Contour Lines Quotes

It is by riding a bicycle that you learn the contours of a country best, since you have to sweat up the hills and coast down them.

Regular maps have few surprises: their contour lines reveal where the Andes are, and are reasonably clear. More precious, though, are the unpublished maps we make ourselves, of our city, our place, our daily world, our life; those maps of our private world we use every day; here I was happy, in that place I left my coat behind after a party, that is where I met my love; I cried there once, I was heartsore; but felt better round the corner once I saw the hills of Fife across the Forth, things of that sort, our personal memories, that make the private tapestry of our lives.

LUCAS: I've done a couple from memory but they aren't the same. Can't quite get the shape of your jaw. The line of your neck. And your lips. I need to spend more time staring at them and less time tasting them. ME: I can't say i agree with that notion. LUCAS: More of both, then.

The young can be very lovely, but the faces of the old can be truly beautiful. Every line and fold, every contour and wrinkle of Sister Monica Joan's fine white skin revealed her character, strength, courage, humanity and irrepressible humour.

What would happen if a man's face could adequately express his suffering, if his entire inner agony would be objectified in his facial expression? Could we still communicate? Wouldn't we then cover our faces with our hands while talking? Life would really be impossible if the infinitude of feelings we harbor within ourselves would be fully expressed in the lines of our face. Nobody would dare look at himself in the mirror, because a grotesque, tragic image would mix in the contours of his face with stains and traces of blood, wounds which cannot be healed, and unstoppable streams of tears. I would experience a kind of voluptuous awe if I could see a volcano of blood, eruptions as red as fire and as burning as despair, burst into the comfortable and superficial harmony of everyday life, or if I could see all our hidden wounds open, making of us a bloody eruption forever. Only then would be truly understand and appreciate the advantages of loneliness, which silences our suffering and makes it inaccessible. The venom drawn out from suffering would be enough to poison the whole world in a bloody eruption, bursting out of the volcano of our being. There is so much venom, so much poison, in suffering!

my final piece We’re born into the world As just one small piece to the puzzle That makes up an entire life. It’s up to us throughout our years, to find all of our pieces that fit. The pieces that connect who we are To who we were To who we’ll one day be. Sometimes pieces will almost fit. They’ll feel right. We’ll carry them around for a while, Hoping they’ll change shape. Hoping they’ll conform to our puzzle. But they won’t. We’ll eventually have to let them go. To find the puzzle that is their home. Sometimes pieces won’t fit at all. No matter how much we want them to. We’ll shove them. We’ll bend them. We’ll break them. But what isn’t meant to be, won’t be. Those are the hardest pieces of all to accept. The pieces of our puzzle That just don’t belong. But occasionally . . . Not very often at all, If we’re lucky, If we pay enough attention, We’ll find a perfect match. The pieces of the puzzle that slide right in The pieces that hug the contours of our own pieces. The pieces that lock to us. The pieces that we lock to. The pieces that fit so well, we can’t tell where our piece begins And that piece ends. Those pieces we call Friends. True loves. Dreams. Passions. Beliefs. Talents. They’re all the pieces that complete our puzzles. They line the edges, Frame the corners, Fill the centers, Those pieces are the pieces that make us who we are. Who we were. Who we’ll one day be. Up until today, When I looked at my own puzzle, I would see a finished piece. I had the edges lined, The corners framed, The center filled. It felt like it was complete. All the pieces were there. I had everything I wanted. Everything I needed. Everything I dreamt of. But up until today, I realized I had collected all but one piece. The most vital piece. The piece that completes the picture. The piece that completes my whole life. I held this girl in my arms She wrapped her tiny fingers around mine. It was then that I realized She was the fusion. The glue. The cement that bound all my pieces together. The piece that seals my puzzle. The piece that completes my life. The element that makes me who I am. Who I was. Who I’ll one day be. You, baby girl. You’re my final piece.

The skin along the parts in her hair, the skin above and behind the doctor's ears, is as clear and white as the skin inside her other tan lines must look. If women knew how their ears come across, the firm fleshy edge, the little dark hood at the top, all the smooth contours coiled and channeling you to the tight darkness inside, well, more women would wear their hair down.

Hutton noticed that if he used a pencil to connect points of equal height, it all became much more orderly. Indeed, one could instantly get a sense of the overall shape and slope of the mountain. He had invented contour lines.

There was hardly a touch of earth in her love for Clare. To her sublime trustfulness he was all that goodness could be—knew all that a guide, philosopher, and friend should know. She thought every line in the contour of his person the perfection of masculine beauty, his soul the soul of a saint, his intellect that of a seer. The wisdom of her love for him, as love, sustained her dignity; she seemed to be wearing a crown. The compassion of his love for her, as she saw it, made her lift up her heart to him in devotion. He would sometimes catch her large, worshipful eyes, that had no bottom to them looking at him from their depths, as if she saw something immortal before her.

Slowly what she composed with the new day was her own focus, to bring together body and mind. This was made with an effort, as if all the dissolutions and dispersions of her self the night before were difficult to reassemble. She was like an actress who must compose a face, an attitude to meet the day. The eyebrow pencil was no mere charcoal emphasis on blond eyebrows, but a design necessary to balance a chaotic asymmetry. Make up and powder were not simply applied to heighten a porcelain texture, to efface the uneven swellings caused by sleep, but to smooth out the sharp furrows designed by nightmares, to reform the contours and blurred surfaces of the cheeks, to erase the contradictions and conflicts which strained the clarity of the face’s lines, disturbing the purity of its forms. She must redesign the face, smooth the anxious brows, separate the crushed eyelashes, wash off the traces of secret interior tears, accentuate the mouth as upon a canvas, so it will hold its luxuriant smile. Inner chaos, like those secret volcanoes which suddenly lift the neat furrows of a peacefully ploughed field, awaited behind all disorders of face, hair, and costume, for a fissure through which to explode. What she saw in the mirror now was a flushed, clear-eyed face, smiling, smooth, beautiful. The multiple acts of composure and artifice had merely dissolved her anxieties; now that she felt prepared to meet the day, her true beauty emerged which had been frayed and marred by anxiety.

Our map was mostly useless, just a sheet of white indicating the featureless wilderness of ice with the occasional contour line indicating elevation.

I told him that bed-and-breakfasts have ginormous whirlpool tubs, and that I’d be willing to do unspeakably sinful things to him in it.” A strangled sound came from one of the two nerdy guys behind us in line, both wearing tortured expressions and staring at Erin. We stifled laughs. Maggie sighed. “Poor Chaz. He never had a chance… he’s gonna be standing in front of a bunch of people saying ‘I do’ someday without knowing how it happened.” “Ugh! I don’t think so. When it’s time to settle down, I’m getting somebody like…” Erin looked over her shoulder at the eavesdroppers behind us, “like one of them.” The boys looked at each other and stood up a little straighter. With a smirk in Erin’s direction, one of them fist-bumped the other.

