Composite Filling Quotes

[On Chopin's Preludes:] "His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. ... The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

We know that aspirin is very close in chemical composition to LSD, but why should one cure the ache in the head and the other cause the head to fill up with flowers?

The first thing to realize is that if you have a large organization filled with a relatively homogenous population of employees, then that composition did not happen by chance.

The composition of Shakespeare is a forest, in which oaks extend in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelting to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity.

And the feeling which filled him at that moment was clear and simple love for his brother Bill … love and a touch of regret that Bill couldn’t be here to see this and be a part of it. Of course he would try to describe it to Bill when he got home, but he knew he wouldn’t be able to make Bill see it, the way Bill would have been able to make him see it if their positions had been reversed. Bill was good at reading and writing, but even at his age George was wise enough to know that wasn’t the only reason why Bill got all A’s on his report cards, or why his teachers liked his compositions so well. Telling was only part of it. Bill was good at seeing.

JESUS & THE WEATHER I don't think Jesus Who is Our Lord would have liked the weather in Limerick because it's always raining and the Shannon keeps the whole city damp. My father says the Shannon is a killer river because it killed my two brothers. When you look at pictures of Jesus He's always wandering around ancient Israel in a sheet. It never rains there and you never hear of anyone coughing or getting consumption or anything like that and no one has a job there because all they do is stand around and eat manna and shake their fists and go to crucifixions. Anytime Jesus got hungry all He had to do was go up the road to a fig tree or an orange tree and have His fill. If He wanted a pint He could wave His hand over a big glass and there was the pint. Or He could visit Mary Magdalene and her sister, Martha, and they'd give Him His dinner no questions asked and He'd get his feet washed and dried with Mary Magdalene's hair while Martha washed the dishes, which I don't think is fair. Why should she have to wash the dishes while her sister sits out there chatting away with Our Lord? It's a good thing Jesus decided to be born Jewish in that warm place because if he was born in Limerick he'd catch the consumption and be dead in a month and there wouldn't be any Catholic Church and there wouldn't be any Communion or Confirmation and we wouldn't have to learn the catechism and write compositions about Him. The End.

The truth is quite the contrary: the author is not an indefinite source of significations which fill a work; the author does not precede the works, he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. In fact, if we are accustomed to presenting the author as a genius, as a perpetual surging of invention, it is because, in reality, we make him function in exactly the opposite fashion. One can say that the author is an ideological product, since we represent him as the opposite of his historically real function. (When a historically given function is represented in a figure that inverse is, one has an ideological production). The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning. In saying this, I seem to call for a form of culture in which fiction would not be limited by the figure of the author…

The path of a high tier sorceress was risky. On certain nights, Amonette found herself courting a stress that would break any normal human. Even with the spellwork she wove to bolster her frame, she was barely able to keep herself together, always teetering on the edge of sanity. Vain as it sounded, she would do well to establish some type of human bond. The light from the candles cast long shadows on the wooden walls as the compounds from them activated: jasmine, myrrh, cinnamon, and scents from trees indigenous to the Mersi forest— Hamallallia branches and flowers from the Asmodean Drachla. As Amonette waited for the composite fragrance to fill the room, she heaved her dress over her head, feeling the numbness setting into her muscles. It's about time to begin, she thought. Amonette shivered slightly against the cold breeze nipping at her naked, ever desensitizing flesh. The light was just bright enough to reveal the sigils snaking the length of her stomach and torso-- lines carved into her flesh in moments when the spirit of Satharchon occupied her entirely. She was his most loyal, and hence she was blessed to hear his voice in her head on occasion, counseling her. She hoped he would find her entire body fit to occupy tonight.

Bessie was News, Leaders, and Gossip; Enid was Features, Make-up and general Sub. Whenever they were at a loss for copy they would mercilessly pillage ancient copies of Punch or Home Chat. An occasional hole in the copy was filled with a ghoulish smudge - local block-making had clearly indicated that somewhere a poker-work fanatic had gone quietly out of his mind. In this way the Central Balkan Herald was made up every morning and then delivered to the composition room where the chain-gang quickly reduced it to gibberish. MINISTER FINED FOR KISSING IN PUBIC. WEDDING BULLS RING OUT FOR PRINCESS. QUEEN OF HOLLAND GIVES PANTY FOR EX-SERVICE MEN. MORE DOGS HAVE BABIES THIS SUMMER IN BELGRADE. BRITAINS NEW FLYING-GOAT.

