Construction Framing Quotes

If we hesitate between 'veiling' and 'revealing' our emotions or vacillate between 'shrouding' and 'disclosing' our thoughts, we must understand the nuts and bolts of our individual construct and underpin the elasticity of our mental frame. ("Unfulfilled meeting")

frame: the smarter you are, the better you are at constructing a narrative that supports your beliefs, rationalizing and framing the data to fit your argument or point of view.

It is a good principle in science not to believe any 'fact'---however well attested---until it fits into some accepted frame of reference. Occasionally, of course, an observation can shatter the frame and force the construction of a new one, but that is extremely rare. Galileos and Einsteins seldom appear more than once per century, which is just as well for the equanimity of mankind.

I say, I don’t think the human frame is very thoughtfully constructed for this sleuthhound business. If one could go on all fours, or had eyes in ones knees, it would be a lot more practical’… ‘What luck! Here’s a deep, damp ditch on the other side, which I shall now proceed to fall into.’ A slithering crash proclaimed that he had carried out his intention.

Wait long enough, and what was once mainstream will fall into obscurity. When that happens, it will become valuable again to those looking for authenticity or irony or cleverness. The value, then, is not intrinsic. The thing itself doesn’t have as much value as the perception of how it was obtained or why it is possessed. Once enough people join in, like with oversized glasses frames or slap bracelets, the status gained from owning the item or being a fan of the band is lost, and the search begins again. You would compete like this no matter how society was constructed. Competition for status is built into the human experience at the biological level. Poor people compete with resources. The middle class competes with selection. The wealthy compete with possessions. You sold out long ago in one way or another. The specifics of who you sell to and how much you make—those are only details.

A dream is the frame or portrait or a construction or focus of one's vision by means of perception, based on what he or she knows and settles within via strategic thinking.

During those times, they'd stand there watching me watching them. I'd pray, please. Put a pillow to my face. Clench a hand around my throat. Stab me. Shoot me. Put me out of everyone's misery. Why did you give birth to such a loser? Why didn't you admit I was hopeless and fat and stop trying to make me fit in? This world wasn't meant for me. I was born too soon or too late. Too defective. I wish I could tell my parents, "If you want to help me, help me die." I wonder, Are they required to fill out a 24-hour suicide watch form? Is the Defect at home? Check. Is It alive? Check. Why did they bother with the constructive surgery on my throat anyway? Waste of money. They threw away or hid from me everything with sharp edges or breakables. Picture frames. Pottery. Did they think they could suicide-proof this place? I want to tell them, "Chip, Kim, there is no way to suicide-proof a person

Time if the inner form of animal sense that animates events-the still frames-of the spatial world. The mind animates the world like the motor and gears of a projector. Each weaves a series of still pictures-a series of spatial states-into an order, into the 'current' of life. Motion is created in our minds by running "film cells" together. Remember that everything you perceive-even this page-is actively, repeatedly, being constructed inside your head. It's happening to you right now. Your eyes cannot see through the wall of the cranium; all experience including visual experience is an organized whirl of information in your brain. If your mind could stop its "motor" for a moment, you'd get a freeze frame, just as the movie projector isolated the arrow in one position with no momentum. In fact, time can be defined as the inner summation of spatial states.

The concept of good versus evil is a handy construct for framing a narrative. When you see someone applying that concept to real-world events, however, be aware that you're in the presence of a peddler of fiction.

The familiar world of substantial objects and enduring persons is, according to the dhamma theory, a conceptual construct fashioned by the mind out of the raw data provided by the dhammas. The entities of our everyday frame of reference possess merely a consensual reality derivative upon the foundational stratum of the dhammas.

Books are to be call’d for, and supplied, on the assumption that the process of reading is nor a half-sleep, but, in highest sense, an exercise, a gymnast’s struggle; that the reader is to do something for himself, must be on the alert, must himself or herself construct indeed the poem, argument, history, metaphysical essay — the text furnishing the hints, the clue, the start or frame-work. Not the book needs so much to be the complete thing, but the reader of the book does. That were to make a nation of supple and athletic minds well-train’d, intuitive, used to depend on themselves, not on a few coteries of writers.

Ordinary language fixes the difference between handmade images like Goya's and photographs by the convention that artists "make" drawings and paintings while photographers "take" photographs. But the photographic image, even to the extent that it is a trace (not a construction made out of disparate photographic traces), cannot be simply a transparency of something that happened. It is always the image that someone chose; to photograph is to frame, and to frame is to exclude.

Historical events may stay in the collective records of memory, or they may be allowed to deteriorate, slowly or rapidly, through the overt choices of the powerful. The latter usually seek to suppress or weaken collective memories of societal oppression, and to construct positive and often fictional memories of that history.

How you bring people into your home is just as important as when they walk through the door. Frame well. #marketing

even the secularist is pressed by a sense of something more — some “fullness” that wells up within (or presses down upon) the managed immanent frame we’ve constructed in modernity.

Look for the places where we can improve, acknowledging the shortcomings they imply. Frame up the constructive criticisms. They are the stepping stones to success.

Underneath the glossy, self-congratulatory histories that white Christian churches have written about themselves—which typically depict white Christians as exemplars of democratic principles and pillars of the community—is a thinly veiled, deeply troubling past. White Christian churches have not just been complacent or complicit in failing to address racism; rather, as the dominant cultural power in the U.S., they have been responsible for constructing and sustaining a project to protect white supremacy. This project has framed the entire American story.

KAHNEMAN AND TVERSKY HAVE USED THEIR RESEARCH ON FRAMING and its effects to construct a general explanation of how we go about evaluating options and making decisions. They call it prospect theory.

That was true, Iris would sometimes think, about marriage: it was only a boat, too. A wooden boat, difficult to build, even more difficult to maintain, whose beauty derived at least in part from its unlikelihood. Long ago the pragmatic justifications for both marriage and wooden-boat building had been lost or superseded. Why invest countless hours, years, and dollars in planing and carving, gluing and fastening, caulking and fairing, when a fiberglass boat can be had at a fraction of the cost? Why struggle to maintain love and commitment over decades when there were far easier ways to live, ones that required no effort or attention to prevent corrosion and rot? Why continue to pour your heart into these obsolete arts? Because their beauty, the way they connect you to your history and to the living world, justifies your efforts. A long marriage, like a classic wooden boat, could be a thing of grace, but only if great effort was devoted to its maintenance. At first your notions of your life with another were no more substantial than a pattern laid down in plywood. Then year by year you constructed the frame around the form, and began layering memories, griefs, and small triumphs like strips of veneer planking bent around the hull of everyday routine. You sanded down the rough edges, patched the misunderstandings, faired the petty betrayals. Sometimes you sprung a leak. You fell apart in rough weather or were smashed on devouring rocks. But then, as now, in the teeth of a storm, when it seemed like all was lost, the timber swelled, the leak sealed up, and you found that your craft was, after all, sea-kindly.

Emotions are activated by a general and undifferentiated state of arousal, which becomes an emotion only when appropriately labeled. For example, the same general state of arousal could trigger either fear or infatuation, depending on environmental cues. If this is indeed the case, we can then expect culture to play a considerable role in the construction, interpretation, and functioning of emotions. Culture operates as a frame within which emotional experience is organized, labeled, classified, and interpreted. Cultural frames name and define the emotion, set the limits of its intensity, specify the norms and values attached to it, and provide symbols and cultural scenarios that make it socially communicative.

Everything is perspectival, in other words, it all depends on your perspective, your frame of reference. Since our informational world is of mental abstractive construction, it’s always up to you to decide what’s real to you – everything you find real is indeed real to you, not necessarily real to others who are at the same time, for a lack of a better word, your past and future incarnations. We all are different points of view on oneself, within our own holographic self-reflection.

True thinking takes place within a frame of continuous historical development in which progress in understanding is being made. . . . No constructive thinking that is worth while can be undertaken that sets at nought the intellectual labours of the centuries that are enshrined in tradition, or be undertaken on the arrogant assumption that everything must be thought through de novo as if nothing true had already been done or said. He who undertakes that kind of work will inevitably be determined unconsciously by the assumptions of popular piety which have already been built into his mind.

As long as there have been humans, we have searched for our place in the Cosmos. In the childhood of our species (when our ancestors gazed a little idly at the stars), among the Ionian scientists of ancient Greece, and in our own age, we have been transfixed by this question: Where are we? Who are we? We find that we live on an insignificant planet of a humdrum star lost between two spiral arms in the outskirts of a galaxy which is a member of a sparse cluster of galaxies, tucked away in some forgotten corner of a universe in which there are far more galaxies than people. This perspective is a courageous continuation of our penchant for constructing and testing mental models of the skies; the Sun as a red-hot stone, the stars as celestial flame, the Galaxy as the backbone of night. Since Aristarchus, every step in our quest has moved us farther from center stage in the cosmic drama. There has not been much time to assimilate these new findings. The discoveries of Shapley and Hubble were made within the lifetimes of many people still alive today. There are those who secretly deplore these great discoveries, who consider every step a demotion, who in their heart of hearts still pine for a universe whose center, focus and fulcrum is the Earth. But if we are to deal with the Cosmos we must first understand it, even if our hopes for some unearned preferential status are, in the process, contravened. Understanding where we live is an essential precondition for improving the neighborhood. Knowing what other neighborhoods are like also helps. If we long for our planet to be important, there is something we can do about it. We make our world significant by the courage of our questions and by the depth of our answers. We embarked on our cosmic voyage with a question first framed in the childhood of our species and in each generation asked anew with undiminished wonder: What are the stars? Exploration is in our nature. We began as wanderers, and we are wanderers still. We have lingered long enough on the shores of the cosmic ocean. We are ready at last to set sail for the stars.

The FMSF achieved prominence partly as a response to increased possibilities for women to institute criminal or civil proceedings that relate to historical abuse, and women do not often take their abusers to court. The foundation's framing of abuse serves an ulterior strategic purpose of constructing a narrative position that isolates the incest survivor in an adversarial setting of interpreter distrust and challenged.

There was a time when I'd have killed Gmok without thinking. His pocket-sized goblin heart would have been exploded, his speckled green skin scorched with fire, or his mustard-yellow blood boiled with Black Magic until he was in a coma or dead. Maybe I would've also constructed another piece of furniture using his miniature skull as I'd once done with a thousand corpses of his kind. I'd slept so peacefully for decades on that glorious bed frame made of their tiny but sturdy bones.

Frederick Cuvier and several of the older metaphysicians have compared instinct with habit. This comparison gives, I think, an accurate notion of the frame of mind under which an instinctive action is performed, but not necessarily of its origin. How unconsciously many habitual actions are performed, indeed not rarely in direct opposition to our conscious will! yet they may be modified by the will or reason. Habits easily become associated with other habits, with certain periods of time and states of the body. When once acquired, they often remain constant throughout life. Several other points of resemblance between instincts and habits could be pointed out. As in repeating a well-known song, so in instincts, one action follows another by a sort of rhythm; if a person be interrupted in a song, or in repeating anything by rote, he is generally forced to go back to recover the habitual train of thought: so P. Huber found it was with a caterpillar, which makes a very complicated hammock; for if he took a caterpillar which had completed its hammock up to, say, the sixth stage of construction, and put it into a hammock completed up only to the third stage, the caterpillar simply re-performed the fourth, fifth, and sixth stages of construction. If, however, a caterpillar were taken out of a hammock made up, for instance, to the third stage, and were put into one finished up to the sixth stage, so that much of its work was already done for it, far from deriving any benefit from this, it was much embarrassed, and, in order to complete its hammock, seemed forced to start from the third stage, where it had left off, and thus tried to complete the already finished work.

It is vain philosophy that supposes more causes than are exactly adequate to explain the phenomena of things. . . . You assert that the construction of the animal machine, the fitness of certain animals to certain situations, the connexion between the organs of perception and that which is perceived; the relation between every thing which exists, and that which tends to preserve it in its existence, imply design. It is manifest that if the eye could not see, nor the stomach digest, the human frame could not preserve its present mode of existence. It is equally certain, however, that the elements of its composition, if they did not exist in one form, must exist in another; and that the combinations which they would form, must so long as they endured, derive support for their peculiar mode of being from their fitness to the circumstances of their situation. It by no means follows, that because a being exists, performing certain functions, he was fitted by another being to the performance of these functions. So rash a conclusion would conduct, as I have before shewn, to an absurdity; and it becomes infinitely more unwarrantable from the consideration that the known laws of matter and motion, suffice to unravel, even in the present imperfect state of moral and physical science, the majority of those difficulties which the hypothesis of a Deity was invented to explain. Doubtless no disposition of inert matter, or matter deprived of qualities, could ever have composed an animal, a tree, or even a stone. But matter deprived of qualities, is an abstraction, concerning which it is impossible to form an idea. Matter, such as we behold it, is not inert. It is infinitely active and subtile.

Death appears as the harsh victory of the law of our ancestors of the dimension of our becoming. It is a fact that, as productivity increases, each succeeding generation becomes smaller in stature. The defeat of our fathers is revisited upon us as the limits of our world. Yes, structure is human, it is the monumentalization of congealed sweat, sweat squeezed from old exploitation and represented as nature, the world we inhabit, the objective ground. We do not, in our insect-like comings and going, make the immediate world in which we live, we do not make a contribution, on the contrary we are set in motion by it; a generation will pass before what we have done, as an exploited class, will seep through as an effect of objectivity. (Our wealth is laid down in heaven.) The structure of the world has been built by the dead, they were paid in wages, and when the wages were spent and they were in the ground, what they had made continued to exist, these cities, roads and factories are their calcified bones. They had nothing but their wages to show for what they had done, who they were and what they did has been cancelled out. But what they made has continued into our present, their burial and decay is our present. This is the definition of class hatred. We are no closer now to rest, to freedom, to communism than they were, their sacrifice has brought us nothing, what they did counted for nothing, we have inherited nothing, but they did produce value, they did make the world in which we now live, the world that now oppresses us is constructed from the wealth they made, wealth that was taken from them as soon as they were paid a wage, taken and owned by someone else, owned and used to define the nature of class domination. We too must work, and the value we produce leaks away from us, from each only a trickle but in all a sea of it and that, for the next generation, will thicken into wealth for others to own and as a congealed structure it will be used to frame new enterprises in different directions. The violence of what they produced becomes the structure that dominates our existence. Our lives begin amidst the desecration of our ancestors, millions of people who went to their graves as failures, and forever denied experiences of a full human existence, their simply being canceled out; as our parents die, we can say truly that their lives were for nothing, that the black earth that is thrown down onto them blacks out our sky.

