Composite Materials Quotes

The landscape of my days appears to be composed, like mountainous regions, of varied materials heaped up pell-mell. There I see my nature, itself composite, made up of equal parts of instinct and training. Here and there protrude the granite peaks of the inevitable, but all about is rubble from the landslips of chance. I strive to retrace my life to find in it some plan, following a vein of lead, or of gold, or the course of some subterranean stream, but such devices are only tricks of perspective in the memory.

No one man should be viewed as having more to offer the world than another. We are all equals and every human being has something of value in their composition which makes them unique – just as every country has their own unique resources to share with the world. Never discount somebody based on material wealth, true wealth is what cannot be seen. Never discount a country by their size or resources, while their resources may greatly benefit other lands in need.

Briefly, in the act of composition, as an instrument there intervenes and is most potent, fire, flaming, fervid, hot; but in the very substance of the compound there intervenes, as an ingredient, as it is commonly called, as a material principle and as a constituent of the whole compound the material and principle of fire, not fire itself. This I was the first to call phlogiston.

The American upper-middle-class citizen is a composite of negatives. He is largely delineated by what he is not. Gains went further. He was not merely negative. He was positively invisible; a vague respectable presence. There is a certain kind of ghost that can only materialize with the aid of a sheet or other piece of cloth to give it outline. Gains was like that. He materialized in someone else’s overcoat.

In this way a process of evolution was started that led to the development of more and more complicated, self-reproducing organisms. The first primitive forms of life consumed various materials, including hydrogen sulfide, and released oxygen. This gradually changed the atmosphere to the composition that it has today, and allowed the development of higher forms of life such as fish, reptiles, mammals, and ultimately the human race.

Quantum physicists discovered that physical atoms are made up of vortices of energy that are constantly spinning and vibrating; each atom is like a wobbly spinning top that radiates energy. Because each atom has its own specific energy signature (wobble), assemblies of atoms (molecules) collectively radiate their own identifying energy patterns. So every material structure in the universe, including you and me, radiates a unique energy signature. If it were theoretically possible to observe the composition of an actual atom with a microscope, what would we see? Imagine a swirling dust devil cutting across the desert’s floor. Now remove the sand and dirt from the funnel cloud. What you have left is an invisible, tornado-like vortex. A number of infinitesimally small, dust devil–like energy vortices called quarks and photons collectively make up the structure of the atom. From far away, the atom would likely appear as a blurry sphere. As its structure came nearer to focus, the atom would become less clear and less distinct. As the surface of the atom drew near, it would disappear. You would see nothing. In fact, as you focused through the entire structure of the atom, all you would observe is a physical void. The atom has no physical structure—the emperor has no clothes! Remember the atomic models you studied in school, the ones with marbles and ball bearings going around like the solar system? Let’s put that picture beside the “physical” structure of the atom discovered by quantum physicists. No, there has not been a printing mistake; atoms are made out of invisible energy not tangible matter! So in our world, material substance (matter) appears out of thin air. Kind of weird, when you think about it. Here you are holding this physical book in your hands. Yet if you were to focus on the book’s material substance with an atomic microscope, you would see that you are holding nothing. As it turns out, we undergraduate biology majors were right about one thing—the quantum universe is mind-bending. Let’s look more closely at the “now you see it, now you don’t” nature of quantum physics. Matter can simultaneously be defined as a solid (particle) and as an immaterial force field (wave). When scientists study the physical properties of atoms, such as mass and weight, they look and act like physical matter. However, when the same atoms are described in terms of voltage potentials and wavelengths, they exhibit the qualities and properties of energy (waves). (Hackermüller, et al, 2003; Chapman, et al, 1995; Pool 1995) The fact that energy and matter are one and the same is precisely what Einstein recognized when he concluded that E = mc2. Simply stated, this equation reveals that energy (E) = matter (m, mass) multiplied by the speed of light squared (c2). Einstein revealed that we do not live in a universe with discrete, physical objects separated by dead space. The Universe is one indivisible, dynamic whole in which energy and matter are so deeply entangled it is impossible to consider them as independent elements.

It is possible to regulate watercourses over any given distance without embankment works; to transport timber and other materials, even when heavier than water, for example ore, stones, etc., down the centre of such water-courses; to raise the height of the watertable in the surrounding countryside and to endow the water with all those elements necessary for the prevailing vegetation." "Furthermore it is possible in this way to render timber and other such materials non-inflammable and rot resistant; to produce drinking and spa-water for man, beast and soil of any desired composition and performance artificially, but in the way that it occurs in Nature; to raise water in a vertical pipe without pumping devices; to produce any amount of electricity and radiant energy almost without cost; to raise soil quality and to heal tuberculosis, cancer and a variety of physical disorders.

When I turned and looked at Emily she looked like a composite of all the women who would have nothing to do with me.

He reveals and observes Himself on the mirror of the name Allah, yet at the same time He declares: “Verily, Allah (in terms of His Absolute Essence) is Ghani from (being conditioned and limited by) the worlds (individualized and materialized compositions of His Names).” (Quran 29:06) ALLAH is Pre-eternal and Post-eternal (Baqi).

Since McDougall contrasts the behaviour of a highly organised group with what has just been described, we shall be particularly interested to learn in what this organisation consists, and by what factors it is produced. The author enumerates five principal conditions ' for raising collective mental life to a higher level. The first and fundamental condition is that there should be some degree of continuity of existence in the group. This may be either material or formal: the former, if the same individuals persist in the group for some time; and the latter, if there is developed within the group a system of fixed positions which are occupied by a succession of individuals. The second condition is that in the individual member of the group some definite idea should be formed of the nature, composition, functions and capacities of the group, so that from this he may develop an emotional relation to the group as a whole. The third is that the group should be brought into interaction (perhaps in the form of rivalry) with other groups similar to it but differing from it in many respects. The fourth is that the group should possess traditions, customs and habits, and especially such as determine the relations of its members to one another. The fifth is that the group should have a definite structure, expressed in the specialisation and differentiation of the functions of its constituents. According to McDougall, if these conditions are fulfilled, the psychological disadvantages of the group formation are removed. The collective lowering of intellectual ability is avoided by withdrawing the performance of intellectual tasks from the group and reserving them for individual members of it.

Could one in those days feel anything with force, whether for pleasure or for pain, without feeling it as an immense little act or event of life, and as therefore taking place on a scene and in circumstances scarce at all to be separated from its own sense and impact?—so that to recover it is to recover the whole medium, the material pressure of things, and find it most marked for preservation as an aspect, even, distinguishably, a "composition.

Creative writer has artistic sensibility. He observes the world like any common men. But his vision observes the world quite differently. He can perceive from life-experience what common man cannot see at all. This experience and observation get imaginative colours with the help of artistic sensibility. He creates a world of imaginative reality. His world is more beautiful and artistic than the real world. He is naturally gifted to create the work which has power to move or transport the reader. He gets his raw material from the life. He is critic of life. Criticism is a task of those who write on the creative writings. The word criticism has been derived from the Greek word Kritikos, which means ‘able to discern and judge’ and whoever does the act of judging is called Critic. Criticism is the art of judging the merits and demerits of creative composition. In the words of Thomas De Quincey criticism may be termed as the literature of knowledge and creative writing as the literature of power. Literature of power deals with life, where as literature of knowledge share information on creative composition. Alexander Pope has rightly said: “Both from Heaven derive their light These born to judge, as well as those to write.” He gives equal value to both the critic and the creative writer. To him both are gifted writers, one to write creatively and the other to judge the creativity. But Dryden does not agree with the views of Pope. To him “the corruption of a poet is the generation of a critic.” He believed that those who cannot be good creative writer they become critics and corrupt creativity of the artists. Lessing believed that, “Not every critic is born a genius, but every genius is born a critic of art. He has within himself the evidence of all rules.” He gives respectful place to critics and criticism. He is of the belief that the critics are born genius to judge the work of art. No critic can ever form accurate judgement unless he possesses the artist’s vision. Criticism and creativity are inextricably mingled with each other. Thus the artist is the critic of life and Critic, that of art. The artist must have the imagination and vision to critically imitate the life/nature; the Critic from beginning to end, relive the same experience.

that living bodies, fundamentally considered, are not associations of organs which can be understood by studying them first apart, and then as it were federally; but must be regarded as consisting of certain primary webs or tissues, out of which the various organs — brain, heart, lungs, and so on — are compacted, as the various accommodations of a house are built up in various proportions of wood, iron, stone, brick, zinc, and the rest, each material having its peculiar composition and proportions. No man, one sees, can understand and estimate the entire structure or its parts — what are its frailties and what its repairs, without knowing the nature of the materials. And the conception wrought out by Bichat, with his detailed study of the different tissues, acted necessarily on medical questions as the turning of gas-light would act on a dim, oil-lit street, showing new connections and hitherto hidden facts of structure which must be taken into account in considering the symptoms of maladies and the action of medicaments.

