Depth And Complexity Quotes

I’m wondering if every person I pass has similar depths, and if there’s any way to avoid the mistake of judging them so shallowly that I’m rocked when they show their true complexity.

Simplicity isn’t just a visual style. It’s not just minimalism or the absence of clutter. It involves digging through the depth of the complexity. To be truly simple, you have to go really deep.

The act of consciousness is central; otherwise we are overrun by the complexes. The hero in each of us is required to answer the call of individuation. We must turn away from the cacaphony of the outerworld to hear the inner voice. When we can dare to live its promptings, then we achieve personhood. We may become strangers to those who thought they knew us, but at least we are no longer strangers to ourselves.

It is in the nature of things to be drawn to the very experiences that will spoil our innocence, transform our lives, and give us necessary complexity and depth.

The illusion of depth in a character is created simply by withholding information from an audience. A character will seem complex and intriguing only if we don't know the reasons why.

Fast reading of a great novel will get us the plot. It will get us names, a shadowy idea of characters, a sketch of settings. It will not get us subtleties, small differentiations, depth of emotion and observation, multilayered human experience, the appreciation of simile and metaphor, any sense of context, any comparison with other novels, other writers. Fast reading will not get us cadence and complexities of style and language. It will not get us anything that enters not just the conscious mind but the unconscious. It will not allow the book to burrow down into our memory and become part of ourselves, the accumulation of knowledge and wisdom and vicarious experience which helps to form us as complete human beings. It will not develop our awareness or add to the sum of our knowledge and intelligence. Read parts of a newspaper quickly or an encyclopaedia entry, or a fast-food thriller, but do not insult yourself or a book which has been created with its author's painstakingly acquired skill and effort, by seeing how fast you can dispose of it.

If you’re an introvert, find your flow by using your gifts. You have the power of persistence, the tenacity to solve complex problems, and the clear-sightedness to avoid pitfalls that trip others up. You enjoy relative freedom from the temptations of superficial prizes like money and status. Indeed, your biggest challenge may be to fully harness your strengths. You may be so busy trying to appear like a zestful, reward-sensitive extrovert that you undervalue your own talents, or feel underestimated by those around you. But when you’re focused on a project that you care about, you probably find that your energy is boundless. So stay true to your own nature. If you like to do things in a slow and steady way, don’t let others make you feel as if you have to race. If you enjoy depth, don’t force yourself to seek breadth. If you prefer single-tasking to multitasking, stick to your guns. Being relatively unmoved by rewards gives you the incalculable power to go your own way. It’s up to you to use that independence to good effect.

Factfulness is … recognizing that a single perspective can limit your imagination, and remembering that it is better to look at problems from many angles to get a more accurate understanding and find practical solutions. To control the single perspective instinct, get a toolbox, not a hammer. • Test your ideas. Don’t only collect examples that show how excellent your favorite ideas are. Have people who disagree with you test your ideas and find their weaknesses. • Limited expertise. Don’t claim expertise beyond your field: be humble about what you don’t know. Be aware too of the limits of the expertise of others. • Hammers and nails. If you are good with a tool, you may want to use it too often. If you have analyzed a problem in depth, you can end up exaggerating the importance of that problem or of your solution. Remember that no one tool is good for everything. If your favorite idea is a hammer, look for colleagues with screwdrivers, wrenches, and tape measures. Be open to ideas from other fields. • Numbers, but not only numbers. The world cannot be understood without numbers, and it cannot be understood with numbers alone. Love numbers for what they tell you about real lives. • Beware of simple ideas and simple solutions. History is full of visionaries who used simple utopian visions to justify terrible actions. Welcome complexity. Combine ideas. Compromise.

Death turned to leave the room, but stopped when Hex began to write furiously. He went back and looked at the emerging paper. +++ Dear Hogfather, For Hogswatch I Want OH, NO. YOU CAN'T WRITE LETT... Death paused, and then said, YOU CAN, CAN'T YOU. +++ Yes. I Am Entitled +++ Death waited until the pen had stopped, and picked up the paper. BUT YOU ARE A MACHINE. THINGS HAVE NO DESIRES. A DOORKNOB WANTS NOTHING, EVEN THOUGH IT IS A COMPLEX MACHINE. +++ All Things Strive +++ YOU HAVE A POINT, said Death. He thought of tiny red petals in the black depths, and read to the end of the list. I DON'T KNOW WHAT MOST OF THESE THINGS ARE. I DON'T THINK THE SACK WILL, EITHER. +++ I Regret This +++ BUT WE WILL DO THE BEST WE CAN, said Death. FRANKLY, I SHALL BE CLAD WHEN TONIGHT'S OVER. IT'S MUCH HARDER TO GIVE THAN TO RECEIVE. He rummaged in his sack. LET ME SEE... HOW OLD ARE YOU?

It amazes him that life never offers completely smooth sailing, even for one day, a sinister cloud manages to creep its way over the horizon. And, what makes life even more mysterious, what truly probes the depth and complexity of the psyche, is that on an overcast day that one cloud would pass entirely unnoticed.

I don't wish to be filed away in a neat little category, labeled and dismissed by society as if I weren't a person full of mysterious complexities. I don't even know the full depth and breadth of what I am yet—or what I'm capable of. How can a man? How can anyone?

The depth of any story is proportionate to the protagonist's commitment to their goal, the complexity of the problem, and the grace of the solution.

Life is something like innumerable layers, leaving us wrongly assuming that the first or even the second layer is the essence of the thing.

It is in that visionary Madness of the Mind that permits a Madman to perceive Truth in extremis, when all else had seemed lost. Mercifull, indeed, is this worldly Existence, and cruel; and beautifull; and vile, and filled with Pain and greater in its Scale, and in its Depth, and its Complexity than mere Men can ever hope to understand; and profound wonderfull in its Capacity.

The hidden dimension of each human life is not visible to others, nor is it fully graspable even by ourselves. We usually know very little about the things that move in our own soul, the deepest level of our life, or what is driving it. Our “within” is astonishingly complex and subtle—even devious. It takes on a life of its own. Only God knows our depths, who we are, and what we would do.

The new atheists show a disturbing lack of understanding of or concern about the complexity and ambiguity of modern experience, and their polemic entirely fails to mention the concern for justice and compassion that, despite their undeniable failings, has been espoused by all three of the monotheisms. Religious fundamentalists also develop an exagerrated view of their enemy as the epitome of evil. This tendency makes critique of the new atheists too easy. They never discuss the work of such theologians as Bultmann or Tillich, who offer a very different view of religion and are closer to mainstream tradition than any fundamentalist. Unlike Feurerbach, Marx and Freud, the new atheists are not theologically literate. As one of their critics has remarked, in any military strategy it is essential to confront the enemy at its strongest point; failure to do so means that their polemic remains shallow and lacks intellectual depth. It is also morally and intellectually conservative. Unlike Feurerback, Marx, Ingersoll or Mill, these new Atheists show little concern about the poverty, injustice and humiliation that has inspired many of the atrocities they deplore; they show no yearning for a better world. Nor, like Nietzsche , Sartre or Camus, do they compel their readers to face up to the pointlessness and futility that ensue when people lack the resources to create a sense of meaning. They do not appear to consider the effect of such nihilism on people who do not have privileged lives and absorbing work.

Fast reading of a great novel will get us the plot. It will get us names, a shadowy idea of characters, a sketch of settings. It will not get us subtleties, small differentiations, depth of emotion and observation, multilayered human experience, the appreciation of simile and metaphor, any sense of context, any comparison with other novels, other writers. Fast reading will not get us cadence and complexities of style and language. It will not get us anything that enters not just the conscious mind but the unconscious. It will not allow the book to burrow down into our memory and become part of ourselves, the accumulation of knowledge and wisdom and vicarious experience which helps to form us as complete human beings. It will not develop our awareness or add to the sum of our knowledge and intelligence. Read parts of a newspaper quickly or an encyclopaedia entry, or a fast-food thriller, but do not insult yourself or a book which has been created with its author's painstakingly acquired skill and effort, by seeing how fast you can dispose of it

Every distraction imposes a cost on the depth of your focus. When your brain changes contexts—say, going from painting a picture to answering a text and then back to painting again—there’s a switching cost. Your brain has to load a different set of rules and information into working memory. This “boot up” costs at least a few minutes, and for complex tasks, it can take even longer. The two of us have found it can take a couple of hours of uninterrupted writing before we’re doing our best work; sometimes it even requires several consecutive days before we’re in the zone.

By comparison, George W. Bush was light and breezy and apparently forgot during one debate that Social Security was a federal program. In fact, his depth, and his unfamiliarity with the complexities of the issues, to say nothing of the simple declarative sentence, worked remarkably to his advantage.