Jane Grenville in her scholarly and definitive work Medieval Housing provides an arresting pair of illustrations showing how two archaeological teams, using the same information, envisioned the appearance of a long-house at Wharram Percy, a lost medieval village in Yorkshire. One illustration shows a strikingly plain, basic dwelling, with walls made of mud or clunch (a composite of mud and dung) and a roof of grass or sod. The other shows a much sturdier and more sophisticated cruck-framed construction in which hefty beams have been fitted together with skill and care. The simple fact is that archaeological evidence shows mostly how buildings met the ground, not how they looked.

Now of the divine, he himself was the creator, but the creation of the mortal he committed to his offspring. And they, imitating him, received from him the immortal principle of the soul; and around this they proceeded to fashion a mortal body, and made it to be the vehicle of the soul and constructed within the body a soul of another nature which was mortal, subject to terrible and irresistible affections-first of all, pleasure, the greatest incitement to evil; then, pain, which deters from good; also rashness and fear, two foolish counsellors, anger hard to be appeased, and hope easily led astray-these they mingled with irrational sense and with all-daring love according to necessary laws, and so framed man.

I must say, it is rare to find a person, let alone a woman, fearless of Tristan." Morana turned on the spot, her eyes finding Dante Maroni standing a few feet away, his huge frame encased in a suit that was completely out of place at this construction site and rather belonged to the party she'd seen him in last week. His dark hair was perfectly styled, slicked back on his head, exposing high cheekbones models around the world would weep for. His jaw was shaven clean, two big silver rings adorning his right index finger and left middle finger. With a smooth smile on his face that Morana didn’t trust one bit, she observed the Mediterranean heritage obvious in the bronze of his skin, and could not deny that Dante Maroni was one beautiful man.

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

Situated in the center of family values debates is an imagined traditional family ideal. Formed through a combination of marital and blood ties, "normal" families should consist of heterosexual, racially homogeneous couples who produce their own biological children. Such families should have a specific authority structure, namely, a father-head earning an adequate family wage, a stay-at-home wife and mother, and children. Idealizing the traditional family as a private haven from a public world, family is seen as being held together through primary emotional bonds of love and caring. assuming a relatively fixed sexual division of labor, wherein women's roles are defined as primarily in the home with men's in the public world of work, the traditional family ideal also assumes the separation of work and family. Defined as a natural or biological arrangement based on heterosexual attraction, instead this monolithic family type is actually supported by government policy. It is organized not around a biological core, but a state-sanctioned, heterosexual marriage that confers legitimacy not only on the family structure itself but on children born in this family. In general, everything the imagined traditional family ideal is thought to be, African-American families are not. Two elements of the traditional family ideal are especially problematic for African-American women. First, the assumed split between the "public" sphere of paid employment and the "private" sphere of unpaid family responsibilities has never worked for U.S. Black women. Under slavery, U.S. Black women worked without pay in the allegedly public sphere of Southern agriculture and had their family privacy routinely violated. Second, the public/private binary separating the family households from the paid labor market is fundamental in explaining U.S. gender ideology. If one assumes that real men work and real women take care of families, then African-Americans suffer from deficient ideas concerning gender. in particular, Black women become less "feminine," because they work outside the home, work for pay and thus compete with men, and their work takes them away from their children. Framed through this prism of an imagined traditional family ideal, U.S. Black women's experiences and those of other women of color are typically deemed deficient. Rather than trying to explain why Black women's work and family patterns deviate from the seeming normality of the traditional family ideal, a more fruitful approach lies in challenging the very constructs of work and family themselves. Understandings of work, like understandings of family, vary greatly depending on who controls the definitions.

In order to understand the spiritual background typical of every non-modem civilization, it is necessary to retain the idea that the opposition between historical times and 'prehistoric' or 'mythological' times is not the relative opposition proper to two homogeneous parts of the same time frame, but rather the qualitative and substantial opposition between times (or experiences of time) that are not of the same kind. Traditional man did not have the same experience of time as modem man; he had a supertemporal sense of time and in this sensation lived every form of his world, Thus, the modem researchers of 'history' at a given point encounter an interruption of the series and an incomprehensible gap, beyond which they cannot construct any 'certain' and meaningful historical theory; they can only rely upon fragmentary, external, and often contradictory elements — unless they radically change their method and mentality.

I use “Witch” to identify with the heritage outlined above, to place myself firmly in the line of outlaw healers and purveyors of unapproved wisdom. And I use the word “magic” for much the same reason. I could say “sophisticated non-mechanistic psychology,” but that term lacks the same ring. Magic is a discipline of the mind, and it begins with understanding how consciousness is shaped and how our view of reality is constructed. Since the time of the Witch persecutions, knowledge that derives from the worldview of an animate, interconnected, dynamic universe is considered suspect—either outright evil or simply woo-woo. But whenever an area of knowledge is considered suspect, our minds are constricted. The universe is too big, too complex, too ever-changing for us to know it completely, so we choose to view it through a certain frame—one that screens out pieces of information that conflict with the categories in our minds. The narrower that frame, the more we screen out, the less we are capable of understanding or doing.

I had what might truly be called an object in life: to be a reformer of the world … This did very well for several years, during which the general improvement going on in the world and the idea of myself as engaged with others in struggling to promote it, seemed enough to fill up an interesting and animated existence. But the time came when I awakened from this as from a dream … In this frame of mind it occurred to me to put the question directly to myself: ‘Suppose that all your objects in life were realised; that all the changes in institutions and opinions that you are looking forward to, could be completely effected at this very instant; would this be a great joy and happiness to you?’ And an irrepressible self-consciousness distinctly answered: ‘No!’ At this my heart sank within me; the whole foundation on which my life was constructed fell down. All my happiness was to have been found in the continual pursuit of this end. The end had ceased to charm, and how could there ever again be any interest in the means? I seemed to have nothing left to live for.

Though metaphors are omnipresent in language, many of them are effectively dead in the minds of today’s speakers, and the living ones could never be learned, understood, or used as a reasoning tool unless they were built out of more abstract concepts that capture the similarities and differences between the symbol and the symbolised. For this reason, conceptual metaphors do not render truth and objectivity obsolete, nor do they reduce philosophical, legal, and political discourse to a beauty contest between rival frames. // Still, I think that metaphor really is a key to explaining thought and language. The human mind comes equipped with an ability to penetrate the cladding of sensory appearance and discern the abstract construction underneath – not always on demand, and not infallibly, but often enough and insightfully enough to shape the human condition. Our powers of analogy allow us to apply ancient neural structures to newfound subject matter, to discover hidden laws and systems in nature, and not least, to amplify the expressive power of language itself.

sandy-haired, friendly, smiling, small-town attorney of Pennington, had been born in 1950 in a roach-infested Newark slum. His father had been a construction worker fully employed through World War II and Korea creating new factories, dockyards and government offices along the Jersey Shore. But with the ending of the Korean War, work had dried up. Cal was five when his mother walked out of the loveless union and left the boy to be raised by his father. The latter was a hard man, quick with his fists, the only law on many blue-collar jobs. But he was not a bad man and tried to live by the straight and narrow, and to raise his toddler son to love Old Glory, the Constitution and Joe DiMaggio. Within two years, Dexter Senior had acquired a trailer home so that he could move where the work was available. And that was how the boy was raised, moving from construction site to site, attending whichever school would take him, and then moving on. It was the age of Elvis Presley, Del Shannon, Roy Orbison and the Beatles, over from a country Cal had never heard of. It was also the age of Kennedy, the Cold War and Vietnam. His formal education was fractured to the point of near nonexistence, but he became wise in other ways: streetwise, fight-wise. Like his departed mother, he did not grow tall, topping out at five feet eight inches. Nor was he heavy and muscular like his father, but his lean frame packed fearsome stamina and his fists a killer punch. By seventeen, it looked as if his life would follow that of his father, shoveling dirt or driving a dump truck on building sites. Unless . . . In January 1968 he turned eighteen, and the Vietcong launched the Têt Offensive. He was watching TV in a bar in Camden. There was a documentary telling him about recruitment. It mentioned that if you shaped up, the Army would give you an education. The next day, he walked into the U.S. Army office in Camden and signed on. The master sergeant was bored. He spent his life listening to youths doing everything in their power to get out of going to Vietnam. “I want to volunteer,” said the youth in front of him. The master sergeant drew a form toward him, keeping eye contact like a ferret that does not want the rabbit to get away. Trying to be kindly, he suggested

When feminist theorizing of prostitution frames the practice as ordinary work which enables women to express ‘choice’ and ‘agency’, and represents trafficked women in debt bondage as simply ‘migrating for labour’, it serves to normalize the industry and support its growth. It air brushes the harms that girls and women suffer in prostitution and makes it very difficult for feminist activists to oppose the construction of prostitution industries as an ordinary part of economic development, and demand dignified work for women. Such theorizing also supports the campaign by the prostitution industry, sex work organizations and some governments to legalize or decriminalize prostitution. For the industry to prosper, toleration is good, but legalization is better. Thus the approaches that feminist theorists choose to take have important implications. The growth of the industry multiplies the harms that are an integral part of prostitution and other forms of sexual exploitation whether ‘legal’ or not. The sex industry cannot be quarantined, set apart from the rest of the society for men to abuse the women caught within the industry in seclusion.

There was nothing pretty or elegant about their robot. Compared to the gleaming machines other teams had constructed, Stinky was a study in simplicity. The PVC, the balloon, the tape measure—in each case they had chosen the most straightforward solution to a problem. It was an approach that grew naturally out of watching family members fix cars, manufacture mattresses, and lay irrigation piping. To a large swath of the population, driveway mechanics, box-frame builders, and gardeners did not represent the cutting edge of engineering know-how. They were low-skilled laborers who didn’t have access to real technology. Stinky represented this low-tech approach to engineering. But that was exactly what had impressed the judges. Lisa Spence, the NASA judge, believed that there was no reason to come up with a complex solution when an elementary one would suffice. She felt that Carl Hayden’s robot was “conceptually similar” to the machines she encountered at NASA. The guys were in shock. They marched back up to the stage and looked out at the audience with dazed smiles. Lorenzo felt a rush of emotion. The judges’ Special Prize wasn’t a consolation award. These people were giving them real recognition.

Our team’s vision for the facility was a cross between a shooting range and a country club for special forces personnel. Clients would be able to schedule all manner of training courses in advance, and the gear and support personnel would be waiting when they arrived. There’d be seven shooting ranges with high gravel berms to cut down noise and absorb bullets, and we’d carve a grass airstrip, and have a special driving track to practice high-speed chases and real “defensive driving”—the stuff that happens when your convoy is ambushed. There would be a bunkhouse to sleep seventy. And nearby, the main headquarters would have the feel of a hunting lodge, with timber framing and high stone walls, with a large central fireplace where people could gather after a day on the ranges. This was the community I enjoyed; we never intended to send anyone oversees. This chunk of the Tar Heel State was my “Field of Dreams.” I bought thirty-one hundred acres—roughly five square miles of land, plenty of territory to catch even the most wayward bullets—for $900,000. We broke ground in June 1997, and immediately began learning about do-it-yourself entrepreneurship. That land was ugly: Logging the previous year had left a moonscape of tree stumps and tangled roots lorded over by mosquitoes and poisonous creatures. I killed a snake the first twelve times I went to the property. The heat was miserable. While a local construction company carved the shooting ranges and the lake, our small team installed the culverts and forged new roads and planted the Southern pine utility poles to support the electrical wiring. The basic site work was done in about ninety days—and then we had to figure out what to call the place. The leading contender, “Hampton Roads Tactical Shooting Center,” was professional, but pretty uptight. “Tidewater Institute for Tactical Shooting” had legs, but the acronym wouldn’t have helped us much. But then, as we slogged across the property and excavated ditches, an incessant charcoal mud covered our boots and machinery, and we watched as each new hole was swallowed by that relentless peat-stained black water. Blackwater, we agreed, was a name. Meanwhile, within days of being installed, the Southern pine poles had been slashed by massive black bears marking their territory, as the animals had done there since long before the Europeans settled the New World. We were part of this land now, and from that heritage we took our original logo: a bear paw surrounded by the stylized crosshairs of a rifle scope.

Look out the window of the train: you’re moving, but you can’t remember leaving. Jagged brown crater dwellings run across the landscape, pipes with thick black smoke pouring out. Smoke overflowing, as the buildings themselves are caked with a sort of black tar. Evening sun peeks over the horizon through rusted steel water towers and other ancient skeletons. Their frames stand fixed, albeit hunched forward, anchored in by the ankles in scrap iron dunes that stretch for miles with frigid desert rats scurrying through as giant shivering Scarabs hover in the sky: wired-in and vigilant, murmuring ancient mantras, overshadowing newer, but desperately cruel partisan inscriptions of code in the soot-stained brick facade. Look at your superimposed reflection in the window across from your seat and envision subatomic particles acquiring sentience in the vacuum of an Accelerator. All wondering how it is they got there, who it is they presume to be. Always wondering. Spiraling...really! Always spiraling at breakneck speeds through the vacuum—eternally in doubt. You are suddenly reminded of the words of that great Algorithmist painter, Carlotta Wakefield, 'Mediocre painters portray that which they understand. Fabulous painters: that which they Surmise...' You wonder if that, too, applies to our constructions of reality, ersatz or otherwise. (From the short story "Leapfrog")

In the field of education, it seems ‘normal’ to run stories about class sizes, teachers’ pay, the country’s performance in international league tables and the right balance between the roles of the private and state sectors. But we would risk seeming distinctly odd, even demented, if we asked whether the curriculum actually made sense; whether it really equipped students with the emotional and psychological resources that are central to the pursuit of good lives. When it comes to housing, the news urges us to worry about how to get construction companies working, how to make purchasing a home easier for first-time buyers and how to balance the claims of nature against those of jobs and businesses. But it doesn’t tend to find time to ask primordial, eccentric-sounding questions like: ‘Why are our cities so ugly?’ In discussions of economics, our energy is channelled towards pondering what the right level of taxation should be and how best to combat inflation. But we are discouraged by mainstream news from posing the more peculiar, outlying questions about the ends of labour, the nature of justice and the proper role of markets. News stories tend to frame issues in such a way as to reduce our will or even capacity to imagine them in profoundly other ways. Through its intimidating power, news numbs. Without anyone particularly rooting for this outcome, more tentative but potentially important private thoughts get crushed.

