Different Lenses Quotes

[T]he unsympathetic assessments we make of others are usually the result of nothing more sinister than our habit of looking at them in the wrong way, through lenses clouded by distraction, exhaustion and fear, which blind us to the fact that they are really, despite a thousand differences, just altered versions of ourselves: fellow fragile, uncertain, flawed beings likewise craving love and in urgent need of forgiveness.

The world is an arena where things represents things. It is a stage where the same thing is seen from different lenses as a different thing.

But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable. If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language. Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts. It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way. You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn. This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.

Teachers should be made aware of visual stress symptoms and the potential difference coloured lights, overlays and lenses could make to a learners perception.

completely different lenses. The racial divide is about the reality each side sees. Each side believes its view is the true reality, and we can’t understand why the other side doesn’t see the same thing and understand our reality.

Witnesses. Help us see how others see. Help us see ourselves from another vantage point, a larger landscape, a different view. Witnesses. Reality checks. Mirrors. Cameras. Other lenses. Different views. They can save us from our worst possible choices or from participating in someone else's.

One of the signature mistakes with empathy is that we believe we can take our lenses off and look through the lenses of someone else. We can’t. Our lenses are soldered to who we are. What we can do, however, is honor people’s perspectives as truth even when they’re different from ours. That’s a challenge if you were raised in majority culture—white, straight, male, middle-class, Christian—and you were likely taught that your perspective is the correct perspective and everyone else needs to adjust their lens. Or, more accurately, you weren’t taught anything about perspective taking, and the default—My truth is the truth—is reinforced by every system and situation you encounter.

When we enter the world as a child, they say we are innocent. When we leave the world as an older adult, we have each experienced a mixture of life's sorrow and joys. The years bring diverse events and mindsets, clouding up our vision, so that we no longer see things as they are, but we view now with lenses of many different shapes, sizes and influential colors depending on life’s encounters. It is then, with this cleansing of your inner lens, that you figure out once again, who you are, resulting in numerous side trips, to rediscover your true self, possibly experiencing a reawakening. This sensational feeling of inner peace is unimaginable.

With their passing, they took the memories of an age when America was in her infancy. They experienced the turmoil and the trials of her birth. Through different lenses, one as the master of her universe and one as a slave to her existence, yet, they shared in her dream.

Ever since I could remember, I'd been engaging in literary transference/transplantation/translation from one culture to another. Growing up on English literature, I taught myself to see my daily reality reflected in my reading material, while plumbing its universal truths in search of particulars... In reading English literature with a Pakistani lense, it seemed to me that all cultures were concerned with the same eternal questions and that people were more similar to one another than they were different. As Alys Binat says in Unmarriagble, "Reading widely can lead to an appreciation of the universalities across cultures." But as Valentine Darsee says, "We've been forced to seek ourselves in the literature of others for too long.

But I find that perhaps the greatest gift of reading is how it can transport us not to the future or to the past, but to the present. How it helps us be right here; to return to ourselves. It gives us different lenses to try viewing the world through, to see if any of them can help the universe make more sense. We may write to shout into the abyss of history, but we read to hear the voices of our fellows calling back to us through the dark.

Self-distancing is changing the perspective of life by observing inner feelings and experiences from distance with different angles, filters and lenses.

We must take into consideration the opinions of others; simply because we all look at the world through different lenses.

Greg was very interested in cameras. He had an inexpensive automatic camera, which took okay snapshots. But he was saving his allowance in hopes of buying a really good camera with a lot of lenses. He loved looking at camera magazines, studying the different models, picking out the ones he wanted to buy.

I start to realize the point isn’t really whether I like the books; it’s more about him giving me different lenses to see myself through. The poems are clues to help me understand why he’s so interested, what it is exactly that he sees in me.

Contrary to popular opinion, all religions are not alike. Their followers see the world in very distinct ways. Their understandings of the human condition proceed from different assumptions, leading them to propose different remedies. If I had been able to resist the wisdom they offered me - if I had been able to keep my Christian glasses on, so that I only saw what those prescription lenses allowed me to see - then I might have emerged unchanged. But that is now how it went for me.