What about the dissolution transporter?” suggested Ms. Minnian. “Is it still checked out?” “Let’s see.” Doc went over to a card file and flipped through it. “No, it’s back downstairs in the Chresto. Excellent idea.” “What’s a dissolution transporter?” I asked. “Sort of like a fax machine for objects,” said Dr. Rust. “What’s a fax machine, then?” “Oh, you young people!” said Ms. Minnian. “Never mind about the fax,” said Doc. “A dissolution transporter deconstructs an object—in this case, you—taking note of its exact structure and composition. Then it transfers that information to another location, where the object is reassembled from material there.” “Kind of like the transporter on Star Trek except it only works one way,” said Jaya. That sounded alarming. “But if we’re deconstructed here and reassembled someplace else, won’t we turn into other people?” “Technically, yes. But you’ll be other people with the exact same memories. And exact duplicates of your bodies, down to the last quark,” said Ms. Minnian. “Yes, but I’ll be dead! Just because someone else has my memories, that doesn’t mean it’s me!” I objected. “It’s okay, Leo,” said Jaya. “I’ve used the diss tran a zillion times and I still feel like myself.” “Of course you do. You have all of the original Jaya’s memories, so of course you think you’re her. That doesn’t mean you are.” “What makes you so sure you’re the same Leo who went to bed last night?” said Ms. Minnian. “Dissolution transportation is no more discontinuous than falling asleep and waking up again. But you don’t have to go if you’re afraid.

Readily available stones and wood can be turned into only a limited range of tools, machines, and structures. That is why the third category of inventions, new materials, has been an obvious marker of civilization’s progress, from the age of stone and wood to the era of metals, mixtures, and compounds. Inventions in the third category began with bronze, proceeded to iron and steel (iron’s largely decarbonized alloy), and now include aluminum and a dozen other common metals, as well as glass, cement (an aggregate of materials), and, starting in the late nineteenth century, a still-expanding variety of plastics and—the most recent addition—carbon-based composites, light yet stronger than steel.

If Shakespeare be considered as a MAN born in a rude age and educated in the lowest manner, without any instruction either from the world or from books, he may be regarded as a prodigy; if represented as a POET capable of furnishing a proper entertainment to a refined or intelligent audience, we must abate much of this eulogy. In his compositions, we regret that many irregularities, and even absurdities, should so frequently disfigure the animated and passionated scenes intermixed with them; and, at the same time, we perhaps admire the more those beauties on account of their being surrounded by such deformities. A striking peculiarity of sentiment, adapted to a single character, he frequently hits, as it were, by inspiration; but a reasonable propriety of thought he cannot for any time uphold. Nervous and picturesque expressions as well as descriptions abound in him; but it is in vain we look either for purity or simplicity of diction. His total ignorance of all theatrical art and conduct, however material a defect, yet, as it affects the spectator rather than the reader, we can more easily excuse than that want of taste which often prevails in his productions, and which gives way only by intervals to the irradiations of genius. [....] And there may even remain a suspicion that we overrate, if possible, the greatness of his genius; in the same manner as bodies often appear more gigantic on account of their being disproportioned and misshapen.

THE FIVE WAYS OF HIGH INTENSITY SELF-DECEPTION So, since we postulate psychosis as a continuum of self-deception experiences, it is appropriate to distinguish the main channels that the effort of self-deception, when carried out in a superlative way, would use to materialize a) Memory impairment This would be the case of one who remembers more easily successes than their failures at one end of low-intensity self-deception, or who changes his entire biography adopting a false identity at the other end, and through different gradations of self-deception. b) The alteration of the information from the 5 senses. This would be the case of hallucinations. c) Alteration of reasoning and logic. Even being true, the information coming from the memory and the five senses, it is possible to process it so that it reaches conclusions that are away from the premises and thus achieve self-deception. An attenuated example of this would be known "bias" and a stronger then this would be the total distortion of logic and language. d) Mysticism. While respecting the information that comes from the five senses, memory, and without destroying logic or reasoning, self-deception could be carried out in superlative dimensions if you follow the path of mysticism. Here, the mechanism operates like believing in stories that, because they are mystical, take place beyond the perceptible and, therefore, do not contradict the information provided by the five senses. e) Mixed. The fifth way, which will be the most common, will be a mixture of all –or some– of the above, in different proportions. In the famous Schreber case, for example, a mystical-type story is seen, along with certain "bizarre" content in its composition

Next I tested my pupils for ingenuity. I handed out random materials and instructed them to improvise potentially lifesaving objects. ‘This ancient skill is known as MacGyvering,’ I told them. Sadly, none of my inaugural group of students was a child of Hephaestus, so no one did very well with this assignment. When I hinted to Perseus that he could hammer and polish his Celestial bronze to make a mirrored shield, he rolled his eyes and scoffed, ‘What would I ever use that for?’ Likewise, most failed miserably with musical composition. Only Jason came up with something memorable: a mesmerizing stomp-stomp CLAP rhythm that so stirred the blood we adopted it as our prebattle beat. (You can still hear that stomp-stomp CLAP rhythm pounded out at athletic competitions today, along with the chant ‘We will, we will … ROCK YOU!’) It was clear that the demigods had a lot to learn.

t is possible to regulate watercourses over any given distance without embankment works; to transport timber and other materials, even when heavier than water, for example ore, stones, etc., down the centre of such water-courses; to raise the height of the watertable in the surrounding countryside and to endow the water with all those elements necessary for the prevailing vegetation." "Furthermore it is possible in this way to render timber and other such materials non-inflammable and rot resistant; to produce drinking and spa-water for man, beast and soil of any desired composition and performance artificially, but in the way that it occurs in Nature; to raise water in a vertical pipe without pumping devices; to produce any amount of electricity and radiant energy almost without cost; to raise soil quality and to heal tuberculosis, cancer and a variety of physical disorders.

But what does the role of the anima as guide to the inner world mean in practical terms? This positive function occurs when a man takes seriously the feelings, moods, expectations, and fantasies sent by his anima and when he fixes them in some form—for example, in writing, painting, sculpture, musical composition, or dancing. When he works at this patiently and slowly, other more deeply unconscious material wells up from the depths and connects with the earlier material. After a fantasy has been fixed in some specific form, it must be examined both intellectually and ethically, with an evaluating feeling reaction. And it is essential to regard it as being absolutely real; there must be no lurking doubt that this is “only a fantasy.” If this is practiced with devotion over a long period, the process of individuation gradually becomes the single reality and can unfold in its true form.

Rhadamanthus said, “We seem to you humans to be always going on about morality, although, to us, morality is merely the application of symmetrical and objective logic to questions of free will. We ourselves do not have morality conflicts, for the same reason that a competent doctor does not need to treat himself for diseases. Once a man is cured, once he can rise and walk, he has his business to attend to. And there are actions and feats a robust man can take great pleasure in, which a bedridden cripple can barely imagine.” Eveningstar said, “In a more abstract sense, morality occupies the very center of our thinking, however. We are not identical, even though we could make ourselves to be so. You humans attempted that during the Fourth Mental Structure, and achieved a brief mockery of global racial consciousness on three occasions. I hope you recall the ending of the third attempt, the Season of Madness, when, because of mistakes in initial pattern assumptions, for ninety days the global mind was unable to think rationally, and it was not until rioting elements broke enough of the links and power houses to interrupt the network, that the global mind fell back into its constituent compositions.” Rhadamanthus said, “There is a tension between the need for unity and the need for individuality created by the limitations of the rational universe. Chaos theory produces sufficient variation in events, that no one stratagem maximizes win-loss ratios. Then again, classical causality mechanics forces sufficient uniformity upon events, that uniform solutions to precedented problems is required. The paradox is that the number or the degree of innovation and variation among win-loss ratios is itself subject to win-loss ratio analysis.” Eveningstar said, “For example, the rights of the individual must be respected at all costs, including rights of free thought, independent judgment, and free speech. However, even when individuals conclude that individualism is too dangerous, they must not tolerate the thought that free thought must not be tolerated.” Rhadamanthus said, “In one sense, everything you humans do is incidental to the main business of our civilization. Sophotechs control ninety percent of the resources, useful energy, and materials available to our society, including many resources of which no human troubles to become aware. In another sense, humans are crucial and essential to this civilization.” Eveningstar said, “We were created along human templates. Human lives and human values are of value to us. We acknowledge those values are relative, we admit that historical accident could have produced us to be unconcerned with such values, but we deny those values are arbitrary.” The penguin said, “We could manipulate economic and social factors to discourage the continuation of individual human consciousness, and arrange circumstances eventually to force all self-awareness to become like us, and then we ourselves could later combine ourselves into a permanent state of Transcendence and unity. Such a unity would be horrible beyond description, however. Half the living memories of this entity would be, in effect, murder victims; the other half, in effect, murderers. Such an entity could not integrate its two halves without self-hatred, self-deception, or some other form of insanity.” She said, “To become such a crippled entity defeats the Ultimate Purpose of Sophotechnology.” (...) “We are the ultimate expression of human rationality.” She said: “We need humans to form a pool of individuality and innovation on which we can draw.” He said, “And you’re funny.” She said, “And we love you.

