Concrete Finisher Quotes

HOW do you define a word without concrete meaning? To each his own, the saying goes, so WHY push to attain an ideal state of being that no two random people will agree is WHERE you want to be? Faultless. Finished. Incomparable. People can never be these, and anyway, WHEN did creating a flawless facade become a more vital goal than learning to love the person WHO lives inside your skin? The outside belongs to others. Only you should decide for you - WHAT is perfect.

Whatever condition we are in, we must always do what we want to do, and if we want to go on a journey, then we must do so and not worry about our condition, even if it's the worst possible condition, because, if it is, we're finished anyway, whether we go on the journey or not, and it's better to die having made the journey we're been longing for than to be stifled by our longing.

Perfect? How do you define a word without concrete meaning? To each his own, the saying goes, so why push to attain an ideal state of being that no two random people will agree is where you want to be? Faultless. Finished. Incomparable. People can never be these, and anyway, when did creating a flawless facade become a more vital goal than learning to love the person who lives inside your skin? The outside belongs to others. Only you should decide for you--- what is perfect

There are no commitments, only bargains. And they have to be made again every day. You think making a commitment is it. Finish. You think it sets like a concrete platform and it'll take any strain you want to put on it. You're committed. You don't have to prove anything. In fact you can afford a little neglect, indulge in a little bit of sarcasm here and there, isolate yourself when you want to. Underneath it's concrete for life. I'm a cow in some ways, but you're an idiot.

Colton’s not finished though. He takes a step toward me, pointing his finger at his chest. “But I’m alive, Rylee, and he’s not!” His words rip into me. A tear slides down my cheek, and I turn my back to him, hiding from his words, thinking if I can’t see the plea and hurt in his eyes, I won’t have to accept the truth in his statement. “I’m the one here in front of you—flesh and blood and needing—so either you accept that it’s you that I want. No one else,” he rants, his voice echoing off of the concrete surrounding us and coming back to me twice as if to reinforce his words. “You need to accept me for who I am, faults and all...” his voice breaks “...or you need to get the fuck out of my life…because right now—right now—this is all that I can give you! All I can offer.

While a ribbon awaits Usain Bolt at the finishing line, for people like us, there is a concrete wall. When you reach the finishing line, you run straight into that wall. Everything, your job, your credibility, your life itself, is at stake.

Hadrian’s Pantheon was another. Finished in the 120s CE, the concrete span of its dome remained the widest in the world until 1958

Art reveals the transitory as an absolute; & as the transitory existence is perpetuated through the centuries, art too, through the centuries, must perpetuate this never-to-be-finished revelation. Thus, the constructive activities of man tale a valid meaning only when they are assumed as a movement toward freedom; & reciprocally, one sees that such a movement is concrete: discoveries, inventions, industries, culture, painting, & books people the world concretely & open possibilities to men.

The skyscrapers of the city had finished scraping all the sky away, and the clouds overhead were exactly the color of concrete and I was safe and cold in a canyon of glass and steel.

A calendar helps you plan work, gives you concrete goals, and keeps you on track. The comedian Jerry Seinfeld has a calendar method that helps him stick to his daily joke writing. He suggests that you get a wall calendar that shows you the whole year. Then, you break your work into daily chunks. Each day, when you’re finished with your work, make a big fat X in the day’s box. Every day, instead of just getting work done, your goal is to just fill a box. “After a few days you’ll have a chain,” Seinfeld says. “Just keep at it and the chain will grow longer every day. You’ll like seeing that chain, especially when you get a few weeks under your belt. Your only job next is to not break the chain.” Get a calendar. Fill the boxes. Don’t break the chain.

Let’s think about the fake sense of urgency that pervades the left-liberal humanitarian discourse on violence: in it, abstraction and graphic (pseudo)concreteness coexist in the staging of the scene of violence-against women, blacks, the homeless, gays . . . “A woman is rpaed every six seconds in this country” and “In the time it takes you to read this paragraph, ten children will die of hunger” are just two examples. Underlying all this is a hypocritical sentiment of moral outrage. Just this kind of pseudo-urgency was exploited by Starbucks a couple of years ago when, at store entrances, posters greeting costumers pointed out that a portion of the chain’s profits went into health-care for the children of Guatemala, the source of their coffee, the inference being that with every cup you drink, you save a child’s life. There is a fundamental anti-theoretical edge to these urgent injunctions. There is no time to reflect: we have to act now. Through this fake sense of urgency, the post-industrial rich, living in their secluded virtual world, not only do not deny or ignore the harsh reality outside the area-they actively refer to it all the time. As Bill Gates recently put it: “What do the computers matter when millions are still unnecessarily dying of dysentery?” Against this fake urgency, we might want to place Marx’s wonderful letter to Engels of 1870, when, for a brief moment, it seemed that a European revolution was again at the gates. Marx’s letter conveys his sheer panic: can’t the revolution wait for a couple of years? He hasn’t yet finished his ‘Capital’.

It is generally supposed, and not least by Catholics, that the Catholic who writes fiction is out to use fiction to prove the truth of the Faith, or at the least, to prove the existence of the supernatural. He may be. No one certainly can be sure of his low motives except as they suggest themselves in his finished work, but when the finished work suggests that pertinent actions have been fraudulently manipulated or overlooked or smothered, whatever purposes the writer started out with have already been defeated. What the fiction writer will discover, if he discovers anything at all, is that he himself cannot move or mold reality in the interests of an abstract truth. The writer learns, perhaps more quickly than the reader, to be humble in the face of what-is. What-is is all he has to do with; the concrete is his medium; and he will realize eventually that fiction can transcend its limitations only by staying within them.

Archaeology, Concrete Poetry, Media and Communications, Festival and Theatre Administration, Comparative Religion, Stage Set and Design, the Russian Short Story, Politics and Gender. On finishing his studies – and it was never entirely clear when and whether he had finished his studies, on account of no one at the university being certain how many modules made a totality – Treslove found himself with a degree so unspecific that all he could do with it was accept a graduate traineeship at the BBC.

you are required to assume an attitude of detachment and objectivity. This includes your bringing to the task what Bertrand Russell called an “immunity to eloquence,” meaning that you are able to distinguish between the sensuous pleasure, or charm, or ingratiating tone (if such there be) of the words, and the logic of their argument. But at the same time, you must be able to tell from the tone of the language what is the author’s attitude toward the subject and toward the reader. You must, in other words, know the difference between a joke and an argument. And in judging the quality of an argument, you must be able to do several things at once, including delaying a verdict until the entire argument is finished, holding in mind questions until you have determined where, when or if the text answers them, and bringing to bear on the text all of your relevant experience as a counterargument to what is being proposed. You must also be able to withhold those parts of your knowledge and experience which, in fact, do not have a bearing on the argument. And in preparing yourself to do all of this, you must have divested yourself of the belief that words are magical and, above all, have learned to negotiate the world of abstractions, for there are very few phrases and sentences in this book that require you to call forth concrete images. In a print-culture, we are apt to say of people who are not intelligent that we must “draw them pictures” so that they may understand. Intelligence implies that one can dwell comfortably without pictures, in a field of concepts and generalizations.