Computers are ridiculous. So is science in general. CHURCH_TURING Thesis, Theodore Rosak Version This view is prevalent among certain people who see in anything smacking of numbers or exactitude a threat to human values. It is too bad that they do not appreciate the depth and complexity and beauty involved in exploring abstract structures sch as the human mind, where, indeed, one comes in intimate contact with the ultimate questions of what to be human is.

Many become popular because they speak and write with a reductionist style that brings the complex and disturbing down into canned formulas of what spiritual growth is supposedly all about. Dozens of such New Age authors could bring their works together into one large volume entitled, “How To Become Aware of the Depths of Your Being Without Disturbing the Routine of Your Comfortable Lifestyle.

There is a complexity to life that I often overlook. There is a depth of thinking, there is a richness. I am skating on the surface.

It was like sipping a fine vintage wine and knowing that there were complexities that you would never be able to taste, hidden depths that you could not understand.

the depth and complexity and ugliness and danger of sin in professing Christians is either minimized—since we are already justified—or psychologized as a symptom of woundedness rather than corruption.

We talk about “awe and wonder,” but those are two different words. I am in awe of the universe: its scope, its complexity, its depth, its meticulous precision. But my primary feeling is wonder. Awe has connotations of reverence: “this fills me with awe and I am not worthy.” Wonder has connotations of curiosity: “this fills me with wonder and I am going to figure it out.” I will take wonder over awe every day.

Bittersweet is the idea that in all things there is both something broken and something beautiful, that there is a sliver of lightness on even the darkest of nights, a shadow of hope in every heartbreak, and that rejoicing is no less rich when it contains a splinter of sadness. Bittersweet is the practice of believing that we really do need both the bitter and the sweet, and that a life of nothing but sweetness rots both your teeth and your soul. Bitter is what makes us strong, what forces us to push through, what helps us earn the lines on our faces and the calluses on our hands. Sweet is nice enough, but bittersweet is beautiful, nuanced, full of depth and complexity. Bittersweet is courageous, gutsy, earthy.

Experience is more than just the summation of events catalogued into our life; it is the seasoning that flavors personalities, giving them depth and complexity where otherwise absent. The big events we experience can define how we see ourselves.

To write the poem of the human conscience, were it only of a single man, were it only of the most infamous of men, would be to swallow up all epics in a superior and final epic. The conscience is the chaos of chimeras, of lusts and of temptations, the furnace of dreams, the cave of the ideas which are our shame; it is the pandemonium of sophisms, the battlefield of the passions. At certain hours, penetrate within the livid face of a human being who reflects, and look at what lies behind; look into that soul, look into that obscurity. There, beneath the external silence, there are combats of giants as in Homer, mêlées of dragons and hydras, and clouds of phantoms as in Milton, ghostly labyrinths as in Dante. What a gloom enwraps that infinite which each man bears within himself, and by which he measures in despair the desires of his will, and the actions of his life!

To learn hard things quickly, you must focus intensely without distraction. To learn, in other words, is an act of deep work. If you’re comfortable going deep, you’ll be comfortable mastering the increasingly complex systems and skills needed to thrive in our economy. If you instead remain one of the many for whom depth is uncomfortable and distraction ubiquitous, you shouldn’t expect these systems and skills to come easily to you. Deep Work Helps You Produce at an Elite Level Adam Grant produces at an elite level. When I met Grant in 2013, he was the youngest professor to be awarded tenure at the Wharton School of Business at Penn. A year later, when I started writing this chapter (and was just beginning to think about my own tenure process), the claim was updated: He’s now the youngest full professor* at Wharton. The reason Grant advanced so quickly in his corner of academia is simple: He produces. In 2012, Grant published seven articles—all of them in major journals. This is an absurdly

If you're an introvert, find your flow by using your gifts. You have the power of persistence, the tenacity to solve complex problems, and the clear-sightedness to avoid pitfalls that trip others up. You enjoy relative freedom from the temptations of superficial prizes like money and status. Indeed, your biggest challenge may be to fully harness your strengths. You may be so busy trying to appear like a zestful, reward-sensitive extrovert that you undervalue your own talents, or feel underestimated by those around you. But when you're focused on a project you care about, you probably find that your energy is boundless. So stay true to your own nature. If you like to do things in a slow, steady way, don't let others make you feel as if you have to race. If you enjoy depth, don't force yourself to seek breadth. If you prefer single-tasking to multi-tasking, stick to your guns. Being relatively unmoved by rewards gives you the incalculable power to go your own way. It's up to you to use that independence to good effect.

An image system is a strategy of motifs, a category of imagery embedded in the film that repeats in sight and sound from beginning to end with persistence and great variation, but with equally great subtlety, as a subliminal communication to increase the depth and complexity of aesthetic emotion.

Beings as complex as ourselves need retreats from others to explore the depths of our character and our destiny. We need regular periods of solitude to replenish ourselves, to locate new sources of creativity and self-knowledge, and to discover possibilities in our souls that are invisible when we are with others.

But things happened the way they happened without regard to our desire for them to have happened another way. Despite an age-old instinct to provide an explanation more complex than that, something with a level of profundity and depth which would seem commensurate with the confusion I felt, it really was that simple.

War is the greatest human experience that men have passed through for many centuries. But only when we know, through their own words, the full horror of what they experienced, and the depth and complexity of their feelings when under duress, can we appreciate how they held together and saved the world from despotism.

The political merchandisers appeal only to the weak­nesses of voters, never to their potential strength. They make no attempt to educate the masses into becoming fit for self-government; they are content merely to manipulate and exploit them. For this pur­pose all the resources of psychology and the social sciences are mobilized and set to work. Carefully se­lected samples of the electorate are given "interviews in depth." These interviews in depth reveal the uncon­scious fears and wishes most prevalent in a given so­ciety at the time of an election. Phrases and images aimed at allaying or, if necessary, enhancing these fears, at satisfying these wishes, at least symbolically, are then chosen by the experts, tried out on readers and audiences, changed or improved in the light of the information thus obtained. After which the political campaign is ready for the mass communicators. All that is now needed is money and a candidate who can be coached to look "sincere." Under the new dispen­sation, political principles and plans for specific action have come to lose most of their importance. The person­ality of the candidate and the way he is projected by the advertising experts are the things that really mat­ter. In one way or another, as vigorous he-man or kindly father, the candidate must be glamorous. He must also be an entertainer who never bores his audience. Inured to television and radio, that audience is accustomed to being distracted and does not like to be asked to con­centrate or make a prolonged intellectual effort. All speeches by the entertainer-candidate must therefore be short and snappy. The great issues of the day must be dealt with in five minutes at the most -- and prefera­bly (since the audience will be eager to pass on to something a little livelier than inflation or the H-bomb) in sixty seconds flat. The nature of oratory is such that there has always been a tendency among politicians and clergymen to over-simplify complex is­sues. From a pulpit or a platform even the most con­scientious of speakers finds it very difficult to tell the whole truth. The methods now being used to merchan­dise the political candidate as though he were a deo­dorant positively guarantee the electorate against ever hearing the truth about anything.

Simple being is a deep sigh of relief that comes from letting go of pretense. It is also the sigh that comes from releasing a heavy burden that results from creating and managing the false selves that are substitute centers for the truth of our being. It is the sigh of release as we exchange complexity for simplicity. It is the sigh of release as we let go of preoccupations, inordinate attachments, and disordered passions. Things in the depths of our beings get aligned when we let go of these things.

I think there really is no other way to write a long, serious novel. You work, shelve it for a while, work, shelve it again, work some more, month after month, year after year, and then one day you read the whole piece through and, so far as you can see, there are no mistakes. (The minute it's published and you read the printed book you see a thousand.) This tortuous process is not necessary, I suspect, for the writing of a popular novel in which the characters are not meant to have depth and complexity, where character A is consistently stingy and character B is consistently openhearted and nobody is a mass of contradictions, as are real human beings. But for a true novel there is generally no substitute for slow, slow baking. We've all heard the stories of Tolstoy's pains over Anna Karenina, Jane Austen's over Emma, or even Dostoevsky's over Crime and Punishment, a novel he grieved at having to publish prematurely,though he had worked at it much longer than most popular-fiction writers work at their novels.

President Spencer W. Kimball declared, "Why, oh, why do people think they can fathom the most complex spiritual depths without the necessary ... work accompanied by compliance with the laws that govern it? Absurd it is, but you will ... find popular personalities, who seem never to have lived a single law of God, discoursing ... [about] religion. How ridiculous for such persons to attempt to outline for the world a way of life!...One cannot know God nor understand his works or plans unless he follows the laws which govern.

For too long the depth of racism in American life has been underestimated. The surgery to extract it is necessarily complex and detailed.

The number of errors in code correlates strongly with the amount of code and the complexity of the code.

