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.

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.

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.

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.

From the perspective of deep time, we are extracting Earth's geological history to serve a split second of contemporary technological time, building devices like the Amazon Echo and iPhone that are often designed to last for only a few years.

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.

For example, tolerance designates a real problem—when I criticize it, I am, as a rule, asked: “But how can you be in favor of intolerance towards foreigners, of misogyny, of homophobia?” Therein resides the catch: of course I am not against tolerance per se; what I oppose is the (contemporary and automatic) perception of racism as a problem of intolerance. Why are so many problems today perceived as problems of intolerance, rather than as problems of inequality, exploitation, or injustice? Why is the proposed remedy tolerance, rather than emancipation, political struggle, or even armed struggle? The source of this culturalization is defeat, the failure of directly political solutions such as the social-democratic welfare state or various socialist projects: “tolerance” has become their post-political ersatz.

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.

book The World Beyond Your Head: On Becoming an Individual in an Age of Distraction as a jumping off point, he takes care to unpack the various cultural mandates  that have infected the way we think and feel about distraction. I found his ruminations not only enlightening but surprisingly emancipating: There are two big theories about why [distraction is] on the rise. The first is material: it holds that our urbanized, high-tech society is designed to distract us… The second big theory is spiritual—it’s that we’re distracted because our souls are troubled. The comedian Louis C.K. may be the most famous contemporary exponent of this way of thinking. A few years ago, on “Late Night” with Conan O’Brien, he argued that people are addicted to their phones because “they don’t want to be alone for a second because it’s so hard.” (David Foster Wallace also saw distraction this way.) The spiritual theory is even older than the material one: in 1887, Nietzsche wrote that “haste is universal because everyone is in flight from himself”; in the seventeenth century, Pascal said that “all men’s miseries derive from not being able to sit in a quiet room alone.”… Crawford argues that our increased distractibility is the result of technological changes that, in turn, have their roots in our civilization’s spiritual commitments. Ever since the Enlightenment, he writes, Western societies have been obsessed with autonomy, and in the past few hundred years we have put autonomy at the center of our lives, economically, politically, and technologically; often, when we think about what it means to be happy, we think of freedom from our circumstances. Unfortunately, we’ve taken things too far: we’re now addicted to liberation, and we regard any situation—a movie, a conversation, a one-block walk down a city street—as a kind of prison. Distraction is a way of asserting control; it’s autonomy run amok. Technologies of escape, like the smartphone, tap into our habits of secession. The way we talk about distraction has always been a little self-serving—we say, in the passive voice, that we’re “distracted by” the Internet or our cats, and this makes us seem like the victims of our own decisions. But Crawford shows that this way of talking mischaracterizes the whole phenomenon. It’s not just that we choose our own distractions; it’s that the pleasure we get from being distracted is the pleasure of taking action and being free. There’s a glee that comes from making choices, a contentment that settles after we’ve asserted our autonomy. When

Of course the tallest monument in Paris is the Eiffel Tower, named for the visionary engineer who designed it, Fred Tower.

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.

The idea that retirement is the reward for our many years of dedicated service is a very contemporary perspective.

When human beings engage in homosexual activity, they enact an outward and visible sign of an inward and spiritual reality: the rejection of the Creator’s design.

12-13 So they left the mountain called Olives and returned to Jerusalem. It was a little over half a mile. They went to the upper room they had been using as a meeting place:   Peter John James Andrew Philip Thomas Bartholomew Matthew James son of Alphaeus Simon the Zealot Judas, son of James.   14 They agreed they were in this for good, completely together in prayer, the women included. Also Jesus’ mother, Mary, and his brothers. REPLACING JUDAS 15-17 During this time, Peter stood up in the company—there were about 120 of them in the room at the time—and said, “Friends, long ago the Holy Spirit spoke through David regarding Judas, who became the guide to those who arrested Jesus. That Scripture had to be fulfilled, and now has been. Judas was one of us and had his assigned place in this ministry. 18-20 “As you know, he took the evil bribe money and bought a small farm. There he came to a bad end, rupturing his belly and spilling his guts. Everybody in Jerusalem knows this by now; they call the place Murder Meadow. It’s exactly what we find written in the Psalms:   Let his farm become haunted So no one can ever live there.   “And also what was written later:   Let someone else take over his post.   21-22 “Judas must now be replaced. The replacement must come from the company of men who stayed together with us from the time Jesus was baptized by John up to the day of his ascension, designated along with us as a witness to his resurrection.” 23-26 They nominated two: Joseph Barsabbas, nicknamed Justus, and Matthias. Then they prayed, “You, O God, know every one of us inside and out. Make plain which of these two men you choose to take the place in this ministry and leadership that Judas threw away in order to go his own way.” They then drew straws. Matthias won and was counted in with the eleven apostles.