It starts with a thwack, the sharp crack of hard plastic against a hot metal surface. When the ladle rolls over, it deposits a pale-yellow puddle of batter onto the griddle. A gentle sizzle, as the back of the ladle sparkles a mixture of eggs, flour, water, and milk across the silver surface. A crepe takes shape. Next comes cabbage, chopped thin- but not too thin- and stacked six inches high, lightly packed so hot air can flow freely and wilt the mountain down to a molehill. Crowning the cabbage comes a flurry of tastes and textures: ivory bean sprouts, golden pebbles of fried tempura batter, a few shakes of salt, and, for an extra umami punch, a drift of dried bonito powder. Finally, three strips of streaky pork belly, just enough to umbrella the cabbage in fat, plus a bit more batter to hold the whole thing together. With two metal spatulas and a gentle rocking of the wrists, the mass is inverted. The pork fat melts on contact, and the cabbage shrinks in the steam trapped under the crepe. Then things get serious. Thin wheat soba noodles, still dripping with hot water, hit the teppan, dancing like garden hoses across its hot surface, absorbing the heat of the griddle until they crisp into a bird's nest to house the cabbage and crepe. An egg with two orange yolks sizzles beside the soba, waiting for its place on top of this magnificent heap. Everything comes together: cabbage and crepe at the base, bean sprouts and pork belly in the center, soba and fried egg parked on top, a geologic construction of carbs and crunch, protein and chew, all framed with the black and white of thickened Worcestershire and a zigzag of mayonnaise. This is okonomiyaki, the second most famous thing that ever happened to Hiroshima.

As long as there have been humans, we have searched for our place in the Cosmos. In the childhood of our species (when our ancestors gazed a little idly at the stars), among the Ionian scientists of ancient Greece, and in our own age, we have been transfixed by this question: Where are we? Who are we? We find that we live on an insignificant planet of a humdrum star lost between two spiral arms in the outskirts of a galaxy which is a member of a sparse cluster of galaxies, tucked away in some forgotten corner of a universe in which there are far more galaxies than people. This perspective is a courageous continuation of our penchant for constructing and testing mental models of the skies; the Sun as a red-hot stone, the stars as celestial flame, the Galaxy as the backbone of night. Since Aristarchus, every step in our quest has moved us farther from center stage in the cosmic drama. There has not been much time to assimilate these new findings. The discoveries of Shapley and Hubble were made within the lifetimes of many people still alive today. There are those who secretly deplore these great discoveries, who consider every step a demotion, who in their heart of hearts still pine for a universe whose center, focus and fulcrum is the Earth. But if we are to deal with the Cosmos we must first understand it, even if our hopes for some unearned preferential status are, in the process, contravened. Understanding where we live is an essential precondition for improving the neighborhood. Knowing what other neighborhoods are like also helps. If we long for our planet to be important, there is something we can do about it. We make our world significant by the courage of our questions and by the depth of our answers. We embarked on our cosmic voyage with a question first framed in the childhood of our species and in each generation asked anew with undiminished wonder: What are the stars? Exploration is in our nature. We began as wanderers, and we are wanderers still. We have lingered long enough on the shores of the cosmic ocean. We are ready at last to set sail for the stars.

THE IRIS OF THE EYE WAS TOO BIG TO HAVE BEEN FABRICATED AS A single rigid object. It had been built, beginning about nine hundred years ago, out of links that had been joined together into a chain; the two ends of the chain then connected to form a loop. The method would have seemed familiar to Rhys Aitken, who had used something like it to construct Izzy’s T3 torus. For him, or anyone else versed in the technological history of Old Earth, an equally useful metaphor would have been that it was a train, 157 kilometers long, made of 720 giant cars, with the nose of the locomotive joined to the tail of the caboose so that it formed a circular construct 50 kilometers in diameter. An even better analogy would have been to a roller coaster, since its purpose was to run loop-the-loops forever. The “track” on which the “train” ran was a circular groove in the iron frame of the Eye, lined with the sensors and magnets needed to supply electrodynamic suspension, so that the whole thing could spin without actually touching the Eye’s stationary frame. This was an essential design requirement given that the Great Chain had to move with a velocity of about five hundred meters per second in order to supply Earth-normal gravity to its inhabitants. Each of the links had approximately the footprint of a Manhattan city block on Old Earth. And their total number of 720 was loosely comparable to the number of such blocks that had once existed in the gridded part of Manhattan, depending on where you drew the boundaries—it was bigger than Midtown but smaller than Manhattan as a whole. Residents of the Great Chain were acutely aware of the comparison, to the point where they were mocked for having a “Manhattan complex” by residents of other habitats. They were forever freeze-framing Old Earth movies or zooming around in virtual-reality simulations of pre-Zero New York for clues as to how street and apartment living had worked in those days. They had taken as their patron saint Luisa, the eighth survivor on Cleft, a Manhattanite who had been too old to found her own race. Implicit in that was that the Great Chain—the GC, Chaintown, Chainhattan—was a place that people might move to when they wanted to separate themselves from the social environments of their home habitats, or indeed of their own races. Mixed-race people were more common there than anywhere else.

Although he always talked about technology and Oracle with passion and intensity, he didn’t have the methodical relentlessness that made Bill Gates so formidable and feared. By his own admission, Ellison was not an obsessive grinder like Gates: “I am a sprinter. I rest, I sprint, I rest, I sprint again.” Ellison had a reputation for being easily bored by the process of running a business and often took time off, leaving the shop to senior colleagues. One of the reasons often trotted out for Oracle’s success in the 1990s was Ellison’s decision to hire Ray Lane, a senior executive credited with bringing order and discipline to the business, allowing Ellison just to do the vision thing and bunk off to sail his boats whenever he felt like it. But Lane had left Oracle nearly eighteen months before after falling out with Ellison. Since then, Ellison had taken full control of the company—how likely was it that he would he stay the course? One reason to be skeptical was that Ellison just seemed to have too many things going on in his life besides Oracle. During the afternoon, we took a break from discussing the future of computing to take a tour of what would be his new home—nearly a decade in the making, and at that time, still nearly three years from completion. In the hills of Woodside, California, framing a five-acre artificial lake, six wooden Japanese houses, perfect replicas of the fifteenth- and sixteenth-century originals in Kyoto, were under construction. The site also contained two full-size ornamental bridges, hundreds of boulders trucked in from the high Sierras and arranged according to Zen principles and an equal number of cherry trees jostling for attention next to towering redwoods. Ellison remarked: “If I’m remembered for anything, it’s more likely to be for this than Oracle.”3 In the evening, I noticed in Ellison’s dining room a scale model of what would become his second home: a graceful-looking 450-foot motor-yacht capable of circumnavigating the globe. Already the owner of two mega-yachts, bought secondhand and extensively modified (the 192-foot Ronin based in Sausalito and the 244-foot Katana, which was kept at Antibes in the South of France), Ellison wanted to create the perfect yacht. The key to achieving this had been his successful courtship of a seventy-two-year-old Englishman, Jon Bannenberg, recognized as the greatest designer of very big, privately-owned yachts. With a budget of $200 million—about the same as that for the Japanese imperial village in Woodside—it would be Bannenberg’s masterpiece. Bannenberg had committed himself to “handing over the keys” to Ellison in time for his summer holiday in 2003.

I liken mothers who help raise their grandchildren as the empty pages and white spaces inside a book, the extra pages at the beginning and end of the books, the white space found at the end of chapters. Readers flip through these sections, unaware of the necessary roles these spaces play in the construction of the story itself, these vital, invisible parts that hold the story together. Most readers unconsciously disregard these blank spaces, choosing instead to focus on the story's visible drama and characters, unaware that empty pages and spaces serve to mold a story into a meaning retelling. White space in a book frames its story.

They pulled up to 195 Madison Street - a tall narrow six-story redbrick and limestone-trimmed tenement house indistinguishable from all the tenement houses on all the other streets of tenements. The bars and ladders of a fire escape ran up the left side of the building; sooty stone scrolls, shields, and flowers framed the second- and third-story windows. This was the place where they had to live? Two blocks from the commercial madness of East Broadway; two blocks from the filthy snout of the East River, smelling of fish, ships, and garbage; three blocks from the brain-rattling racket of the elevated train; three blocks from the playground of the Henry Street Settlement; practically in the shadow of the construction side of the twin-towered Manhattan Bridge. Every three blocks they passed more people than the entire population of Rakov. Half a million Jews packed the one and a half square miles of the Lower East Side in 1909; 702 people per acre in the densest acres. It was one of the most crowded places on earth, and all of them seemed to be swarming outdoors on the June afternoon that Gishe Sore and her family arrived. Aside from the crisscross steel girders of the Manhattan Bridge at the end of the street, it was all tenement houses as far as she could see. Tenements and bodies. In every room of every building, bodies fought for a ray of light and a sip of air. Bodies slept four to a bed and on two chairs pushed together; bodies sat hunched over sewing machines in parlors and sunless back bedrooms and at kitchen tables heaped with cloth and thread; bodies ate, slept, woke, and cleared out for the next shift of bodies to cycle through. Toilets in the hall or in courtyard outhouses; windows opening, if they opened at all, onto fetid air shafts; no privacy; no escape from the racket and smell of neighbors; no relief from summer heat or blasting winter furnaces. This was the place her American children had brought them to live?

The real guide to reality It’s not that pigeons are stupid. Well, they are, but that’s not the point. This gulf between how we see the world and how a pigeon sees the same world reveals something fundamental about our relationship with reality, and how we understand our place in the cosmos. Our eyes powerfully illustrate the fact that our experience is a heavily edited version of reality. Evolution has found a way for us to harvest, process and interpret elementary packets of light in the dark cavities of our skulls. Our minds navigate the many constraints of anatomy to make it work—frame rates, blind spots, faulty cones, colorless peripheral vision. We don’t even notice the limits of our eyes as we construct our subjective world view in our heads. Like all creatures on Earth, our bodies are carefully tuned to ensure our continued survival. But it would be a pointless waste of ego to think that they make us capable of experiencing reality as it really is. We are each locked into our own umwelt, profoundly limited by our senses, constrained by our biology, shackled by the inescapable bounds of our evolutionary history. We’re hopelessly tethered to what we can uncover while stuck on (or perhaps near) this planet, a speck of dust in the vastness of the cosmos. We see only the merest sliver of reality. We’re peering at the universe through a keyhole.

after the complete psychotic breakdown, the paranoiac construct is an attempt of the subject to reestablish a kind of order in his universe, a frame of reference enabling him to acquire a “cognitive mapping.

The next of kin stand ambivalent about the project of militarism and the use of their blood to serve a construct that they may not believe in or want to sacrifice for. Yet they accept this violence inflicted on them and on the bodies of those they love. They say “Khena parta hai” (“You have to say it”) and behave as though they do believe. They say it because they know the military is watching. They say it because without this frame the son’s death would be futile and the grief too great to make sense of. They say it because they need to say it to avoid the guilt and the realization that maybe the risk taken was too great and because they must accept the money and benefits offered, as it was for material needs that the tribute to the nation was risked in the first place. 204/378

Hayden White ... has argued that the narratives historians develop and use are constructed fictions; they do not reflect any reality of the past because 'real events do not offer themselves as stories'. The dominance of the narrative form among historians ... reflects a larger problem: our desire to make the past tidy and contained in a way that does not, and cannot, represent reality. By framing our historical interpretations as narrative ... historians endow the past with a false sense of coherence

Saipem, an Italian-based company founded in 1957, has built some of the world's largest energy and infrastructure projects. It is organized into five business divisions that focus on onshore and offshore drilling, engineering and construction, and conceptual design services. Given its connection to oil and gas contracts, which effectively collapsed in 2014 with a plunge in oil prices, it has had to set a course beyond fossil fuels and rethink everything about its business. This "change or die" scenario sets the tone for its reporting and disclosure. Its 2019 sustainability report acknowledges the scenario it is facing and tackles the issue of the low-carbon transition head-on. At its core is the organziations rallying call, or "the four challenges," which describe the context and frame the opportunities it must capture to remain competitive.

the weakening of the discourses constructing political identities in terms of left and right has not meant the disappearance of the need for a we/they distinction. Such a distinction is still very much alive; however, today it is increasingly established through a moral vocabulary. We could say that the distinction between left and right has been replaced by the one between right and wrong. This indicates that the adversarial model of politics is still with us, but the main difference is that now politics is played out in the moral register, using the vocabulary of good and evil to discriminate between 'we the good democrats' and 'they the evil ones'. This can be seen, for instance, in the reactions to the rise of right-wing populist parties, where moral condemnation has generally replaced a properly political type of struggle. Instead of trying to grasp the reasons for the success of right-wing parties, the 'good' democratic parties have often limited themselves to calling for a 'cordon sanitaire' to be established in order to stop the return of what they see as 'the brown plague'. Another example of this moralization of politics is when President George W. Bush opposes the civilized 'us' to the barbarian 'others'. To construct a political antagonism in this way is what I call the 'moralization of politics'. This is something that we can see at work in many different areas nowadays; the inability to formulate the problems facing society in a political way and to envisage political solutions to these problems leads to framing an increasing number of issues in moral terms. This is, of course, not good for democracy because when the opponents are not defined in a political but in a moral way, they cannot be seen as adversaries, but only as enemies. With the evil ones, no agonistic debate is possible. They have to be eliminated.

Not a store-bought plastic monstrosity, but a homemade wooden frame, painted to glossy perfection. The sight of it sends a pang through me. As do the homemade bookshelves lining the far wall. There’s so much care, not just in the construction but in the organization, Charlie’s touch and Clint’s as visible as inky fingerprints. The books are meticulously ordered by genre and author, but not pretty. Not rows of leather-bound tomes, just paperbacks with creased spines and half-missing covers, books with five-cent thrift store stickers on them, and Dewey decimal indicators on the ones that came from library sales.