Why do we assume that simple is good? Because with physical products, we have to feel we can dominate them. As you bring order to complexity, you find a way to make the product defer to you. Simplicity isn’t just a visual style. It’s not just minimalism or the absence of clutter. It involves digging through the depth of the complexity. To be truly simple, you have to go really deep. For example, to have no screws on something, you can end up having a product that is so convoluted and so complex. The better way is to go deeper with the simplicity, to understand everything about it and how it’s manufactured. You have to deeply understand the essence of a product in order to be able to get rid of the parts that are not essential.

115 BPM Fine motor skills deteriorate 145+ BPM Complex motor skills deteriorate 175+ BPM “A warrior can expect to experience auditory exclusion or loss of peripheral vision and depth perception. This initiates a catastrophic failure of cognitive processing capabilities, leading to fatal increases in reaction time or hypervigilance (freezing in place or irrational acts).” p.7-8

Sophie.” He said her name softly. If her life depended on it, she could not have looked anywhere but into the flat, silver depths of his eyes. She didn’t think it was possible to be more aware of him than she already was, but the next moment proved her wrong. “Darling. I must turn down your offer. I am as astonished as you. But this is a subject upon which I’ve had months to think. You’re intelligent. You suspected my first offer of marriage was based upon my conviction that you would never consent to an affair with me and that it was desperation only for your person that drove me to offer for you.” “And the second upon a need to rescue me.” He nodded. “Far more straightforward, darling, yet hopelessly complex.” She ignored the shiver in her belly. “Meaning?” “I love you.” He reached for the wine and filled the two glasses, though he left them on the table. “I’ve become like you. A hopeless fool who cannot break his vows. And I did make vows to you today.

It is complicated,’ they say. I am so sick of this response. Many people use it repeatedly to escape depth and confronting reality. They use it to take solace in the fact that they don’t know (or don’t wish to know) the ugly truth of what is happening right in front of their eyes. They reduce crimes, injustice, war, pain, hunger, rape, and everything that must be unpacked, dissected, and confronted to this: ‘It is complicated.’ They say this about COVID-19, too. Oh, how I have grown to hate this response. Every time I hear this statement from someone, it sounds like ‘I am a loser’ to my ears. ‘It is complicated’ is the favorite response of lazy brains that refuse to think and do. Oh, my friends, I insist it is not complicated. If you really want to know, it is not so complicated. However, if you are really looking for reasons and excuses to justify your silence, complicity, and to protect your self-interest, then you are absolutely right – it is complicated!

She suppresses the ignoble thought that it’s hard to see what two complex, intelligent men can see in Michelle. She must have hidden depths, that’s all. Ruth sometimes suspects that she, herself, has hidden shallows.

Jung writes that women with a negative mother complex often miss the first half of life; they walk past it in a dream. Life to them is a constant source of annoyance and irritation. But if they can overcome this negative mother complex, they have a good chance in the second half of rediscovering life with the youthful spontaneity missed in the first half. For though, as Jung says in the last paragraph, a part of life has been lost, its meaning has been saved. That is the tragedy of such women, but they can get to the turning point, and in the second half of life have their hands healed and can stretch them out for what they want — not from the animus or from the ego, but, according to nature, simply stretch out their hands toward something they love. Though it is infinitely simple, it is extremely difficult, for it is the one thing the woman with a negative mother complex cannot do; it needs God's help. Even the analyst cannot help her — it must one day just happen, and this is generally when there has been sufficient suffering. One cannot escape one's fate; the whole pain of it must be accepted, and one day the infinitely simple solution comes.

In post-modern culture there is a deep hunger to belong. An increasing majority of people feel isolated and marginalised. Experience is haunted by fragmentation. Many of the traditional shelters are in ruins. Society is losing the art of fostering community. Consumerism is now propelling life towards the lonely isolation of individualism. Technology pretends to unite us, yet more often than not all it delivers are simulated images. The “global village” has no roads or neighbours; it is a faceless limbo from which all individuality has been abstracted. Politics seems devoid of the imagination that calls forth vision and ideals; it is becoming ever more synonymous with the functionalism of economic pragmatism. Many of the keepers of the great religious traditions now seem to be frightened functionaries; in a more uniform culture, their management skills would be efficient and successful. In a pluralistic and deeply fragmented culture, they seem unable to converse with the complexities and hungers of our longing. From this perspective, it seems that we are in the midst of a huge crisis of belonging. When the outer cultural shelters are in ruins, we need to explore and reawaken the depths of belonging in the human mind and soul; perhaps, the recognition of the depth of our hunger to belong may gradually assist us in awakening new and unexpected possibilities of community and friendship.

We go through life seeing reality not as it really is, in its unfathomable depths of complexity and contradiction, but as we hope or fear or expect it to be. Too often, we confuse certainty for truth and the strength of our beliefs for the strength of the evidence. When we collide with the unexpected, with the antipode to our hopes, we are plunged into bewildered despair. We rise from the pit only by love. Perhaps Keats had it slightly wrong — perhaps truth is love and love is truth.

All women are twins. All women are fundamentally two in one, our most essential structural feature being our bipolar nature entrained with the ceaseless rhythms of the 'inconstant Moon,' to quote Shakespeare's Juliet. Each one of us, for much of her adult life, moves monthly between the light and dark poles of hormonal and emotional fluctuation-from ovulation to menstruation. At one point expanded, then introverted; reaching out and going within; we descend to depths of unfathomable complexity and return to the world empowered and ready to begin again. Unlike the linear, one-pointed man, women (and the ancient religions of the Goddess) flow with the cyclic rhythms of the waxing and waning Moon, with its birth, death, and rebirth.

Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem. In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death.

Our visual field, the entire view of what we can see when we look out into the world, is divided into billions of tiny spots or pixels. Each pixel is filled with atoms and molecules that are in vibration. The retinal cells in the back of our eyes detect the movement of those atomic particles. Atoms vibrating at different frequencies emit different wavelengths of energy, and this information is eventually coded as different colors by the visual cortex in the occipital region of our brain. A visual image is built by our brain's ability to package groups of pixels together in the form of edges. Different edges with different orientations - vertical, horizontal and oblique, combine to form complex images. Different groups of cells in our brain add depth, color and motion to what we see.

He mentally perceived words as having various sizes, densities, depths; words were dark stars, some small and dull and solid, some immense, complex, subtle, with a powerful gravity-field that attracted infinite meanings to them. Freedom was the biggest of the dark stars.

On one hand, deeper and deeper meditative states become available. On the other, you are able to maintain those states throughout more and more complex activities of life. We might refer to the first dimension of growth as depth and the second dimension of growth as breadth.

Love is chaotic, agonizing, complex. It's like DNA, no one really knows the depths of its power or can unravel its mysteries. Love is just there, it's something that exists and we're all just a bunch of people either looking for love, are in love, or are heartbroken without it, because of it.

The human soul is a profound and awe-inspiring mystery, the depths of which are only now beginning to be sounded. Well may St. Paul have said, “Now we see through a glass, darkly; but then face to face.” One can only guess at the purposes of our Creator, in fashioning of Humanity such a complex and Gordian knot.

Our frenetic and flattened culture is not conducive to wrestling with thick ideas, ideas with depth, complexity, and personal implications. It is a culture of immediacy, simple emotions, snap judgments, optics, and identity formation. In such a world, is it any wonder that Christians so often speak past their listeners?

After years of research, depth psychologists and others argue that each sex carries both the psychological and physical traits of the other. No man is purely masculine, just as there is no purely feminine woman. Jungian psychologists call the feminine characteristics of the male psyche the Anima; the female psyche's masculine characteristics they the Animus. Both the Animus and Anima develop in complex fashion as the personality grows to maturity. Neither men nor women can reach psychological maturity without integrating their respective contrasexual other. A man's female elements enhance his manhood, just as a woman's male aspects enhance her womanhood.

I picked him up and set him against the steering wheel, facing me, his feet on my thighs. The huge lament continued, wave on wave. It was a sound so large and pure I could almost listen to it, try consciously to apprehend it, as one sets up a mental register in a concert hall or theater. He was not sniveling or blubbering. He was crying out, saying nameless things in a way that touched me with its depth and richness. This was an ancient dirge all the more impressive for its resolute monotony. Ululation. I held him upright with a hand under each arm. As the crying continued, a curious shift developed in my thinking. I found that I did not necessarily wish him to stop. It might not be so terrible, I thought, to have to sit and listen to this a while longer. We looked at each other. Behind that dopey countenance, a complex intelligence operated. I held him with one hand, using the other to count his fingers inside the mittens, aloud, in German. The inconsolable crying went on. I let it wash over me, like rain in sheets. I entered it, in a sense. I let it fall and tumble across my face and chest. I began to think he had disappeared inside this wailing noise and if I could join him in his lost and suspended place we might together perform some reckless wonder of intelligibility. I let it break across my body. It might not be so terrible, I thought, to have to sit here for four more hours, with the motor running and the heater on, listening to this uniform lament. It might be good, it might be strangely soothing. I entered it, fell into it, letting it enfold and cover me. He cried with his eyes open, his eyes closed, his hands in his pockets, his mittens on and off. I sat there nodding sagely.