There will always be reservations, things one must leave out, events one can’t explain without handing over a full map of one’s life, unfolding it, making clear that all the lines and contours stand for long days and nights when things were bad or good, or when things were too small to be described at all: when things just were. This is a life.

The young can be very lovely, but the faces of the old can be truly beautiful. Every line and fold, every contour and wrinkle of Sister Monica Joan’s fine white skin revealed her character, strength, courage, humanity and irrepressible humour.

Often beauty is disguised by appearance just as music can be by sound, the dreaming wish by the waking wish until there's this terrible stress because a thing must finally reveal itself, break itself. Leaning shadow, cinder heart, shouts. In Gorky's The Unattainable, the line begins to free itself from any utility of contour and becomes a trajectory. One day, Gorky hung himself from a beam but left us in charge of those ravishments. Hello, interior of the sun. Usually alone on Sundays, she won't get off until late, the man steams rice because it's cheap and easy and feels in its austerity poetic like candles during a power outage or trying on overcoats all afternoon, buying none.

I couldn't make my pencil scratch out the lines of Britni/Brenna's face. Couldn't make it curve into the contours of Dad's guilty eyes -- his big secret blown up. Would he marry her? Would they have children together? I couldn't make myself imagine Dad holding some creamy-faced baby, cooing down at it, telling it he loved it. Taking it to baseball games. Living some life he'd probably consider his "real life," the one he deserved rather than the one he got.

The village develops in line with the contours of necessity.

Wood is an endlessly adaptive material. You can plane, chisel, saw, carve, sand, and bend it, and when the pieces are the shape you want you can use dovetail joints, tenpenny nails, pegs or glue; you can use lamination or inlay or marquetry; and then you can beautify it with French polish or plain linseed oil or subtle stains. And when you go to dinner at a friend's house, the candlelight will pick out the contours of grain and line, and when you take your seat you will be reminded that what you are sitting on grew from the dirt, stretched towards the sun, weathered rain and wind, and sheltered animals; it was not extruded by faceless machines lined on a cold cement floor and fed from metal vats. Wood reminds us where we come from.

He had envisioned each contour and line of her face, the spellbinding individuality of personal detail. Here was a woman who had lived, and that life had been kind and good. And within that goodness lay true glamour, which was far more than the sum of ephemeral, physical parts. That was why, even attired in an unpretentious house dress, her forty-eight-year-old face scarcely made up, Molly was glamorous in a way that put in the shade women half her age and on the cover of fashion magazines.

But it wasn't the photograph that caught her attention. It was what was tucked into the frame. Dominic's eyes followed hers. And a tinge of color appeared in his cheeks. Walking over, the butterflies skittering about her stomach, Sylvie reached out and touched the intricate little silhouette portrait of her own face. Her eyes lifted to Dominic's in-the-flesh face, which was currently much stiffer than that paper. "Pet," he said. "She cut a couple of portraits in here one day when we were talking about Operation Cake. Yours and Mariana's." "Yes. I saw Mariana's after you gave it to her." She ran her fingers around the paper contour of her plait, dropped her hand to the desk. "You didn't give me mine, though." "No, I didn't." "Because... we didn't get along? And you wanted to keep Pet's artwork?" "I did want to have some of Pet's art." Dominic's jaw ticked. "And somewhere along the line, I wanted that one in particular." Sylvie swallowed.

The shadow of your cheekbones Amidst the moonless sky The constellations shape your face The stars, your contoured lines Galactic eyes stare into mine Entranced, I trace your face Lost inside the orbit Of star-crossed, twisted fate Outlined in the exosphere The diamond studded abyss Your stellar silhouette Has left my soul eclipsed.

More of the planet was unfolding beneath them as the Heart of Gold streaked along its orbital path. The suns now stood high in the black sky, the pyrotechnics of dawn were over, and the surface of the planet appeared bleak and forbidding in the common light of day—gray dusty and only dimly contoured. It looked dead and cold as a crypt. From time to time promising features would appear on the distant horizon—ravines, maybe mountains, maybe even cities—but as they approached the lines would soften and blur into anonymity and nothing would transpire. The planet’s surface was blurred by time, by the slow movement of the thin stagnant air that had crept across it for century upon century.

What the Mapmaker Ought to Know On this island things fidget. Even history. The landscape does not sit willingly as if behind an easel, holding pose waiting on someone to pencil its lines, compose its best features or unruly contours. Here, landmarks shift; they become unfixed by earthquake by landslide by utter spite. Whole places will slip out from your grip.

…in front of any painting, figurative or non-figurative I felt more and more that the lines and all their consequences, the contours, the forms, the perspectives, the compositions, became exactly like the bars on the window of a prison. Far away, amidst colour, dwelt life and liberty. And in front of the picture I felt imprisoned, and I believe it is because of that same feeling of imprisonment that van Gogh exclaimed, ‘I long to be freed from I know now what horrible cage!

He twirled one coppery lock around his finger, and that seemed to rouse her from her stunned silence. "Stop that," she whispered, a troubled expression crossing her face. "Why?" he smoothed her hair down over one shoulder, thinking that she had the creamiest skin he'd ever seen, skin that was just begging to be touched. She gasped when he stroked one finger up along the curved contours of her neck. "It's not..proper," she said. That made him smile. "Proper? We crossed the line from proper to improper right after you left the Chastity. You're on a pirate ship, remember? You're alone in a cabin with a notorious pirate captain..you've lost your proper little cap..and I'm about to kiss you." As soon as he'd said the words, he knew they were a mistake-and not because of the outrage that filled her face. It would be dangerous to kiss her. She wasn't the woman for him. But he had to taste her once, just a little taste. So before a protest could even leave her lips, he brought his mouth down to hers.

Each of our actions, our words, our attitudes is cut off from the ‘world,’ from the people who have not directly perceived it, by a medium the permeability of which is of infinite variation and remains unknown to ourselves; having learned by experience that some important utterance which we eagerly hoped would be disseminated … has found itself, often simply on account of our anxiety, immediately hidden under a bushel, how immeasurably less do we suppose that some tiny word, which we ourselves have forgotten, or else a word never uttered by us but formed on its course by the imperfect refraction of a different word, can be transported without ever halting for any obstacle to infinite distances … and succeed in diverting at our expense the banquet of the gods. What we actually recall of our conduct remains unknown to our nearest neighbor; what we have forgotten that we ever said, or indeed what we never did say, flies to provoke hilarity even in another planet, and the image that other people form of our actions and behavior is no more like that which we form of them ourselves, than is like an original drawing a spoiled copy in which, at one point, for a black line, we find an empty gap, and for a blank space an unaccountable contour. It may be, all the same, that what has not been transcribed is some non-existent feature, which we behold, merely in our purblind self-esteem, and that what seems to us added is indeed a part of ourselves, but so essential a part as to have escaped our notice. So that this strange print which seems to us to have so little resemblance to ourselves bears sometimes the same stamp of truth, scarcely flattering, indeed, but profound and useful, as a photograph taken by X-rays. Not that that is any reason why we should recognize ourselves in it. A man who is in the habit of smiling in the glass at his handsome face and stalwart figure, if you show him their radiograph, will have, face to face with that rosary of bones, labeled as being the image of himself, the same suspicion of error as the visitor to an art gallery who, on coming to the portrait of a girl, reads in his catalogue: “Dromedary resting.” Later on, this discrepancy between our portraits, according as it was our own hand that drew them or another, I was to register in the case of others than myself, living placidly in the midst of a collection of photographs which they themselves had taken while round about them grinned frightful faces, invisible to them as a rule, but plunging them in stupor if an accident were to reveal them with the warning: “This is you.