Raleigh was struck by a torpedo early in the attack. Like Utah, she occupied a berth usually used by an aircraft carrier. At 0756 the two torpedoes were dropped about 300 yards from the ship. One hit the ship below the eighty pound armor belt and another passed about twenty-five yards ahead of the ship. The one which hit the ship caused immediate flooding of the two forward boiler rooms and the forward engine room. General Quarters was sounded at once, and the anti-aircraft battery went into action promptly. Men not at the guns were ordered to jettison weights on the port side, especially those high up on the ship. About 0900 the ship received a bomb hit from a dive-bomber. This was dropped from about 800 feet and passed through three decks and out the side of the ship. It exploded clear of the vessel at frame 112 and caused damage typical of a near-miss. Luckily the compartment, which held 3,500 gallons of aviation gasoline, was left intact. The ship counterflooded, but the construction of the ship was not favorable to a great deal of counterflooding as loss of buoyancy was more important than list. Due to defective hatches the main deck had some free water surface, which, added to that produced by the damage, was almost fatal. The jettisoning of topside weights and the reduction of free surface by pumping water from the main deck saved the ship. It certainly would have been lost in a seaway, as it developed negative stability. This was gradually overcome, partly by lashing an available barge alongside. 80-G-32448 USS Raleigh after taking one torpedo hit amidships and one bomb hit aft.

Modern psychologists have identified a handful of opposing cognitive frames in which one frame is healthier and more constructive but the other is more common. Essentially, the more constructive frames embrace learning and accept setbacks as necessary and meaningful life experiences . The more common and natural frames, in contrast, interpret mistakes and failures as painful evidence that we’re not good enough.

A party, or any institution that is in power or opposition, does all things to get only its own goal and interests, no matter in a legal way or through illegal resources, like forces, print and electronic media, and negative propaganda among the people, spending the millions of money for this. It is called dirty politics by the support of evil spirits. Most of the political parties criticize the party in power, not for the best of the people, but to get the power for themselves. Political parties are national and democratic assets, not leaders; don’t destroy them; however, remove corrupt and criminal ones from them. Undoubtedly, political parties constitute the key mother pillar of all pillars of democracy; no state can achieve its goals and interests without them. The day you vote is an opportunity to vote not for a leader but for a party manifesto and constructive thoughts and plans. Indeed, you will have good fortune, a bright and joyful social status, and prosperity will always be a part of your society and life. Political parties in every society are a convenient avenue and beneficial wager for those donors who donate and rule the world, not through bona fide democracy and its genuine process. As a result, the people of the world remain slaves even in a civilized environment in their societies.” A coalition, in a political term, defines a conditional and non-significant journey that starts risking the collapse without notice, whereas it also mirrors a hollow and unstable organ to decide and solve wide-scale subjects and issues. In the third world, political leaders run political parties in the frame of their factory management.

As Bagnall and Eyal contend, the difference in the perception of the two forms of deinstitutionalization was due to different framings of social worth, in which those labeled with I/DD were seen as “forever children” and in need of guardianship, protection, and education, while those with labels of mental illness were constructed as “autonomous citizens.”71 Because mental illness was perceived as an illness and postwar sentiments believed in cure, people with psych labels were seen as self-reliant individuals who were only temporarily in need of assistance.

Narrative is the frame upon which we hang selected swaths of experience in order to construct a shelter of meaning.

We also gave teams a primer on teamwork based on insights gleaned from research in group dynamics. On the one hand, we warned, groupthink is a danger. Be cooperative but not deferential. Consensus is not always good; disagreement is not always bad. If you do happen to agree, don't take the agreement—in itself—as proof that you are right. Never stop doubting. Pointed questions are as essential to a team as vitamins are to a human body. On the other hand, the opposite of groupthink—rancor and dysfunction—is also a danger. Team members must disagree without being disagreeable, we advised. Practice 'constructive confrontation' to use the phrase of Andy Grove, the former CEO of Intel. Precision questioning is one way to do that. Drawing on the work of Dennis Matthies and Monica Worline, we showed them how to tactfully dissect the vague claims people often make. Suppose someone says, 'Unfortunately, the popularity of soccer, the world's favorite pastime, is starting to decline.' You suspect [they] are wrong. ... Zero in. You might say, 'What do you mean by 'pastime?' or 'What evidence is there that soccer's popularity is declining? Over what time frame.' The answers to these precise questions won't settle the matter, but they will reveal the thinking behind the conclusion so it can be probed and tested.

From integrated sets of assumptions, expectations, and experience, individuals construct a worldview, or frame of reference, that shapes their interpretations of objects and experiences.93 Everything is perceived, chosen, or rejected on the basis of this framework. The framework becomes self-confirming because, whenever they can, people tend to impose it on experiences and events, creating incidents and relationships that conform to it. And they tend to ignore, misperceive, or deny events that do not fit.94

As a consequence, this frame of reference generally leads people to what they expect to find. Worldview is not easily altered or dismantled because individuals tend ultimately to disavow knowledge that contradicts it.95 They ward off information in order to preserve the status quo, avoid a difficult choice, or avoid a threatening situation. They may puzzle over contradictory evidence but usually succeed in pushing it aside—until they come across a piece of evidence too fascinating to ignore, too clear to misperceive, too painful to deny, which makes vivid still other signals they do not want to see, forcing them to alter and surrender the worldview they have so meticulously constructed.

the whole of the Gospel of John is a carefully framed account of Jesus’ construction of the true Temple of God, which he himself is and which climaxes when he is crucified.

We provided the frame from which scientists can prove that matter is a construct, program, and “instruction” of the Universal Mind and that the same program predetermines our perception. Our understanding of the world is contingent upon our experience, cognition, and perception (tertiary quality in my system of thought), which is contingent upon the secondary in my system of thought (originally, primary quality) since there is no matter as we perceive it or conceptualize it. There is no matter as such.

Phase Activities Action Establish relationships and common agenda between all stakeholders Collaboratively scope issues and information Agree on time-frame Reflection On research design, ethics, power relations, knowledge construction process, representation and accountability Action Build relationships Identify roles, responsibilities and ethics procedures Establish a Memorandum of Understanding Collaboratively design research process and tools Discuss and identify desired action outcomes Reflection On research questions, design, working relationships and information requirements Action Work together to implement research process and undertake data collection Enable participation of others Collaboratively analyse information generated Begin planning action together Reflection On research process Evaluate participation and representation of others Assess need for further research and/or various action options Action Plan research-informed action which may include feedback to participants and influential other Reflection Evaluate action and process as a whole Action Identify options for further participatory research and action with or without academic researchers Figure 2.1 Key stages in a typical PAR process

Finally, Obama’s remarks are carefully constructed to undermine the arguments of conservatives, who frame the social programs funded by taxation as government handouts to the undeserving. Obama flips the taxes-as-handouts frame on its head, to yield a frame in which tax breaks are handouts to the rich, and the estate tax is a transfer of wealth from ordinary taxpayers to wealthy individuals—a frame that tells a vital truth. It

Some decisions are carefully constructed towers of logic framed in lists of pros and cons, shingled in trusted advice. Ching, G. P.. Grounded (The Grounded Trilogy Book 1) (p. 29). Carpe Luna Publishing. Kindle Edition.

The Scriptures talk a lot about the “head of the corner” or the “chief cornerstone.” God uses the illustration of cornerstones to draw our attention to the Cornerstone He has chosen to build His house. Therefore thus saith the Lord GOD, Behold, I lay in Zion for a foundation a stone, a tried stone, a precious corner stone, a sure foundation: he that believeth shall not make haste. Isaiah 28:16 Typically, a cornerstone is the first stone to be set in place whenever a structure is built, and all other stones in the building are aligned to it. Cornerstones mark the beginning point of construction, unite walls at intersections, and determine the positioning of the building. They support and set the reference point for how an entire framework comes together. Cornerstones often represent “the nominal starting place in the construction of a monumental building, usually carved with the date and laid in place with appropriate ceremonies.”20 You may have seen the famous picture of George Washington laying the cornerstone of the U.S. Capitol building. These stones can be symbolic or ceremonial in nature, and many times, they are inscribed with information about the building’s importance and why it was built. Be it known unto you all, and to all the people of Israel, that by the name of Jesus Christ of Nazareth, whom ye crucified, whom God raised from the dead, even by him doth this man stand here before you whole. This is the stone which was set at nought of you builders, which is become the head of the corner. Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved. Acts 4:10-12 Now therefore ye are no more strangers and foreigners, but fellowcitizens with the saints, and of the household of God; And are built upon the foundation of the apostles and prophets, Jesus Christ himself being the chief corner stone; In whom all the building fitly framed together groweth unto an holy temple in the Lord: Ephesians 2:19-21

Everyday life presents itself as a reality interpreted by men and subjectively meaningful to them as a coherent world. As sociologists we take this reality as the object of our analyses. Within the frame of reference of sociology as an empirical science it is possible to take this reality as given, to take as data particular phenomena arising within it, without further inquiring about the foundations of this reality, which is a philosophical task. However, given the particular purpose of the present treatise, we cannot completely bypass the philosophical problem. The world of everyday life is not only taken for granted as reality by the ordinary members of society in the subjectively meaningful conduct of their lives. It is a world that originates in their thoughts and actions, and is maintained as real by these. Before turning to our main task we must, therefore, attempt to clarify the foundations of knowledge in everyday life, to wit, the objectivations of subjective processes (and meanings) by which the intersubjective commonsense world is constructed. For

Through the years I experimented with all different types of materials and frames. Finally, I settled upon one that was so simple, easy, and inexpensive to use that it was almost ridiculous. Then I began growing all different types of plants vertically. I originally thought I would need to design some special way to hold up and accommodate heavier fruits such as winter squash and pumpkins, but as it turned out, these plant vines seemed to understand the situation; the stem supporting the heavy fruit grows thicker and heavier as the fruit becomes larger. If you have a framework and support that will hold the plant, the plant will hold the fruit; it is as simple as that! Mother Nature always seems to know best. Pea and bean netting can be stretched taut across a box frame and held in place by four metal posts. Plants will then grow up through the netting and be supported. Best Material I use the strongest material I can find, which is steel. Fortunately, steel comes in tubular pipe used for electrical conduit. It is very strong and turns out to be very inexpensive. Couplings are also available so you can connect two pieces together. I designed an attractive frame that fits right onto the 4 × 4 box, and it can be attached to the wooden box with clamps that can be bought at any store. Or, steel reinforcing rods driven into the existing ground outside your box provide a very steady and strong base; then the electrical conduit slips snugly over the bars. It’s very simple and inexpensive to assemble. Anyone can do it—even you! To prevent vertically grown plants from shading other parts of the garden, I recommend that tall, vertical frames be constructed on the north side of the garden. To fit it into a 4 × 4 box, I designed a frame that measured 4 feet wide and almost 6 feet tall. Tie It Tight Vertically growing plants need to be tied to their supports. Nylon netting won’t rot in the sun and weather, and I use it exclusively now for both vertical frames and horizontal plant supports. It is very strong—almost unbreakable—and guaranteed for twenty years. It is a wonderful material available at garden stores and in catalogs. The nylon netting is also durable enough to grow the heavier vine crops on vertical frames, including watermelons, pumpkins, cantaloupes, winter and summer squashes, and tomatoes. You will see in Chapter 8 how easy it is to train plants to grow vertically. To hold the plants to the frame, I have found that nylon netting with 7-inch square openings made especially for tomato growing works well because you can reach your hand through. Make sure it is this type so it won’t cut the stem of the plant when it blows against it in the wind. This comes in 4-foot widths and can easily be tied to the metal frame. It’s sometimes hard to find, so call around.

in my judgment, Frame, akin to Aquinas, is viewing the Christian story in accord with the logical construction and the empirical experience of language. If he actually followed Van Til, he would perceive that language has meaning only in the context of the biblical story. In other words, language has meaning only in the context of a philosophy of history as defined by Van Til and Vos.

There have been ancient ships found with some almost unbelievable planking styles that helped make the ship structurally sound, lighter, and even proved to be superior in waterproofing! Ark researcher Tim Lovett comments: Ancient shipbuilders usually began with a shell of planks (strakes) and then built internal framing (ribs) to fit inside. This is the complete reverse of the familiar European method where planking was added to the frame. In shell-first construction, the planks must be attached to each other somehow. Some used overlapping (clinker) planks that were dowelled or nailed, others used rope to sew the planks together. The ancient Greeks used a sophisticated system where the planks were interlocked with thousands of precise mortise and tenon joints. The resulting hull was strong enough to ram another ship, yet light enough to be hauled onto a beach by the crew.6

dramatically, but helium gas was 10 times as expensive. Under these conditions, Dr. Eckener, a pilot whose primary concern was safety and as Director of a Company attempting to make a profit, he was forced to make a difficult decision. His discussions with American businessmen and political officials had not resulted in the helium gas he so badly wanted. On the other hand he realized, an airship without lifting gas could not fly. His own company officials believed hydrogen to be safe and they did not share the American concern nor that of Eckener. During many of the flights in 1936, U.S. Naval officials were onboard the LZ-129, to study German operating methods of using hydrogen gas. Their resulting reports concluded that hydrogen properly used, was safe and should be considered used in any new or future American airships. The building of a dream The LZ-129 was a typical design for a Zeppelin airship, only it’s size was so remarkable. The structure was primarily built of triangular girders made of Duralumin, the interior was divided by a wire braced main frame, into 16 bays, in which each held a gas cell.2 Duralumin was an alloy of aluminum and copper with traces of magnesium, manganese, iron and silicon. It had been discovered by Dr. Alfred Wilm and his assistant Ing. Jablonsky, in September 1906. Late one Saturday evening, Jablonsky had completed testing numerous pieces and was ready to go home, when Dr. Wilm entered the lab, with just one more test. To everyone’s astonishment, the test piece was harder, with only ½% more Magnesium having been added. The last train for Berlin had departed and the two men worked the through the weekend, to perfect their Duralumin. Although Dr. Wilm wanted to obtain a patent on this new metal, that so many industries so badly required, he failed to take action. By not obtaining a patent, he gave German industry the opportunity to copy. Count von Zeppelin was amongst the first to realize the value of this new material. Dr. Alfred Wilm did not achieve the wealth he so rightfully desired and passed away on a small farm in the Riesengebirge, on August 6, 1937. Dr. Wilm placed an important mark on not only Zeppelin history, but in the design of countless airplanes ever since.3 The first Zeppelin airships had been constructed of simple aluminum, which is considerably weaker, so that strength was a major problem. It was not until LZ-26, which was the only Zeppelin assembled in Frankfurt-Rebstock, that Duralumin was practically used. Designed as a passenger airship, production of it’s parts had begun, when World War One started. Suddenly, this airship was no longer needed for civilian purposes and would fulfill military requirements only marginally. In order to provide space in the Friedrichshafen Zeppelin Sheds, for newer and larger designs; the completed girders and materials were transported to Frankfurt for assembly. The ship, approx. only 1/8 the

I say, I don't think the human frame is very thoughtfully constructed for this sleuthhound business. If one could go on all-fours, or had eyes in one's knees, it would be a lot more practical.

