Curve Design Quotes

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know convince you to design a smile just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend," he says, " the one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, and every shiver of your body, ...." ........ " I want to know where to touch you," he says, " i want to know how to touch you. I want to know how to convince you design a smile just for me." ...... " Yes, " he says, " i do want to be your bestfriend". He says, " I want to be your bestfriend in the entire world". --- Aaron Warner

You destroy me." "Juliette," he says and he mouths the name, barely speaking at all, and he's pouring molten lava into my limbs and I never even knew I could melt straight to death. "I want you," he says. He says "I want all of you. I want you inside and out and catching your breath and aching for me like I ache for you." He says it like it's a lit cigarette lodged in his throat, like he wants to dip me in warm honey and he says "It's never been a secret. I've never tried to hide that from you. I've never pretended I wanted anything less." "You-you said you wanted f-friendship-" "Yes," he says, he swallows, "I did. I do. I do want to be your friend. He nods and I register the slight movement in the air between us. "I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend," he says. "The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body, Juliette-" "No," I gasp. "Don't-don't s-say that-" "I want to know where to touch you," he says. "I want to know how to touch you. I want to know how to convince you to design a smile just for me." I feel his chest rising, falling, up and down and up and down and "Yes," he says. "I do want to be your friend." He says "I want to be your best friend in the entire world." "I want so many things," he whispers. "I want your mind. Your strength. I want to be worth your time." His fingers graze the hem of my top and he says "I want this up." He tugs on the waist of my pants and says "I want these down." He touches the tips of his fingers to the sides of my body and says, "I want to feel your skin on fire. I want to feel your heart racing next to mine and I want to know it's racing because of me, because you want me. Because you never," he says, he breathes, "never want me to stop. I want every second. Every inch of you. I want all of it." And I drop dead, all over the floor. "Juliette." I can't understand why I can still hear him speaking because I'm dead, I'm already dead, I've died over and over and over again. He swallows, hard, his chest heaving, his words a breathless, shaky whisper when he says "I'm so-I'm so desperately in love with you-

Well, I believe in the soul, the cock, the pussy, the small of a woman's back, the hanging curve ball, high fiber, good scotch, that the novels of Susan Sontag are self-indulgent, overrated crap. I believe Lee Harvey Oswald acted alone. I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve and I believe in long, slow, deep, soft, wet kisses that last three days. Crash Davis Bull Durham

With right fashion, every female would be a flame.

Fashion doesn't make you perfect, but it makes you pretty.

It's time to shop high heels if your fiance kisses you on the forehead.

In one universe, they are gorgeous, straight-teethed, long-legged, wrapped in designer fashions, and given sports cars on their sixteenth birthdays. Teacher smile at them and grade them on the curve. They know the first names of the staff. They are the Pride of the Trojans. Oops – I mean Pride of the Blue Devils. In Universe #2, they throw parties wild enough to attract college students. They worship the stink of Eau de Jocque. They rent beach houses in Cancún during Spring Break and get group-rate abortions before prom.

Your body isn't an ornament designed for other people's pleasure. It belongs to you alone. You're magnificent just as you are. Whether you lose weight or gain more, you'll still be magnificent. Have a cake if you want one." Cassandra looked patently disbelieving. "You're saying if I gained another stone, or even two stones, on top of this, you'd still find me desirable?" "God, yes," he said without hesitation. "Whatever size you are, I'll have a place for every curve." She gave him an arrested stare, as if he'd spoken in a foreign language and she was trying to translate.

One of IDEO’s designers even sketched out a “project mood chart” that predicts how people will feel at different phases of a project. It’s a U-shaped curve with a peak of positive emotion, labeled “hope,” at the beginning, and a second peak of positive emotion, labeled “confidence,” at the end. In between the two peaks is a negative emotional valley labeled “insight.

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.

Dresses don't look beautiful on hangers.

Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.

The scaly spindles of a conifer's cone, the helicoidal flow of a river's curve biting away the bank, the flash of orange upon a butterfy's wings warning predators of a bitter taste. This is order from choas; this is beautiful, and it's all the more beautiful for having designed itself.

In one universe, they are gorgeous, straight-teethed, long-legged, wrapped in designer fashions, and given sport cars on their sixteenth birthdays, Teachers smile at them and grade them on the curve. They know the first names of the staff. They are the pride of the school. In Universe #2, they throw parties wild enough to attract college students. They worship stink of Eau de Jocque. They rent beach houses in Cancun during Spring Break and get group-rate abortions before the prom. But they are so cute. And they cheer on our boys, inciting them to violence and, we hope, victory. They’re are our role models- the Girls Who Have It All. I bet none of them ever stutter or screw up or feel like their brains are dissolving into marshmallow fluff.

A car, a blue convertible, sleek and desirable, came sweeping west out of Beverly Hills along the, as I understand it, gracious curves of Sunset Boulevard. Anybody seeing such a car would have wanted it. Obviously. It was designed to make you want it. If people had turned out not to want it very much, the makers would have redesigned it and redesigned it until they did. The world is now full of things like this, which is, of course, why everybody is in such a permanent state of want.

Ingres’ pencil pursues ideal grace to the point of monstrosity: the spine never long and supple enough, the neck flexible enough, the thighs smooth enough, or all the curves of the body sufficiently beguiling to the eye, which envelopes and caresses more than it seems them. The Odalisque, with a hint of the plesiosaurus about her, makes one wonder what might have resulted from a carefully controlled selection, through the centuries, of a breed of woman specially designed for pleasure – as the English horse is bred for racing.

If you ask me, it's all these skinny models that make girls anorexic," she went on, to Auntie Barbara. "I can't think why they don't use real girls with a few curves." "Stands to reason, Jenny." Auntie B. was as pinkly flushed as Mum. "All the designers are gay—they don't want bosoms in their clothes, or bottoms, either. Not proper, girls' bottoms.

Since the late 1980s, woodworkers and cabinet makers have used vacuum press systems to build curved furniture and architectural components of all sizes and shapes—and, in many cases, to laminate inexpensive materials with exotic veneers. The method was born out of the aircraft manufacturing industry

AFEW YEARS AGO the city council of Monza, Italy, barred pet owners from keeping goldfish in curved goldfish bowls. The measure’s sponsor explained the measure in part by saying that it is cruel to keep a fish in a bowl with curved sides because, gazing out, the fish would have a distorted view of reality.

No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.

There are three types of actions: purposeful, habitual, and gratuitous. Characters, to be immediate and apprehensible, must be presented by all three.' Katin looked toward the front of the car. The captain gazed through the curving plate that lapped the roof. His yellow eyes fixed Her consumptive light that pulsed fire-spots in a giant cinder. The light was so weak he did not squint at all. I am confounded, Katin admitted to his jeweled box, 'nevertheless. The mirror of my observation turns and what first seemed gratuitous I see enough times to realize it is a habit. What I suspected as habit now seems part of a great design. While what I originally took as purpose explodes into gratuitousness. The mirror turns again, and the character I thought obsessed by purpose reveals his obsession is only habit; his habits are gratuitously meaningless; while those actions i construed as gratuitous now reveal a most demonic end.

If her green suit had more curves and contours, everyone in town would try to get a hole in one. She looks like she'd let everyone in a hole.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend, the one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of you body. " ... "I want to know where to touch you. I want to know how to touch you. I want to know how to convince you to design a smile just for me." ... "I want to be your best friend in the entire world

Dynamical beauty transcends specific objects and phenomena, and invites us to imagine the expanse of possibilities. For example, the sizes and shapes of actual planetary orbits are not simple. They are neither the (compounded) circles of Aristotle, Ptolemy, and Nicolaus Copernicus, nor even the more nearly accurate ellipses of Kepler, but rather curves that must be calculated numerically, as functions of time, evolving in complicated ways that depend on the positions and masses of the Sun and the other planets. There is great beauty and simplicity here, but it is only fully evident when we understand the deep design. The appearance of particular objects does not exhaust the beauty of the laws.

The movie Bull Durham was written by a man who grew up in the faith and was disillusioned by the church. It begins with the female lead saying, “I believe in the church of baseball. I've tried all the major religions and most of the minor ones … and the only church that truly feeds the soul is baseball.” Later in the movie the Kevin Costner character recites his creed: “I believe in the soul … the hanging curve ball, high fiber, good scotch … I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in long, slow, deep, soft kisses that last three days.”4 My wife liked that one. A little too much. My wife is a Kevin Costner fundamentalist. Kevin said it; she believes it; that settles it.