They would excel in the third characteristic: they would be able to run complex simulations of the future far ahead of us, from more perspectives, with more details and depth. Their simulations would be more accurate than ours, because they would have a better grasp of common sense and the rules of nature and hence better able to ferret out patterns

It’s the basic obstacle of artificial ecosystems. In a normal evolutionary environment, there’s enough diversity to cushion the system when something catastrophic happens. That’s nature. Catastrophic things happen all the time. But nothing we can build has the depth. One thing goes wrong, and there’s only a few compensatory pathways that can step in. They get overstressed. Fall out of balance. When the next one fails, there are even fewer paths, and then they’re more stressed. It’s a simple complex system. That’s the technical name for it. Because it’s simple, it’s prone to cascades, and because it’s complex, you can’t predict what’s going to fail. Or how. It’s computationally impossible.” Holden

He has presumably never observed a real wolf closely, otherwise he might have seen that animals too have no such things as unified souls; that the beautiful, taut frames of their bodies house a whole variety of aspirations and states of mind; that wolves suffer too, having dark depths within them. Oh no, human beings are always desperately mistaken and bound to suffer when they try to get ‘back to nature’. Harry can never fully become a wolf again, and if he did he would realize that even wolves are not simple and primitive creatures but complex and many-sided. Wolves also have two and more than two souls in their wolves’ breasts, and anyone desiring to be a wolf is guilty of the same kind of forgetfulness as the man who sings ‘What bliss still to be a child!’1

For what people of color quickly come to see—in a sense the primary epistemic principle of the racialized social epistemology of which they are the object—is that they are not seen at all. Correspondingly, the “central metaphor” of W. E. B. Du Bois’s The Souls of Black Folk is the image of the “veil,”20 and the black American cognitive equivalent of the shocking moment of Cartesian realization of the uncertainty of everything one had taken to be knowledge is the moment when for Du Bois, as a child in New England, “it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their [white] world by a vast veil.”21 Similarly, Ralph Ellison’s classic Invisible Man, generally regarded as the most important twentieth-century novel of the black experience, is arguably in key respects—while a multi-dimensional and multi-layered work of great depth and complexity, not to be reduced to a single theme—an epistemological novel.22 For what it recounts is the protagonist’s quest to determine what norms of belief are the right ones in a crazy looking-glass world where he is an invisible man “simply because [white] people refuse to see me… . When they approach me they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me.” And this systematic misperception is not, of course, due to biology, the intrinsic properties of his epidermis, or physical deficiencies in the white eye, but rather to “the construction of their inner eyes, those eyes with which they look through their physical eyes upon reality.”23

Dr. Brown has the ability to make complex matters easy to understand. His book has taken the topic of communication to a new level. The book is easy to read. The exercises and appendices provide both a practical learning approach and a depth of understanding of the subject..." Alberto DeFeo, Ph.D. (Law) Chief Administrative Officer of Lake Country and Adjunct Professor of University of Northern British Columbia

In that moment, I realized that life, much like Schubert's Sonata, is a symphony—a complex arrangement of moments, emotions, and connections. It is in the subtle interplay of these elements that we find meaning and purpose. And as I listened, observed, and allowed myself to be enveloped by the world unfolding before me, I felt a sense of belonging—a reminder that even in the depths of my solitude, I was part of something greater.

The Celtic mind was never drawn to the single line; it avoided ways of seeing and being that seek satisfaction in certainty. The Celtic mind had a wonderful respect for the mystery of the circle and the spiral. The circle is one of the oldest and most powerful symbols. The world is a circle; the sun and moon are too. Even time itself has a circular nature; the day and the year build to a circle. At its most intimate level so is the life of each individual. The circle never gives itself completely to the eye or to the mind but offers a trusting hospitality to that which is complex and mysterious; it embraces depth and height together. The circle never reduces the mystery to a single direction or preference. Patience with this reserve is one of the profound recognitions of the Celtic mind. The world of the soul is secret. The secret and the sacred are sisters. When the secret is not respected,

For too long the depth of racism in American life has been underestimated. The surgery to extract it is necessarily complex and detailed. As a beginning it is important to X-ray our history and reveal the full extent of the disease. The strands of prejudice toward Negroes are tightly wound around the American character. The prejudice has been nourished by the doctrine of race inferiority. Yet to focus upon the Negro alone as the "inferior race" of American myth is to miss the broader dimensions of the evil. Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race. Even before there were large numbers of Negroes on our shores, the scar of racial hatred had already disfigured colonial society. From the sixteenth century forward, blood flowed in battles over racial supremacy. We are perhaps the only nation which tried as a matter of national policy to wipe out its indigenous population. Moreover, we elevated that tragic experience into a noble crusade. Indeed, even today we have not permitted ourselves to reject or to feel remorse for this shameful episode. Our literature, our films, our drama, our folklore all exalt it. Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations. This is in sharp contrast to many nations south of the border, which assimilated their Indians, respected their culture, and elevated many of them to high position. It was upon this massive base of racism that the prejudice toward the nonwhite was readily built, and found rapid growth. This long-standing racist ideology has corrupted and diminished our democratic ideals. It is this tangled web of prejudice from which many Americans now seek to liberate themselves, without realizing how deeply it has been woven into their consciousness.

In subsequent experiences I frequently found the mothers of schizophrenic children to be extraordinarily narcissistic individuals like Mrs. X. This is not to say that such mothers are always narcissistic or that narcissistic mothers can’t raise non-schizophrenic children. Schizophrenia is an extremely complex disorder, with obvious genetic as well as environmental determinants. But one can imagine the depth of confusion in Susan’s childhood produced by her mother’s narcissism, and one can objectively see this confusion when actually observing narcissistic mothers interact with their children. On an afternoon when Mrs. X. was feeling sorry for herself Susan might have come home from school bringing some of her paintings the teacher had graded A. If she told her mother proudly how she was progressing in art, Mrs. X. might well respond: “Susan, go take a nap. You shouldn’t get yourself so exhausted over your work in school. The school system is no good anymore. They don’t care for children anymore.” On the other hand, on an afternoon when Mrs. X. was in a very cheerful mood Susan might have come home in tears over the fact that she had been bullied by several boys on the school bus, and Mrs. X. could say: “Isn’t it fortunate that Mr. Jones is such a good bus driver? He is so nice and patient with all you children and your roughhousing. I think you should be sure to give him a nice little present at Christmastime.” Since they do not perceive others as others but only as extensions of themselves, narcissistic

In 2003, Meryl Streep won a career achievement César Award, the French equivalent of an Oscar. Streep’s words (my translation) acknowledged the enduring interest of French audiences in women’s lives and women’s stories: "I have always wanted to present stories of women who are rather difficult. Difficult to love, difficult to understand, difficult to look at sometimes. I am very cognizant that the French public is receptive to these complex and contradictory women. As an actress I have understood for a long time that lies are simple, seductive and often easy to pass off. But the truth—the truth is always very very very complicated, often unpleasant, nuanced or difficult to accept." In France, an actress can work steadily from her teens through old age—she can start out in stories of youthful rebellion and end up, fifty years later, a screen matriarch. And in the process, her career will end up telling the story of a life—her own life, in a sense, with the films serving, as Valeria Bruni Tedeschi puts it, as a “journal intime,” or diary, of one woman’s emotions and growth. No wonder so many French actresses are beautiful. They’re radiant with living in a cinematic culture that values them, and values them as women. And they are radiant with living in a culture—albeit one with flaws of its own—in which women are half of who decides what gets valued in the first place. Their films transcend national and language barriers and are the best vehicles for conveying the depth and range of women’s experience in our era. The gift they give us, so absent in our own movies, is a vision of life that values emotional truth, personal freedom and dignity above all and that favors complexity over simplicity, the human over the machine, maturity over callowness, true mysteries over false explanations and an awareness of mortality over a life lived in denial. In the luminous humanity of their faces and in the illuminated humanity of their characters, we discover in these actresses something much more inspiring than the blank perfection and perfect blankness of the Hollywood starlet. We discover the beauty of the real.

