Design Rendering Quotes

I have received your new book against the human race, and thank you for it. Never was such a cleverness used in the design of making us all stupid. One longs, in reading your book, to walk on all fours. But as I have lost that habit for more than sixty years, I feel unhappily the impossibility of resuming it. Nor can I embark in search of the savages of Canada, because the maladies to which I am condemned render a European surgeon necessary to me; because war is going on in those regions; and because the example of our actions has made the savages nearly as bad as ourselves. [in response to Rousseau's "The Social Contract"]

Of all the endless variety of phenomena which nature presents to our senses, there is none that fills our mind with greater wonder than that inconceivably complex movement which … we designate as human life. Its mysterious origin is veiled in the forever impenetrable mist of the past, its character is rendered incomprehensible by its in

[It is a] happy truth that man is capable of self-government, and only rendered otherwise by the moral degradation designedly superinduced on him by the wicked acts of his tyrant.

If love is under siege, it is because it threatens the very essence of commercial civilization. Everything is designed to make us forget that love is our most vivid manifestation and the most common power of life that is in us. Shouldn't we wonder how the lights that glimmer in the eye can blow a fuse for a time, even as barriers of oppression break and jam our passions? Yet despite a life stunted and distorted by mediated Spectacle, nothing has ever managed to strip love of its primal force. Although the heart's music fails to overwhelm the cacophony of profit efficiency, bit by bit it composes our destinies, according to tones, chords, and dissonances which render us happy if only we learn to harmonize the scattered notes that string emotions together.

The process of transforming the heart can be difficult because as we open it, we inevitably encounter our own pain and become more aware of the pain of others. In fact, much of our personality is designed to keep us from experiencing this suffering. We close down the sensitivity of our hearts so that we can block our pain and get on with things, but we are never entirely successful in avoiding it. Often, we are aware of our suffering just enough to make ourselves and everyone around us miserable. Carl Jung's famous dictum that "neurosis is a substitute for legitimate suffering" points to this truth. But if we are not willing to experience our own hurt and grief, it can never be healed. Shutting out our real pain also renders us unable to feel joy, compassion, love, or any of the other capacities of the heart.

gold light burned faintly. From his cosy window seat, Mario was tracing a frost-flower on the windowpane with an unsure finger. Were its perfectly-rendered geometric patterns a product of nature, or were they an artefact of metaphysics? Was the frost-flower to the Masters what a work of Art was to him? Did the Masters of Strings truly control every aspect of reality? The fractal flower slowly melted under Mario’s fingertip. “No work of chance here,” he bitterly thought. “This was by design.

Here, then, is the origin and rise of government: namely, a mode rendered necessary by inability of moral virtue to govern the world; here too is the design and end of government, viz, freedom and security.

Here then is the origin and rise of government; namely, a mode rendered necessary by the inability of moral virtue to govern the world; here too is the design and end of government, viz. freedom and security.

When Benjamin Franklin invented the lightning-rod, the clergy, both in England and America, with the enthusiastic support of George III, condemned it as an impious attempt to defeat the will of God. For, as all right-thinking people were aware, lightning is sent by God to punish impiety or some other grave sin—the virtuous are never struck by lightning. Therefore if God wants to strike any one, Benjamin Franklin [and his lightning-rod] ought not to defeat His design; indeed, to do so is helping criminals to escape. But God was equal to the occasion, if we are to believe the eminent Dr. Price, one of the leading divines of Boston. Lightning having been rendered ineffectual by the 'iron points invented by the sagacious Dr. Franklin,' Massachusetts was shaken by earthquakes, which Dr. Price perceived to be due to God's wrath at the 'iron points.' In a sermon on the subject he said, 'In Boston are more erected than elsewhere in New England, and Boston seems to be more dreadfully shaken. Oh! there is no getting out of the mighty hand of God.' Apparently, however, Providence gave up all hope of curing Boston of its wickedness, for, though lightning-rods became more and more common, earthquakes in Massachusetts have remained rare.

Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such." "You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness." "Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?” “Huh? Well, I’ve never thought about it. You write a pretty good stick.” “Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.

Arbogast had then assembled a dream team of creative consultants and contractors to help make his bold claim a reality, luring some of the videogame industry’s brightest stars away from their own companies and projects, with the sole promise of collaborating on his groundbreaking new MMOs. That was how gaming legends like Chris Roberts, Richard Garriott, Hidetaka Miyazaki, Gabe Newell, and Shigeru Miyamoto had all wound up as consultants on both Terra Firma and Armada—along with several big Hollywood filmmakers, including James Cameron, who had contributed to the EDA’s realistic ship and mech designs, and Peter Jackson, whose Weta Workshop had rendered all of the in-game cinematics.

But the more significant factor is that one can easily remain free of even the most intense political oppression simply by placing one’s faith and trust in institutions of authority. People who get themselves to be satisfied with the behavior of their institutions of power, or who at least largely acquiesce to the Plegitimacy of prevailing authority, are almost never subjected to any oppression, even in the worst of tyrannies. Why would they be? Oppression is designed to compel obedience and submission to authority. Those who voluntarily put themselves in that state – by believing that their institutions of authority are just and good and should be followed rather than subverted – render oppression redundant, unnecessary. Of course people who think and behave this way encounter no oppression. That’s their reward for good, submissive behavior. As Rosa Luxemburg put this: “Those who do not move, do not notice their chains.” They are left alone by institutions of power because they comport with the desired behavior of complacency and obedience without further compulsion. But the fact that good, obedient citizens do not themselves perceive oppression does not mean that oppression does not exist. Whether a society is free is determined not by the treatment of its complacent, acquiescent citizens – such people are always unmolested by authority – but rather by the treatment of its dissidents and its marginalized minorities.

In the discoveries of science the harmony of the spheres is also now the harmony of life. And as the eerie illumination of science penetrates evermore deeply into the order of nature, the cosmos appears increasingly to be a vast system finely tuned to generate life and organisms of biology very similar, perhaps identical, to ourselves. All the evidence available in the biological sciences supports the core proposition of traditional natural theology - that the cosmos is a specially designed whole with life and mankind as a fundamental goal and purpose, a whole in which all facets of reality, from the size of galaxies to the thermal capacity of water, have their meaning and explanation in this central fact. Four centuries after the scientific revolution apparently destroyed irretrievably man's special place in the universe, banished Aristotle, and rendered teleological speculation obsolete, the relentless stream of discovery has turned dramatically in favor of teleology and design, and the doctrine of the microcosm is reborn. As I hope the evidence presented in this book has shown, science, which has been for centuries the great ally of atheism and skepticism, has become at last, in the final days of the second millennium, what Newton and many of its early advocates had so fervently wished - the "defender of the anthropocentric faith.

Let me tell you something about women, Tigernan,” Ruari offered, stretching his legs and holding up his empty ale bowl to attract the innkeeper’s attention. “I’ve given a bit of thought to them, having lived more years than you. Women are something a man requires, as necessary as air to breathe and ale to drink. I cannot boast of understanding them, mind you, but I suspect nature designed them for a specific purpose, and it would be a mistake to try to change them. “Women render men an invaluable service that may not at first be apparent. They are born to be responsible, to caretake. It is in them to probe their men as they would examine an old cloak, looking for holes that could let the wind through. Women understand survival better than we do, I think. They will nag and probe and provoke until they find a lowered defense, even the smallest hole, then they poke their fingers through and shout, ‘Aha!’ “In this way they force their men to keep their cloaks mended and their weapons in repair, and ultimately this helps them survive. With a woman treading on his heels a man must stay alert and in the proper frame of mind to go out and slay dragons. Never provoke a quarrel with a man who has just had his flaws pointed out to him by some woman.

Abstract design is all right—for wallpaper or linoleum. But art is the process of evoking pity and terror. What modern artists do is pseudo-intellectual masturbation. Creative art is intercourse, in which the artist renders emotional his audience.

When England introduced drop hanging in 1783 and France introduced the guillotine in 1792, it was a moral advance, because an execution that instantly renders the victim unconscious is more humane than one that is designed to prolong his suffering.

Abstract design is all right—for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce—render emotional-his audience, each time. These laddies who won’t deign to do that—and perhaps can’t—of course lost the public. If they hadn’t lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for ‘art’ that leaves him unmoved—if he does pay for it, the money has to be conned out of him, by taxes or such.” “You

The motion of a swift is an impenetrable language; as incomprehensible to me as the thoughts of a flower when it opens its petals at dawn, without memory or mind. A coherent logic and a dance, but not one I can shape within myself. All my attempts are approximation. One cannot render meaning in language one finds meaningless; nevertheless I know there is a design, a speaking, a world just on the other side of shadow, untouchable but nonetheless real. Three years since I came home from Ebrekt, and I still dream of the swifts, running: in dreams, sometimes I understand them.

Being true to yourself involves showing and sharing emotion. The spirit that motivates most great storytellers is ‘I want you to feel what I feel,’ and the effective narrative is designed to make this happen. That’s how the information is bound to the experience and rendered unforgettable.

The translation is designedly very literal, and the nature of German prose is such that an English rendering which aims—as this does—at close correspondence rather than happy paraphrase, can hardly avoid displaying at times a certain stiffness in the joints; but I have thought it right to reproduce Rilke’s oddities of expression and punctuation, which are no less curious in the original than they must seem here; and never to succumb to the temptation to write pretty-sounding English just because it is a poet that speaks. Rilke is a master of the unlikely, but poetically true, word; and a cunning employer of alliteration, personification, and hypallage.

Whether unconscious or deliberate, the gatekeepers clearly sought to (1) minimize the number of transsexuals who transitioned, (2) ensure that most people who did transition would not be “gender-ambiguous” in any way, and (3) make certain that those transsexuals who fully transitioned would remain silent about their trans status. These goals were clearly disadvantageous to transsexuals, as they limited trans people’s ability to obtain relief from gender dissonance and served to isolate trans people from one another, thus rendering them invisible. Rather, these goals were primarily designed to protect the cissexual public from their own gender anxiety by ensuring that most cissexuals would never come face-to-face with someone they knew to be transsexual.

That multiverse idea is not a notion invented to account for the miracle of fine-tuning. It is a consequence of the no-boundary condition as well as many other theories of modern cosmology. But if it is true, then the strong anthropic principle can be considered effectively equivalent to the weak one, putting the fine-tunings of physical law on the same footing as the environmental factors, for it means that our cosmic habitat—now the entire observable universe—is only one of many, just as our solar system is one of many. That means that in the same way that the environmental coincidences of our solar system were rendered unremarkable by the realization that billions of such systems exist, the fine-tunings in the laws of nature can be explained by the existence of multiple universes.