A woman's ability to achieve depends on childlessness or childcare. In America, where we don't believe in an underclass to do 'women's work', women themselves become the underclass. For love. Nobody doubts the love is real. It's for our children. But we are supposed to do it invisibly and never mention it. Alfred North Whitehead, who wasn't a woman after all, said that the truth of a society is what cannot be said. And women's work still cannot be said. It's called whining -- even by other women. It's called self-indulgence -- even by other women. Perhaps women writer are hated because abstraction makes oppression possible and we refuse to be abstract. How can we be? Our struggles are concrete: food, fire, babies, a room of one's own. These basics are rare -- even for the privileged. It is nothing short of a miracle every time a woman with a child finishes a book. Our lives -- from the baby to the writing desk -- are the lives of the majority of humanity: never enough time to think, eternal exhaustion. The cared-for male elite, with female slaves to tend their bodily needs, can hardly credit our difficulties as 'real'. 'Real' is the deficit, oil wars in the Middle East, or how much of our children's milk the Pentagon shall get. This is the true division in the world today: between those who carelessly say 'Third World' believing themselves part of the '¨First', and those who know they are the Third World -- wherever they live. Women everywhere are the 'Third World', In my country, where most women do not feel part of what matters, they are thirdly third, trapped in the myth of being 'first'.

On May 10th, the temperature and radioactive emissions from inside the reactor started to fall. By the 11th, days after the water finished draining, a team of technicians ventured into the sub-levels of the plant, bored a hole through a wall below the core and poked a radiometer through. It confirmed their worst fears: the molten core had cracked the reactor’s concrete foundations and at least partially poured into the basement. There was now next to nothing stopping it from breaking through the foundations of the building itself and reaching the water table below. A better and more permanent solution than injecting liquid nitrogen from the surface was required.

...it is because man's condition is ambiguous that he seeks, through failure and outrageousness, to save his existence. Thus, to say that action has to be lived in its truth, that is, in the consciousness of the antinomies which it involves, does not mean that one has to renounce it. In Plutarch Lied Pierrefeu rightly says that in war there is no victory which can not be regarded as unsuccessful, for the objective which one aims at is the total annihilation of the enemy and this result is never attained; yet there are wars which are won and wars which are lost. So is it with any activity; failure and success are two aspects of reality which at the start are not perceptible. That is what makes criticism so easy and art so difficult: the critic is always in a good position to show the limits that every artist gives himself in choosing himself; painting is not given completely either in Giotto or Titian or Cezanne; it is sought through the centuries and is never finished; a painting in which all pictorial problems are resolved is really inconceivable; painting itself is this movement toward its own reality; it is not the vain displacement of a millstone turning in the void; it concretizes itself on each canvas as an absolute existence. Art and science do not establish themselves despite failure but through it; which does not prevent there being truths and errors, masterpieces and lemons, depending upon whether the discovery or the painting has or has not known how to win the adherence of human consciousnesses; this amounts to saying that failure, always ineluctable, is in certain cases spared and in others not.

It is much more important to have a compass pointing to a concrete objective than to have a map. Joi Ito, director of the MIT Media Lab, encourages us to use the principle of “compass over maps” as a tool to navigate our world of uncertainty. In the book Whiplash: How to Survive Our Faster Future, he and Jeff Howe write, “In an increasingly unpredictable world moving ever more quickly, a detailed map may lead you deep into the woods at an unnecessarily high cost. A good compass, though, will always take you where you need to go. It doesn’t mean that you should start your journey without any idea where you’re going. What it does mean is understanding that while the path to your goal may not be straight, you’ll finish faster and more efficiently than you would have if you had trudged along a preplanned route.

Where's Malfour?" the fire Elemental asks, looking around the street. "Oh, don't worry. He'll be back in ..." There's only a hint of a scream before Malfour comes crashing out of the sky. He lands right inside the cones that I’d set up, and right on top of his would-be bank-robbing accomplice. A huge plume of concrete, dust, and debris flies twenty-feet into the air, hitting a nearby traffic light and sending it into a nearby building. Malfour's created a pretty large crater, and both of the metas are out cold. "...no time flat,” I finish. There’s no response from the hole, and certainly not a laugh. “Dammit! I thought I had that timed out perfectly! 'He'll be back in no time flat.' Get it? He's huge, and he landed on you. Now you’re squished flat ... like a pancake? Man, that would have been so perfect. Ugh. That's really going to bother me all night, guys. Thanks a lot," I say into the pit.

There was a graduate student in my cohort, this guy I dated, who told me he came to realize that doing physics is like this: there's a concrete wall twenty feet thick, and you're on one side, and on the other side is everything worth knowing. And all you have is a spoon. So you just have to take a spoon and start scraping at the wall: no other way. He works in a bookstore now. But I think of it this way. There is a jigsaw puzzle. It's infinitely large, with no edges or corners to help you out. We have to put it together: it's our duty. We will never finish, but we have to find our satisfactions where we can: when we place two pieces together that suggest we may have found the place where the sky touches the sea, or when we discover a piece that is beautiful in and of itself, that has an unusual color or a glimpse of an unexpected pattern. And the pieces that do not join together also tell you something. If there are very few eureka moments, then at least there are a thousand little failures, that point the way toward a hundred little joys.

I picked her up and carried her down the hall to the bathroom, just a pitiful skeleton with skin stretched over the top and a great red scar across her chest. She sank onto the plastic seat we had got from the hospital and closed her eyes as I washed her, leaning her poor bald head back exhaustedly against the back of the shower cubicle. "I'll just change the sheets," I said, "I won't be a minute - would you rather sit under the water, or shall I turn it off and wrap you up in a towel ?" "Under the water," she whispered. I had to strip the bed entirely, and two of the pillows were saturated. I replaced them with pillows from my bed, and while I was at it my duvet as well. Then I propped the poor woman up against the bathroom sink to dry and dress her, picked her up and carried her back to bed. Never have I been so grateful to be, after all, a strapping wench rather than a delicate wisp of a girl. As I pulled the covers up under her chin she opened her eyes, looked at me sternly and said with nearly her old decision, "This is not the way I wish to be remembered, Josephine." "I know," I whispered, the tears spilling unchecked down my cheeks. Nurses are supposed to be bright and matter-of-fact about these things: my bracing professional manner left a lot to be desired. "I'll get you some dinner." "No," she said. "Just my pills, love." Back in the kitchen I stood for a moment in a trance of indecision, wondering where the hell to start. It didn't really matter - when you're overcome with lethargy you just have to do something. And then the next thing, and then the next, and eventually, although you'd have sworn you were far too tired and depressed to accomplish anything, you're finished. I turned on the tap about the big concrete sink by the back door and began to scrub sheets and blankets.

