Contemporary Design Quotes

You could have fucked me ’til your uncut, overexposed on the blogs, ‘too ginormous for my snatch’ pecker fell off. And I’d still no way never ever in a thousand years sell, loan, sample you my Easton. And to answer your question, I run my company with my pussy, and twenty-four other pussy-sporting employees. Easton girls do not allow dickheads or cocks in our fashion world. Period.

I’d skipped the crush kiddie pool and jumped right into the deep, shark-infested ocean of emotions. And, if you’ll forgive the dramatic metaphor, I was a lousy swimmer.

It's funny how after all those years attending youth events with light shows and bands, after all the contemporary Christian music and contemporary Christian books, after all the updated technology and dynamic speakers and missional enterprises and relevant marketing strategies designed to make Christianity cool, all I wanted from the church when I was ready to give it up was a quiet sanctuary and some candles. All I wanted was a safe place to be. Like so many, I was in search of sanctuary.

I am not averse to generalizing the notion of "modern" to designate a certain way of life, rather than making it purely a synonym of 'contemporary'. There are moments and places in history to which 'we moderns' could return without too greatly disturbing the harmony of those times, without seeming objects infinitely curious and conspicuous... creatures shocking, dissonant, and unassailable.

If it's true there's a beginning to the universe, as modern cosmologists now agree, then this implies a cause that transcends the universe. If the laws of physics are fine-tuned to permit life, as contemporary physicists are discovering, then perhaps there's a designer who fine-tuned them. If there's information in the cell, as molecular biology shows, then this suggests intelligent design. To get life going in the first place would have required biological information; the implications point beyond the material realm to a prior intelligent cause. -Stephen C Meyer, PHD

Secularism in the Christian world was an attempt to resolve the long and destructive struggle of church and state. Separation, adopted in the American and French Revolutions and elsewhere after that, was designed to prevent two things: the use of religion by the state to reinforce and extend its authority; and the use of the state power by the clergy to impose their doctrines and rules on others. This is a problem long seen as purely Christian, not relevant to Muslims or for that matter to Jews, for whom a similar problem has arisen in Israel. Looking at the contemporary Middle East, both Muslim and Jewish, one must ask whether this is still true -- or whether Muslims and Jews may perhaps have caught a Christian disease and might therefore consider a Christian remedy.

Everything a man experiences, every social conditioning he receives from the earliest age, every accepted social norm and every expectation of him to qualify as the definition of a mature adult Man in contemporary society is designed to serve a female imperative.

We live in a world of media overload and data smog, where everything distracts us from everything else. Yet underlying this noisy assault, our culture offers us nothing transcendent. No deeper meaning, no abiding hope. In my crisis, every facet of the contemporary world seemed part of a diabolical mechanism carefully designed to keep people from wondering about the real purpose of their endless frantic activity.

While photographs certainly attest to Nazi crimes, the magnitude of Nazi genocide demands that every trace of the regime be forever remembered. The various symbols devised by the Nazi image-makers for the most sophisticated visual identity of any nation are a vivid reminder of the systematic torture and murder engaged in by this totalitarian state. These pictures, signs, and emblems are not merely clip art for contemporary designers to toy with as they please, but evidence of crimes against humanity.

But what if our contemporary society is not actually built for us, for humans as God designed us? If that is the case, then sometimes anxiety and depression will be rational and moral responses to a fundamentally disordered environment.

Game-free intimacy is or should be the most perfect form of human living. Because there is so little opportunity for intimacy in daily life, and because some forms of intimacy (especially if intense) are psychologically impossible for most people, the bulk of time in serious social life is taken up with playing games. Hence games are both necessary and desirable, and the only problem at issue is whether the games played by an individual offer the best yield for him. In this connexion it should be remembered that the essential feature of a game is its culmination, or payoff. The principal function of the preliminary moves is to set up the situation for this payoff, but they are always designed to harvest the maximum permissible satisfaction at each step as a secondary product. Games are passed on from generation to generation. The favoured game of any individual can be traced back to his parents and grandparents, and forward to his children. Raising children is primarily a matter of teaching them what games to play. Different cultures and different social classes favour different types of games. Many games are played most intensely by disturbed people, generally speaking, the more disturbed they are, the harder they play. The attainment of autonomy is manifested by the release or recovery of three capacities: awareness, spontaneity and intimacy. Parents, deliberately or unaware, teach their children from birth how to behave, think and perceive. Liberation from these influences is no easy matter, since they are deeply ingrained. First, the weight of a whole tribal or family historical tradition has to be lifted. The same must be done with the demands of contemporary society at large, and finally advantages derived from one's immediate social circle have to be partly or wholly sacrificed. Following this, the individual must attain personal and social control, so that all the classes of behaviour become free choices subject only to his will. He is then ready for game-free relationships.

many of the most important institutions of contemporary life are designed for those who enjoy group projects and high levels of stimulation.

Yoga practice, both on and off the mat, opens up the heart by revealing our patterns of grasping and inflexibility. This practice leaves no stone unturned. Through a disciplined and appropriately designed yoga practice, we not only see clearly our conditioned ways of living but we learn how to let go of those patterns so that our questions radically outnumber our answers. When we are open, and our habitual psychological and physical ways of being are suspended, we arrive in the present moments of life free to respond with an open and creative heart.

All Renaissance drama, especially the works of Marlowe and Shakespeare, is profoundly concerned with shifting power relations within society. The individual was a new force in relation to the state. The threat of rebellion, of the overturning of established order, was forcefully brought home to the Elizabethan public by the revolt of the Earl of Essex, once the Queen's favourite. The contemporary debate questioned the relationship between individual life, the power and authority of the state, and the establishing of moral absolutes. Where mediaeval drama was largely used as a means of showing God's designs, drama in Renaissance England focuses on man, and becomes a way of exploring his weaknesses, depravities, flaws - and qualities.

yoga occurs when we let opposites move right through our pores, only to see that opposition is a conceptual designation that falls away when we are with the energy of the moment rather than with our storytelling.

I Not my best side, I'm afraid. The artist didn't give me a chance to Pose properly, and as you can see, Poor chap, he had this obsession with Triangles, so he left off two of my Feet. I didn't comment at the time (What, after all, are two feet To a monster?) but afterwards I was sorry for the bad publicity. Why, I said to myself, should my conqueror Be so ostentatiously beardless, and ride A horse with a deformed neck and square hoofs? Why should my victim be so Unattractive as to be inedible, And why should she have me literally On a string? I don't mind dying Ritually, since I always rise again, But I should have liked a little more blood To show they were taking me seriously. II It's hard for a girl to be sure if She wants to be rescued. I mean, I quite Took to the dragon. It's nice to be Liked, if you know what I mean. He was So nicely physical, with his claws And lovely green skin, and that sexy tail, And the way he looked at me, He made me feel he was all ready to Eat me. And any girl enjoys that. So when this boy turned up, wearing machinery, On a really dangerous horse, to be honest I didn't much fancy him. I mean, What was he like underneath the hardware? He might have acne, blackheads or even Bad breath for all I could tell, but the dragon-- Well, you could see all his equipment At a glance. Still, what could I do? The dragon got himself beaten by the boy, And a girl's got to think of her future. III I have diplomas in Dragon Management and Virgin Reclamation. My horse is the latest model, with Automatic transmission and built-in Obsolescence. My spear is custom-built, And my prototype armour Still on the secret list. You can't Do better than me at the moment. I'm qualified and equipped to the Eyebrow. So why be difficult? Don't you want to be killed and/or rescued In the most contemporary way? Don't You want to carry out the roles That sociology and myth have designed for you? Don't you realize that, by being choosy, You are endangering job prospects In the spear- and horse-building industries? What, in any case, does it matter what You want? You're in my way. - Not My Best Side

In such revisions of history lay the roots of the noble Lost Cause—the belief that the South didn’t lose, so much as it was simply overwhelmed by superior numbers; that General Robert E. Lee was a contemporary King Arthur; that slavery, to be sure a benevolent institution, was never central to the South’s true designs. Historical lies aside, the Lost Cause presented to the North an attractive compromise. Having preserved the Union and saved white workers from competing with slave labor, the North could magnanimously acquiesce to such Confederate meretriciousness and the concomitant irrelevance of the country’s blacks. That interpretation served the North too, for it elided uncomfortable questions about the profits reaped by the North from Southern cotton, as well as the North’s long strategy of appeasement and compromise, stretching from the Fugitive Slave Act back to the Constitution itself.

Contemporary Residential decorating Ideas for home Different ideas to decorate your bedroom The bedroom is the most cherished place in our home. It is the dream of every common man to live in a well decorated and well designed room.

The contemporary design argument does not rest, however, on gaps in our knowledge but rather on the growth in our knowledge due to the revolution in molecular biology. Information theory has taught us that nature exhibits two types of order. The first type is produced by natural causes-shiny crystals, hexagonal patterns in oil, whirlpools in the bathtub. But the second type-the complex structure of the DNA molecule-is not produced by any natural processes known to experience.