Here then is the origin and rise of government; namely, a mode rendered necessary by the inability of moral virtue to govern the world; here too is the design and end of government, viz. freedom and security. And however our eyes may be dazzled with snow, or our ears deceived by sound; however prejudice may warp our wills, or interest darken our understanding, the simple voice of nature and of reason will say, it is right.

How can a trail running shoe with an outer sole designed like a goat's hoof help me avoid compressing my spinal cord into a Slinky® on the side of some unsuspecting conifer, thereby rendering me a drooling, misshapen non-extreme-trail-running husk of my former self, forced to roam the earth in a motorized wheelchair with my name, embossed on one of those cute little license plates you get at carnivals or state fairs, fastened to the back?

The two last were in full tide of spirits, and the Baron rallied in his way our hero upon the handsome figure which his new dress displayed to advantage. 'If you have any design upon the heart of a bonny Scottish lassie, I would premonish you when you address her to remember the words of Virgilius: "Nunc insanus amor duri me Martis in armis, Tela inter media atque adversos detinet hostes." Whilk verses Robertson of Struan, Chief of the clan Donnochy, unless the claims of Lude ought to be preferred primo loco, has thus elegantly rendered: "For cruel love has gartan'd low my leg, And clad my hurdies in a philabeg." Although indeed ye wear the trews, a garment whilk I approve most of the two, as more ancient and seemly.' 'Or rather,' said Fergus, 'hear my song: "She wadna hae a Lowland laird, Nor be an English lady; But she's away with Duncan Græme, And he's rowed her in his plaidy.

I am sure the principal end why we are to get knowledge here, is to make use of it for the benefit of ourselves and others in this world; but if by gaining it we destroy our health, we labour for a thing that will be useless in our hands, and if by harnessing our bodies (though with a design to render ourselves more useful)we deprive ourselves of the abilities and opportunities of doing that good we might have done with a meaner talent, which God thought sufficient for us by having denied us the strength to iprove it to that pitch which men of higher constitutions can attain to, we rob God of so much service, and our neighbor of all that help, which, in a state of health, with moderate knowledge, we might have been able to perform. He that sinks his vessel by overloading it, though it be with gold and silver and precious stones, will gives his owner but an ill account of his voyage.

But when a plethora of stimuli begins to divert us from receptive consciousness, the city renders us insensible. Then, in our inability to order experience, we merely suffer the city and long for some adequate means to comprehend it as a product of human creation--a product of intelligent, ordering forces. Just as the scientist is frustrated when the order or pattern of phenomena is too fleeting to observe or too complex to recognize with existing tools, so is the city-dweller frustrated when human order cannot be found in the environment. At such moments, when one sees only the results of mechanical and economic processes controlling the form and feeling of the place, one feels estranged and excluded.

I can imagine some other world in which a conference of learned, and totally blind, bat-like creatures is flabbergasted to be told of animals called humans that are actually capable of using the newly discovered inaudible rays called "light" for finding their way about. These otherwise humble humans are almost totally deaf (well, they can hear after a fashion and even utter a few ponderously slow, deep drawling growls, but they only use these sounds for rudimentary purposes like communicating with each other; they don't seem capable of using them to detect even the most massive objects). They have, instead, highly specialized organs called "eyes" for exploiting "light" rays. The sun is the main source of light rays, and humans, remarkably, manage to exploit the complex echoes that bounce off objects when light rays from the sun hit them. They have an ingenious device called a "lens", whose shape appears to be mathematically calculated so that it bends these silent rays in such a way that there is an exact one-to-one mapping between objects in the world and an "image" on a sheet of cells called the "retina". Theses retinal cells are capable of, in some mysterious way, of rendering the light "audible" (one might say), and they relay their information to the brain. Our mathematicians have shown that it is theoretically possible, by doing the right highly complex calculations, to navigate safely through the world using these light rays, just as effectively as one can in the ordinary way using ultrasound -- in some respects even more effectively! But who would have thought that a humble human could do these calculations?

Crucifixion was a punishment that Rome reserved almost exclusively for the crime of sedition. The plaque the Romans placed above Jesus’s head as he writhed in pain—“King of the Jews”—was called a titulus and, despite common perception, was not meant to be sarcastic. Every criminal who hung on a cross received a plaque declaring the specific crime for which he was being executed. Jesus’s crime, in the eyes of Rome, was striving for kingly rule (i.e., treason), the same crime for which nearly every other messianic aspirant of the time was killed. Nor did Jesus die alone. The gospels claim that on either side of Jesus hung men who in Greek are called lestai, a word often rendered into English as “thieves” but which actually means “bandits” and was the most common Roman designation for an insurrectionist or rebel. Three re

I am sure the principal end why we are to get knowledge here, is to make use of it for the benefit of ourselves and others in this world; but if by gaining it we destroy our health, we labour for a thing that will be useless in our hands, and if by harnessing our bodies (though with a design to render ourselves more useful) we deprive ourselves of the abilities and opportunities of doing that good we might have done with a meaner talent, which God thought sufficient for us by having denied us the strength to improve it to that pitch which men of higher constitutions can attain to, we rob God of so much service, and our neighbor of all that help, which, in a state of health, with moderate knowledge, we might have been able to perform. He that sinks his vessel by overloading it, though it be with gold and silver and precious stones, will gives his owner but an ill account of his voyage.

There is a sort of subdued pandemonium in the air, a note of repressed violence, as if the awaited explosion required the advent of some utterly minute detail, something microscopic but thoroughly unpremeditated, completely unexpected. In that sort of half-reverie which permits one to participate in an event and yet remain quite aloof, the little detail which was lacking began obscurely but insistently to coagulate, to assume a freakish, crystalline form, like the frost which gathers on the windowpane. And like those frost patterns which seem so bizarre, so utterly free and fantastic in design, but which are nevertheless determined by the most rigid laws, so this sensation which commenced to take form inside me seemed also to be giving obedience to ineluctable laws. My whole being was responding to the dictates of an ambience which it had never before experienced; that which I could call myself seemed to be contracting, condensing, shrinking from the stale, customary boundaries of the flesh whose perimeter knew only the modulations of the nerve ends. And the more substantial, the more solid the core of me became, the more delicate and extravagant appeared the close, palpable reality out of which I was being squeezed. In the measure that I became more and more metallic, in the same measure the scene before my eyes became inflated. The state of tension was so finely drawn now that the introduction of a single foreign particle, even a microscopic particle, as I say, would have shattered everything. For the fraction of a second perhaps I experienced that utter clarity which the epileptic, it is said, is given to know. In that moment I lost completely the illusion of time and space: the world unfurled its drama simultaneously along a meridian which had no axis. In this sort of hair-trigger eternity I felt that everything was justified, supremely justified; I felt the wars inside me that had left behind this pulp and wrack; I felt the crimes that were seething here to emerge tomorrow in blatant screamers; I felt the misery that was grinding itself out with pestle and mortar, the long dull misery that dribbles away in dirty handkerchiefs. On the meridian of time there is no injustice: there is only the poetry of motion creating the illusion of truth and drama. If at any moment anywhere one comes face to face with the absolute, that great sympathy which makes men like Gautama and Jesus seem divine freezes away; the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured – disgrace, humiliation, poverty, war, crime, ennui – in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off. All the while someone is eating the bread of life and drinking the wine, some dirty fat cockroach of a priest who hides away in the cellar guzzling it, while up above in the light of the street a phantom host touches the lips and the blood is pale as water. And out of the endless torment and misery no miracle comes forth, no microscopic vestige of relief. Only ideas, pale, attenuated ideas which have to be fattened by slaughter; ideas which come forth like bile, like the guts of a pig when the carcass is ripped open.

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable. Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow. And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness. The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.

How hard they work to define the slave as inhuman, savage, when in fact the definition of the inhuman describes overwhelmingly the punisher. When they rest, exhausted, between bouts of lashing, the punishment is more sadistic than corrective. If sustained whipping tires the lasher, and he or she must take a series of breaks before continuing, what good does its duration do to the whipped? Such extreme pain seems to be designed for the pleasure of the one with the lash. The necessity of rendering the slave a foreign species appears to be a desperate attempt to confirm one’s own self as normal. The urgency of distinguishing between those who belong to the human race and those who are decidedly non-human is so powerful the spotlight turns away and shines not on the object of degradation but on its creator. Even assuming exaggeration by the slaves, the sensibility of slave owners is gothic. It’s as though they are shouting, “I am not a beast! I’m not a beast! I torture the helpless to prove I am not weak.” The danger of sympathizing with the stranger is the possibility of becoming a stranger. To lose one’s racial-ized rank is to lose one’s own valued and enshrined difference.

For one moment, she stood stock-still, drinking in the simple beauty of the marble fountain, the base of its pedestal wreathed in delicate fronds, that stood, glowing lambently in the soft white light, in the center of a small, secluded, fern-shrouded clearing. Water poured steadily from the pitcher of the partially clad maiden frozen forever in her task of filling the wide, scroll-lipped basin. The area had clearly been designed to provide the lady of the house with a private, refreshing, calming retreat in which to embroider, or simply rest and gather thoughts. In the moonlit night, surrounded by mysterious shadow and steeped in a silence rendered only more intense by the distant sighing of music and the silvery tinkle of the water, it was a hauntingly magical place. For three heartbeats, the magic held Patience immobile. Then, through the fine silk of her gown, she felt the heat of Vane's body. He did not touch her, but that heat, and the flaring awareness that raced through her, had her quickly stepping forward. Hauling in a desperate breath, she gestured to the fountain. "It's lovely." "Hmm," came from close behind. Too close behind. Patience found herself heading for a stone bench, shaded by a canopy of palms. Stifling a gasp, she veered away, toward the fountain.