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

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.

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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 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.

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 On the Origin of Species, Darwin openly acknowledged important weaknesses in his theory and professed his own doubts about key aspects of it. Yet today’s public defenders of a Darwin-only science curriculum apparently do not want these, or any other scientific doubts about contemporary Darwinian theory, reported to students.

[F]orgetting takes multiple guises and sometimes infuses life in the most subtle and taken-for-granted ways. Therefore, forgetting consists not only of markers that indicate the erasure of knowledge, but also the habits, routines, and physical movements that lead one to present and practice detachment and hiding. It includes hiding the outward indicators of one’s religion. It is taking care when choosing one’s words in public, or even when speaking among family, so that the children will not learn what is supposed to be forgotten. Practicing these habits until they become ingrained and no longer require conscious attention makes forgetting a part of everyday life… In Ulaanbaatar (and the next-biggest city, Darkhan) the state built wedding palaces, thus making marriages and the establishment of families matters that came under state control. The alphabet, personal names, food, hairstyles, consumer goods, clothing, and fashions also changed due to the revolution. All this meant that the younger generations had little reference in everyday life from which to inquire about the past. When the memories of those belonging to an older generation contradicted the national narrative, there was little chance they would be heard by succeeding generations, whose ideological training and values conflicted with those of the past. “The erasure of socio-political context . . . allowed for the absorption of the particular (memories) into the general” (Steedly 1993:131), and furthered the homogenization of history and the nation. In a homogenizing society, to be a misfit, a reactionary, was not only a source of shame and public alienation, but also invited the threat of state intervention… Those of the next generation were born in the 1940s and 1950s, after most of the political massacres had been carried out. They grew up with socialist propaganda and were removed from the past, owing to the silencing of their parents’ memories and the dominance of the state’s narrative. The past seeped through to them accidentally, against the will of their parents… Often silences are a sign of powerlessness, not of the lack of a story to tell. As Tsing (1990:122) argues, power consists, at least in part, of the ability to convene an audience. According to Steedly (1993:198), this ability requires telling a compelling story that is strategically designed to meet the interests of the listeners.

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.

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.