Two observations take us across the finish line. The Second Law ensures that entropy increases throughout the entire process, and so the information hidden within the hard drives, Kindles, old-fashioned paper books, and everything else you packed into the region is less than that hidden in the black hole. From the results of Bekenstein and Hawking, we know that the black hole's hidden information content is given by the area of its event horizon. Moreover, because you were careful not to overspill the original region of space, the black hole's event horizon coincides with the region's boundary, so the black hole's entropy equals the area of this surrounding surface. We thus learn an important lesson. The amount of information contained within a region of space, stored in any objects of any design, is always less than the area of the surface that surrounds the region (measured in square Planck units). This is the conclusion we've been chasing. Notice that although black holes are central to the reasoning, the analysis applies to any region of space, whether or not a black hole is actually present. If you max out a region's storage capacity, you'll create a black hole, but as long as you stay under the limit, no black hole will form. I hasten to add that in any practical sense, the information storage limit is of no concern. Compared with today's rudimentary storage devices, the potential storage capacity on the surface of a spatial region is humongous. A stack of five off-the-shelf terabyte hard drives fits comfortable within a sphere of radius 50 centimeters, whose surface is covered by about 10^70 Planck cells. The surface's storage capacity is thus about 10^70 bits, which is about a billion, trillion, trillion, trillion, trillion terabytes, and so enormously exceeds anything you can buy. No one in Silicon Valley cares much about these theoretical constraints. Yet as a guide to how the universe works, the storage limitations are telling. Think of any region of space, such as the room in which I'm writing or the one in which you're reading. Take a Wheelerian perspective and imagine that whatever happens in the region amounts to information processing-information regarding how things are right now is transformed by the laws of physics into information regarding how they will be in a second or a minute or an hour. Since the physical processes we witness, as well as those by which we're governed, seemingly take place within the region, it's natural to expect that the information those processes carry is also found within the region. But the results just derived suggest an alternative view. For black holes, we found that the link between information and surface area goes beyond mere numerical accounting; there's a concrete sense in which information is stored on their surfaces. Susskind and 'tHooft stressed that the lesson should be general: since the information required to describe physical phenomena within any given region of space can be fully encoded by data on a surface that surrounds the region, then there's reason to think that the surface is where the fundamental physical processes actually happen. Our familiar three-dimensional reality, these bold thinkers suggested, would then be likened to a holographic projection of those distant two-dimensional physical processes. If this line of reasoning is correct, then there are physical processes taking place on some distant surface that, much like a puppeteer pulls strings, are fully linked to the processes taking place in my fingers, arms, and brain as I type these words at my desk. Our experiences here, and that distant reality there, would form the most interlocked of parallel worlds. Phenomena in the two-I'll call them Holographic Parallel Universes-would be so fully joined that their respective evolutions would be as connected as me and my shadow.

Marlboro Man and Tim were standing in the hall, not seven steps from the bathroom door. “There she is,” Tim remarked as I walked up to them and stood. I smiled nervously. Marlboro Man put his hand on my lower back, caressing it gently with his thumb. “You all right?” he asked. A valid question, considering I’d been in the bathroom for over twenty minutes. “Oh yeah…I’m fine,” I answered, looking away. I wanted Tim to disappear. Instead, the three of us made small talk before Marlboro Man asked, “Do you want something to drink?” He started toward the stairs. Gatorade. I wanted Gatorade. Ice-cold, electrolyte-replacing Gatorade. That, and vodka. “I’ll go with you,” I said. Marlboro Man and I grabbed ourselves a drink and wound up in the backyard, sitting on an ornate concrete bench by ourselves. Miraculously, my nervous system had suddenly grown tired of sending signals to my sweat glands, and the dreadful perspiration spell seemed to have reached its end. And the sun had set outside, which helped my appearance a little. I felt like a circus act. I finished my screwdriver in four seconds, and both the vitamin C and the vodka went to work almost instantly. Normally, I’d know better than to replace bodily fluids with alcohol, but this was a special case. At that point, I needed nothing more than to self-medicate. “So, did you get sick or something?” Marlboro Man asked. “You okay?” He touched his hand to my knee. “No,” I answered. “I got…I got hot.” He looked at me. “Hot?” “Yeah. Hot.” I had zero pride left. “So…what were you doing in the bathroom?” he asked. “I had to take off all my clothes and fan myself,” I answered honestly. The vitamin C and vodka had become a truth serum. “Oh, and wipe the sweat off my neck and back.” This was sure to reel him in for life. Marlboro Man looked at me to make sure I wasn’t kidding, then burst into laughter, covering his mouth to keep from spitting out his Scotch. Then, unexpectedly, he leaned over and planted a sweet, reassuring kiss on my cheek. “You’re funny,” he said, as he rubbed his hand on my tragically damp back. And just like that, all the horrors of the evening disappeared entirely from my mind. It didn’t matter how stupid I was--how dumb, or awkward, or sweaty. It became clearer to me than ever, sitting on that ornate concrete bench, that Marlboro Man loved me. Really, really loved me. He loved me with a kind of love different from any I’d felt before, a kind of love I never knew existed. Other boys--at least, the boys I’d always bothered with--would have been embarrassed that I’d disappeared into the bathroom for half the night. Others would have been grossed out by my tale of sweaty woe or made jokes at my expense. Others might have looked at me blankly, unsure of what to say. But not Marlboro Man; none of it fazed him one bit. He simply laughed, kissed me, and went on. And my heart welled up in my soul as I realized that without question, I’d found the one perfect person for me.

I thought that this bombardment would be over soon, but I found that it continued on and on. It became impossible to react, or even to think clearly, because there was no pause between the explosions, they followed in fractions of a second all the time. Frankly, I began to lose track of time, and my only thought was that I wanted this shelling to be finished. I assure you that I was not afraid to fight, but to be subjected to these colossal, ceaseless explosions was not the same as fighting. The man who was the gun loader reacted even worse than me, and he began to scream and bang his hands on the concrete wall; I could not hear his voice, but I could see his mouth and fists moving.

Steve could look at an open, weed-choked field and see gardens, walkways, new environments for animals. His mind buzzed with projects. It takes vision, and hard work. I would watch Steve planting trees, moving earth, and landscaping. He milled his own timber to build enclosures. He worked from dawn until well after dark, when he rigged spotlights to be able to keep working. I had never seen anything like it. He was a machine. He would go past human endurance. Often I’d catch him throwing up behind a tree out of sheer physical exhaustion. “Don’t worry about it. I just drank too much tea this morning,” he said after one such incident, when I expressed my concern. He continued with the job. Running a zoo meant being able to work with wildlife, yes. But I discovered there was so much more to it. Steve had an apprenticeship in diesel fitting, so he could operate and repair the backhoes, vehicles, and machines necessary to run the zoo. He laid brick and concrete, designed enclosures, and had an eye like an interior decorator for the end result of all his work. It didn’t just have to be sturdy and well-built. It had to look good, too. Over the course of several years in the early 1990s, I helped as Steve developed and expanded the zoo. Funds were limited. Steve did much of the work himself, making what little money we had stretch that much further. He wouldn’t even have one project finished and would already be dreaming up visions of another.

Specificity transforms a vague dream into a concrete, achievable goals. If you can practically see, hear, feel, and smell a goal, the chances are excellent that you'll not only know what's required to make t real, you'll actually do what's required to make it real.