We do not have a choice whether or not to discuss history. History has always been invoked in contemporary controversies.The only choice is between discussing what actually happened in the past and discussing notions projected into the past for present purposes. History is the memory of the human race. For an individual to wake up some morning with no memory would be devastating. In addition to the emotional trauma of suddenly finding everything and everybody unknown and unfathomable, there would be no way to carry out the practical necessities of work or managing a home, much less maintaining or establishing relations with other human beings. It would not be much better to wake up some morning with a false memory, induced in you by some means by some other person—to serve that other person’s purposes, with all memories expunged that do not serve that end and other memories twisted or created out of thin air to make you the willing instrument of some ulterior design.

The sense that we have come together to glorify God in worship rather than to be entertained must be maintained. The place of worship can add to or detract from that sense. Auditoriums designed to look like concert halls most definitely do the latter.

Contemporary attitudes toward urban parks fall into three levels of sophistication. The first, the most naive assumption, is that parks are just plots of land preserved in their original state. If asked to discuss the issue at all, many laymen have maintained this much, that parks are bits of nature created only in the sense that some decision was made not to build on the land. Many are surprised to learn that parks that an artifact conceived and deliberated as carefully as public buildings, with both physical shape and social usage taken into account. The second, a little more informed, is that parks are aesthetic objects and that their history can be understood in terms of an evolution of artistic styles independent of societal considerations. The third is the view that each of the elements of the urban park represents part of planners' strategy for moral and social reform, so that today, as in the past, the citizen visiting a park is subject to an accumulated set of intended moral lessons.

Kate Walker´s attitude is characteristic of contemporary feminists' determination not to reject femininity but to empty the term of its negative connotations, to reclaim and refashion the category: "I have never worried that embroidery's association with femininity, sweetness, passivity and obedience may subvert my work's feminist intention. Femininity and sweetness are part of women's strength. Passivity and obedience, moreover, are the very opposites of the qualities necessary to make a sustained effort in needlework. What's required are physical and mental skills, fine aesthetic judgement in colour, texture and composition; patient during long training: and assertive individuality of design (and consequence disobedience of aesthetic convention). Quiet strength need not be mistaken for useless vulnerability".

A painting walks into the room supported by the collector. It is the painting of a nude by a contemporary artist. She is scarred by shadows from venetian blinds. “The ritual scarification of light and shadow,” I say. But am thinking, silently, the female nude is the self-ironization of the male. She, in his shadow, by design.

When twilight fell, first upon knickers and then upon surcoats, there came the dawn of Japanese skirted-trousers. These were designed by monsters peeved by the surcoat boom, and the descendants of their inventors include both the warriors of medieval times and all contemporary government officials. The plain, if regrettable, fact is that all the originally naked monsters strove vaingloriously to outdo each other in the novelty and weirdness of their gear. The ultimate grotesquerie has only recently appeared in swallow-tailed jackets. Yet if one ponders the history of these quaint manifestations, one recognizes that there is nothing random in their occurrence.

Hardy’s astonishing technical versatility has won the admiration of major poets from Ezra Pound and Cecil Day Lewis to Philip Larkin. Among other genres he employs the lyric, narrative, ballads, and the sonnet. He also moves easily between the amplitude of dramatic monologue and the compression of imagism. He experiments continually with an ingenious variety of stanza forms and rhyme schemes, rejecting the fluidity of contemporary poetry for his own idiosyncratic style, based on a real understanding of the variety of speech rhythms and registers. Each individual poem is designed to express in its language and form, and with utter honesty, Hardy’s impressions of life.

Dawkins claims that the living world came to be by way of unguided evolution: “the Evidence of Evolution,” he says, “Reveals a Universe Without Design.” What he actually argues, however, is that there is a Darwinian series for contemporary life forms. As we have seen, this argument is inconclusive; but even if it were air-tight it wouldn’t show, of course, that the living world, let alone the entire universe, is without design. At best it would show, given a couple of assumptions, that it is not astronomically improbable that the living world was produced by unguided evolution and hence without design. But the argument form p is not astronomically improbable therefore p is a bit unprepossessing.

All human beings have a share of the logos, and all have roles to play in the vast design that is the world. But this is not to say that all humans are equal or that the roles they are assigned are interchangeable. Marcus, like most of his contemporaries, took it for granted that human society was hierarchical, and this is borne out by the images he uses to describe it. Human society is a single organism, like an individual human body or a tree. But the trunk of the tree is not to be confused with the leaves, or the hands and feet with the head. Our duty to act justly does not mean that we must treat others as our equals; it means that we must treat them as they deserve. And their deserts are determined in part by their position in the hierarchy.

But if the testing is decoupled from the programming task, if it is done by someone else, that programmer cannot enjoy an immediate uptick to inner work life. The key, then, is to design each job so that, in the act of carrying out the work, people gain knowledge about the results of their effort. Ideally, this should be a feature of every job in every contemporary organization. Is it, in yours?

Something refused to come into focus in my thinking. Indistinctly, as though in a fog, shapes moved toward me and retreated just beyond cognition. But that getting a hold of things is the uncertainty. As the Tractatus says right at the beginning, “The world is everything that is the case.” It seemed as though the Mammy≈Divas® were just like Steve Jobs, trying to have reality bent to their own wills. Objectively, the iPhone was a muddle of mysticism and logic—breakable glass, non-ergonomic design, lousy battery life, lousy irreplaceable battery, lousy headphone jack, lousy virtual keyboard, lousy email, lousy memory, lousy lice, etc., etc, and an interface that you had to adapt to by pretending as an article of faith that no adaptation was required. The Mammy≈Divas® promised a seamless racial interface—eternal blackness ordered and majestic. They put a benign face on their lust for panoptic power. They promised to discipline and punish with pancakes.

And that is why I would propose that, in our teaching of the humanities, we should emphasize the enduring creations of the past. The schools should stay as far from contemporary works as possible. Because of the nature of the communications industry, our students have continuous access to the popular arts of their own times - its music, rhetoric, design, literature, architecture. Their knowledge of the form and content of these arts is by no means satisfactory. But their ignorance of the form and content of the art of the past is cavernous.

One of the bad habits that we pick up early in our lives is separating things and people into secular and sacred. We assume that the secular is what we are more or less in charge of: our jobs, our time, our entertainment, our government, our social relations. The sacred is what God has charge of: worship and the Bible, heaven and hell, church and prayers. We then contrive to set aside a sacred place for God, designed, we say, to honor God but really intended to keep God in his place, leaving us free to have the final say about everything else that goes on.

The course of history has been dramatically impacted because some simple Christ-followers were simply not sophisticated enough to rationalize into oblivion teachings like this as some obscure metaphor with little instructive value to the contemporary local church. Instead, orphanages opened, schools started, homeless were sheltered, prisoners were discipled, the hungry were fed, the sick were treated, slavery was abolished, and human beings all over the world were loved because Kingdom expanding Christ-followers throughout history believed that Jesus meant business.

Romans certainly never thought of themselves as Greeks, but they had begun to view themselves as inhabiting the same side of the Greek-authored ethno-cultural divide that separated the civilized Hellenic world from the barbarian world, a category into which Carthage was emphatically placed. These foundation theories represented something far more potent than mere obtuse scholarly speculation. They were a body of ideas in which there had been considerable material and political investment, for they increasingly came to provide the intellectual justification for war being waged, territory being conquered, and treaties being signed. Rome’s membership of the club of civilized nations by dint of its Trojan antecedents was inherently a political decision open to periodic revision by opportunistic Hellenistic leaders (if circumstances dictated it). Indeed, the Romans themselves had been the target of a brilliant propaganda campaign waged by Pyrrhus, for silver tetradrachms that were minted under his authority were clearly designed to create a firm link in the minds of contemporaries with Alexander the Great. Among the portraits on them were the Greek heroes Heracles and Achilles.49

The United States has every reason from history and geopolitics to bolster the European Union and prevent its drifting off into a geopolitical vacuum; the United States, if separated from Europe in politics, economics, and defense, would become geopolitically an island off the shores of Eurasia, and Europe itself could turn into an appendage to the reaches of Asia and the Middle East. Europe, which had a near monopoly in the design of global order less than a century ago, is in danger of cutting itself off from the contemporary quest for world order by identifying its internal construction with its ultimate geopolitical purpose.

What are these conventions? Although there are many, and much of this book is devoted to refuting them, there is one central doctrine on which they all depend: Whites are responsible for the problems blacks face. Black crime, black poverty, black illegitimacy, black difficulties of all kinds can be traced to a heritage of slavery and to inveterate white racism. In other words, it is the malevolence of whites that causes blacks to fail. Although the doctrine is not often stated as sweepingly or as bluntly as this, it underlies virtually every public pronouncement on race relations and virtually every public program designed to improve them.