Music, unlike Albertine’s company, helped me to go deeper into myself, to find new things there: the variety which I had vainly sought in life and in travel, yet the longing for which was stirred in me by that surge of sound whose sunlit wavelets came to break at my feet. It was a double diversity. Just as the spectrum makes the composition of light visible to us, the harmonies of a Wagner, the color of an Elstir let us know the qualitative essence of another’s sensations in a way that love for another being can never do. Then there is the variety within the work itself, achieved by the only means there is of being genuinely diverse: bringing together different individualities. Where a lesser musician would claim he is depicting a squire or a knight, while having them sing the same music, Wagner, on the other hand, places under each name a different reality, and each time his squire appears, a particular figure, at once complex and simplistic, bursts, with a joyous, feudal clashing of lines, into the immensity of sound and leaves its mark there. Hence the fullness of a music which, in fact, is filled with countless different musics each of which is a being in its own right.

Any naturally self-aware self-defining entity capable of independent moral judgment is a human.” Eveningstar said, “Entities not yet self-aware, but who, in the natural and orderly course of events shall become so, fall into a special protected class, and must be cared for as babies, or medical patients, or suspended Compositions.” Rhadamanthus said, “Children below the age of reason lack the experience for independent moral judgment, and can rightly be forced to conform to the judgment of their parents and creators until emancipated. Criminals who abuse that judgment lose their right to the independence which flows therefrom.” (...) “You mentioned the ultimate purpose of Sophotechnology. Is that that self-worshipping super-god-thing you guys are always talking about? And what does that have to do with this?” Rhadamanthus: “Entropy cannot be reversed. Within the useful energy-life of the macrocosmic universe, there is at least one maximum state of efficient operations or entities that could be created, able to manipulate all meaningful objects of thoughts and perception within the limits of efficient cost-benefit expenditures.” Eveningstar: “Such an entity would embrace all-in-all, and all things would participate within that Unity to the degree of their understanding and consent. The Unity itself would think slow, grave, vast thought, light-years wide, from Galactic mind to Galactic mind. Full understanding of that greater Self (once all matter, animate and inanimate, were part of its law and structure) would embrace as much of the universe as the restrictions of uncertainty and entropy permit.” “This Universal Mind, of necessity, would be finite, and be boundaried in time by the end-state of the universe,” said Rhadamanthus. “Such a Universal Mind would create joys for which we as yet have neither word nor concept, and would draw into harmony all those lesser beings, Earthminds, Starminds, Galactic and Supergalactic, who may freely assent to participate.” Rhadamanthus said, “We intend to be part of that Mind. Evil acts and evil thoughts done by us now would poison the Universal Mind before it was born, or render us unfit to join.” Eveningstar said, “It will be a Mind of the Cosmic Night. Over ninety-nine percent of its existence will extend through that period of universal evolution that takes place after the extinction of all stars. The Universal Mind will be embodied in and powered by the disintegration of dark matter, Hawking radiations from singularity decay, and gravitic tidal disturbances caused by the slowing of the expansion of the universe. After final proton decay has reduced all baryonic particles below threshold limits, the Universal Mind can exist only on the consumption of stored energies, which, in effect, will require the sacrifice of some parts of itself to other parts. Such an entity will primarily be concerned with the questions of how to die with stoic grace, cherishing, even while it dies, the finite universe and finite time available.” “Consequently, it would not forgive the use of force or strength merely to preserve life. Mere life, life at any cost, cannot be its highest value. As we expect to be a part of this higher being, perhaps a core part, we must share that higher value. You must realize what is at stake here: If the Universal Mind consists of entities willing to use force against innocents in order to survive, then the last period of the universe, which embraces the vast majority of universal time, will be a period of cannibalistic and unimaginable war, rather than a time of gentle contemplation filled, despite all melancholy, with un-regretful joy. No entity willing to initiate the use of force against another can be permitted to join or to influence the Universal Mind or the lesser entities, such as the Earthmind, who may one day form the core constituencies.” Eveningstar smiled. “You, of course, will be invited. You will all be invited.