Hardie Boys- Exterior Millwork That Provides Value Over Time The outdoor areas on your property and the features on it, become the perfect backdrop for your home’s structure. They are also one of the first things that visitors to your property notice. The manner in which these features are designed and the finishing that’s used in them, go a long way in enhancing the overall appeal and value of your property. And so it follows that you ensure resilient materials are used in the work and hire expert technicians for the installation. When you start researching products and materials for outdoor installations, you will find that wood; iron, aluminum, plaster, brick and foam are commonly used in exterior construction. And this may lead you to believe that they are the best option for these applications. It’s also natural for you to be unsure about using new materials such as the specialized cellular PVC materials we use in our millwork. Some comparisons But the fact is that there has been a significant advancement in the manufacture of exterior-grade, manmade materials and cellular PVC is one of them. However, the higher upfront cost can sometimes become the other deterrent for property owners, to opt for this innovative material. Take a look at how the cellular PVC material that we at Hardie Boys, Inc. use stands up against other traditionally-used materials: 1. Weather impact Materials such as hardwood and metal are strong and durable, but need a significant amount of treatments before they can be used in exterior applications. For instance, untreated and unfinished wood features get affected by moisture and the sun’s rays and eventually crack and crumble. They can also develop rot or moss; and if these conditions are very severe, extensive repairs or complete replacement of the feature is the only option you are left with. Metal too gets affected by moisture and exposure to rain and frost; and rusts and corrodes over time. In comparison the unique PVC cellular material that we use in our millwork is moisture and heat-resistant and doesn’t corrode over time. 2. Termite damage Termites are extremely destructive creatures and they can bore through wooden features and cause extensive damage to them. In most cases, replacement is the only option you are left with, which represents a significant expense. Concrete surfaces get affected by the freeze and thaw cycles and crack over a period of time, and you end up spending considerable amounts on repair and replacements. On the other hand, cellular PVC doesn’t get impacted by termites or weather fluctuations at all. 3. Maintenance While choosing materials for exterior applications, most property owners fail to factor the maintenance costs into the overall cost of the installation. For instance, wood, plaster, foam, brick and concrete require annual mold prevention maintenance as well as sanding and polishing or painting. Metal surfaces have to be sanded, and painted regularly too. In comparison, our cellular PVC material features require only basic cleaning and they won’t warp, crack, fade, corrode, develop rot or mold. In short, this is an extremely low-maintenance option that is worth every penny you spend on initial costs. We at Hardie Boys, Inc. are the leaders in this space and provide excellent, customized, cellular PVC millwork solutions for residential and commercial settings. For any more information about our exterior millwork,

And our careers provide the most concrete evidence that we’re moving forward. You ship a product, finish a design, complete a presentation, close a sale, teach a class, publish a paper, get paid, get promoted. In contrast, investing time and energy in your relationship with your spouse and children typically doesn’t offer that same immediate sense of achievement. Kids misbehave every day. It’s really not until 20 years down the road that you can put your hands on your hips and say, “I raised a good son or a good daughter.

Examples of projects could include: Projects at work: Complete web-page design; Create slide deck for conference; Develop project schedule; Plan recruitment drive. Personal projects: Finish Spanish language course; Plan vacation; Buy new living room furniture; Find local volunteer opportunity. Side projects: Publish blog post; Launch crowdfunding campaign; Research best podcast microphone; Complete online course. If you are not already framing your work in terms of specific, concrete projects, making this shift will give you a powerful jump start to your productivity.

The search for meaningful connections is a crucial part of the thinking process towards the finished manuscript. But here, it is dealt with in a very concrete way. Instead of figuratively searching our internal memory, we literally go through the file-box and look for connections.

The inspiration of the flight, its symbolism, were eliminated, for the meaning was straightforward and basic, and related to associations which are perfectly familiar to us. The screen had to show an ordinary, dirty peasant, then his fall, his crash, his death. This is a concrete happening, a human catastrophe, observed by onlookers just as if now, as we watched, someone were to dash out for some reason in front of a car and finish up lying there crushed on the asphalt.

You are pushed into falling backwards. You need to keep important information on your mind. First, you want to avoid sending your hand backward, since you can easily dislocate your shoulders doing this. Second, you do not want your head to hit the ground as it may cause a concussion or smash your skull. Third, you do not want to fall on your ass, breaking your coccyx bone. In Krav Maga, students learn to fall on concrete floors while avoiding damage to their bodies. 1.     Lying on the ground, keep your hands at thirty degrees to the sides of the body. Lift your head and look at your belt. Apply pressure to the ground with your palms, leaving elbows locked and lifted off. Lift one leg off the ground, bringing your knee to your chest. In this position, your head and shoulders are not touching the ground. In addition, your coccyx bone is not touching the ground. The only contact you have with the ground at this point is the large muscles in your lower back. This is the position you will end up in when you finish softening your fall. Relax and put your head, shoulders and leg back on to the ground. Repeat this step about ten times. You are getting accustomed to instantly reaching the desired position. Keep one heel on the ground to prevent anyone from kicking your groin. 2.     From a squatting position, cross your hands over your knees. Sit backwards, close to your heels, and lift one leg. Continue to the position described in step one. As you sit and roll your body backwards, keep your torso leaning forward. Release your hands only after completing the fall. Repeat this step about ten times. 3.     From a standing position, step backwards on one foot, and squat on it close to the heel. Keep your hands crossed over your chest, lifting one leg as you come down. Continue to get through all prior steps until you come to a complete stop on the ground. All through your fall, you need to shift your weight forward as you roll your torso forward to soften your fall. Avoid reaching your hands backwards since you could dislocate your shoulders this way. 4. Your training partner is pushing you and making you lose your balance. 5. Step backwards, as you lower your center of gravity forward while falling. 6.     Land close to your heel, keeping one knee up to avoid the coccyx contacting the ground. 7. Keep your head forward by looking at your belt. 8.     Your elbows should be locked if your hands are touching the ground, and your shoulders lifted up. 9. Kick up from the floor. Keep in mind that the only contact with the ground should be your heel, and your wide lower back without the coccyx bone. You are now in a perfect position to kick your opponent upwards, if needed.

Richard Feynman had to say this about energy in his 1961 lecture: “There is a fact, or if you wish, a law, governing all natural phenomena that are known to date. There is no known exception to this law – it is exact so far as we know. The law is called the conservation of energy. It states that there is a certain quantity, which we call energy that does not change in manifold changes which nature undergoes. That is a most abstract idea, because it is a mathematical principle; it says that there is a numerical quantity which does not change when something happens. It is not a description of a mechanism, or anything concrete; it is just a strange fact that we can calculate some number and when we finish watching nature go through her tricks and calculate the number again, it is the same.” All significant philosophers and scientists throughout history were in their own right, right if we consider the context, time, and place, the point from which they observed the world by the means available to them. If we understand this context, we know how much harder it was for them to decipher the world previously unknown, except as an experience without fundamental and deeper understanding. In this sense, all these philosophers and scientists were, in a way, “right,” even when they were “not” right. Correctness or wrongness of their ideas and opinions shall be measured more by how they helped our understanding and ideas developed directly from their thoughts. Even if they were in some way wrong, great ideas helped our ideas develop and allowed the formation and formulations of great ideas that will follow. Quality and potential of insights and ideas are more important than strict correctness without any potential. Progress in human history would not be possible without following the traces of long-bygone giants (as Newton understood them). We can hardly produce any new important question that ancient Greek philosophers did not pose. The whole idea of Western philosophy, as it is, would not be possible without the ancient Greeks. This statement holds even when we talk about the modern era’s greatest philosophers, starting with Descartes and culminating in the works of the great German philosophers Leibnitz, Kant, Hegel, Schopenhauer, the Dutch Spinoza, and others. Almost all central questions or problems treated by these philosophers were already postulated, discussed, or touched, directly or indirectly, by the great ancient philosophers who paved the way for the others.