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

According to the book of Genesis, “God created man in his own image.” According to Aristotle, “men create the gods after their own image.” As should be clear by now, Aristotle seems to have been onto something, especially when it comes to the minds of gods. So, in theory, some of the more basic features of the human mind should be fairly standard equipment in gods, especially the gods of “primitive” religions. That seems to be the case, and one of these features deserves special consideration: the part of the human mind shaped by the evolutionary dynamic known as “reciprocal altruism.” In light of this dynamic, much about the origin of religion, and for that matter much about contemporary religion, makes a new kind of sense. Thanks to reciprocal altruism, people are “designed” to settle into mutually beneficial relationships with other people, people whom they can count on for things ranging from food to valuable gossip to social support, and who in turn can count on them. We enter these alliances almost without thinking about it, because our genetically based emotions draw us in. We feel gratitude for a favor received, along with a sense of obligation, which may lead us to return the favor. We feel growing trust of and affection for people who prove reliable reciprocators (aka “friends”), which keeps us entwined in beneficial relationships. This is what feelings like gratitude and trust are for—the reason they’re part of human nature. But of course, not everyone merits our trust. Some people accept our gifts of food and never reciprocate, or try to steal our mates, or exhibit disrespect in some other fashion. And if we let people thus take advantage of us day after day, the losses add up. In the environment of our evolution, these losses could have made the difference between surviving and not surviving, between prolifically procreating and barely procreating. So natural selection gave us emotions that lead us to punish the untrustworthy—people who violate our expectations of exchange, people who seem to lack the respect that a mutually beneficial relationship demands. They fill us with outrage, with moral indignation, and that outrage—working as “designed” —impels us to punish them in one way or another, whether by actually harming them or just by withholding future altruism. That will teach them! (Perhaps more important, it will also teach anyone else who is watching, and in the ancestral hunter-gatherer environment, pretty much everyone in your social universe was watching.) This is the social context in which the human mind evolved: a world full of neighbors who, to varying degrees, are watching you for signs of betrayal or disrespect or dishonesty—and who, should they see strong evidence of such things, will punish you. In such a social universe, when misfortune comes your way, when someone hits you or ridicules you or suddenly gives you the cold shoulder, there’s a good chance it’s because they feel you’ve violated the rules of exchange. Maybe you’ve failed to do them some favor they think they were due, or maybe you’ve shown them disrespect by doing something that annoys them. Surely it is no coincidence that this generic explanation of why misfortune might emanate from a human being is also the generic explanation of why misfortune emanates from gods. In hunter-gatherer religions—and lots of other religions—when bad things happen, the root cause is almost always that people in one sense or another fail to respect the gods. They either fail to give gods their due (fail, say, to make adequate sacrifices to ancestral spirits), or they do things that annoy gods (like, say, making a noise while cicadas are singing). And the way to make amends to the aggrieved gods is exactly the way you’d make amends to aggrieved people: either give them something (hence ritual sacrifice), or correct future behavior so that it doesn’t annoy them (quit making noises while cicadas are singing).

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.

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.

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.

WHEN PEOPLE DISCOVER that there is such a thing as spirituality, they understandably feel as excited as did Columbus upon setting eyes on the shores of America. Spirituality affords them a broader vista than they ever considered possible. They suddenly realize that conventional society is designed—partly consciously but for the most part quite unconsciously—to prevent us from seeing our full potential as human beings. Conventional life primarily revolves around the pursuit of rather limited goals: physical comfort, material possessions, sex, emotional gratification, mental stimulation, and power. According to Hinduism, there are four legitimate pursuits to which we can dedicate our time and energy: (1) artha—material welfare, (2) kāma—physical, emotional, and intellectual satisfaction, (3) dharma—morality (notably, justice), and (4) moksha—spiritual fulfillment. Much, if not most, of conventional life falls into the categories of artha and kāma. Our civilization has invented countless ways to keep our attention focused on comfort and pleasure. Every year billions of dollars are spent in advertising to make sure that we keep up our consumption of material goods, whether we need them or not, and that we strive for a “comfortable” life. Dharma is pursued in a much more limited way. Our moral standards appear to be at an all-time low, which is in keeping with the Indic notion of the kali-yuga or dark age, which is expected to prevail upon Earth for many millennia more. By comparison, the contemporary New Age belief in the imminent upliftment of humankind, by magical fiat and without any effort at all, appears like a mere whimsical hope. We must acknowledge that American society in particular suffers from widespread injustice in the legal system and that litigation has become a way of life. If moral integrity is not high on our list of priorities, spiritual aspiration is almost entirely absent from our lives. Few people really understand what spirituality is, and fewer still actively pursue a spiritual path.

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.

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Ravissant's silver frames come in a range of sizes and styles, from simple and classic to ornate and intricate. Some of their frames feature intricate engravings and embellishments, while others have a more streamlined and contemporary look. Regardless of the style, all of Ravissant's silver frames are crafted from high-quality materials and are designed to last for years to come.