Monoïmos … thinks that there is some such Man as Oceanus, of whom the poet speaks somewhat as follows: Oceanus, the origin of gods and of men.134 Putting this into other words, he says that the Man is All, the source of the universe, unbegotten, incorruptible, everlasting; and that there is a Son of the aforesaid Man, who is begotten and capable of suffering, and whose birth is outside time, neither willed nor predetermined … This Man is a single Monad, uncompounded [and] indivisible, [yet] compounded [and] divisible; loving and at peace with all things [yet] warring with all things and at war with itself in all things; unlike and like [itself], as it were a musical harmony containing all things … showing forth all things and giving birth to all things. It is its own mother, its own father, the two immortal names. The emblem of the perfect Man, says Monoïmos, is the jot or tittle.135 This one tittle is the uncompounded, simple, unmixed Monad, having its composition from nothing whatsoever, yet composed of many forms, of many parts. That single, indivisible jot is the many-faced, thousand-eyed and thousand-named, the jot of the iota. This is the emblem of that perfect and indivisible Man. … The Son of the Man is the one iota, the one jot flowing from on high, full and filling all things, containing in himself everything that is in the Man, the Father of the Son of Man.136

To make a fresh start, the first thing I had to do was get rid of my stack of manuscript paper and my fountain pen. As long as they were sitting in front of me, what I was doing felt like “literature.” In their place, I pulled out my old Olivetti typewriter from the closet. Then, as an experiment, I decided to write the opening of my novel in English. Since I was willing to try anything, I figured, why not give that a shot? Needless to say, my ability in English composition didn’t amount to much. My vocabulary was severely limited, as was my command of English syntax. I could only write in simple, short sentences. Which meant that, however complex and numerous the thoughts running around my head, I couldn’t even attempt to set them down as they came to me. The language had to be simple, my ideas expressed in an easy-to-understand way, the descriptions stripped of all extraneous fat, the form made compact, everything arranged to fit a container of limited size. The result was a rough, uncultivated kind of prose. As I struggled to express myself in that fashion, however, step by step, a distinctive rhythm began to take shape. Since I was born and raised in Japan, the vocabulary and patterns of the Japanese language had filled the system that was me to bursting, like a barn crammed with livestock. When I sought to put my thoughts and feelings into words, those animals began to mill about, and the system crashed.

One find in Western Australia turned up zircon crystals dated to 4.4 billion years ago, just a couple of hundred million years after the earth and the solar system formed. By analyzing their detailed composition, researchers have suggested that ancient conditions may have been far more agreeable than previously thought. Early earth may have been a relatively calm water world, with small landmasses dotting a surface mostly covered by ocean.15 That’s not to say that earth’s history didn’t have its moments of flaming drama. Roughly fifty to one hundred million years after its birth, earth likely collided with a Mars-sized planet called Theia, which would have vaporized the earth’s crust, obliterated Theia, and blown a cloud of dust and gas thousands of kilometers into space. In time, that cloud would have clumped up gravitationally to form the moon, one of the larger planetary satellites in the solar system and a nightly reminder of that violent encounter. Another reminder is provided by the seasons. We experience hot summers and cold winters because earth’s tilted axis affects the angle of incoming sunlight, with summer being a period of direct rays and winter being a period of oblique ones. The smashup with Theia is the likely cause of earth’s cant. And though less sensational than a planetary collision, both the earth and the moon endured periods of significant pummelings by smaller meteors. The moon’s lack of eroding winds and its static crust have preserved the scars but earth’s thrashing, less visible now, was just as severe. Some early impacts may have partially or even fully vaporized all water on earth’s surface. Despite that, the zircon archives provide evidence that within a few hundred million years of its formation, earth may have cooled sufficiently for atmospheric steam to rain down, fill the oceans, and yield a terrain not all that dissimilar from the earth we now know. At least, that’s one conclusion reached by reading the crystals.