While we view technological addiction with a different set of lenses; technological addiction has the same makeup of other known addictions.

A common belief about behaviorally challenging kids is that they have learned that their challenging behavior is an effective means of getting their way and coercing adults into giving in, and that their parents are passive, permissive, inconsistent disciplinarians. If this view hasn’t led to improvements in your child’s behavior, you may want to try on some different lenses: your child is lacking skills rather than motivation.

One image for understanding this situation is to see the Holy Spirit as the photographer, and the evangelists and other inspired writers of the Old and New Testaments as different kinds of cameras. Cameras are available in many styles, from little disposable cameras to expensive 35 mm cameras with many lenses. Each type of camera reflects the truth of the scene, but its limits and strengths give a different type of photograph of that scene. So also with the divinely inspired writers of Scripture: Each of them tells the truth about what God shows them, but we would do well to understand how they look at things, their perspectives, and their limits.

Our memories and experiences are the lenses through which we see the world, and even though Calvin and I were looking at the same exact lights, I knew we were seeing different things, and I wished I could see them through his eyes.

Probably the most wasteful and pointless aspect of The Room’s production was Tommy’s decision to simultaneously shoot his movie with both a 35mm film camera and a high-definition (HD) camera. In 2002, an HD and 35mm film camera cost around $250,000 combined; the lenses ran from $20,000 to $40,000 apiece. And, of course, you had to hire an entirely different crew to operate this stuff. Tommy had a mount constructed that was able to accommodate both the 35mm camera and HD camera at the same time, meaning Tommy needed two different crews and two different lighting systems on set at all times. The film veterans on set had no idea why Tommy was doing this. Tommy was doing this because he wanted to be the first filmmaker to ever do so. He never stopped to ask himself why no one else had tried.

This or this,” his eye doctor asked at checkups, a choice between two lenses of different power. Elwood never ceased to marvel how you could walk around and get used to seeing only a fraction of the world. Not knowing you only saw a sliver of the real thing. This or this?

[Marshall McLuhan] explained that 'the medium is the message.' What he meant, I think, was that when a new technology comes along, you think of it as a pipe - somebody pours information at one end, and you receive it unfiltered at the other. But it's not like that. Every time a new medium comes along - whether it's the invention of the printed book, or TV, or Twitter - and you start to use it, it's like you are putting on a new kind of goggles, each with their own special colours and lenses. Each set of goggles you put on makes you see things differently.

The order of the universe is not an assumption; it’s an observed fact. We detect the light from distant quasars only because the laws of electromagnetism are the same 10 billion light years away as here. The spectra of those quasars are recognizable only because the same chemical elements are present there as here, and because the same laws of quantum mechanics apply. The motion of galaxies around one another follows familiar Newtonian gravity. Gravitational lenses and binary pulsar spin-downs reveal general relativity in the depths of space. We could have lived in a universe with different laws in every province, but we do not. This fact cannot but elicit feelings of reverence and awe.

As human beings, we tend to look at things through the lenses of cultural standards. Much like the Israelites, we view success in the human terms of material wealth. By those standards, it’s okay to hoard goods because if we can hoard goods it means we have the means to do so and so we are successful. During this time of Lent, we are asked to look at ourselves through a different lens. We are to look at our selves through God’s lens. The idea of any spiritual practice is to help us see our own flaws through the light of God, not humanity. The idea of the spiritual practice is not so much to point the flaws as it is to see the goodness, the Godness, which is in each of us. All of us are flawed and God loves us anyway. It is only in acknowledging and accepting these flaws that we can begin to see the Godliness that is in each of us.

Every time we add a lens, it modifies how we experience the world. The difference between that contraption and a world view is that each time a new lens is added to our world view, the lenses remain in place. We must be vigilant about the lenses we admit, because they colour our view of the world, sometimes to our disadvantage. They can limit us, encourage us to seek to confirm evidence and make us hold on to mental models, business models and convictions even when they no longer serve us.