Emphatically rejecting ali traditional religions and claiming for their teachings the epithet "scientific," various writers tried to substitute a new faith for the old ones. They claimed to know precisely what the mysterious power that directs ali cosmic becoming has in store for mankind. They proclaimed an absolute standard of values. Good is what works along the lines that this power wants mankind to follow; everything else is bad. In their vocabulary "progressive" is a synonym of good and "reactionary" a synonym of bad. Inevitably progress will triumph over reaction because it is impossible for men to divert the course of history from the direction prescribed by the plan of the mysterious prime mover. Such is the metaphysics of Karl Marx, the faith of contemporary selfstyled progressivism. Marxism is a revolutionary doctrine. It expressly declares that the design of the prime mover will be accomplished by civil war. It implies that ultimately in the battles of these campaigns the just cause, that is, the cause of progress, must conquer. Then ali conflicts concerning judgments of value will disappear. The liquidation of ali dissenters will establish the undisputed supremacy of the absolute eternal values. This formula for the solution of conflicts of value judgments is certainly not new. It is a device known and practiced from time immemorial. Kill the infidels! Burn the heretics! What is new is merely the fact that today it is sold to the public under the label of "science.

We have considered the problem of mental fragmentation and arbitrariness that results when our contact with the world is mediated by representations: representations collapse the basic axis of proximity and distance by which an embodied being orients in the world and draws a horizon of relevance around itself. We noted the prominence of a design philosophy that severs the bonds between action and perception, as in contemporary automobiles that insulate us from the sensorimotor contingencies by which an embodied being normally grasps reality. The case of machine gambling gave us a heightened example of this kind of abstraction, and made clear how such a design philosophy can be turned to especially disturbing purposes in the darker precincts of “affective capitalism,” where our experiences are manufactured for us. We saw that the point of these experiences is often to provide a quasi-autistic escape from the frustrations of life, and that they are especially attractive in a world that lacks a basic intelligibility because it seems to be ordered by “vast impersonal forces” that are difficult to bring within view on a first-person, human scale. I argued that all of this tends to sculpt a certain kind of contemporary self, a fragile one whose freedom and dignity depend on its being insulated from contingency, and who tends to view technology as magic for accomplishing this. For such a self, choosing from a menu of options replaces the kind of adult agency that grapples with things in an unfiltered way.

The definitive characteristic of the sexosophy of Christendom is the doctrine of the split between saintly love and sinful lust. This doctrine is all-pervasive. It penetrates all the institutions of contemporary Christendom . . . The cleft between saintly love and sinful lust is omnipresent in the sexuoerotic heritage of our culture. Love is undefiled and saintly. Lust is defiling and sinful. Love exists above the belt, lust below. Love is lyrical. Lust is lewd. Love is heralded in public. Lust is hidden in private. Love displayed is championed, but championships for lust are condemned. Love is candid, and speaks its name. Lust is clandestine and euphemizes its name. In some degree or other, the cleavage between love and lust gets programed into the design of the lovemaps of all developing boys and girls.12

In all cultures, ceremonies are designed to communicate the experience of one group of people to the wider community. When people bury loved ones, when they wed, when they graduate from college, the respective ceremonies communicate something essential to the people who are watching... if contemporary America doesn’t develop ways to publicly confront the emotional consequences of war those consequences will continue to burn a hole through the vets themselves... ...Offer veterans all over the country the use of their town hall every Veteran’s Day to speak freely about their experience at war... A community ceremony like that would finally return the experience of war to our entire nation, rather than just leaving it to the people who fought. The bland phrase “I support the troops” would then mean showing up at the town hall once a year to hear these people out.

contemporaries, that Wordsworth, etc., should have their due from us. But, for the sake of a few fine imaginative or domestic passages, are we to be bullied into a certain Philosophy engendered in the whims of an Egotist? Every man has his speculations, but every man does not brood and peacock over them till he makes a false coinage and deceives himself. Many a man can travel to the very bourne of Heaven, and yet want confidence to put down his half-seeing. Sancho will invent a Journey heavenward as well as anybody. We hate poetry that has a palpable design upon us, and, if we do not agree, seems to put its hand into its breeches pocket. Poetry should be great and unobtrusive, a thing which enters into one’s soul, and does not startle it or amaze it with itself — but with its subject. How beautiful are the retired flowers! — how would they lose their beauty were they to throng into the highway, crying out, “Admire me, I am a violet! Dote upon me, I am a primrose!” Modern poets differ from the Elizabethans

Ideology refers to the body of ideas reflecting the interests of a group of people. Within U.S. culture, racist and sexist ideologies permeate the social structure to such a degree that they become hegemonic, namely, seen as natural, normal, and inevitable. In this context, certain assumed qualities that are attached to Black women are used to justify oppression. From the mammies, jezebels, and breeder women of slavery to the smiling Aunt Jemimas on pancake mix boxes, ubiquitous Black prostitutes, and ever-present welfare mothers of contemporary popular culture, negative stereotypes applied to African-American women have been fundamental to Black women's oppression. Taken together, the supposedly seamless web of economy, polity, and ideology function as a highly effective system of social control designed to keep African-American women in an assigned, subordinate place. This larger system of oppression works to suppress the ideas of Black women intellectuals and to protect elite White male interests and world views.

Islamic art in its many forms is of the greatest import for the understanding of the essence of Islam and a central means of transmitting its message to the contemporary world. When one thinks of Islam, one should go beyond the repetitive scenes on television of wars and battles, which unfortunately abound in today’s world, to behold the peace and harmony of Islamic art seen in the great mosques, traditional urban settings and gardens, and the rhythm and geometry of calligraphy and arabesque designs; read in the poems that sing of the love that permeates all of God’s creation and binds creatures to God; and heard in the strains of melodies that echo what we had experienced in that primordial morn preceding creation and our descent into this lowly world. Today more than ever before, the understanding of Islamic art is an indispensable key for the comprehension of Islam itself. Those who are sensitive to the language of traditional art and the beauty of a paradisal order that emanates from it as well as the intellectual principles conveyed through it can learn much from this art.

Half a century ago Ostwald (1910) distinguished classicists and romanticists among the scientific investigators: the former being inclined to design schemes and to use consistently the deductions from working hypotheses; the latter being more fit for intuitive discoveries of functional relations between phenomena and therefore more able to open up new fields of study. Examples of both character types are Werner and Hutton. Werner was a real classicist. At the end of the eighteenth century he postulated the theory of “neptunism,” according to which all rocks including granites, were deposited in primeval seas. It was an artificial scheme, but, as a classification system, it worked quite satisfactorily at the time. Hutton, his contemporary and opponent, was more a romanticist. His concept of 'plutonism' supposed continually recurrent circuits of matter, which like gigantic paddle wheels raise material from various depths of the earth and carry it off again. This is a very flexible system which opens the mind to accept the possible occurrence in the course of time of a great variety of interrelated plutonic and tectonic processes.

AGNES EGGLING: mid- to late 30s; preferably heavyset. Bit player / character actress in the German film industry. GREGOR BAZWALD (BAZ): early to mid-30s. Homosexual who works for the Berlin Institute for Human Sexuality. PAULINKA ERDNUSS: mid-30s, but looks a little younger. Actress in the German film industry; a featured player on her way to becoming a minor star. ANNABELLA GOTCHLING: mid-40s. Communist artist and graphic designer. VEALTNINC HUSZ: mid-40s. Cinematographer. Hungarian exile. Missing an eye, he wears spectacles with one lens blackened. ROSA MALEK: mid- to late 20s. Minor functionary of the KPD (Kommunistische Partei Deutschlands). EMIL TRAUM: mid- to late 20s. Slightly higher-ranking functionary of the KPD. DIE ALTE: a woman, very old but hard to tell how old—somewhere between 70 and dead-for-20-years. White face and rotten teeth. Dressed in a nightgown, once white but now soiled and food-stained. GOTTFRIED SWETTS: ageless; when he looks good he could be 30, when he looks bad he could be 50 (or more). Distinguished, handsome, blond, Aryan. ZILLAH KATZ: contemporary American Jewish woman. 30s. BoHo/East Village New Wave with Anarcho-Punk tendencies.

The essence of Roosevelt’s leadership, I soon became convinced, lay in his enterprising use of the “bully pulpit,” a phrase he himself coined to describe the national platform the presidency provides to shape public sentiment and mobilize action. Early in Roosevelt’s tenure, Lyman Abbott, editor of The Outlook, joined a small group of friends in the president’s library to offer advice and criticism on a draft of his upcoming message to Congress. “He had just finished a paragraph of a distinctly ethical character,” Abbott recalled, “when he suddenly stopped, swung round in his swivel chair, and said, ‘I suppose my critics will call that preaching, but I have got such a bully pulpit.’ ” From this bully pulpit, Roosevelt would focus the charge of a national movement to apply an ethical framework, through government action, to the untrammeled growth of modern America. Roosevelt understood from the outset that this task hinged upon the need to develop powerfully reciprocal relationships with members of the national press. He called them by their first names, invited them to meals, took questions during his midday shave, welcomed their company at day’s end while he signed correspondence, and designated, for the first time, a special room for them in the West Wing. He brought them aboard his private railroad car during his regular swings around the country. At every village station, he reached the hearts of the gathered crowds with homespun language, aphorisms, and direct moral appeals. Accompanying reporters then extended the reach of Roosevelt’s words in national publications. Such extraordinary rapport with the press did not stem from calculation alone. Long before and after he was president, Roosevelt was an author and historian. From an early age, he read as he breathed. He knew and revered writers, and his relationship with journalists was authentically collegial. In a sense, he was one of them. While exploring Roosevelt’s relationship with the press, I was especially drawn to the remarkably rich connections he developed with a team of journalists—including Ida Tarbell, Ray Stannard Baker, Lincoln Steffens, and William Allen White—all working at McClure’s magazine, the most influential contemporary progressive publication. The restless enthusiasm and manic energy of their publisher and editor, S. S. McClure, infused the magazine with “a spark of genius,” even as he suffered from periodic nervous breakdowns. “The story is the thing,” Sam McClure responded when asked to account for the methodology behind his publication. He wanted his writers to begin their research without preconceived notions, to carry their readers through their own process of discovery. As they educated themselves about the social and economic inequities rampant in the wake of teeming industrialization, so they educated the entire country. Together, these investigative journalists, who would later appropriate Roosevelt’s derogatory term “muckraker” as “a badge of honor,” produced a series of exposés that uncovered the invisible web of corruption linking politics to business. McClure’s formula—giving his writers the time and resources they needed to produce extended, intensively researched articles—was soon adopted by rival magazines, creating what many considered a golden age of journalism. Collectively, this generation of gifted writers ushered in a new mode of investigative reporting that provided the necessary conditions to make a genuine bully pulpit of the American presidency. “It is hardly an exaggeration to say that the progressive mind was characteristically a journalistic mind,” the historian Richard Hofstadter observed, “and that its characteristic contribution was that of the socially responsible reporter-reformer.