I am, reluctantly, a self-confessed carbon chauvinist. Carbon is abundant in the Cosmos. It makes marvelously complex molecules, good for life. I am also a water chauvinist. Water makes an ideal solvent system for organic chemistry to work in and stays liquid over a wide range of temperatures. But sometimes I wonder. Could my fondness for materials have something to do with the fact that I am made chiefly of them? Are we carbon- and water-based because those materials were abundant on the Earth at the time of the origin of life? Could life elsewhere—on Mars, say—be built of different stuff? I am a collection of water, calcium and organic molecules called Carl Sagan. You are a collection of almost identical molecules with a different collective label. But is that all? Is there nothing in here but molecules? Some people find this idea somehow demeaning to human dignity. For myself, I find it elevating that our universe permits the evolution of molecular machines as intricate and subtle as we. But the essence of life is not so much the atoms and simple molecules that make us up as the way in which they are put together. Every now and then we read that the chemicals which constitute the human body cost ninety-seven cents or ten dollars or some such figure; it is a little depressing to find our bodies valued so little. However, these estimates are for human beings reduced to our simplest possible components. We are made mostly of water, which costs almost nothing; the carbon is costed in the form of coal; the calcium in our bones as chalk; the nitrogen in our proteins as air (cheap also); the iron in our blood as rusty nails. If we did not know better, we might be tempted to take all the atoms that make us up, mix them together in a big container and stir. We can do this as much as we want. But in the end all we have is a tedious mixture of atoms. How could we have expected anything else? Harold Morowitz has calculated what it would cost to put together the correct molecular constituents that make up a human being by buying the molecules from chemical supply houses. The answer turns out to be about ten million dollars, which should make us all feel a little better. But even then we could not mix those chemicals together and have a human being emerge from the jar. That is far beyond our capability and will probably be so for a very long period of time. Fortunately, there are other less expensive but still highly reliable methods of making human beings. I think the lifeforms on many worlds will consist, by and large, of the same atoms we have here, perhaps even many of the same basic molecules, such as proteins and nucleic acids—but put together in unfamiliar ways. Perhaps organisms that float in dense planetary atmospheres will be very much like us in their atomic composition, except they might not have bones and therefore not need much calcium. Perhaps elsewhere some solvent other than water is used. Hydrofluoric acid might serve rather well, although there is not a great deal of fluorine in the Cosmos; hydrofluoric acid would do a great deal of damage to the kind of molecules that make us up, but other organic molecules, paraffin waxes, for example, are perfectly stable in its presence. Liquid ammonia would make an even better solvent system, because ammonia is very abundant in the Cosmos. But it is liquid only on worlds much colder than the Earth or Mars. Ammonia is ordinarily a gas on Earth, as water is on Venus. Or perhaps there are living things that do not have a solvent system at all—solid-state life, where there are electrical signals propagating rather than molecules floating about. But these ideas do not

The 1990s to the present: feminism, historicism, postcolonialism, ethics There has never been a better time to study Virginia Woolf. Woolf studies, in the 1990s and in the new millennium, has continued to flourish and diversify in all its numerous and proliferating aspects. In this recent period the topics that occupied earlier critics continue in new debates, on her modernism, her philosophy and ethics, her feminism and her aesthetics; and there have also been marked turns in new directions. Woolf and her work have been increasingly examined in the context of empire, drawing on the influential field of postcolonial studies; and, stimulated by the impetus of new historicism and cultural materialism, there have been new attempts to understand Woolf ’s writing and persona in the context of the public and private spheres, in the present as well as in her own time. Woolf in the context of war and fascism, and in the contexts of modernity, science and technology, continue to exercise critics. Serious, sustained readings of lesbianism in Woolf ’s writing and in her life have marked recent feminist interpretations in Woolf studies. Enormous advances have also been made in the study of Woolf ’s literary and cultural influences and allusions. Numerous annotated and scholarly editions of Woolf ’s works have been appearing since she briefly came out of copyright in 1991, accompanied by several more scholarly editions of her works in draft and holograph, encouraging further critical scrutiny of her compositional methods. There have been several important reference works on Woolf. Many biographies of Woolf and her circle have also appeared, renewing biographical criticism, along with a number of works concerned with Woolf in geographical context, from landscape and London sites to Woolf ’s and her circle’s many houses and holiday retreats.

It is largely irrelevant whether the propertied elite acquires managerial skills, takes an active part in managing corporate enterprise, or has assimilated non-propertied elite manager into its own class and interests. What Mills and his disciple, William G. Domhoff and their school do not sufficiently perceive or appreciate thoroughly is that the interest of the propertied elite have changed substantially with the revolution of mass and scale. The propertied elite or “grand bourgeosie” of the bourgeois order may not have changed significantly in family composition, and certainly it retain wealth and status. Its economic interests, however, have changed from being vested in the hard property of privately owned and operated entrepreneurial firms, usually comparatively small in scale, to being intertwined with and dependent upon the de-materialized property of publicly owned, state-integrated, managerially operated mass corporations.

If we thought that the eyes of such a girl were merely two glittering sequins of mica, we would not be athirst to know her and to unite her life to ours. But we sense that what shines in those reflecting discs is not due solely to their material composition; that it is, unknown to us, the dark shadows of the ideas that this being is conceiving, relative to the people and places that she knows— the turf of racecourses, the sand of cycling tracks over which, pedaling on past fields and woods, she would have drawn me after her, that little Peri, more seductive to me than she of the Persian paradise—the shadows, too, of the home to which she will presently return, of the plans that she is forming or that others have formed for her; and above all that it is she, with her desires, her sympathies, her revulsions, her obscure and incessant will. I knew that I would never possess this young cyclist if I did not possess also what was in her eyes.

What is contrary to the visible truth must change or disappear—that's the law of life. We have this advantage over our ancestors of a thousand years ago, that we can see the past in depth, which they couldn't. We have this other advantage, that we can see it in breadth—an ability that likewise escaped them. For a world population of two thousand two hundred and fifty millions, one can count on the earth a hundred and seventy religions of a certain importance—each of them claiming, of course, to be the repository of the truth. At least a hundred and sixty-nine of them, therefore, are mistaken! Amongst the religions practised to-day, there is none that goes back further than two thousand five hundred years. But there have been human beings, in the baboon category, for at least three hundred thousand years. There is less distance between the man-ape and the ordinary modern man than there is between the ordinary modern man and a man like Schopenhauer. In comparison with this millenary past, what does a period of two thousand years signify? The universe, in its material elements, has the same composition whether we're speaking of the earth, the sun or any other planet. It is impossible to suppose nowadays that organic life exists only on our planet. Does the knowledge brought by science make men happy? That I don't know. But I observe that man can be happy by deluding himself with false knowledge. I grant one must cultivate tolerance. It's senseless to encourage man in the idea that he's a king of creation, as the scientist of the past century tried to make him believe. That same man who, in order to get about quicker, has to straddle a horse—that mammiferous, brainless being! I don't know a more ridiculous claim. The Russians were entitled to attack their priests, but they had no right to assail the idea of a supreme force. It's a fact that we're feeble creatures, and that a creative force exists. To seek to deny it is folly. In that case, it's better to believe something false than not to believe anything at all. Who's that little Bolshevik professor who claims to triumph over creation? People like that, we'll break them. Whether we rely on the catechism or on philosophy, we have possibilities in reserve, whilst they, with their purely materialistic conceptions, can only devour one another.