For Scotland is made out of cities and the country and the sea, which means It's so much more, as an imagined space, a geography of the mind, Than its centres of population. Demographics are never enough And the way in which this might best be imagined starts In the work of Hugh MacDiarmid. And the poets and artists Who followed from that. Not as disciples. As students. As witnesses As thinking men and women, who understand the depths, complexities Subtleties and strengths and the cosmic clock, All the resources there, and all the risks required. from 'Scotland's Voices

They look like glittering golden cubes!" "And they're melting across the chicken breasts?!" "Wait a minute... OH! MORPHING FURIKAKE RICE!" "WELL, WELL! WHAT HAVE WE HERE?!" "The chicken's already savory and robust aroma... ... is growing even richer and stronger!" "A Furikake topping? At a glance, these look like cubes of some variety of aspic..." "The First and Second Seats were already over the moon about this dish." "Are you saying it is now even more delicious?!" "Aah! Unbelievable! Already the rich scent of roasted chicken tickles the nose!" "Hmph..." "This...? This flavor! I can hardly believe it! The warmth of the chicken has caused the aspic cubes to begin melting into a thick jelly... ... adding new and luxuriant layers to both the flavor and the texture of the dish! The salty savoriness of its flavor seeps quietly into the crispy rice crackers... ... while the scrambled-egg sauce is infused with an even more decadently creamy texture! "The sheer perfect balance of the dish is positively divine! Flavors clash and meld, amplifying and accenting each other in complete harmony! What creative originality! Who would have thought that one simple addition would add so much depth and complexity to the entire dish?!

Silence is a refuge. There are times in our life when our world falls apart, when we are overwhelmed by the intensity of events, when we feel alienated, and when our life seems to make no sense. In those moments when we feel most adrift and confused, silence offers a sanctuary of renewal. In moments of confusion and complexity we are tempted to do more, to act, to find explanations, to speak. If we listen to our heart, we come to know the wisdom of being still. We calm the turmoil of our mind, feeling our feet on the earth, and connecting once more with a depth of inner silence that can guide us, heal us, and restore us.

I believe that the disenchantment of the modern universe is the direct result of a simplistic epistemology and moral posture spectacularly inadequate to the depths, complexity, and grandeur of the cosmos. To assume a priori that the entire universe is ultimately a soulless void within which our multidimensional consciousness is an anomalous accident, and that purpose, meaning, conscious intelligence, moral aspiration, and spiritual depths are solely attributes of the human being, reflects a long-invisible inflation on the part of the modern self. And heroic hubris is still indissolubly linked, as it was in ancient Greek tragedy, to heroic fall.

Researchers at Meta created a program called CICERO. It became an expert at playing the complex board game Diplomacy, a game in which planning long, complex strategies built around deception and backstabbing is integral. It shows how AIs could help us plan and collaborate, but also hints at how they could develop psychological tricks to gain trust and influence, reading and manipulating our emotions and behaviors with a frightening level of depth, a skill useful in, say, winning at Diplomacy or electioneering and building a political movement. The space for possible attacks against key state functions grows even as the same premise that makes AI so powerful and exciting—its ability to learn

classic work like The Tale of Genji, as one recent translator has it, “The more intense the emotion, the more regular the meter.” As in the old-fashioned England in which I grew up—though more unforgivingly so—the individual’s job in public Japan is to keep his private concerns and feelings to himself and to present a surface that gives little away. That the relation of surface to depth is uncertain is part of the point; it offers a degree of protection and makes for absolute consistency. The fewer words spoken, the easier it is to believe you’re standing on common ground. One effect of this careful evenness—a maintenance of the larger harmony, whatever is happening within—is that to live in Japan, to walk through its complex nets of unstatedness, is to receive a rigorous training in attention. You learn to read the small print of life—to notice how the flowers placed in front of the tokonoma scroll have just been changed, in response to a shift in the season, or to register how your visitor is talking about everything except the husband who’s just run out on her. It’s what’s not expressed that sits at the heart of a haiku; a classic sumi-e brush-and-ink drawing leaves as much open space as possible at its center so that it becomes not a statement but a suggestion, an invitation to a collaboration. The reader or viewer is asked to complete a composition, and so the no-color surfaces make

Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem. In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death

Too much bergamot in this one, too tart; no depth in this one; bring forward the orange blossom. Measuring out drops from several vials, she blended another variation, leaning heavily on her keen intuition. Inhaling, she let her mind wander, visualizing the aromatic impression. She was on the verge of discovery. An ethereal freshness with subtle spiciness, like the voluptuous scent of orange blossoms on a sunny spring morning. The hair on her arms bristled with anticipation. She inhaled again, going farther, detecting the bouquet of jasmine absolute and rose attar, rich and silky, entwined with a spicy note of carnation, adding verve and vitality, robust brilliance. It needs a splash of complexity here, a sprig of basil there, an accent of clove. Images of lovers danced in her mind, a soaring sonata thrilled in her soul. A vision intruded, no, a memory- she was dancing with Jon, resting her head on his shoulder, a salty hint of ocean, breathing in his scent, intoxicated with the musky, virile smell of his skin... Another breath and she dragged her thoughts back, delving deeper into the essence. The mystery of amber to balance the soul; the silky smoothness of sandalwood; the delicious lure of vanilla, like a lover's midnight embrace. An ache grew within her at the core of her being. And in her mind's eye, veiled visions of a moonlit night, a couple dancing barefoot on the beach, swirling silks of scarlet and gold, the sultry caress of a whisper, so vivid she trailed her fingers along the nape of her neck, remembering... Seductive, sensual, the essence of amour.

Nature in her creative dreaming, dreamt the same thing both here and there, and if one spoke of imitation, then certainly it had to be reciprocal. Should one take the children of the soil as models because they possessed the depth of organic reality, whereas the ice flowers were mere external phenomena? But as phenomena, they were the result of an interplay of matter no less complex than that found in plants. If I understood our friendly host correctly, what concerned him was the unity of animate and so-called inanimate nature, the idea that we sin against the latter if the boundary we draw between the two spheres is too rigid, when in reality it is porous, since there is no elementary capability that is reserved exclusively for living creatures or that the biologist could not likewise study on inanimate models.

But what about the other side? They are impoverished too—perhaps more seriously, because they are vainer about it. They still like to pretend that the traditional culture is the whole of ‘culture’, as though the natural order didn’t exist. As though the exploration of the natural order was of no interest either in its own value or its consequences. As though the scientific edifice of the physical world was not, in its intellectual depth, complexity and articulation, the most beautiful and wonderful collective work of the mind of man. Yet most non-scientists have no conception of that edifice at all. Even if they want to have it, they can’t. It is rather as though, over an immense range of intellectual experience, a whole group was tone deaf. Except that this tone-deafness doesn’t come by nature, but by training, or rather the absence of training.

It was a heady, overwhelming veil of scent. At first it developed almost hypnotically into a floral, fruit bouquet; languid and sensual with a musky, almost dusty depth. But then a sharpness emerged, beautiful, icy, unexpected. There was something almost overwhelming about the lush complexity of the formulation, the sheer unbridled eroticism which came across in wave after wave of contrasting notes. ‘This is floral, earthy, and there’s the clean overlay of aldehydic waxiness and soft flowers,’ Madame explained. ‘And then, underneath, a whiff of more feral, impolite essences. Under the clean, innocent exterior there’s a carnal presence. It’s not without ulterior motive.’ Grace stared hopelessly. Here was a language she definitely didn’t understand. ‘I’m sorry?’ Madame Zed looked across at her. ‘This, Mrs Munroe, is the scent of intoxication and desire. The perfume of seduction.

Metaphor is invariably more meaning, not less. Literalism is the lowest and least level of meaning. We must never be too tied to our own metaphors as the only possible way to speak the truth, and yet we also need good metaphors to go deep. That is the inherent tension and conflict: only the right symbol dives deep into the good, the true, and the beautiful and retrieves these like pearls from the ocean depths. The right symbol at the right time allows us to move beyond complexity and illusion. Often that which looks like mere symbol is indeed the doorway to all that you really need to know—if you approach it humbly and respectfully. How else could an always available God be always available? It cannot depend on having a college education or even a common education, but on a simple ability to read the symbolic universe, which some ancients seem to have done much better than we do.2

Her disillusionment with the business had intensified as the need to simplify her stories increased. Her original treatments for Blondie of the Follies and The Prizefighter and the Lady had much more complexity and many more characters than ever made it to the screen, and adapting The Good Earth had served as a nagging reminder of the inherent restraints of film. Frances found herself inspired by memories of Jack London, sitting on the veranda with her father as they extolled the virtues of drinking their liquor “neat,” and remembered his telling her that he went traveling to experience adventure, but “then come back to an unrelated environment and write. I seek one of nature’s hideouts, like this isolated Valley, then I see more clearly the scenes that are the most vivid in my memory.” So she arrived in Napa with the idea of writing the novel she started in her hospital bed with the backdrop of “the chaos, confusion, excitement and daily tidal changes” of the studios, but as she sat on the veranda at Aetna Springs, she knew she was still too close to her mixed feelings about the film business.48 As she walked the trails and passed the schoolhouse that had served the community for sixty years, she talked to the people who had lived there in seclusion for several generations and found their stories “similar to case histories recorded by Freud or Jung.” She concentrated on the women she saw carrying the burden in this community and all others and gave them a depth of emotion and detail. Her series of short stories was published under the title Valley People and critics praised it as a “heartbreak book” that would “never do for screen material.” It won the public plaudits of Dorothy Parker, Rupert Hughes, Joseph Hergesheimer, and other popular writers and Frances proudly viewed Valley People as “an honest book with no punches pulled” and “a tribute to my suffering sex.