the One whom we most need to behold has made himself known. He has traced with a fine hand the lines and contours of his face. He has done so in his Word. We must search for that face, though babies continue to cry, bills continue to grow, bad news continues to arrive unannounced, though friendships wax and wane, though both ease and difficulty weaken our grip on godliness, though a thousand other faces crowd close for our affection, and a thousand other voices clamor for our attention. By fixing our gaze on that face, we trade mere human glory for holiness:

Alberti in his treatise on painting had advised that lines should be drawn to delineate edges, and Verrocchio did just that. Leonardo took care to observe the real world, and he noticed the opposite: when we look at three-dimensional objects, we don’t see sharp lines. “Paint so that a smoky finish can be seen, rather than contours and profiles that are distinct and crude,” he wrote. “When you paint shadows and their edges, which cannot be perceived except indistinctly, do not make them sharp or clearly defined, otherwise your work will have a wooden appearance.

Madness is the absolute break with the work of art; it forms the constitutive moment of abolition, which dissolves in time the truth of the work of art; it draws the exterior edge, the line of dissolution, the contour against the void. Artaud’s oeuvre experiences its own absence in madness, but that experience, the fresh courage of that ordeal, all those words hurled against a fundamental absence of language, all that space of physical suffering and terror which surounds or rather coincides with the void—that is the work of art itself: the sheer cliff over the abyss of the work’s absence.

Maybe our life is an affair of coastlines, of touching on contours, of sand shifting underfoot, of footprints straying a shoreline. No epitaph in granite, no marble eminence, no limestone subtlety. Tracking my prints back is recovering tides’ clean sweep, the cleansing services of storms’ and winds’ abrasive erasures. The only line that matters in the end is forward since home is what we find when we find what it is, they say. Still, standing on the edge of stone seven thousand kilometres wide, my back to a whole past vivid to my eyes, I wonder why, here, it should suddenly begin.

From the point of view of information there is surely no difficulty in discussing portrayal. To say of a drawing that it is a correct view of Tivoli does not mean, of course, that Tivoli is bounded by wiry lines. It means that those who understand the notation will derive no false information from the drawing-whether it gives the contour in a few lines or picks out "every blade of grass" as Richter's friends wanted to do. The complete portrayal might be the one which gives as much correct information about the spot as we would obtain if we looked at it from the very spot where the artist stood.

Come on, Princess," he called to the bench, and Carlotta bounced up. She was wide like the rest of them, but no man could fairly say she was too wide. The most that could be said was that she did not have much further to go before she would have to start squeezing it in and strapping it up, which she clearly did not do now. She let it hang where it was, and it did very nicely by itself. As she passed among the boys they looked her over with unconcealed envy, as though they knew she had something they didn't have but were not quite sure what it was. One thing was certain, she got more exercise than they did. The next to be noticed were her braids, they hung forward over her terrain, ignoring as much as possible her contours, like two shiny black meridianal lines demarking her longitudes as far down as the equator. It was not hard to imagine oneself spending a long lifetime on that bare little island alone, with no plan or ambition, too overcome with the heat to continue on south to the pole, far less return to the continents. Nothing productive could ever be accomplished there, but there would be comfort such as few men have known, there would be torpor. The body swelled with such thoughts, the mind shrank from them, and the longing eyes traveled finally up north, to where those meridians came together at a point above a bland white area vaguely charted, with few landmarks, no doubt sparsely inhabited. There the imagination halted.

When mastering drapery drawings in Verrocchio's studio, Leonardo also pioneered sfumato, the technique of blurring contours and edges. It is a way for artists to render objects as they appear to our eye rather than with sharp contours. This advance caused Vasari to proclaim Leonardo the inventor of the 'modern manner' in painting, and the art historian Ernst Gombrich called sfumato 'Leonardo's famous invention, the blurred outline and mellowed colors that allow one form to merge with another and always leave something to our imagination.' The term 'sfumato' derives from the Italian word for 'smoke,' or more precisely the dissipation and gradual vanishing of smoke into thin air . . . With no sharp lines, enigmatic glances and smiles can flicker mysteriously.

The heart of the issue is not simply that a group that gets a large portion of its budget from the Walton family fortune is unlikely to be highly critical of Walmart. The 1990s was the key decade when the contours of the climate battle were being drawn—when a collective strategy for rising to the challenge was developed and when the first wave of supposed solutions was presented to the public. It was also the period when Big Green became most enthusiastically pro-corporate, most committed to a low-friction model of social change in which everything had to be ‘win- win.’ And in the same period many of the corporate partners of groups like the EDF and the Nature Conservancy—Walmart, FedEx, GM—were pushing hard for the global deregulatory framework that has done so much to send emissions soaring. This alignment of economic interests—combined with the ever powerful desire to be seen as ‘serious’ in circles where seriousness is equated with toeing the pro-market line —fundamentally shaped how these green groups conceived of the climate challenge from the start. Global warming was not defined as a crisis being fueled by overconsumption, or by high emissions industrial agriculture, or by car culture, or by a trade system that insists that vast geographical distances do not matter—root causes that would have demanded changes in how we live, work, eat, and shop. Instead, climate change was presented as a narrow technical problem with no end of profitable solutions within the market system, many of which were available for sale at Walmart.

Back in the great capital cities of London, Paris, Brussels and Lisbon, the Europeans then took maps of the contours of Africa’s geography and drew lines on them – or, to take a more aggressive approach, lies. In between these lines they wrote words such as Middle Congo or Upper Volta and called them countries. These lines were more about how far which power’s explorers, military forces and businessmen had advanced on the map than what the people living between the lines felt themselves to be, or how they wanted to organise themselves. Many Africans are now partially the prisoners of the political geography the Europeans made, and of the natural barriers to progression with which nature endowed them. From this they are making a modern home and, in some cases, vibrant, connected economies.