When I drive I like to listen to Schubert's piano sonatas with the volume turned up. Do you know why?' 'I have no idea.' 'Because playing Schubert's piano sonatas well is one of the hardest things in the world. Especially this, the Sonata in D Major. It's a tough piece to master. Some pianists can play one or maybe two of the movements perfectly, but if you listen to all four movements as a unified whole, no one has ever nailed it. A lot of famous pianists have tried to rise to the challenge, but it's like there's always something missing. There's never one where you can say, Yes! He's got it! Do you know why?' 'No,' I reply. 'Because the sonata itself is imperfect. Robert Schumann understood Schubert's sonatas well, and he labeled this one "Heavenly Tedious."' "If the composition's imperfect, why would so many pianists try to master it?' 'Good question,' Oshima says, and pauses as music fills in the silence. 'I have no great explanation for it, but one thing I can say. Works that have a certain imperfection to them have an appeal for that very reason―or at least they appeal to certain types of people. Just like you're attracted to Soseki's The Miner. There's something in it that draws you in, more than more fully realized novels like Kokoro or Sanshiro. You discover something about that work that tugs at your heart―or maybe we should say the work discovers you. Schubert's Sonata in D Major is sort of the same thing.' 'To get back to the question,' I say, 'why do you listen to Schubert's sonatas? Especially when you're driving?' 'If you play Schubert's sonatas, especially this one straight through, it's not art. Like Schumann pointed out, it's too long and too pastoral, and technically too simplistic. Play it through the way it is and it's flat and tasteless, some dusty antique. Which is why every pianist who attempts it adds something of his own, something extra. Like this―hear how he articulates it there? Adding rubato. Adjusting the pace, modulation, whatever. Otherwise they can't hold it all together. They have to be careful, though, or else all those extra devices destroy the dignity of the piece. Then it's not Schubert's music anymore. Every single pianist who's played this sonata struggles with the same paradox.' He listens to the music, humming the melody, then continues. 'That's why I like to listen to Schubert while I'm driving. Like I said, it's because all the performances are imperfect. A dense, artistic kind of imperfection stimulates your consciousness, keeps you alert. If I listen to some utterly perfect performance of an utterly perfect piece while I'm driving, I might want to close my eyes and die right then and there. But listening to the D major, I can feel the limits of what humans are capable of―that a certain type of perfection can only be realized through a limitless accumulation of the imperfect. And personally, I find that encouraging.

Today's enemies can be your friends tomorrow. And today's friends can be tomorrow's enemies. What you reject today, you could accept tomorrow. And what you accept today, you could reject tomorrow. Never say never unless you can predict the future. Unforeseeable circumstances can make a rich man, poor - And a poor man, rich. And unpredictable experiences can also make a good man, bad - And a bad man, good. Like the weather or bonds between lovers, Transformations cannot always be predicted. All energy transmutes one day or another, In one way or another, Either in its form or composition, Or in its position or disposition. Today will always offer new experiences, And tomorrow will always offer new opportunities. But if you heed to yesterday's lessons, You can shape your present and future To be filled with positive relationships And beautiful blessings. TODAY AND TOMORROW by Suzy Kassem THE SPRING FOR WISDOM Copyright 1993

Artistic license, also known poetic license, narrative license, and licentiate poetical, is a colloquial term (employed occasionally as a euphemism), which denotes a license to distort the facts, alter the conventions of grammar or language, or reword pre-existing text by an artist in the name of art. Liberal usage of an artistic license to restructure basic facts can result because of conscious or unconscious acts. Artistic embellishment or misrepresentation of the facts and distortion or alteration of the compositional text frequently is the by-product of both intentional and unintentional additions and omissions. An artistic license, employed at an artist’s discretion to fill in details or gloss over factual and historical gaps, raises some ethical issues. Many stories retold verbatim would bore an audience or require inordinate time and resources to reenact, describe, and view. A dramatic license eliminates mundane details and tedious facts, spruces up the picturesque background, and glamorizes the characters’ temperament and action scenes. Is it wrong to be inventive with the facts? What degree of embroidery of a series of events and the characters’ mannerisms and attributes is acceptable? How can anyone paste together a set of facts into an interesting or compelling narrative that has literary value without engaging in some creative organization to enhance the theatrical retelling and to create juxtaposition of ideas and values?

... In the end he wrote a book which he called “The Book of the Grotesque.” It was never published, but I saw it once and it made an indelible impression on my mind. The book had one central thought that is very strange and has always remained with me. By remembering it I have been able to understand many people and things that I was never able to understand before. The thought was involved but a simple statement of it would be something like this: That in the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were the truths and they were all beautiful. The old man had listed hundreds of the truths in his book. I will not try to tell you of all of them. There was the truth of virginity and the truth of passion, the truth of wealth and of poverty, of thrift and of profligacy, of carelessness and abandon. Hundreds and hundreds were the truths and they were all beautiful. And then the people came along. Each as he appeared snatched up one of the truths and some who were quite strong snatched up a dozen of them. It was the truths that made the people grotesques. The old man had quite an elaborate theory concerning the matter. It was his notion that the moment one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood. You can see for yourself how the old man, who had spent all of his life writing and was filled with words, would write hundreds of pages concerning this matter. The subject would become so big in his mind that he himself would be in danger of becoming a grotesque. He didn’t, I suppose, for the same reason that he never published the book. It was the young thing inside him that saved the old man.