Probably the most important development in materials during the last few years has been that made by the plant geneticists who have been breeding fast-growing varieties of commercial timbers. Thus varieties of Pinus radiata (Weymouth pine) are now being planted which, in favourable conditions, will increase in diameter by up to 12 centimetres per year and may be fit for felling, as mature timber, in six years. So there is a good prospect of timber becoming a crop which can be grown on a short time-cycle. Nearly all the energy which is needed to make it grow is provided, free, by the sun. Presumably, when one has finished with a timber structure, it could be burnt to yield up most of the energy which it has collected while it was growing. This is, of course, in no way true of steel or concrete. Again, timber used to need lengthy and expensive seasoning in heated kilns, which used up a good deal of energy. As a result of recent research it is now possible to season sizeable soft-wood scantlings in twenty-four hours, at a very low cost. These are very important developments in relation to structures and to the world energy situation,

MT: These texts are at one and the same time very beautiful and obscure; they need to be explicated, clarified. “What is hidden will be revealed.” Why must Revelation be hidden? RG: It's not that it must be hidden, actually it's not hidden at all. It's mankind that is blind. We're inside the closure of representation, everyone is in the fishbowl of his or her culture. In other words, mankind doesn't see what I was saying earlier, the principle of illusion that governs our viewpoint. Even after the Revelation, we still don't understand. MT: Does that mean that things are going to emerge gradually, but that at first they're incomprehensible? RG: They seem incomprehensible because mankind lives under the sign of Satan, lives a lie and lives in fear of the lie, in fear of liars. The reversal performed by the Passion has yet to occur. MT: Insofar as the Church itself has been mistaken for two thousand years and has been practicing a sacrificial reading of the Passion of the Christ, that reading is a way of hiding Revelation. RG: I'm not saying that the Church is mistaken. The reading that I'm proposing is in line with all the great dogmas, but it endows them with an anthropological underpinning that had gone unnoticed. MT: Why not just clean up our bad habits by sweeping them away once and for all in the year zero, making way for an era of love and infinite peace? RG: Because the world wouldn't have been able to take it! Since the sacrificial principle is the fundamental principle of the human order—up to a certain point human beings need to pour out their violence and tensions onto scapegoats—destroying it all at once is impossible. That's why Christianity is made in such a way as to allow for transitions. This is no doubt one of the reasons why it is at once so far from and so close to myth, and always susceptible to being interpreted a bit mythically. When Nietzsche says that Christianity is impossible, that it can only lead to absurdities, to outrageous, insane things, it can be said that he's superficially right, even if ultimately he's wrong. You can't get rid of the sacrificial principle by just flicking it away as if it were a piece of dust. History isn't finished. Every day very interesting things, changes in outlook, are happening right before our eyes. In the United States and everywhere, a lot of current cultural phenomena can be unified by describing them as the discovery of new victims, or rather as their concrete rehabilitation, for in truth we've known about them for a long time: women, children, the elderly, the insane, the physically and mentally handicapped, and so forth. For example, the question of abortion, which has great importance in American debates, is no longer formulated except in the following terms: “Who is the real victim? Is it the child or is it the mother?” You can no longer defend a given position, or indeed any of them, except by making it into a contribution to the anti-victimary crusade. MT

If you value your balls and your life, you will hand that back over right now.” His dark eyes widened and a smile lit up his rugged face. “And I say you’ll wait for it.” Without warning, I lunged for him, being careful not to land in the actual food sitting in between us. Taylor flew back until he was lying on the ground, and he stretched his arms way above his head to keep the container away from me. But I’d landed on him, which meant I had the advantage here. And that cheesecake was mine. I started crawling over him, but he just laughed and brought one of his arms down to restrain me. “Since when are you impatient?” “Since you brought cheesecake, damn it!” If he didn’t release me soon, I was about to go full baby-mode and start making grabby hands toward the dessert; maybe I’d even cry. “Please!” His rich laugh filled the room, and he barely grunted when I punched him in the side. I managed to wiggle my way a few more inches up his body and didn’t even notice his laughing had stopped; because at the same time, the arm around me stopped restraining me, and just simply held me. Which meant I could make another grab for it. I dug my knees into the concrete floor and pushed myself closer, and nearly cried in victory when my hand grabbed the cheesecake right out of the container and brought it to my mouth. I took a huge bite out of it and moaned before rolling off Taylor. Not caring to go back to my mattress, I stayed there, on my back, and finished my cheesecake. It was so fucking delicious I wanted to cry. Turning my head to the side, I smiled at Taylor, but the smile slid from my face when I noticed him watching me intently with those dark eyes. “What?” His eyes seemed to focus, and he shook his head and turned it to look at the ceiling. “Nothing, just didn’t know a simple piece of cheesecake would turn you into a crazed fiend looking for their next fix.” “Hmm, next time, Ben and Jerry’s. It’s like water for me.” “Ice cream”—he huffed a laugh and sat up—“got it. Now come back here and eat real food, or are you not hungry anymore?” “Does it matter? I got what I wanted,” I said with a smile. “Yeah, I noticed that,” he said so softly that if I hadn’t been passing him to get back to the mattress, I wouldn’t have heard him. I

In the daylight, we were lucky enough to spot a sheep trough not far from where we’d camped. This trough didn’t have a float valve, so it had overflowed and made a bit of a pond around itself. With all the sheep coming and going, the “pond” was more like thick, oozing mud than water. In spite of the obvious challenge of getting past the mud, I was determined to take advantage of a nice tub. As the only woman on the trip, I pulled the whole “ladies first” thing and headed off. I was excited as I hiked over with my toothbrush, soap, and shampoo. But as I arrived I was greeted by the overwhelming smell--a sheep had gotten bogged down in the mud and died some time ago. Its body was partially liquefied and teeming with maggots. Ignoring this little friend would be difficult, but I had no idea when I’d get my next chance to clean up. I picked my way around the mud and balanced precariously on the edge of the concrete slab that the trough rested on. The water was dribbling in slowly from the bore pipe, and three-quarters of the surface of the water was covered in an algae-like slime. After removing a patch of the green goo, I stashed my clothes on a dry corner of the concrete and eased myself in. I tried not to think about the water bugs nibbling on me, and I made a real effort not to stir up the sludge on the bottom of the trough--remnants of dead birds that had drowned. Put it out of your mind, I thought. As I held my breath, I went under. I resolved that I wouldn’t wash my hair again for a week. It was so icky to stick my head clear under! I finished up and let everyone have their turn. I suppose it was better than not bathing at all…perhaps.

LOVE AND LOGIC TIP 8 What They See Is What They Learn I (Jim) spent my childhood on the wrong side of the tracks in a trailer in industrial Denver. When my family scraped enough money together, we bought a little garage to live in while my dad built a house on the property.              Dad worked a morning shift downtown and rode the streetcar to work, and then when he returned at 2:00 p.m. every day, he picked up his hammer and saw and built a house. It took seven years. As I watched him work, I thought, Wow! He gets to do all the fun stuff: mix the concrete, lay the bricks, put on the shingles, hammer nails, saw wood. I watched it all day, every day.              At the end of the day, when my dad knocked off, he invariably said, “Jim, clean up this mess.” So I would roll out the wheelbarrow, pick up a shovel and a rake, and clean up the mess. At the same time, Dad would explain to me that people have to learn to clean up after themselves. They need to finish and put the tools away.              When my dad noticed that I left my own stuff lying around, he complained, “Why don’t you ever pick up your stuff, Jim? There’s your bike on the sidewalk, and your tools are all over the place. When you go to look for a tool, you won’t know where it is.” I, of course, was learning all about cleaning up. I was learning that adults don’t clean up after themselves.              Had my father modeled cleaning up after himself — saying in the process, “I feel good now that the day’s work is finished, but I’ll feel better when I clean up this mess and put all the tools in the right places” — he would have developed a son who liked to clean up his own messes. As it is, my garage is a mess to this very day.