Interest in alchemy seems to be nowadays on the rise. Whereas the educated public at large remains no doubt skeptical and indeed disdainful of the ancient discipline, there is today a deepening awareness among the better informed that what stands behind many an “exploded superstition” may be in fact a long-forgotten wisdom. Although Carl Jung was obviously exaggerating when ! he suggested that four centuries after being expelled from our universities,- alchemy stands “knocking at the door,” a number of factors have conspired; to render the prospect of re-admission less remote, at least, than it had been ; during the heyday of materialism. In any case, no truly solid grounds for rejecting the ancient doctrine have yet been proposed. Take the case of the so-called four elements: earth, water, air and fire. One can be reasonably certain that these terms were not employed alchemically in their ordinary sense, but were used to designate elements, precisely, out of which substances, as we know them, are constituted. Somewhat like the quarks of modern physics, these elements are not found empirically in isolation, but occur in their multiple combinations, that is to say, as the perceptible substances that constitute what I term the corporeal domain. Now, as I have argued at length in The Quantum Enigma (Peru, Illinois: Sherwood Sugden, 1995), corporeal objects are not in fact mere aggregates of quantum particles; and this clearly suggests that there may indeed be elements of the aforesaid kind. It turns out that our habitual opposition to alchemy is based mainly upon scientistic prejudice: upon a reductionist dogma, namely, for which there is in reality no scientific support at all.

This is a theme that Evola will develop in his Cavalcare In tigre, a book conceived and partially written in the early 1950s and published in the 1960s. Cavalcare la tigre points out an 'existential path' that, like the 'Doctrine of Awakening,' is meant for 'a very restricted circle of people who are endowed with a not too common inner strength.' At the center of that work, as in Doctrine, there is the problem of the 'inviolability of being' vis à vis the devouring Becoming that surrounds us. The themes of "he who stays by going and goes by staying"; of kaftan karaniyam, 'done is what needed to be done,' or 'the work has been completed because it had to be, without reasons why or benefits'; of surviving death, which 'can logically be conceived only for those few who, as human beings, were able to realize themselves as more than mere human beings'; of 'everybody is lord unto himself, there is no other lord, and by dominating yourself you will have a master the like of whom it is hard to find' (as is written in the Dhammapāda) are all taken up, developed, and adapted to the theses of Cavalcāre la tigre. The Prince Siddhartha whom Evola describes is certainly not the one depicted by Hermann Hesse in his novel, which has become a sort of livre de chevet to many contemporary readers, especially the young ones. The historical Siddhartha was a prince of the Sākya, a kşatriya (belonging to the warrior caste), an 'ascetic fighter' who opened a path by himself with his own strength. Thus Evola emphasizes the 'aristocratic' character of primitive Buddhism, which he defines as having the 'presence in it of a virile and warrior strength (the lion's roar is a designation of Buddha's proclamation) that is applied to a nonmaterial and atemporal plane... since it transcends such a plane, leaving it behind.' The 'essential nucleus of Buddhism is therefore metaphysical and initiatory.' he wrote, while its interpretation 'as a mere moral code based on compassion, humanitarianism, and escape from life because life is `suffering,' is absolutely extrinsic, profane, and superficial.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

The Christian life requires a form adequate to its content, a form that is at home in the Christian revelation and that respects each person's dignity and freedom with plenty of room for all our quirks and particularities. Story provides that form. The biblical story invites us in as participants in something larger than our sin-defined needs, into something truer than our culture-stunted ambitions. We enter these stories and recognize ourselves as participants, whether willing or unwilling, in the life of God. Unfortunately, we live in an age in which story has been pushed from its biblical frontline prominence to a bench on the sidelines and then condescended to as "illustration" or "testimony" or "inspiration." Our contemporary unbiblical preference, both inside and outside the church, is for information over story. We typically gather impersonal (pretentiously called "scientific" or "theological") information, whether doctrinal or philosophical or historical, in order to take things into our own hands and take charge of how we will live our lives. And we commonly consult outside experts to interpret the information for us. But we don't live our lives by information; we live them in relationships in the context of a personal God who cannot be reduced to formula or definition, who has designs on us for justice and salvation. And we live them in an extensive community of men and women, each person an intricate bundle of experience and motive and desire. Picking a text for living that is characterized by information-gathering and consultation with experts leaves out nearly everything that is uniquely us - our personal histories and relationships, our sins and guilt, our moral character and believing obedience to God. Telling and listening to a story is the primary verbal way of accounting for life the way we live it in actual day-by-day reality. There are no (or few) abstractions in a story. A story is immediate, concrete, plotted, relational, personal. And so when we lose touch with our lives, with our souls - our moral, spiritual, embodied God-personal lives - story is the best verbal way of getting us back in touch again. And that is why God's word is given for the most part in the form of story, this vast, overarching, all-encompassing story, this meta-story.

If a season like the Great Rebellion ever came to him again, he feared, it could never be in that same personal, random array of picaresque acts he was to recall and celebrate in later years at best furious and nostalgic; but rather with a logic that chilled the comfortable perversity of the heart, that substituted capability for character, deliberate scheme for political epiphany (so incomparably African); and for Sarah, the sjambok, the dances of death between Warmbad and Keetmanshoop, the taut haunches of his Firelily, the black corpse impaled on a thorn tree in a river swollen with sudden rain, for these the dearest canvases in his soul's gallery, it was to substitute the bleak, abstracted and for him rather meaningless hanging on which he now turned his back, but which was to backdrop his retreat until he reached the Other Wall, the engineering design for a world he knew with numb leeriness nothing could now keep from becoming reality, a world whose full despair he, at the vantage of eighteen years later, couldn't even find adequate parables for, but a design whose first fumbling sketches he thought must have been done the year after Jacob Marengo died, on that terrible coast, where the beach between Luderitzbucht and the cemetery was actually littered each morning with a score of identical female corpses, an agglomeration no more substantial-looking than seaweed against the unhealthy yellow sand; where the soul's passage was more a mass migration across that choppy fetch of Atlantic the wind never left alone, from an island of low cloud, like an anchored prison ship, to simple integration with the unimaginable mass of their continent; where the single line of track still edged toward a Keetmanshoop that could in no conceivable iconology be any part of the Kingdom of Death; where, finally, humanity was reduced, out of a necessity which in his loonier moments he could almost believe was only Deutsch-Sudwestafrika's (actually he knew better), out of a confrontation the young of one's contemporaries, God help them, had yet to make, humanity was reduced to a nervous, disquieted, forever inadequate but indissoluble Popular Front against deceptively unpolitical and apparently minor enemies, enemies that would be with him to the grave: a sun with no shape, a beach alien as the moon's antarctic, restless concubines in barbed wire, salt mists, alkaline earth, the Benguela Current that would never cease bringing sand to raise the harbor floor, the inertia of rock, the frailty of flesh, the structural unreliability of thorns; the unheard whimper of a dying woman; the frightening but necessary cry of the strand wolf in the fog.