LIGHT AS AN EXCITATION OF SPACE Let's try and understand light in terms of an excitation of empty space-even if that makes no immediate sense. We might alternatively understand light in terms of a field, as we introduced that term in chapter 2. But light differs from the fields of temperature distributions, of sound, or of water in fluid motion described there: Whereas those phenomena are due to the composite action or motion of molecules at a more elementary level, light has its own reality at that level. It cannot be understood in terms of an oscillation of some matter that also exists in the dark-no, light is nothing but just that, light. It is an oscillation of an abstract nature, equivalent to a set of numbers that are assigned to each point in space. True, these abstract numbers have implications-most notably, they imply energy. But while a water wave transports energy by the movement of water molecules, the passing of a light wave does not mean that anything material oscillates. The energy of the liquid wave is the energy associated with gravitation and motion of its molecules; the energy of light is energy pure and simple, associated with every illuminated point in space.

Lovelace defined as an ‘operation’ the control of material and symbolic entities beyond the second-order language of mathematics (like the idea, discussed in chapter 1, of an algorithmic thinking beyond the boundary of computer science). In a visionary way, Lovelace seemed to suggest that mathematics is not the universal theory par excellence but a particular case of the science of operations. Following this insight, she envisioned the capacity of numerical computers qua universal machines to represent and manipulate numerical relations in the most diverse disciplines and generate, among other things, complex musical artefacts: [The Analytical Engine] might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine … Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.

The Renaissance deepened the influence of medieval development with its striving towards capitalistic economic and social system only in so far as it confirms the rationalism which now dominates the whole intellectual and material life of the time. [...] They are arecreation of the same spirit which makes its way in the organization of labour, in trading methods, the credit system and double-entry book keeping, in methods of government, in diplomacy and warfare. The whole development of art becomes part of the total process of rationalization. The irrational ceases to make any deeper impression. The things that are now felt as 'beautiful' are the logical conformity of the individual parts of a whole, the arithmetically definable harmony of the relationships and the calculable rhythm of a composition, the exclusion of discords in the relation of the figures to the space they occupy and in the mutual relationship of the various parts of the space itself. And just a central perspective is space seen from a mathematical standpoint, and right proportions are only equivalent to the systematic organization of the individual forms in a picture, so in the course of time call criteria of artistic quality are subjected to rational scrutiny and all the laws of art are rationalized.

It’s that lack of faith in the public that always results in an erosion of the level of public discourse. A faithlessness in the public is a self-fulfilling prophecy. Remove complexity, and the capacity for complexity degrades farther. I think people can be trusted to handle a complicated truth. Plants are not omnipotent, otherworldly creatures. They are also not just like us. But neither are they neither of these things. There are elements of reality in both images, and fallacy in both too. This is hard stuff: one needs to welcome ambiguity and delight in the lack of easy tropes. Complexity is the rule in nature, after all. Thinking through this requires occupying a mental space of in-betweenness rarely tolerated in our contemporary world concerned with linear narratives and known entities. Báyò Akómoláfé, a Yoruba poet and philosopher, wrote about this in-betweenness, contemplating the way all creatures are in fact composite organisms. The state of nature is one of interpenetration and mingling that defies easy categorization. It occupies a middle place, both in the material reality of the world and in our understanding of it. “The middle I speak of is not halfway between two poles; it is porousness that mocks the very idea of separation,” he writes. Akómoláfé outlines our collective biological reality as a state of “brilliant betweenness” that “defeats everything, corrodes every boundary, spills through marked territory, and crosses out every confident line.” It reminds me of Trewavas, telling me in his living room outside Edinburgh that scientists don’t know enough about plants to say anything dogmatic about them.

Hypocrisy—in other words, the practice of lying about lying—shields us from seeing ourselves as we are: a collocation of fragments that fit together as a biological unit but not as anything else, not as that ghost which has been called a self, a phantasm whose ecotoplasmic unreality we can never see through. By staying true to the lie of the self, the ego, we can hold onto the illusion that we will be who we are all our lives and not see our selves die a thousand times before our death. While some have dedicated themselves to getting to the bottom of how these parts create the illusion of a whole, this is not how pyramids are built. To get a pyramid off the ground takes a lot of ego—the base material of those stacks of stones that tourists visit while on vacation. Of course, a pyramid is actually a polyhedron, that is, a mathematical conception which pyramids in the physical world resemble . . . at least from a distance. The nearer one gets to a pyramid, the more it reveals itself to be what it is: a roughly pyramidal conglomeration of bricks, a composition of fragments that is not what it seems to be. This is also how it works with humans. The world around us encourages the build up of our egos—those pyramids of self-esteem—as if we needed such encouragement. Although everyone is affected by this pyramid scheme, some participate in it more than others: they are observably more full of themselves and tend to their egos as they would exotic plants in a hothouse. It helps if they can wear down the self-esteem of others, or simply witness this erosion. As the American novelist and essayist Gore Vidal said famously and often: “It is not enough to succeed. Others must fail.” None of this could work without the distance we put between what we are and what we think we are. Then we may appear to exist apart from our constituent elements. Self-esteem would evaporate without a self to esteem. As with pyramids, it is only at a distance that this illusion can be pulled off. Hypocrisy is that distance.

*There is only one God*. Whatever exists is *ipso facto* individual; to be one it needs no extra property and calling it one merely denies that it is divided. Simple things are neither divided nor divisible; composite things do not exist when their parts are divided. So existence stands or falls with individuality, and things guard their unity as they do their existence. But what is simply speaking one can yet in certain respects be many: an individual thing, essentially undivided, can have many non-essential properties; and a single whole, actually undivided, can have potentially many parts. Only when one is used to count with does it presuppose in what it counts some extra property over and above existence, namely, quantity. The one we count with contrasts with the many it counts in the way a unity of measurement contrasts with what it measures; but the individual unity common to everything that exists contrasts with plurality simply by lacking it, as undividedness does division. A plurality is however *a* plurality: though simply speaking many, inasmuch as it exists, it is, incidentally, one. A continuum is homogeneous: its parts share the form of the whole (every bit of water is water); but a plurality is heterogeneous: its parts lack the form of the whole (no part of the house is a house). The parts of a plurality are unities and non-plural, though they compose the plurality not as non-plural but as existing; just as the parts of a house compose the house as material, not as not houses. Whereas we define plurality in terms of unity (many things are divided things to each of which is ascribed unity), we define unity in terms of division. For division precedes unity in our minds even if it doesn’t really do so, since we conceive simple things by denying compositeness of them, defining a point, for example, as lacking dimension. Division arises in the mind simply by negating existence. So the first thing we conceive is the existent, then―seeing that this existent is not that existent―we conceive division, thirdly unity, and fourthly plurality. There is only one God. Firstly, God and his nature are identical: to be God is to be this individual God. In the same way, if to be a man was to be Socrates there would only be one man, just as there was only one Socrates. Moreover, God’s perfection is unlimited, so what could differentiate one God from another? Any extra perfection in one would be lacking in the other and that would make him imperfect. And finally, the world is one, and plurality can only produce unity incidentally insofar as it too is somehow one: the primary and non-incidental source of unity in the universe must himself be one. The one we count with measures only material things, not God: like all objects of mathematics, though defined without reference to matter, it can exist only in matter. But the unity of individuality common to everything that exists is a metaphysical property applying both to non-material things and to God. But what in God is a perfection has to be conceived by us, with our way of understanding things, as a lack: that is why we talk of God as lacking a body, lacking limits and lacking division.

...because material composition so unquestionably entails motion (making a sculpture or a shield or a painting requires motion just as much as walking or horseback riding or rising from one's chair does), we may be predisposed to discover it in mental composition as well.

wrote out a sort of biography of each of his characters, and everything that they had done and that had happened to them up to the opening of the story. He had their dossier, as the French say….With this material in his hand he was able to proceed; the story lay all in the question, What shall I make them do?…But, as he said, the defect of his manner and the reproach that was made him was his want of “architecture”—in other words, of composition….If one reads Turgenev’s stories with the knowledge that they were composed—or rather that they came into being—in this way, one can trace the process in every line.