Speaking of other guys, how does Lock feel about all this?” Olivia asked. “It seems to me that he’s always in the middle of you two—that can’t be easy for him.” “I don’t know.” Kat shook her head. “We didn’t talk on the trip back home at all. None of us. But…I’m pretty sure the two of them were fighting after our argument on Twin Moons.” “Really? How could you tell?” Liv looked interested. “I’d say Deep’s face was a pretty good indication. He looks like he slammed head-first into a concrete wall. And the knuckles on Lock’s right hand are all cut and bruised.” “A fist fight?” Liv shook her head. “Really? Because I was under the impression that Twin Kindred never strike each other—under any circumstances. I think it hurts them just as much to hit their twin as it does to be hit…like they share the pain they inflict or something like that. That’s what Baird told me, anyway.” “Well, I’d say they made an exception to the no-knuckle-sandwich-between-brothers rule,” Kat said dryly but she couldn’t help being troubled. “I guess…I guess they were fighting over me.” “Lock loves you, doesn’t he?” Sophie said sympathetically. Kat nodded. “And I could love him too if—” “If Deep wasn’t in the way,” Olivia finished for her. But Kat shook her head. “No, that’s not what I was going to say. I could love Lock—hell, I could love both of them if there was any chance of my love being returned.” “But what about having their emotions in your head all the time?” Sophie asked. “I thought you hated that.” Kat thought of the warm, happy feelings she’d gotten from both brothers just moments before they were captured by the natives. “It’s not so bad when they’re in a good mood. But Deep…” “Is never in a good mood,” both Liv and Sophie said. Kat nodded sadly.

Help me,” the girl pleaded softly. Sam knelt beside her. He recoiled in shock. “Bette?” The left side of Bouncing Bette’s face was covered in blood. There was a gash above her temple. She was panting, gasping, like she had collapsed after a marathon and was trying with her last ounce of energy to crawl across the finish line. “Bette, what happened?” “They’re trying to get me,” Bette cried, and clutched at Sam’s arm. The three dark figures advanced to the edge of the circle of light. One was clearly Orc. No one else was that big. Edilio and Quinn moved into the garage doorway. Sam disengaged from Bette and took up a position beside Edilio. “You want me to beat on you guys, I will!” Orc yelled. “What’s going on here?” Sam demanded. He narrowed his eyes and recognized the other two boys, a kid named Karl, a seventh grader from school, and Chaz, one of the Coates eighth graders. All three were armed with aluminum bats. “This isn’t your business,” Chaz said. “We’re dealing with something here.” “Dealing with what? Orc, did you hit Bette?” “She was breaking the rules,” Orc said. “You hit a girl, man?” Edilio said, outraged. “Shut up, wetback,” Orc said. “Where’s Howard?” Sam asked, just to stall while he tried to figure out what to do. He’d lost one fight to Orc already. Orc took the question as an insult. “I don’t need Howard to handle you, Sam.” Orc marched right up to Sam, stopped a foot away, and put his bat on his shoulder like he was ready to swing for a home run. Like a batter ready for the next fastball. Only this was closer to T-ball: Sam’s head was impossible to miss. “Move, Sam,” Orc ordered. “Okay, I’m not doing this again,” Quinn said. “Let him have her, Sam.” “Ain’t no ‘let me,’” Orc said. “I do what I want.” Sam noticed movement behind Orc. There were people coming down the street, twenty or more kids. Orc noticed it too, and glanced behind him. “They aren’t going to save you,” Orc said, and swung the bat hard. Sam ducked. The bat whooshed past his head, and Orc rotated halfway around, carried forward by the momentum. Sam was thrown off balance, but Edilio was ready. He let loose a roar and plowed headfirst into Orc. Edilio was maybe half Orc’s size, but Orc was knocked off his feet. He sprawled out on the concrete. Chaz went after Edilio, trying to pull him off Orc. The crowd of kids who had come running down the street surged forward. There were angry voices and threats, all aimed at Orc. They yelled, Sam noted, but no one exactly jumped into the unequal fight.

At the substantive level, there is a complete break between the intention of the people and the intention of Christ, but at the level of the concrete event there is continuity. Because these two levels must remain, an isolated word must remain ambiguous. In my course on salvation I have almost finished the presentation of your theory and my book. I am now beginning to engage with [la confrontation avec] the tradition. The central idea of the Church Fathers was: redemption = paideia (education) through the Logos. There is the whole problem of the Logos, as you show in your book. But there is also the whole problem of paideia. The excellent book by Werner Jaeger, Paideia,100 shows that all Greek thinking was dominated by the issue of paideia. Plato especially sought nothing other than the man of virtue, the mastery of desire and of violence through the education of man; and education is made possible, according to him, by the knowledge of the good. Jaeger shows that “the State” of Plato was nothing but a corporation engaged in the business of education (albeit a company that closely resembles a concentration camp). Jaeger also shows that the Greek idea of the “paideia” was totally centered on the “paradeigma” (model) and “mimesis.” But that idea of mimesis was very different from your idea of mimesis. The Greek idea: the one who imitates a virtuous man becomes virtuous and the man who imitates bad people becomes bad. The problem of rivalry is not in evidence.—But it is easily shown anyway. There are texts in Seneca where the idea of imitating the gods leads to the idea of surpassing the gods. I see now in the idea of education the great tendency of humanity to try to overcome rivalry and violence without getting to the truth of the scapegoat. The great ideal of the Age of Enlightenment: the education of humanity (Rousseau, Lessing, Herder, Goethe). The great ideal of Mao: the education of the new man (in a state that looks a bit like the state of Plato).

We begin but never finish, we make a show but we do nothing concrete, we do not believe what we set out to do, what we believe we do not carry out, we spin out words without end but cannot make the smallest sacrifice, we feel pleased with ourselves for exhibiting our pride but never think it is necessary to be worthy, we depend on others for everything and rend the skies finding fault with them. We take pride in imitating others, we feel honoured to receive their favours yet we throw dust in their eyes and call it politics; and the main object of our lives is to make clever speeches that fill us with self admiration.

The more time you invest in thinking about the project—where to begin and how to pull it all together—the more original, successful, and enjoyable the project will be. There is always an element of fear here—everyone is afraid of failing. Don’t be! The truth is that you are going to fail in some way, but this is something to be embraced and viewed as a learning experience. There is freedom in recognizing you will fail—you’ll be inspired to push yourself. With every finished project you will probably have a list of things you would do differently next time. Expect this from the beginning and the journey will be more rewarding.

An architect is a person who plans, designs, and reviews the construction of buildings. Their finished product is hard to change as it is, literally, poured in concrete. Software changes all the time, even many years after installation, so it is surprising just how much architect Christopher Alexander’s 1977 book A Pattern Language: Towns, Buildings, Construction has influenced the software industry. Alexander’s book is about the timeless way of building.

The courteous poet meets his ideal reader on conditions of equality. He approaches language as a medium of communication, which must be brought to a height of precision and eloquence in order to move and delight that reader. Concretely, this means that the courteous poet will try to make clear the subject or argument of the poem, its basic grammar and concepts. Reference and allusion will be used to deepen understanding, on the assumption that reader and writer share a common literary tradition. Formally, such a poet will naturally gravitate toward meter and rhyme, which knit the poem to the traditions of English verse and provide a pattern to guide the reader’s expectations. All this emphatically does not mean that the experience the courteous poet offers will be inoffensively pleasant. It means simply that the poet’s knowledge—even of extremity, perplexity, and tragedy—will be made available to the reader, so that it can be genuinely shared. For the discourteous poet, by contrast, novelty and complexity are the fundamental values, both because they provide aesthetic pleasure and because they differentiate the poet from his predecessors. The reader does not need to be invited or seduced into the poem; his presence is either assumed or ignored. As a result, no effort is made to avoid confusion about the subject or argument of the poem; on the contrary, it is welcomed. The finished poem will not disclose the event or emotion that brought it into being, finding it more valuable to demonstrate the incommunicability of experience. Reference and allusion tend to be idiosyncratic and alienating, and form is conceived intellectually and theoretically rather than discursively or musically.