Amar reached for my hand and put something in my palm. I looked down: string. “For conquering,” he said. I stretched the string into a taut line. “Conquering what? Insects?” “No. Your enemies.” The stars. Fate. The string drooped in my fingers. “Why do you hate them?” he asked. “If Akaran has its eyes and ears in Bharata, then you already know,” I said darkly, thinking of the horoscope that had shadowed the past seventeen years. “Do you believe the horoscope?” “No.” I meant it. There was no proof. Sometimes, I still thought it was a hateful rumor born of Mother Dhina’s jealousy. “Then why hate the stars?” “For what they did. Or, I guess, what they made other people do,” I said softly. “For making me hated without reason and without evidence. Wouldn’t you hate distant jailers?” “I don’t believe they’re jailers. I believe the stars.” “Then you’re a fool to marry me.” He laughed. “I believe them, but I choose to read them differently.” “I don’t see any happy way to explain death and destruction.” “Doesn’t death make room for life? Autumn trees die to make room for new shoots. And destruction is part of that cycle. After all, a devastating forest fire lets the ground start anew.” I stared at him. No one had ever said anything like that in Bharata. No one had ever challenged the stars. And yet, the light contoured him, clung to him, like the stars knew and believed everything he said. Maybe I believed him too. All I had done was curse the stars from a distance. I’d never thought to reinterpret what they meant. I turned around, as if seeing the night sky for the first time.

Hegel’s account avoids falling into a careless historicism by virtue of its appeal to the infinite ends at work in subjectivity, but it maintains its strong historicist commitment by virtue of the way in which Hegel takes himself to have shown that the universal has to particularize itself— a thesis we could formulate rather abstractly as the notion that for speculative (philosophical) concepts, meaning is determined by use but not exhausted by use, such that within a certain historical development, such concepts can be developed into better actualizations. Hegel’s type of philosophical history is not an a priori theory about how those historical particulars were necessitated to line up with each other, nor is it some happy talk Whig account of progress, nor is it a self-congratulatory tale of progressive enlightenment and error-correction, nor is it the explication of any laws of history or any claims about how various regimes inevitably converge at some final point or inevitably lead to a certain result. It is rather an examination of the metaphysical contours of subjectivity and how the self interpreting, self-developing collective human enterprise has moved from one such shape to another in terms of deeper logic of sense-making and how that meant that subjectivity itself had reshaped itself over the course of history. It is not a thesis about what constitutes true causality in history, nor is it even a thesis that unintelligibility causes such breakdowns. Hegel’s philosophy of history is concerned with what various things mean to subjects, individually and collectively, in the historical configurations into which they are thrown.

But here is good news: the One Whom we most need to behold has made Himself known. He has traced with a find hand the line and contours of His face. He has dons so in His Word. We must search for that face... By fixing our gaze on that face, we trade mere human glory for holiness: "Beholding the glory of the Lord [we are] transformed into the same image from one degree of glory to another." 2 Cor. 3: 18

Leave me alone,” Win cried. “Go dust something!” “Win, if you don’t—” Amelia’s attention was diverted as she saw her sister’s gaze fly to the kitchen threshold. Merripen stood there, his broad shoulders filling the doorway. Although it was early morning, he was already dusty and perspiring, his shirt clinging to the powerful contours of his chest and waist. He wore an expression they knew well—the implacable one that meant you could move a mountain with a teaspoon sooner than change his mind about something. Approaching Win, he extended a broad hand in a wordless demand. They were both motionless. But even in their stubborn opposition, Amelia saw a singular connection, as if they were locked in an eternal stalemate from which neither wanted to break free. Win gave in with a helpless scowl. “I have nothing to do.” It was rare for her to sound so peevish. “I’m sick of sitting and reading and staring out the window. I want to be useful. I want…” Her voice trailed away as she saw Merripen’s stern face. “Fine, then. Take it!” She tossed the broom at him, and he caught it reflexively. “I’ll just find a corner somewhere and quietly go mad. I’ll—” “Come with me,” Merripen interrupted calmly. Setting the broom aside, he left the room. Win exchanged a perplexed glance with Amelia, her vehemence fading. “What is he doing?” “I have no idea.” The sisters followed him down a hallway to the dining room, which was spattered with rectangles of light from the tall multipaned windows that lined one wall. A scarred table ran down the center of the room, every available inch covered with dusty piles of china … towers of cups and saucers, plates of assorted sizes sandwiched together, bowls wrapped in tattered scraps of gray linen. There were at least three different patterns all jumbled together. “It needs to be sorted,” Merripen said, gently nudging Win toward the table. “Many pieces are chipped. They must be separated from the rest.” It was the perfect task for Win, enough to keep her busy but not so strenuous that it would exhaust her. Filled with gratitude, Amelia watched as her sister picked up a teacup and held it upside down. The husk of a tiny dead spider dropped to the floor. “What a mess,” Win said, beaming. “I’ll have to wash it, too, I suppose.” “If you’d like Poppy to help—” Amelia began. “Don’t you dare send for Poppy,” Win said. “This is my project, and I won’t share it.

Today we will practice the mindful contemplation of an image. You may select whatever image you would like to look at, something you find calming and positive. Your image could be a painting, a computer desktop, the view out of your window, or a blank wall. Sit yourself comfortably before your selected image and begin your breathing exercise of choice.  Look at the image. Do not strain your eyes. Let your eyes rest on it. See the features of the image. Your eyes slide over it, recognizing the beauty in the image. Notice details you may have missed with a hurried glance. Notice the edges, the contours, the colors, the scrapes, the marks, the lines, patterns. Only focus on the image, so all other thoughts are let go. Be in the now. When you are ready, you may return your attention to your surroundings. You can use this practice of image meditation when you are in situations where closing your eyes for extended times may not be possible, or if you simply see a sight you would like to remember. 

Precognition, as a time- and dream-bound phenomenon, firmly straddles the fault line between the objective and subjective. I will be arguing on one hand that it is probably a neurobiological function related to memory, and thus we can expect a physical, material explanation in years or decades to come (in Part Two, I sketch what such an explanation might look like in its broad contours). But like a person’s memory, precognition is highly personal and centers on personally meaningful experiences. Thus, except for its defiance of the usual causal order, precognition is little different from anything else in a person’s biography—it needs to be understood within a life context and is subject to the same hermeneutic methods that are familiar to psychoanalysts and literary critics and philosophers. The tools of both the sciences and the humanities must be brought to bear, and neither should be favored over the other. The best we can do is flicker from one perspective to the other.

Unlike linear time, time conceived as cyclical cannot be readily abstracted from the spatial phenomena that exemplify it- from, for instance, the circular trajectories of the sun, the moon, and the stars. Unlike a straight line, moreover, a circle demarcates and encloses a spatial field. Indeed, the visible space in which we commonly find ourselves when we step outdoors is itself encompassed by the circular enigma that we have come to call 'the horizon.' The precise contour of the horizon varies considerably in different terrains, yet whenever we climb to a prominent vantage point, the circular character of the visible world becomes explicit. Thus cyclical time, the experiential time of an oral culture, has the same shape as perceivable space.