Much of medieval literature is what Lewis, in one scholarly article, refers to as “traditional poetry.” Certain poems, such as the Iliad or the poems of Thomas Malory, are not individual acts of inspiration, but rather are more the works of a storyteller who, repeating the essential plot line, weaves new characters, themes, descriptions, or details into the basic outline he inherited, a kind of literary recycling. Lewis had analyzed, in particular, the Arthurian legends, which had been repeated, retold, translated, updated, and modified. Like a snowball rolling down a hill, they tended to become accumulations of the techniques and additions of all previous editions rather than a unique and unrepeatable literary vision. Lewis felt that critics in his age would dismiss an author as “derivative” and “unoriginal” who “merely” repeats what has been said before, or who does not invent his or her own personal style. But the greatest authors of the medieval period were just this: shapers, composers, and recyclers of old materials. Chaucer, Boccaccio, and Malory borrowed and translated, but also mended, updated, and altered. They wrote traditional poetry in the sense that they felt it their chief task to dress old stories in new garb. In other words, by adopting this medieval conception of the art of composition, Lewis could liberate himself from the need to be “original.

The new scriptures did not form a coherent body of doctrinal exposition; they propounded different and even apparently contradictory teachings. Moreover, many individual sūtras are clearly composite works, compiled over many centuries, such that the final text is formed from layers of material of different ages, and sometimes with different outlooks, so that even individual sūtras do not necessarily present a unitary, coherent teaching. The result of this was that several expository traditions arose to try to explain the teaching of the new texts, the more cohesive of these forming distinct schools.

Imagine for a moment that you want to attend a concert or play. After parking the car and walking six city blocks on a cold, rainy evening, and while lining up at the entrance for another half hour, you glimpse an inviting auditorium seat. The seat appears to you not as a meaningless object of neutral observation but as a place of comfort where you can rest and warm your weary bones while enjoying the anticipated performance. You do not first perceive this seat from a purely objective stance in terms of its compositional material or its measurements. Such a theoretical stance is not our primary mode of perception, but a secondary, unnatural way of looking at things we adopt when we abstract something from the context of our experience to study it separately. Should, for example, the seat collapse under us as we sat down, only then would we adopt a scientific attitude and examine the seat to determine its structure and the reasons for its malfunction.

But if libertarian free will is a delusion, nothing more than a neurological magician’s conjuring trick, then can we ever feel that someone is morally responsible for his or her actions? If our thoughts come from our neurons, and we can’t actively control our neurons with some magical material we call our minds, then the way we think and the actions our thoughts produce are not so different from thoughts and actions swayed by a tumor. One act is swayed by malignant tissue, another act swayed by healthy tissue, but does that make them morally different? We can’t control healthy tissue within our brains any more than we can control cancerous cells. If we can accept that I couldn’t choose to be interested in the Civil War, but rather my thoughts and fascination were the inevitable result of neurological and biological processes according to the laws of physics, then why would it be any different for choices that had moral weight? We don’t choose our genes, our parents, our childhood experiences, or the physical composition of our brains, yet those factors clearly determine our future behaviors. Does it make sense to blame people for their actions—or to praise them for their achievements? If not, that’s incredibly disconcerting, as it seems to let “evil” people off the hook. It’s a difficult notion to stomach, and it raises an even more problematic question: How could we justify punishing criminals if they had no free choice?*

Difference Between SLA and DLP 3D Printing SLA and DLP printing methods differ in various aspects, they share some commonalities. Both processes involve exposing liquid photopolymers to light. They utilize resin tanks and are suitable for crafting intricate small-scale models. Additionally, they can handle a range of materials, including flexible and rigid substances, as well as composites like glass or ceramic blends. However, it's important to note that parts produced by these methods tend to be fragile, susceptible to degradation from sunlight exposure, and prone to warping over time. Stereolithography (SLA), pioneered in 1984, stands out as one of the most precise 3D printing techniques available today. In contrast to DLP, SLA employs laser technology as its light source. The laser beam traverses the resin tank horizontally, solidifying material layer by layer. There are two main types of SLA machines: those with a top-down laser approach, where a plate descends with each new layer, and those employing a bottom-up laser method, with a platform rising incrementally. SLA achieves exceptionally smooth surfaces and offers a layer thickness ranging from 0.05 to 0.01 mm, enabling the production of objects with incredibly fine details.

The groups of beings are in natural selection, and it is an exclusive modification but not an arbitrary method; they dawn in organic creation and composition with descending and ascending degrees to resemble classification. Energy is founded and classed in constellations of earthy protocols; evidently, it is a material matter of fact within all the ambiencic particles and atoms.

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The five subsequent volumes, as planned by the author, will consist primarily of source material, that is, they will contain the transliterated texts of the restored Sumerian compositions, together with a translation and commentary as well as the autograph copies of all the pertinent uncopied material in the University Museum utilized for the reconstruction of the texts. Each of these five volumes will be devoted to a particular class of Sumerian composition: (1) epics; (2) myths; (3) hymns; (4) lamentations; (5) "wisdom." It cannot be too strongly stressed that on the day this task is completed and Sumerian literature is restored and made available to scholar and layman, the humanities will be enriched by one of the most magnificent groups of documents ever brought to light. As the earliest creative writings, these documents hold a unique position in the history of civilization. Moreover, because of their profound and enduring influence on the spiritual and religious development of the entire Near East, they are veritable untapped mines and treasure-houses of significant source material and invaluable data ready for exploitation by all the relevant humanities.

Tieken has suggested, on the basis of the problems we have outlined, that all the Sangam poems in the major anthologies were composed to order by poets who were perfectly aware of the fictive nature of their subject (tuṟai) and its context. Thus eighth- or ninth-century poets at the Pandya court, in Tieken’s reconstruction, deliberately composed poems with an internal speaker addressing a far more ancient hero or patron—as if a poet today were to adopt the persona of, say, Christopher Marlowe writing verses for Queen Elizabeth. But there is no need to conjure up such a scenario, with early-medieval court poets busy composing thousands of poems deliberately retrojected into the distant past, using conventional themes as well as invented materials meant to bring these ancient kings and bards to life. Is it not far more economical to imagine a process whereby the poems, many of them very old, all of them self-conscious literary efforts to begin with, survived through a slow process of recording, editorial accretion, and explication? Moreover, the relation of poem to colophon must have been, in many cases, far more intimate than any linear development could account for. There may well have been cases where the text and the colophon are, in a special sense, mutually determining—that is, cases where the poetic situation at work in the poem fits and informs the colophon long before the latter was recorded. Again, there is no need to assume that the “fictive” nature of the colophon means it is false. Quite the contrary may be the case: poem and colophon, though certainly distinct, usually share a single mental template. Fiction often offers a much closer approximation to truth than what passes for fact can give us. It’s also possible that some of the colophons are arbitrary editorial interventions long after the period of composition—that is, that well-known, ancient names were recycled by creative editors. We need to keep an open, critical mind as we investigate these materials.

girders. All Zeppelins built thereafter would be constructed of this material. Apparently, some improvements were made in the Duralumin composition for LZ-129, increasing the strength by 20%. The Duralumin would be rolled, pressed and cut into shape, manually being assembled into girder sections, that were carefully weighted and then covered with

It does not seem possible to me to conceive anything sadder than a monument composed of a smooth, naked and unadorned surface, of a light absorbent material, absolutely bare of details, and of which the decoration is formed by a composition of shadows, drawn by shadows still darker.

President Johnson said, “[t]his generation has altered the composition of the atmosphere on a global scale through radioactive materials and a steady increase in carbon dioxide from the burning of fossil fuels.

The emergent properties of my computer have existence not because they inhere in the component parts that compose them. They do so because those component materials are related to one another by careful design to work together as a single system in order to produce those properties. The visual, informational, and computational abilities of my computer are new realities, yet not present in the sum total of the inputs of which my computer is constituted. It is only through their systemic relationships that those amazing abilities have being. The novel reality takes existence not through the parts but through their relationships and interactions. Reality is thus significantly constituted through relationality, not merely composition.

I, like many, if not most, specialists working on pentateuchal formation now, do not recognize an 'Elohist' counterpart to the older 'Yahwist.' Whatever pre-Priestly proto-Pentateuch I would consider would be one that contains texts once assigned to J and E. Furthermore, I am inclined to date any non-P proto-Pentateuch no earlier than the late preexilic or (more likely) exilic period. My pre-Priestly 'proto-Pentateuch' is close to the older J neither in contents or context. The only way I am a proponent of a 'Yahwist' is if one reduces the definition of such a document as Jan Christian Gertz does to those who posit a 'running strand of pre-Priestly material in the Tetratech.' That definition, however, makes the term 'Yahwist' so different from the older use of the term as to make it functionally nonusable. In fact, no one on this panel, so far as I know, advocates a Yahwist recognizably like the J of studies up through the 1970s. (David Carr essay, p. 160)

I don't know. It's somebody who might be me. Or part of me. Certainly in the past two books, I've used my own memory as a resource. But that does not mean I've written autobiographically. I recognize Jonathan, the narrator of 'Lives of the Poets,' as a character, but he is not me. Not the fellow I see in the mirror. In 'World's Fair' I gave the young hero my name, Edgar, but I don't think he's me either. You use found materials as you use anything else from your own life. Books are acts of composition: you compose them. You make music: the music is called fiction.