Television’s greatest appeal is that it is engaging without being at all demanding. One can rest while undergoing stimulation. Receive without giving. It’s the same in all low art that has as goal continued attention and patronage: it’s appealing precisely because it’s at once fun and easy. And the entrenchment of a culture built on Appeal helps explain a dark and curious thing: at a time when there are more decent and good and very good serious fiction writers at work in America than ever before, an American public enjoying unprecedented literacy and disposable income spends the vast bulk of its reading time and book dollar on fiction that is, by any fair standard, trash. Trash fiction is, by design and appeal, most like televised narrative: engaging without being demanding. But trash, in terms of both quality and popularity, is a much more sinister phenomenon. For while television has from its beginnings been openly motivated by — has been about—considerations of mass appeal and L.C.D. and profit, our own history is chock-full of evidence that readers and societies may properly expect important, lasting contributions from a narrative art that understands itself as being about considerations more important than popularity and balance sheets. Entertainers can divert and engage and maybe even console; only artists can transfigure. Today’s trash writers are entertainers working artists’ turf. This in itself is nothing new. But television aesthetics, and television-like economics, have clearly made their unprecedented popularity and reward possible. And there seems to me to be a real danger that not only the forms but the norms of televised art will begin to supplant the standards of all narrative art. This would be a disaster. [...] Even the snottiest young artiste, of course, probably isn’t going to bear personal ill will toward writers of trash; just as, while everybody agrees that prostitution is a bad thing for everyone involved, few are apt to blame prostitutes themselves, or wish them harm. If this seems like a non sequitur, I’m going to claim the analogy is all too apt. A prostitute is someone who, in exchange for money, affords someone else the form and sensation of sexual intimacy without any of the complex emotions or responsibilities that make intimacy between two people a valuable or meaningful human enterprise. The prostitute “gives,” but — demanding nothing of comparable value in return — perverts the giving, helps render what is supposed to be a revelation a transaction. The writer of trash fiction, often with admirable craft, affords his customer a narrative structure and movement, and content that engages the reader — titillates, repulses, excites, transports him — without demanding of him any of the intellectual or spiritual or artistic responses that render verbal intercourse between writer and reader an important or even real activity." - from "Fictional Futures and the Conspicuously Young

A week is a long time to go without bedding someone?” Marcus interrupted, one brow arching. “Are you going to claim that it’s not?” “St. Vincent, if a man has time to bed a woman more than once a week, he clearly doesn’t have enough to do. There are any number of responsibilities that should keep you sufficiently occupied in lieu of…” Marcus paused, considering the exact phrase he wanted. “Sexual congress.” A pronounced silence greeted his words. Glancing at Shaw, Marcus noticed his brother-in-law’s sudden preoccupation with knocking just the right amount of ash from his cigar into a crystal dish, and he frowned. “You’re a busy man, Shaw, with business concerns on two continents. Obviously you agree with my statement.” Shaw smiled slightly. “My lord, since my ‘sexual congress’ is limited exclusively to my wife, who happens to be your sister, I believe I’ll have the good sense to keep my mouth shut.” St. Vincent smiled lazily. “It’s a shame for a thing like good sense to get in the way of an interesting conversation.” His gaze switched to Simon Hunt, who wore a slight frown. “Hunt, you may as well render your opinion. How often should a man make love to a woman? Is more than once a week a case for unpardonable gluttony?” Hunt threw Marcus a vaguely apologetic glance. “Much as I hesitate to agree with St. Vincent…” Marcus scowled as he insisted, “It is a well-known fact that sexual over-indulgence is bad for the health, just as with excessive eating and drinking—” “You’ve just described my perfect evening, Westcliff,” St. Vincent murmured with a grin, and returned his attention to Hunt. “How often do you and your wife—” “The goings-on in my bedroom are not open for discussion,” Hunt said firmly. “But you lie with her more than once a week?” St. Vincent pressed. “Hell, yes,” Hunt muttered. “And well you should, with a woman as beautiful as Mrs. Hunt,” St. Vincent said smoothly, and laughed at the warning glance that Hunt flashed him. “Oh, don’t glower—your wife is the last woman on earth whom I would have any designs on. I have no desire to be pummeled to a fare-thee-well beneath the weight of your ham-sized fists. And happily married women have never held any appeal for me—not when unhappily married ones are so much easier.” He looked back at Marcus. “It seems that you are alone in your opinion, Westcliff. The values of hard work and self-discipline are no match for a warm female body in one’s bed.” Marcus frowned. “There are more important things.” “Such as?” St. Vincent inquired with the exaggerated patience of a rebellious lad being subjected to an unwanted lecture from his decrepit grandfather. “I suppose you’ll say something like ‘social progress’? Tell me, Westcliff…” His gaze turned sly. “If the devil proposed a bargain to you that all the starving orphans in England would be well-fed from now on, but in return you would never be able to lie with a woman again, which would you choose? The orphans, or your own gratification?” “I never answer hypothetical questions.” St. Vincent laughed. “As I thought. Bad luck for the orphans, it seems.

Interest in alchemy seems to be nowadays on the rise. Whereas the educated public at large remains no doubt skeptical and indeed disdainful of the ancient discipline, there is today a deepening awareness among the better informed that what stands behind many an “exploded superstition” may be in fact a long-forgotten wisdom. Although Carl Jung was obviously exaggerating when ! he suggested that four centuries after being expelled from our universities,- alchemy stands “knocking at the door,” a number of factors have conspired; to render the prospect of re-admission less remote, at least, than it had been ; during the heyday of materialism. In any case, no truly solid grounds for rejecting the ancient doctrine have yet been proposed. Take the case of the so-called four elements: earth, water, air and fire. One can be reasonably certain that these terms were not employed alchemically in their ordinary sense, but were used to designate elements, precisely, out of which substances, as we know them, are constituted. Somewhat like the quarks of modern physics, these elements are not found empirically in isolation, but occur in their multiple combinations, that is to say, as the perceptible substances that constitute what I term the corporeal domain. Now, as I have argued at length in The Quantum Enigma (Peru, Illinois: Sherwood Sugden, 1995), corporeal objects are not in fact mere aggregates of quantum particles; and this clearly suggests that there may indeed be elements of the aforesaid kind. It turns out that our habitual opposition to alchemy is based mainly upon scientistic prejudice: upon a reductionist dogma, namely, for which there is in reality no scientific support at all.

According to Bartholomew, an important goal of St. Louis zoning was to prevent movement into 'finer residential districts . . . by colored people.' He noted that without a previous zoning law, such neighborhoods have become run-down, 'where values have depreciated, homes are either vacant or occupied by color people.' The survey Bartholomew supervised before drafting the zoning ordinance listed the race of each building's occupants. Bartholomew attempted to estimate where African Americans might encroach so the commission could respond with restrictions to control their spread. The St. Louis zoning ordinance was eventually adopted in 1919, two years after the Supreme Court's Buchanan ruling banned racial assignments; with no reference to race, the ordinance pretended to be in compliance. Guided by Bartholomew's survey, it designated land for future industrial development if it was in or adjacent to neighborhoods with substantial African American populations. Once such rules were in force, plan commission meetings were consumed with requests for variances. Race was frequently a factor. For example, on meeting in 1919 debated a proposal to reclassify a single-family property from first-residential to commercial because the area to the south had been 'invaded by negroes.' Bartholomew persuaded the commission members to deny the variance because, he said, keeping the first-residential designation would preserve homes in the area as unaffordable to African Americans and thus stop the encroachment. On other occasions, the commission changed an area's zoning from residential to industrial if African American families had begun to move into it. In 1927, violating its normal policy, the commission authorized a park and playground in an industrial, not residential, area in hopes that this would draw African American families to seek housing nearby. Similar decision making continued through the middle of the twentieth century. In a 1942 meeting, commissioners explained they were zoning an area in a commercial strip as multifamily because it could then 'develop into a favorable dwelling district for Colored people. In 1948, commissioners explained they were designating a U-shaped industrial zone to create a buffer between African Americans inside the U and whites outside. In addition to promoting segregation, zoning decisions contributed to degrading St. Louis's African American neighborhoods into slums. Not only were these neighborhoods zoned to permit industry, even polluting industry, but the plan commission permitted taverns, liquor stores, nightclubs, and houses of prostitution to open in African American neighborhoods but prohibited these as zoning violations in neighborhoods where whites lived. Residences in single-family districts could not legally be subdivided, but those in industrial districts could be, and with African Americans restricted from all but a few neighborhoods, rooming houses sprang up to accommodate the overcrowded population. Later in the twentieth century, when the Federal Housing Administration (FHA) developed the insure amortized mortgage as a way to promote homeownership nationwide, these zoning practices rendered African Americans ineligible for such mortgages because banks and the FHA considered the existence of nearby rooming houses, commercial development, or industry to create risk to the property value of single-family areas. Without such mortgages, the effective cost of African American housing was greater than that of similar housing in white neighborhoods, leaving owners with fewer resources for upkeep. African American homes were then more likely to deteriorate, reinforcing their neighborhoods' slum conditions.

By pointing to the captain’s foolhardy departure from standard procedure, the officials shielded themselves from the disturbing image of slaves overpowering their captors and relieved themselves of the uncomfortable obligation to explain how and why the events had deviated from the prescribed pattern. But assigning blame to the captain for his carelessness afforded only partial comfort, for by seizing their opportunity, the Africans aboard the Cape Coast had done more than liberate themselves (temporarily at least) from the slave ship. Their action reminded any European who heard news of the event of what all preferred not to contemplate too closely; that their ‘accountable’ history was only as real as the violence and racial fiction at its foundation. Only by ceaseless replication of the system’s violence did African sellers and European buyers render captives in the distorted guise of human commodities to market. Only by imagining that whiteness could render seven men more powerful than a group of twice their number did European investors produce an account naturalizing social relations that had as their starting point an act of violence. Successful African uprisings against European captors were of course moments at which the undeniable free agency of the captives most disturbed Europeans—for it was in these moments that African captives invalidated the vision of the history being written in this corner of the Atlantic world and articulated their own version of a history that was ‘accountable.’ Other moments in which the agency and irrepressible humanity of the captives manifested themselves were more tragic than heroic: instances of illness and death, thwarted efforts to escape from the various settings of saltwater slavery, removal of slaves from the market by reason of ‘madness.’ In negotiating the narrow isthmus between illness and recovery, death and survival, mental coherence and insanity, captives provided the answers the slave traders needed: the Africans revealed the boundaries of the middle ground between life and death where human commodification was possible. Turning people into slaves entailed more than the completion of a market transaction. In addition, the economic exchange had to transform independent beings into human commodities whose most ‘socially relevant feature’ was their ‘exchangeability’ . . . The shore was the stage for a range of activities and practices designed to promote the pretense that human beings could convincingly play the part of their antithesis—bodies animated only by others’ calculated investment in their physical capacities.