It shouldn't make any difference, but Friday and Saturday nights are the worst. They're the worst because the loneliness is magnified. The best you can do is hope that there is someone else like you out there, but if there is, you will never meet this person because she doesn't get out either. So, you're left with your thoughts, and your thoughts are living people in your brain who call and hang up and lounge around like armed security guards who happen to be beautiful. In between these thoughts, you think about what's going on out there. The girl of your dreams is being ravaged by a man who doesn't have a care in the world. Just to hear her voice would make you happy for a week, but he gets to spend the day and night with her and thinks nothing of it. (…), there are boyfriends and girlfriends, people in love, wide awake. They hang out. They hang out. They hang out. They do nothing worthwhile except each other. Friends, friends, friends. Fiends. Inside jokes. There are so many stupid conversations going on right now. You could be having a meaningful conversation with a taxi driver. You could talk to him about how Travis Bickle's taxi was a metaphor for loneliness. (…) You have a gray tint on your contact lenses. But you have your work. They don't have that. They are cowards. Everyone seems so afraid to be alone. It takes strength to lie there alone and take it. They just want to copulate, and that's their biggest concern of the night. You want a tragedy. An assassination. A massacre. An earthquake. A city falling to the ground. Something to get the people on TV to be on the same page as you.

Our eyes will make no progress against the mystery of recovery so long as we look at the addicted person through 12-step lenses. To say that such a person is powerless – and insane, morally deficient, filled with wrongs, a menace to others, disoriented, beyond human assistance, afflicted with a progressive fatal disease, and genetically different from normal humans – is to declare that the person’s inner nature is a vile and empty wasteland. It is to deny that there is a better self inside. If that is true, recovery is inexplicable, a random act of God, an inscrutable mystery.

Every time he moved, with every breath he took, it seemed the man was carried along by iridescent orange and black wings. She tried to convey how it was like travelling through the inside of a living body at times, the joints and folds of the earth, the liver-smooth flowstone, the helictites threading upward like synapses in search of a connection. She found it beautiful. Surely God would not have invented such a place as His spiritual gulag. It took Ali’s breath away. Sometimes, once men found out she was a nun, they would dare her in some way. What made Ike different was his abandon. He had a carelessness in his manner that was not reckless, but was full of risk. Winged. He was pursuing her, but not faster than she was pursuing him, and it made them like two ghosts circling. She ran her fingers along his back, and the bone and the muscle and hadal ink and scar tissue and the callouses from his pack straps astonished her. This was the body of a slave. Down from the Egypt, eye of the sun, in front of the Sinai, away from their skies like a sea inside out, their stars and planets spearing your soul, their cities like insects, all shell and mechanism, their blindness with eyes, their vertiginous plains and mind-crushing mountains. Down from the billions who had made the world in their own image. Their signature could be a thing of beauty. But it was a thing of death. Ali got one good look, then closed her eyes to the heat. In her mind, she imagined Ike sitting in the raft across from her wearing a vast grin while the pyre reflected off the lenses of his glacier glasses. That put a smile on her face. In death, he had become the light. There comes a time on every big mountain when you descend the snows and cross a border back to life. It is a first patch of green grass by the trail, or a waft of the forests far below, or the trickle of snowmelt braiding into a stream. Always before, whether he had been gone an hour or a week or much longer – and no matter how many mountains he had left behind – it was, for Ike, an instant that registered in his whole being. Ike was swept with a sense not of departure, but of advent. Not of survival. But of grace.