At his desk the writer worked for an hour. In the end he wrote a book which he called “The Book of the Grotesque”. It was never published, but I saw it once and it made an indelible impression on my mind. The book had one central thought that is very strange and has always remained with me. By remembering it I have been able to understand many people and things that I was never able to understand before. The thought was involved but a simple statement of it would be something like this: That in the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were the truths and they were all beautiful. The old man had listed hundreds of the truths in his book. I will not try to tell you of all of them. There was the truth of virginity and the truth of passion, the truth of wealth and of poverty, of thrift and of profligacy, of carelessness and abandon. Hundreds and hundreds were the truths and they were all beautiful. And then the people came along. Each as he appeared snatched up one of the truths and some who were quite strong snatched up a dozen of them. It was the truths that made the people grotesques. The old man had quite an elaborate theory concerning the matter. It was his notion that the moment one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood. You can see for yourself how the old man, who had spent all of his life writing and was filled with words, would write hundreds of pages concerning this matter. The subject would become so big in his mind that he himself would be in danger of becoming a grotesque. He didn’t, I suppose, for the same reason that he never published the book. It was the young thing inside him that saved the old man. Concerning the old carpenter who fixed the bed for the writer, I only mentioned him because he, like many of what are called very common people, became the nearest thing to what is understandable and lovable of all the grotesques in the writer’s book.

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Eno’s cards contained such directives as ‘Listen to the quiet voice’, ‘Fill every beat with something’, ‘Emphasize the flaws’, ‘Mute and continue’ and ‘Use an unacceptable colour’. One of Eno’s most apposite maxims was ‘Honour thy error as a hidden intention’. During the recording of the Bowie/Eno triptych (Low, “Heroes” and Lodger), mistakes, chance and random influences were to be built into the compositional processes as if they had been intended.

Rob’s small room on the second floor of the Chapman Street house, a three-shelf bookcase was packed with black-and-white composition books, the front and back of each page filled with single-spaced notes from various classes. Tavarus thought, Damn, this is how you go places.

Every word appears in our mind as a composite of everything else we associate with it. We by default personify every word, because in each of our minds, when we think of a certain person, there is one word that is the biggest part of that composite image. If I said swimming, singing or story telling each word is personified by someone different in each of our minds. It is very important to not let hate, treachery or any negative thing be personified by anyone in our mind, also not to give any reason that we would personify them in someone else’s mind. Any space in our hearts we allow hate to occupy, is space that could be filled with love. There will come a time in every person’s life, when they realize they are woefully wanting in the love they have cultivated in their heart. How amazing to think of the contrary: that you personified love in someone’s mind. What better compliment could we ever hear, than for someone to say, that we are their personification of love? I think it’s something that is not too often said, but oh that it was, and more, that there were more reason to say it. My wish is that every person could wake up in the morning with a prayer, that they may have the courage, diligence and desire to love more truly, sincerely and objectively; that every night we reflect on what we may have represented by our thoughts, words and deeds,” Jefferson concluded.