Filling the contours of my life with color everywhere she goes, and rarely staying within the lines.

I didn't notice that someone stood beside me until the heap from his body leaked onto mine. I went rigid when I smelled that rain and earthen scent, and didn't dare turn to Tamlin. We stood side by side, staring out at the crowd, as still and unnoticeable as statues. His fingers brushed mine, and a line of fire went through me, burning me so badly that my eyes pricked with tears. I wished- I wished he wasn't touching my marred hand, that his fingers didn't have to caress the contours of that wretched tattoo. But I lived in that moment- my life became beautiful again for those few seconds when our hands grazed.

Death meets us in the darkness. There, in that moment, all the moments before it take shape to form the lines and contours of life, like a vessel on a potter's wheel. For an instant, the measure of life can be seen. Was it a life of emptiness? Was it misshapen, its cup filled from another's well? Was it cracked and leaking? Perhaps chipped from so many lessons learned?

Busy in the business of day— my storming blood has just met a pair of eyes rainswept sand…. That face, again, that face like sunken sand— the sand, sunken, of a face that ancient…. More worn than my face unborn— contours I have known in the bones of her cheeks a recognition— a pair of orphans unmasked at morn…. Because only, only a girl borne of remembering could wear that countenance of mourning…. Across the wash pale soft of dawn float close weighty blossoms on thresholds unknown— for the fragile, delicate tenderness of her composure just-holding, achingly, on the edge of things…. A world of raindrops floating in her eyes— in her eyes sand grains softly settle…. Although to one another we are only a presence in the room and all's silence between us— still, hers is a presence I’ve known: of age more somehow than the day I was born a relation there remains nose kissed to nose…. Slaving in the sweat of the sun I’m back at it in the beds— as, over all the grounds, waxing with the sun personalities of sheds, tines, the animals, define themselves…. Heading now to the meal hall to eat and talk, after digging— when my momentum stalled: by hedges of the wall's the visage of her in the sunny landscape a teardrop of midnight…. Tearing's the flesh of my heart on my cheeks in tears— for her fragile chin and the wrinkles of her eyes when she smiles so glassy I could cry…. Commotion of knives and forks— today the commons are aloud with cups and conversation: a wisp here, a leap of voices there the day’s news bounces its way through the crowd…. Splashing up a laughter of glasses the guys devour their stories about girls at the party— and when we eat our fill glad in our stomachs there’s lots of chin in it we raise each other’s grins sitting in satisfaction and stimulating to the sun…. Tense in the laughter of friends and companions— lines of my age un-wrinkle: by portals of the door her expression there's more sober than smiling: for guile am I un-abled…. Not the friction of sticks, no, nor some feverish itch that must until exhaustion consume— but a long blue flame, slow and fluidly moving will our relation be: a translucent vein loose in the midnight river…. Now— into the doings of day: but to approach her my eyes can't meet my walkingʻs fallen dead at the knees and thoughts of my head now drown in blood— blackness and oblivion...

Self-portraits are probably Rembrandt’s landmark pieces of treasured art, lined with pithy contours and lineaments of not only the outlining features of a great one, but the inward beauty of thoughtful assemblage of craft. In matters relating Rembrandt, I’d take a peek at rolling hills, where summits bow in ecstasy to returning ravens in echelons of physiolatry.

He saw her as an accidental conjunction of a body, ideas, and a life's course, an inorganic conjunction, arbitrary and unstable. He visualized Alice (who was breathing deeply on his shoulder), and he saw her body separately from her ideas, he liked this body, its ideas seemed ridiculous to him, and this body and its ideas formed no unity; he saw her as an ink line spreading on a blotter: without contours, without shape.

We are not botanists. We are artists. Suggest nature, but conventionalize it. Stylize it. Simplify it to its contour lines to convey structure.

I’m tired of sitting. I’m tired of watching everyone else work. I can set my own limits, Amelia. Let me do as I wish.” “No.” Incredulously Amelia watched as Win picked up a broom from the corner. “Win, put that down and stop being silly!” Annoyance whipped through her. “You’re not going to help anyone by expending all your reserves on menial tasks.” “I can do it.” Win gripped the broom handle with both hands as if she sensed Amelia was on the verge of wrenching it away from her. “I won’t overtax myself.” “Put down the broom.” “Leave me alone,” Win cried. “Go dust something!” “Win, if you don’t—” Amelia’s attention was diverted as she saw her sister’s gaze fly to the kitchen threshold. Merripen stood there, his broad shoulders filling the doorway. Although it was early morning, he was already dusty and perspiring, his shirt clinging to the powerful contours of his chest and waist. He wore an expression they knew well—the implacable one that meant you could move a mountain with a teaspoon sooner than change his mind about something. Approaching Win, he extended a broad hand in a wordless demand. They were both motionless. But even in their stubborn opposition, Amelia saw a singular connection, as if they were locked in an eternal stalemate from which neither wanted to break free. Win gave in with a helpless scowl. “I have nothing to do.” It was rare for her to sound so peevish. “I’m sick of sitting and reading and staring out the window. I want to be useful. I want…” Her voice trailed away as she saw Merripen’s stern face. “Fine, then. Take it!” She tossed the broom at him, and he caught it reflexively. “I’ll just find a corner somewhere and quietly go mad. I’ll—” “Come with me,” Merripen interrupted calmly. Setting the broom aside, he left the room. Win exchanged a perplexed glance with Amelia, her vehemence fading. “What is he doing?” “I have no idea.” The sisters followed him down a hallway to the dining room, which was spattered with rectangles of light from the tall multipaned windows that lined one wall. A scarred table ran down the center of the room, every available inch covered with dusty piles of china … towers of cups and saucers, plates of assorted sizes sandwiched together, bowls wrapped in tattered scraps of gray linen. There were at least three different patterns all jumbled together. “It needs to be sorted,” Merripen said, gently nudging Win toward the table. “Many pieces are chipped. They must be separated from the rest.” It was the perfect task for Win, enough to keep her busy but not so strenuous that it would exhaust her. Filled with gratitude, Amelia watched as her sister picked up a teacup and held it upside down. The husk of a tiny dead spider dropped to the floor. “What a mess,” Win said, beaming. “I’ll have to wash it, too, I suppose.” “If you’d like Poppy to help—” Amelia began. “Don’t you dare send for Poppy,” Win said. “This is my project, and I won’t share it.” Sitting at a chair that had been placed beside the table, she began to unwrap pieces of china.