I love incorrectly There is a solemnity in hands, the way a palm will curve in accordance to a contour of skin, the way it will release a story. This should be the pilgrimage. The touching of a source. This is what sanctifies. This pleading. This mercy. I want to be a pilgrim to everyone, close to the inaccuracies, the astringent dislikes, the wayward peace, the private words. I want to be close to the telling. I want to feel everyone whisper. After the blossoming I hang. The encyclical that has come through the branches instructs us to root, to become the design encapsulated within. Flesh helping stone turn tree. I do not want to hold life at my extremities, see it prepare itself for my own perpetuation. I want to touch and be touched by things similar in this world. I want to know a few secular days of perfection. Late in this one great season the diffused morning light hides the horizon of sea. Everything the color of slate, a soft tablet to press a philosophy to.

In the 1970s, while researching in the Library of Congress, I found an obscure history of religious architecture that assumed a fact as if it were common knowledge: the traditional design of most patriarchal buildings of worship imitates the female body. Thus, there is an outer and inner entrance, labia majora and labia minora; a central vaginal aisle toward the altar; two curved ovarian structures on either side; and then in the sacred center, the altar or womb, where the miracle takes place - where males gives birth. Though this comparison was new to to me, it struck home like a rock down a well. Of course, I thought. The central ceremony of patriarchal religions is one in which men take over the yoni-power of creation by giving birth symbolically. No wonder male religious leaders so often say that humans were born in sin - because we were born to female creatures. Only by obeying the rules of the patriarchy can we be reborn through men. No wonder priests and ministers in skirts sprinkle imitation birth fluid over our heads, give us new names, and promise rebirth into everlasting life. No wonder the male priesthood tries to keep women away from the altar, just as women are kept away from control of our own powers of reproduction. Symbolic or real, it's all devoted to controlling the power that resides in the female body.

Yes,” he says, he swallows, “I did. I do. I do want to be your friend.” He nods and I register the slight movement in the air between us. “I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend,” he says. “The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body, Juliette—” “No,” I gasp. “Don’t—don’t s-say that—” I don’t know what I’ll do if he keeps talking I don’t know what I’ll do and I don’t trust myself “I want to know where to touch you,” he says. “I want to know how to touch you. I want to know how to convince you to design a smile just for me.” I feel his chest rising, falling, up and down and up and down and “Yes,” he says. “I do want to be your friend.” He says “I want to be your best friend in the entire world.” I can’t think. I can’t breathe “I want so many things,” he whispers. “I want your mind. Your strength. I want to be worth your time.” His fingers graze the hem of my top and he says “I want this up.” He tugs on the waist of my pants and says “I want these down.” He touches the tips of his fingers to the sides of my body and says, “I want to feel your skin on fire. I want to feel your heart racing next to mine and I want to know it’s racing because of me, because you want me. Because you never,” he says, he breathes, “never want me to stop. I want every second. Every inch of you. I want all of it.” And I drop dead, all over the floor.

Insight, then. Wisdom. The quest for knowledge, the derivation of theorems, science and technology and all those exclusively human pursuits that must surely rest on a conscious foundation. Maybe that's what sentience would be for— if scientific breakthroughs didn't spring fully-formed from the subconscious mind, manifest themselves in dreams, as full-blown insights after a deep night's sleep. It's the most basic rule of the stymied researcher: stop thinking about the problem. Do something else. It will come to you if you just stop being conscious of it... Don't even try to talk about the learning curve. Don't bother citing the months of deliberate practice that precede the unconscious performance, or the years of study and experiment leading up to the gift-wrapped Eureka moment. So what if your lessons are all learned consciously? Do you think that proves there's no other way? Heuristic software's been learning from experience for over a hundred years. Machines master chess, cars learn to drive themselves, statistical programs face problems and design the experiments to solve them and you think that the only path to learning leads through sentience? You're Stone-age nomads, eking out some marginal existence on the veldt—denying even the possibility of agriculture, because hunting and gathering was good enough for your parents. Do you want to know what consciousness is for? Do you want to know the only real purpose it serves? Training wheels. You can't see both aspects of the Necker Cube at once, so it lets you focus on one and dismiss the other. That's a pretty half-assed way to parse reality. You're always better off looking at more than one side of anything. Go on, try. Defocus. It's the next logical step.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know convince you to design a smile just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.

Although designated as acting boss, D’Arco sensed he was getting “curved instructions” from Casso, who was transmitting the same information and directions he received to other Lucchese members. The curved instructions were designed to determine if D’Arco was faithfully carrying out his bosses’ commands.

Was that a tattoo I saw on your back?” He asked. “None of your business.” “I just didn’t peg you for the tramp stamp type.” “It’s not a tramp stamp. It’s my F-holes,” I corrected. His eyes had widened before he let out a long, deep laugh. “Jesus, Henley.” “For a violin, you A-hole.” I turned around, raising my shirt high enough on my lower back to reveal two curved lines on either side of my spine. I jumped when the pad of his finger ran over the design leaving a trail of goosebumps in its wake. “Wow,” he mumbled, and I turned back around to face him, letting the hem of my shirt fall from my hands. “What? You think it’s stupid.” “No… no. I think that’s the sexiest tattoo I’ve ever seen. How often does someone get to finger your strings?

I open the cover to find a picture of myself, standing straight and strong, in a black uniform. Only one person could have designed the outfit, at first glance utterly utilitarian, at second a work of art. The swoop of the helmet, the curve to the breastplate, the slight fullness of the sleeves that allows the white folds under the arms to show. In his hands, I am again a mockingjay. “Cinna,

Their faces showed beautiful smiles boasting magnificent teeth. Their skin gleamed in the perfect lighting. Even their scarred flesh seemed to hold its own intricate designs, as crazy as it seemed. Luscious curves still decorated their hips and the swell between their legs. They were striking and endearing like a tribe of taunting sirens on top of a cliff in the middle of the sea. I gazed at them for longer than I should have…

Have you ever thought, not only about the airplane but whatever man builds, that all of man’s industrial efforts, all his computations and calculations, all the nights spent working over draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity? It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship’s keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of the human breast or shoulder, there must b experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.

And you might also remember you are the greatest healer among us. That is unchallenged by anyone." "I am the greatest killer, also unchallenged." He tried to give her truth again. She touched his hard mouth. "I will hunt with you then,lifemate." His heart slammed against his ribs. Her smile was mysterious, scretive, and so beautiful,it broke his heart. "What is behind this smile,bebe." His hand caught and spanned her throat, his thumb brushing her lips in a gentle caress. "What do you know that I do not?" His mind slipped into hers, a sensuous thrust, the ultimate intimacy, not unlike the way his tongue sometimes dueled with her-or his body took possession of hers. She was familiar with his touch in her mind. She knew he tried to keep its invasiveness to a minimum. He allowed her to set the bounderies and never pushed beyond any barrier she erected, even though he could do so easily. Both of them needed the intimate union of their minds merging, Savannah as much as Gregori. And her newfound knowledge of him was secure behind a miniature barricade she had hastily erected. Wide-eyed and innocent, she looked at him. His thumb pressed into her lower lip, half mesmerized by the satin perfection of it. "You will never hunt vampires, ma cherie, not ever.And if I were ever to catch you attempting such a thing,there would be hell to pay." She didn't look scared. Rather, amusement crept into the deep blue of her eyes. "Surely you aren't threatening me,Dark One, bogey man of the Carpathians." She laughed softly, a sound that feathered down his spine and somehow took away the sting of that centuries-old designation. "Stop looking so serious, Gregori-you haven't lost your reputation entirely. Everyone else is still terrified of the big bad wolf." His eyebrows shot up. She was teasing him. About his dark reputation, of all things. Her gaze was clear and sparkling, hinting at mischeif. Savannah wasn't railing against her fate, of being tied to him, a monster. She was too filled with life and laughter, with joy. He felt it in her mind, in her heart, in her very soul. He wished it could somehow rub off on him,make him a more compatible lifemate for her. "You are the only one who needs to worry about the big bad wolf, mon amour," he threatened with mock gravity. She leaned over to stare up into his eyes, a smile curving her soft mouth. "You cracked a joke, Gregori. We're making progress.Why,we're practically friends." "Practically?" he echoed gently. "Getting there fast," she told him firmly with her chin up,daring him to contradict her. "Can one be friends with a monster?" He said casually, as if he were simply musing out loud,but there was a shadow in his silver eyes. "I was being childish, Gregori, when I made such an accusation," she said softly, her eyes meeting his squarely.