Many models are constructed to account for regularly observed phenomena. By design, their direct implications are consistent with reality. But others are built up from first principles, using the profession’s preferred building blocks. They may be mathematically elegant and match up well with the prevailing modeling conventions of the day. However, this does not make them necessarily more useful, especially when their conclusions have a tenuous relationship with reality. Macroeconomists have been particularly prone to this problem. In recent decades they have put considerable effort into developing macro models that require sophisticated mathematical tools, populated by fully rational, infinitely lived individuals solving complicated dynamic optimization problems under uncertainty. These are models that are “microfounded,” in the profession’s parlance: The macro-level implications are derived from the behavior of individuals, rather than simply postulated. This is a good thing, in principle. For example, aggregate saving behavior derives from the optimization problem in which a representative consumer maximizes his consumption while adhering to a lifetime (intertemporal) budget constraint.† Keynesian models, by contrast, take a shortcut, assuming a fixed relationship between saving and national income. However, these models shed limited light on the classical questions of macroeconomics: Why are there economic booms and recessions? What generates unemployment? What roles can fiscal and monetary policy play in stabilizing the economy? In trying to render their models tractable, economists neglected many important aspects of the real world. In particular, they assumed away imperfections and frictions in markets for labor, capital, and goods. The ups and downs of the economy were ascribed to exogenous and vague “shocks” to technology and consumer preferences. The unemployed weren’t looking for jobs they couldn’t find; they represented a worker’s optimal trade-off between leisure and labor. Perhaps unsurprisingly, these models were poor forecasters of major macroeconomic variables such as inflation and growth.8 As long as the economy hummed along at a steady clip and unemployment was low, these shortcomings were not particularly evident. But their failures become more apparent and costly in the aftermath of the financial crisis of 2008–9. These newfangled models simply could not explain the magnitude and duration of the recession that followed. They needed, at the very least, to incorporate more realism about financial-market imperfections. Traditional Keynesian models, despite their lack of microfoundations, could explain how economies can get stuck with high unemployment and seemed more relevant than ever. Yet the advocates of the new models were reluctant to give up on them—not because these models did a better job of tracking reality, but because they were what models were supposed to look like. Their modeling strategy trumped the realism of conclusions. Economists’ attachment to particular modeling conventions—rational, forward-looking individuals, well-functioning markets, and so on—often leads them to overlook obvious conflicts with the world around them.

Love MINECRAFT? **Over 18,000 words of kid-friendly fun!** This high-quality fan fiction fantasy diary book is for kids, teens, and nerdy grown-ups who love to read epic stories about their favorite game! Meet the Skull Kids. They're three Minecraft players who hop from world to world, hunting zombies and searching for the elusive Herobrine--the ghost in the machine. Teleporting down into a new world, the group is surprised to find that the game has changed once again, rendering almost ALL of their technology and mods useless. And when two of the Skull Kids are starving and distracted by exploring a desert village on Day 1 of their new adventure, the whole group is in danger when the sun goes down. Will the Skull Kids survive? Thank you to all of you who are buying and reading my books and helping me grow as a writer. I put many hours into writing and preparing this for you. I love Minecraft, and writing about it is almost as much fun as playing it. It’s because of you, reader, that I’m able to keep writing these books for you and others to enjoy. This book is dedicated to you. Enjoy!! After you read this book, please take a minute to leave a simple review. I really appreciate the feedback from my readers, and love to read your reactions to my stories, good or bad. If you ever want to see your name/handle featured in one of my stories, leave a review and tell me about it in there! And if you ever want to ask me any questions, or tell me your idea for a cool Minecraft story, you can email me at steve@skeletonsteve.com. Are you on my Amazing Reader List? Find out at the end of the book! June 29th, 2016 Now I’m going to try something a little different. Tell me what you guys think! This ‘Players Series’ is going to be a continuing series of books following my new characters, the players Renzor51, Molly, and quantum_steve. Make sure to let me know if you like it or not! Would you still like to see more books about mobs? More books about Cth’ka the Creeper King? I’m planning on continuing that one. ;) Don’t forget to review, and please say hi and tell me your ideas! Thanks, Ryan Gallagher, for the ideas to continue the wolf pack book! Enjoy the story. P.S. - Have you joined the Skeleton Steve Club and my Mailing List?? You found one of my diaries!! This particular book is the continuing story of some Minecraft players—a trio of friends who leap from world to world, searching for the elusive Herobrine. They’re zombie hunters and planeswalkers. They call themselves “The Skull Kids”. Every time these Skull Kids hop into a new world, they start with nothing more than the clothes they’re wearing, and they end up dominating the realm where they decide to live. What you are about to read is the first collection of diary entries from Renzor51, the player and member of the Skull Kids who documents their adventures, from the day they landed on Diamodia and carved out their own little empire, and beyond. Be warned—this is an epic book! You’re going to care about these characters. You’ll be scared for them, feel good for them, and feel bad for them! It’s my hope that you’ll be sucked up into the story, and the adventure and danger will be so intense, you’ll forget we started this journey with a video game! With that, future readers, I present to you the tale of the Skull Kids, Book 1. The Skull Kids Ka-tet Renzor51 Renzor51 is the warrior-scribe of the group, and always documents the party’s adventures and excursions into game worlds. He’s a sneaky fighter, and often takes the role of a sniper, but can go head to head with the Skull Kids’ enemies when needed. A natural artist, Renzor51 tends to design and build many of the group’s fortresses and structures, and keeps things organized. He also focuses a lot on weapon-smithing and enchanting, always seeking out ways to improve his gear. Molly

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Secondo gli stereotipi comuni, la grafica si occupa, in maniera artistica e creativa, di pubblicità e di siti web, al fine di rendere le cose più belle e attraenti. Se ne identifica così il compito anzitutto nel campo della persuasione. Da sempre però – e ben prima della società pubblicitaria – il visual design svolge altri compiti, se non più nobili, spesso più utili: si occupa cioè di spiegare.

The results of the studies opened up a whole new avenue of research into live-attenuated vaccines: synthetic attenuated virus engineering (SAVE). A virus was created with 631 synonymous mutations in its P1 coding sequence, designed to bias it toward the use of codons that rarely preferred in human cells. The result was a highly attenuated virus that caused no disease in an animal model of virus infection, and like the naturally evolved live-attenuated polioviruses developed by Sabin, it proved to be a highly effective vaccine. Unlike Sabin's strains, however, the multiplicity of genetic changes contributing to attenuation is expected to render the phenotype far more stable and resilient to reversion in vivo. This technology could prove extremely useful in the development of safe and stable attenuated viruses that raise an immune response almost identical to that against the natural infection. There are now many examples of the genetic engineering of synthetic attenuated virus vaccines; most notably it has been employed to create a live-attenuated vaccine against a strain of human influenza, a virus that, unlike poliovirus or smallpox virus, we cannot hope to eradicate and for which vaccination remains the lynchpin of disease management.

Here in Alpha City, we have a common saying: “What we call ‘sky’ is merely a figment of our narrative.” The most dreamy-eyed among us seem to adorn themselves and their aspirations in that proverb and you’ll see it everywhere: in advertisements on the sides of streetcars and auto-rickshaws, spelled out in studs and rhinestones on designer jackets, emblazoned in the intricate designs of facial tattoos—even painted on city walls by putrid vandals and inspiring street artists. There is something glorious about kneading out into the doughy firmament the depth and breadth of one’s own universe, in rendering the contours of a sky whose limits are predicated only upon the bounds of one’s own imagination. The fact of the matter is that we cannot see the natural sky at all here. It is something like a theoretical mathematical expression: like the square-root of ‘negative one’—certainly it could be said to have a purpose for existing, but to cast eyes upon it, in its natural quantity, would be something akin to casting one’s eyes upon the raw elements comprising our everyday sustenance. How many of us have even borne close witness to the minute chemical compounds that react to lend battery power to our portable electronics? The sky is indeed such a concealed fixture now. It is fair to say that we have purged our memories of its true face and so we can only approximate a canvas and project our desires upon it to our heart’s dearest fancy. The most cynical among us would ostensibly declare it an unavoidable tragedy, but perhaps even these hardened individuals could not remember the naked sky well enough to know if what they were missing was something worthwhile. Perhaps, it’s cynical of me to say so! In any case, we have our searchlights pointed upwards and crisscrossing that expanse of heavens as though to make some sensational and profane joke of ourselves to the surrounding universe. We beam already video images of beauty pageants and dancing contests with smiling mannequins who look like buffoons. And so, the face of space cloaks itself behind our light pollution—in this respect, our mirrored sidewalks and lustrous streets do little to help our cause—and that face remains hidden from us in its jeering ridicule, its mocking laughter at this inexorable farce of human existence.

growing up so poor that for a time his family lived in their Volkswagen van on a relative’s lawn, Jim Carrey believed in his future. Every night in the late 1980’s, Carrey would drive atop a large hill that looked down over Los Angeles and visualize directors valuing his work. At the time, he was a broke and struggling young comic. One night in 1990, while looking down on Los Angeles and dreaming of his future, Carrey wrote himself a check for $10 million and put in the notation line “for acting services rendered.” He dated the check for Thanksgiving 1995 and stuck it in his wallet. He gave himself five years. And just before Thanksgiving of 1995, he got paid $10 million for Dumb and Dumber.

DURING THE RIDE back up to Telluride, among tablelands and cañons and red-rock debris, past the stone farmhouses and fruit orchards and Mormon spreads of the McElmo, below ruins haunted by an ancient people whose name no one knew, circular towers and cliffside towns abandoned centuries ago for reasons no one would speak of, Reef was able finally to think it through. If Webb had always been the Kieselguhr Kid, well, shouldn’t somebody ought to carry on the family business—you might say, become the Kid? It might’ve been the lack of sleep, the sheer relief of getting clear of Jeshimon, but Reef began to feel some new presence inside him, growing, inflating—gravid with what it seemed he must become, he found excuses to leave the trail now and then and set off a stick or two from the case of dynamite he had stolen from the stone powder-house at some mine. Each explosion was like the text of another sermon, preached in the voice of the thunder by some faceless but unrelenting desert prophesier who was coming more and more to ride herd on his thoughts. Now and then he creaked around in the saddle, as if seeking agreement or clarification from Webb’s blank eyes or the rictus of what would soon be a skull’s mouth. “Just getting cranked up,” he told Webb. “Expressing myself.” Back in Jeshimon he had thought that he could not bear this, but with each explosion, each night in his bedroll with the damaged and redolent corpse carefully unroped and laid on the ground beside him, he found it was easier, something he looked forward to all the alkaline day, more talk than he’d ever had with Webb alive, whistled over by the ghosts of Aztlán, entering a passage of austerity and discipline, as if undergoing down here in the world Webb’s change of status wherever he was now. . . . He had brought with him a dime novel, one of the Chums of Chance series, The Chums of Chance at the Ends of the Earth, and for a while each night he sat in the firelight and read to himself but soon found he was reading out loud to his father’s corpse, like a bedtime story, something to ease Webb’s passage into the dreamland of his death. Reef had had the book for years. He’d come across it, already dog-eared, scribbled in, torn and stained from a number of sources, including blood, while languishing in the county lockup at Socorro, New Mexico, on a charge of running a game of chance without a license. The cover showed an athletic young man (it seemed to be the fearless Lindsay Noseworth) hanging off a ballast line of an ascending airship of futuristic design, trading shots with a bestially rendered gang of Eskimos below. Reef began to read, and soon, whatever “soon” meant, became aware that he was reading in the dark, lights-out having occurred sometime, near as he could tell, between the North Cape and Franz Josef Land. As soon as he noticed the absence of light, of course, he could no longer see to read and, reluctantly, having marked his place, turned in for the night without considering any of this too odd. For the next couple of days he enjoyed a sort of dual existence, both in Socorro and at the Pole. Cellmates came and went, the Sheriff looked in from time to time, perplexed.