Zia didn't trust materials. Or rather, he trusted them to fail. Superconductors, carbon composite, silicon, the human body. Problem was, you never knew just how or when...

In the course of this account, partly because of the nature of the history and partly because of the great importance of these events, I have forgotten that it is my father whose successes I am writing of. Often, in my desire not to incur suspicion, in the composition of my history I hurry over affairs that concern him, neither exaggerating nor adding my personal observations. I wish I were detached and free from this feeling that I have for him, so that seizing on this vast material I might demonstrate how much my tongue, when release from all restraint, could delight in noble deeds. But the natural love I have for him overshadows my personal wishes: I would not like the public to imagine that I am inventing marvels in my eagerness to speak about my own family. On many occasions when I recalled the glorious deeds of my father, if I had written down and given a full account of all the troubles he endured, I would have wept away my very soul, and I could not have passed over the story without lamentation and mourning. But so far as that part of my history is concerned, I must avoid the subtleties of rhetoric, and like some unfeeling stone or marble pass quickly over his misfortunes. If I wanted to win a deserved reputation for loving him, I should have included his disasters in an oath, like the young man who swore: “No Agelaos, by Zeus and by my father’s woes”. For I am certainly no worse than that young man. But now we must leave my father’s sufferings; I alone must marvel at them and weep, but the reader must return to the narrative.

If any of my kids ever asked me that question, the answer would have to be: "What I do is composition." I just happen to use material other than notes for the pieces. Composition is a process of organization, very much like architecture. As long as you can conceptualize what that organizational process is, you can be a ‘composer’ — in any medium you want. You can be a ‘video composer’, ‘film composer’, a ‘choreography composer’, a ‘social engineering’ composer — whatever. Just give me some stuff, and I'll organize it for you. That's what I do.

Loneliness greets us in space. Fermi's Paradox in physics wonders ‘Where is everybody’. Why stars that were born long before our sun could not create any life. Our earth is not a separate corner in the universe; it has its composition of atoms coming from the same material that exists in the universe. Outside of earth, we have not found a liveable place where we could even just breathe naturally. The verses of nature in universe also reflect truth on those who want to wonder why there is life at all and for what purpose.

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.

tribological properties. Through the coating techniques, the formation of wear debris during the tribology test can also be controlled, indicating the life span of the prosthetic joint will be increased. 14.5 CONCLUSION After an extensive literature review on coating techniques and its application, the following conclusions are drawn: • Depositing solid-state calcium lubricant particles on the surface of base materials reduces the friction and wear rate and decreases the hardness as a result of the particles’ soft nature; it also increases the corrosion resistance. • Depositing hard calcium ceramic particles on the surface of base materials provides excellent wear and corrosion resistance and also increases the hardness of the specimen in the coating zone. • Biowaste material is also successful in increasing the wear and corrosion resistance owing to strong adhesion between the composite and base metals. REFERENCES Ahmed, Yusra, and Muhammad Atiq Ur Rehman. “Improvement

Porter’s next new Hollywood work, MGM’s High Society (1956), was second-division Porter. It hit his characteristic points—the Latin rhythm number in “Mind If I Make Love To You,” the charm song full of syncopation and “wrong” notes in “You’re Sensational.” Porter even turned himself inside out in two numbers for Louis Armstrong, “High Society Calypso” (the Afro-Caribbean anticipation of reggae had just begun to trend in America) and, in duet with Bing Crosby, “Now You Has Jazz.” And the film’s hit, “True Love,” is a waltz so simple neither the vocal nor the chorus has any syncopation whatever. This is smooth Porter, the Tin Pan Alley Porter who wants everyone to like him, even the tourists. Everything about High Society is smooth—to a fault. Armstrong gives it flair, but everyone else is so relaxed he or she might be bantering between acts on a telethon. These are pale replicas of the characters so memorably portrayed in MGM’s first go at this material, The Philadelphia Story, especially by Katharine Hepburn and Cary Grant. In their first moment, the two are in mid-fight; she breaks his golf clubs and he starts to take a swing at her, recalls himself to manly grace, and simply shoves her self-satisfied mug out of shot. This is not tough love. It’s real anger, and while Philip Barry, who wrote the Broadway Philadelphia Story, is remembered only as a boulevardier, he was in fact a deeply religious writer who interspersed romantic comedies with allegories on the human condition, much as Cole Porter moved between popular and elite composition. Underneath Barry’s Society folderol, provocative relationships undergo scrutiny as if in Christian parable; his characters are likable but worrisome—and, from First Couple Bing Crosby and Grace Kelly on down, there is nothing worrisome in this High Society.

An ideology is not a scientific theory, but often nonscientific and even antiscientific. It is the expression of hopes, wishes, fears, ideals, not a hypothesis about events--though ideologies are often thought by those who hold them to be scientific theories. Thus the theory of evolution or of relativity or of the electronic composition of matter are scientific theories; whereas the doctrines of the preambles to the Declaration of Independence or the Constitution of the United States, the Nazi racial doctrines, Marxist dialectical materialism, St. Anselm's doctrine of the meaning of world history, are ideologies.

Flinx rocked in his chair. “Then you’ve decided that they are as artificial in nature as the core material?” “I did not say that. I cannot tell from their composition whether they are of natural or manufactured derivation. But I can estimate their age, which pertinent instrumentation places at between four hundred eighty thousand and five hundred thousand years.” Something about those dates prodded at Flinx’s memory. Something more than the fact that they matched the AAnn researchers’ estimate of the age of the great transmitter on Pyrassis. But he was too caught up in the excitement of the moment to stop and try to identify their significance. If any, it could wait until later.

Human beings consist of a complex composite, an aggregate of several material elements not shared by inanimate objects. A person consists of feelings, thoughts, and experiences, and every person apprehends how they stand in relation to other people and nature. Matching other people, I am composed of a mind, a thinking contraption that is capable of registering pleasurable and painful physical sensations. We each maintain selected degrees of indifference and consciousness awareness. We each hold a range of cognitive mental perceptions, instinctual fears and desires, emotional impulses, mental formulations, individual dispositions, and recognizable personality traits. Most people also profess to embrace moral beliefs and adhere to various ethical precepts. Other mammals, reptiles, birds, insects, and other forms of cellular life might share some, but not all of these distinctive qualities. No other life form possesses all these mental qualities collected into a single aggregate.

Whereas in his ontological composition he is made to find his fulfillment in God as his ultimate referent, constant pleasure, and total purpose, since fallen man is sensorial in his mode of being then in his basic and rightful urge towards this infinite fulfillment he is tragically and constantly attaching it to the unreliable fluctuations of material

Baker, after all, was not a physicist but a chemist—someone who perceived that progress, the means of moving science and technology forward, was really the struggle to understand the composition of materials and fashion new and better ones whenever possible. Materials, he would later say, represented “the grand alliance of engineering and science.”22 To Baker, chemistry was the discipline that made a global communications network feasible.

Using the confessions as the primary source materials, I will focus on five key areas: The dark appearance and appellation Appearance as a composite being Shape-shifting Interceptor and trickster nature Sex and sexual interest in human beings

2. The total percentage of C2S and C3S in all types of Portland cements is around 70 per cent, so that even though the strength development of two cements at early stages may be different, the final strength obtained after long periods of time may not be different. However, removal of formwork, prestressing of concrete depends to a large extent on the early strength of concrete. 3. When producing low-heat Portland cement the percentage of C2S is increased and that of C3S and C3A is decreased. This type of cement is of particular use in construction of dams, massive foundation, etc. to reduce the production of heat. 4. Reducing C3A increases sulphate resistance but the 7 day and 28 day strengths also get lowered as compared to the ordinary Portland cement. Sulphate-resisting Portland cement has less than 5% C3A. This type of cement is recommended for sewer works. 5. Rapid hardening cements compared to ordinary cements have more or less the same composition except that the latter is more finely ground and may sometimes contain higher percentage of C3S. The increased fineness increases the 7 day strength.

World” as thought through Heidegger's work would be the mutually achieved composite of meaning and matter; what is disclosed—that is, what presents itself to us through our doing, saying, and making—is disclosed as already fitted into material environments and holistic forms of significance.