The exterior of the building was designed by architect Rafael Viñoly to have a sweeping curve, but this meant that all the reflective glass windows accidentally became a massive concave mirror—a kind of giant lens in the sky able to focus sunlight on a tiny area. It’s not often sunny in London, but when a sun-filled day in summer 2013 lined up with the recently completed windows, a death heat-ray swept across London. OK, it wasn’t that bad. But it was producing temperatures of nearly 200°F

Time: 0529:45. The firing circuit closed; the X-unit discharged; the detonators at thirty-two detonation points simultaneously fired; they ignited the outer lens shells of Composition B; the detonation waves separately bulged, encountered inclusions of Baratol, slowed, curved, turned inside out, merged to a common inward-driving sphere; the spherical detonation wave crossed into the second shell of solid fast Composition B and accelerated; hit the wall of dense uranium tamper and became a shock wave and squeezed, liquefying, moving through; hit the nickel plating of the plutonium core and squeezed, the small sphere shrinking, collapsing into itself, becoming an eyeball; the shock wave reaching the tiny initiator at the center and swirling through its designed irregularities to mix its beryllium and polonium; polonium alphas kicking neutrons free from scant atoms of beryllium: one, two, seven, nine, hardly more neutrons drilling into the surrounding plutonium to start the chain reaction.

Her protector and savior was shirtless and barefoot, dressed only in a pair of drawers. He stood beside the bed with his back to her, turning down the covers. She studied the rippling muscles of his shoulders and arms as he performed the mundane task. His back was a beautiful, pale canvas on which she could imagine painting letters and designs. She admired the bands of muscle and the shadows beneath his shoulder blades. His drawers sagged low, revealing narrow hips and the intriguing curve of his rear. Her sex tightened at the glimpse of his buttocks. His face was in profile and his nose no longer seemed too big or his features too coarse as she’d once thought, so long ago it seemed. Instead, they appeared assertively masculine except for the thick sweep of eyelashes and the generous fullness of his lips. Alan noticed her and turned. The blanket fell from his fingers as he gazed at her with the eyes of a hungry dragon. His lips parted and the exhalation of his breath floated to her across the quiet room. Then he walked toward her.

In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your home-own. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. “No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles; Sherman's March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know convince you to design a smile just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.

His hair was mussed, and his teeth were very white in his swarthy, dust-streaked face. With his autocratic facade stripped away, and his eyes sparkling with enjoyment, his grin was so unexpectedly engaging that Lillian experienced a curious melting sensation inside. Hanging over him, she felt her own lips curving in a reluctant smile. A loose lock of her hair dangled free of its tether, sliding silkily over his jaw. “What’s a trebuchet?” she asked. “A catapult. I have a friend who has a keen interest in medieval weaponry. He…” Westcliff hesitated, a new tension seeming to spread through his taut body as he lay beneath her. “He recently built a trebuchet using an ancient design…and enlisted me to help fire it…” Lillian was entertained by the idea that the normally reserved Westcliff was capable of such boyish antics. Realizing that she was straddling him, she colored and began to wriggle off him. “Your aim was off?” she asked, striving to sound casual. “The owner of the stone wall we demolished seemed to think so.” The earl caught his breath sharply as her body slid away from his, and remained sitting on the ground even after she had gotten to her feet.

As a bonus, Rand agreed to design a personal calling card for Jobs. He came up with a colorful type treatment, which Jobs liked, but they ended up having a lengthy and heated disagreement about the placement of the period after the “P” in Steven P. Jobs. Rand had placed the period to the right of the “P.”, as it would appear if set in lead type. Steve preferred the period to be nudged to the left, under the curve of the “P.”, as is possible with digital typography. “It was a fairly large argument about something relatively small,” Susan Kare recalled. On this one Jobs prevailed. In

Even if the initial home-base advantage is hard to sustain, a global strategy can contribute to supplementing and upgrading it. A good example is in consumer electronics, where Matsushita, Sanyo, Sharp, and other Japanese firms initially competed on cost in selling simply designed, portable televisions. As they began penetrating foreign markets, they gained economies of scale and further reduced cost by moving down the learning curve. Worldwide volume then helped to support aggressive investments in marketing, new production equipment, and R&D and to achieve proprietary technology.

I do. I do want to be your friend. I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every shiver of your body, Juliette. I want to know where to touch you. I want to know how to touch you. I want to know how to convince you to design a smile just for me. Yes, I do want to be your friend. I want you be your best friend in the entire world.

Begin morning run,” I said to Max. “Bifrost track.” The virtual gym vanished. Now I was standing on a semitransparent running track, a curved looping ribbon suspended in a starry nebula. Giant ringed planets and multicolored moons were suspended in space all around me. The running track stretched out ahead of me, rising, falling, and occasionally spiraling into a helix. An invisible barrier prevented me from accidentally running off the edge of the track and plummeting into the starry abyss. The Bifrost track was another stand-alone simulation, one of several hundred track designs stored on my console's hard drive.

Our modern glass is exquisitely clear in its substance, true in its form, accurate in its cutting. We are proud of this. We ought to be ashamed of it. The old Venice glass was muddy, inaccurate in all its forms, and clumsily cut, if at all. And the old Venetian was justly proud of it. For there is this difference between the English and Venetian workman, that the former thinks only of accurately matching his patterns, and getting his curves perfectly true and his edges perfectly sharp, and becomes a mere machine for rounding curves and sharpening edges; while the old Venetian cared not a whit whether his edges were sharp or not, but he invented a new design for every glass that he made, and never moulded a handle or a lip without a new fancy in it. And therefore, though some Venetian glass is ugly and clumsy enough when made by clumsy and uninventive workmen, other Venetian glass is so lovely in its forms that no price is too great for it; and we never see the same form in it twice. Now you cannot have the finish and the varied form too. If the workman is thinking about his edges, he cannot be thinking of his design; if of his design, he cannot think of his edges. Choose whether you will pay for the lovely form or the perfect finish, and choose at the same moment whether you will make the worker a man or a grindstone.

Have you ever thought, not only about the airplane but whatever man builds, that all of man’s industrial efforts, all his computations and calculations, all the nights spent working over draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity? It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship’s keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of the human breast or shoulder, there must be experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.

Then the carpenters return to making more tables—tables on which to spread our pottery, a drawing-table for Mac, a table off which to dine, a table for my typewriter. ... Mac draws out a towel-horse and the carpenters start upon it. The old man brings it proudly to my room on completion. It looks different from Mac's drawing, and when the carpenter sets it down I see why. It has colossal feet, great curved scrolls of feet. They stick out so that, wherever you put it, you invariable trip over them. Ask him, I say to Max, why he has made these feet instead of sticking to the design he was given? The old man looks at us with dignity. "I made them this way," he says, "so that they should be beautiful. I wanted this that I have made to be a thing of beauty!" To this cry of the artist there could be no response. I bow my head, and resign myself to tripping up over those hideous feet for the rest of the season!

The last encounter was one Ian enjoyed, because Elizabeth was with him after they’d had their second-and last permissible-dance. Viscount Mondevale had approached them with Valerie hanging on his arm, and the rest of their group fanned around them. The sight of the young woman who’d caused them both so much pain evoked almost as much ire in Ian as the sight of Mondevale watching Elizabeth like a lovelorn swain. “Mondevale,” Ian had said curtly, feeling the tension in Elizabeth’s fingers when she looked at Valerie, “I applaud your taste. I’m certain Miss Jamison will make you a fine wife, if you ever get up the spine to ask her. If you do, however, take my advice, and hire her a tutor, because she can’t write and she can’t spell.” Transferring his blistering gaze to the gaping young woman, Ian clipped, “’Greenhouse’ has a ‘u’ in it. Shall I spell ‘malice’ for you as well?” “Ian,” Elizabeth chided gently as they walked away. “It doesn’t matter anymore.” She looked up at him and smiled, and Ian grinned back at her. Suddenly he felt completely in harmony with the world. The feeling was so lasting that he managed to endure the remaining three weeks-with all the requisite social and courtship rituals and betrothal formalities-with equanimity while he mentally marked off each day before he could make her his and join his starving body with hers. With a polite smile on his face Ian appeared at teas and mentally composed letters to his secretary; he sat through the opera and slowly undressed her in his mind; he endured eleven Venetian breakfasts where he mentally designed an entirely new kind of mast for his fleet of ships; he escorted her to eighteen balls and politely refrained from acting our his recurring fantasy of dismembering the fops who clustered around her, eyeing her lush curves and mouthing platitudes to her. It was the longest three weeks of his life. It was the shortest three weeks of hers.