The gāyatrī is explained in many places in the Sanskrit literature. For instance, the Tripurā-Tāpanī-Upanishad, a fairly late work belonging to the Shākta tradition, connects this mantra with the worship of the Goddess Tripurā. She is celebrated as the great Power (Shakti) behind all manifestation. In that scripture, we learn that the Sanskrit word tat (“that”) refers to the eternal, unconditioned Absolute (brahman), the transcendental Reality out of which the world in all its many layers has evolved. Savitur (or Savitri), the Upanishad further tells us, refers to the primal power of the Goddess Tripurā, even though the Sanskrit name Savitri is a masculine word standing for the “Impeller,” that is, the Sun or Solar Spirit. Savitri must not be confused with the Goddess Savitrī, who presides over all learning but also over the mighty river by the same name that once flowed from the Himalayas to the Indian Ocean. The name Savitri derives from the verbal root su meaning “to urge, instigate, impel,” which is closely related to the second connotation of this root, namely “to extract, press.” What Savitri extracts out of himself are two closely connected things: life-giving light and warmth. Varenyam means “most excellent” or “most beautiful,” designating that which has no superior. This word qualifies the term bhargas. Bhargo (from bhargas or “splendor”) is said to be the transcendental aspect of Savitri, which strikes us with awe—a splendor that cannot be seen with human eyes but that discloses itself only to the inner vision of the great Yoga adept. Devasya (from deva) means “of God,” that is, “of Savitri.” Dhīmahi means “let us contemplate” and implies a heartfelt desire to focus the mind on the ultimate Reality through the medium of contemplation (dhī). In the Rig-Veda, the archaic term dhī stands for the later term dhyāna, which means “meditation/contemplation.” Dhiyo (from dhiyas) is the plural of dhī. Repeatedly the ancient sages fixed their minds on that One, and contemporary yogins still follow the same age-old practice. As their contemplations deepen, Savitri increasingly illuminates the mind. Yo (from yah) is simply the relative pronoun “who,” which here refers to God Savitri. Nah means “us/our” and qualifies the contemplations of the sages. Pracodayāt is derived from the verb pracodaya (meaning “to cause to be inspired”). Without Savitri, the masters of yore felt, their contemplations lacked inspiration. Only Savitri could inspire or illuminate their inner world, just as he illuminates the Earth through his radiant physical body (the visible solar orb).

They were designed for people who did not believe and included no songs, no prayers, no jargon, no quick answers, and no calls for decisions. As those young believers realized that these sessions were indeed safe—that we would not invade the space the unbeliever needs to work through his or her unbelief—they increasingly brought their friends and peers around. The studies were reinforced by steady social involvement—barbecues, soccer games, anything where people could get a closer look at their Christian friends in a natural Brazilian environment. It was the gospel incarnated. The result was a “synagogue” of from forty to sixty people in various stages of interest in Christ. We had our rapport. It became a simple matter then to invite those individuals who were responding to take a closer look at Christ through the Scriptures. It was very fruitful. I describe this effort, not to offer it as a model, but as an illustration of the kind of innovation required to effectively field contemporary apostolic teams. We found that every step we took, at every stage, required equivalent creative effort. Local Expansion of the Gospel An apostolic team can go where a congregation cannot and make things happen that would

The key insight gained by contemporary physics is that material reality in itself does not present us with a dense field of fully constituted realities that form the ultimate building blocks of the universe, but rather with irreducibly indeterminate states lacking any substantial being and from which “hard” reality can only emerge if there is a collapse of the wave function. In this sense, the micro-universe of quantum particles is strangely “less” than that of the macro-universe that constructs itself from its vicissitudes, in a way that is remarkably similar to how the Kantian subject can only construct a unified, coherent world of appearances from the inconsistent fragments of sensation. In a strange logical short circuit, it would appear that not only is there no bottom-up causality at the level of experience (transcendental constitution is more real than what Kant calls “a rhapsody of perception”), but even the most fundamental level of the universe is metaphysically more chaotic than the ordered macro-level physical world that science classically described. It is as if all reality is transcendentally constitutive, so that the only way to break free of the correlationist circle is to push “this transcendental correlation into the Thing itself:” “[i]t is against this background that one can make out the contours of what can perhaps only be designated by the oxymoron 'transcendental materialism' (proposed by Adrian Johnston).

