were trying the case.

This is the key: Your friend felt joy at being part of the gathering that you put together, and the effort they took to compose that thank-you note brought joy back to you. For each of you, gratitude comes from realizing that someone else is invested in you. It’s a feedback loop of love.

Who is sending the signal? What is the signal composed of? Do the neurons have meetings to discuss who does? How do all the signals going in different directions all arrive at one action?

In dreaming about what he would like to become or achieve, his goals are invariably highly individualistic. He must become the composer, the solo performer, the genius scientist who makes the unique discovery. If he is to be noticed at all, then he must be centre stage. If he can’t be centre stage in an area of interest, then he must withdraw and resort to vitriolic criticism. … General role models for INTPs are individualistic, creative and perhaps enigmatic people. Innovative free-thinkers who follow their own new paths are usually greatly respected. Famous historical figures who attract the INTP’s greatest respect are scientists, composers, inventors and, in society, revolutionary leaders and noble visionaries who bring about major change. Above all, individualism is the key factor, while vision is the most highly prized asset.

For your community of microbes – your ‘microbiome’ – your body is a planet. Some prefer the temperate forest of your scalp, some the arid plains of your forearm, some the tropical forest of your crotch or armpit. Your gut, ears, toes, mouth, eyes, skin and every surface, passage and cavity you possess teem with bacteria and fungi. You carry around more microbes than your ‘own’ cells. We are ecosystems, composed of – and decomposed by – an ecology of microbes, without which we could not grow and behave as we do. The forty-odd trillion microbes that live in and on our bodies allow us to digest food and produce key minerals that nourish us. Like the fungi that live within plants, they protect us from disease. They guide the development of our bodies and immune systems and influence our behaviour. If not kept in check, they can cause illnesses and even kill us. We are not a special case. Even bacteria have viruses within them. Even viruses can contain smaller viruses. Symbiosis is a ubiquitous feature of life.

World revolves around the person who is powerful in ethics.

God allows some people to get away with the wrong doing? They need to understand that the time is given to correct or set it right. The way the waste is pushed away by the sea, the earth never keeps one's wrong doings.

The Earth Architecture is designed in a way that no Human is powerful, only someone can pretend to be.

We do not manufacture the humans, humans are there, we just upgrade them.

God interacts with you in and out, only thing is you do not know.

When a Drop of Water falls on the floor from a 10 feet height, it gets divided into multi droplets. We Humans are Droplets of a Big Force ‘Drop’ (a divine force).

Manager comes and goes but the company remains the same.

Technically, Hard work is an auto-connector to the Heaven. Hard work is done on the negatives to attain control and generate product. Nullified negative and available positive auto-connects to the Heaven

Yes, world is so vast and intent that even if you understand something, yes, you understood a drop in the ocean.

King will never accept an uprising King.

Every Human has two brains, one which is physical and the other is virtual connected to the other Lokas or vast network.

Rules are the flavour of the Ethics and Ethics is the God.

All atomic nuclei are composed of two types of particles: protons and their electrically neutral partners, neutrons. If a nucleus has too many of one type or the other, then the rules of quantum mechanics dictate that the balance has to be redressed and those excess particles will change into the other form: protons will become neutrons, or neutrons protons, via a process called beta-decay. This is precisely what happens when two protons come together: a composite of two protons cannot exist and one of them will beta-decay into a neutron. The remaining proton and the newly transformed neutron can then bind together to form an object called a deuteron (the nucleus of an atom of the heavy hydrogen isotopefn3 called deuterium), after which further nuclear reactions enable the building of the more complex nuclei of other elements heavier than hydrogen, from helium (with two protons and either one or two neutrons) through to carbon, nitrogen, oxygen, and so on. The key point is that the deuteron owes its existence to its ability to exist in two states simultaneously, by virtue of quantum superposition. This is because the proton and neutron can stick together in two different ways that are distinguished by how they spin. We will see later how this concept of ‘quantum spin’ is actually very different from the familiar spin of a big object, such as a tennis ball; but for now we will go with our classical intuition of a spinning particle and imagine both the proton and the neutron spinning together within the deuteron in a carefully choreographed combination of a slow, intimate waltz and a faster jive. It was discovered back in the late 1930s that within the deuteron these two particles are not dancing together in either one or the other of these two states, but in both states at the same time – they are in a blur of waltz and jive simultaneously – and it is this that enables them to bind together.fn4 An obvious response to this statement is: ‘How do we know?’ Surely, atomic nuclei are far too small to be seen, so might it not be more reasonable to assume that there is something missing in our understanding of nuclear forces? The answer is no, for it has been confirmed in many laboratories over and over again that if the proton and neutron were performing the equivalent of either a quantum waltz or a quantum jive, then the nuclear ‘glue’ between them would not be quite strong enough to bind them together; it is only when these two states are superimposed on top of each other – the two realities existing at the same time – that the binding force is strong enough. Think of the two superposed realities as a little like mixing two coloured paints, blue and yellow, to make a combined resultant colour, green. Although you know the green is made up of the two primary constituent colours, it is neither one nor the other. And different ratios of blue and yellow will make different shades of green. Likewise, the deuteron binds when the proton and neutron are mostly locked in a waltz, with just a tiny amount of jive thrown in. So