The default assumption tends to be that it is politically important to designate everyone as beautiful, that it is a meaningful project to make sure that everyone can become, and feel, increasingly beautiful. We have hardly tried to imagine what it might look like if our culture could do the opposite - de-escalate the situation, make beauty matter less. But then again, nothing today ever de-escalates. And feminism has also repeatedly attempted to render certain aspects of the discussion off-limits for criticism. It has put such a premium on individual success, so much emphasis on individual choice, that it is seen as unfeminist to criticize anything that a woman chooses to make herself more successful - even in situations like this, in which women's choices are constrained and dictated both by social expectations and by the arbitrary dividends of beauty work, which is more rewarding if one is young and rich and conventionally attractive to begin with. In any case, Widdows argues, the fact of choice does not "make an unjust or exploitative practice or act, somehow, magically, just or non-exploitative". The timidity in mainstream feminism to admit that women's choices - not just our problems - are, in the end, political, has led to a vision of "women's empowerment" that often feels brutally disempowering in the end.

To fill this gap in the capital market, Davis and Rock set themselves up as a limited partnership, the same legal structure that had been used by a short-lived rival called Draper, Gaither & Anderson.[18] Rather than identifying startups and then seeking out corporate investors, they began by raising a fund that would render corporate investors unnecessary. As the two active, or “general,” partners, Davis and Rock each seeded the fund with $100,000 of their own capital. Then, ignoring the easy loans to be had from the fashionable SBIC structure, they raised just under $3.2 million from some thirty “limited” partners—rich individuals who served as passive investors.[19] The beauty of this size and structure was that the Davis & Rock partnership now had a war chest seven and a half times larger than an SBIC, and with it the ammunition to supply companies with enough capital to grow aggressively. At the same time, by keeping the number of passive investors under the legal threshold of one hundred, the partnership flew under the regulatory radar, avoiding the restrictions that ensnared the SBICs and Doriot’s ARD.[20] Sidestepping yet another weakness to be found in their competitors, Davis and Rock promised at the outset to liquidate their fund after seven years. The general partners had their own money in the fund, and thus a healthy incentive to invest with caution. At the same time, they could deploy the outside partners’ capital for a limited time only. Their caution would be balanced with deliberate aggression. Indeed, everything about the fund’s design was calculated to support an intelligent but forceful growth mentality. Unlike the SBICs, Davis & Rock raised money purely in the form of equity, not debt. The equity providers—that is, the outside limited partners—knew not to expect dividends, so Davis and Rock were free to invest in ambitious startups that used every dollar of capital to expand their business.[21] As general partners, Davis and Rock were personally incentivized to prioritize expansion: they took their compensation in the form of a 20 percent share of the fund’s capital appreciation. Meanwhile, Rock was at pains to extend this equity mentality to the employees of his portfolio companies. Having witnessed the effect of employee share ownership on the early culture of Fairchild, he believed in awarding managers, scientists, and salesmen with stock and stock options. In sum, everybody in the Davis & Rock orbit—the limited partners, the general partners, the entrepreneurs, their key employees—was compensated in the form of equity.

Similarly, use of cocaine by black day laborers and other blue-collar workers was initially encouraged, as long as the use was in the service of accomplishing work tasks for whites. But then the situation changed as whites discovered that blacks, too, enjoyed cocaine recreationally for its euphoria- and confidence-inducing effects. Use by blacks was increasingly reported in a manner designed to evoke fear among the white majority. Countless articles exaggerated both the extent to which cocaine was used by blacks and the connection between their use of the drug and heinous crimes. Popular myths held that the drug made black men homicidal as well as exceptional marksmen. Perhaps the most outrageous claim was that the drug rendered this group unaffected by .32-caliber bullets. Incredibly, these ridiculous assertions were actually believed. They prompted some southern police forces to switch to a larger .38-caliber weapon in order to deal with the mythical black, cocainized superhuman.

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Another important question is, Of what did Christ empty himself? Of the morphē theou? If so, did he empty himself of his deity, as the classic kenotic theory holds,45 or of the mode of the divine existence — his glory? Or, if morphē theou is equality with God, did he empty himself of equality with God? The two most probable interpretations of the passage hinge on the rendering of harpagmon. If it is understood to designate res rapta, the probable meaning will be: Christ existed in the form and glory of God; but he did not consider this state of equality with God something to be forcibly retained but emptied himself of it by taking the form of a slave.

Thus, according to Taylor, “All possible brain work should be removed from the shop and centered in the planning or laying-out department. . . .”3 It is a mistake to suppose that the primary purpose of this partition is to render the work process more efficient. It may or may not result in extracting more value from a given unit of labor time. The concern is rather with labor cost. Once the cognitive aspects of the job are located in a separate management class, or better yet in a process that, once designed, requires no ongoing judgment or deliberation, skilled workers can be replaced with unskilled workers at a lower rate of pay.

Memory Recognizing the value of an alert mind and an alert memory, I will encourage mine to become alert by taking care to impress it clearly with all thoughts I wish to recall and by associating those thoughts with related subjects which I may call to mind frequently. Subconscious Mind Reorganizing the influence of my subconscious mind over my power of will, I shall take care to submit to it a clear and definite picture of my major purpose in life and all minor purposes leading to my major purpose, and I shall keep this picture constantly before my subconscious mind by repeating it daily! Imagination Recognizing the need for sound plans and ideas for the attainment of my desires, I will develop my imagination by calling upon it daily for help in the formation of my plans. Emotion Realizing that my emotions are both positive and negative, I will form daily habits which will encourage the development of the positive emotions and aid me in converting the negative emotions into some form of useful action. Reason Recognizing that my positive and negative emotions may be dangerous if they are not guided to desirable ends, I will submit all my desires, aims, and purposes to my faculty of reason, and I will be guided by it in giving expression to these. Conscience Recognizing that my emotions often err in their over-enthusiasm, and my faculty of reason often is without the warmth of feeling that is necessary to enable me to combine justice with mercy in my judgments, I will encourage my conscience to guide me as to what is right and wrong, but I will never set aside the verdicts it renders, no matter what may be the cost of carrying them out. Willpower The power of will is the supreme court over all other departments of my mind. I will exercise it daily when I need the urge to action for any purpose, and I will form habits designed to bring the power of my will into action at least once daily.

The motion of a swift is an impenetrable language; as incomprehensible to me as the thoughts of a flower when it opens its petals at dawn, without memory or mind. A coherent logic and a dance, but not one I can shape within myself. All my attempts are approximation. One cannot render meaning in a language one finds meaningless; nevertheless I know there is a design, a speaking, a world just on the other side of shadow, untouchable but nonetheless real. Three years since I came home from Ebrekt, and I still dream of the swifts, running: in dreams, sometimes I understand them.

Even if I had amazing recall, and I don’t, recollection is often just self-fashioning. Some of it is reflexive, designed to bury truths that cannot be swallowed, but other “memories” are just redemption myths writ small. Personal narrative is not simply opening up a vein and letting the blood flow toward anyone willing to stare. The historical self is created to keep dissonance at bay and render the subject palatable in the present.

These elements of purpose as a life design tool are worrying: If you aren’t able to find your purpose, you can feel inadequate. You can waste time searching for the elusive purpose. A couple of statements are too narrow or broad for a life. How am I to incorporate all of who I am, who I want to be, my hopes and aspirations, into one or two statements? As a rule, life statements do not drench everyday life with vigor and verve. Most are either totally boring and generic or ridiculously grandiose, rendering them unattainable. Life is change. One’s life purpose statement is constantly up for revision during a lifetime. The Internet offers “life purpose statements you can adopt,” which seems the ultimate insult for this practice.

capital expenditures required in Clean Technology are so incredibly high,” says Pritzker, “that I didn’t feel that I could do anything to make an impact, so I became interested in digital media, and established General Assembly in January 2010, along with Jake Schwartz, Brad Hargreaves and Matthew Brimer.” In less than two years GA had to double its space. In June 2012, they opened a second office in a nearby building. Since then, GA’s courses been attended by 15,000 students, the school has 70 full-time employees in New York, and it has begun to export its formula abroad—first to London and Berlin—with the ambitious goal of creating a global network of campuses “for technology, business and design.” In each location, Pritzker and his associates seek cooperation from the municipal administration, “because the projects need to be understood and supported also by the local authorities in a public-private partnership.” In fact, the New York launch was awarded a $200,000 grant from Mayor Bloomberg. “The humanistic education that we get in our universities teaches people to think critically and creatively, but it does not provide the skills to thrive in the work force in the 21st century,” continues Pritzker. “It’s also true that the college experience is valuable. The majority of your learning does not happen in the classroom. It happens in your dorm room or at dinner with friends. Even geniuses such as Mark Zuckerberg or Bill Gates, who both left Harvard to start their companies, came up with their ideas and met their co-founders in college.” Just as a college campus, GA has classrooms, whiteboard walls, a library, open spaces for casual meetings and discussions, bicycle parking, and lockers for personal belongings. But the emphasis is on “learning by doing” and gaining knowledge from those who are already working. Lectures can run the gamut from a single evening to a 16-week course, on subjects covering every conceivable matter relevant to technology startups— from how to create a web site to how to draw a logo, from seeking funding to hiring employees. But adjacent to the lecture halls, there is an area that hosts about 30 active startups in their infancy. “This is the core of our community,” says Pritzker, showing the open space that houses the startups. “Statistically, not all of these companies are going to do well. I do believe, though, that all these people will. The cost of building technology is dropping so low that people can actually afford to take the risk to learn by doing something that, in our minds, is a much more effective way to learn than anything else. It’s entrepreneurs who are in the field, learning by doing, putting journey before destination.” “Studying and working side by side is important, because from the interaction among people and the exchange of ideas, even informal, you learn, and other ideas are born,” Pritzker emphasizes: “The Internet has not rendered in-person meetings obsolete and useless. We chose these offices just to be easily accessible by all—close to Union Square where almost every subway line stops—in particular those coming from Brooklyn, where many of our students live.