Christian art understands that images are important partly because they can generate compassion, the fragile quality which enables the boundaries of our egos to dissolve, helps us to recognize ourselves in the experiences of strangers and can make their pain matter to us as much as our own. Art has a role to play in this manoeuvre of the mind upon which, not coincidentally, civilization itself is founded, because the unsympathetic assessments we make of others are usually the result of nothing more sinister than our habit of looking at them in the wrong way, through lenses clouded by distraction, exhaustion and fear, which blind us to the fact that they are really, despite a thousand differences, just altered versions of ourselves: fellow fragile, uncertain, flawed beings likewise craving love and in urgent need of forgiveness. As if to reinforce the idea that to be human is, above all else, to partake in a common vulnerability to misfortune, disease and violence, Christian art returns us relentlessly to the flesh, whether in the form of the infant Jesus’s plump cheeks or of the taut, broken skin over his ribcage in his final hours. The message is clear: even if we do not bleed to death on a cross, simply by virtue of being human we will each of us suffer our share of agony and indignity, each face appalling, intractable realities which may nevertheless kindle in us feelings of mutuality. Christianity hints that if our bodies were immune to pain or decay, we would be monsters.

The cosmetics, the clothes, the hair, the shaved and lotioned skin, the anointing oils, the posture, the dazzling bright colors and pleasing patterns: these were all the lampshades we settle over our light hoping to cast a hue and color others will find acceptable. We hope we'll find it acceptable, too. But others don't even see that color, for they view us through their own lenses, filtering our already-filtered light in ways we can only guess. Nor do we see ourselves true, for we wear our own lenses, and sometimes the eye itself is dark, and how great the darkness! Kip had been so certain for so long that there was nothing he could do to make himself acceptable that he'd hidden his light altogether. The mirror had been an enemy who, overwhelming in his might, had simply needed to be avoided. But the mirror is ever a liar: when you yourself cut out half the light by which you see, how can the mirror be anything but? 'Let me see my skin, but with no pink tones.'...'Oh, how awfully pale and ugly I am.' We see others not as they are but as we see. We see ourselves not as we are but as we see-and as we are seen, for we each cast our light on each other, too. Surrounded by those who cast only brutal light, we see some truth, and sometimes necessary truth, but a lie if we think it all the truth. Kip had been shedding filters and lampshades for the last few years now. Being stripped of drafting was different, though. It not only changed his sight, but it changed the very light he cast into the world. It certainly was changing how people saw him.

What a difference there is between possessing a woman with one’s body alone, because she is no more than a piece of flesh, and possessing the girl one used to see on the beach with her friends on certain days, without even knowing why it was on those days and not on others, so that one trembled to think one might not see her again. Life had been so kind as to reveal the whole extent of this young girl’s life, had lent first one optical instrument, then another, to see her with, and then added to carnal desire the accompaniment, multiplying and diversifying it, of other desires, more spiritual and less easily satisfied, which lie inert and unaffected when it is merely a question of the conquest of a piece of flesh, but which, when they want to gain possession of a whole field of memories from which they have felt nostalgically exiled, surge up wildly around carnal desire, extend it, are unable to follow it to the fulfillment, the assimilation, impossible in the form in which it is sought, of an immaterial reality, but wait for this desire halfway and, the moment the memory of it returns, are there to escort it once more; to kiss, not the cheeks of the first woman who comes along—anonymous, devoid of mystery and glamour, however cool and fresh those cheeks may be—but those of which I had so long been dreaming, would be to know the taste, the savor, of a color I had so often contemplated. One sees a woman, a mere image in life’s scene, like Albertine silhouetted against the sea, and then it becomes possible to detach that image, bring it close, and gradually observe its volume, its colors, as though it had been placed behind the lenses of a stereoscope. For this reason, women who tend to be resistant and cannot be possessed at once, of whom indeed it is not immediately clear that they can ever be possessed at all, are the only interesting ones.