How in the direction of nearby services with plumber The disease or damaged sewer somewhere to eat on the needs of the environment of the property or in the office is not immediate. Drinking water supply as a result of the expiry of promoting damage, as a significant drop due to the free flow of H2O or ruin your furniture imported and domestic wood. Therefore, the same under the sink, although the cover or part of the house damaged, is smart, a plumber can choose the rescue and hardened pipes quickly. Even before he published a plumber in the house, the important point is high absolutely certain that the supply mechanically interlocked with H2O is on drunk driving to create, so it does not come through other more harm in the sense of your own home , Or, if this type of pipes has a main valve arranged directly detected water meter. Some require keys, and some just came clockwise at the end of lead in drinking water purchased at home alternative pipeline valves. Today, every time you select a plumber, it is less complicated to the user to check the direction of friends and spouse and children advice. Family and friends are to be generally easier to purchase self-guided tour, and will be used by similar problems, are able to keep track direction when they can to implement fantastic plumber composed. Examine the site and installers who can access services, many alternatives are completely abandoned. Plumbers usually contain effective advantage proposals with their name and ask their previous customers to ensure that their correct answers about the plumber. The first person with specialized potentially provide unique designs, what and who himself is a must. At the time, in fact, to relax tight, you can ask to self has types and issues, as they were only in the organization. Added opinion does not necessarily mean a lot more experience, no matter when. In addition, plumbers constructive part’s sure you as needed to be able to manage the project management. Plumber’s consultant can make sure their professionalism. If your own way, one after another, before the service, appearance and adequate compensation and professional identity can be reproduced in the way see that they treat their business. And most important ideals, what little. At any time to explore alternative wages to leave the direction of the conversation, such as supply and property prices have some people will be surprised to see how you will use the monthly bill too important to save for economic time. That's because each of us the importance of creating knew, of course, considering all costs move towards Bill damage to your account, after the tube to take healed.

Through dreaming, we can find our voice and know who we are. When we have a clear sense of identity, we can make things happen and act on the world; we can then speak the words that make our dreams become a reality. USING YOUR WORDS . . . The human voice is the most beautiful instrument of all, but it is the most difficult to play. —Richard Strauss, nineteenth-century composer • What if you had words to describe your dreams and to advocate for your dreams and the people you love? Would being able to articulate your thoughts—verbally or in writing—help your dreams come true? • If you speak a foreign language, are you bolder in that second tongue? Do you say what you mean in a way that you don’t in your native tongue? As you are learning to advocate for your dreams, how can you draw on that “second tongue” confidence? • Does participating in social networking and regularly sharing your point of view—such as by blogging or tweeting—help you find your words and feel your way toward your dream? • We may know what our children want, but we ask them to use their words. Why is this important for them? Why is it important for us? • What can you do today to find your own voice, to trust that voice, to acquire the tools needed to achieve your dream? Can you try saying out loud, kindly, civilly what you really want, or really think, to your children, husband, friends, coworkers? • How is learning to say your name—to value it, to know that it means something—key to your dreaming? • If you’re feeling you want to get more done, what would happen if you focused on your identity for even a few moments a day?