Arin had bathed. He was wearing house clothes, and when Kestrel saw him standing in the doorway his shoulders were relaxed. Without being invited, he strode into the room, pulled out the other chair at the small table where Kestrel waited, and sat. He arranged his arms in a position of negligent ease and leaned into the brocaded chair as if he owned it. He seemed, Kestrel thought, at home. But then, he had also seemed so in the forge. Kestrel looked away from him, stacking the Bite and Sting tiles on the table. It occurred to her that it was a talent for Arin to be comfortable in such different environments. She wondered how she would fare in his world. He said, “This is not a sitting room.” “Oh?” Kestrel mixed the tiles. “And here I thought we were sitting.” His mouth curved slightly. “This is a writing room. Or, rather”--he pulled his six tiles--“it was.” Kestrel drew her Bite and Sting hand. She decided to show no sign of curiosity. She would not allow herself to be distracted. She arranged her tiles facedown. “Wait,” he said. “What are the stakes?” She had given this careful consideration. She took a small wooden box from her skirt pocket and set it on the table. Arin picked up the box and shook it, listening to the thin, sliding rattle of its contents. “Matches.” He tossed the box back onto the table. “Hardly high stakes.” But what were appropriate stakes for a slave who had nothing to gamble? This question had troubled Kestrel ever since she had proposed the game. She shrugged and said, “Perhaps I am afraid to lose.” She split the matches between them. “Hmm,” he said, and they each put in their ante. Arin positioned his tiles so that he could see their engravings without revealing them to Kestrel. His eyes flicked to them briefly, then lifted to examine the luxury of his surroundings. This annoyed her--both because she could glean nothing from his expression and because he was acting the gentleman by averting his gaze, offering her a moment to study her tiles without fear of giving away something to him. As if she needed such an advantage. “How do you know?” she said. “How do I know what?” “That this was a writing room. I have never heard of such a thing.” She began to position her own tiles. It was only when she saw their designs that she wondered whether Arin had really been polite in looking away, or if he had been deliberately provoking her. She concentrated on her draw, relieved to see that she had a good set. A tiger (the highest tile); a wolf, a mouse, a fox (not a bad trio, except the mouse); and a pair of scorpions. She liked the Sting tiles. They were often underestimated. Kestrel realized that Arin had been waiting to answer her question. He was watching her. “I know,” he said, “because of this room’s position in your suite, the cream color of the walls, and the paintings of swans. This was where a Herrani lady would pen her letters or write journal entries. It’s a private room. I shouldn’t be allowed inside.” “Well,” said Kestrel, uncomfortable, “it is no longer what it was.

Marcus had a natural arrogant air to him, thanks to his striking facial features, with his slim nose, square cut jawline and high cheekbones. He also had high arched brows with one that always seemed to be raised as if he was judging every single action you made. But those elongated red diamond shapes that ran through his eyes and curved slightly an inch above his brows reminded me of horns. The opposite ends were drawn down in long points that reached his jaw until they were nothing but a thin line. A set that mirrored the same triangular design starting from under his bottom lip. This thin red line continued all the way down his chin until it disappeared under the shadows of his long neck before it dipped under a crimson red cravat. A colour that matched his unusual hair, with its strands that were twisted back from his face into sections with the ends pointed with little bells attached. All of which adding to the theatrics that rest of his outfit provided. Piercing dark blue eyes studied me as I approached.

Nykyrian stepped out of the shadows so that the dim light highlighted the white blond hair that was braided down his back—an assassin’s mark of honor. His solid, flat black battle suit hugged every sharp curve of his well-muscled body. The outline of daggers were embroidered in dark blood red down the sleeves—the only external designation an assassin bore. Nykyrian’s daggers held a crown above each hilt, letting the universe know he was the most lethal of his kind. A command assassin of the first rank. As always, Nykyrian was calm and watchful of the shadows as if expecting someone like him to come for him at any moment. Somber. Cold. Lethal. Traits that had been drilled into him as a child. In all the years Sheridan had known him, Nykyrian had never once smiled. Never once broken that staunch military training that had left him emotionally bankrupt. The most disturbing thing of all was the fact that his eyes were hidden behind a pair of opaque shades, a safeguard used by military assassins to keep those around them on edge, since there was no way of telling where they were looking or what they were thinking.

The billboards ruin everything. The historical flavor, the old-time architecture, even the beauty of the wooded hillside—all are sacrificed. Pole-lines and wires may be accepted, like fences, as part of the basic American landscape. They do their work without striving to be conspicuous, and often their not-ungraceful curves add a touch of interest, an intricacy of pattern, even some beauty. Billboards are different. . . . billboards blast themselves into the viewer's consciousness. . . . some of the smaller billboards—those advertising local hotels, service-stations, or small industries—seem to have a certain rooting in the soil, and are often modest and comparatively harmonious to the setting. The large billboards—owned by special companies, usually advertising the products of mass-production—are always placed in the most conspicuous spots, and have designs and colors carefully chosen to clash with the background. One feels a difference between a home-produced: "Stop at Joe's Service Station for Gas—Two Miles," or "The Liberty Café—Short Orders at All Hours—Give Us a Try!" and some gigantic rectangle advertising tires or beer. Large billboards are now springing up along U. S. 40 even in the vastnesses of the Nevada sagebrush country. They are an abomination! Personally, I try to buy as little as possible of anything that is so advertised.

Grace adored Amelia. The older woman was a close friend of her grandmother and mother, and a constant in Grace's life. She visited Amelia often. The inn was her second home. As a child she'd always raced up the stairs and raided Amelia's bedroom closet, and Amelia had encouraged her unconventional behavior. Grace had loved dressing up in vintage clothing. Attempting to walk up in a pair of high button shoes. Amelia was the first to recognize Grace's love of costume. Her enjoyment of tea parties. She'd supported Grace's dream of opening her business, Charade, when Grace sought a career. From birthdays to holidays, the costume shop was popular and successful. Grace couldn't have been happier. She admired Amelia now. Her long, braided hair was the same soft gray as her eyes. Years accumulated, but never seemed to touch her. She appeared youthful, ageless, in a sage-green tunic, belted over a paisley gauze skirt in shades of cranberry, green, and gold. Elaborate gold hoops hung at her ears, ones designed with silver beads and tiny gold bells. The thin metal chains on her three-tiered necklace sparkled with lavender rhinestones and reflective mirror discs. Bangles of charms looped her wrist. A thick, hammered-silver bracelet curved near her right elbow. A triple gold ring with three pearls arched from her index finger to her fourth. She sparkled.

The result was not nearly as vivid to the layman as, say, E=mc2. Yet using the condensed notations of tensors, in which sprawling complexities can be compressed into little subscripts, the crux of the final Einstein field equations is compact enough to be emblazoned, as it indeed often has been, on T-shirts designed for proud physics students. In one of its many variations,82 it can be written as: Rμv– 1/2 gμv R = 8πTμv The left side of the equation starts with the term Rμv, which is the Ricci tensor he had embraced earlier. The term gμv is the all-important metric tensor, and the term R is the trace of the Ricci tensor called the Ricci scalar. Together, this left side of the equation—which is now known as the Einstein tensor and can be written simply as Gμv—compresses together all of the information about how the geometry of spacetime is warped and curved by objects. The right side describes the movement of matter in the gravitational field. The interplay between the two sides shows how objects curve spacetime and how, in turn, this curvature affects the motion of objects. As the physicist John Wheeler has put it, “Matter tells spacetime how to curve, and curved space tells matter how to move.”83 Thus is staged a cosmic tango, as captured by another physicist, Brian Greene: Space and time become players in the evolving cosmos. They come alive. Matter here causes space to warp there, which causes matter over here to move, which causes space way over there to warp even more, and so on. General relativity provides the choreography for an entwined cosmic dance of space, time, matter, and energy.

Willow chuckled as all up and down Allen Street lights began to glow through every window. Someone in a room down the hall lifted their window threw a chamber pot at the crooners, and followed it with a foul epithet. Undaunted, the men broke into a chorus of Aura Lea. “They sure have lousy timing,” Rider commented wryly. “Just how long does this little serenade last?” Seeing a tall figure in a long frock coat coming up the street, Willow replied, “I think it’s about to end very soon now.” Virgil Earp’s face shone in the gaslight in front of the Grand. “All right, boys,” the couple heard him say, “the party’s over.” He looked up at Rider and Willow with a wide, winsome grin and waved. With that, he ushered the drunken serenaders down the street and into the saloon. Rider turned from the window, shaking his head. “Now where were we? Ah, yes!” He swooped Willow off her feet and tossed her onto the huge bed. “That’s not where we were.” She laughed. “It’s where we were headed, lady, and that’s good enough for me.” Pulling her up, he pulled the rumbled robe off her shoulders to reveal a floaty silk nightdress of aqua. Though it was entirely modest in design, the soft material hugged her curves enticingly. “Lord, woman, there ought to be a law against sheer nothings like this.” Willow smiled seductively. “Do you like it?” “So much that I’m going to strip it off you right now!” Willow giggled and tried to escape, scrambling across the bed. She was quickly foiled by yards of silk tangling about her legs. Rider wasn’t one to waste opportunities and dived onto the bed on top of her. “Ah-hah. I have you in my power now, my pretty!” he said, catching her hands above her head. Chuckling, Willow wiggled and squirmed beneath him in a halfhearted effort to free herself. She watched fascinated as his eyes flamed with desire. Her voice was breathy and provocative. “Who’s got who, villain? I think I’ve got you.