The causal relationship between factors in nature are just too entangled for man to unravel through research and analysis. Perhaps science succeeds in advancing one slow step at a time, but because it does so while groping in total darkness along a road without end, it is unable to know the real truth of things. This is why scientists are pleased with partial explications and see nothing wrong with pointing a finger and proclaiming this to be the cause and that the effect. The more research progresses, the larger the body of scholarly data grows. The antecedent causes of causes increase in number and depth, becoming incredibly complex, such that, far from unraveling the tangled web of cause and effect, science succeeds only in explaining in ever greater detail each of the bends and kinks in the individual threads. There being infinite causes for an event or action, there are infinite solutions as well, and these together deepen and broaden to infinite complexity.

At this point the reader should be warned that the argument here developed would not be accepted by all schools of psychology. The Gestalt school would have none of it. The pioneers of this important movement want to minimize the role of learning and experience in perception. They think that our compulsion to see the tiled floor, or the letters, not as irregular units in the plane but as regular units arranged in depth is far too universal and too compelling to be attributed to learning. Instead they postulate an inborn tendency of our brain. Their theory centers on the electrical forces which come into play in the cortex during the process of vision. It is these forces, they claim, that tend toward simplicity and balance and make our perception always weighted, as it were, in favor of geometrical simplicity and cohesion. A flat, regularly tiled floor is simpler than the complex pattern of rhomboids in the plane, hence it is a flat, regularly tiled floor we actually see.

What was it like then to witness the transformation wrought by this construction? A geometric idea of precision suddenly imposed on a landscape, lived on and in for centuries. The land itself like a body submitted to military discipline. Or like a mind, tutored along certain acceptable pathways, so that finally all that lies outside certain avenues of thought begins to assume an air of unreality. The land of course is still there. Only now it has receded into the background. It is what you see in your peripheral vision as you speed down the highway. The complexity of it, the intricate presence of it, has been reduced now to a single word, jungle. If once you breathed its breath or slept surrounded by its dark or wakened with its light, you no longer remember. You tell yourself life has improved. The jungle is in the past. To enter it is to stray from the path, or to be pulled down into some unknown depth. It is an exotic place, intriguing but also unpredictable, uncontrolled, threatening the well-paved order of existence.

This popular ideology contends that the religious experience is tranquil and neatly ordered, tender and delicate; it is an enchanted stream for embittered souls and still waters for troubled spirits. The person “who comes in from the field, weary” (Gen. 25:29), from the battlefield and campaigns of life, from the secular domain which is filled with doubts and fears, contradictions and refutations, clings to religion as does a baby to its mother and finds in her lap “a shelter for his head, the nest of his forsaken prayers” and there is comforted for his disappointments and tribulations. This Rousseauian ideology left its stamp on the entire Romantic movement from the beginning of its growth until its final (tragic!) manifestations in the consciousness of contemporary man. Therefore, the representatives of religious communities are inclined to portray religion, in a wealth of colors that dazzle the eye, as a poetic Arcadia, a realm of simplicity, wholeness, and tranquillity. This ideology is intrinsically false and deceptive. That religious consciousness in man’s experience, which is most profound and most elevated, which penetrates to the very depths and ascends to the very heights, is not that simple and comfortable. On the contrary, it is exceptionally complex, rigorous, and tortuous. Where you find its complexity, there you find its greatness. The consciousness of homo religiosis flings bitter accusations against itself and immediately is filled with regret, judges its desires and yearnings with excessive severity, and at the same time steeps itself in them, casts derogatory aspersions on its own attributes, flails away at them, but also subjugates itself to them. It is in a condition of spiritual crisis, of psychic ascent and descent, of contradiction arising from affirmation and negation, self-abnegation and self-appreciation. Religion is not, at the outset, a refuge of grace and mercy for the despondent and desperate, an enchanted stream for crushed spirits, but a raging clamorous torrent of man’s consciousness with all its crises, pangs, and torments.

Thou Melko shalt see that no theme can be played save it come in the end of Ilúvatar’s self, nor can any alter the music in Ilúvatar’s despite. He that attempts this finds himself in the end but aiding me in devising a thing of still greater grandeur and more complex wonder:–for lo! through Melko have terror as fire, and sorrow like dark waters, wrath like thunder, and evil as far from the light as the depths of the uttermost of the dark places, come into the design that I laid before you. Through him has pain and misery been made in the clash of overwhelming musics; and with confusion of sound have cruelty, and ravening, and darkness, loathly mire and all putrescence of thought or thing, foul mists and violent flame, cold without mercy, been born, and death without hope. Yet is this through him and not by him; and he shall see, and ye all likewise, and even shall those beings, who must now dwell among his evil and endure through Melko misery and sorrow, terror and wickedness, declare in the end that it redoundeth only to my great glory, and doth but make the theme more worth the hearing, Life more worth the living, and the World so much the more wonderful and marvellous, that of all the deeds of Ilúvatar it shall be called his mightiest and his loveliest.

   As these examples show, the physiology of the brain makes such reproductions possible. But, for them to take place, an abnormal mental state is always needed, which can justifiably be conjectured in Nietzsche’s case at the time when he wrote Zarathustra. One has only to think of the incredible speed with which this work was produced. There is an ecstasy so great that the tremendous strain of it is at times eased by a storm of tears, when your steps now involuntarily rush ahead, now lag behind; a feeling of being completely beside yourself, with the most distinct consciousness of innumerable delicate thrills tingling through you to your very toes; a depth of happiness, in which pain and gloom do not act as its antitheses, but as its condition, as a challenge, as necessary shades of colour in such an excess of light.9 So he himself describes his mood. These shattering extremes of feeling, far transcending his personal consciousness, were the forces that called up in him the remotest and most hidden associations. Here, as I said before, consciousness only plays the role of slave to the daemon of the unconscious, which tyrannizes over it and inundates it with alien ideas. No one has described the state of consciousness when under the influence of an automatic complex better than Nietzsche himself:

Describe for me, if you can, the nature of this wisdom.’ Anomander snorted impatiently. ‘Wisdom is surrender.’ ‘To what?’ ‘Complexity.’ ‘To what end?’ ‘Swallow it down, spit it out in small measures, to make palatable what many may not otherwise comprehend.’ ‘An arrogant pose, First Son.’ ‘I do not claim it, Azathanai, just as I refuse for myself the notion of rule. And, in the name of worship, I am lost in doubt, if not outright disbelief.’ ‘And why is that?’ ‘Power does not confer wisdom, nor rightful authority, nor faith in either of the two. If it offers a caress, so too can it by force make one kneel. The former is by nature suspect, while the latter — well, it can at least be said that it does not disguise its truth.’ ‘You learn for liberty.’ ‘If I do, then I am the greater fool, because liberty is not in itself a virtue. It wins nothing but the false belief in one's own utterly unassailable independence. even the beasts will not plunge to that depth. No, if I yearn for anything, it is for responsibility. An end to the evasions, the lies spoken in the mind and the lies spoken to others, the endless game of deeds without blame, and all the causes of seeming justice behind which hide venal desires. I yearn for the coward's confession, and understand me well here, Caladan: we are all cowards.

Imagine that you are watching a really great magic trick. The celebrated conjuring duo Penn and Teller have a routine in which they simultaneously appear to shoot each other with pistols, and each appears to catch the bullet in his teeth. Elaborate precautions are taken to scratch identifying marks on the bullets before they are put in the guns, the whole procedure is witnessed at close range by volunteers from the audience who have experience of firearms, and apparently all possibilities for trickery are eliminated. Teller’s marked bullet ends up in Penn’s mouth and Penn’s marked bullet ends up in Teller’s. I [Richard Dawkins] am utterly unable to think of any way in which this could be a trick. The Argument from Personal Incredulity screams from the depths of my prescientific brain centres, and almost compels me to say, ‘It must be a miracle. There is no scientific explanation. It’s got to be supernatural.’ But the still small voice of scientific education speaks a different message. Penn and Teller are world-class illusionists. There is a perfectly good explanation. It is just that I am too naïve, or too unobservant, or too unimaginative, to think of it. That is the proper response to a conjuring trick. It is also the proper response to a biological phenomenon that appears to be irreducibly complex. Those people who leap from personal bafflement at a natural phenomenon straight to a hasty invocation of the supernatural are no better than the fools who see a conjuror bending a spoon and leap to the conclusion that it is ‘paranormal’.