The Scientific Revolution was revolutionary in a way that is hard to appreciate today, now that its discoveries have become second nature to most of us. The historian David Wootton reminds us of the understanding of an educated Englishman on the eve of the Revolution in 1600: He believes witches can summon up storms that sink ships at sea. . . . He believes in werewolves, although there happen not to be any in England—he knows they are to be found in Belgium. . . . He believes Circe really did turn Odysseus’s crew into pigs. He believes mice are spontaneously generated in piles of straw. He believes in contemporary magicians. . . . He has seen a unicorn’s horn, but not a unicorn. He believes that a murdered body will bleed in the presence of the murderer. He believes that there is an ointment which, if rubbed on a dagger which has caused a wound, will cure the wound. He believes that the shape, colour and texture of a plant can be a clue to how it will work as a medicine because God designed nature to be interpreted by mankind. He believes that it is possible to turn base metal into gold, although he doubts that anyone knows how to do it. He believes that nature abhors a vacuum. He believes the rainbow is a sign from God and that comets portend evil. He believes that dreams predict the future, if we know how to interpret them. He believes, of course, that the earth stands still and the sun and stars turn around the earth once every twenty-four hours.7 A century and a third later, an educated descendant of this Englishman would believe none of these things. It was an escape not just from ignorance but from terror. The sociologist Robert Scott notes that in the Middle Ages “the belief that an external force controlled daily life contributed to a kind of collective paranoia”: Rainstorms, thunder, lightning, wind gusts, solar or lunar eclipses, cold snaps, heat waves, dry spells, and earthquakes alike were considered signs and signals of God’s displeasure. As a result, the “hobgoblins of fear” inhabited every realm of life. The sea became a satanic realm, and forests were populated with beasts of prey, ogres, witches, demons, and very real thieves and cutthroats. . . . After dark, too, the world was filled with omens portending dangers of every sort: comets, meteors, shooting stars, lunar eclipses, the howls of wild animals.8 To the Enlightenment thinkers the escape from ignorance and superstition showed how mistaken our conventional wisdom could be, and how the methods of science—skepticism, fallibilism, open debate, and empirical testing—are a paradigm of how to achieve reliable knowledge. That knowledge includes an understanding of ourselves.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

Since, however, darwinism has once for all displaced design from the minds of the 'scientific,' theism has lost that foothold; and some kind of an immanent or pantheistic deity working IN things rather than above them is, if any, the kind recommended to our contemporary imagination. Aspirants to a philosophic religion turn, as a rule, more hopefully nowadays towards idealistic pantheism than towards the older dualistic theism, in spite of the fact that the latter still counts able defenders. But, as I said in my first lecture, the brand of pantheism offered is hard for them to assimilate if they are lovers of facts, or empirically minded. It is the absolutistic brand, spurning the dust and reared upon pure logic. It keeps no connexion whatever with concreteness. Affirming the Absolute Mind, which is its substitute for God, to be the rational presupposition of all particulars of fact, whatever they may be, it remains supremely indifferent to what the particular facts in our world actually are. Be they what they may, the Absolute will father them. Like the sick lion in Esop's fable, all footprints lead into his den, but nulla vestigia retrorsum. You cannot redescend into the world of particulars by the Absolute's aid, or deduce any necessary consequences of detail important for your life from your idea of his nature. He gives you indeed the assurance that all is well with Him, and for his eternal way of thinking; but thereupon he leaves you to be finitely saved by your own temporal devices. Far be it from me to deny the majesty of this conception, or its capacity to yield religious comfort to a most respectable class of minds. But from the human point of view, no one can pretend that it doesn't suffer from the faults of remoteness and abstractness. It is eminently a product of what I have ventured to call the rationalistic temper. It disdains empiricism's needs. It substitutes a pallid outline for the real world's richness. It is dapper; it is noble in the bad sense, in the sense in which to be noble is to be inapt for humble service. In this real world of sweat and dirt, it seems to me that when a view of things is 'noble,' that ought to count as a presumption against its truth, and as a philosophic disqualification. The prince of darkness may be a gentleman, as we are told he is, but whatever the God of earth and heaven is, he can surely be no gentleman. His menial services are needed in the dust of our human trials, even more than his dignity is needed in the empyrean. Now pragmatism, devoted tho she be to facts, has no such materialistic bias as ordinary empiricism labors under. Moreover, she has no objection whatever to the realizing of abstractions, so long as you get about among particulars with their aid and they actually carry you somewhere. Interested in no conclusions but those which our minds and our experiences work out together, she has no a priori prejudices against theology. IF THEOLOGICAL IDEAS PROVE TO HAVE A VALUE FOR CONCRETE LIFE, THEY WILL BE TRUE, FOR PRAGMATISM, IN THE SENSE OF BEING GOOD FOR SO MUCH. FOR HOW MUCH MORE THEY ARE TRUE, WILL DEPEND ENTIRELY ON THEIR RELATIONS TO THE OTHER TRUTHS THAT ALSO HAVE TO BE ACKNOWLEDGED.

In the contemporary world there are two classes of bad plans-the plans invented and put into practice by men who do not accept our ideal postulates, and the plans invented and put into practice by the men who accept them, but imagine that the ends proposed by the prophets can be achieved by wicked or unsuitable means. Hell is paved with good intentions, and it is probable that plans made by well-meaning people of the second class may have results no less disastrous than plans made by evil-intentioned people of the first class. Which only shows, yet once more, how right the Buddha was in classing unawareness and stupidity among the deadly sins. Let us consider a few examples of bad plans belonging to these two classes. In the first class we must place all Fascist and all specifically militaristic plans. Fascism, in the words of Mussolini, believes that "war alone brings up to its highest tension all human energy and puts the stamp of nobility upon the peoples who have the courage to meet it." Again, "a doctrine which is founded upon the harmful postulate of peace is hostile to Fascism." The Fascist, then, is one who believes that the bombardment of open towns with fire, poison and explosives (in other words, modern war) is intrinsically good. He is one who rejects the teaching of the prophets and believes that the best society is a national society living in a state of chronic hostility towards other national societies and preoccupied with ideas of rapine and slaughter. He is one who despises the non-attached individual and holds up for admiration the person who, in obedience to the boss who happens at the moment to have grabbed political power, systematically cultivates all the passions (pride, anger, envy, hatred) which the philosophers and the founders of religions have unanimously condemned as the most maleficent, the least worthy of human beings. All fascist planning has one ultimate aim: to make the national society more efficient as a war machine. Industry, commerce and finance are controlled for this purpose. The manufacture of substitutes is encouraged in order that the country may be self-sufficient in time of war. Tariffs and quotas are imposed, export bounties distributed, exchanges depreciated for the sake of gaining a momentary advantage or inflicting loss upon some rival. Foreign policy is conducted on avowedly Machiavellian principles; solemn engagements are entered into with the knowledge that they will be broken the moment it seems advantageous to do so; international law is invoked when it happens to be convenient, repudiated when it imposes the least restraint on the nation's imperialistic designs. Meanwhile the dictator's subjects are systematically educated to be good citizens of the Fascist state. Children are subjected to authoritarian discipline that they may grow up to be simultaneously obedient to superiors and brutal to those below them. On leaving the kindergarten, they begin that military training which culminates in the years of conscription and continues until the individual is too decrepit to be an efficient soldier. In school they are taught extravagant lies about the achievements of their ancestors, while the truth about other peoples is either distorted or completely suppressed. the press is controlled, so that adults may learn only what it suits the dictator that they should learn. Any one expressing un-orthodox opinions is ruthlessly persecuted. Elaborate systems of police espionage are organized to investigate the private life and opinions of even the humblest individual. Delation is encouraged, tale-telling rewarded. Terrorism is legalized. Justice is administered in secret; the procedure is unfair, the penalties barbarously cruel. Brutality and torture are regularly employed.

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The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

Eve was good, he conceded, adding the file he’d just finished to the growing stack on the floor at his feet. Given the proper education and training, she could be great. He stretched the kinks out of limbs stiffened from too much time spent in one position. Why didn’t she do more with her talent? He started to ask her, then realized she was sound asleep, curled up in the overstuffed chair. The sun no longer shone through the front window, and his stomach told him it was getting close to lunchtime, but she looked so adorable curled up with her hands under her cheek and her tanned knees against her chest that Matt was in no hurry to leave.

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Patronage and clientelism constitute substantial normative deviations from good democratic practice for all of the reasons outlined above, and are therefore illegal and frowned upon in virtually all contemporary democracies. As such, they are often considered another form of political corruption. There are a number of reasons, however, why clientelism should be considered an early form of democratic accountability and be distinguished from other types of corruption—or, indeed, not considered a form of corruption at all. The first reason is that it is based on a relationship of reciprocity and creates a degree of democratic accountability between the politician and those who vote for him or her. Even though the benefit given is individual rather than programmatic, the politician still needs to deliver something in return for support, and the client is free to vote for someone else if the benefit is not forthcoming. Moreover, clientelism is designed to generate mass political participation at election time, something we regard as desirable.

we are perfectly designed to achieve what we are currently achieving. If Christianity is in decline, at least part of the issue goes to the contemporary way we live out faith in a watching world.

DESIGN NOW, NOW IS THE FUTURE

We could call the second problem with the current Sabbath vogue the fallacy of the direct object. Whom is the contemporary Sabbath designed to honor? Whom does it benefit? In observing the Sabbath, one is both giving a gift to God and imitating Him.

Has anyone by fussing before the mirror ever gotten taller by so much as an inch? If fussing can’t even do that, why fuss at all? Walk into the fields and look at the wildflowers. They don’t fuss with their appearance — but have you ever seen color and design quite like it? The ten best-dressed men and women in the country look shabby alongside them. If God gives such attention to the wildflowers, most of them never even seen, don’t you think he’ll attend to you, take pride in you, do his best for you? 29-32 “What I’m trying to do here is get you to relax, not be so preoccupied with getting so you can respond to God’s giving. People who don’t know God and the way he works fuss over these things, but you know both God and how he works. Steep yourself in God-reality, God-initiative, God-provisions. You’ll find all your everyday human concerns will be met. Don’t be afraid of missing out. You’re my dearest friends! The Father wants to give you the very kingdom itself.