What a difference there is between possessing a woman with one’s body alone, because she is no more than a piece of flesh, and possessing the girl one used to see on the beach with her friends on certain days, without even knowing why it was on those days and not on others, so that one trembled to think one might not see her again. Life had been so kind as to reveal the whole extent of this young girl’s life, had lent first one optical instrument, then another, to see her with, and then added to carnal desire the accompaniment, multiplying and diversifying it, of other desires, more spiritual and less easily satisfied, which lie inert and unaffected when it is merely a question of the conquest of a piece of flesh, but which, when they want to gain possession of a whole field of memories from which they have felt nostalgically exiled, surge up wildly around carnal desire, extend it, are unable to follow it to the fulfillment, the assimilation, impossible in the form in which it is sought, of an immaterial reality, but wait for this desire halfway and, the moment the memory of it returns, are there to escort it once more; to kiss, not the cheeks of the first woman who comes along—anonymous, devoid of mystery and glamour, however cool and fresh those cheeks may be—but those of which I had so long been dreaming, would be to know the taste, the savor, of a color I had so often contemplated. One sees a woman, a mere image in life’s scene, like Albertine silhouetted against the sea, and then it becomes possible to detach that image, bring it close, and gradually observe its volume, its colors, as though it had been placed behind the lenses of a stereoscope. For this reason, women who tend to be resistant and cannot be possessed at once, of whom indeed it is not immediately clear that they can ever be possessed at all, are the only interesting ones. For to know them, to approach them, to conquer them is to make the human image vary in shape, in size, in relief, a lesson in relativity in the appreciation of a woman’s body, a joy to see anew when it has regained its slender outline against the backdrop of reality. Women who are first encountered in a brothel are of no interest, because they remain static.

The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface. Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia. . . . It made him feel naked and weak and brave. The lens can see half of the universe -- the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in. Down inside the computer are three lasers -- a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing. In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack. So Hiro's not actually here at all. He's in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.

Modern 3D cinema technology works by ensuring your left eye sees one image while your right sees another. But they could, presumably, issue one pair of specs comprising two left-eye lenses (for children to wear), and another with two right-eye lenses (for adults). This would make it possible for parents to take their offspring to the cinema and watch two entirely different films at the same time. So while the kiddywinks are being placated by an animated CGI doodle about rabbits entering the Winter Olympics or something, their parents will be bearing witness to some apocalyptically degrading pornography. The tricky thing would be making the soundtracks match. Those cartoon rabbits would have to spend a lot of time slapping their bellies and moaning.

If we know the mass of a black hole and how fast it spins, then from Einstein’s relativistic laws we can deduce all the hole’s other properties: its size, the strength of its gravitational pull, how much its event horizon is stretched outward near the equator by centrifugal forces, the details of the gravitational lensing of objects behind it. Everything. This is amazing. So different from everyday experience. It is as though knowing my weight and how fast I can run, you could deduce everything about me: the color of my eyes, the length of my nose, my IQ, . . .

At their invitation we crowded into the spacious control cabin of the great airship, where scientific gear occupied every available cubic—perhaps hypercubic—inch. Among the fantastical glass envelopes and knottings of gold wire as unreadable to us as the ebonite control panels scrupulously polished and reflecting the Arctic sky, we were able here and there to recognize more mundane items—here Manganin resistance-boxes and Tesla coils, there Leclanché cells and solenoidal magnets, with electrical cables sheathed in commercial-grade Gutta Percha running everywhere. Inside, the overhead was much higher than expected, and the bulkheads could scarcely be made out in the muted light through three hanging Fresnel lenses, the mantle behind each glowing a different primary color, from sensitive-flames which hissed at different frequencies. Strange sounds, complex harmonies and dissonances, resonant, sibilant, and percussive at once, being monitored from someplace far Exterior to this, issued from a large brass speaking-trumpet, with brass tubing and valvework elaborate as any to be found in an American marching band running back from it and into an extensive control panel on which various metering gauges were ranked, their pointers, with exquisite Breguet-style arrowheads, trembling in their rise and fall along the arcs of italic numerals. The glow of electrical coils seeped beyond the glass cylinders which enclosed them, and anyone’s hands that came near seemed dipped in blue chalk-dust. A Poulsen’s Telegraphone, recording the data being received, moved constantly to and fro along a length of shining steel wire which periodically was removed and replaced. “Ætheric impulses,” Dr. Counterfly was explaining. “For vortex stabilization we need a membrane sensitive enough to respond to the slightest eddies. We use a human caul—a ‘veil,’ as some say.” “Isn’t a child born with a veil believed to have powers of second sight?” Dr. Vormance inquired. “Correct. And a ship with a veil aboard it will never sink—or, in our case, crash.” “Things have been done to obtain a veil,” darkly added a junior officer, Mr. Suckling, “that may not even be talked about.