To the skeptics, perhaps the events that are to follow were just a coincidence and nothing more than a series of random accidents that led me to where I am today. But to the lovers and poets and dreamers, perhaps you might agree that the story about to unfold is something more. You might even agree that there are times when coincidences are so powerful that they don’t really seem like coincidences anymore. Times when you come across events that seem too strange, or too strong, to be anything other than Fate—a grand design that incorporates everything from the career paths we take, the friends we meet along the way, and the partners we choose to spend our lives with. Times like these make you question that maybe nothing in this world happens by accident. Maybe everything really does happen for a reason, as some prewritten destiny slowly takes shape and shoves you down a path—or in my case, a mountain side.

What astonishes us about Earl Patrick's castle works is the extraordinary beauty and refinement of their architecture. At all of them it is obvious that he employed the same architect. And it is equally obvious that this architect was an artist of the first rank, with a scholarly ans sensitive acquaintance and understanding contemporary design, particularly in France. Yet this group of buildings, so beautiful and so refined, were erected to serve the tyrannical purposes of the worst scoundrel of his time in Scotland.

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been intentionally designed into the technology. And when we can’t resist a drag on a cigarette after a few drinks at a party, we’re obeying the deep call of our paleomammalian ancestry. How’s that for an excuse? In fact, much of the everyday short-termism of consumer culture—from bingeing on junk food to the customer stampede at a clearance sale—can be traced back to the here-and-now instincts that are part of our evolutionary heritage. “The propensity for overconsumption,” argues neuroscientist Peter Whybrow, “is the relic of a time when individual survival depended upon fierce competition for resources . . . The ancient brain that drives us—evolved in scarcity, habit-driven and focused on short-term survival—is poorly matched to the frenzied affluence of contemporary material culture.

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The Duncans always think it odd that I choose women for combat forces, but my Fish Speakers are a temporary army in every sense. While they can be violent and vicious, women are profoundly different from men in their dedication to battle. The cradle of genesis ultimately predisposes them to behavior more protective of life. They have proved to be the best keepers of the Golden Path. I reinforce this in my design for their training. They are set aside for a time from ordinary routines. I give them special sharings which they can look back upon with pleasure for the rest of their lives. They come of age in the company of their sisters in preparation for events more profound. What you share in such companionship always prepares you for greater things. The haze of nostalgia covers their days among their sisters, making those days into something different than they were. That’s the way today changes history. All contemporaries do not inhabit the same time. The past is always changing, but few realize it. —THE STOLEN JOURNALS

Can we really use the methods of modern economics, which were designed to understand how contemporary economic institutions operate, to describe the political battles that led to the creation of those very institutions? This is not just a conceptual problem. There are moral dangers here. To take what might seem an “objective” economic approach to the origins of the world economy would be to treat the behavior of early European explorers, merchants, and conquerors as if they were simply rational responses to opportunities—as if this were just what anyone would have done in the same situation. This is what the use of equations so often does: make it seem perfectly natural to assume that, if the price of silver in China is twice what it is in Seville, and inhabitants of Seville are capable of getting their hands on large quantities of silver and transporting it to China, then clearly they will, even if doing so requires the destruction of entire civilizations.

It is now clear that the kōan about Mahakasyapa's receiving the flower after Sakyamuni's wordless sermon, as well as slogans like "special transmission outside the teaching" and "no reliance on words and letters"—originally separate items that came to be linked in a famous Zen motto attributed to Bodhidharma—were created in the Sung dynasty. First making their appearance in eleventh-century transmissions of the lamp texts, including the Chingte chuan-teng lu (1004) and the T'ien-sheng kuang-teng lu (1036), these rhetorical devices were designed to support the autonomous identity of Zen in an era of competition with neo-Confucianism and are not to be regarded as accurate expressions of the period they are said to represent. A close examination of sources reveals that Tang masters with a reputation for irreverence and blasphemy were often quite conservative in their approach to doctrine by citing (rather than rejecting) Mahayana sutras in support of teachings that were not so distinct from, and were actually very much in accord with, contemporary Buddhist schools.