One of the wonderful things about the Bible is the way no generation can complete the task of studying and understanding it. We never get to a point where we can say, “Well, the theologians have sorted it all out, so we just put the results in our pockets or on the shelves, and the next generation won’t have to worry—they can just pull it out and look it up.” No, the Bible seems designed to challenge and provoke each generation to do its own fresh business, to struggle and wrestle with the text.

Detecting designs and patterns where no designs and patterns were previously apparent can produce tremors of faith. . . . As far as contemporary science can tell, nearly everything about the universe—its knack for self-organization; its fine-tuned potency to bring about galaxies, life, consciousness; its sheer existence—is vastly improbable. This would seem to suggest that we are here because of a deliberate supernatural design.

I explored the importance of politics and power for the consultant who becomes a temporary participant in the patterning of relations and discussion in any organisation into which they are invited. I also offered a critique of the idea of a consultant or manager as someone who somehow stands outside this patterning and by being objective can offer some kind of ‘diagnosis’ of what is ‘really going on’. In much contemporary management literature managers are also thought to be ‘system designers’, Senge (1990), which implies not only that an organisation can be thought of as a ‘system’ but that a manager has the ability to be part of and separate from the system which is being designed. There is no indication in such theories how it is possible to reconcile the notion of a free individual choosing what kind of intervention to make at the same time as assuming that there is an equally independent, self-regulating ‘whole’ organisation upon which one is acting. As an alternative I started to argue, drawing particularly on the work of Norbert Elias, that both consultants and managers are forming and being formed by the web of relations into which they are acting, and are constrained in what they are able to understand and do.

MOST CITIES ARE designed on grids that fill them with hard angles. Not Amsterdam, which has a softness about it imparted by the watery curves of the 16th-century canals that fan out through the city. Though its gabled canal houses and narrow medieval streets give it an undeniable old-world charm, Amsterdam’s thoroughly contemporary takes on arts, architecture and design show that it has modernity in a firm embrace. It’s a city that invites wandering, with a tram system and a plenitude of bicycles (about as many as there are residents) that make navigating as fun as it is easy. Thanks to the locals, most of whom speak English, you’ll feel instantly welcome and will be spared the indignity of trying to pronounce Dutch (don’t even try). Spend as much time as possible on foot, the better to enjoy the city’s theatrical quality: The huge, unshaded windows of the canal homes allow you to peer right in, testimony to the Dutch ethos of having nothing to hide.

Messerschmitt Me 264 with steam turbine In August 1944, the firm of Osermaschinen G.m.b.H. founded by Professor Losel was commissioned to carry out the design and development of a steam turbine power unit for aircraft. The design called for 6000hp at 6000rpm with a weight/power ratio of 0.7kg/hp and a consumption of 190 grams/hp/hour. A Me 264 airframe was to have been placed at the disposal of the firm, but it was destroyed in an air raid. Two forms of propeller were envisaged, one of 17.5ft diameter and revolving at 400-500rpm and the other 6.5ft in diameter revolving at 600rpm. The whole system consisted of four boilers (capillary tube boilers of special design) boiler feed water pump and auxiliary turbine, main turbine, combustion air draught fan, condenser, controls and auxiliaries. At the time of the German collapse many components of the system had been produced, including the turbine blades, and auxiliaries such as the combustion air draught fan and condenser pump were ready for use. A start had been made with the assembly of the auxiliary and main turbine and one boiler had been manufactured in its entirety. The first system was designed to use 65% solid fuel (pulverised coal) and 35% liquid fuel (petrol) but it was intended to use liquid fuel only when it became available in quantity. The advantages claimed for the steam-turbine system are: 1)       Constant power at varying heights. 2)     Capacity for 100% overloading, even for long periods. 3)      Full steam output attained in 5-10 seconds. 4)     The system is not sensitive to low temperatures. 5)     Long life and simple servicing. 6)      Simple and rapid control. 7)      The system lends itself to incorporation in an airframe, since it can be broken down into separate components. The four main boilers are 3ft in diameter and 4ft high. The main turbine is 2ft in diameter and 6ft in length.     Messerschmitt Me 265     Messerschmitt Me 309 fighter A single-seat

Nagler-Rolz helicopter (unspecified type) Two types of ultra-light helicopter were designed by Bruno Nagler. Each of these could be strapped to a man’s back. The first, for which no designation has been reported, has a single rotor, and a small engine enclosed in a fairing is mounted on an extension of the rotor on the opposite side of the hub. The motor drives a shaft which is housed inside the blade and, in turn, through bevel gearing, drives two small propellers in opposite directions. The propellers are located at the centre of pressure, one at the leading-edge and one at the trailing-edge of the blade.     Nagler-Rolz NR

athodyd propulsion. There are some ambitious designs for jet-propelled long-range bombers and multi-seat fighters, and among the rotating-wing aircraft is a fighter entirely novel in

Biology, physiology, and anatomy have less to do with our chairs than pharaohs, kings, and executives,” she writes. One kind of historical chair, called the “klismos” by historians, evolved primarily as an historical expression of status and rank. Setting a body higher than and apart from other people, in an individual structure with rigid, flat planes—a throne, if you will—evolved as a way of recognizing an individual’s power or leadership, with the earliest known models dating to ancient Egypt and southeastern Europe. Their use as an expression of authority continued through the Middle Ages and the Renaissance, and the endurance of this symbolism lives on as metaphor in many contemporary leadership titles; to chair the committee or the department, or to sit in the designated “director’s chair” on a film set, is still to hold a seat of power.

Truth be told, the reality show itself quickly degenerated into a televisual soap opera that was not that different than old variety shows made for large audiences. And its audience was amplified at the usual rate of competing media, which leads to the self- propagation of the show via a prophetic method: self-fulfilling prophecy. In the end, the ratings for the show play part of the spiral and return cycle of the advertising flame. But all of this is of little interest. It is only the original idea which has any value: submitting a group to a sensory deprivation experiment ( Which in other times was a form of calculated torture. But are we not in the middle of exploring all the historical forms of torture, served in homeopathic doses, under the guise of mass culture or avant-garde art? This is precisely one of the principle themes of contemporary art.), in order to record the behavior of human molecules within a vacuum - and no doubt with the design of watching them tear each other apart in the artificial promiscuity. We have not yet reached this point, but this existential micro-situation functions as a universal metaphor for the modern being, holed up in his personal loft, which is no longer his physical or mental universe. It is his digital and tactile universe, of Turing’s “spectral body”, of the digital man, captured within the labyrinth of the networks, of man turned into his own (white) mouse.

In discussing California's "Whole Math" (as it is called) with one such leading critic (math professor Abby Thompson of the University of California at Davis), I once suggested that the program seemed designed to brake the progress of bright kids. Thompson replied that I underestimated its anti-elitist fervor: "I don't think this is quite correct. The idea [espoused by 'Whole' Math advocates] is more precisely that there are no smart kids, that all children are equally talented at math, and that any differences that appear are due to societal failure, and probably racism and sexism to boot."-'(

Our bodies have been created not only by God but also for God..We are driven today by whatever can bring our bodies the most pleasure. What can we eat, touch, watch, do listen to, or engage in to satisfy the cravings of our bodies?..in his love, gives us boundaries for our bodies: he loves us and knows what is best for us..[there are] clear and critical distinctions between different types of laws in Leviticus. Some of the laws are civil in nature, and they specifically pertain to the government of ancient Israel..Other laws are ceremonial..However, various moral laws..are explicitly reiterated in the New Testament..Jesus himself teaches that the only God-honoring alternative to marriage between a man and a woman is singleness..the Bible also prohibits all sexual looking and thinking outside of marriage between a husband and a wife..it is sinful even to look at someone who is not your husband or wife and entertain sexual thoughts about that person..it is also wrong to provoke sexual desires in others outside of marriage..God prohibits any kind of crude speech, humor, or entertainment that remotely revolves around sexual immorality..often watch movies and shows, read books and articles, and visit Internet sites that highlight, display, promote, or make light of sexual immorality..God prohibits sexual worship-- the idolization of sex and infatuation with sexual activity as a fundamental means to personal fulfillment..Don't rationalize it, and don't reason with it-- run from it. Flee it as fast as you can..We all have a sinful tendency to turn aside from God's ways to our wants. This tendency has an inevitable effect on our sexuality..every one of us is born with a bent toward sexual sin. But just because we have that bent doesn't mean we must act upon it. We live in a culture that assumes a natural explanation implies a moral obligation. If you were born with a desire, then it's essential to your nature to carry it out. This is one reason why our contemporary discussion of sexuality is wrongly framed as an issue of civil rights..Ethnic identity is a morally neutral attribute..Sexual activity is a morally chosen behavior..our sexual behavior is a moral decision, and just because we are inclined to certain behaviors does not make such behaviors right. His disposition toward a behavior does not mean justification for that behavior. "That's the way he is" doesn't mean "that's how he should act." Adultery isn't inevitable; it's immoral. This applies to all sexual behavior that deviates from God's design..We do not always choose our temptations. But we do choose our reactions to those temptations..the assumption that God's Word is subject to human judgement..Instead of obeying what God has said, we question whether God has said it..as soon as we advocate homosexual activity, we undercut biblical authority..we are undermining the integrity of the entire gospel..We take this created gift called sex and use it to question the Creator God, who gave us the gift in the first place..[Jesus] was the most fully human, fully complete person who ever lived, and he was never married. He never indulged in any sort of sexual immorality..This was not a resurrection merely of Jesus' spirit or soul but of his body..Repentance like this doesn't mean total perfection, but it does mean a new direction..in a culture that virtually equates identity with sexuality..Naturally this becomes our perception of ourselves, and we subsequently view everything in our lives through this grid..When you turn to Christ, your entire identity is changed. You are in Christ, and Christ is in you. Your identity is no longer as a heterosexual or a homosexual, an addict or an adulterer.