My identity as Jewish cannot be reduced to a religious affiliation. Professor Said quoted Gramsci, an author that I’m familiar with, that, and I quote, ‘to know thyself is to understand that we are a product of the historical process to date which has deposited an infinity of traces, without leaving an inventory’. Let’s apply this pithy observation to Jewish identity. While it is tempting to equate Judaism with Jewishness, I submit to you that my identity as someone who is Jewish is far more complex than my religious affiliation. The collective inventory of the Jewish people rests on my shoulders. This inventory shapes and defines my understanding of what it means to be Jewish. The narrative of my people is a story of extraordinary achievement as well as unimaginable horror. For millennia, the Jewish people have left their fate in the hands of others. Our history is filled with extraordinary achievements as well as unimaginable violence. Our centuries-long Diaspora defined our existential identity in ways that cannot be reduced to simple labels. It was the portability of our religion that bound us together as a people, but it was our struggle to fit in; to be accepted that identified us as unique. Despite the fact that we excelled academically, professionally, industrially, we were never looked upon as anything other than Jewish. Professor Said in his book, Orientalism, examined how Europe looked upon the Orient as a dehumanized sea of amorphous otherness. If we accept this point of view, then my question is: How do you explain Western attitudes towards the Jews? We have always been a convenient object of hatred and violent retribution whenever it became convenient. If Europe reduced the Orient to an essentialist other, to borrow Professor Said’s eloquent language, then how do we explain the dehumanizing treatment of Jews who lived in the heart of Europe? We did not live in a distant, exotic land where the West had discursive power over us. We thought of ourselves as assimilated. We studied Western philosophy, literature, music, and internalized the same culture as our dominant Christian brethren. Despite our contribution to every conceivable field of human endeavor, we were never fully accepted as equals. On the contrary, we were always the first to be blamed for the ills of Western Europe. Two hundred thousand Jews were forcibly removed from Spain in 1492 and thousands more were forcibly converted to Christianity in Portugal four years later. By the time we get to the Holocaust, our worst fears were realized. Jewish history and consciousness will be dominated by the traumatic memories of this unspeakable event. No people in history have undergone an experience of such violence and depth. Israel’s obsession with physical security; the sharp Jewish reaction to movements of discrimination and prejudice; an intoxicated awareness of life, not as something to be taken for granted but as a treasure to be fostered and nourished with eager vitality, a residual distrust of what lies beyond the Jewish wall, a mystical belief in the undying forces of Jewish history, which ensure survival when all appears lost; all these, together with the intimacy of more personal pains and agonies, are the legacy which the Holocaust transmits to the generation of Jews who have grown up under its shadow. -Fictional debate between Edward Said and Abba Eban.

I created a sphere in this infinite space for myself: not too big, though possessing mass. My mental state didn’t improve, however. The sphere floated in the middle of “emptiness”—in infinite space, anywhere could be the middle. The universe had nothing that could act on it, and it could act on nothing. It hung there, never moving, never changing, like a perfect interpretation for death. I created a second sphere whose mass was equal to the first one’s. Both had perfectly reflective surfaces. They reflected each other’s images, displaying the only existence in the universe other than itself. But the situation didn’t improve much. If the spheres had no initial movement—that is, if I didn’t push them at first—they would be quickly pulled together by their own gravitational attraction. Then the two spheres would stay together and hang there without moving, a symbol for death. If they did have initial movement and didn’t collide, then they would revolve around each other under the influence of gravity. No matter what the initial conditions, the revolutions would eventually stabilize and become unchanging: the dance of death. I then introduced a third sphere, and to my astonishment, the situation changed completely. Like I said, any geometric figure turns into numbers in the depths of my mind. The sphereless, one-sphere, and two-sphere universes all showed up as a single equation or a few equations, like a few lonesome leaves in late fall. But this third sphere gave “emptiness” life. The three spheres, given initial movements, went through complex, seemingly never-repeating movements. The descriptive equations rained down in a thunderstorm without end. Just like that, I fell asleep. The three spheres continued to dance in my dream, a patternless, never-repeating dance. Yet, in the depths of my mind, the dance did possess a rhythm; it was just that its period of repetition was infinitely long. This mesmerized me. I wanted to describe the whole period, or at least a part of it. The

If you’re still not sure where you fall on the introvert-extrovert spectrum, you can assess yourself here. Answer each question “true” or “false,” choosing the answer that applies to you more often than not.* ______ I prefer one-on-one conversations to group activities. ______ I often prefer to express myself in writing. ______ I enjoy solitude. ______ I seem to care less than my peers about wealth, fame, and status. ______ I dislike small talk, but I enjoy talking in depth about topics that matter to me. ______ People tell me that I’m a good listener. ______ I’m not a big risk-taker. ______ I enjoy work that allows me to “dive in” with few interruptions. ______ I like to celebrate birthdays on a small scale, with only one or two close friends or family members. ______ People describe me as “soft-spoken” or “mellow.” ______ I prefer not to show or discuss my work with others until it’s finished. ______ I dislike conflict. ______ I do my best work on my own. ______ I tend to think before I speak. ______ I feel drained after being out and about, even if I’ve enjoyed myself. ______ I often let calls go through to voice mail. ______ If I had to choose, I’d prefer a weekend with absolutely nothing to do to one with too many things scheduled. ______ I don’t enjoy multitasking. ______ I can concentrate easily. ______ In classroom situations, I prefer lectures to seminars. The more often you answered “true,” the more introverted you probably are. If you found yourself with a roughly equal number of “true” and “false” answers, then you may be an ambivert—yes, there really is such a word. But even if you answered every single question as an introvert or extrovert, that doesn’t mean that your behavior is predictable across all circumstances. We can’t say that every introvert is a bookworm or every extrovert wears lampshades at parties any more than we can say that every woman is a natural consensus-builder and every man loves contact sports. As Jung felicitously put it, “There is no such thing as a pure extrovert or a pure introvert. Such a man would be in the lunatic asylum.” This is partly because we are all gloriously complex individuals, but also because there are so many different kinds of introverts and extroverts. Introversion and extroversion interact with our other personality traits and personal histories, producing wildly different kinds of people. So

In this article, we embark on a journey to explore the timeless beauty of, their significance, and the impact they have on our lives. دل کی آواز ہے شعور کی زبان جذبات کی ترجمان، اردو کا فسانہ محبت کا سفر ہے یہ اردو کی نغمہ جب دلوں کو بھاگتا ہے، بے نیاز سامہ یادوں کی بستی میں بسایا ہے اردو کو حقیقتوں کو ہمسفر، ہمراز بنایا ہے اردو نے دل کو چھو جانے والی اردو کی باتیں روح کو جگا دیتی ہیں، احساس کی لہریں بھرتی ہیں اردو قواعدوں کے سائے شاعری کی بستی میں بہتی ہیں جلوے اردو کے لفظوں میں روشنی کی روشنی ہر تصویر، ہر احساس، سرمستی کی جوشنی یونہی بہتا رہے گا اردو کا سفر جدید دور کیا کہتا ہے، لبوں کا ورق The Essence of Urdu Quotes: Urdu quotes serve as windows to the soul, capturing complex emotions and experiences in just a few words. With their eloquence, they transcend boundaries of time and culture, resonating with individuals around the world. Whether it's about love, life, or spirituality, Urdu quotes beautifully express the depth of human emotions and offer glimpses of wisdom that can guide us through our journeys. The Power of Words: Urdu quotes hold a unique power. Each carefully chosen word carries weight and meaning, creating a powerful impact on the reader's mind. These quotes have the ability to inspire, motivate, and uplift spirits. They encapsulate life's truths in a poetic and concise manner, making them accessible to a wide audience. The Beauty of Urdu Language: Urdu, known for its lyrical qualities and mellifluous flow, adds an extra layer of charm to the quotes. Its poetic nature and rich vocabulary enable the creation of verses that resonate deeply with readers. Whether it's the delicate expressions of love or the introspective reflections on life's complexities, Urdu quotes possess a unique ability to stir emotions and touch the soul. Reflections of Culture and History: Urdu quotes reflect the cultural and historical tapestry of the region. They are imbued with the traditions, values, and experiences of generations. These quotes provide a glimpse into the literary heritage of renowned poets and philosophers, offering insights into their perspectives and contributions to Urdu literature. Urdu Quotes in the Modern Era: In today's digital age, Urdu quotes have found a new platform to reach audiences worldwide. Social media platforms and websites dedicated to Urdu literature have become havens for sharing and appreciating these poetic gems. People are rediscovering the beauty of Urdu quotes, and their popularity continues to soar, bridging gaps between different cultures and fostering a sense of unity. Conclusion: Urdu quotes are more than just words; they are a source of inspiration, solace, and introspection. They capture the essence of life's joys and sorrows, providing us with profound insights and guiding us on our journeys. As we delve into the world of Urdu quotes, we unlock a treasure trove of emotions and wisdom, reminding us of the power of language and the universal nature of human experiences. So, let us embrace the beauty of Urdu quotes and allow them to touch our hearts, inspire our souls, and create a deeper connection with ourselves and others.