The pink?" she suggested, holding the shimmering rose-colored satin in front of Sara's half-clad figure. Sara held her breath in awe. She had never worn such a sumptuous creation. Silk roses adorned the sleeves and hem of the gown. The short-waisted bodice was finished with a stomacher of silver filigree and a row of satin bows. Lily shook her head thoughtfully. "Charming, but too innocent." Sara suppressed a disappointed sigh. She couldn't imagine anything more beautiful than the pink satin. Busily Monique discarded the gown and sorted through the others. "The peach. No man will be able to keep his eyes from her in that. Here, let us try it, chérie." Raising her arms, Sara let the dressmaker and her assistant Cora pull the gauzy peach-hued gown over her head. "I think it will have to be altered a great deal," Sara commented, her voice muffled beneath the delicate layers of fabric. The gowns had been fitted for Lily's lithe, compact lines. Sara was more amply endowed, with a generous bosom and curving hips, and a tiny, scoped-in waist... a figure style that had been fashionable thirty years ago. The current high-waisted Grecian mode was not particularly flattering to her. Monique settled the gown around Sara's feet and then began to yank the back of it together. "Oui, Lady Raiford has the form that fashion loves." Energetically, she hooked the tight bodice together. "But you, chérie, have the kind that men love. Draw in your breath, s'il vous plaît." Sara winced as her breasts were pushed upward until they nearly overflowed from the low-cut bodice. The hem of the unusually full skirt was bordered with three rows of graduated tulip-leaves. Sara could hardly believe the woman in the mirror was herself. The peach gown, with its transparent layers of silk and shockingly low neckline, had been designed to attract a man's attention. It was too loose at the waist, but her breasts rose from the shallow bodice in creamy splendor pushed together to form an enticing cleavage.

It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men. We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.

Then I remembered something else from the 2112 liner notes. I pulled them up and scanned over them again. There was my answer, in the text that preceded Part III—“Discovery”: Behind my beloved waterfall, in the little room that was hidden beneath the cave, I found it. I brushed away the dust of the years, and picked it up, holding it reverently in my hands. I had no idea what it might be, but it was beautiful. I learned to lay my fingers across the wires, and to turn the keys to make them sound differently. As I struck the wires with my other hand, I produced my first harmonious sounds, and soon my own music! I found the waterfall near the southern edge of the city, just inside the curved wall of the atmospheric dome. As soon as I found it, I activated my jet boots and flew over the foaming river below the falls, then passed through the waterfall itself. My haptic suit did its best to simulate the sensation of torrents of falling water striking my body, but it felt more like someone pounding on my head, shoulders, and back with a bundle of sticks. Once I’d passed through the falls to the other side, I found the opening of a cave and went inside. The cave narrowed into a long tunnel, which terminated in a small, cavernous room. I searched the room and discovered that one of the stalagmites protruding from the floor was slightly worn around the tip. I grabbed the stalagmite and pulled it toward me, but it didn’t budge. I tried pushing, and it gave, bending as if on some hidden hinge, like a lever. I heard a rumble of grinding stone behind me, and I turned to see a trapdoor opening in the floor. A hole had also opened in the roof of the cave, casting a brilliant shaft of light down through the open trapdoor, into a tiny hidden chamber below. I took an item out of my inventory, a wand that could detect hidden traps, magical or otherwise. I used it to make sure the area was clear, then jumped down through the trapdoor and landed on the dusty floor of the hidden chamber. It was a tiny cube-shaped room with a large rough-hewn stone standing against the north wall. Embedded in the stone, neck first, was an electric guitar. I recognized its design from the 2112 concert footage I’d watched during the trip here. It was a 1974 Gibson Les Paul, the exact guitar used by Alex Lifeson during the 2112 tour.

The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder -- its DNA -- Xerox(tm) it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines. In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your hometown. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. "No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallelparked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.

One day, because I was bored in our usual spot, next to the merry-go-round, Françoise had taken me on an excursion – beyond the frontier guarded at equal intervals by the little bastions of the barley-sugar sellers – into those neighbouring but foreign regions where the faces are unfamiliar, where the goat cart passes; then she had gone back to get her things from her chair, which stood with its back to a clump of laurels; as I waited for her, I was trampling the broad lawn, sparse and shorn, yellowed by the sun, at the far end of which a statue stands above the pool, when, from the path, addressing a little girl with red hair playing with a shuttlecock in front of the basin, another girl, while putting on her cloak and stowing her racket, shouted to her, in a sharp voice: ‘Good-bye, Gilberte, I’m going home, don’t forget we’re coming to your house tonight after dinner.’ That name, Gilberte, passed by close to me, evoking all the more forcefully the existence of the girl it designated in that it did not merely name her as an absent person to whom one is referring, but hailed her directly; thus it passed close by me, in action so to speak, with a power that increased with the curve of its trajectory and the approach of its goal; – transporting along with it, I felt, the knowledge, the notions about the girl to whom it was addressed, that belonged not to me, but to the friend who was calling her, everything that, as she uttered it, she could see again or at least held in her memory, of their daily companionship, of the visits they paid to each other, and all that unknown experience which was even more inaccessible and painful to me because conversely it was so familiar and so tractable to that happy girl who grazed me with it without my being able to penetrate it and hurled it up in the air in a shout; – letting float in the air the delicious emanation it had already, by touching them precisely, released from several invisible points in the life of Mlle Swann, from the evening to come, such as it might be, after dinner, at her house; – forming, in its celestial passage among the children and maids, a little cloud of precious colour, like that which, curling over a lovely garden by Poussin,15 reflects minutely like a cloud in an opera, full of horses and chariots, some manifestation of the life of the gods; – casting finally, on that bald grass, at the spot where it was at once a patch of withered lawn and a moment in the afternoon of the blonde shuttlecock player (who did not stop launching the shuttlecock and catching it again until a governess wearing a blue ostrich feather called her), a marvellous little band the colour of heliotrope as impalpable as a reflection and laid down like a carpet over which I did not tire of walking back and forth with lingering, nostalgic and desecrating steps, while Françoise cried out to me: ‘Come on now, button up your coat and let’s make ourselves scarce’, and I noticed for the first time with irritation that she had a vulgar way of speaking, and alas, no blue feather in her hat.

Taiichi Ohno blamed this batch-and-queue mode of thinking on civilization’s first farmers, who he claimed lost the one-thing-at-a-time wisdom of the hunter as they became obsessed with batches (the once-a-year harvest) and inventories (the grain depository).4 Or perhaps we’re simply born with batching thinking in our heads, along with many other “common sense” illusions—for example, that time is constant rather than relative or that space is straight rather than curved. But we all need to fight departmentalized, batch thinking because tasks can almost always be accomplished much more efficiently and accurately when the product is worked on continuously from raw material to finished good. In short, things work better when you focus on the product and its needs, rather than the organization or the equipment, so that all the activities needed to design, order, and provide a product occur in continuous flow.

The moment we designate the used or maligned as a state with generative capacity, our reality expands. President John F. Kennedy once mentioned an old saying that success has many fathers, but failure is an orphan. 4 Failure is an orphan until we give it a narrative. Then it is palatable because it comes in the context of story, as stars within a beloved constellation. Once we reach a certain height we see how a rise often starts on a seemingly outworn foundation. The gift of failure is a riddle. Like the number zero, it will always be both the void and the start of infinite possibility. The arc is one for which there are few perfect words. Its most succinct summary may come from the wisdom in seventeenth-century poet and samurai Mizuta Masahide’s haiku: “My barn having burned down / I can now see the moon.” When we take the long view, we value the arc of a rise not because of what we have achieved at that height, but because of what it tells us about our capacity, due to how improbable, indefinable, and imperceptible the rise remains. There are advantages to certain opportunities, including their seeming opposite, that make our path as curved and as precise as an arrow’s course.

Ideally, you want components with a flat frequency/response curve: they apply identical amounts of energy to every sound frequency, so the proper balance between high and low is maintained. Although Neat Acoustics isn’t as well known in the States, I’d heard some of their speakers demoed at a conference in Brussels once and decided I needed a pair if I could ever afford them. When I bought the house, I settled on a pair of Ultimatum XL6s. Only three feet high, they use some neat engineering tricks to generate a much fuller frequency range than you’d expect. For example, each speaker contains an isobaric bass chamber, with two drivers lined up one behind the other inside the closed compartment. With the two woofers rigged so their cones move simultaneously, you can create the same bass sound in half the cabinet space. Unfortunately, the trade-off for such a compact design is density, of

The lovely young lady in the mirror was not a stranger, nor was she Lady Overlooked. Once again, Brierly had found some essential core of her model and designed the whole dress around it. Brierly had gathered Nissa’s brown hair in a loose pile on top of her head, with a curl spilling over here and there. The comb secured a single rose just verging on full bloom. Nissa still looked short and sturdy but—endearingly so. A friendly elf. Youthful, but not childish. The dress flattered and concealed the correct curves. Not even Aunt Perturbance would mistake her for fifteen tonight. Nissa blushed–ith pleasure at her appearance, yes–but mainly that her childhood heroine would think so highly of her as to craft such a masterpiece. That she would know her so well as to reflect the true Nissa, but love her so well as to reflect the best possible Nissa.

