Continuum Top Quotes

I'm just asking you to accept that there are some people who will go to extraordinary lengths to cover up the facts that they are abusing children. What words are there to describe what happened to me, what was done to me? Some call it ritual abuse, others call it organised abuse. There are those that call it satanic. I've heard all the phrases, not just in relation to me, but also with regard to those I work with and try to help. Do you know what I think? It doesn't matter how you dress it up, it doesn't matter what label you put on it. It is abuse, pure and simple. It is adults abusing children. It is adults deciding - actually making a conscious decision, a conscious choices that what they want, what they convince themselves they need, is more important than anything else; certainly more important than the safety or feelings or sanity of a child. However, there can be differences which are layered on top of that abuse. I'm not saying that some abuse is worse than others, or that someone 'wins' the competition to have the worst abuse inflicted on them, but ritual and organised abuse is at the extreme end of the spectrum. If we try to think of a continuum where there are lots of different things imposed on children (or, for that matter, anyone who is forced into these things — and that force can take many forms, it can be threats and promises, as well as kicks and punches), then ritual and organised abuse is intense and complicated. It often involves multiple abusers of both sexes. There can be extreme violence, mind control, systematic torture and even, in some cases, a complex belief system which is sometimes described as religion. I say 'described as' religion because, to me, I think that when this aspect is involved, it is window dressing. I'm not religious. I cried many times for God to save me. I was always ignored — how could I believe? However, I think that ritual abusers who do use religious imagery or 'beliefs' are doing so to justify it all to themselves, or to confuse the victim, or to hide their activities. Ritual abuse is highly organised and, obviously, secretive. It is often linked with other major crimes such as child pornography, child prostitution, the drugs industry, trafficking, and many other illegal and heinous activities. Ritual abuse is organised sexual, physical and psychological abuse, which can be systematic and sustained over a long period of time. It involves the use of rituals - things which the abusers 'need' to do, or 'need' to have in place - but it doesn't have to have a belief system. There doesn't have to be God or the Devil, or any other deity for it to be considered 'ritual'. It involves using patterns of learning and development to keep the abuse going and to make sure the child stays quiet.

department rejected, he claimed, because it was too simple and too much fun. It provides a schema for analyzing every story ever written, whether fiction or nonfiction. A vertical axis represents the continuum from good fortune to bad, with good at the top, bad at the bottom. The horizontal axis represents the passage of time. One of the story types that Vonnegut isolated was “Man in a Hole,” in which the hero experiences great fortune, then deep misfortune, before climbing back up to achieve even greater success. It struck me that this was a pretty good representation of Churchill’s first year as prime minister

As my stacks of documents accumulated, I began mapping my narrative, using the so-called Vonnegut curve, a graphic device conceived by Kurt Vonnegut in his master’s thesis at the University of Chicago, which his department rejected, he claimed, because it was too simple and too much fun. It provides a schema for analyzing every story ever written, whether fiction or nonfiction. A vertical axis represents the continuum from good fortune to bad, with good at the top, bad at the bottom. The horizontal axis represents the passage of time. One of the story types that Vonnegut isolated was “Man in a Hole,” in which the hero experiences great fortune, then deep misfortune, before climbing back up to achieve even greater success.

The various ways of creating a culture of innovation that we’ve talked about so far are greatly influenced by the leaders at the top. Leaders can’t dictate culture, but they can nurture it. They can generate the right conditions for creativity and innovation. Metaphorically, they can provide the heat and light and moisture and nutrients for a creative culture to blossom and grow. They can focus the best efforts of talented individuals to build innovative, successful groups. In our work at IDEO, we have been lucky enough to meet frequently with CEOs and visionary leaders from both the private and public sectors. Each has his or her own unique style, of course, but the best all have an ability to identify and activate the capabilities of people on their teams. This trait goes far beyond mere charisma or even intelligence. Certain leaders have a knack for nurturing people around them in a way that enables them to be at their best. One way to describe those leaders is to say they are “multipliers,” a term we picked up from talking to author and executive advisor Liz Wiseman. Drawing on a background in organizational behavior and years of experience as a global human resources executive at Oracle Corporation, Liz interviewed more than 150 leaders on four continents to research her book Multipliers: How the Best Leaders Make Everyone Smarter. Liz observes that all leaders lie somewhere on a continuum between diminishers, who exercise tight control in a way that underutilizes their team’s creative talents, and multipliers, who set challenging goals and then help employees achieve the kind of extraordinary results that they themselves may not have known they were capable of.

Social primates like you and I have a strong and wholly nonrational propensity to force-fit our problems into a social mode – no matter what’s happening, we want to put a face on it, which in practice amounts to blaming it on the troop over there, or the baboons at the top of our troop’s hierarchy, or maybe the ones at the bottom. We also like to define any problem so that its apparent solution doesn’t make us feel that the fulfillment of such basic biological appetites as food, sex, status, and security are put in question. Add to those distorting factors a widespread ignorance of logic and history, and a great deal of straightforward dishonesty on all sides of the political continuum, and you’ve got a pretty fair mess. Thus we’ve arrived as a society, and at a very late stage in the game, at the same point that classical philosophy reached as the Roman Empire began to falter, when it became uncomfortably clear that having a small minority of people passionately interested in asking and answering the right questions was no guarantee against catastrophic levels of collective stupidity. The answer that theurgic Neoplatonism offered was a personal answer, rooted in the systematic practice of a set of magical disciplines meant to make clear thinking and decisive action possible for anyone with the self-discipline, patience, and persistence to do the necessary work.