For abolitionists, who advocated the immediate emancipation of all slaves, and free-soilers, who simply opposed the spread of slavery into the western territories, the existence of such a group proved the destructive effect of slavery on social morals and human industry and the inordinate economic power of the planter elite. It also served as an implicit warning of the disastrous consequences of the spread of slavery into nonslaveholding regions and its debilitating effect on the work ethic of otherwise stalwart white farmers. For slave-holders, particularly those at the apex of southern society, the idleness of rural working-class whites justified the “peculiar institution” and made clear the need for a planter-led economic and social hierarchy. Planter D. R. Hundley wrote, for example, that “poor whites” were “the laziest two-legged animals that walk erect on the face of the earth . . . [and exhibited] a natural stupidity or dullness of intellect that almost surpasses belief.” To abolitionists and proslavery ideologues alike, therefore, southern poor whites utterly lacked industry, intelligence, social propriety, and honor, the essential ingredients for political and social equality and thus should not be trusted with political decision-making.7 Northern and southern middle- to upper-class commentators perceived this class of people as so utterly degraded that they challenged their assertion of “whiteness,” the one claim southern working-class whites had to political equality, “normative” status, and social superiority to free and enslaved blacks. Like Byrd and the author of “The Carolina Sand-Hillers,” journalists and travel writers repeatedly compared “poor whites” unfavorably to other supposedly inferior people of color, be they enslaved blacks, Indians, or even Mexican peasants. Through a variety of arguments, including genetic inferiority, excessive interbreeding with “nonwhites,” and environmental factors, such as the destructive influences of the southern climate, rampant disease, and a woefully inadequate diet, these writers asserted that “poor whites” were neither truly “white” nor clearly “nonwhite” but instead, a separate “‘Cracker’ race” in all ways so debased that they had no capacity for social advancement. This attitude is clear in an 1866 article from the Boston Daily Advertiser that proclaimed that this social class had reached depths of “[s]uch filthy poverty, such foul ignorance, such idiotic imbecility” that they could never be truly civilized. “[T]ime and effort will lead the negro up to intelligent manhood,” the author concluded, “but I almost doubt if it will be possible to ever lift this ‘white trash’ into respectability.”8 Contempt for working-class whites was almost as strong among African Americans as among middle-class and elite whites. Enslaved African Americans invented derogatory terms containing explicit versions of “whiteness” such as “(poor) white trash” and “poor buckra” (a derivative form of the West African word for “white man”). Although relations between slaves and non-elite southern whites were complex, many slaves deeply resented the role of poor whites as overseers and patrol riders and adopted their owners’ view that elite southern planters were socially and morally superior. Many also believed that blacks, enslaved and free, formed a middle layer of social respectability between the planter aristocracy at the top of the social system and the “poor whites” at the bottom. The construction of a “poor white” and “white trash” social and cultural category thus allowed black slaves to carve out a space of social superiority, as well as permitted the white planter elite to justify enormous economic and social inequality among whites in a supposedly democratic society.9

This is a miracle of coevolution—the bacteria that coexist with us in our bodies enable us to exist. Microbiologist Michael Wilson notes that “each exposed surface of a human being is colonized by microbes exquisitely adapted to that particular environment.”21 Yet the dynamics of these microbial populations, and how they interact with our bodies, are still largely unknown. A 2008 comparative genomics analysis of lactic acid bacteria acknowledges that research is “just now beginning to scratch the surface of the complex relationship between humans and their microbiota.”22 Bacteria are such effective coevolutionary partners because they are highly adaptable and mutable. “Bacteria continually monitor their external and internal environments and compute functional outputs based on information provided by their sensory apparatus,” explains bacterial geneticist James Shapiro, who reports “multiple widespread bacterial systems for mobilizing and engineering DNA molecules.”23 In contrast with our eukaryotic cells, with fixed genetic material, prokaryotic bacteria have free-floating genes, which they frequently exchange. For this reason, some microbiologists consider it inappropriate to view bacteria as distinct species. “There are no species in prokaryotes,” state Sorin Sonea and Léo G. Mathieu.24 “Bacteria are much more of a continuum,” explains Lynn Margulis. “They just pick up genes, they throw away genes, and they are very flexible about that.”25 Mathieu and Sonea describe a bacterial “genetic free market,” in which “each bacterium can be compared to a two-way broadcasting station, using genes as information molecules.” Genes “are carried by a bacterium only when needed . . . as a human may carry sophisticated tools.”26

The obligation among artists who are Christians is, among other things, to demonstrate in ways that are imaginative and compelling that materiality is not enough for a proper understanding of human experience; that there is durability and permanence as well as eternal qualities that exist beyond what we see on the surface of life. In this, they must show a depth and complexity to people and the world that defy the one- or two-dimensional existence of modern life. In the process, it is possible to symbolically portray possibilities of beauty and fullness we have not yet imagined.

The 5 Elements of Effective Thinking (Edward B. Burger;Michael Starbird) - Your Highlight on page 17 | location 251-270 | Added on Monday, 6 April 2015 03:03:56 Understand simple things deeply The most fundamental ideas in any subject can be understood with ever-increasing depth. Professional tennis players watch the ball; mathematicians understand a nuanced notion of number; successful students continue to improve their mastery of the concepts from previous chapters and courses as they move toward the more advanced material on the horizon; successful people regularly focus on the core purpose of their profession or life. True experts continually deepen their mastery of the basics. Trumpeting understanding through a note-worthy lesson. Tony Plog is an internationally acclaimed trumpet virtuoso, composer, and teacher. A few years ago we had the opportunity to observe him conducting a master class for accomplished soloists. During the class, each student played a portion of his or her selected virtuosic piece. They played wonderfully. Tony listened politely and always started his comments, “Very good, very good. That is a challenging piece, isn’t it?” As expected, he proceeded to give the students advice about how the piece could be played more beautifully, offering suggestions about physical technique and musicality. No surprise. But then he shifted gears. He asked the students to play a very easy warm-up exercise that any beginning trumpet player might be given. They played the handful of simple notes, which sounded childish compared to the dramatically fast, high notes from the earlier, more sophisticated pieces. After they played the simple phrase, Tony, for the first time during the lesson, picked up the trumpet. He played that same phrase, but when he played it, it was not childish. It was exquisite. Each note was a rich, delightful sound. He gave the small phrase a delicate shape, revealing a flowing sense of dynamics that enabled us to hear meaning in those simple notes. The students’ attempts did not come close—the contrast was astounding. The fundamental difference between the true master and the talented students clearly occurred at a far more basic level than in the intricacies of complex pieces. Tony explained that mastering an efficient, nuanced performance of simple pieces allows one to play spectacularly difficult pieces with greater control and artistry. The lesson was simple. The master teacher suggested that the advanced students focus more of their time on practicing simple pieces intensely—learning to perform them with technical efficiency and beautiful elegance. Deep work on simple, basic ideas helps to build true virtuosity—not just in music but in everything. ==========

It was Lippmann who gave us the concept of the “stereotype” (1922), which was basically a continuation of the Jungian concept of the archetype (1919) by other means. To Lippmann, the world outside our borders exists in a different space, consciously, from our own. We develop notions about life in those countries, their cultures, attitudes, and values, without ever go­ing there. Yet, their political situation affects our own; they exert a political influence—either through trade, communications, or transportation—on life in our own country even though we live in a constant state of unawareness of those countries, cultures, politics. The effect of these forces on us is invis­ible, but real. We then develop mental images—stereotypes—of the citizens of these countries, and it is upon the stereotypes that we act. The stereotypes determine our actions and reactions; like the stereotypes of the Islamic fun­damentalist, the Vietcong revolutionary, the Red Peril, they are easy targets, and the stereotype communicates a specific message, is, in terms familiar to the deconstructionism of Derrida, a text. Stereotypes can be created, and manipulated, by the gurus of mass com­munication and psychological warfare. Stereotypes are culturally-loaded and therefore not “value neutral.” We make snap judgments based on the nature of the stereotype; in the hands of the psy-war expert, a stereotype does not contain much complexity or depth. The idea is not to make the target think too clearly or too profoundly about the “text” but instead to react, in a Pav­lovian manner, to the stimulus it provides.

line. Creativity is a response to our environment. Greek painting was a response to the complex light (the Greek painter Apollodoros was the first to develop a technique for creating the illusion of depth), Greek architecture a response to the complex landscape, Greek philosophy a response to the complex, uncertain times. The problem with paradise is that it is perfect and therefore requires no response. This is why wealthy people and places often stagnate. Athens

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