Activities to Develop the Visual System Making Shapes—Let your child draw or form shapes, letters, and numbers in different materials, such as playdough, finger paint, shaving cream, soap foam, sand, clay, string, pudding, or pizza dough. Mazes and Dot-to-Dot Activities—Draw mazes on paper, the sidewalk, or the beach. Have the child follow the mazes with his finger, a toy car, a crayon, a marker, or chalk. On graph paper, make dot-to-dot patterns for the child to follow. Peg Board—Have the child reproduce your design or make his own. Cutting Activities—Provide paper and scissors and have your child cut fringe and strips. Draw curved lines on the paper for her to cut. Cutting playdough is fun, too. Tracking Activities—Lie on your backs outside and watch birds or airplanes, just moving your eyes while keeping your heads still. Jigsaw Puzzles! Block Building!!

Try these," she suggested. She held out a pair of simple long gauntlets that were almost as fine as gloves, chain underneath and plate on top. Aurora Rose carefully took off the ones she wore and slipped the others on. They fit perfectly. "This is a bit more your style," the blue one said, approaching her with a breastplate that was almost as big as she was. It was curved femininely to fit Aurora Rose's body, but not ridiculously so. A staid design of roses and thorns was inlaid along the sides. It was sturdy, and 'heavy.' The princess had to readjust the way she stood to support it while everyone helped buckle it on the back. "And for the top..." the red one said, looking around. "Let 'her' choose," the green one suggested gently. Aurora Rose walked down the aisle slowly, getting used to the weight of the armor. She passed each of the women and then Phillip- dashing in his shining cuirass and silver-white greaves, like a soldier from ancient Rome. Her eyes swept over everything, everywhere, pausing nowhere. Golden helms, intricate onyx headpieces, spiked and dangerous-looking crowns, plated metal turbans. Finally, she saw what she wanted. She strode forward and lifted a helmet- one she 'knew' would fit- off the top shelf. A point came down the middle of the forehead to protect her nose- and was also vaguely reminiscent of Maleficent's headpiece. But instead of horns, silver wings swept back over the ears. With slow, sure movements she put it on. It 'did' fit. Perfectly. She turned around to show the others. Phillip sucked in his breath. "You look 'magnificent,' Rose. Like- like an ancient goddess of war." "Like victory," the green one said softly.

Italians stand up a lot at bars,” I comment, taking the glass of water Luca’s pushing toward me. It’s fizzy, with ice and lime in it, and I drink it very gratefully. He smiles. I notice that one corner of his mouth lifts higher than the other when he does so, in a little quirk that sets off his handsomeness precisely because of its irregularity. “Italians like to show off their clothes,” he says. “They like clothes that are signed.” He hits his brow theatrically with one hand. “Firmati,” he says. “That is how we say ‘designer.’ They like designer clothes. If you stand up, people see them better.” Ha! I bet every single piece of clothing Elisa was wearing today is designer. “But your style, it’s very English,” Luca observes, and he reaches across the table to snag his index finger under the big strands of fake pearls around my neck, lifting them for a moment, then letting them fall back to my collarbone again. For a split second, his finger touches my skin, and he might as well have brushed me with a lit match. “Very…” He snaps his fingers, searching for the word. “Eccentrica,” he says finally. “Oh God!” My face drops. “It’s that bad?” “Cosa?” He looks confused. “Bad?” “In English, ‘eccentric’ is sort of like ‘mad,’” I explain. “If you’re really posh, especially. You could be a raving loony who eats bats for breakfast, and as long as you have a title, they’d call you eccentric and think it was charming.” Luca, clearly, hasn’t understood all of this. But he’s thrown his head back and is laughing so hard that I see people beyond us turning to look in curiosity. He looks absolutely gorgeous when he laughs, his mouth curving up, tiny lines creasing around his eyes; his usual cool demeanor is wiped away, and he looks younger, sweeter, much more approachable.

Some hold the position that education is serious, but games are not; therefore games have no place in education. But an examination of our educational system shows that it is a game! Students (players) are given a series of assignments (goals) that must be handed in (accomplished) by certain due dates (time limits). They receive grades (scores) as feedback repeatedly as assignments (challenges) get harder and harder, until the end of the course when they are faced with a final exam (boss monster), which they can only pass (defeat) if they have mastered all the skills in the course (game). Students (players) who perform particularly well are listed on the honor roll (leader board). Traditional educational methods often feature a real lack of surprises, a lack of projection, a lack of pleasures, a lack of community, and a bad interest curve.

The armchairs, with their flat, sedentary cushions, were designed for society, but the bed was made for solitude. It had a straitened and measured narrowness, an austere frame made to contain the curves of a single body, to circumscribe it, carry it, give it a place, and when I slept at night, I possessed it entirely.

Don’t confuse the term games of progression with other ideas about progression in games, such as leveling up, difficulty curves, skill trees, and so on. We use Juul’s definition of the term: A game of progression is one that offers predesigned challenges, each of which often has exactly one solution, in a fixed (or only slightly variable) sequence.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know a smile designed just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know convince you to design a smile just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.

They were short and delicate, designed for dual wielding, as I preferred. They were impossibly light for their size. The blades curved gracefully, polished black steel with red marks etched into the flat—long swirls of decorative smoke and stark, staccato glyphs locked in a dance.

They were short and delicate, designed for dual wielding, as I preferred. They were impossibly light for their size. The blades curved gracefully, polished black steel with red marks etched into the flat—long swirls of decorative smoke and stark, staccato glyphs locked in a dance. The hilts—silver, topped with two interlocking moons—welcomed my hands as if they had been waiting for me my entire life.

I worry about our shrinking industrial base and the loss of a highly skilled workforce that has kept America the unchallenged aerospace leader since World War II. By layoffs and attrition we are losing skilled toolmakers and welders, machinists and designers, wind tunnel model makers and die makers too. And we are also losing the so-called second tier—the mom-and-pop shops of subcontractors who supplied the nuts and bolts of the industry, from flight controls to landing gears. The old guard is retiring or being let go, while the younger generation of new workers lucky enough to hold aerospace jobs has too little to do to overcome a steep learning curve any time soon.

I FOUND THIS AMAZING WEBSITE Best eLearning Authoring Tools for Rapid Course Development - 2022 As more organizations look to create digital training content, tools that help presenters create engaging eLearning courses are always in demand. Authoring tools with intuitive interfaces and robust features can be expensive, but luckily some alternatives don’t require a hefty price tag. These authoring tools offer the core features needed to produce effective eLearning courses with a minimal learning curve. They also offer time-saving features like drag-and-drop functionality and pre-built templates in different design styles.

Ive’s design team had obsessed over the rounded corners of the phone and become advocates of Bézier curves, a concept from computer modeling used to eliminate the transition breaks between straight and curved surfaces. The Bézier geometry gave the iPhone rounded corners that arched like a sculpture. A standard rounded corner consists of a single-radius arch or a quarter circle, whereas their curves were mapped through a dozen points, creating a more gradual and natural transition. Meanwhile, Forstall used a standard three-point curve in the corners of iPhone apps. Each time Ive opened his iPhone, he could see the difference between the phone’s carefully crafted corners and the software’s clunky corners. He was powerless to change those features because Jobs excluded him from software design meetings. He could only look at them and fume.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and in your bed and into the private world you keep trapped in your head. I want to be that kind of friend." He says. " The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body, Juliette- " "I want to know where to touch you, I want to know how to touch you. I want to know how o convince you to design a smile just for me." "Yes," He says "I do want to be your friend. I want to be your best friend in the enitre world.

The dude who designed it, an art prodigy in his senior year named Killian, was a little offended about having to change the design, which was the reason the hot dog resembled a dick. A sly fuck you to the principal and teachers who made him change it to what I was wearing on my hoodie that night. If you squinted, you could see the wrinkles were actually veins, and the curves near one end kind of morphed into the tip. Killian never confirmed this, but we all saw it. It wasn’t just me. Like, I swear it’s not some weird psychological tell about me—you know, seeing penises in everything.