I knew exactly what was going on, but I unfortunately didn't have a firearm. (Adam have most likely offered someone 6000 Euros, to end this all, then and there. Tomas. 10%) Only a mini baseball bat. A Louisville Slugger. And Martina’s weapon of choice: a broom. The witches’ vehicle. Before I could tell him to go to Hell, a neighbor exited the building and let the stranger claiming to be from the gas company inside. Now the stranger dressed in black was running up the 94 stairs. I could hear his footsteps approaching. I didn't have time to react, grab the biggest knife from the kitchen, and stand by my entrance door. He was already upstairs, right outside my apartment door. He began knocking loudly and aggressively, whether with his metal ring or a lighter. I looked through the peephole, but he had covered it with a black folder, which I soon realized was an iPad. Covering his face. Covering my eyes. The same speech repeated played through the iPad, ensuring that I wouldn't recognize his voice and open the door. „I am from the gas company, looking for Tomas Adam Nyapi.” He kept playing in a prerecorded voice on the iPad outside my door, "Open up", "It's the gas company", and "We are looking for Tomas Adam Nyapi." I was trying to pay attention and make sense of it all, trying to figure out who it could be. But the Catalan girl couldn't keep quiet and yelled at the person in Spanish with her strong Catalan accent, after a minute or two: "Who are you and what do you want? Go away before I call the police!" Suddenly, the stranger began sprinting down the 94 stairs upon realizing that I wasn't alone. In case the reason for his visit wasn't clear enough. He was running so fast that he nearly stumbled, clearly determined to prevent me from catching up with him. I swung open my door and peered down the stairwell, straining my eyes to discern his identity, but the darkness obscured any details in the vertical tunnel below. By the time he reached the bottom of the stairs, I hurried to my loggia to catch a glimpse of him. He was tall and thin, with long legs, and his strides were hurried and distinct, unlike anyone else. Deep inside, I knew it was Mario Larese. Mister Twister. I recognized his movements, but it wasn't until 2023 that I had concrete confirmation. An evidence orgy. Mario had been sent to either spy on me or seek revenge for my closure of the club, with him being responsible for triggering the landslide, the avalanche. The mafia had dispatched Mario to finish what he/they had started. With Adam and the rest of them. Mario. Adam. Nico. Ferran. „The Beatles.” „Plus Yoko.” The Nazi junkies had sent him to deliver the final blow, the fatal shot, the kill. It was Mario who was accountable - the thief, the liar, the "Romanian gypsy." To deliver „The Final Solution”, to sever ties. And keep that 60,000 as well of course. Shortly after the stranger (Mario) had left our address Martina called me on the phone.

The kind of activity that is built into the traditional female role is different in quality from masculine activity. Masculine activity (repairing a window, building a house) tends to be sporadic, concrete, and have a finished product. Feminine activity (comforting a crying child, preparing a meal, washing laundry) tends to be repetitive, less tangible, and have no final durable product. Here again our sense of inferiority came into play. We had come to think of our activity as doing nothing - although essential for maintaining life - and of male activity as superior. We began to value our activity in a new way. We and what we did were as valuable as men and what they did.

We can see the difference in the decisions and actions that people take and the results that ensue. Rational people demonstrate over time that they are able to finish a project, to realize their goals, to work effectively with a team, and to create something that lasts. Irrational people reveal in their lives negative patterns—mistakes that keep repeating, unnecessary conflicts that follow them wherever they go, dreams and projects that are never realized, anger and desires for change that are never translated into concrete action.

The vague contention that the economy must be decarbonised via the replacement of fossil fuels by renewable energy is inadequate when building the new infrastructure required currently relies on continued and expanded environmental plunder, such as the mining of cobalt and lithium for batteries. Resource extraction is responsible for 50% of global emissions, with minerals and metal mining responsible for 20% of emissions even before the manufacturing stage.[36] The ‘green’ industrial revolution proposed by social democrats may end up with a carbon neutral system of production by the time it is finished, but in the meantime it would be anything but. That mankind and nature have been so profoundly alienated from each other under capitalism requires that they be reunited if the planet is to remain habitable.[37] One of the ways that this alienation has been most concretely institutionalised has been through the international prohibition and under-utilisation of the hemp and cannabis plants, the most prolific and versatile crops on Earth that were used for thousands of years before capitalism for food, fuel, medicine, clothing and construction. As we shall see, not only does hemp remain capable of providing for most of humanity’s needs, it is the key not only to reversing desertification and stabilising the climate, but also furthering technological and industrial progress. We therefore argue that saving the planet is bound up with ending this alienation and completing the transition from a labour-intensive extraction-based economy to a hemp-based fully automated system of production. A green industrial revolution must be precisely that – green.

This implies that what matters is the activity as such, the process and not the result. In our culture the emphasis is just the reverse. We produce not for a concrete satisfaction but for the abstract purpose of selling our commodity; we feel that we can acquire everything material or immaterial by buying it, and thus things become ours independently of any creative effort of our own in relation to them. In the same way we regard our personal qualities and the result of our efforts as commodities that can be sold for money, prestige, and power. The emphasis thus shifts from the present satisfaction of creative activity to the value of the finished product. Thereby man misses the only satisfaction that can give him real happiness—the experience of the activity of the present moment—and chases after a phantom that leaves him disappointed as soon as he believes he has caught it—the illusory happiness called success.

I remember Galileo describing the mind as a piece of paper blown around by the wind, and I loved the sight of it sticking to a tree, or jumping into the backseat of a car, and for years I watched paper leap through my cities; but yesterday I saw the mind was a squirrel caught crossing Route 80 between the wheels of a giant truck, dancing back and forth like a thin leaf, or a frightened string, for only two seconds living on the white concrete before he got away, his life shortened by all that terror, his head jerking, his yellow teeth ground down to dust. It was the speed of the squirrel and his lowness to the ground, his great purpose and the alertness of his dancing, that showed me the difference between him and paper. Paper will do in theory, when there is time to sit back in a metal chair and study shadows; but for this life I need a squirrel, his clawed feet spread, his whole soul quivering, the loud noise shaking him from head to tail. O philosophical mind, O mind of paper, I need a squirrel finishing his wild dash across the highway, rushing up his green ungoverned hillside.