So I did. A basic course for starters, then a second, more advanced course for wedding flowers, and a third for contemporary design. After that I entered

We have not yet proven that they can. But if we do, it will be because we faced the truth unflinchingly. We will have to shun the shakedown artists and guiltmongers. Whites will have to turn their backs on cowardly, dishonest behavior designed solely to escape charges of “racism.” They must reject wholesale, off-the-shelf accusations and search for explanations that go deeper than the sloganeering, grandstanding, and buffoonery that now control the field.

total communication (TC) A method of communication for students with hearing impairments, designed to provide equal emphasis on oral and signing skills to facilitate communication ability.

The Jacob K. Javits Gifted and Talented Students Education Act (PL 100–297) was passed in 1988. The Javits Act states that “gifted and talented students are a national resource vital to the future of the Nation and its security and well-being” [Sec. 4102 (a) (1)]. This legislation reestablished the Office of the Gifted and Talented (originally created in 1974) and founded a national research center focusing on gifted children, demonstration projects in gifted education, and efforts aimed at identifying and serving pupils with gifts and talents from traditionally underrepresented groups. In the early 1990s, the Office of Educational Research and Improvement in the U.S. Department of Education issued National Excellence: A Case for Developing America’s Talent (Ross, 1993), the second national report on gifted children. The National Research Center on the Gifted and Talented generated research that was used by decision makers to design and implement policy and enact legislation. The demonstration projects focused on developing talents in areas with a large percentage of children who have been underrepresented in gifted services.

One thing more makes these men and women from the age of wigs, swords, and stagecoaches seem surprisingly contemporary. This small group of people not only helped to end one of the worst of human injustices in the most powerful empire of its time; they also forged virtually every important tool used by citizens’ movements in democratic countries today. Think of what you’re likely to find in your mailbox—or electronic mailbox—over a month or two. An invitation to join the local chapter of a national environmental group. If you say yes, a logo to put on your car bumper. A flier asking you to boycott California grapes or Guatemalan coffee. A poster to put in your window promoting this campaign. A notice that a prominent social activist will be reading from her new book at your local bookstore. A plea that you write your representative in Congress or Parliament, to vote for that Guatemalan coffee boycott bill. A “report card” on how your legislators have voted on these and similar issues. A newsletter from the group organizing support for the grape pickers or the coffee workers. Each of these tools, from the poster to the political book tour, from the consumer boycott to investigative reporting designed to stir people to action, is part of what we take for granted in a democracy. Two and a half centuries ago, few people assumed this. When we wield any of these tools today, we are using techniques devised or perfected by the campaign that held its first meeting at 2 George Yard in 1787. From their successful crusade we still have much to learn. If, early that year, you had stood on a London street corner and insisted that slavery was morally wrong and should be stopped, nine out of ten listeners would have laughed you off as a crackpot. The tenth might have agreed with you in principle, but assured you that ending slavery was wildly impractical: the British Empire’s economy would collapse. The parliamentarian Edmund Burke, for example, opposed slavery but thought that the prospect of ending even just the Atlantic slave trade was “chimerical.” Within a few short years, however, the issue of slavery had moved to center stage in British political life. There was an abolition committee in every major city or town in touch with a central committee in London. More than 300,000 Britons were refusing to eat slave-grown sugar. Parliament was flooded with far more signatures on abolition petitions than it had ever received on any other subject. And in 1792, the House of Commons passed the first law banning the slave trade. For reasons we will see, a ban did not take effect for some years to come, and British slaves were not finally freed until long after that. But there was no mistaking something crucial: in an astonishingly short period of time, public opinion in Europe’s most powerful nation had undergone a sea change. From this unexpected transformation there would be no going back.

Today ginkgoes are contributing little if anything to local food webs compared to most contemporary indigenous plants. Regardless of whether it was once a native in North America, the complex food webs ginkgo may have supported in the past did not survive its seven-million-year hiatus. An ecosystem is the combination of an interacting community of living organisms and their physical environment, functioning as an ecological unit in a given place. The operative word in this definition is “interacting

One increasingly common way to combat alleged campus racism is to make all students take courses designed to sensitize them to the plight of minorities. In 1991, the University of California at Berkeley started making students study the contributions of minorities to American society.144 English Composition is the only other campuswide requirement.145 The University of Wisconsin campuses at Madison and Milwaukee, New York State University at Cortland, the University of Connecticut, Penn State University, the University of Michigan, and Williams College have also instituted race-relations requirements in the past several years.146 Courses like these often put the burdens of guilt and responsibility squarely on whites. As one satisfied student at Southern Methodist University put it, the purpose of a race-relations course he was taking was to show that “whites must be sensitive to the African-American community rather than the other way around.

Broken means: does not function as it was designed to function. A broken human is one who does not function the way humans are designed to function. When I think about my own human experience, what honest people have told me about their human experiences, and the experiences of every historical and contemporary human being I’ve ever studied, we all seem to function in the exact same way:

If the consumer society no longer produces myth, this is because it is itself its own myth. The Devil, who brought Gold and Wealth (the price of which was our soul), has been supplanted by Affluence pure and simple. And the pact with the Devil has been supplanted by the contract of Affluence. Moreover, just as the most diabolical aspect of the Devil has never been his existing, but his making us believe that he exists, so Affluence does not exist, but it only has to make us believe it exists to be an effective myth. Consumption is a myth. That is to say, it is a statement of contemporary society about itself, the way our society speaks itself. And, in a sense, the only objective reality of consumption is the idea of consumption; it is this reflexive, discursive configuration, endlessly repeated in everyday speech and intellectual discourse, which has acquired the force of common sense. Our society thinks itself and speaks itself as a consumer society. As much as it consumes anything, it consumes itself as consumer society, as idea. Advertising is the triumphal paean to that idea. This is not a supplementary dimension; it is a fundamental one, for it is the dimension of myth. If we did nothing but consume (getting, devouring, digesting), consumption would not be a myth, which is to say that it would not be a full, self-fulfilling discourse of society about itself, a general system of interpretation, a mirror in which it takes supreme delight in itself, a utopia in which it is reflected in advance. In this sense, affluence and consumption – again, we mean not the consumption of material goods, products and services, but the consumed image of consumption – do, indeed, constitute our new tribal mythology – the morality of modernity. Without that anticipation and reflexive potentialization of enjoyment in the ‘collective consciousness’, consumption would merely be what it is and would not be such a force for social integration. It would merely be a richer, more lavish, more differentiated mode of subsistence than before, but it would no more have a name than ever it did before, when nothing designated as collective value, as reference myth what was merely a mode of survival (eating, drinking, housing and clothing oneself) or the sumptuary expenditure (finery, great houses, jewels) of the privileged classes. Neither eating roots nor throwing feasts was given the name ‘consuming’. Our age is the first in which current expenditure on food and ‘prestige’ expenditure have both been termed consumption by everyone concerned, there being a total consensus on the matter. The historic emergence of the myth of consumption in the twentieth century is radically different from the emergence of the technical concept in economic thinking or science, where it was employed much earlier. That terminological systematization for everyday use changes history itself: it is the sign of a new social reality. Strictly speaking, there has been consumption only since the term has ‘passed into general usage’. Though it is mystifying and analytically useless – a veritable ‘anti-concept’ indeed – it signifies, nonetheless, that an ideological restructuring of values has occurred. The fact that this society experiences itself as a consumer society must be the starting point for an objective analysis

The continuity of machine gambling holds worldly contingencies in a kind of abeyance, granting her an otherwise elusive zone of certainty—a zone that Mollie described earlier as “the eye of a storm.” “Players hang, it could be said, in a state of suspended animation,” writes one machine gambling researcher.43 A zone in which time, space, and social identity are suspended in the mechanical rhythm of a repeating process may seem an unpromising object for cultural analysis. Yet such a zone, I argue, can offer a window onto the kinds of contingencies and anxieties that riddle contemporary American life, and the kinds of technological encounters that individuals are likely to employ in the management of these contingencies and anxieties.