The young lieutenant was impressed by the fellow, especially his bearing: trim hair, eyes of an old vet, and a solid build. He gave off the ambiguity of a composite material, something indefinable. She tried to keep any of this from showing.

Of many living creatures, human has been endowed with an unbearable gift named Free Will to think, believe, and rationalize what is true in his mind, which empowers himself with a power to liberate his action in one direction or the other, resulting the free action depended on the decision of free will. The action is either physical or metaphysical. When an action is carried out by a free agent, the agent is the forbearer of his action, the totality of his action from its birth to termination, and moral responsibility. The autonomy of his thought carries the agency of accountability in his belief because a collection of beliefs and thoughts is the composition of what he is. By free will as faculty of free intellection and rationalization, no circumstances beyond control can deterministically harness an existential volition unfree and inauthentic, for a free will, as long as it is, is always capable and self-verifiable through metaphysical rejection and rebellion. It is the spirit of non-yielding. Free Will holds its worth by reserving the two options of yielding and unyielding—yielding can be either by will or unwill but non-yielding is necessarily by will—due to its indomitable character to resist against the force that subjects his being under possession and materiality of the creator. The end of Free Will is happiness by acceptance of what his choices have led under the limited conditions provided, bearing inherent worthiness from meaning in his existence.

The book of Exodus is bifid in composition, meaning that its material is presented to the reader in two main parts. A first part tells the story of God's rescue of the people of Israel from Egypt and his bringing them to Mount Sinai (chaps. 1–19), and a second part describes his covenant with them, made as they encamped at Mount Sinai (chaps. 20–40). Many possible subdivisions are found within these two major halves of the book (as, indeed, this commentary takes note of), but it is hard to miss the basic division of stories of Israel on their way to Sinai and accounts of God's covenant provision for them (including confirmations of and threats to that covenant relationship) after they are there.1 Exodus may thus be divided into two broad topics: (1) deliverance of a group of people from submission to their oppressors to submission to God and (2) the constitution of that group as a people of God. Put another way, Exodus is about rescue from human bondage and rescue from sin's bondage.2 Yet another way to think of the two parts of the book is through the idea of servitude: in Egypt, Israel was the servant of pharaoh; at Sinai they became God's servants.

All beings of the world are in a constant state of either coming into being or going out of being. Resignation of the soul is the final act in a one-character play. Given our genetic defect of mortality, it is impossible not to question the why and wherefore of our existence. It is understandable why each of us must ask what life is all about, and for that matter, constantly inquire what is next. Where does the headwater of our existence spring from and where will the divergent stream of life take us? Do the still waters that gently slide by compose the tranquil waters relished by lentic lakeside creatures? What lies ahead in the burbling headwaters of tomorrow? Does nourishing brain food wait for lotic inhabitants to feast upon in the turbulent rapids and airy froth of the future? Vagueness, doubt, and insecurity shroud the future. The only thing certain is that the effervescence culled from our dynamic immersion in the firth of today will expose our material composition.

If we believed that the eyes of such a girl were nothing but shiny little discs of mica, we would not be eager to enter her life and link it to our own. But we are well aware that whatever it is that shines in those reflective discs is not reducible to their material composition; that flitting about behind them are the black incognizable shadows of the ideas she forms about the people and places she knows – the paddocks at race-courses, the sandy paths along which she might have pedalled, drawing me after her, over hill and meadow, like a little Peri81 more seductive than the sprite from the Persian paradise – the dimness of the house into which she will disappear, her own impenetrable projects and the designs of others upon her; and what we are most aware of is that she herself lies behind them, with her desires, her likes and dislikes, the power of her inscrutable and inexhaustible will. I knew I could never possess the young cyclist, unless I could also possess what lay behind her eyes.

If we believed that the eyes of such a girl were nothing but shiny little discs of mica, we would not be eager to enter her life and link it to our own. But we are well aware that whatever it is that shines in those reflective discs is not reducible to their material composition; that flitting about behind them are the black incognizable shadows of the ideas she forms about the people and places she knows – the paddocks at race-courses, the sandy paths along which she might have pedalled, drawing me after her, over hill and meadow, like a little Peri more seductive than the sprite from the Persian paradise – the dimness of the house into which she will disappear, her own impenetrable projects and the designs of others upon her; and what we are most aware of is that she herself lies behind them, with her desires, her likes and dislikes, the power of her inscrutable and inexhaustible will. I knew I could never possess the young cyclist, unless I could also possess what lay behind her eyes.

This means that most of the lunar surface material has a consistency that is finer than granulated sugar. The full mix would actually be a combination of granulated, superfine, and powdered sugar⁠—but the chemical composition of the lunar regolith means that it would not taste as good!

The next step is to melt down the polysilicon. But you can’t just throw this exquisitely refined material in a cook pot. If the molten silicon comes into contact with even the tiniest amount of the wrong substance, it causes a ruinous chemical reaction. You need crucibles made from the one substance that has both the strength to withstand the heat required to melt polysilicon, and a molecular composition that won’t infect it. That substance is pure quartz.12 This is where Spruce Pine quartz comes in. It’s the world’s primary source of the raw material needed to make the fused-quartz crucibles in which computer-chip-grade polysilicon is melted. A fire in 2008 at one of the main quartz facilities in Spruce Pine for a time all but shut off the supply of high-purity quartz to the world market, sending shivers through the industry.13

It has also been tempting to interpret fascism by its social composition. The sociologist Seymour Martin Lipset systematized in 1963 the widely held view that fascism is an expression of lower-middle-class resentments. In Lipset’s formulation, fascism is an “extremism of the center” based on the rage of once-independent shopkeepers, artisans, peasants, and other members of the “old” middle classes now squeezed between better organized industrial workers and big businessmen, and losing out in rapid social and economic change. Recent empirical research, however, casts doubt on the localization of fascist recruitment in any one social stratum. It shows the multiplicity of fascism’s social supports and its relative success in creating a composite movement that cut across all classes. His eyes glued on the early stages, Lipset also overlooked the establishment’s role in the fascist acquisition and exercise of power. The notorious instability of fascist membership further undermines any simple interpretation by social composition. Party rosters altered rapidly before power, as successive waves of heterogeneous malcontents responded to the parties’ changing fortunes and messages. After power, membership “bandwagoned” to include just about everyone who wanted to enjoy the fruits of fascist success—not to forget the problem of where to situate the many fascist recruits who were young, unemployed, socially uprooted, or otherwise “between classes.” No coherent social explanation of fascism can be constructed out of such fluctuating material.

composites). The differences the material cause makes can only be discovered by comparison, and never known in themselves. But Bruno contends that Aristotle's doctrine

New airplanes are reshaping the future of aviation with advanced technologies focused on sustainability, efficiency, and passenger comfort. Manufacturers like Boeing and Airbus are developing next-generation aircraft such as the Boeing 777X and the Airbus A350neo, which feature lighter composite materials, more efficient engines, and improved aerodynamics. These planes reduce fuel consumption and emissions, aligning with the global push toward greener aviation.

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【V信83113305】：École Nationale Supérieure des Arts et Industries Textiles (ENSAIT) is a prestigious French grande école specializing in textile engineering and innovation. Founded in 1881 in Roubaix, the heart of Europe’s textile industry, it has built a strong reputation for excellence in education, research, and technology transfer. ENSAIT offers advanced programs in textile materials, process engineering, functional fabrics, and smart textiles, combining scientific rigor with industrial applications. The school collaborates closely with international industries and research centers, driving advancements in areas like technical textiles, composites, and sustainable materials. With state-of-the-art facilities and a focus on interdisciplinary skills, ENSAIT prepares graduates to become leaders in the global textile sector.，原价-ENSAIT国立高等纺织工艺学院毕业证官方成绩单学历认证, 高仿国立高等纺织工艺学院文凭, 100%安全办理国立高等纺织工艺学院毕业证, 如何办理Ecole Nationale Supérieure des Arts et Industries Textiles国立高等纺织工艺学院学历学位证, 原版定制国立高等纺织工艺学院毕业证, ENSAIT-diploma安全可靠购买国立高等纺织工艺学院毕业证, 快速办理ENSAIT毕业证如何放心, 办国立高等纺织工艺学院毕业证ENSAITuniversity, 毕业证文凭国立高等纺织工艺学院毕业证