Another key to a perfect salad is the sauce, or vinaigrette. Most people don’t think of vinaigrette as a sauce but it is one of the most important in the French repertoire. It always includes mustard, and shallot, garlic, or chives, either vinegar or lemon juice, and most often peanut oil, though olive and canola oil are rapidly becoming more common. The proportions are 1 tablespoon vinegar, 1 teaspoon mustard, ¼ cup (60ml) oil, a pinch of salt. There can be more to a vinaigrette. Try adding a bit of soy sauce (1 teaspoon) when you add the vinegar, mix oils or use just a nut oil—hazelnut and walnut are my favorites, but almond and peanut oil are delicious, too. You can add different herbs aside from the traditional chives—try tarragon, mint, thyme, basil, or fennel fronds—a flavored mustard, a mix of ground peppercorns. One vital tip for making a great salad, whether green, composed, or otherwise, is to thoroughly toss the leaves in the vinaigrette. Some people ask me if they should toss salad with their hands. My resounding response is “Ugh.” Apparently someone at some time said the French do this but I’ve never witnessed this behavior and cannot imagine anything worse. The best utensils for tossing salad are a wooden spoon and fork, though you can use whatever is easiest for you. The point is to fatiguer la salade, tire out the lettuce, by lifting it up and out of the bowl, turning it, and letting it fall back into the bowl as many times as it takes for the lettuce leaves to begin to feel heavy. When they do, they’re perfectly dressed. And finally, toss the lettuce right before you plan to serve the salad. You cannot do this in advance. The acid in the vinaigrette begins to “cook” the leaves almost immediately—they’ll soon be wilted and soft if they’re left to sit.

In this messianic vision, machine intelligence will come to redeem the universe of its incalculable stupidity. He takes a goal-oriented approach to cosmology, imposing upon the universe itself a kind of corporate project-management structure, composed of a series of key deliverables across deep time.

...Here we are concerned with the teaching of not just any subject, but with the direct object of the sentence: composition, about putting words together to create meanings, in the sense that a music composer puts notes together to create new music. Our problem becomes how we can provide the circumstances that promote such learning. Promote is the key word. The evidence is that learning to write in the sense of compose does not take place in the absence of appropriate environments to promote such learning. "To create those environments, if they are to be available to all students, regardless of home environments, we need a set of theories that allow us to integrate not only the varieties of knowledge that writers need, but a theory of teaching writing that demands a combination of optimism and constant skepticism about what we do as teachers. Our integration of theories must allow us to act but, at the same time, insure our constant evaluation of each action, whether tried and true or new.

As our economy shifts more and more onto an information basis, we are inadvertently creating a divided society. The upper class is composed of those who have mastered the nuances of differentiating between "RAM" and "hard disk." The lower class consists of those who treat the difference as inconsequential. The irony is that the difference really is inconsequential to anyone except a few hard-core engineers. Yet virtually all contemporary software forces its users to confront a file system, where your success is fully dependent on knowing the difference between RAM and disk. Thus the term "computer literacy" becomes a euphemism for social and economic apartheid. Computer literacy is a key phrase that brutally bifurcates our society.

Our very existence is composed of four key elements; love, hate, life, and death.

On May 17, 1913, Domingo Rosillo and Agustín Parlá attempted the first international flights to Latin America, by trying to fly their airplanes from Key West to Havana. At 5:10 a.m., Rosillo departed from Key West and flew for 2 hours, 30 minutes and 40 seconds before running out of gas. He had planned to land at the airfield at Camp Columbia in Havana, but instead managed to squeak in at the camp’s shooting range, thereby still satisfactorily completing the flight. Parlá left Key West at 5:57 in the morning. Just four minutes later, at 6:01 a.m., he had to carefully turn back to the airstrip he had just left, since the aircraft didn’t properly respond to his controls. Parlá said, “It would not let me compensate for the wind that blew.” When he returned to Key West, he discovered that two of the tension wires to the aircraft’s elevators were broken. Two days later, Parlá tried again and left Key West, carrying the Cuban Flag his father had received from José Martí. This time he fell short and had to land at sea off the Cuban coast near Mariel. Sailors from the Cuban Navy rescued him from his seaplane. Being adventuresome, while attending the Curtiss School of Aviation in 1916, Parlá flew over Niagara Falls. In his honor, the Cuban flag was hoisted and the Cuban national anthem was played. The famous Cuban composer, pianist, and bandleader, Antonio M. Romeu, composed a song in his honor named “Parlá over the Niagara” and Agustín Parlá became known as the “Father of Cuban Aviation.

You are not the one in the world, You are three, a combination of hell, heaven, and you. ‘You’ mean, the one visible in the mirror.