The interval between the first and second wars in Iraq (1991 and 2003) has seen a remarkable shift from Clausewitz to Sun Tzu in the discourse about contemporary warfare. Clausewitz enjoyed an undreamed of renaissance in the USA after the Vietnam War and seemed to have attained the status of master thinker. On War enabled many theorists to recognize the causes of America’s traumatic defeat in Southeast Asia, as well as the conditions for gaining victory in the future. More recently, however, he has very nearly been outlawed. The reason for this change can be found in two separate developments. Firstly, there has been an unleashing of war and violence in the ongoing civil wars and massacres, especially in sub-Saharan Africa, in the secessionist wars in the former Yugoslavia, and in the persistence of inter-communal violence along the fringes of Europe’s former empires. These developments seemed to indicate a departure from interstate wars, for which Clausewitz’s theory appeared to be designed, and the advent of a new era of civil wars, non-state wars, and social anarchy. Sun Tzu’s The Art of War seemed to offer a better understanding of these kinds of war, because he lived in an era of never-ending civil wars. Secondly, the reason for the change from Clausewitz to Sun Tzu is connected with the ‘revolution in military affairs’. The concepts of Strategic Information Warfare (SIW) and fourth generation warfare have made wide use of Sun Tzu’s thought to explain and illustrate their position. The ‘real father’ of ‘shock and awe’ in the Iraq War of 2003 was Sun Tzu, argued one commentator in the Asia Times. Some pundits even claimed triumphantly that Sun Tzu had defeated Clausewitz in this war, because the US Army conducted the campaign in accordance with the principles of Sun Tzu, whereas the Russian advisers of the Iraqi army had relied on Clausewitz and the Russian defence against Napoleon’s army in 1812. The triumphant attitude has long been abandoned.

Your mother can’t hear you here.” “Distance is no match for my mother’s eavesdropping and mind-reading skills.” “I had steel anti-mind-reading plates installed this week. Specially designed to be Marilyn-proof. Also sounds an alarm if she gets within two hundred yards of the building, and I sent the guards downstairs to ninja training. You’re safe.

when an ancient text describes “worldly concerns,” it is very important to understand that this is actually a geographic designation, not an existential one. The “world” really just encompassed the frenetic endeavors of life in the city, that place of hustle and bustle, lust and heartache, career and ambition, art and entertainment, government and politics. Deeply pursuing spiritual practice meant leaving the city behind.

the historical Buddha was consistently offering a series of psychological and ethical tools for working with the very human realities of dissatisfaction and confusion. His emphasis on understanding and alleviating human suffering was the very first thesis of his work, a central thesis from which he never deviated. Time and again, he presented modes of humanistic training designed to alleviate the dissatisfaction caused by grasping, rejecting, and numbing out, which are the nasty symptoms of our commuter’s mentality. At

Two psalms in particular contained in the collection of Psalms of the “sons of Korah,” the professional class of temple singers; Psalms 88 and 89 bear ascriptions to Ethan and Heman respectively.  In this case, both of these figures bear the title “Ezrahite.”  According to William Albright, this term designates an “aborigine” or a “member of a pre-Israelite family” (Albright, 1942, 127, 210).  The reason why these two men must have been contemporaries of Solomon rather than predecessors is because Psalm 89, attributed to Heman, is a royal psalm mentioning David and the Davidic royal line explicitly. 

Hittite chariots, like those of most of their contemporaries from other kingdoms, consisted of a wooden frame covered with leather, but they were different from their contemporaries in one notable respect: the axle was attached to the middle of the body rather than the rear (Macqueen 2003, 58). The design of the Hittite chariots meant that they were much slower than the chariots of their adversaries, but they had an advantage because three men (instead of the usual two) could ride in the chariot

It will be clear from instances like these that Jane and Helen withstand temptation not because they are 'good girls', to quote Winnifrith's designation for Agnes Grey, reluctantly complying with now-outmoded rules for virtuous behaviour. They resist because failure to do so would be a betrayal of the Creator who is to them, as to so many of their contemporaries, the very fount of love.

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Having accepted a graduate fellowship in the Department of Philosophy at Cornell, I duly presented myself to begin studies for a Ph.D. One of our assignments during the first semester was to read Kant's Critique of Pure Reason from cover to cover, along with Norman Kemp Smith's commentary thereon, which was almost as voluminous. Pondering this literature, it did not take me long to conclude that these Kantian ratiocinations, brilliant though they may be, have little to do with that Sophia—that more-than-human Wisdom—of which authentic philosophy, by its very designation, is literally the love. And so, three weeks into the semester, I resigned my fellowship and left Cornell University. "I had always been attracted to the natural world, to forests and mountains especially; and so I resolved to proceed to the great Northwest, henceforth to earn my keep as a lumberjack. No doubt I had an unrealistic and overly romanticized conception of what this entails; but in any case, at that point fate abruptly intervened. I had made my intentions known to my brother, who at the time was studying chemical engineering at Purdue University. He immediately proceeded to the chairman of the physics department to tell him about my case, going so far as to put my letter in his hands. The verdict was instant: 'Tell you brother to present himself in my office Monday morning to assume his duties as a teaching assistant.' It seems the voice of Providence had spoken: despite my very mixed feelings regarding the contemporary academic world, I was destined to pass most of my professional life in its precincts—but not in departments of philosophy!

Perhaps more than any other company in the world, IKEA has become a curator of people’s lifestyles, if not their lives. IKEA World [is] a state of mind that revolves around contemporary design, low prices, wacky promotions, and an enthusiasm that few institutions in or out of business can muster.”1

Broken means: does not function as it was designed to function. A broken human is one who does not function the way humans are designed to function. when I think about my own human experiences, and the experiences of every historical and contemporary human being I've ever studies, we all seem to function in the exact same way: We hurt people and we are hurt by people. We feel left out, envious, not good enough, sick, and tired. we have unrealized dreams and deep regrets. We are certain that we were meant for more and that we don't even deserve what we have. We feel ecstatic and then numb. We wish our parents had done better by us. We wish we could do better by our children. We betray and we are betrayed. We lie and we are lied to. We say goodbye to animals, to places, to people we cannot live without. We are so afraid of dying. Also: of living. We have fallen in love and out of love, and people have fallen in love and out of love with us. We wonder if what happened us that night will mean we can never be touched again without fear. We live with rage bubbling. We are sweaty, bloated, gassy, oily. We love our children, we long for children, we do not want children. We are at war with out bodies, our minds, our souls. We are at war with one another. We wish we'd said all those things while they were still here. They're still here, and we're still not saying those things. We know we won't. We don't understand ourselves. We don't understand why we hurt those we love. We want to be forgiven. We cannot forgive. We don't understand God. We believe. We absolutely do not believe. We are lonely. We want to be left alone. We want to belong. We want to be loved. We want to be loved. We want to be loved.

The Fearless Flyer began life in 1969 during the Good Time Charley phase of Trader Joe’s as the Insider’s Wine Report, a sheet of gossip of “inside” information on the wine industry at a time where there weren’t any such gossip sheets, for the excellent reason that few people were interested in wine. As of the writing of this book, 11 percent of Americans drink 88 percent of the wine according to contemporary wine gossip magazine the Wine Spectator. In the Insider’s Wine Report we gave the results of the wine tastings that we were holding with increasing frequency, as we tried to gain product knowledge. This growing knowledge impressed me with how little we knew about food, so in 1969, we launched a parallel series of blind tastings of branded foods: mayonnaise, canned tuna, hot dogs, peanut butter, and so on. The plan was to select the winner, and sell it “at the lowest shelf price in town.” To report these results, I designed the Insider’s Food Report, which began publication in 1970. It deliberately copied the physical layout of Consumer Reports: the 8.5” x 11” size, the width of columns, and the typeface (later changed). Other elements of design are owed to David Ogilvy’s Confessions of an Advertising Man. The numbered paragraphs, the boxes drawn around the articles, are all Ogilvy’s ideas. I still think his books are the best on advertising that I’ve ever read and I recommend them. Another inspiration was Clay Felker, then editor of New York magazine, the best-edited publication of that era. New York’s motto was, “If you live in New York, you need all the help you can get!” The Insider’s Food Report borrowed this, as “The American housewife needs all the help she can get!” And in the background was the Cassandra-like presence of Ralph Nader, then at the peak of his influence. I felt, however, that all the consumer magazines, never mind Mr. Nader, were too paranoid, too humorless. To leaven the loaf, I inserted cartoons. The purpose of the cartoons was to counterpoint the rather serious, expository text; and, increasingly, to mock Trader Joe’s pretensions as an authority on anything.

As it happens, the term “stereotype” offers a useful entry point for thinking about the default settings of technology and society. It first referred to a practice in the printing trade whereby a solid plate called a “stereo” (from the ancient Greek adjective stereos, “firm,” “solid”) was used to make copies. The duplicate was called a “stereotype.”47 The term evolved; in 1850 it designated an “image perpetuated without change” and in 1922 was taken up in its contemporary iteration, to refer to shorthand attributes and beliefs about different groups. The etymology of this term, which is so prominent in everyday conceptions of racism, urges a more sustained investigation of the interconnections between technical and social systems.

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