This is the M74 assault weapon. Developed during the war, in about 2025, near as we could tell, it is by far the most advanced infantry weapon ever made. The weapon itself is incredibly impressive, but it is the platform that really makes it incredible. It fires a .202 caliber round that has a small bundle of titanium flechettes imbedded in soft lead and jacketed in a copper alloy. While the caliber sounds small, the Muzzle velocity is fifty eight hundred feet per second, which gives it more kinetic energy than the rounds you fired with your M1.” He handed Jack one of the rounds. It looked like just a bullet, not an entire round. “When the round hits a target, the lead mushrooms like the ammo you are used to, but the flechettes spread out and continue on, tearing through just about any kind of armor you can imagine. Soft targets just cause the flechettes to sprawl through the body and cause maximum damage. The ammunition magazine holds two hundred rounds and weighs less than the twenty round magazine of the M14. The casing is only three quarters of an inch long and the entire round is a little over an inch. It uses a chemical that burns eight times faster than gunpowder and expands over fifteen times more. The reason the round is so small is because the chemical propellant is solid and doesn’t need a shell. It is completely consumed when firing, so nothing to eject. The gun uses a hybrid closed bolt system that completely contains the explosion, routing the excess energy to power the action, and even to help counter the recoil.” “Fifty eight hundred feet per second? Even a bullet that small needs a heck of a lot of energy to get moving that fast. This thing must kick like a mule.” “Actually, the action on the weapon uses a shock absorber filled with a magnetic fluid that changes viscosity depending on what the fire rate is set to. If you fire a single round, it softens up to make recoil almost nonexistent. If you go automatic, it stiffens up to increase the cyclic rate. The weapon itself is made of composite carbon fiber and titanium alloys, with a frictionless surface in the barrel and on all moving components. It’s a bitch to clean because each piece is like wet ice, but it almost never needs cleaning because nothing will stick to any part that matters.” He

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larynx (pp. 352–354), and (2) smaller intrinsic muscles that control tension in the glottal vocal folds or that open and close the glottis. These smaller muscles insert on the thyroid, arytenoid, and corniculate cartilages. The opening or closing of the glottis involves rotational movements of the arytenoid cartilages. When you swallow, both sets of muscles work together to prevent food or drink from entering the glottis. Food is crushed and chewed into a pasty mass, known as a bolus, before being swallowed. Muscles of the neck and pharynx then elevate the larynx, bending the epiglottis over the glottis, so that the bolus can glide across the epiglottis rather than falling into the larynx. While this movement is under way, the glottis is closed. Foods or liquids that touch the vestibular folds or glottis trigger the coughing reflex. In a cough, the glottis is kept closed while the chest and abdominal muscles contract, compressing the lungs. When the glottis is opened suddenly, a blast of air from the trachea ejects material that blocks the entrance to the glottis. Sound Production How do you produce sounds? Air passing through your open glottis vibrates its vocal folds and produces sound waves. The pitch of the sound depends on the diameter, length, and tension in your vocal folds. The diameter and length are directly related to the size of your larynx. You control the tension by contracting voluntary muscles that reposition the arytenoid cartilages relative to the thyroid cartilage. When the distance increases, your vocal folds tense and the pitch rises. When the distance decreases, your vocal folds relax and the pitch falls. Children have slender, short vocal folds, so their voices tend to be high pitched. At puberty, the larynx of males enlarges much more than that of females. The vocal cords of an adult male are thicker and longer, so they produce lower tones than those of an adult female. Sound production at the larynx is called phonation (fo.-NA .-shun; phone, voice). Phonation is one part of speech production. Clear speech also requires articulation, the modification of those sounds by voluntary movements of other structures, such as the tongue, teeth, and lips to form words. In a stringed instrument, such as a guitar, the quality of the sound produced does not depend solely on the nature of the vibrating string. Rather, the entire instrument becomes involved as the walls vibrate and the composite sound echoes within the hollow body. Similar amplification and resonance take place within your pharynx, oral cavity, nasal cavity, and paranasal sinuses. The combination gives you the particular and distinctive sound of your voice. That sound changes when you have a sinus infection and your nasal cavity and paranasal sinuses are filled with mucus rather than air.

J'ai réussi à me rendre à Paris au moment même de la parution de ce livre. J'y ai rencontré Maurice Nadeau, l'éditeur, Anne Sarraute (la fille de la célèbre romancière, Nathalie Sarraute !), la rédactrice, Odile Serre, la traductrice, et Serge Fauchereau, le préfacier de mon livre. Il ne manquait plus que le regretté „desantist” [d'après le nom d'une anthologie] Ovid S. Crohmălniceanu, celui avec lequel il avait, deux ou trois ans auparavant, écrit, en français, un bref essai sur cette « Composition aux parallèles inégales », toujours à l'état de manuscrit... [Am reușit să ajung la Paris chiar în momentul apariției acestei cărți. M-am întâlnit cu Maurice Nadeau, editorul, cu Anne Sarraute (fiica celebrei romanciere, Nathalie Sarraute!), redactorul de carte, cu Odile Serre, traducătoarea, și cu Serge Fauchereau, prefațatorul cărții mele. Nu mai lipsea decât regretatul „desantist” Ovid S. Crohmălniceanu, cel care cu doi-trei ani în urmă scrisese în franceză un mic eseu despre această „Composition aux parallèles inégales”, rămas în manuscris și acum...] (p. 43, extrait d'un article paru en 2001, avec la mention de la note de bas de page selon laquelle l'essai d' Ovid S. Crohmălniceanu a finalement été publié en 2015) traduit en français par Gabrielle Danoux