The difference between the Alaxander (or Hitler) and their looser opponents is not the blood or skin but the technology and the esteemed process they built. Yes, one would be kicked hard to learn from the others or upgrade on their own, for survival. Always upgrade yourself, until your last breath.

Humans are considered as the ‘Employees of the Earth;’ We work for the God (invisible). God pays more than what we ask for, for our life efforts.

Many brings Ethics, Rules into picture only as per their self-Interest.

If you follow Ethics, God follows you.

The chosen colour in each country depends on its country's temperature.

The sun rays reach your home; the book rays reach your mind.

Technically, God is trying from all angles to keep us awake, walk, run.

Veera Loka Books: A Guide for Kannada Writing Veera Loka Books has arisen as a perceived name in the space of Kannada publishing , flagging a promising future for book fans, journalists, and perusers the same. With an emphasis on advancing Kannada writing, the distributing house has taken critical steps in adding to the rich scholarly legacy of Karnataka. Established with the vision of safeguarding and advancing Kannada language and writing, Veera Loka Books has been instrumental in giving a stage to both laid out and growing journalists to feature their ability. The distributing house has gained notoriety for its obligation to quality and variety in scholarly works, making it a go-to objective for fans of Kannada writing. One of the key angles that separates Veera Loka Books is its devotion to supporting arising authors. The distributing house effectively searches out new voices and furnishes them with the chance to expose their imaginative works. This accentuation on advancing new ability has enhanced the Kannada scholarly scene as well as urged hopeful journalists to seek after their energy for composing. As well as encouraging new ability, Veera Loka Books has likewise been an unflinching ally of laid out journalists, furnishing them with a stage to proceed with their scholarly interests. By distributing a different scope of kinds including fiction, verifiable, verse, and that's only the tip of the iceberg, the distributing house has effectively spoke to a wide crowd, further setting its situation as a guide for Kannada writing. Besides, Veera Loka Books has been proactive in exhibiting the social extravagance of Karnataka through its distributions. By including works that dive into the state's set of experiences, customs, and contemporary issues, the distributing house has commended the social legacy of Karnataka as well as worked with a more profound comprehension of the locale's ethos among its perusers. The obligation to quality and genuineness is obvious in each distribution that bears the Veera Loka Books engrave. The distributing house has maintained thorough norms in altering, plan, and creation, guaranteeing that each book is a demonstration of the rich scholarly custom it addresses. For book fans, Veera Loka Books has turned into a believed wellspring of dazzling scholarly works that mirror the embodiment of Kannada writing. Whether it's investigating the profundities of fiction, acquiring experiences from interesting verifiable, or relishing the excellence of Kannada publishing, perusers can find a horde of drawing in titles that take special care of their different scholarly preferences. All in all, Veera Loka Books remains as an excellent power in the realm of Kannada publishing, supporting the language and its scholarly fortunes. Through its faithful help for both laid out and arising essayists, its festival of Karnataka's social embroidery, and its immovable obligation to quality, Veera Loka Books keeps on enlightening the way for Kannada writing fans, journalists, and perusers.

However, much of Beethoven’s piano music is best played with an irregular temperament (see Section 5.13), and Chopin was reluctant to compose in certain keys (notably D minor) because their characteristics did not suit him.

MAYBE HAPPINESS LIES in immortalizing the golden moments, in bringing them out over and over, in order to bask in their glow. So that those moments never die, but instead are given eternal life. Become the very thing you look back on as your life on the day you stand on the threshold of eternity and turn to cast a last glance at yourself from that outermost perspective. Perhaps it is only then that you’ll answer the great Composer’s question about which key you walk in. That the Composer will give you the freedom to decide that your key is A major, even though it might seem that you spent most of your life walking around in A minor. If happiness is the ability to let yourself be fulfilled by the luminous moments, one day she will manage to be happy.

Perhaps we’ve been created with this need to take a bite of the forbidden apple? Maybe God has planted the sin within us so that we’ll be able to find him? You don’t find God until you search for him. And you don’t search for God until you need him, need his forgiveness. Perhaps the great Composer wished for his symphony to be more minor than major, that the disharmony, the wrong notes, leads to something greater. A greater harmony. Maybe it’s not only love that is like a fractal. Perhaps the universe itself has a fractal structure. That you are reborn as ever new copies of yourself, only with a slight twist. That you are given the chance to try again and again, until you find out who you really are. Until you find your true musical key. Then you’ll have reached your nirvana, the keynote where you can rest. Your true paradise. It’s magnanimous of the great Composer to give us the chance to try and fail, that we’re permitted to make the wrong choices before we find the right ones. That even the most minuscule particle of dust in the universe carries a copy of the entire universe within it. But the human heart remains the same all through the ages.