What happens to a billiard ball, say, if you shoot it through a wormhole at its slightly younger self, trying to deflect it off course? A physicist at the Russian Space Institute in Moscow named Igor Novikov worked out the math that would govern a trans-temporal, suicidal (or at least self-inhibiting) billiards game (a sort of cross between billiards and Russian roulette), and he discovered something remarkably reassuring: physical law would actually prevent the billiard ball from inhibiting its past self. In fact, a principle of self-consistency would govern a wormhole-riddled universe. Even if an object could enter a wormhole at some time point B and emerge earlier, at some time point A, it could never actually interfere with its own entry into the wormhole at that later time point B.7 Two of Thorne’s students checked and found that Novikov was right: a time-traveling billiard ball cannot take the place of its younger self.8 (According to physicist Nick Herbert, it is analogous to the exclusion principle discovered by Wolfgang Pauli, which prevents any two electrons from occupying the same states simultaneously—a principle that ultimately makes the world built of tiny probabilistic particles solid.9) More recently, the physicist Seth Lloyd designed and actually conducted such an experiment using a photon and what he called a quantum gun—essentially shooting the photon a few billionths of a second back in time to interfere with its past self. He discovered he couldn’t. “No matter how hard the time-traveler tries, she finds her grandfather is a tough guy to kill.”10 This does not mean that time travel is impossible. Quite the contrary. It means that the time-traveling object encounters and interacts with its earlier self in precisely such a way that its later entry into the wormhole is facilitated rather than impeded. In other words, all possible paths of a billiard ball entering a wormhole would, upon exiting the wormhole earlier, nudge itself into the mouth of the wormhole later, thus completing the causal tautology, or what physicists call the closed-timelike curve. These days, quantum physicists like Lloyd use the idiom of postselection, a kind of informational-causal Darwinism that ensures that the only information that survives its journey into the past is information that does not foreclose its origins in the future. It’s not like there’s a Causality Police stepping in now and again to prevent grandfather paradoxes from occurring, or that time travelers need to step gingerly in the past to avoid disturbing things (a common trope in time-travel stories)—although they may in fact find that funny paranormal experiences impede them in ways they hadn’t expected. Guns might misfire at a crucial moment, for instance. (There’s nothing keeping you from trying to kill your grandfather.) But mainly, it is that time travelers from the future who survive their journey into the past are the ones whose actions somehow lead to the identical future from which they will have been sent back. Time loops, in other words.

Mantra of Geometry In Wheeler's poem, "matter" is a little too poetic. Matter can have several properties (for example, electric charge), but the curvature of space-time responds only to the total density of energy and momentum. So we should say instead: Energy-momentum tells space-time how to curve. Also, forces other than gravity influence how matter moves. Those forces will lead to deviations from the straightest possible (geodesic) paths. What we should say is therefore: Space-time tells energy-momentum what straight is (in space-time). And so, putting it all together: Energy-momentum tells space-time how to curve. Space-time tells energy-momentum what straight is (in space-time). And now comes the Core Theory of electromagnetism: Electric charge tells electromagnetic property space how to curve. Electromagnetic property space tells electric charge what straight is (in electromagnetic property space). And of the weak force: Weak charge tells weak property space how to curve. Weak property space tells weak charge what straight is (in weak property space). And of the strong force: Strong charge tells strong property space how to curve. Strong property space tells strong charge what straight is (in strong property space). In the full Core Theory, including all four forces, matter has four kinds of properties: energy momentum, electric charge, weak charge, and strong charge. Particles of matter propagate through a more complex space than Wheeler allowed for, which includes electromagnetic, weak, and strong property spaces atop ordinary space-time. But matter follows, according to the Core, the same yin principle, adapted to this more complex environment: Keep going as straight as you can!

We now have the chance to transcend the limitations of the experience curve. The more participants one adds to carefully designed creation spaces—and the more the interactions that occur between and among them—the greater the chances are that everybody participating will get better quicker at whatever it is they’re doing. Rather than each new increment of experience contributing less and less—as in the experience curve—each new participant in a creation space makes all the previous participants—and interactions between them—incrementally more valuable. A virtuous cycle begins to emerge as more and more people connect with each other.

Nobody said your face had to be on them. I can focus solely on the designs. People would never know it was you. Like . . .” He stopped and showed a cute little dragonfly, perched on the pale white curve of a woman’s hip. A soft growl escaped Zach. “When did she let you take that?” Keelie glanced at Zach and then Zane, saw the glint in his eyes. “Aw, come on, man. You know Abby is like my kid sister. I told her we needed to get some images for the women’s gallery. She was in her swimsuit when I took it. Relax.” “Fuck you,” Zach said, shortly.

Workplaces and schools are often designed to be zero-sum environments, with forced rankings and required grading curves that pit group members against one another in win-lose contests. In these settings, it’s only natural to assume that peers will lean in the taker direction, so people hold back on giving. This reduces the actual amount of giving that occurs, leading people to underestimate the number of people who are interested in giving. Over time, because giving appears to be uncommon, people with giver values begin to feel that they’re in the minority.

Reaching the brow of a stunted hill, Amelia paused in bewilderment at the sight of a towering contraption made of metal. It appeared to be a chute propped up on legs, tilted at a steep angle. Her attention was caught by a minor commotion farther afield … two men emerging from behind a small wooden shelter … they were shouting and waving their arms at her. Amelia instantly realized she had stumbled into danger, even before she saw the smoldering trail of sparks move, snakelike, along the ground toward the metal chute. A fuse? Although she didn’t know much about explosive devices, she was aware that once a fuse had been lit, nothing could be done to stop it. Dropping to the sun-warmed grass, Amelia covered her head with her arms, having every expectation of being blown to bits. A few heartbeats passed, and she let out a startled cry as she felt a large, heavy body fall on hers … no, not fall, pounce. He covered her completely, his knees digging into the ground on either side of her as he made a shelter of his body. At the same moment, a deafening explosion pierced the air, and there was a violent whoosh over their heads, and a shock went through the ground beneath them. Too stunned to move, Amelia tried to gather her wits. Her ears were filled with a high-pitched buzz. Her companion remained motionless over her, breathing heavily in her hair. The air was sharp with smoke, but even so, Amelia was aware of a pleasant masculine scent, skin-salt and soap and an intimate spice she couldn’t quite identify. The noise in her ears faded. Raising up on her elbows, feeling the solid wall of his chest against her back, she saw shirtsleeves rolled up over forearms cabled with muscle … and there was something else … Her eyes widened at the sight of a small, stylized design inked on his arm. A tattoo of a black winged horse with eyes the color of brimstone. It was an Irish design, of a nightmare horse called a pooka: a malevolent mythical creature that spoke in a human voice and carried people away at midnight. Her heart stopped as she saw the heavy rounded band of a thumb ring. Wriggling beneath him, Amelia tried to turn over. The strong hand curved around her shoulder, helping her. His voice was low and familiar. “Are you hurt? I’m sorry. You were in the way of—” He stopped as Amelia rolled to her back. The front of her hair had come loose, pulled free of a strategically anchored pin. The lock fanned over her face, obscuring her vision. Before she could reach up to push it away, he did it for her, and the brush of his fingertips sent ripples of liquid fire along intimate pathways of her body. “You,” he said softly. Cam Rohan.

easing the learning curve of new users is essential to successful ODR implementations. Provide an animated Flash movie, narrated by a human voice, that explains how to use the ODR tools made available to users. Provide extensive documentation and context-sensitive help files, so that users can always get a quick answer to questions that may arise. As one of the focus group participants put it, "The instructions, tour, and attention to detail were all helpful. For me, it was the `fear of the unknown' and the ... belief that [the platform] would be difficult" It is the job of the designers of ODR technology to proactively address this fear and to ease new users into an understanding of how new tools will benefit them. Don't