leaned over and whispered to Aiden, “How long do you think he’s been in there?” Aiden answered without giving it much thought. “It’s difficult to tell.  Based on the rot and decomposition along the jaw line, I’d say maybe a few months.  But don’t quote me on that.” I looked hard at the torn skin and exposed bone.  There was no way Aiden was right.  This one had been in there much longer than a couple of months.  In fact, it wouldn’t have surprised me if our tour guide let us know that this particular zombie was the first zombie to ever be held in captivity and put on display. Looking along the edge of the guard rail that separated us from the ‘State of the Art’ Zombie display at the zoo, I couldn’t help but think that there wasn’t a whole lot separating us from the flesh eating lot.  And that if they somehow managed to get out of the ten foot deep pit they were in, it would be utter terror and devastation for the rest of us.   The part that was most frightening was that the pit was completely open on the top. No barrier at all. None. I raised my hand and asked the tour guide, “How do you know we’re safe?” He took a second, startled that anybody would even dare ask such a question.  He hoisted his belt buckle above his overly extended belly and gave the lapels of his coat a quick jerk before answering.   “Son, this here display was designed completely with safety in mind.  The pit has been measured precisely and this guard rail is completely reinforced with the strongest steel mesh imaginable.  Not to mention the concrete barrier has been poured to triple the required thickness.” He gave a quick snort and nervously touched his hand to his name tag, giving it a quick downward tug before finishing his response.  “So you see, it’s quite safe.” Everyone nodded, showing their approval at the guide’s explanation.   But not me.   I looked over the edge of the enclosure, staring at the collection of zombies that were gathered below.  They looked up at me, making eye contact with their cold, blue eyes.   There must’ve been ten or fifteen of them.  One of them jumped up, attempting to climb out of the pit, its finger tips just missing the top of the super thick concrete wall. I felt a chill go up my spine.  The thought of one of them managing to get loose gave me a quick shudder as we moved on with the tour, in the direction of the lions.   “Are you okay?” Aiden asked, sunflower seeds sticking to his lips as he attempted to spit them out on the ground.  He spat and sputtered for a few seconds before he realized I was looking at him.  “What?”  He asked. “I’m fine.” “You are a lot of things Darren.  But fine is not one of them.” He was right.  I hated it when he was right. “Alright, you got me.  I’m a little nervous, that’s all.

The answer is that, if you want to compel people to act, you whittle down overwhelming goals into smaller goals that are concrete and easier to manage. Humans are driven by a sense of progress, and progress is easier to perceive when the finish line is in sight.

The healing message Sevens need to hear and believe is God will take care of you. I know, easier said than done. It will take courage, determination, honesty, the help of a counselor or a spiritual director, and understanding friends to help Sevens confront painful memories and to encourage them to stay with afflictive feelings as they arise in the present moment. If Sevens cooperate with the process, they’ll grow a deep heart and become a truly integrated person. Ten Paths to Transformation for Sevens Practice restraint and moderation. Get off the treadmill that tells you more is always better. You suffer from “monkey mind.” Develop a daily practice of meditation to free yourself from your tendency to jump from one idea, topic or project to the next. Develop and practice the spiritual discipline of solitude on a regular basis. Unflinchingly reflect on the past and make a list of the people who have hurt you or whom you have hurt; then forgive them and yourself. Make amends where necessary. Give yourself a pat on the back whenever you allow yourself to feel negative emotions like anxiety, sadness, frustration, envy or disappointment without letting yourself run away to escape them. It’s a sign you’re starting to grow up! Bring yourself back to the present moment whenever you begin fantasizing about the future or making too many plans for it. Exercise daily to burn off excess energy. You don’t like being told you have potential because it means you’ll feel pressure to buckle down and commit to cultivating a specific talent, which will inevitably limit your options. But you do have potential, so what career or life path would you like to commit yourself to for the long haul? Take concrete steps to make good on the gifts God has given you. Get a journal and record your answers to questions like “What does my life mean? What memories or feelings am I running from? Where’s the depth I yearn to have that will complement my intelligence?” Don’t abandon this exercise until it’s finished. Make a commitment that when a friend or partner is hurting, you will try to simply be present for them while they are in pain without trying to artificially cheer them up.

Whatever it was, the concrete and specific modifications we chose to make led to the actions items that justified making the next demo. Repeat, then repeat again. Doing this over and over again set our projects on the slow path to accumulating positive change. This is how we started with an idea and finished with software for a product.

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Stepping outside, all finished, gold porchlight kissed my forehead. The animated nighttime island was a concrete jungle wild with promise, and around any cobblestone corner my big break might exist, disguised as a simple café, waiting for me to open the door.

My building is relegated to five acres that back up to wetlands and a power station. We’re an island to ourselves like Alcatraz, nobody eager to be our neighbor. Despite my best intentions our business is antisocial, especially when the crematorium oven is running, and that was on the schedule for this morning. Bodies donated to our anatomical division are returned after medical schools are finished with them. I told Fabian to hold off on the cremations. We don’t need smoke billowing up from our rooftop, my headquarters unwelcoming enough. There’s little in the budget for landscaping or anything else that might make the place less off-putting. We have no trash cans or public restrooms, not even a drinking fountain. “… OBSTRUCTION…!” Elvin Reddy removed the meditation garden and eternal flame before I took this job. All that’s left to show even a modicum of hospitality are two concrete benches painted dark green and often covered with bird deposits. We’re down to a skeleton crew of three security guards, only Wyatt trustworthy. “… OBSTRUCTION…!” The lobby isn’t open to the public, the front doors secured with a heavy chain and padlock. I have no receptionist to answer questions and we no longer allow viewings of loved ones. Cremains and personal effects aren’t picked up in person. We send them UPS, and that’s a difficult package to find on your doorstep. “… OBSTRUCTION…!” I don’t have the budget to fix what’s been done or I would have by now. Were it up to me I’d ensure that people are as comfortable and respected as possible in their darkest hour. But that’s not the world we live in anymore.

The film is the thing. You work so hard after the ideas come to get this thing built, all the elements to feel correct, the whole to feel correct in this beautiful language called 'cinema'. And the second it's finished people want you to change it back into words. And it's very, very saddening. It's a torture. It's the film, the language of cinema. When things are concrete [there's] very few variations in interpretation. But the more abstract a thing gets, the more varied the interpretations. But people still know inside what it is for them. And even if they don't trust their intuition, I always say that if some girl named Sally... she comes out of the theatre 'I don't have a clue what that means!' She goes over with Bob and Jim to get a cup of coffee. Bob starts talking about what he thinks it is, because he knows exactly what it is, he starts talking. Five seconds later Sally 'No, no, no, no, it's not that!' And all these things come out of Sally. So, Sally really did know. For herself. That's the beauty of it. It’s just like life. You see sort of the same things, but you come up with many many different things as you go along as a detective. [...] You have everything in the film, that’s the thing. It doesn’t matter what I say. Zip! It can only be a negative. The thing is built so you don't wanna take anything away, and you don't wanna add anything to it. It's complete. That's it.

The film is the thing. You work so hard after the ideas come to get this thing built, all the elements to feel correct, the whole to feel correct in this beautiful language called 'cinema'. And the second it's finished people want you to change it back into words. And it's very, very saddening. It's a torture. It's the film, the language of cinema. When things are concrete [there's] very few variations in interpretation. But the more abstract a thing gets, the more varied the interpretations. But people still know inside what it is for them. And even if they don't trust their intuition, I always say that if some girl named Sally... she comes out of the theatre 'I don't have a clue what that means!' She goes over with Bob and Jim to get a cup of coffee. Bob starts talking about what he thinks it is, because he knows exactly what it is, he starts talking. Five seconds later Sally 'No, no, no, no, it's not that!' And all these things come out of Sally. So, Sally really did know. For herself. That's the beauty of it. It’s just like life. You see sort of the same things, but you come up with many many different things as you go along as a detective. [...] You have everything in the film, that’s the thing. It doesn’t matter what I say. Zip! It can only be a negative. The thing is built so you don't wanna take anything away, and you don't wanna add anything to it. It's complete. That's it.