And then it actually becomes the most interesting thing in the world. A single word is embossed in fancy calligraphy letters. A single word that makes it feel like the whole room is spinning. Harksbury. What in God’s name? “What is this?” I point at it and shout in Mindy’s ear. She scrunches her eyebrows. “A coaster?” I groan. “No, I mean, the name. Harksbury.” “Oh. It’s the name of the club. I don’t know what it means, though.” I do. It’s the name of a dukedom. I wonder if that means some relative of Alex’s invested in this place or something. Or if someone borrowed their name. Or what. But it has to mean Harksbury is real, that it existed. I stare down at the word again. If the shoes weren’t enough…It has to be real. And seeing it like this reminds me of how I felt there. How it felt to be Rebecca. I tuck the coaster into my back pocket and try to ignore the stare Angela is giving me. She probably thinks I’m totally nuts, stealing a paper coaster. But it’s the closest I’ll get to a souvenir of my time-bending trip. And having it on me makes me feel stronger, somehow, like I can always be that girl at the ball. I look up when the boys file in and sit down on a bright orange couch shaped like a slug. “Ladies. This is Grant, Tim, and Alex,” door-boy says. He doesn’t even introduce himself. I guess I’m supposed to know who he is. I smile at Grant and nod at Tim, but when I get to Alex, I only stare. Alex. The Alex. No, no it can’t be. His hair is shorter, his skin smooth and shaven. He’s got on a green button-up, left open at the collar, which brings out the intense emerald shade of his eyes. There’s something different. The contour of his lips, the line of his nose. It’s almost him, but not quite. And he’s staring back at me. Does he know who I am? No, that’s silly. It’s not really him. Not Alex Thorton-Hawke, the Duke of Harksbury. Just Alex, the twenty-first-century guy standing in front of me. In a nightclub. In real life. Mindy jabs me with her elbow. “This is--” “Callie,” I say, standing and reaching my hand out. “My name is Callie.” It feels so good to say that. To be me. I grin involuntarily at the realization. He smiles and shakes it. “Hey.” For a second neither of us says anything else. We just keep shaking hands and staring at each other. My heart hammers out of control. I feel sweaty already. But it’s adrenaline. Excitement. I’m not terrified anymore. Not of Angela, not of Alex. I can do this. “Do you want to dance?” I ask. Did I really just say that out loud? That couldn’t have been me. That was someone else. “Huh?” He can’t hear me over the music. “Do you want to dance?” I say, louder this time, with a little more conviction. For emphasis, I nod my head toward the floor. I’m really doing this. “Yeah.” I’m not sure I’ve heard him correctly, but then he grabs my hand and leads me away, and I risk a glance back at the group. They’re just staring. For once in my life, I’ve upstaged them. I grin back and then turn my attention to Alex. I’ve thought about getting close to him for a month. I’m about to get my chance.

penetration into the Meitei society was not complete. But my exploration of the fault lines of that society followed unconventional contours. Rishang Keishing, K. Envy, both Tangkhul political leaders, and K.Kakuthon, president of the Zelangroung Naga Union, rendered valuable services. In me they found a sympathetic shoulder to lean on. In those days of political naiveté the simple tribal politicians treated the SIB chief as the direct representative of the Central Government. The situation has now reversed. The state politicians these days carry fatter suitcases for Delhi politicians and

It is below the top levels, it is where the management hierarchies are specialized and varied by industrial line and administrative contour, that the more ‘bureaucratic’ types of executives and technicians live their corporate lives. And it is below the top levels, in the domain of the Number Two men, that responsibility is lodged. The Number One stratum is often too high to be blamed and has too many others below it to take the blame. Besides, if it is the top, who is in a position to fix the blame upon its members? It is something like the ‘line’ and ‘staff’ division invented by the army. The top is staff; the Number Two is line, and thus operational. Every bright army officer knows that to make decisions without responsibility, you get on the staff.

Line: An artist’s tool used to illustrate the outer edges of shapes and forms. Technically, no physical lines exist in nature. For example, there is not an actual line around an apple to distinguish it from the table it’s sitting on, nor is there a physical line between the sky and the land at the horizon; therefore, lines in art are an artist’s interpretation of the boundaries between forms in a scene, or the perceived edges of shapes in a composition. Repeated lines can also be used to create values and textures in two-dimensional and three-dimensional art. Shape: The outside two-dimensional contour, outline or border of a form, figure or structure. Form: The three-dimensional representation of a shape. In drawings, paintings and other two-dimensional art, the artist creates the illusion of a three-dimensional form in space using light, shadow and other rendering techniques. In sculpture, the form is the manifestation of the object itself. Texture: The distinctive surface qualities found on all things as well as the overall visual patterns and tactile feel of objects and their surroundings. Value: The relative lightness or darkness of shapes, forms and backgrounds of two-dimensional or three-dimensional compositions. Value plays a prominent role in both black-and-white and color artworks, potentially adding dramatic contrasts and depth to an otherwise bland composition. Color: The spectrum of hues, values and intensities of natural light and man-made pigments, paints and mineral compounds that can be used in all art forms.

At the back of the house, dogs imprisoned in small yards ran in circles. Telephone cables, electric wires, and clothes lines crossed and recrossed, giving the houses, light poles, and leafless trees the quality of a contour drawing, one continuous line.

/bɔʀde/ vtr 1. (suivre un contour) to line (de "with") • route bordée d'arbres | road lined ou bordered with trees, tree-lined road 2. (entourer) [plage, îles] to skirt [côte]; [plantes] to border [massif, lac] • une pelouse bordée de rosiers | a lawn bordered with rose bushes 3. (longer) [chemin, cours d'eau] to border, to run alongside [maison, terrain]; [marin, navire] to sail along [côte] • sentier bordant la forêt | track bordering the forest 4. (arranger la literie) to tuck in [lit]; to tuck [sb] in [personne] 5. (garnir) to edge [vêtement, lingerie] (de "with") • un mouchoir bordé de dentelle | a handkerchief edged with lace, a lace-trimmed handkerchief 6. (étarquer) [marin] to take up the slack in [voile] 7. (revêtir de bordages) (en bois) to plank; (en métal) to plate 8. (ramener) [rameur] to ship [avirons]

i know i am in love again when" light shakes into the cobwebs woven over all the empty doorframes. when a nearby car’s bass is a feigned serenade & the moon seems like a dirty thing. passing fuselage & hospital lights glint & i’m turned on thinking they flash for me. me, whose favorite window features a view that’s mostly ground. me, who’s quiet, swaddled, blanket-borne in the fucking eve, waiting on a call from my only lover, or a friend six states away. the space between saying how much i miss everyone i know & pressing my forehead to my knee is usually smaller than i think. the closest body of water calls itself a river, but it’s stagnant. i call myself a lot to give, but that’s an exaggeration. walking the bank, i trace ripples—lamp-lit contours that fade into murk. i am two breaths away from saying i don’t understand happiness when the voice on the other end of the line asks if it’s okay to hang up now. what is the opposite of blank noise? insert that excess here. i want to live off it. Raena Shirali, No More Potluck. Issue 33: Solitude

What the Mapmaker Ought to Know On this island things fidget. Even history. The landscape does not sit willingly as if behind an easel, holding pose waiting on someone to pencil its lines, compose its best features or unruly contours. Here, landmarks shift; they become unfixed by earthquake by landslide by utter spite. Whole places will slip out from your grip.