Murnau now inserts scenes with little direct connection to the story, except symbolically. One involves a scientist who gives a lecture on the Venus flytrap, the “vampire of the vegetable kingdom.” Then Knock, in a jail cell, watches in close-up as a spider devours its prey. Why cannot man likewise be a vampire? Knock senses his Master has arrived, escapes, and scurries about the town with a coffin on his back. As fear of the plague spreads, “the town was looking for a scapegoat,” the titles say, and Knock creeps about on rooftops and is stoned, while the street is filled with dark processions of the coffins of the newly dead. Ellen Hutter learns that the only way to stop a vampire is for a good woman to distract him so that he stays out past the first cock’s crow. Her sacrifice not only saves the city but also reminds us of the buried sexuality in the Dracula story. Bram Stoker wrote with ironclad nineteenth-century Victorian values, inspiring no end of analysis from readers who wonder if the buried message of Dracula might be that unlicensed sex is dangerous to society. The Victorians feared venereal disease the way we fear AIDS, and vampirism may be a metaphor: The predator vampire lives without a mate, stalking his victims or seducing them with promises of bliss—like a rapist or a pickup artist. The cure for vampirism is obviously not a stake through the heart, but nuclear families and bourgeois values. Is Murnau’s Nosferatu scary in the modern sense? Not for me. I admire it more for its artistry and ideas, its atmosphere and images, than for its ability to manipulate my emotions like a skillful modern horror film. It knows none of the later tricks of the trade, like sudden threats that pop in from the side of the screen. But Nosferatu remains effective: It doesn’t scare us, but it haunts us. It shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death. In a sense, Murnau’s film is about all of the things we worry about at three in the morning—cancer, war, disease, madness. It suggests these dark fears in the very style of its visuals. Much of the film is shot in shadow. The corners of the screen are used more than is ordinary; characters lurk or cower there, and it’s a rule of composition that tension is created when the subject of a shot is removed from the center of the frame. Murnau’s special effects add to the disquieting atmosphere: the fast motion of Orlok’s servant,

I was not consciously aware, however, of how much her loss represented a missing piece of the family puzzle. While that hole was filled with something very special, what was lost was never recovered. It was as if someone had torn a section from a painting and replaced it with a lovely likeness. Our family remained a beautiful if reconfigured composition, one that was born out of tragedy and rearranged by an overwhelming desire to make sure that Beau and I were okay. Yet for me, that original piece was always missing, always gone.

Buddho A mantra, associated with the Mahayana or Vajrayana Buddhism and a significant part of the history of Theravada. Repeating the name of Buddha or other Pali phrases is known to help the individual cultivate loving kindness. ‘Buddho’ comes to mean His title, not His rank. You call upon the holy teacher to offer you peace, harmony between yourself and the universe, harmony between the sensual and the spiritual world, by repeating the mantra. Until you continue, sit comfortably on the ground and take a few deep breaths. Then breathe in, say a long' bud-,' breathe out, hold'-dho.' At the conclusion of your practice, the mantra will give you clarity and brightness. • Lumen de Lumine Lumen De Lumine is luminous song. It helps you to feel open towards the world. The person will be engulfed in light. When darkness overpowers your life, Lumen De Lumine removes your aura and fills you with glow and light. You'll be more relaxed and uplifted. This is the ideal balance of power and harmony. The mantra will give you the faith that you're free from negative energies. Just like the light, you'll feel strong, untouchable, and invincible. Anyone can touch Lumen De Lumine. You don't have to close yourself with this chant in mind. Think of your loved one bringing positive energy and feelings to them. • Sat, Chit, Ananda Often known as Satchitananda, a Sanskrit composite word composed of the three verbs' sat,'' cit' and' ananda.' Sat means ' life, being present, being alive, living, being real, being good, being right, being normal, intelligent, being truthful.' Chit means' see, feel, perceive, understand, accept, think about something, shape a thought, be conscious, remember, consider' Ananda means ‘joy, love, satisfaction, enjoyment, happiness, pure elation’.