Security is often at odds with civil liberties. The act of balancing between the two gets even trickier with predictive technology at play. PA threatens to attain too much authority. Like an enchanted child with a Magic 8 Ball toy (originated in 1950), which is designed to pop up a random answer to a yes/no question, insightful human decision makers could place a great deal of confidence in the recommendations of a system they do not deeply understand. What may render judges better informed could also sway them toward less active observation and thought, tempting them to defer to the technology as a kind of crutch and grant it undue credence. It’s important for users of PA—the judges and parole board members—to keep well in mind that it bases predictions on a much more limited range of factors than are available to a person.

Consider this: Crucifixion was a punishment that Rome reserved almost exclusively for the crime of sedition. The plaque the Romans placed above Jesus’s head as he writhed in pain—“King of the Jews”—was called a titulus and, despite common perception, was not meant to be sarcastic. Every criminal who hung on a cross received a plaque declaring the specific crime for which he was being executed. Jesus’s crime, in the eyes of Rome, was striving for kingly rule (i.e., treason), the same crime for which nearly every other messianic aspirant of the time was killed. Nor did Jesus die alone. The gospels claim that on either side of Jesus hung men who in Greek are called lestai, a word often rendered into English as “thieves” but which actually means “bandits” and was the most common Roman designation for an insurrectionist or rebel.

Digital computers have either two states, on or off, and so respond only to binary messages, which consist of ones (on) and zeros (off). Every term in a program ultimately must be expressed through these two numbers, ensuring that ordinary mathematical statements quickly grow dizzyingly complex. In the late 1940s, programming a computer was, as one observer put it, “maddeningly difficult.” Before long programmers found ways to produce binary strings more easily. They first devised special typewriters that automatically spit out the desired binary code. Then they shifted to more expansive “assembly” languages, in which letters and symbols stood for ones and zeros. Writing in assembly was an advance, but it still required fidelity to a computer’s rigid instruction set. The programmer had to know the instruction set cold in order to write assembly code effectively. Moreover, the instruction set differed from computer model to computer model, depending on its microprocessor design. This meant that a programmer’s knowledge of an assembly language, so painfully acquired, could be rendered worthless whenever a certain computer fell out of use. By

He resolv’d not to part from her without the Gratifications of those Desires she had inspir’d; and presuming on the Liberties which her suppos’d Function allow’d off,told her she must either go with him to some convenient House of his procuring, or permit him to wait on her to her own Lodgings. – Never had she been in such a Dilemma: Three or four Times did she open her Mouth to confess her real Quality; but the influence of her ill Stars prevented it, by putting an Excuse into her Head, which did the Business as well, and at the same Time did not take from her the Power of seeing and entertaining him a second Time with the same Freedom she had done this. – She told him, she was under Obligations to a Man who maintain’d her, and whom she durst not disappoint, having promis’d to meet him that Night at a House hard by. – This Story so like what those Ladies sometimes tell, was not at all suspected by Beauplaisir; and assuring her he wou’d be far from doing her a Prejudice, desir’d that in return for the Pain he shou’d suffer in being depriv’d of her Company that Night, that she wou’d order her Affairs, so as not to render him unhappy the next. She gave a solemn Promise to be in the same Box on the Morrow Evening; and they took Leave of each other; he to the Tavern to drown the Remembrance of his Disappointment; she in a Hackney-Chair hurry’d home to indulge Contemplation on the Frolick she had taken, designing nothing less on her first Reflections, than to keep the Promise she had made him, and hugging herself with Joy, that she had the good Luck to come off undiscover’d. But these Cogitations were but of a short Continuance, they

The job that an EHR is designed to do is a systemic job, not a local one. It is designed to enable different providers in different locations to see what kinds of care other doctors and institutions have given or are rendering to a patient. It

Bucky lived and worked to help the world. He didn’t live to pay his bills, to plan for retirement, to make sure he had enough at any time, to make sure he could afford the next project, or to do anything. He felt that if he were doing the things that he was inspired to do to help the world, all those things would be taken care of by the One that commissioned him to do the work. I know that most people on hearing this are prone to think, of course it works fine when you are a Buckminster Fuller, but Bucky knew that it works for everyone. The individual may not have Bucky’s talents to bring them world prominence, but they can do what is theirs to do and not have to think of earning a living if they want to make a pact with God as Bucky did. That sounds as if God is in to bargaining, but it is not that, it is simply the way it is, a spiritual principle. We were created to be channels for God and when we assume that role and expect to be prospered in so doing, it will be that way for us—for anyone! That is why Bucky’s life and message have to be heard, because the answer to the world’s need for prosperity is to stop living to make a living and start living to give the gift of your unique self to the world. Bucky affirmed this: “Yes I am quite confident there is nothing that I have undertaken to do that others couldn’t do equally well or better under the same economic circumstances. I was supported only by my faith in God and my vigorously pursued working assumption that it is God’s intent to make humans an economic success so that they can and may in due course fulfill an essential—and only mind-renderable—functioning in Universe....This would terminate humanity’s need to ‘earn a living,’ i.e., doing what others wanted done only for others’ ultimately selfish reasons. This attending only to what needs to be done for all humanity in turn would allow humanity, the time to effectively attend to the Universe-functioning task for the spontaneous performance of which God—the eternal, comprehensive, intellectual integrity usually referred to as ‘nature’ or as ‘evolution’—had included humans in the grand design of eternally regenerative Universe.(1) In

The dependent origination, or structure of conditions, appears as a flexible formula with the intention of describing the ordinary human situation of a man in his world (or indeed any conscious event where ignorance and craving have not entirely ceased). That situation is always complex, since it is implicit that consciousness with no object, or being ( bhava— becoming, or however rendered) without consciousness (of it), is impossible except as an artificial abstraction. The dependent origination, being designed to portray the essentials of that situation in the limited dimensions of words and using only elements recognizable in experience, is not a logical proposition (Descartes’ cogito is not a logical proposition). Nor is it a temporal cause-and-effect chain: each member has to be examined as to its nature in order to determine what its relations to the others are (e.g. whether successive in time or conascent, positive or negative, etc., etc.). A purely cause-and-effect chain would not represent the pattern of a situation that is always complex, always subjective-objective, static-dynamic, positive-negative, and so on. Again, there is no evidence of any historical development in the various forms given within the limit of the Sutta Piþaka (leaving aside the Paþisambhidámagga), and historical treatment within that particular limit is likely to mislead, if it is hypothesis with no foundation. Parallels with European thought have been avoided in this translation. But perhaps an exception can be made here, with due caution, in the case of Descartes. The revolution in European thought started by his formula cogito ergo sum (“I think, therefore I am”) is not yet ended. Now, it will perhaps not escape notice that the two elements, “I think” and “I am,” in what is not a logical proposition parallel to some extent the two members of the dependent origination, consciousness and being (becoming). In other words, consciousness activated by craving and clinging as the dynamic factory, guided and blinkered by ignorance (“I think” or “consciousness with the conceit ‘I am’”), conditions being (“therefore I am”) in a complex relationship with other factors relating subject and object (not accounted for by Descartes). The parallel should not be pushed too far. In fact it is only introduced because in Europe the dependent origination seems to be very largely misunderstood with many strange interpretations placed upon it, and because the cogito does seem to offer some sort of reasonable approach.

Updating the Layout As you learned in Chapter 6, the dynamic flow and pagination work differently in HTML forms. PDF forms will paginate based on the page size setting, but since an HTML form can be any length, your Designer HTML form will continue to expand lower on the same page and won’t paginate to a subsequent page (Figure 8.8). Figure 8.8 The SmartDoc Expense Report with 40 items in PDF Preview (left) and HTML Preview (right). Follow these steps to analyze and correct the layout issues so that the form will render properly as a paginated PDF or a single-page HTML form: 1. Select the Preview HTML tab. 2. Click the Add Expense button to add 20 new expense rows. You’ll eventually see the rows overlap with the footer of the page. 3. Select the Master Pages tab to update your layout. 4. Select copyrightFooter on the masterPage1 subform. 5. Select the Layout tab of the Object palette and update the Y coordinate to be 10.5625 inches. 6. Select the copyrightFooter field on the masterPage2 subform. 7. Select the Layout tab of the Object palette and update the Y coordinate to be 10.5625 inches. 8. Select the pages field on the masterPage2 subform. 9. Select the Layout tab of the Object palette and update the Y coordinate to be 10.5625 inches. 10. Save your file as myExpenseReportHTML_4.xdp. You’ve successfully moved all the master page items away from the contentArea object. Doing so eliminates the overlapping issue in your HTML form. It’s best to not put master page items in or have them touch the contentArea object.

The last cause which frequently renders a democratic government dearer than any other is, that a democracy does not always succeed in moderating its expenditure, because it does not understand the art of being economical. As the designs which it entertains are frequently changed, and the agents of those designs are still more frequently removed, its undertakings are often ill conducted or left unfinished: in the former case the State spends sums out of all proportion to the end which it proposes to accomplish; in the second, the expense itself is unprofitable.

WebKit is a layout engine designed to allow web browsers to render web pages. WebKit powers Google Chrome and Safari, which in January 2011 had around 14% and

The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

Doom, meanwhile, had a long-term impact on the world of gaming far exceeding even that of Myst. The latest of a series of experiments with interactive 3D graphics by id programmer John Carmack, Doom shares with Myst only its immersive first-person point of view; in all other respects, this fast-paced, ultraviolent shooter is the polar opposite of the cerebral Myst. Whereas the world of Myst is presented as a collection of static nodes that the player can move among, each represented by a relatively static picture of its own, the world of Doom is contiguous. As the player roams about, Doom must continually recalculate in real time the view of the world that it presents to her on the screen, in effect drawing for her a completely new picture with every frame using a vastly simplified version of the 3D-rendering techniques that Eric Graham began experimenting with on the Amiga back in 1986. First-person viewpoints had certainly existed in games previously, but mostly in the context of flight simulators, of puzzle-oriented adventures such as Myst, or of space-combat games such as Elite. Doom has a special quality that those earlier efforts lack in that the player embodies her avatar as she moves through 3D space in a way that feels shockingly, almost physically real. She does not view the world through a windscreen, is not separated from it by an adventure game’s point-and-click mechanics and static artificiality. Doom marks a revolutionary change in action gaming, the most significant to come about between the videogame’s inception and the present. If the player directs the action in a game such as Menace, Doom makes her feel as if she is in the action, in the game’s world. Given the Amiga platform’s importance as a tool for noninteractive 3D rendering, it is ironic that the Amiga is uniquely unsuited to Doom and the many iterations and clones of it that would follow. Most of the Amiga attributes that we employed in the Menace reconstruction—its scrolling playfields, its copper, its sprites—are of no use to a 3D-engine programmer. Indeed, the Intel-based machines on which Carmack created Doom possess none of these features. Even the Amiga’s bitplane-based playfields, the source of so many useful graphical tricks and hacks when programming a 2D game such as Menace, are an impediment and annoyance in a game such as Doom. Much preferable are the Intel-based machines’ straightforward chunky playfields because these layouts are much easier to work with when every frame of video must be drawn afresh from scratch. What is required most of all for a game such as Doom is sufficient raw processing power to perform the necessary thousands of calculations needed to render each frame quickly enough to support the frenetic action for which the game is known. By 1993, the plebian Intel-based computer, so long derided by Amiga owners for its inefficiencies and lack of design imagination, at last possessed this raw power. The Amiga simply had no answer to the Intel 80486s and Pentiums that powered this new, revolutionary genre of first-person shooters. Throughout