On this island things fidget. Even history. The landscape does not sit willingly as if behind an easel, holding pose waiting on someone to pencil its lines, compose its best features or unruly contours. Here, landmarks shift; they become unfixed by earthquake by landslide by utter spite. Whole places will slip out from your grip.

He slipped his fingers inside her dress, touched her skin very gently and exhaled a soft shaky sigh, almost of relief. He combed his fingers over her shoulder blades, down either side of her spine, the rough pads of his fingertips and the exquisite lightness of his touch turning every cell of her skin to glowing cinders, her legs to liquid. Susannah closed her eyes, wanting only to feel, wanting to heighten the pure exquisite pleasure of his hands on her skin. And then his mouth was warm against her ear. "Susannah," he breathed there, her own name as sensual as his fingers. It traveled along the fuse of her nerve endings and lit a furnace inside her. Her lungs labored to breathe. She flattened her hands against his chest, savoring, at last, at last, the warm strong beauty of it. His skin was satiny over the rigid plane of his muscle, and again, this softness juxtaposed with strength... this was Kit. "I like that," he murmured against her throat, where his mouth had traveled from her ear. He opened his lips against the soft skin there, put a hot kiss there. "Touch me anywhere you please." "If you insist," she said. She was trying for insouciance, but the words were a squeak. And he laughed, bloody man. She indulged all of her weeks of stored longings and dragged one finger around the contours of his muscled chest, tracing a broad figure eight, then drew it down between his ribs, down the pale line of hair that led to the bulge of his trousers, stopping short of it, and was rewarded when he sucked in his breath. She opened her hands then and clasped them around his slim waist, let them wander down to cup his firm buttocks through his trousers. He mumbled some unintelligibly pleasured sound.

If I wanted a girl instead of a woman, I’d be tupping the tavern keeper’s daughter. I want you, with all your gorgeous curves that show you live your life as you please and claim your joy whenever you can. I want you with the lines of laughter fanning from the corners of your smoke whiskey eyes like starlight,” he finished quietly, his fingertips tracing the contours of her face. - Ch. 9, When Araminta Greaves Traded Her Dignity for Bliss

And he'll think, with a certain melancholy, when he watches the water clamber up the shore, that every effort, and even every pleasure in life, every goal that's reached and achieved, every recollection, lasts only for an instant, just like the water that throws itself onto the beach, leaving a spontaneous imprint whose wavering contours, like the line drawn by a heart monitor, are never quite the same.

Sanhui Doll - Enjoy Every Moment of Pleasure with Realistic Silicone Sex Doll Torso Spice up your bedroom routine with Sanhui Sex Dolls! Sanhui Doll is Crafted with premium silicone and a fully poseable skeleton, and the newly developed Flexi Edition Skeleton performs even better. Sanhui realistic sex torso doll was made for love. Feel human-like motion and enjoy its environmentally friendly foam cushioning. It's time to get it on with Sanhui Real Dolls! Experience the most lifelike sex doll torso on the market with Sanhui Doll. Made from medical-grade platinum silicone, these dolls are highly anatomically accurate, featuring realistic soft teeth, removable tongues, defined contour lines, and realistic hands and feet. For added realism, choose from silicone gel implants and a wide range of add-on options. Feel confident knowing that you're investing in a premium product.

Unlocking Beauty: Exploring Advanced Technologies in Aesthetic Treatments at myChway In today's dynamic world of beauty and aesthetics, the quest for non-invasive, effective treatments has never been more prevalent. Among the vast array of innovative technologies, myChway stands out as a pioneering hub, offering a comprehensive range of cutting-edge solutions, including Radio Frequency, Cryolipolysis, Pulsed Light Face, LED Masks, Lipocavitation, and more. Let's delve into the transformative power of these advancements and understand how they're revolutionizing the beauty industry. Radio Frequency (RF) myChway integrates Radio Frequency technology, known for its remarkable skin-tightening and collagen-boosting properties. This advanced treatment targets fine lines, wrinkles, and sagging skin, promoting a firmer, more youthful complexion. Through controlled heating, RF stimulates the body’s natural collagen production, resulting in long-term skin rejuvenation. Cryolipolysis The innovative Cryolipolysis treatment, a specialty at myChway, involves freezing and eliminating stubborn fat cells without invasive procedures. This technique, often referred to as "fat freezing," selectively targets and reduces fat pockets, reshaping the body without downtime or surgery. Pulsed Light Face Treatments myChway's Pulsed Light Face treatments harness the power of light energy to address various skin issues. This technology is versatile, effectively treating acne, pigmentation, and stimulating collagen production, promoting a clearer, more radiant complexion. LED Masks LED Masks have gained popularity for their ability to improve skin health. With various wavelengths of light, these masks can target specific skin concerns, such as acne or aging. At myChway, these masks are designed to cater to diverse skin needs, offering a relaxing and effective treatment. Lipocavitation and Lipolaser Lipocavitation and Lipolaser technologies at myChway are designed to break down stubborn fat deposits through ultrasound and laser energy, respectively. These non-invasive procedures provide contouring and slimming effects, reshaping the body safely and effectively. The Power of 7EN1, 8EN1, and 9EN1 Technologies At the forefront of myChway's offerings are their 7EN1, 8EN1, and 9EN1 technologies. These multifunctional devices combine various treatments into one, offering a holistic approach to beauty and body contouring. From cellulite reduction to skin tightening, these comprehensive systems cater to a wide range of aesthetic needs, providing an all-in-one solution. In conclusion, myChway's commitment to integrating the latest advancements in the beauty industry makes it a go-to destination for those seeking non-invasive, effective aesthetic treatments. With a focus on Radio Frequency, Cryolipolysis, Pulsed Light Face, LED Masks, Lipocavitation, and the advanced 7EN1, 8EN1, and 9EN1 technologies, myChway continues to redefine beauty standards, ensuring a safe, transformative experience for its clientele. Experience the future of beauty and aesthetics at myChway, where innovation meets transformation.

Bergson...was on the threshold of that gripping discovery, already familiar to the painters, that there are no lines visible in themselves, that neither the contour of the apple nor the border between field and meadow is in this place or that, that they are always on the near or the far side of the point we look at. They are always between or behind whatever we fix our eyes upon; they are indicated, implicated, and even very imperiously demanded by the things, but they themselves are not things. They were supposed to circumscribe the apple or the meadow, but the apple and the meadow "form themselves" from themselves, and come into the visible as if they had come from a pre-spatial world behind the scenes.