An example is the campaign that Goodby, Berlin & Sil- verstein produced for the Northern California Honda Deal- ers Advertising Association (NCHDAA) in 1989. Rather than conform to the stereotypical dealer group advertising ("one of a kind, never to be repeated deals, this weekend 114 Figure 4.1 UNUM: "Bear and Salmon. Figure 4.2 UNUM: "Father and Child." 115 PEELING THE ONION only, the Honda-thon, fifteen hundred dollars cash back . . ." shouted over cheesy running footage), it was decided that the campaign should reflect the tone of the national cam- paign that it ran alongside. After all, we reasoned, the only people who know that one spot is from the national cam- paign and another from a regional dealer group are industry insiders. In the real world, all people see is the name "Honda" at the end. It's dumb having one of (Los Angeles agency) Rubin Postaer's intelligent, stylish commercials for Honda in one break, and then in the next, 30 seconds of car salesman hell, also apparently from Honda. All the good work done by the first ad would be undone by the second. What if, we asked ourselves, we could in some way regionalize the national message? In other words, take the tone and quality of Rubin Postaer's campaign and make it unique to Northern California? All of the regional dealer groups signed off as the Northern California Chevy/Ford/ Toyota Dealers, yet none of the ads would have seemed out of place in Florida or Wisconsin. In fact, that's probably where they got them from. In our research, we began not by asking people about cars, or car dealers, but about living in Northern California. What's it like? What does it mean? How would you describe it to an alien? (There are times when my British accent comes in very useful.) How does it compare to Southern California? "Oh, North and South are very different," a man in a focus group told me. "How so?" "Well, let me put it this way. There's a great rivalry between the (San Francisco) Giants and the (L.A.) Dodgers," he said. "But the Dodgers' fans don't know about it." Everyone laughed. People in the "Southland" were on a different planet. All they cared about was their suntans and flashy cars. Northern Californians, by comparison, were more modest, discerning, less likely to buy things to "make state- ments," interested in how products performed as opposed to 116 Take the Wider View what they looked like, more environmentally conscious, and concerned with the quality of life. We already knew from American Honda—supplied re- search what Northern Californians thought of Honda's cars. They were perceived as stylish without being ostentatious, reliable, understated, good value for the money . . . the paral- lels were remarkable. The creative brief asked the team to consider placing Honda in the unique context of Northern California, and to imagine that "Hondas are designed with Northern Californi- ans in mind." Dave O'Hare, who always swore that he hated advertising taglines and had no talent for writing them, came back immediately with a line to which he wanted to write a campaign: "Is Honda the Perfect Car for Northern Califor- nia, or What?" The launch commercial took advantage of the rivalry between Northern and Southern California. Set in the state senate chamber in Sacramento, it opens on the Speaker try- ing to hush the house. "Please, please," he admonishes, "the gentleman from Northern California has the floor." "What my Southern Californian colleague proposes is a moral outrage," the senator splutters, waving a sheaf of papers at the other side of the floor. "Widening the Pacific Coast Highway . . . to ten lanes!" A Southern Californian senator with bouffant hair and a pink tie shrugs his shoulders. "It's too windy," he whines (note: windy as in curves, not weather), and his fellow Southern Californians high-five and murmur their assent. The Northern Californians go nuts, and the Speaker strug- gles in vain to call everyone to order. The camera goes out- side as th

Original Design.’ The bell curve that we encountered in Chapter 3 represents the normal distribution, in which 68.2 per cent of outcomes are within one standard deviation (plus or minus) of the mean.

How Effectively Are We Preparing Students for These Future Challenges? Because our traditional educational system was designed to prepare students for an economy driven by farms and factories, it was assumed that only a small percentage of students would learn beyond high school. Consequently, schools did not expect all students to learn at high levels, but instead ranked and sorted kids along a bell-shaped curve, identifying those few expected to reach higher education.

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.

Not only is there no longer a mass market, but most of the successful companies, game-changing innovations, and products and services we care about were designed to cater to people at the edges of that curve, not to the average Joe in the middle of it.

The drive for Quinn Buckley’s mansion appeared. She turned into the entranceway and came to a black wrought-iron gate with a small box standing at window level to her left. She opened the window and stuck her head out. “Taylor Jackson to see Mrs. Buckley, please.” There was no verbal acknowledgment, but after a few moments the massive gate creaked open. As Taylor maneuvered her car through the gates onto a narrow path, a deciduous forest swallowed her, beckoning and forbidding. The drive meandered through the woods for a few hundred feet. As she rounded a curve, the estate sprang into view. Even by Belle Meade standards, the property was massive. The plantation-style house was a white two-story washed-brick colonial with substantial columns forming a protected area that had been made into an elegant front porch. Four stone chimneys danced toward the sky. East and west wings abutted the main residence, and Taylor could see a separate five-car garage with a transom covered in ivy that led into the east wing. The west meandered into the woods, the architect finding natural beauty within his design. Black shutters blinked mournfully and the air seemed heavier as Taylor drove closer, as if the house itself was grieving. She

These entities, angelic, or of other nature and origins have been called forth through deep resonance in your soul. They are here to support and honor your specific makeup and the particular life missions and themes you came to experience and alchemize within your system. Opening to them may be likened unto you purchasing a car which is designed specifically to hug and support every curve of your body, and it being designed in a way that every switch or control in the vehicle is in the very place which works best for you. The smell of the interior is specifically enlivening to your senses, the headlights offer different unique clarity and views, the tires adjust for all weather patterns and conditions. You feel held and have the tools to go on any adventure and explore. In saying this, we are not implying that knowing your guides will remove all pain or suffering from this experience of life, for there are specific pains and sufferings that we have chosen to step into for our highest understanding and maturation. Under the nurturance and care of our guides, we may be held and lovingly nudged down the path to our own reconciliation and joy.

I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know convince you to design a smile just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.

I can no longer tell where I end and she begins—her warm curves melding against my hard planes as if we were designed to fit together with perfect precision.

You invest so much in it, don't you? It's what elevates you above the beasts of the field, it's what makes you special. Homo sapiens, you call yourself. Wise Man. Do you even know what it is, this consciousness you cite in your own exaltation? Do you even know what it's for? Maybe you think it gives you free will. Maybe you've forgotten that sleepwalkers converse, drive vehicles, commit crimes and clean up afterwards, unconscious the whole time. Maybe nobody's told you that even waking souls are only slaves in denial. Make a conscious choice. Decide to move your index finger. Too late! The electricity's already halfway down your arm. Your body began to act a full half-second before your conscious self 'chose' to, for the self chose nothing; something else set your body in motion, sent an executive summary—almost an afterthought— to the homunculus behind your eyes. That little man, that arrogant subroutine that thinks of itself as the person, mistakes correlation for causality: it reads the summary and it sees the hand move, and it thinks that one drove the other. But it's not in charge. You're not in charge. If free will even exists, it doesn't share living space with the likes of you. Insight, then. Wisdom. The quest for knowledge, the derivation of theorems, science and technology and all those exclusively human pursuits that must surely rest on a conscious foundation. Maybe that's what sentience would be for— if scientific breakthroughs didn't spring fully-formed from the subconscious mind, manifest themselves in dreams, as full-blown insights after a deep night's sleep. It's the most basic rule of the stymied researcher: stop thinking about the problem. Do something else. It will come to you if you just stop being conscious of it. Every concert pianist knows that the surest way to ruin a performance is to be aware of what the fingers are doing. Every dancer and acrobat knows enough to let the mind go, let the body run itself. Every driver of any manual vehicle arrives at destinations with no recollection of the stops and turns and roads traveled in getting there. You are all sleepwalkers, whether climbing creative peaks or slogging through some mundane routine for the thousandth time. You are all sleepwalkers. Don't even try to talk about the learning curve. Don't bother citing the months of deliberate practice that precede the unconscious performance, or the years of study and experiment leading up to the gift- wrapped Eureka moment. So what if your lessons are all learned consciously? Do you think that proves there's no other way? Heuristic software's been learning from experience for over a hundred years. Machines master chess, cars learn to drive themselves, statistical programs face problems and design the experiments to solve them and you think that the only path to learning leads through sentience? You're Stone-age nomads, eking out some marginal existence on the veldt—denying even the possibility of agriculture, because hunting and gathering was good enough for your parents. Do you want to know what consciousness is for? Do you want to know the only real purpose it serves? Training wheels. You can't see both aspects of the Necker Cube at once, so it lets you focus on one and dismiss the other. That's a pretty half-assed way to parse reality. You're always better off looking at more than one side of anything. Go on, try. Defocus. It's the next logical step. Oh, but you can't. There's something in the way. And it's fighting back.

The pamphlet compiled essays from those who work in queer spaces or study them academically, or both. One contributor, Joe Parslow, wrote an essay that refers to the critic José Esteban Muñoz’s paralleling of the word stage in the sense of a platform for performance with stage as a phase that queers are told to get over—as when parents contend it’s just a blip. In 2009, Muñoz wrote, ‘Today I write back from that stage that my mother and father hoped I would quickly vacate. Instead, I dwell on and in this stage.’ Parslow explains how he was inspired to think from the stage outward when he designed his own venue, Her Upstairs, one of those few places that opened against the wave of bar closures; it shut down after only a short spell. In his listing application for the RVT, Ben Walters offered another symbolic interpretation of the stage. When Pat and Breda McConnon took over the tavern in 1979, they made the decision to put an end to the messy tradition of bartenders serving drinks between the legs of the drag queens atop the curving bar. But rather than cancel the entertainment, they renovated the interior, removing that bar and installing a bespoke stage. Walters points out the meaningfulness of this move. Performing on the bar had meant that a drag queen could be swiftly cleared away and the performance denied at the sign of a police raid. The McConnons permanently ensconced queer performance in the materiality of the building. Their stage was not a phase.