Sometimes we’d go into the local saloons and challenge the house. When that didn’t work, we’d challenge each other. Those saloons were friendly places, as long as we stayed away from guys who were on a bender and those involved in poker games. The men, while drinking, sang, and Johnny and I joined in whenever we could. I still remember the words from a song we were all fond of singing—in our flat, off-key voices. Judging from the words, I’d say it was composed before its time. “If I was a millionaire and had a lot of coin, I would plant a row of coke plantations, and grow Heroyn, I would have Camel cigarettes growin’ on my trees, I’d build a castle of morphine and live there at my ease. I would have forty thousand hop layouts, each one inlaid with pearls. I’d invite each old time fighter to bring along his girl. And everyone who had a habit, I’d have them leaping like a rabbit, Down at the fighters’ jubilee! Down at the fighters’ jubilee! Down on the Isle of H. M. and C. H. stands for heroyn, M. stands for morph, C. for cokoloro—to blow your head off. Autos and airships and big sirloin steaks, Each old time fighter would own his own lake. We’ll build castles in the air, And all feel like millionaires, Down at the fighters’ jubilee!” We had laughs singing that song in unison. In later years, however, just thinking about it filled me with a tremendous sadness, since the tragedy of hard drugs eventually destroyed my younger brother Johnny.

When he’d first tried his hand at jazz, it was a mess. Like most classically trained musicians who relied on strict training, he was most comfortable following the road map that a composer laid out. Ray would pour himself onto the classical route, which had clear signposts and a yellow line down one side. With jazz, there were no signs; the GPS just said, “Go.” Jazz charts provided a simple melody he was just supposed to riff from—he wanted to read every note, lock in on each finger pattern. How would he even begin? He started by listening to the opening melody of a song, then adding a few notes in the same key, then changing the key for a while, then somehow, miraculously, returning to the original key, all while making it seem effortless. This took a lot of practice. When he thought he had it, he had to think again. It was fun, challenging, and exercised new muscles in his playing.

The Austrio-Hungarian composer Franz Liszt (1811-1886) was a pianistic miracle. He could play anything on site and composed over 400 works centered around "his" instrument. Among his key works are his Hungarian Rhapsodies, his Transcendental Etudes, his Concert Etudes, his Etudes based on variations of Paganinini's Violin Caprices and his Sonata, one of the most important of the nineteenth century.

Much of what we know about the ancient Athenian financial system comes from surviving judicial orations. The courts themselves were key elements in the financial system. The Athenian court system resolved disputes between plaintiffs and defendants through trial by jury. Jurors—typically 500 at a time—were chosen randomly and sat for a day, which was the maximum length of a trial. Plaintiff and defendant represented themselves, although famous orators were sometimes engaged to compose their speeches. Speaking time was regulated by a water-clock. Jurors did not deliberate together; rather they voted, and the ruling was determined by a majority vote.1 At the end of the day, the matter was settled.

Buddhist classics and also composed authoritative commentaries on key texts. Chapa is remembered for his original views on logic and epistemology and for inventing the Tibetan system of dialectical debate.

the human brain is extremely sensitive to difference and contrast. From the age of just three months, infants are able to detect a different-looking object within a group of similar ones. The brain is so adept at spotting differences that contrast makes an object appear to pop out from the background. This capability is related to the gestalt principles that underpin the harmony aesthetic. Just as we feel pleasure in being able to visually group similar items into a larger whole, we also delight in noticing when something is unusual. It’s for this reason that harmony and surprise pair so well together. Consistency and repetition help to set clear expectations, which makes a surprising element more likely to stand out. This pairing is often used in music, where composers build the listener’s anticipation with a repeating melody and then disrupt it with a swift change in key or tempo. Used together, harmony and surprise create a tension that highlights the advantages of both.

Ford’s starting point was that the key for effective production is to concentrate on improving the overall flow of products through the operations. His efforts to improve flow were so successful that, by 1926, the lead time from mining the iron ore to having a completed car composed of more than 5,000 parts, on the train ready for delivery, was 81 hours!3 Eighty years later, no car manufacturer in the world has been able to achieve, or even come close, to such a short lead time.