The case study as an evolving system has the following components. First, it views creative work as multi-faceted. So, in constructing a case study of a creative work, one must distill the facets that are relevant and construct the case study based on the chosen facets. Some facets that can be used to construct an evolving system case study are: (1) uniqueness of the work; (2) a narrative of what the creator achieved; (3) systems of belief; (4) multiple time-scales (construct the time-scales involved in the production of the creative work); (5) problem solving; and (6) contextual frame such as family, schooling, and teacher’s influences (Gruber & Wallace, 2000). In summary, constructing a case study of a creative work as an evolving system entails incorporating the many facets suggested by Gruber & Wallace (2000). One could also evaluate a case study involving creative work by looking for the above mentioned facets.

The building was a sniper’s heaven; it was long with dozens of windows and many points of view. Three floors. Someone had put cardboard in each of the panes, dozens of cardboard boxes, making it almost impossible to see inside. The marines kept firing, thousands and thousands of rounds. The barrels of their machine guns glowed and sagged. “Get me another barrel,” one of the kids said. More firing commenced. “I don’t know who he is, but he is very well trained,” said Lieutenant Steven Berch, another one of the platoon leaders. Omohundro was downstairs. He listened to the commotion and called in an airstrike. “Just blow the building to shit,” he said. First a 2,000 -pound bomb, then a 500 -pounder flew into the building and burst. A cloud unfolded upward and revealed a gigantic fire. It rose through the ruined ceiling. Part of a wall collapsed. Crack! Crack! Crack! The marines ducked, cursed loudly and returned fire. No one spotted the sniper this time. The sniper fired back. The marines responded with another blast of gunfire, many thousands of rounds. I stood with some guys at the back of the roof, behind a shed. A blue and green parakeet fluttered out of the sky and hovered in tight circles. Bullets flew past. The parakeet landed on a slumping power line. The marines stared in amazement. “Someone’s pet?” a marine said. I ran across the top of the roof and the sniper took a shot. Crack! The bullet whizzed by. An artillery barrage began. First came the 155 mm shells, each filled with fifty pounds of high explosives. One after the other the shells sailed into the building. Fire swept through the three floors. What was left of the ceiling collapsed in the smoke. Cardboard sailed out of shattered windows. Twenty shells, then thirty, each one large enough to end the world. The shelling ceased and the shooting stopped. The building burned. Remarkably it still had a frame, and parts of its three floors still stood. Suddenly a sound rustled from a storefront on the first floor. The marines tensed. A cat sauntered out, dirty yellow, tail in the air. It walked like a runway model in front of a construction site. “Can I shoot it, sir?” a marine asked his squad leader. “Absolutely not,” came the reply. Crack!

at the seat. Instead of blowing his top, he picked me up in his arms and said, "You did it?" I nodded, "Yes I did it!" "But, look son." He tried to explain, "I can't go out with a bottomless pajama — I am a man". I whispered, "And so am I". He just stared, and embraced me. And from that day I got proper pajamas to wear. Dad was a great friend, a very understanding and loving person. Time flies fast — my father's leave was almost over, but the construction work still remained incomplete. He had to go back to Amritsar to resume his duties, and my mother badly needed more money. Two days before his departure he took a loan of Rs. 1,500 from a friend, a Zargar (ornament maker), to somehow finish the construction work, and mortgaged our part of the haveli for this amount. This Rs. 1,500 brought a lot of trouble and hardship to the family as the interest for the loan went on adding. My father resigned his job as a postman and searched for a new clerical job. He did his best to pay off the loan; he but could not. Destiny's smile had changed into a fearsome frown. Soon my little sister Guro was born. While my father slogged in Amritsar to support the family and pay the monthly interest, my mother and grandmother somehow managed to survive. I fell sick, very very sick and the chubby child was soon a bundle of bones. The fair skin was tarnished and looked quite dusky. The handsome Kidar Nath became an ugly urchin. Lack of nourishment also made me a dull boy. The only thought that kept me alive was that my father was my best friend, and that I must stand by my best friend and help him to surmount his difficulties. Having found a tenant for the rebuilt Haveli, we all moved to Amritsar. Across our house lived a shop-keeper known for being a miser. He called a carpenter to fix the main door to his dwelling, because the top of the frame had cracked. A robust argument ensued because the shop-keeper would pay only half a rupee, while the carpenter wanted one. His reason being that an appropriate piece of wood had to be cut to match the area being repaired and then he would have to level the surfaces at a very awkward angle. But the owner was adamant and said, "Just nail the piece of wood, do not level it or do any fancy work, because I shall pay you only half a rupee", as he walked away in a huff.

Installing a Vertical Frame MATERIALS To construct a vertical frame, you need: two 5-foot electrical conduit pipes (1/2-inch diameter); one 4-foot conduit pipe (1/2-inch diameter); two 18-inch long rebar supports of 1/2-inch diameter; screwdriver; hammer; two elbow connectors; and trellis netting. ASSEMBLY Once you’ve attached the elbow connectors to your 4-foot conduit pipe, lay it against the north-facing board of your SFG. Next, hammer the rebar where the elbows are located. You’ll want to drive the rebar in about half its height. Slide the 5-foot conduit pipes over the rebar for a standard strength vertical frame. Or use a short steel fence post instead of the rebar for an extra-strong frame. Attach the top conduit to the legs and tighten the screws in the elbows.

Now that the vertical frame has been constructed, it is time to add something for the plants to grow on. I used to use either special wide-opening fencing or good strong synthetic twine or cord, but then along came this beautiful, soft, indestructible nylon netting with large openings you can reach through. This nylon garden netting is now the only material I use for vertical gardening. It’s white, keeps its color, can’t be broken, will last forever, and is easy to work with. The netting is tied tightly and securely to the top and sides of the vertical frame, and the plants can then be gently woven in and out of the netting as they grow. The netting comes in 4- and 5-foot widths and various lengths and is available at most garden centers and catalogs. When

we were all itching for dick jokes and male bonding. The team took photos for the web site on an abandoned construction site (camp was in central Florida at the beginning of the mortgage crisis, so the area was filled with ruins, not unlike ancient Rome). The next day, we rode back to the same spot and took our own pictures, this time with our genitals out, and slipped it into the photographer’s slideshow. Someday, I’ll frame that photo and put it on the wall.

But why hadn't the TV set reverted instead to formless metals and plastics? Those, after all, were its constituents; it had been constructed out of them, not out of an earlier radio. Perhaps this weirdly verified a discarded ancient philosophy, that of Plato's ideal objects, the universals which, in each class, were real. The form TV set had been a template imposed as a successor to other templates, like the procession of frames in a movie sequence. Prior forms, he reflected, must carry on an invisible, residual life in every object. The past is latent, is submerged, but still there, capable of rising to the surface once the later imprinting unfortunately - and against ordinary experience - vanished. The man contains - not the boy - but earlier men, he thought. History began a long time ago.

Mybike handling qualities include on-a-rail tracking, almost as if the headset were too tight, and a high-strung, joyous agility. Frame geometry and construction integrity combine with the rider’s caffeine consumption level to produce serendipitously disparate handling characteristics.

modern era of multivalent "secularity" and "exclusive humanism" in which we live, a shift from the premodern, socially embedded "porous self" to the meaning-constructing "buffered self" that lives within our "immanent frame" of disenchanted modern reality that (supposedly) lacks room for the sacred.24

1. Give your toddler some large tubular pasta and a shoelace.  Show her how to thread the shoelace through the pasta. 2. Take an empty long wrapping paper tube and place one end on the edge of the sofa and the other end on the floor.  Give him a small ball such as a Ping Pong ball to roll down the tube.   3. Give her some individually wrapped toilet tissues, some boxes of facial tissue or some small tins of food such as tomato paste.  Then let her have fun stacking them.     4. Wrap a small toy and discuss what might be inside it.  Give it to him to unwrap. Then rewrap as he watches.  Have him unwrap it again.    5. Cut  such fruits as strawberries and bananas into chunks.  Show her how to slide the chunks onto a long plastic straw.  Then show her how you can take off one chunk at a time, dip it into some yogurt and eat it.   6. Place a paper towel over a water-filled glass.  Wrap a rubber band around the top of the glass to hold the towel in place.  Then place a penny on top of the paper towel in the centre of the glass.  Give your child a pencil to poke holes in the towel until the penny sinks to the bottom of the glass.   7. You will need a small sheet of coarse sandpaper and various lengths of chunky wool.  Show him how to place these lengths of wool on the sandpaper and how the strands stick to it.   8. Use a large photo or picture and laminate it or put it between the sheets of clear contact paper.  Cut it into several pieces to create a puzzle.   9. Give her two glasses, one empty and one filled with water.  Then show her how to use a large eyedropper in order to transfer some of the water into the empty glass.   10. Tie the ends/corners of several scarves together.  Stuff the scarf inside an empty baby wipes container and pull a small portion up through the lid and then close the lid.  Let your toddler enjoy pulling the scarf out of the container.   11. Give your child some magnets to put on a cookie sheet.  As your child puts the magnets on the cookie sheet and takes them off, talk about the magnets’ colours, sizes, etc.   12. Use two matching sets of stickers. Put a few in a line on a page and see if he can match the pattern.  Initially, you may need to lift an edge of the sticker off the page since that can be difficult to do.    13. You will need a piece of thin Styrofoam or craft foam and a few cookie cutters.  Cut out shapes in the Styrofoam with the cookie cutters and yet still keep the frame of the styrofoam intact.  See if your child can place the cookie cutters back into their appropriate holes.        14. Give her a collection of pompoms that vary in colour and size and see if she can sort them by colour or size into several small dishes. For younger toddlers, put a sample pompom colour in each dish.   15. Gather a selection of primary colour paint chips or cut squares of card stock or construction paper.  Make sure you have several of the same colour.  Choose primary colours.  See if he can match the colours.  Initially, he may be just content to play with the colored chips stacking them or making patterns with them.

There are a range of useful and illuminating analyses of the media construction of organised abuse as it became front-page news in the 1980s and 1990s (Kitzinger 2004, Atmore 1997, Kelly 1998), but this book is focused on organised abuse as a criminal practice; as well as a discursive object of study, debate and disagreement. These two dimensions of this topic are inextricably linked because precisely where and how organised abuse is reported to take place is an important determinant of how it is understood. Prior to the 1980s, the predominant view of the police, psychiatrists and other authoritative professionals was that organised abuse occurred primarily outside the family where it was committed by extra-familial ‘paedophiles’. This conceptualisation; of organised abuse has received enduring community support to the present day, where concerns over children’s safety is often framed in terms of their vulnerability to manipulation by ‘paedophiles’ and ‘sex rings’. This view dovetails more generally with the medico-legal and media construction of the ‘paedophile as an external threat to the sanctity of the family and community (Cowburn and Dominelli 2001) but it is confounded by evidence that organised abuse and other forms of serious sexual abuse often originates in the home or in institutions, such as schools and churches, where adults have socially legitimate authority over children.

Constructively challenging authority requires the basic habits of mind a liberal education seeks to instill: the ability to frame the essential questions; to think critically, analytically, and ethically about the problems those questions identify; and to respond effectively, creatively, and wisely to the implications of the analysis. It requires not only an ability to appreciate the complexity of a problem but also to identify its essence in order to achieve effective, just, and fair conclusions.

In reality, government subsidized railroad construction, maintained high protective tariffs and a tight money supply, used its power to crush strikes, and in other ways supported the nation’s most powerful economic interests. But the laissez-faire myth still framed political debate. The

One reason people might prize socially constructed reinforcement over intrinsic reinforcement is sociocultural programming.

i used to classify my books in two categories: architecture books and other books. then i realized that my first category mostly dealt with architecture as an aestheticized formalism, whereas the second category posed cities, buildings and settings as integrated with life and human character. During the past thirty years, i have come to view all books as architecture books, because all human situations, histories, fictions, actions and thoughts are framed by human constructions and artifacts; our spatial, material and mental constructions provide essential horizons of understanding. i read poems, listen to music, look at paintings, and watch films as potential architectural propositions.18

He bogged down in traffic three blocks from the freeway. Yet another apartment building was being framed on a lot intended for a single-family home. A lumber truck was blocking the street as it crept off the site, and a food truck maneuvered to take its place. Locked in the standstill, Scott watched the framers perched in the wood skeleton like spiders, banging away with their nail guns and hammers. A few climbed down to the food truck, but most continued working. The banging ebbed and flowed around periods of silence; sometimes a single hammer, sometimes a dozen hammers at once, sometimes nail guns snapping so fast the construction site sounded like the Police Academy pistol range. Scott

The technique was something akin to brainwashing, and slowly it began to work. Natalie packed away her old identity and life and became Leila. She did not know her family name; her legend, as they called it, would be given to her last, after a proper foundation had been poured and a frame constructed. In word and deed, she became more pious, more outwardly Islamic. In the evenings, when she ran along the dusty farm roads, she covered her arms and legs. And whenever her instructors were talking about Palestine or Islam, she wore her hijab. She experimented with several different ways of securing it but settled on a simple two-pin method that showed no hair. She thought she looked pretty in the hijab, but didn’t like the way it focused attention on her nose and mouth.