What if is an exquisite fuck-you to anyone who has ever doubted your greatness or stood in your way. It silences negativity. It’s a reminder that you don’t really know what you’re capable of until you put everything you’ve got on the line. It makes the impossible feel at least a little more possible. What if is the power and permission to face down your darkest demons, your very worst memories, and accept them as part of your history. If and when you do that, you will be able to use them as fuel to envision the most audacious, outrageous achievement and go get it. We live in a world with a lot of insecure, jealous people. Some of them are our best friends. They are blood relatives. Failure terrifies them. So does our success. Because when we transcend what we once thought possible, push our limits, and become more, our light reflects off all the walls they’ve built up around them. Your light enables them to see the contours of their own prison, their own self-limitations. But if they are truly the great people you always believed them to be, their jealousy will evolve, and soon their imagination might hop its fence, and it will be their turn to change for the better.

Simplicity, balance, character, direction and relation of the limbs to each other, with their proportions and general symmetry of the whole, must be apprehended in a flash and put down in long lines, without lingering on less important details of form, for there is little time to hesitate in making a ten-minutes sketch. The quicker we draw, the better, so long as we can keep up the tension of our eyes, brain and hand all working together at the same time. The moment one of these three faculties gets out of gear or tired, the vitality of the drawing is lost. An intelligent model in a good pose inspires us enormously to produce an artistic and living drawing. A drawing done in a few minutes, in a red-hot fever of excitement and with concentrated observation, following the contour of the form from start to finish, is far more living than the often elaborated drawings of a cataleptic, relaxed figure, dumped upon the traditional throne, so often seen in art schools ; for the essence of life figure drawing lies in the outline. There is no short cut, no royal road to excellence : the only way is by persistent study and cultivation of visual memory.

Even at the cutting edge of modern physics, partial differential equations still provide the mathematical infrastructure. Consider Einstein’s general theory of relativity. It reimagines gravity as a manifestation of curvature in the four-dimensional fabric of space-time. The standard metaphor invites us to picture space-time as a stretchy, deformable fabric, like the surface of a trampoline. Normally the fabric is pulled taut, but it can curve under the weight of something heavy placed on it, say a massive bowling ball sitting at its center. In much the same way, a massive celestial body like the sun can curve the fabric of space-time around it. Now imagine something much smaller, say a tiny marble (which represents a planet), rolling on the trampoline’s curved surface. Because the surface sags under the bowling ball’s weight, it deflects the marble’s trajectory. Instead of traveling in a straight line, the marble follows the contours of the curved surface and orbits around the bowling ball repeatedly. That, says Einstein, is why the planets go around the sun. They’re not feeling a force; they’re just following the paths of least resistance in the curved fabric of space-time.

He suddenly leaned forward in his chair and cut off her words with a kiss, tipping her chin upward gently with his fingertips. As their lips met, a little breathless sigh escaped her. Her eyes fluttered closed. Sliding his hand around her nape, he coaxed her lips apart. Her heart raced. She needed little urging, accepting his kiss eagerly, capturing his clean-shaved face between her fingertips. He tasted of port. She savored it, taking his tongue even more deeply into her mouth in sensuous welcome. Her hands trembled as she stroked the strong line of his jaw and ran her fingers through his silken black hair. With a low moan of desire, he slid his arms around her, shaping the natural contour of her waist below the draped velvet of her gown's high-waisted style, running his hands downward over her hips. She fought to keep a rein on the passion he ignited in her blood.

By the look in this one’s eye, ’twas a simple matter to place him there, among the terrible, ruthless sorts. But somehow, she couldn’t believe something so…beautiful could be so awful. And he was beautiful, to a hard line, masculine magnificence, all long, lean contours of hard heat and piercing eyes. A beast in his prime. Her dark-eyed proteus looked over his shoulder, scowling when he saw she had not ‘come,’ was not ‘over there.’ “Sit,” he growled. “And stay.” A fissure of anger opened up inside her. She narrowed her eyes and, very softly, barked.

Dealing with toxic people is an art that can be learnt. Whether it is in a family, among friends or at the workplace, exercise a choice to establish and maintain clear contours of your relationship with such people. Define very clearly in your mind what about this person irks you. And draw the line there. The point is not whether others can get along with such people, the point is that you cannot suffer them. So, when others ask you to be “adjusting”, you must tell them why you can’t do this – that it affects your inner peace. Once you define and draw the boundaries clearly, barring the initial settling in issues, pretty soon, everyone will see value in your approach. Clearly, there’s no point sacrificing your Happiness for another’s behavior or your reluctance to call them out!

The world is a mass without gaps, an organism of colors across which the receding perspective, the contours, the angles, and the curves are set up as lines of force; the spatial frame is constituted by vibrating.

Marcus studied those NASA pictures for hours, the gorgeous Hasselblad pictures of men on the moon and the pictures of Jupiter’s turbulence. Since Newton’s laws apply everywhere, Marcus programmed a computer with a system of fluid equations. To capture Jovian weather meant writing rules for a mass of dense hydrogen and helium, resembling an unlit star. The planet spins fast, each day flashing by in ten earth hours. The spin produces a strong Coriolis force, the sidelong force that shoves against a person walking across a merry-go–round, and the Coriolis force drives the spot. Where Lorenz used his tiny model of the earth’s weather to print crude lines on rolled paper, Marcus used far greater computer power to assemble striking color images. First he made contour plots. He could barely see what was going on. Then he made slides, and then he assembled the images into an animated movie. It was a revelation. In brilliant blues, reds, and yellows, a checkerboard pattern of rotating vortices coalesces into an oval with an uncanny resemblance to the Great Red Spot in NASA’s animated film of the real thing. “You see this large-scale spot, happy as a clam amid the small-scale chaotic flow, and the chaotic flow is soaking up energy like a sponge,” he said. “You see these little tiny filamentary structures in a background sea of chaos.” The spot is a self-organizing system, created and regulated by the same nonlinear twists that create the unpredictable turmoil around it. It is stable chaos.

From my bag, I took out a Moleskine notebook and a pen that I always carried for essay ideas and made notes on the setting. The clothes and attitudes of the passersby, the kind of shops that populated the hallways, the cakes in the case, so different from what I'd see at Starbucks in the US- these heavier slices, richer and smaller, along with an array of little tarts. I sketched them, finding my lines ragged and unsure at first. Then as I let go a bit, the contours took on more confidence. My pen made the wavy line of a tartlet, the voluptuous rounds of a danish. The barista, a leggy girl with wispy black hair, came from behind the counter to wipe down tables, and I asked, "Which one of those cakes is your favorite?" "Carrot," she said without hesitation. "Do you want to try one?" If I ate cake every time I sat down for coffee, I'd be as big as a castle by the time I went back to skinny San Francisco. "No, thanks. I was just admiring them. What's that one?" "Apple cake." She brushed hair off her face. "That one is a brandenburg, and that's raspberry oat.

Suzanne had perfected drawings which were characterised by sharp, almost crude contours. Her profiles were executed with a pure, single line. To achieve such a crisp silhouette in what appeared to be a single stroke demanded confidence, courage and hours of practice.