• Associated with Habit 3: Put First Things First is the endowment of willpower. At the low end of the continuum is the ineffective, flaky life of floating and coasting, avoiding responsibility and taking the easy way out, exercising little initiative or willpower. And at the top end is a highly disciplined life that focuses heavily on the highly important but not necessarily urgent activities of life. It’s a life of leverage and influence.

How many planes there are, we do not know. The levels of nature that science discriminates give us no clue, for these all pertain to size which, being an aspect of space, belongs to our plane only. (We discount as irrelevant for present purposes the peculiar modes of space we experience when dreaming.) The entire size-continuum, from minutest particle to our 26-billion-light-year universe, falls along the horizontal arms we see. The planes that bracket this central one—central from our point of view—may be indefinite in number, but even if they are, something can be said about their antipodes. As the levels of reality array themselves along the vertical axis in descending degrees of reality, reality being (as noted in the preceding chapter) worth's final criterion, the bottom of the arm represents the point—a fraction of a degree above absolute zero as we might say—where being phases out completely; all that could lie beyond this margin is a nothing that is as unthinkable as it is non-existent. The top of the axis represents the opposite of this, that is, everything. Opposites being well acquainted, this everything shares in common with its antithesis the fact that it too cannot be imaged, but unlike complete nothingness it can be conceived. Being we experience, whereas nothing, by itself, we do not. The zenith of being is Being Unlimited, Being relieved of all confines and conditionings. The next chapter will discuss it; for now we simply name it. It is All-Possibility, the Absolute, the In-finite in all the directions that word can possibly point." from_The Forgotten Truth_

Many Catholics think that the deposit of faith lies first and foremost with the hierarchy, with the Pope and the bishops. The model they have in mind is a top-down flow of knowledge and communication, like the commander-in-chief of an army and his staff who hold all the information, make the plans and pass them down to the ranks. The true picture is different. The Church is more like a large family business in which the core of information is carried by all the family members jointly and individually, through a wide range of skill, experience and competence. The Pope and the bishops have the duty and the charism to articulate that knowledge as teachers of the Church. They can only do so by paying careful attention to the sensus fidelium, the faith that lives in the hearts of the faithful.

THE TOP TEN: David Bowie and Mick Rock, Moonage Daydream. Universe, 2002. David Buckley, Strange Fascination. Virgin, 1999. Kevin Cann, David Bowie: A Chronology. Simon & Schuster, 1984. Kevin Cann, Any Day Now: The London Years, 1947–1974. Adelita, 2010. Simon Goddard, Ziggyology. Ebury, 2013. Chris O’Leary, Rebel Rebel: All the Songs of David Bowie from ’64 to ’76. Zero, 2015. Nicholas Pegg, The Complete David Bowie. Titan, 2011. Thomas Jerome Seabrook, Bowie in Berlin: A New Career in a New Town. Jawbone, 2008. Mark Spitz, Bowie: A Biography. Three Rivers Press, 2009. Hugo Wilcken, Low. Continuum, 2005.

Snatch. The kettlebell snatch is a total-body exercise with special emphasis on the entire posterior chain. It simultaneously develops strength, explosiveness, structural integrity, cardiorespiratory capacity, and virtually every attribute on the athletic continuum. There are six stages to the snatch: Inertia swing Acceleration pull with hip and trapezius Hand insertion deep into the handle Overhead lockout Direction change into the drop Grip change into the backswing To perform this exercise, with the kettlebell on the floor in front of you, load your hips and grip the kettlebell with your fingers as you would for the swing (see figure 7.21a). Swing the kettlebell back between your legs as you begin to stand, further loading the hips (see figure 7.21b). As with the swing and clean, various thumb positions can be used in the downswing and upswing portion of the snatch. The most common is to rotate the thumb back at the end of the downswing and transition to a 45-degree angle (thumb up) at the beginning of the acceleration pull. Keep your arm connected to your body and extend your knees and hips, allowing the inertia of the kettlebell to pull your arm forward (figure 7.21c). Just as the arm begins to separate from the body, accelerate the kettlebell vertically as fast as you can by rapidly pulling with the hip, followed by a shrug of the trapezius. If you are snatching with your right hand, push forcefully with your left leg, pull back your right hip, and shrug with your right trapezius (see figure 7.21d). As the kettlebell is accelerating upward, release your fingers and insert your palm deeply into the handle (see figure 7.21e). Allow the momentum to carry the kettlebell all the way to the top and lock out your arm in the fully extended elbow position (see figure 7.21f). This overhead lockout position is identical to the overhead position in the push or push press (thumb facing back, no or minimal rotation). To drop the kettlebell back down, first shift your weight to the opposite foot (if snatching with the right hand, shift to the left foot) and lean your upper body back (see figure 7.21g). Keep your hips and torso extended maximally and let your triceps connect to your torso. Finish the downswing by changing grips and pulling your hand back to catch the handle with your fingers (see figure 7.21h), and tighten the fingers as you follow the kettlebell between your legs into the backswing (see figure 7.21i). Use the rhythmic motion to continue the snatch for the desired repetitions.