When they reached the top level, Susan turned to the left. The corridor had raised wallpaper in a classic floral design and nothing else. No small tables, no chairs, no pictures in frames, no Oriental runners. They passed by maybe a dozen rooms, only two with doors open. Myron noticed that the doors were extra wide and he remembered his visit to Babies and Children’s Hospital. Extra wide doors there too. For wheelchairs and stretchers and the like. When they reached the end of the corridor, Susan stopped, took a deep breath, looked back at Myron. “Are you ready?” He nodded. She opened the door and stepped inside. Myron followed. A four-poster antique bed, like something you’d see on a tour of Jefferson’s Monticello, overwhelmed the room. The walls were warm green with woodwork trim. There was a small crystal chandelier, a burgundy Victorian couch, a Persian rug with deep scarlets. A Mozart violin concerto was playing a bit too loudly on the stereo. A woman sat in the corner reading a book. She too started upright when she saw who it was. “It’s okay,” Susan Lex said. “Would you mind leaving us for a few moments?” “Yes, ma’am,” the woman said. “If you need anything—” “I’ll ring, thank you.” The woman did a semi-curtsy/semi-bow and hurried out. Myron looked at the man in the bed. The resemblance to the computer rendering was uncanny, almost perfect. Even, strangely enough, the dead eyes. Myron moved closer. Dennis Lex followed him with the dead eyes, unfocused, empty, like windows over a vacant lot.

Peter Brown, that great historian of early Christianity, has given the most cogent explanation for the arising of the cult of the saints in the late Roman world. He explains that the emphasis of early Christian preaching on judgment, on the human need for redemption from sin, brought to the minds of common people — among whom Christianity was early successful — their social and political condition. Having strictly limited powers to remedy any injustice they might suffer, or to clear themselves of any charges of wrongdoing, they turned, when they could, to their social betters in hope of aid. If a local patrician could befriend them — could be, at least for a time, their patron — then they had a chance, at least, of receiving justice or at least escaping punishment. “It is this hope of amnesty,” Brown writes, “that pushed the saint to the foreground as patronus. For patronage and friendship derived their appeal from a proven ability to render malleable seemingly inexorable processes, and to bridge with the warm breath of personal acquaintance the great distances of the late-Roman social world. In a world so sternly organized around sin and justice, patrocimium [patronage] and amicitia [friendship] provided a much-needed language of amnesty.” As this cult became more and more deeply entrenched in the Christian life, it made sense for there to be, not just feast days for individual saints, but a day on which everyone’s indebtedness to the whole company of saints — gathered around the throne of God, pleading on our behalf — could be properly acknowledged. After all, we do not know who all the saints are: no doubt men and women of great holiness escaped the notice of their peers, but are known to God. They deserve our thanks, even if we cannot thank them by name. So the logic went: and a general celebration of the saints seems to have begun as early as the fourth century, though it would only be four hundred years later that Pope Gregory III would designate the first day of November as the Feast of All Saints.

Even if I had amazing recall, and I don't, recollection is often just self-fashioning. Some of it is reflexive, designed to bury truths that can not be swallowed, but other "memories" are just redemption myths writ small. Personal narrative is not simply opening up a vein and letting the blood flow toward anyone willing to share. The historical self is created to keep dissonance at bay and render the subject palatable in the present.

This lifestyle of putting on the armor implies consistent and multiple efforts. We live this way because of what can happen if we don’t: relinquishing the benefit of our position in Christ as we are bombarded by schemes designed to destroy us and render us ineffective in kingdom pursuits.

The one great Creator of the universe has infinite intelligence. Infinite intelligence means unlimited, incomprehensible, inexhaustible, wisdom, knowledge, and power. The universe is designed, powered and governed by this all powerful, all knowing, all loving Creator. This indescribable creator knows that it takes thousands of different types of individuals to render all the many different services needed to operate the world harmoniously, so he created thousands of different types of people.

When we find our channel, the channel for which we were especially created, we will find that we are very happy serving in that channel. We will feel harmonious and happy, and we will express life beautifully. We will be healthy and prosperous because we will find that we will be able to render a quality and a quantity of service to humanity. We will have faith in ourselves and will not be comparing ourselves with other people who were designed to serve in a different channel than ourselves

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Our airborne weapons can level buildings and render large areas uninhabitable. Our ground-based weapon systems are designed to repel an air attack. Neither is effective against a small group of unarmed soldiers, unless those soldiers are launched through the air somehow. We weren’t prepared for the Hahn to simply walk over and physically attack us man to man. In a sense, the war has grown too civilized for that.

Planned obsolesence, mass destruction of last year’s goods, the rush to antiquate or render irrelevent others’ designs, it was the result of a tragic lack of vision.

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His drawings served as visual thought experiments. By rendering the mechanisms in his notebooks rather than actually constructing them, he could envision how they would work and assess whether they would achieve perpetual motion. He eventually concluded, after looking at many different methods, that none of them would. In reasoning so, he showed that, as we go through life, there is a value in trying to do such tasks as designing a perpetual-motion machine: there are some problems that we will never be able to solve, and it’s useful to understand why. “Among the impossible delusions of man is the search for continuous motion, called by some perpetual wheel,” he wrote in the introduction to his Codex Madrid I. “Speculators on perpetual motion, how many vain chimeras you have created in this quest!

The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming

But a proper exegesis of the second law renders an intelligent designer unnecessary. As surprising as it is remarkable, regions containing concentrated energy and order (stars being the archetypal example) are a natural consequence of the universe diligently toeing the second law’s line and becoming ever more disordered. Indeed, such pockets of order prove to be catalysts that facilitate the universe, over the long run, to reach its entropic potential. Along the way, and as part of this entropic progression, they also facilitate the emergence of life.

The insatiable need for more processing power -- ideally, located as close as possible to the user but, at the very least, in nearby indus­trial server farms -- invariably leads to a third option: decentralized computing. With so many powerful and often inactive devices in the homes and hands of consumers, near other homes and hands, it feels inevitable that we'd develop systems to share in their mostly idle pro­cessing power. "Culturally, at least, the idea of collectively shared but privately owned infrastructure is already well understood. Anyone who installs solar panels at their home can sell excess power to their local grid (and, indirectly, to their neighbor). Elon Musk touts a future in which your Tesla earns you rent as a self-driving car when you're not using it yourself -- better than just being parked in your garage for 99% of its life. "As early as the 1990s programs emerged for distributed computing using everyday consumer hardware. One of the most famous exam­ples is the University of California, Berkeley's SETl@HOME, wherein consumers would volunteer use of their home computers to power the search for alien life. Sweeney has highlighted that one of the items on his 'to-do list' for the first-person shooter Unreal Tournament 1, which shipped in 1998, was 'to enable game servers to talk to each other so we can just have an unbounded number of players in a single game session.' Nearly 20 years later, however, Sweeney admitted that goal 'seems to still be on our wish list.' "Although the technology to split GPUs and share non-data cen­ter CPUs is nascent, some believe that blockchains provide both the technological mechanism for decentralized computing as well as its economic model. The idea is that owners of underutilized CPUs and GPUs would be 'paid' in some cryptocurrency for the use of their processing capabilities. There might even be a live auction for access to these resources, either those with 'jobs' bidding for access or those with capacity bidding on jobs. "Could such a marketplace provide some of the massive amounts of processing capacity that will be required by the Metaverse? Imagine, as you navigate immersive spaces, your account continuously bidding out the necessary computing tasks to mobile devices held but unused by people near you, perhaps people walking down the street next to you, to render or animate the experiences you encounter. Later, when you’re not using your own devices, you would be earning tokens as they return the favor. Proponents of this crypto-exchange concept see it as an inevitable feature of all future microchips. Every computer, no matter how small, would be designed to be auctioning off any spare cycles at all times. Billions of dynamically arrayed processors will power the deep compute cycles of event the largest industrial customers and provide the ultimate and infinite computing mesh that enables the Metaverse.

They were experienced not as wholly meaningless elements but as qualitatively meaningful and as such could reflect the quality of the worldly referent they symbolized.14 The word would sound like its referent, not necessarily in the way of a strict onomatopoetic rendering, in which case language would be limited to designating only audible phenomena, but in the way of a physiognomic onomatopoeia. The word would not imitate but qualitatively intimate the thing it stood for, and this in virtue of its sheer sound: its timbre, force, duration, and so on-its felt and heard qualitative character. A physiognomic congruency would thus be the ground upon which so-called "arbitrary" sound elements would have come to have linguistic meaning.

All of these things make us feel good when we’re successful at them, but lumping them all together as “fun” just renders the word meaningless.