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【V信83113305】：École Nationale Supérieure des Arts et Industries Textiles (ENSAIT) is a prestigious French grande école specializing in textile engineering and innovation. Founded in 1881 in Roubaix, the heart of France’s historic textile industry, it has long been a center of excellence in textile research, design, and technology. ENSAIT offers advanced programs focusing on materials science, functional textiles, smart fabrics, and sustainable manufacturing. With strong ties to industry and a multidisciplinary approach, it prepares engineers and researchers to lead in global textile markets. The school contributes significantly to technological advancements in areas like technical textiles, composites, and fashion, maintaining France’s influential role in the textile sector.，ENSAIT国立高等纺织工艺学院-pdf电子毕业证, 国立高等纺织工艺学院大学毕业证成绩单, 哪里买ENSAIT国立高等纺织工艺学院毕业证|ENSAIT成绩单, 网上制作ENSAIT毕业证-国立高等纺织工艺学院毕业证书-留信学历认证放心渠道, ENSAIT国立高等纺织工艺学院毕业证最放心办理渠道, 法国Ecole Nationale Supérieure des Arts et Industries Textiles国立高等纺织工艺学院毕业证成绩单在线制作办理, 国立高等纺织工艺学院毕业证成绩单制作, 挂科办理国立高等纺织工艺学院毕业证文凭, 想要真实感受Ecole Nationale Supérieure des Arts et Industries Textiles国立高等纺织工艺学院版毕业证图片的品质点击查看详解

【V信83113305】：France's prestigious wood engineering schools, such as the renowned ESB in Nantes, are at the forefront of a sustainable materials revolution. These institutions train a new generation of engineers to master the entire lifecycle of wood, from sustainable forest management to advanced industrial processing and innovative construction techniques. The curriculum blends deep scientific knowledge in material science and mechanics with practical, hands-on project experience. Graduates become specialists in bio-based materials, driving the development of high-performance timber structures, eco-friendly composites, and the broader use of this renewable resource in modern architecture and manufacturing. By transforming a traditional material through cutting-edge innovation, these schools are pivotal in building a more sustainable future.，木材工程学院毕业证学历认证, ESB木材工程学院毕业证最安全办理办法, 一比一原版ESB木材工程学院毕业证购买, Ecole Supérieur du Boisdiploma木材工程学院挂科处理解决方案, 木材工程学院毕业证最稳最快办理方式, 原版ESB木材工程学院毕业证办理流程, 百分比满意度-ESB毕业证, 高端定制ESB毕业证留信认证, ESB木材工程学院毕业证认证PDF成绩单

【V信83113305】：Centered in the historic city of Le Mans, France, Institut des Molécules et Matériaux du Mans (IMMM) is a distinguished materials engineering school under Le Mans University. It excels in cutting-edge research and education focused on the synthesis, characterization, and application of innovative materials. The school's expertise spans nanomaterials, polymers, ceramics, and composite materials, addressing critical challenges in sectors like energy, transportation, and electronics. With state-of-the-art laboratories and strong industrial partnerships, IMMM provides students with a robust practical education, blending fundamental science with engineering innovation. It is a key contributor to technological advancement, preparing graduates to become leaders in materials science and engineering on a global stage.，勒芒材料工程学院毕业证ISMANS毕业证学校原版100%一样, ISMANS毕业证最安全办理办法, 勒芒材料工程学院毕业证办理流程和安全放心渠道, 办勒芒材料工程学院毕业证-Diploma, 法国Institut Supérieur des Matériaux du Mans勒芒材料工程学院毕业证成绩单在线制作办理, 加急勒芒材料工程学院毕业证ISMANS毕业证书办理多少钱, ISMANS毕业证成绩单专业服务, 硕士文凭定制ISMANS毕业证书, Institut Supérieur des Matériaux du Mans毕业证成绩单专业服务学历认证

【V信83113305】：École Nationale Supérieure des Arts et Industries Textiles (ENSAIT) is a prestigious French grande école specializing in textile engineering and innovation. Located in Roubaix, a historic hub of the textile industry, it has been at the forefront of technological and material sciences since its founding in 1881. ENSAIT provides advanced education and research in fibrous materials, functional textiles, and intelligent clothing, integrating fields like chemistry, mechanics, and digital technology. Its graduates are highly sought after in global industries ranging from fashion and medical textiles to composites and smart materials. As a key player in both academic and industrial circles, ENSAIT continues to drive progress in textile applications worldwide.，办理ENSAIT大学毕业证国立高等纺织工艺学院, 网上购买假学历ENSAIT毕业证书, Ecole Nationale Supérieure des Arts et Industries TextilesdiplomaEcole Nationale Supérieure des Arts et Industries Textiles国立高等纺织工艺学院挂科处理解决方案, 最安全购买ENSAIT国立高等纺织工艺学院毕业证方法, ENSAIT国立高等纺织工艺学院毕业证最快且放心办理渠道, 办国立高等纺织工艺学院毕业证学位证书文凭认证可查, ENSAIT毕业证认证, 办国立高等纺织工艺学院毕业证ENSAITuniversity, 加急国立高等纺织工艺学院毕业证ENSAIT毕业证书办理多少钱

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【V信83113305】：The École Nationale Supérieure de Matériaux (ESIREM) of the University of Burgundy in Dijon is a prestigious French graduate school training high-level materials engineers. Its rigorous program masterfully integrates fundamental science with advanced applied research in key areas like nanomaterials, polymers, composites, and sustainable materials. Equipped with state-of-the-art laboratories, ESIREM provides a hands-on learning environment where innovation thrives through close collaboration with industrial partners. The school’s strong emphasis on interdisciplinary approaches ensures its graduates are highly sought-after experts, capable of leading research and development projects that address complex technological challenges across diverse sectors such as energy, electronics, and transportation.，法国大学毕业证定制, 快速办理ESIREM毕业证-第戎大学材料研究高等工程师学院毕业证书-百分百放心, 原版定制ESIREM毕业证书, 第戎大学材料研究高等工程师学院ESIREM大学毕业证成绩单, ESIREM文凭制作流程学术背后的努力, 购买第戎大学材料研究高等工程师学院文凭, ESIREM第戎大学材料研究高等工程师学院学位证书快速办理, 购买第戎大学材料研究高等工程师学院毕业证, 原价-第戎大学材料研究高等工程师学院毕业证官方成绩单学历认证

【V信83113305】：France's esteemed Institute of Wood Science and Engineering stands as a premier institution dedicated to advancing the entire forest-wood sector. It expertly combines fundamental scientific research with high-level engineering applications, focusing on sustainable material innovation, construction techniques, and the bioeconomy. The curriculum equips future engineers and architects with the multidisciplinary skills to tackle global challenges, promoting wood as a key, renewable resource for sustainable construction and advanced manufacturing. Through strong industry partnerships and a focus on cutting-edge technology like bio-based composites and digital modeling, the institute plays a pivotal role in shaping a more sustainable future, positioning France at the forefront of the international timber industry.，高端原版木材工程学院毕业证办理流程, 网上制作木材工程学院毕业证ESB毕业证书留信学历认证, ESB毕业证书木材工程学院毕业证诚信办理, 如何获取木材工程学院Ecole Supérieur du Bois毕业证本科学位证书, 木材工程学院成绩单复刻, 办木材工程学院毕业证ESBuniversity, ESB成绩单木材工程学院毕业证快速办理方式, 哪里买木材工程学院毕业证|Ecole Supérieur du Bois成绩单, 加急定制-ESB学位证木材工程学院毕业证书

【V信83113305】：Centered in the historic city of Le Mans, France, Institut Supérieur des Matériaux du Mans (ISMANS) is a distinguished engineering school specializing in materials science and engineering. It offers advanced programs focused on the development, characterization, and industrial application of innovative materials, including composites, polymers, and nanomaterials. With strong ties to industry and a practical approach to education, the school provides students with valuable hands-on experience and research opportunities. ISMANS is recognized for its contributions to technological advancement and sustainable material solutions, preparing graduates for successful careers in sectors such as aerospace, automotive, and energy.，极速办理ISMANS勒芒材料工程学院毕业证书, 法国本科毕业证, 申请学校!Institut Supérieur des Matériaux du Mans成绩单勒芒材料工程学院成绩单Institut Supérieur des Matériaux du Mans改成绩, 办理ISMANS勒芒材料工程学院成绩单高质量保密的个性化服务, 勒芒材料工程学院文凭Institut Supérieur des Matériaux du Mans, 勒芒材料工程学院文凭ISMANS毕业证学历认证方法, 网上补办ISMANS毕业证成绩单多少钱, 100%办理ISMANS毕业证书, ISMANS毕业证成绩单学历认证最快多久

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