The Tragedy of the Commons is averted by a suite of automatic setttings - moral emotions that motivate and stabilize cooperation within limited groups. But the Tragedy of Commonsense Morality arises because of automatic settings, because different tribes have different automatic settings, causing them to see the world through different moral lenses.

Every culture and era flatters itself that we are finally seeing what previous eras and cultures could not see because of their own blinders and ideological lenses. To admit that we are in some sense no different from tenth-century peasants is unacceptable to most of us. It may be offensive. To accept it may take real courage.

else.’7 What we believe about the world and how we interact with it will very much depend on the worldview that we adopt. When I put my contact lenses in my eyes every morning, suddenly the blurry outlines of my house become clear and distinct. If I then put on a pair of sunglasses as I step outside into bright sunlight, my view of the world will change again. Inhabiting a Christian, atheist or other religious worldview is somewhat like putting on a pair of glasses that changes our focus. The worldview different people adopt might just as easily be an unexamined Western consumerism or strongly held political ideology. Whatever our worldview may be, none of us have unimpeded 20/20 vision when it comes to the true picture of reality. Our assumptions, beliefs and values act as a filter through which we interpret and engage the world around us. In the Christian worldview, intellectual arguments and evidence may help us to establish the fact that God exists and has been revealed in Jesus Christ. But the real task of faith is coming to see the whole world through Christ-focused spectacles.

Superforecasters’ online interactions are exercises in extremely polite antagonism, disagreeing without being disagreeable. Even on a rare occasion when someone does say, “‘You’re full of beans, that doesn’t make sense to me, explain this,’” Cousins told me, “they don’t mind that.” Agreement is not what they are after; they are after aggregating perspectives, lots of them. In an impressively unsightly image, Tetlock described the very best forecasters as foxes with dragonfly eyes. Dragonfly eyes are composed of tens of thousands of lenses, each with a different perspective, which are then synthesized in the dragonfly’s brain.

It wasn’t what superforecasters knew. It was how they thought. Superforecasters are far more open-minded, curious, careful, and self-critical than the average bear. They believe that reality is complex, that nothing is certain or inevitable, and that ideas should always be subjected to evidence, testing, and updating. They have what Tetlock calls “Dragonfly eyes”—the ability to see a problem with the thirty thousand lenses of a dragonfly’s eye. While high-functioning groups harness the wisdom of different perspectives that each member brings, superforecasters can harness the wisdom of different perspectives from within, all by themselves.

Any account of what religion does must note that it also provides personal meaning and wields social power. Religions offer an account of the way the world is and the way it should be. They provide meaning by generating, in Geertz's language, "conceptions of a general order of existence." These conceptions are transmitted through story, reinforced in ritual, anchored in artifacts, and lived out in moral action. When the worldview is internalized by adherents, the "conception" provides a lens for seeing the world. These lenses provide glimpses of different worlds, sometimes very different worlds. That might be obvious if we think about the variety of views of, for example, the afterlife, but these worldviews also shape perception in less obvious and more mundane ways, including how a devotee might see a feature of the natural world such as a mountain or an ocean.