Strong in services rendered, the now wealthy heirs of Power’s lawyer-servants claimed henceforward to control its actions, and assuredly there was no other body of men in the country better qualified to hold Power in check. If officers were bought the control over the sales exercised by this body hedged in the appointment of a new magistrate with guarantees which ensured that no senate was ever recruited better. If the members of the Parliament were not elected by the public, they deserved on that account more of the public confidence, as being less it's flatterers by design than its champions by principle. Taken as a whole, they formed a weightier and more capable body of men than those of the British Parliament. Was it right, then, for the monarchy to accept and sanction this counter-Power? Or did its dignity demand that it react against the pretension of Parliament? That was a policy of one party, which called itself Richelieu’s heir and it was in fact, led by d’Aiguillon, a great-nephew of the great Cardinal. But if the need was to smash now this aristocracy of the robe and extend that the royal authority even further, it had to be done as in former days to the plaudits of the common people and by employing a new set of plebeians against the present wearers of periwigs. Mirabeau saw as much, but that d’Aiguillon’s faction were blind to it. That faction consisted of nobles who had been more or less plucked by the monarchial Power and were now getting new feathers by installing themselves into wealth-giving apparatus of state which had been built by the plebeian clerks. Finding that offices were now of greater value than manors. They fell to on the offices. Finding that the bulk of the feudal dues had been diverted into the coffers of the state, they put their hands in them. And, occupying every place and obstructing every avenue leading to Power, they succeeded in weakening it both by their incapacity and by their feeble efforts to prevent it from attracting, as formerly, to its banners and the aspirations of the common people. In this way the men who should have served the state, finding themselves discarded, turned Jacobin. In the cold shades of a parliamentary opposition, which, if it had been accepted, would have transformed the absolute monarchy into a limited one, a plebeian elite champed at the bit; had it been admitted to office, it would have extended even further the centralizing power of the throne. So much was it part of its nature to serve the royal authority that it was to ensure its continuance even when there was no king.

appendix a note on the translation In rendering this book—originally composed in a tongue that has not yet achieved existence—into English, I might easily have saved myself a great deal of labor by having recourse to invented terms; in no case have I done so. Thus in many instances I have been forced to replace yet undiscovered concepts by their closest twentieth-century equivalents. Such words as peltast, androgyn, and exultant are substitutions of this kind, and are intended to be suggestive rather than definitive. Metal is usually, but not always, employed to designate a substance of the sort the word suggests to contemporary minds. When the manuscript makes reference to animal species resulting from biogenetic manipulation or the importation of extrasolar breeding stock, the name of a similar extinct species has been freely substituted. (Indeed, Severian sometimes seems to assume that an extinct species has been restored.) The nature of the riding and draft animals employed is frequently unclear in the original text. I have scrupled to call these creatures horses, since I am certain the word is not strictly correct. The “destriers” of The Book of the New Sun are unquestionably much swifter and more enduring animals than those we know, and the speed of those used for military purposes seems to permit the delivering of cavalry charges against enemies supported by high-energy armament. Latin is once or twice employed to indicate that inscriptions and the like are in a language Severian appears to consider obsolete. What the actual language may have been, I cannot say. To those who have preceded me in the study of the posthistoric world, and particularly to those collectors—too numerous to name here—who have permitted me to examine artifacts surviving so many centuries of futurity, and most especially to those who have allowed me to visit and photograph the era’s few extant buildings, I am truly grateful. G.W.

As the National Alliance on Mental Illness (NAMI) has identified, people with anosognosia are at a heightened risk for homelessness and arrest.9 Without awareness of their mental illness and an understanding of how to live with it, people are unable to regulate their behavior or the expectations of social settings, including programs intending to help. But much of the problem is also systemic: our social safety nets meant to serve those with severe mental illness are often designed in ways that render them functionally inaccessible.

Although scrubs seem designed to render the wearer as rectangular as possible, I knew that my figure still came across as feminine. I was lucky: I was curvy but slender, even though I ate like a starving carnivorous beast.

There is no truth. Life is just a series of coincidences, accidents and random urges which we carefully forge – for our own, sick reasons – into a convenient design. Everything is arbitrary. Only art exists to make the arbitrary congeal. Not memory or God or love, even. Only art. The truth is simply an idea, a structure which we employ – in very small doses – to render life bearable. It’s just a convenient mechanism.

5.2. Copyright and Disclaimer Copyright 2014 Metin Bektas. All Rights Reserved. This book is designed to provide information about the topics covered. It is sold with the understanding that the author is not engaged in rendering legal, accounting or other professional services. The author shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the information covered in this book. The book is for personal use of the original buyer only. It is exclusive property of the author and protected by copyright and other intellectual property laws. You may not modify, transmit, publish, participate in the transfer or sale of, reproduce, create derivative works from and distribute any of the content of this book, in whole or in part. The author grants permission to the buyer to use examples and reasonably sized excerpts taken from this book for educational purposes in schools, tutoring lessons and further training courses under the condition, that the material used is not sold or given away and is properly cited.

How to Make a 3D Character Modeling, Character Rigging and Animation By GameYan Studio Using your concept art, create 3D Character modeling with Game Development Studio software like Maya. Then, paint your models to give them a distinct look. Finally, animate your Game Character Modeling Studio to bring them to life. Create 3D models for every character, environment, and item in your game, based on your concept art. Texture is a Add colors, textures, and lighting to your 3D Character modelers to give them a unique look. After modeling and texturing a 3D character Models it is time to make it move. Rigging is the first step in creating a skeletal 3D animation. 3D animation rigging is the process of creating a virtual skeleton of a 3D model. Rigging is Build a control structure for items that need movement, like characters, so animators can bring them to life in the game. Specifically, Character Rigging Service refers to the process of creating the bone structure of a 3D model. This bone structure is used to manipulate the 3D model like a puppet for animation. Rigging is most common in animated characters for games and movies. This technique simplifies the animation process and improves production efficiency. Once rigged with skeletal bones, any 3D object can be controlled and distorted as needed. After a 3D model has been created, a series of bones is constructed representing the skeletal structure. For instance, in a character there may be a group of back bones, a spine, and head bones. These bones can be transformed using digital animation software meaning their position, rotation, and scale can be changed. The rigging process results in a hierarchal structure where each bone is in a parent/child relationship with the bones it connects to. This simplifies the animation process as a whole. When an artist moves a shoulder bone, the forearm and hand bones will move too. The goal is to mimic real life as accurately as possible. Animation Add movement to 3D Character Models and objects to give them life and make your game more fun to play. There are endless possibilities. Our specialty are stylised characters and expressive figures. We offer the whole package from designing a character collaboratively with you, over 3d modelling, rigging, texturing and rendering. We also provide workflows for export to realtime uses like Virtual Reality and Games. Have a look at some work samples we did in the past. GameYan Studio is a trusted Character Animation Company service providing company delivers high-quality character animations in a tight within the stipulated time. Our specialization in 3D Character Animation Studio helps our clients to meet their needs just they prefer.

3D Character Modeling & low poly game character by 3D Game Art Studio Low poly game character are three-dimensional models based on a small number of polygons. An important condition is that this amount is enough to understand what the visualizer wanted to demonstrate. Since one of the relevant areas where 3d low-poly character developers are involved in the gaming industry, consider the process of work on the example of creating a Game Character Modeling Services. Work on other low poly character is similar. Each game must be unique in its own way. Character Modeling is the process of creating a character within the 3D space of computer programs. The techniques for character modeling are essential for third - and first - person experiences within film, animation, games, and Virtual Reality. It is important to bear in mind that low poly objects have less definition and are made with fewer polygons, spheres, cylinders, or cubes. By using flat lighting, the models will get the desired flat-shaded blocky look. low poly modeling requires a high degree of creativity, as you need to make the most of limited resources to create complex compositions. It has the power of simplicity. Low poly character also has its uses. The most important use is game engines since a computer can only handle many polygons in real time. Low poly keeps everything as low as possible applying normal mapping everywhere. Other uses of low poly include: • Subdivision modeling • Low-polygon proxy geometry for animating and rigging • Low poly style High poly character are preferable in Movie Character Modeling for the film industry since a large number of polygons are needed there for optimal detail. However, their 3d Rendering & Animation can sometimes take several days. But for games, low-poly character are often used: visualization of 3D characters is carried out directly in the course of the game process. GameYan Studio is a Game Development and Movie Animation company offer an animation 3D Character Modeling Services with a wide range of 3d character design services and animation with a specialized team of highly skilled designers & animators are having a capable to transform any characters to virtually animated characters. GameYan Studio is one stop solution for 3D Character Development - 3D Modeling Company. Whether you have concept or not, our creative team can convert your visualization into Sketches and 3d Character Modeling Design. We can deliver the final model with specific technical requirement like Low Poly, High Polygons and many technical detail will be follow by our 3d artist in realistic game character.

As the People are the Fountain of Power and Authority, the original Seat of Majesty, the Authors of Laws, and the Creators of Officers to execute them; if they shall find the Power they have conferred abused by their Trustees, their Majesty violated by Tyranny or by Usurpation, their Authority prostituted to support Violence or screen Corruption, the Laws grown pernicious through Accidents unforeseen or unavoidable, or rendered ineffectual through the Infidelity and Corruption of the Executors of them; then it is their Right, and what is their Right is their Duty, to resume that delegated Power, and call their Trustees to an Account; to resist the Usurpation, and extirpate the Tyranny; to restore their sullied Majesty and prostituted Authority; to suspend, alter, or abrogate those Laws, and punish their unfaithful and corrupt Officers. Nor is it the Duty only of the united Body; but every Member of it ought, according to his respective Rank, Power, and Weight in the Community, to concur in advancing and supporting those glorious Designs.

Figure 1-9. Four principles. To serve memory and use, I’ve arranged these principles and practices into a mnemonic –STAR FINDER. In astronomy, a “star finder” or planisphere is a map of the night sky used for learning to identify stars and constellations. In this book, it’s a guide for finding goals, finding paths, and finding your way. First, we can get better at planning by making planning more social, tangible, agile, and reflective. At each step in the design of paths and goals, ask how these four principles might help. Social. Plan with people early and often. Engage family, friends, colleagues, customers, stakeholders, and mentors in the process. When we plan together, it’s easier to get started. Also, diversity grows empathy, sharing creates buy-in, and both expand options. Tangible. Get ideas out of your head. Sketches and prototypes let us see, hear, taste, smell, touch, share, and change what we think. When we render our mental models to distributed cognition and iterative design, we realise an intelligence greater than ourselves. Agile. Plan to improvise. Clarify the extent to which the goal, path, and process are fixed or flexible. Be aware of feedback and options. Know both the plan and change must happen. Embrace adventure. Reflective. Question paths, goals, and beliefs. Start and finish with a beginner’s mind. Try experiments to test hypotheses and metrics to spot errors. Use experience and metacognition to grow wisdom.

Framing. While common sense suggests we should start to plan by defining goals, it also helps to study the lens through which we see problems and solutions. By examining needs, wants, feelings, and beliefs, we’re better able to know and share our vision and values. Imagining. By expanding our awareness of paths and possibilities, we create choice and inform strategy. We search and research for information, then play with models to stray beyond knowledge. Sketches draw insights that help us add options and refine plans. Narrowing. After diverging, it’s critical to converge by prioritizing paths and options. This requires study of drivers, levers, estimates, and consequences, as the value of a strategy is tied to time and risk. Deciding. While decisions are often made in an instant, the process of committing to and communicating a course of action merits time and attention. Instructions are essential to the rendering of intent. Words matter. So do numbers. Define metrics for success carefully. Executing. The dichotomy between planning and doing is false. In all sorts of contexts, we plan as we travel, build, or get things done. Reflecting. While it helps to ask questions throughout the process, we should also make space to look back at the whole from the end. Long before the invention of time, people used the North Star to find their way in the dark. In the future, I hope you will use these principles and practices to make your way in the world. Figure 1-10. Principles and practices of planning.