My contention is that especially young, recently trained engineers are in a position to recognize and to react on a presumptive anomaly: They are trained within the technological frame but have low enough inclusion to question the basic assumptions of that frame.

Three situations were distinguished to characterize the developmental process of an artifact at some stage: no dominant technological frame, one technological frame, and several dominant technological frames. It is stressed that these situations should not be interpreted as forming a rigid scheme of phases through which an artifact successively has to pass. Rather, it is a heuristic device to simplify the description of the “seamless web” of history. In

The roosts themselves can be as simple as a branch suspended above the coop’s floor. A more practical roost is one constructed with 4-foot lengths of lumber (such as 2 x 4s) bolted together at a 45-degree angle. Parallel pieces of lumber are then run perpendicular to the 2 x 4s, spaced about 24 inches apart to form an A-frame shape.

Revelation has been within us since the origin of the World. Let us not, indeed, be mistaken: since the origin of the world, all possibilities and all future ideas have been in existence, as seeds of potential. It is, therefore, not to the future that it is necessary to look for revelation but the power of our memory. The poet of the enlightened land who conceived in very ancient times the symbol of the Earthly Paradise: God saying, after Adam had touched the Tree of Science, “He has become like one of us, knowing good and evil”—which is to say, the for and the against, the androgynous idea—“now we must make sure that he does not touch the Tree of Life and live forever”, thus condemning man to material labor; was several thousand years ahead, not only of his own time, but of ours. Humankind, as a whole, cannot follow the fulgurant course of an Idea; its progress is slower and “forward thinkers”—precursors—have to have the patience to wait until everyone else’s ideas have caught up with theirs: a patience often difficult for the thinker who, after being madly elevated, must return to his point of departure and, estranged by what he has seen, feels like a foreigner visiting his own world. The usefulness of precursors. Is it necessary to conclude that these forward thinkers, these bold recognitions, are useless? Quite the contrary, for it is in bringing superhuman heroes to life, imagining the reality of facts whose prototypes remain latent in the world of ideas, that poets and researchers construct the frame of the world. Their exceptional follies of today will become the banality of tomorrow, and the crowd will eventually hasten to take the presently-accessible steps which they are carving out in the clouds—and that crowd, in its blind course, will have been upraised without knowing it. Without changing position, the opposition of yesterday becomes the reaction of tomorrow, the exception becomes the law in its turn; only the Idea is immutable through its successive incarnations, its changes of material form: the relativities, in a word, that we call Life. It is for us to extract the substance from the shadow and seize the eternal element of things.

In order to construct a flawless imitation, the first step was to gather as much video data as possible with a web crawler. His ideal targets were fashionable Yoruba girls, with their brightly colored V-neck buba and iro that wrapped around their waists, hair bundled up in gele. Preferably, their videos were taken in their bedrooms with bright, stable lighting, their expressions vivid and exaggerated, so that AI could extract as many still-frame images as possible. The object data set was paired with another set of Amaka’s own face under different lighting, from multiple angles and with alternative expressions, automatically generated by his smartstream. Then, he uploaded both data sets to the cloud and got to work with a hyper-generative adversarial network. A few hours or days later, the result was a DeepMask model. By applying this “mask,” woven from algorithms, to videos, he could become the girl he had created from bits, and to the naked eye, his fake was indistinguishable from the real thing. If his Internet speed allowed, he could also swap faces in real time to spice up the fun. Of course, more fun meant more work. For real-time deception to work, he had to simultaneously translate English or Igbo into Yoruba, and use transVoice to imitate the voice of a Yoruba girl and a lip sync open-source toolkit to generate corresponding lip movement. If the person on the other end of the chat had paid for a high-quality anti-fake detector, however, the app might automatically detect anomalies in the video, marking them with red translucent square warnings

Attributes like “15-megapixel camera” or “all-metal construction” enable benefits for customers such as “sharper images” or “a stronger frame.” Articulating value takes the benefits one step further: putting benefits into the context of a goal the customer is trying to achieve. Value could be “photos that are sharp even when printed or zoomed in,” “a frame that saves you money on replacements,” “every level of the organization knows the status of key metrics” or “help is immediately available across every time zone.” Features enable benefits, which can be translated into value in unique customer terms.

In state discourse about poverty, notions about 'charity', and about those with more 'helping' those with less, have become increasingly salient. In tandem with this, a slew of new specialized agencies, programs and schemes, and personnel have been constructed to deal with'the needy'. This way of framing the problem of poverty isolates it - detaches the issues and challenges faced by a small minority of the population from those faced by everyone else. It dislodges the issue of poverty from the broader political economy in which it is produced. Importantly, it frames public intervention as 'charity', as 'help' - in other words, beyond public responsibility - and recipients as 'recipients' rather than as members of society with rights to certain basic levels of well-being and security.

Eyes wide, Jamie. Don’t give them an inch. Don’t even let them think they can take one. Not even for a second. That’s what her dad would have said. What he had said to her. A hundred times. He was no stranger to stepping into the wrong parts of the city. And he used to do it with the sort of attitude that scared most guys off. The kind of try it and see what happens, shit-bag stare that sent most people scampering.  She tried to carry that look. The look that conveyed that her crescent kick could crack a skull and they’d never see it coming. She didn’t know if she could pull it off as well as her dad. He was six-three with the frame of a Scandinavian bison, after all, and about as intimidating. She, on the other hand, had her mum’s frame. Though that did have its advantages. Mostly in part to the fact that if she did need to hit someone, they’d never expect it.  Roper pulled up short of the first tent and put his hands on his hips, looking around.  Narrow walkways wound around the little squats, making the thirty-by-sixty-foot space a veritable micro favela by all accounts. There must have been fifty different shelters made up in there — of all varying sizes, shapes, and constructions. ‘Jesus,’ Roper grumbled. ‘How the hell are we going to find Grace’s tent in all this?’ Jamie surveyed the exteriors. All the heads seemed to shrink back inside as they got close. ‘Reggie said that the tent was too nice to be here. So I guess we just look for the one that sticks out.’ He made a humming sound and pursed his lips, inhaling sharply. ‘Grace Melver,’ he called loudly, verging on yelling. ‘Grace Melver!’  Nothing stirred. ‘Smooth, Roper,’ Jamie mumbled, sidestepping to look around the battered old four-man in front of them. Behind it a blue tarp had been hung from the girders overhead with what looked to be electrical wire.

Colonization has changed everything about the way we live our lives. Our nations were made up of strong families that supported each other by intense extended affiliations and supportive networks of clans. Our people put a priority on knowledge and indigenous intelligence; there were always thinking and constantly assessing the possibilities of growth and adaptation to new realities. They possessed spiritual power and were guided in the conduct of their lives by their indigenous customs and religious beliefs. They were unified in their communities and interactions. This sense of unity was especially important to them because they understood the disunity degraded not only their existence as collectives but also their spiritual power as persons. Reciprocity and mutual obligation were the foundations of human interactions and of relationships with other elements of creation. This created the kind of solidarity that allowed them to withstand the challenges of survival in hard physical environments and against evil forces—that allowed them to survive intact as those nations. Most clearly different from the way we live our lives, our ancestors lived in a culture and society of warriors; there was social pressure for men to walk the warrior’s path, and women's roles were defined in accordance with their power and responsibility to maintain the culture and care for the families and to enable the men to defend the nation. … we cannot hold on to a concept of the warrior that is gendered in the way it once was and that is located in an obsolete view of men's and women's roles. The battles we are fighting are no longer primarily physical; thus, any idea of the indigenous warrior framed solely in masculine terms is outdated and must be rethought and recast from the solely masculine view of the old traditional ways to a new concept of the warrior that is freed from colonial gender constructions and articulated instead with reference to what really counts in our struggles: the qualities and the actions of a person, man or woman, in battle.

Memory is an expression of hindsight as much as recollection, so my rear view must incorporate the fact that I was eventually redeemed from a life of drugs, alcohol, and mania. In this construct, the moments when I stumbled across a life-changing epiphany are vividly preserved, while the more corrosive aspects are lost to a kind of self-preserving amnesia. To be fully cognizant of the wreckage of one’s past can be paralyzing, so we, or at least I, minimize as we go. Nowhere is that imperative more manifest than in memoir. Popular literature requires framing a sympathetic character, someone we can root for or who is, as they say on the studio lot, relatable.

Think of various ways to infuse your presence into your child’s room and bed area. Maybe you put a family photo next to your child’s sleep area and a photo of your child next to your bed as well. You can introduce this, during the daytime, by saying: “You know what I’ve been thinking about? Sometimes I have a hard time falling asleep and I think of you and miss you! I’d love to have a picture of you right next to my bed. Then I can see you and remind myself that you’re here and I’m safe, and that I’ll see you in the morning! I think it would be good for both of us to have pictures of each other. Maybe we can make picture frames and then put them by our beds.” I’d suggest making the frames together—nothing fancy, you can just decorate a piece of construction paper and glue the photo on top. This way your presence is infused into the room in your picture but also in your child’s memory of creating art with you, a memory that likely feels safe and connected, which

Creature comfort is not some bourgeois capitalist construct, but framing it as a moral virtue sure is. It's what the French call Nostalgie de la Boue: a fond yearning for the mud. Two things have to be in place to really appreciate this particular brand of gluttony posing as asceticism. First, you have to have endured years and years of plenty, the mud a long-distant, nearly forgotten memory. One must have decades of such surfeit under your belt that you have been fortunate enough to grow sick of it all... And second - and this is what really separates the men from the boys - in order to maintain a life free of clutter and suitable for a sacred space, you'll need another room to hide your shit.

Unlike external goods, the Stoics believed we could control the way our mind frames, or interprets, the events of our life. When something happens there is no single way to interpret it; there are too many stimuli, and too many alternative ways of looking at it. Whether we are aware of it or not, in a sense we construct the manner in which we present the happenings of the world to ourselves. The Stoics believed that we should take control of this fact and use it to our advantage. We must realize that when we suffer a loss or someone treats us poorly we are not required to react with sadness or anger, but instead can learn to reframe how we interpret such events thus minimizing the impact of negative emotions.

Surprisingly, being smart can actually make bias worse. Let me give you a different intuitive frame: the smarter you are, the better you are at constructing a narrative that supports your beliefs, rationalizing and framing the data to fit your argument or point of view.

The constructs of my reality were framed entirely upon the picture of pleasure. I had no concept of long-term wellbeing, delayed gratification, or working long and hard before receiving a reward. I was like an animal, rampaging against my caretakers, even as they tried to feed and nurture me.

Allowing for an indistinct line of demarcation, the difference, then, between normal and neurotic conflicts lies fundamentally in the fact that the disparity between the conflicting issues is much less great for the normal person than for the neurotic. The choices the former has to make are between two modes of action, either of which is feasible within the frame of a fairly integrated personality. Graphically speaking, the conflicting directions diverge only 90 degrees or less, as against the possible 180 degrees confronting the neurotic.

The need to satisfy this urge is so compelling that everything he does is oriented toward its fulfillment. In the process he develops certain qualities and attitudes that mold his character. Some of these could be called endearing: he becomes sensitive to the needs of others —within the frame of what he is able to understand emotionally. For example, though he is likely to be quite oblivious to a detached person's wish to be aloof, he will be alert to another's need for sympathy, help, approval, and so on. He tries automatically to live up to the expectations of others, or to what he believes to be their expectations, often to the extent of losing sight of his own feelings. He becomes "unselfish," self-sacrificing, undemanding—except for his unbounded desire for affection. He becomes compliant, overconsiderate— within the limits possible for him—overappreciative, overgrateful, generous. He blinds himself to the fact that in his heart of hearts he does not care much for others and tends to regard them as hypocritical and self-seeking. But—if I may use conscious terms for what goes on unconsciously—he persuades himself that he likes everyone, that they are all "nice" and trustworthy, a fallacy which not only makes for heartbreaking disappointments but adds to his general insecurity.

Like all concepts, mental illness is a construct—a particular frame we have developed to understand a phenomenon and explain what we observe. It may be valid in some respects and erroneous in others; it most definitely isn’t objective.

That thrust was now being expressed in new forms, based on steel-frame construction, which allowed newspaper offices and insurance buildings to rise above the towering spire of Trinity Church; and Martin imagined great structures hundreds of stories high, each a city in itself, rising across the land.

The department store and the hotel were little cities within the city, but they were also experimental cities, cities in advance of the city, for they represented in different forms the thrust toward vertical community that seemed to Martin the great fact of the modern city. That thrust was now being expressed in new forms, based on steel-frame construction, which allowed newspaper offices and insurance buildings to rise above the towering spire of Trinity Church; and Martin imagined great structures hundreds of stories high, each a city in itself, rising across the land.

Young people need looking after,” she said. “Think of that beautiful boy Galois. People felt there was something secret in his character. They were right. The secret was mathematics. His father a suicide. His own death a horrible farce. Dawn in the fields. Caped and whiskered seconds. Sinister marksman poised to fire.” I need all my courage to die at twenty. “Then there was Abel, not much older, desperately poor, Abel in delirium, hemorrhaging. So often mathematical experience consists of time segments too massive to be contained in the usual frame. Lives overstated. Themes pursued to extreme points. Adventure, romance and tragedy.” I will fight for my life. “Look at Pascal, who rid himself of physical pain by dwelling on mathematics. He was just a bit older than you when he constructed his mystic hexagram. The loveliest aspect of the mystic hexagram is that it is mystic. That’s what’s so lovely about it. It’s able to become its own shadow.” Keep believing it. “The tricky thing about mathematical genius,” she said, “is that its sources are so often buried. Galois for one. Ramanujan for another. No indication anywhere in their backgrounds that these boys would one day display such natural powers. Figures jumping out of sequence. Or completely misplaced.” (...) “Numbers have supernatural harmonies, according to Hermite. They exist beyond human thought. Divine order through number. Number as absolute reality. Someone said of Hermite: ‘The most abstract entities are for him like living creatures.’ That’s what someone said.” “People invented numbers,” he said. “You don’t have numbers without people.” “Good, let’s argue.” “I don’t want to argue.” “Secret lives,” she said. “Dedekind listed as dead twelve years before the fact. Poncelet scratching calculations on the walls of his cell. Lobachevski mopping the floors of an old museum. Sophie Germain using a man’s name. Do I have the order right? Sometimes I get it mixed up or completely backwards. (...) “Tell me about your mathematical dreams.” “Never had one.” “Cardano did, born half dead, his inner life a neon web of treachery and magic. Gambler, astrologer, heretic, court physician. Schemed his way through the algebra wars.” “Can I see the baby?” “Ramanujan had algebraic dreams. Wrote down the results after getting out of bed. Vast intuitive powers but poor education. Taken to Cambridge like a jungle boy. Sonja Kowalewski wasn’t allowed to attend university lectures. We both know why. When her husband died she spent days and days without food, coming out of her room only after she’d restored herself by working on her mathematics. Tell me, was it Kronecker who thought mathematics similar to poetry? I know Hamilton and many others tried their hands at verse. Our superduper Sonja preferred the novel.