Take for instance a phenomenon called frustrated spontaneous emission. It sounds like an embarrassing sexual complaint that psychotherapy might help with. In fact, it involves the decay of radioactive particles, which ordinarily takes place at a predictably random rate. The exception, however, is when radioactive material is placed in an environment that cannot absorb the photons that are emitted by decay. In that case, decay ceases—the atoms become “frustrated.” How do these atoms “know” to stop decaying until conditions are suitable? According to Wharton, the unpredictable decay of radioactive particles may be determined in part by whatever receives their emitted photons in the future.20 Decay may not really be random at all, in other words. Another quantum mystery that arguably becomes less mysterious in a retrocausal world is the quantum Zeno effect. Usually, the results of measurements are unpredictable—again according to the famous uncertainty believed to govern the quantum kingdom—but there is a loophole. Persistent, rapid probing of reality by repeating the same measurement over and over produces repetition of the same “answer” from the physical world, almost as if it is “stopping time” in some sense (hence the name of the effect, which refers to Zeno’s paradoxes like an arrow that must first get halfway to its target, and then halfway from there, and so on, and thus is never able to reach the target at all).21 If the measurement itself is somehow influencing a particle retrocausally, then repeating the same measurement in the same conditions may effectively be influencing the measured particles the same way in their past, thereby producing the consistent behavior. Retrocausation may also be at the basis of a long-known but, again, hitherto unsatisfyingly explained quirk of light’s behavior: Fermat’s principle of least time. Light always takes the fastest possible path to its destination, which means taking the shortest available path through different media like water or glass. It is the rule that accounts for the refraction of light through lenses, and the reason why an object underwater appears displaced from its true location.22 It is yet another example of a creature in the quantum bestiary that makes little sense unless photons somehow “know” where they are going in order to take the most efficient possible route to get there. If the photon’s angle of deflection when entering a refractive medium is somehow determined by its destination, Fermat’s principle would make much more sense. (We will return to Fermat’s principle later in this book; it plays an important role in Ted Chiang’s short story, “Story of Your Life,” the basis for the wonderful precognition movie Arrival.) And retrocausation could also offer new ways of looking at the double-slit experiment and its myriad variants.

For their sake, I pretend to love all of it—the fuss and the huge production and everything—but it’s slowly eroding what I love about photography. For months now, I’ve toyed with the idea of leaving the wedding business, of going back to what I love about photography—to be able to take my time, play around with different lenses and lighting and angles instead of rushing to take photo after photo of the same stuff. Not that I can ever reveal any of this to my family.

Booze worked that way sometimes, clarifying—briefly—what his mind couldn’t. It was like sitting in the optometrist’s office, booze flashing its different lenses in front of your face and sometimes, for a second, it’d be the right prescription, the one that allowed you to catch a glimpse of the world as it was, beyond your grief, beyond your doom. That was the clarity alcohol, and nothing else, gave. Seeing life as everyone else did, as a place that could accommodate you. But of course a second later it’d zoom past clarity through a flurry of increasingly opaque lenses until all you were able to see would be the dark of your own skull.

The Tragedy of the Commons is averted by a suite of automatic settings--moral emotions that motivate and stabilize cooperation within limited groups. But the Tragedy of Commonsense Morality arises because of automatic settings, because different tribes have different automatic settings, causing them to see the world through different moral lenses. The Tragedy of the Commons is a tragedy of selfishness, but the Tragedy of Commonsense Morality is a tragedy of moral inflexibility. There is strife on the new pastures not because herders are hopelessly selfish, immoral, or amoral, but because they cannot step outside their respective moral perspectives.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