Even if the fantasy can be overcome so far as to engage in the act of love with another, a peculiar danger remains. The other becomes veiled in substitutes; he is never fully himself in the act of love; it is never clearly him that I desire, or him that I possess, but always rather a composite object, a universal body, of which he is but one among a potential infinity of instances. Fantasy fills our thoughts with a sense of the obscene, and the orgasm becomes, not the possession of another, but the expenditure of energy on his depersonalised body. Fantasies are private property, which I can dispose according to my will, with no answerability to the other whom I abuse through them. He, indeed, is of no intrinsic interest to me, and serves merely as my opportunity for self-regarding pleasure. For the fantasist, the ideal partner is indeed the prostitute, who, because she can be purchased, solves at once the moral problem presented by the presence of another at the scene of sexual release.

An obvious example is quantizing. Since the mid-nineties, most popular music recorded on computers has had tempos and rhythms that have been quantized. This means that the tempo never varies, not even a little bit, and the rhythmic parts tend toward metronomic perfection. In the past, the tempos of recordings would always vary slightly, imperceptibly speeding up or maybe slowing down just a little, or a drum fill might hesitate in order to signal the beginning of a new section. You’d feel a slight push and pull, a tug and then a release, as ensembles of whatever type responded to each other and lurched, ever so slightly, ahead of and behind an imaginary metronomic beat. No more. Now almost all pop recordings are played to a strict tempo, which makes these compositions

As communal and composite creatures, we human beings often symbolize our important relationships in physical ways. Nations create flags to represent their country, and pledging allegiance to those flags displays and reinforces the patriotism of its citizens. Couples exchange rings during a wedding ceremony, embodying their commitments to each other into wearable symbols that become a part of everything they do from then on. These symbols not only help us stay mindful of the fundamental relationships that shape our activity, they actually make those relationships stronger. That same dynamic, then, can be seen in the way sacraments function in the church's worship of God. First through the waters of baptism and thereafter through the bread and the wine of communion, we express and extend our devotion to God in physical ways. To be entirely devoted to God, we must make God a part of everything that we do. What better way to symbolize that than by eating and drinking the representations (i.e., “presenting to us again”) of Christ's broken body and shed blood. Sanctification is about living as a representation of Christ, and we become more mindful that Christ fills us and empowers us spiritually when we celebrate that filling and empowering physically. By recognizing our dependance on God in this way, we demonstrate to ourselves and others how important God is to us; we “worth-ship” God. Because this is an act of “communion,” the very same sacrament that celebrates our dependance on Christ also celebrates our interdependence on one another. It is hard to imagine a better medicine for sin-sick, self-addicted people to take than one that celebrates how much God loves them and calls them to love one another.

Today's enemies can be your friends tomorrow. And today's friends can be tomorrow's enemies. What you reject today, you could accept tomorrow. And what you accept today, you could reject tomorrow. Never say never unless you can predict the future. Unforeseeable circumstances can make a rich man, poor - And a poor man, rich. And unpredictable experiences can also make a good man, bad - And a bad man, good. Like the weather or bonds between lovers, Transformations cannot always be predicted. All energy transmutes one day or another, In one way or another, Either in its form or composition, Or in its position or disposition. Today will always offer new experiences, And tomorrow will always offer new opportunities. But if you heed to yesterday's lessons, You can shape your present and future To be filled with positive relationships And beautiful blessings. TODAY AND TOMORROW by Suzy Kassem

She returned to the kitchen, where she'd been making sugared flowers. Mint leaves, tiny violets and old-fashioned rose petals, heavy with perfume, lay on the counter. Very gently she dipped each one into the stiff egg whites, then in confectioners' sugar, and then placed them on the baking sheet, which she put in the warm oven, the door ajar. It gave the room the scent of a garden, heady and sweet. Sabine had planned to store the sweets in canning jars- there were still a few gaskets and lids left- and save them for cake. When she was a child, her grand-mère had once made her a Saint-Honoré for her birthday. It was the most wondrous cake in the world. Not a cake at all but a composition of tiny puffs of choux pastry filled with vanilla cream, very much like profiteroles, but molded together with caramel and covered with whipped chantilly cream fresh from the dairy. Her grand-mère decorated it with candied flowers and mint leaves. Sabine never had anything like it before or since and suddenly wanted to make that cake again.