The new internal world is a world dominated by the body frame, by the location and state of the sensory portals within that frame, and by the voluntary musculature. The sensory portals sit and wait within the body frame and contribute importantly to the information generated by the maps of the outside world. They clearly indicate to the organism’s mind the locations, within the organism, of the sources of images currently being generated. This is necessary for the construction of an overall organism image, which, as we shall see, is a critical step in the generation of subjectivity.

In the frame of the human, maybe too human, order of the world, which the New Age Enlightenment set as the horizon of the future, there is no more space for any superhuman justification, nor for any superhuman construction of the human existence. The enlightened man freed himself of every divine tutelage, he radically diverged from every mythic restriction. Moreover, he finally understood his finality, learned to view his finality not as a blemish, but as that of which he can be proud.

Ah, that would be interesting to know. I should like to take a trip backwards in time and see this house under process of construction. It would be worth seeing. Those old johnnies knew how to build. The fabric is as sound as a bell—I was wrong when I called it a ruin. It has lasted about four hundred years and it’ll still be standing when all the houses they’re putting up now will have fallen as flat as pancakes.” He sighed and added, “It’s absolutely criminal for people to allow their property to deteriorate like this. Look at those window-frames, all rotting for want of a lick of paint!

By framing the special theory of relativity as a four-dimensional theory set in spacetime, Minkowski showed how time dilation and length contraction could be constructed as rotations that transform space into time.

Metaphors construct, or frame, views of ‘reality’, which can be used in policy-making or planning. They highlight structural characteristics of the world. It is dangerous if those who frame metaphors believe there is only one reality. But if metaphors are recognised as creative constructs, they can have immense value.

The ceremony consisted of vibrant pink, purple, and coral details that complemented the rustic wood and lush green vines climbing up the chapel. Abigail's team constructed an arbor made entirely of drooping orchids and palm fronds that framed the wooden doors perfectly. The aisle was lined with thousands of coral-colored rose petals and more orchids spilling over the end of every row of seats. It was a tropical dream.

In 2004, retired Brigadier General Shimon Naveh of the Israeli Defense Force (IDF) offered an extended idea on intuitive decision making to the US Army and US Marine Corps. His approach, which he called systemic operational design, appeared uniquely useful to planning campaigns and major operations.[xix] Based on an understanding of the chaotic nature of war, systemic operational design focuses on discerning the logic that makes a situation a problem. Through discourse a group that has expertise on some aspect of the situation structures or frames the problem, which frequently causes a counter-logic or solution to emerge naturally. In intuitive decision making a person aware of a familiar pattern enables construction of a story that makes sense; in systemic operational design a pattern materializes during discourse and facilitates a sense-making story. Failing to find the logic that makes a situation unacceptable and in need of change means planners are not able to discern a counter-logic, the conceptual element essential to begin planning. Naveh’s explanation of systemic operational design was for many officers difficult to grasp despite the simplicity of his idea. Much of this difficulty was due to language issues and US officers’ poor understanding of the nonlinear nature of war.[xx] Fortunately, researchers learned of an important paper during the Army-Marine Corps experiments evaluating systemic operational design, which US officers found easier to comprehend.[xxi] Close study of the systemic approach to operational design, coupled with a series of carefully constructed and capably executed wargames conducted over five years, validated systemic operational design. The final product, though, was a modified version of Naveh’s original structure and form. The US Army, which led the evaluation, provided the results to service and joint doctrine writers with the expectation they would revise planning manuals and incorporate this new approach to operational design. Universally, this failed to happen. In every case, doctrine writers merely affixed the new approach to the front end of the standard analytical military decision making process, which stresses creating and testing multiple courses of action. To illustrate the illogic of this, recall that systemic operational design is to uncover the logic or “pattern” of the situation and offer a story—the counter-logic—that will resolve the problem. In other words, the planners employ the approach to create a story that makes sense. What the standard analytical process demands is the creation of additional stories in the form of other courses of action. Why would any commander or staff want to waste time developing alternative stories when they have one they believe will work? [xix] After the 2006 Israeli war with Hezbollah, several critics blamed use of systemic design for the failings the IDF experienced. I have reviewed these reports and found that the critics misconstrued systemic operational design and effects based operations, seeing them as the same thing. They are polar-opposite ways of making decisions. [xx] The term nonlinear here does not refer to the geometric connotation inherent in the “nonlinear battlefield,” but to the disproportion between cause and effect often found in open systems. [xxi] Horst W. J. Rittel, and Melvin M. Webber, “Dilemmas in a General Theory of Planning,” Policy Science, 1973, 155-169. (Excerpt from article “From Grand Strategy to Operational Design: Getting it Right”)

Tools” are the weapons of war, and the industrial and logistical means by which those weapons are constructed. [He swivels in his chair, motioning to a picture above his desk. I lean closer and see that it’s not a picture but a framed label.] Ingredients: molasses from the United States anise from Spain licorice from France vanilla (bourbon) from Madagascar cinnamon from Sri Lanka cloves from Indonesia wintergreen from China pimento berry oil from Jamaica balsam oil from Peru And that’s just for a bottle of peacetime root beer. We’re not even talking about something like a desktop PC, or a nuclear-powered aircraft carrier.

In the field of decision analysis, the utility or value that a person assigns to a particular outcome is termed his "preference." Researchers have found that patients often construct their preferences on the spot when the doctor gives a diagnosis and recommends a treatment. Such patients are something of a "blank slate" upon which the doctor can "write" his or her own preference. In this setting, the patient is especially susceptible to how the physician frames the pros and cons both the treatment. (p57)

The second shortcoming was the uncertain durability of the old building’s structural frame on which the new structure of Shelter leaned. These supports had been weakened by the explosion and fire. It was not possible to measure their strength or durability. In the case of a strong earthquake, which happens in this area once every one hundred to two hundred years, nobody could guarantee it would not collapse. Therefore, in 1989, S. T. Belyaev—also of the Kurchatov Institute—and I created a concept to transform Shelter to make it completely, ecologically safe. The main point of our concept: construct another tight cover (New Safe Confinement) over the existing Shelter, which would last many decades and protect the external environment from radioactive emissions. At the same time, it would protect Shelter from any external influences—an earthquake, a tornado, etc. This cover would allow the development of further technologies, which might make it safe to take, and then to bury, radioactive materials and nuclear fuel.

If the universe is all there is—a statement I presume you agree with—then this “all” must include space. But if so, how then can the universe expand if there is no space outside it for it to expand into? Expansion or contraction can only be seen from, and measured against, some frame of reference that is “stationary” in relation to the object it is measuring. But if the universe is all there is, then no such outside frame of reference could exist, consequently the cosmos cannot be determined to be expanding. The redshift is usually interpreted as indicating that the galaxies are flying apart from each other—but flying apart into what? Into something beyond the boundaries of the universe? Into something beyond all that is? This is one of the many insoluble paradoxes that modern physics seems careful to avoid, but is nonetheless always posing. When we speak of the “size” or “expansion” or “age” of the universe, we always imagine it as existing as an object WITHIN our familiar dimensions of space and time. But it does not exist within space and time—it IS space and time. If the universe comprises all the space there is, then it cannot expand INTO space; if it comprises all the time there is, then it cannot have begun IN time, because there could have been no time “before” it existed for it to begin in. In other words, if the universe is all there is, it cannot be viewed and measured as if it were a discrete object. And if you answer that it can be so viewed by virtue of “thought experiments” constructed by human beings, then you are positing the human intellect as something that transcends the universe, just as God is said to do. Meister Eckhart would certainly agree.

I took a photograph out of an old frame to put in a picture of my new husband and stepdaughter. Because the frame was constructed in an amazingly solid way, I thought about the man whose photo I was displacing; his assumptions about permanence; how we use frames to try to capture and hang onto moments, memories, families, selves that are in fact always in flux; how we frame our cities with roads, our shorelines with resorts, our dead with coffins — marking our territory, claiming possession

Few buildings evoke the sinister horror of 1950s municipal architecture more strikingly than the flat roof pub. Thrown up in their thousands wherever the working class were being rehoused, it’s hard to imagine that the architects were not secret teetotallers looking to make the whole pub experience as grim as possible. How else do you explain the cheap portal frame construction, the equally cheap uninsulated concrete slabs, and the flat roof with just enough parapet to ensure that damaging puddles formed with the lightest drizzle.

We don’t apprehend the world, but rather we construct it with our senses, our memories, and our ways of framing experience.

At last I came upon the hedge maze. Far from the warm circles of light cast by torch and lamp, the leaves and twigs here were wedged in a silver lacework of starlight and shadow. The entrance was framed by two large trees, their branches still bare of any new growth. In the darkness, they seemed less like garden posts marking the way into the labyrinth than two silent sentinels guarding the doorway to the underworld. Shapes writhed in the shadows beyond the archway of bramble and vine, both inviting and intimidating. Yet I was not frightened. The hedge maze smelled like the forest outside the inn, a deep green scent of growth and decay, where life and death were intermingled. A familiar scent. A welcoming scent. The scent of home. Removing my mask, I crossed the threshold, letting darkness swallow me whole. There were no torches or candles lit upon the paths, and neither moonlight nor starlight penetrated the dense bramble. Yet my footing along these paths was sure, every part of me attuned to the wildness around me. Unlike the maze of Schönbrunn Palace, a meticulously manicured and man-made construction, this labyrinth breathed. Nature creeped in along the edges, reclaiming groomed, orderly, and civilized corridors into a twisting tangle of tunnels and tracks, weeds and wildflowers. Paths grew vague, roots unruly, branches untamed. Somewhere deep in the labyrinth, I could hear the giggles and gasps of illicit encounters in the shrubbery. I was careful of my step, lest I trip over a pair of trysting lovers, but when I came upon no one else, I let myself fall into a meditative state of mind. I wandered the recursive spirals of the hedge maze, turn after turn after turn, feeling a measure of calm for the first time in a long time.

away from accessible consciousness, and that is possibly where and when the self matures, thanks to the gradual sedimentation and reworking of one’s memory. As lived experiences are reconstructed and replayed, whether in conscious reflection or in nonconscious processing, their substance is reassessed and inevitably rearranged, modified minimally or very much in terms of their factual composition and emotional accompaniment. Entities and events acquire new emotional weights during this process. Some frames of the recollection are dropped on the mind’s cutting-room floor, others are restored and enhanced, and others still are so deftly combined either by our wants or by the vagaries of chance that they create new scenes that were never shot. That is how, as years pass, our own history is subtly rewritten. That is why facts can acquire a new significance and why the music of memory plays differently today than it did last year.

personal equation. Thorndyke's brain was not an ordinary brain. Facts of which his mind instantly perceived the relation remained to other people unconnected and without meaning. His powers of observation and rapid inference were almost incredible, as I had noticed again and again, and always with undiminished wonder. He seemed to take in everything at a single glance and in an instant to appreciate the meaning of everything that he had seen. Here was a case in point. I had myself seen all that he had seen, and, indeed, much more; for I had looked on the very people and witnessed their actions, whereas he had never set eyes on any of them. I had examined the little handful of rubbish that he had gathered up so carefully, and would have flung it back under the grate without a qualm. Not a glimmer of light had I perceived in the cloud of mystery, nor even a hint of the direction in which to seek enlightenment. And yet Thorndyke had, in some incomprehensible manner, contrived to piece together facts that I had probably not even observed, and that so completely that he had already, in these few days, narrowed down the field of inquiry to quite a small area. From these reflections I returned to the objects on the table. The spectacles, as things of which I had some expert knowledge, were not so profound a mystery to me. A pair of spectacles might easily afford good evidence for identification; that I perceived clearly enough. Not a ready-made pair, picked up casually at a shop, but a pair constructed by a skilled optician to remedy a particular defect of vision and to fit a particular face. And such were the spectacles before me. The build of the frames was peculiar; the existence of a cylindrical lens—which I could easily make out from the remaining fragments—showed that one glass had been cut to a prescribed shape and almost certainly ground to a particular formula, and also that the distance between centres must have

II. SYNTOPICAL READING OF THE BIBLIOGRAPHY AMASSED IN STAGE I 1. Inspect the books already identified as relevant to your subject in Stage I in order to find the most relevant passages. 2. Bring the authors to terms by constructing a neutral terminology of the subject that all, or the great majority, of the authors can be interpreted as employing, whether they actually employ the words or not. 3. Establish a set of neutral propositions for all of the authors by framing a set of questions to which all or most of the authors can be interpreted as giving answers, whether they actually treat the questions explicitly or not. 4. Define the issues, both major and minor ones, by ranging the opposing answers of authors to the various questions on one side of an issue or another. You should remember that an issue does not always exist explicitly between or among authors, but that it sometimes has to be constructed by interpretation of the authors’ views on matters that may not have been their primary concern. 5. Analyze the discussion by ordering the questions and issues in such a way as to throw maximum light on the subject. More general issues should precede less general ones, and relations among issues should be clearly indicated.

What she was looking for was a way to shape the story so that it unfolded now, in a pattern that the viewer could follow. The best frames engaged the viewer by presenting the story as conflict between good and bad, a morality story. Because the audience got that. If you framed a story that way, you got instant acceptance. You were speaking their language. But because the story also had to unfold quickly, this morality tale had to hang from a series of hooks that did not need to be explained. Things the audience already knew to be true. They already knew big corporations were corrupt, their leaders greedy sexist pigs. You didn't have to prove that; you just had to mention it. They already knew that government bureaucracies were inept and lazy. You didn't have to prove that, either. And they already knew that products were cynically manufactured with no concern for consumer safety. From such agreed-upon elements, she must construct her morality story. A fast-moving morality story, happening now.