Toujijie were written to mark experiences of awakening. Dongshan composed just such a poem on the occasion of his own awakening when he glimpsed his face reflected in a stream as he crossed it. Taking heed not to seek it elsewhere, as if it were distant from myself, I now go on alone, yet I meet him everywhere. He is now exactly me, but I am not now him. You should meet in this way, for only then can you realize

By the end of Wagner’s life all this had changed. He had lifted the status of the composer to that of a seer, raised the standard of musicianship, brought into being a whole new school of singing and conducting, built the revolutionary Bayreuth opera house, and created in Germany an operatic tradition that was the admiration of the world. Furthermore the mythology which he welded together and the ideology which he promulgated played a key role in the launching of a new German nationalism.

How we are likely to feel when our needs are being met absorbed adventurous affectionate alert alive amazed amused animated appreciative ardent aroused astonished blissful breathless buoyant calm carefree cheerful comfortable complacent composed concerned confident contented cool curious dazzled delighted eager ebullient ecstatic effervescent elated enchanted encouraged energetic engrossed enlivened enthusiastic excited exhilarated expansive expectant exultant fascinated free friendly fulfilled glad gleeful glorious glowing good-humored grateful gratified happy helpful hopeful inquisitive inspired intense interested intrigued invigorated involved joyous, joyful jubilant keyed-up loving mellow merry mirthful moved optimistic overjoyed overwhelmed peaceful perky pleasant pleased proud quiet radiant rapturous refreshed relaxed relieved satisfied secure sensitive serene spellbound splendid stimulated surprised tender thankful thrilled touched tranquil trusting upbeat warm wide-awake wonderful zestful How we are likely to feel when our needs are not being met afraid aggravated agitated alarmed aloof angry anguished annoyed anxious apathetic apprehensive aroused ashamed beat bewildered bitter blah blue bored brokenhearted chagrined cold concerned confused cool cross dejected depressed despairing despondent detached disaffected disappointed discouraged disenchanted disgruntled disgusted disheartened dismayed displeased disquieted distressed disturbed downcast downhearted dull edgy embarrassed embittered exasperated exhausted fatigued fearful fidgety forlorn frightened frustrated furious gloomy guilty harried heavy helpless hesitant horrible horrified hostile hot humdrum hurt impatient indifferent intense irate irked irritated jealous jittery keyed-up lazy leery lethargic listless lonely mad mean miserable mopey morose mournful nervous nettled numb overwhelmed panicky passive perplexed pessimistic puzzled rancorous reluctant repelled resentful restless sad scared sensitive shaky shocked skeptical sleepy sorrowful sorry spiritless startled surprised suspicious tepid terrified tired troubled uncomfortable unconcerned uneasy unglued unhappy unnerved unsteady upset uptight vexed weary wistful withdrawn woeful worried wretched Summary

The socialized factories (In revolutionary Catalonia) were led by a management committee with between five and thirteen members, representing the various services, elected by the workers in a general assembly, with a two- year term, half of them to be renewed every year. The committee selected a director to whom it delegated all or part of its powers. In the key factories the selection of the director had to be approved by the regulatory body. In addition, a government inspector was placed on every management committee. The management committee could be revoked either by the general assembly or by a general council of the branch of industry (composed of four representatives of the management committees, eight from the workers' unions, and four technicians named by the regulatory body). This general council planned the work and deter- mined the distribution of profits. Its decisions were legally binding.

I don’t write lovely music.” He was willing, however, to compose the score for the MGM production of The Good Earth. His demands were appropriate but unacceptable. He wanted fifty thousand dollars, and complete control of the soundtrack; the actors were to speak in the same pitch and key he composed in (as if Paul Muni and Luise Rainer didn’t have enough difficulty playing Chinese peasants!).

Married to Leonard Woolf in 1912 in a partnership that continued until her death in 1941, Virginia Woolf had intense and enduring relationships with a number of women friends, including Violet Trefusis, the writer Vita Sackville-West and the composer Ethel Smyth, as well as a lifelong bond with her elder sister, the artist Vanessa Bell

Starting a new chapter is much like composing the perfect photograph. You must ensure the proper components are there. You may throw out the extra, but with out the key elements the story goes untold.