Predominately white neighborhoods are not outside of race—they are teeming with race. Every moment we spend in those environments reinforces powerful aspects of the white racial frame, including a limited worldview, a reliance on deeply problematic depictions of people of color, comfort in segregation with no sense that there might be value in knowing people of color, and internalized superiority. In turn, our capacity to engage constructively across racial lines becomes profoundly limited.

With a reputation for refined construction and a foundation in carpentry excellence, Curry Carter delivers homes across Colorado that balance energy-smart design with custom elegance. Born in Atlanta, Curry now builds for homeowners who expect precision framing, quiet luxury, and a collaborative experience. Each project is personally overseen to ensure it reflects the values of grace, integrity, and elite attention to detail.

Those who have made architectural beauty their life's work know only too well how futile their efforts can prove. After an exhaustive study of the buildings of Venice, in a moment of depressive lucidity, John Ruskin acknowledged that few Venetians in fact seemed elevated by their city, perhaps the most beautiful urban tapestry in the world. Endowed with a power that is often as unreliable as it is inexpressible, architecture will always compere poorly with utilitarian demands for humanity's resources. How hard is it to make a case for the cost of tearing down and rebuilding a mean but serviceable street. How awkward to have to defend, in the face of more tangible needs, the benefits of re-aligning a crooked lamppost or replacing an ill-matched window frame. Beautiful architecture has none of the unambiguous advantages of a vaccine or a bowl of rice. In construction will hence never be raised to a dominant political priority, for even if the whole man-made world could, through relentless effort and sacrifice, be modeled to rival St Mark's square ...[ ..] , we would still often be in a bad mood.

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This list gives a sense of the timing and pace of innovation in the UK: 1712: Steam engine invented. 1719: Silk factory established. 1733: Flying shuttle (basic weaving machine) invented. 1764: Spinning jenny (multi-spindle weaving machine) invented. 1765: Separate condenser (for steam engines) invented. 1769: Water frame (hydraulic power for weaving machines) invented; steam engine upgraded. 1785: Power loom invented; iron refining developed. 1801: Steam-powered locomotive on wheels invented. 1816: Steam-powered locomotive on rail patented. 1825: Railway construction initiated on a line connecting Manchester and Liverpool.

When we think of decks, it is safe to say that most of us picture something with steps and railings. But that is just one of many different deck styles. Another type, known as a picture frame deck, is a bit simpler to construct. A picture frame deck is named that way due to the frame around the infill deck boards. It gives the deck a nice, finished look all the way around.

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Eliza flips open Weird Tales March 1999, Hey I just had a fun lil spark of inspiration. I know you're busy this summer but I was wondering if maybe at the end of summer you would be interested in doing an afterward for my new book Satanic Panic & the Very Special Episodes. The book is a materialist counterfeit reality. The book was inspired by my 400th viewing of one of my all time favorite movie The Truman Show and I was thinking about the psychological implications of that flick, about how even after Jim Carrey's escape from the dome would he ever truly be able to trust his surroundings. I don't think so. I'm also reading some classic madness-caused-by-society texts like Anti-Oedipus and Foucault's Madness and Civilization. And I'm also reading about all of the classic kinds of schizo delusional thinking like delusions of reference, fregoli syndrome (in my opinion the scariest of all delusions), stuff like that. The book is a meta tavern confession. These two guys are sitting in a super shabby tavern and they've both basically forgotten how they got into this shabby tavern and they both kind of convince themselves and each other that they're on a set that's meant to look like a shabby tavern. The shabby construction they believe exists to give them a hint that they exist in a counterfeit reality. There are some fun neoplasms in the book like omniscinditus. One of the characters invents that word and says the word means "special secret purpose or message hidden inside common objects and concepts." The two characters basically convince themselves that everything has omniscinditus. And as I've been writing this book my mind has wandered back to mediation technology because my mind always wanders back to mediation technology. For the afterword I was wondering if I could give you a prompt for an essay that I want to be both a thing that informs Satanic Panic and the afterword. I need an expert. My prompt is, if you are down (and if you are not down I totally understand and will not be offended), about mediation technology in the hands of hypercapitalists and the algorithm as a delusion machine. I don't know what the prompt question(s) would be here. It's not necessarily a question about truth or falsity. Or maybe it's not quite a question of is this a possibility? Maybe the question(s) are about a composite of the old world and our new mediation tech as a behaviorism machine that tricks us into loving the machine. And maybe the question has something to do with the Descartes demon and tech and the old saying about how everyone throughout history has thought-demons lived in tech, but what if mediated tech became so advanced a "demon" could be invented. My thoughts always return to "well if a corporation or government or intelligence agency (some overflowing with incompetence and other silliness) can send people to a south american country or a middle eastern country or elsewhere and those people can, part of the time, successfully rally citizens and do a coup, why couldn't a technology successfully psychologically manipulate on a mass level as well? Is that what we are saying? That peepers in foreign lands can be easily tricked into coups and stuff like that? Are we talking about mind control and the Air Loom? If so, why is it when we speak of mass mind control happening in the US, scoffs happen? And why wouldn't money-powers go out of their way to create a delusion machine? Is having your masses ebb and flow between slight delusion to full to peace and tranquility and back to delusion beneficial to the money-powers and capitalism? I feel like the arrival of anxiety meeting the hope of tranquility and having that move back and forth over and over must be beneficial. And even if a psychological manipulation technology that advanced is far off, does that mean that powers-that-be are not working on making that a reality? In the book, I'm attempting to frame all of this in a materialist way without any mediation technology…

The Philosophy of Space: How Intentional Design Shapes Our Inner Lives We spend our lives navigating spaces—offices, homes, cafes, and walkways. These environments, often seen merely as backdrops to our existence, are in fact active participants in our narrative. The truth is, the architecture, arrangement, light, and color of our surroundings are not passive; they are constantly communicating with us, subtly dictating our moods, fueling our productivity, and framing our most intimate thoughts. Understanding this profound relationship between our physical environment and our inner life is the foundation of intentional design. The philosophy of space recognizes that a poorly designed room isn't just an aesthetic failing; it can be an emotional drain and a barrier to achieving our goals. Conversely, a space crafted with mindfulness becomes a powerful tool—a silent partner that supports and inspires. The Subtle Psychology of the Built World The field of environmental psychology has long explored how our surroundings impact cognitive function and well-being. Clutter, for instance, is not just a visual nuisance; studies show it can directly increase stress hormone (cortisol) levels, distract the working memory, and reduce our ability to focus. Conversely, a minimalist, organized space promotes calm and clarity, providing an external representation of the mental order we seek. Consider the role of light and color: Light: Natural light is critical, regulating our circadian rhythms and boosting vitamin D production. Spaces lacking adequate daylight often contribute to lethargy and mood disorders. Even artificial light sources—from warm, amber tones that promote relaxation to crisp, cool lights that enhance concentration—can be intentionally deployed to support specific activities. Color: The emotional resonance of color is undeniable. Blues and greens are often used in bedrooms and offices to inspire tranquility and focus, while vibrant reds and yellows can stimulate appetite and energy, making them staples in kitchens or social areas. Intentional design leverages this psychological palette to engineer desired emotional states. Bridging the Gap: From Concept to Concrete Reality The process of intentional design begins with a vision—the ideal workspace for innovation, or the perfect sanctuary for rest. However, this is where the philosophical challenge meets the logistical reality. Translating a conceptual dream into a concrete, functional structure is a monumental task fraught with complexity. A beautifully rendered 3D model is just the blueprint. The actual execution—the fit-out—involves dozens of critical, intertwined stages: managing multi-disciplinary teams (plumbers, electricians, carpenters), ensuring materials procurement aligns with specifications, adhering to tight timelines, and navigating the inevitable challenges and variations that arise during construction. This execution phase requires a synthesis of design sensibility and rigorous, boots-on-the-ground project management. For businesses and individuals seeking to bridge this complex gap and manage the entire interior lifecycle with confidence, connecting with a full ecosystem of vetted professionals is essential. Platforms exist that are dedicated to streamlining the entire fit-out process, from securing reliable quotes to managing project turnover. For example, systems like Super Fitout are specifically designed to bring structure and transparency to this critical phase, ensuring that the integrity of the original design vision is maintained through expert execution. The Power of Deliberate Creation Intentional design is the act of being an author, not just an occupant, of our surrounding

Wood frame construction is the predominant method of building homes and apartments in the United States, enabling this nation to have the world’s best housed population. Increasingly, wood framing is also being used in commercial and industrial buildings. Wood frame buildings are economical to build, heat and cool, and

Riding the Highway of Development: The Agra Etawah Toll Road Project India’s roads are not just pathways — they are lifelines of growth, connection, and progress. Among the many highways shaping India’s modern infrastructure, the Agra Etawah Toll Road Project stands out as one of the most impressive. Built by Modern Road Makers, this six-lane highway is a perfect blend of strong engineering and traveller-friendly design. It connects Agra, the city of heritage, with Etawah, a town surrounded by nature and wildlife. #agraetawahtollroadproject #modernroadmakers A Bridge Between Past and Future The Agra Etawah Toll Road Project stretches for 124.52 kilometers and forms an important section of National Highway 19 (NH-19). It’s not just a road — it’s a connector between history and modernity. Agra, known worldwide for the Taj Mahal, represents India’s glorious past, while Etawah stands as a symbol of natural beauty and rural life. This road connects them both — giving tourists, traders, and locals an easy and efficient route. The project passes through key locations such as Firozabad, Shikohabad, and Jaswant Nagar, linking not just cities but communities. #modernroadmakers Built for Safety, Comfort, and Speed Developed by Modern Road Makers, this highway reflects top-notch construction quality and advanced road design. Every feature has been created to ensure smoother and safer travel for everyone. Key highlights of the Agra Etawah Toll Road Project include: Six-lane main carriageway with strong pavement structure. Service roads to manage local traffic efficiently. Modern toll plazas using FASTag for cashless payments. Bridges, underpasses, and flyovers to avoid congestion. Drainage systems and noise barriers for better comfort. Proper signage, road markings, and lighting to ensure safety during night travel. This isn’t just a highway — it’s a modern infrastructure model built with care and precision. #agraetawahtollroadproject The Traveller’s Perspective As a frequent traveller, I recently took a drive from Agra to Etawah, and it was nothing short of delightful. The moment I entered the toll stretch, the difference was clear — smooth surface, organized lanes, and minimal bumps. The scenic beauty adds charm to the drive. The green fields, small villages, and local stalls make it a journey worth remembering. If you love photography, you’ll find countless frames to capture — from sunlit fields to peaceful sunsets. There are several rest points, dhabas, and fuel stations along the way, making it easy to plan short breaks. The food at the roadside eateries gives a real taste of Uttar Pradesh — spicy, flavorful, and made with love. #modernroadmakers Why This Road Matters The Agra Etawah Toll Road Project isn’t just about convenience; it’s a road that powers growth. Here’s why it matters: Cuts travel time: What once took 3-4 hours can now be covered in nearly 1.5 to 2 hours. Promotes tourism: Easier travel between the Taj Mahal and Etawah Lion Safari attracts more visitors. Boosts local economy: Quicker transport of goods helps small traders and farmers. Reduces congestion: With multiple lanes and bypasses, traffic moves efficiently. Enhances road safety: Modern features lower the risk of accidents. The consistent maintenance by Modern Road Makers ensures that the road stays in excellent condition throughout the year. Tips for Travellers Keep your FASTag active for smooth toll payments. Start early in the day to enjoy peaceful travel and scenic views. Carry basic essentials like water, snacks, and a power bank. Take short breaks at Firozabad or Shikohabad for food and rest. Follow traffic rules — speed cameras are active on this stretch. #agraetawahtollroadproject

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Conclusion: Vonnegut’s Shape of Stories To understand the narrative logic of modern journalism, it is useful to return briefly to Hristo Smirnenski and his metaphor of the ladder. Smirnenski was a Bulgarian poet and satirist of the early twentieth century, whose work focused on social inequality, urban poverty, and the moral contradictions of modern life. His ladder is not a symbol of progress in the optimistic sense. It is a fragile, ironic structure that connects different social levels while exposing the illusions of ascent. Those who climb it gain visibility and voice, but often at the cost of solidarity, clarity, or truth. The ladder reveals that social mobility is also a narrative construction: who is allowed to speak, who is seen, and whose story is elevated. Journalism operates through a similar vertical mechanism. It raises certain events, voices, and conflicts onto the public stage, while leaving others below the threshold of visibility. This act of elevation is never neutral. It already implies a story about importance, urgency, and relevance. Smirnenski’s ladder reminds us that every act of “giving voice” is also an act of framing, and that climbing the media ladder can distort as much as it reveals. If Smirnenski shows how social reality is vertically arranged, Shakespeare’s Hamlet shows how truth itself becomes theatrical. Hamlet understands that power does not reveal itself directly; it performs. His decision to stage a play in order to expose the crime is a recognition that reality often becomes visible only through dramatization. Journalism inherits this paradox. It does not simply uncover facts; it arranges scenes in which contradictions can be perceived. Timing, sequencing, and emphasis become as important as evidence. Kurt Vonnegut completes this picture by offering a simple but powerful insight: stories move in shapes. His diagrams of rise and fall, loss and recovery, explain why audiences recognise meaning not in isolated facts, but in emotional trajectories. Journalism increasingly relies on these shapes to organise attention. Crises, scandals, and reforms are framed as arcs rather than processes. Events are expected to curve, to escalate, to resolve. What does not bend into a recognisable shape struggles to survive in the media flow. Taken together, Smirnenski, Hamlet, and Vonnegut describe three dimensions of contemporary journalism. Smirnenski reveals its vertical logic, Hamlet its performative awareness, and Vonnegut its emotional geometry. In the age of media scenarios, journalism no longer simply reports reality; it stages it, elevates it, and shapes it into trajectories that can be followed. The ethical challenge is not to abandon narrative, but to resist false ascents, forced dramas, and premature resolutions. Journalism retains its public function only when it recognises the ladders it builds, the stages it constructs, and the curves it imposes on reality.

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