One day a fellow countryman from Valencia, Jorge Esteban, arrived to stay with the sisters. He had a travel agency back home and was driving around West Africa collecting materials for a tourist brochure. Jorge was a cheerful, merry, energetic man, naturally convivial. He felt at home everywhere, at ease with everyone. He spent only one day with us. He paid no heed to the scorching sun; the heat only seemed to energize him. He unpacked a bag full of cameras, lenses, filters, rolls of film, and began walking around the street, chatting with people, joking, making various sorts of promises. That done, he placed his Canon on a tripod, took out a loud referee’s whistle, and blew it. I was looking out the window and couldn’t believe my eyes. Instantly, the street filled with people. In a matter of seconds they formed a large circle and began to dance. I don’t know where the children came from. They had empty cans, which they beat rhythmically. Everyone was keeping the rhythm, clapping their hands and stomping their feet. People woke up, the blood flowed again through their veins, they became animated. Their pleasure in this dance, their happiness in finding themselves alive again, was palpable. Something started to happen in this street, around them, within them. The walls of the houses moved, the shadows stirred. More and more people joined the ring of dancers, which grew, swelled, and accelerated. The crowd of onlookers was also dancing, the whole street, everyone. Colorful bou-bous, white djellabahs, blue turbans, all were swaying. There is no asphalt or pavement here, so billows of dust soon began to rise above the dancers, dark, thick, hot, choking, and these clouds, just like ones from a raging fire, drew more people still from the surrounding areas. Before long the entire neighborhood was shimmying, shaking, partying—right in the middle of the worst, most debilitating and unbearable noontime heat. Partying? No, this was something different, something bigger, something loftier and more important. You had only to look at the faces of the dancers. They were attentive, listening intently to the loud rhythm the children beat on their tin cans, concentrating, so that the sliding of their feet, the swaying of their hips, the turns of their arms, and the bobbing of their heads corresponded to it. And they looked determined, decisive, alive to the significance of this moment in which they were able to express themselves, participate, prove their presence. Idle and superfluous all day long, all at once they had become visible, needed, and important. They existed. They created.

Several days later Murray asked me about a tourist attraction known as the most photographed barn in America. We drove twenty-two miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the signs started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were forty cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides--pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced at once by others. "We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. This literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said. 13 He did not speak for a while. We listened to the incessant clicking of shutter release buttons, the rustling crank of levers that advanced the film. "What was the barn like before it was photographed?" he said. "What did it look like, how was it different from other barns, how was it similar to other barns? We can't answer these questions because we've read the. signs, seen the people snapping the pictures. We can't get outside the aura. We're part of the aura. We're here, we're now." He seemed immensely pleased by this.

You must know what your audience will and will not like, and you must know it even better than they do. You would think that finding out what people want would be easy, but it isn’t, because in many cases, they don’t really know. They might think they know, but often there is a big difference between what they think they want and what it is they will actually enjoy.

the logic of the camera; what it accepts is different from what comes out, and that is why lenses are round but pictures are rectangular.

["Manning Up"'s] essays definitely nuance the idea of transitioning into a “shared manhood” (much like feminists of color have complicated the idea of “shared womanhood”). Trans men don’t all transition to just become “men,” which was one of the projects’ cornerstone concepts. They become black men, white men, queer men, straight men, working class men, affluent men, fatherly men, single men, spiritual men, etc. etc. All of these mean different things when filtered through social and intimate, familial lenses. One major boon of the growth in transgender literature ... is that we get to tease out these complexities in lives that will be popularly portrayed as monolithic unless we provide counter-scripts." - from a National Book Critics Circle interview with writer Rigoberto Gonzalez

Due to Tommy’s lateness, he almost always missed out on filming in mellow morning light. From noon to 5:00 p.m., when Tommy liked to film, you get a wide range of light conditions, most of which are hostile to camera lenses. This should explain why, in the finished film, the Rooftop scenes all look like they’re taking place in different climates and countries, depending on the angle and the shot.

In the twenty-first century the difference between whites and minorities was that minorities are constantly aware of their unique ethnic lenses; to his white brothers and sisters, though, most of them did not consciously think of themselves as white. What Peter once thought was racism, he later realized was a naiveté that his friends needed to have exposed.

The lens can act in many different ways and lenses can be stacked on top of each other in order to produce varying types of views. Take the fish-eye lens as an example. The glass on the lens is shaped in a certain way in order for the light to enter and produce a certain kind of distorted view. We all are born with a lens, but usually we get to kind of start at ground zero in the process of beginning to understand, use, and interpret what this physical reality is. As our eyes open and we start to interface with this new reality, we form connections and synapses within our brain for interpretation and use of this new tool that we have. And much of this develops through the guidance or non-guidance of those caring for us. So much starts to become ingrained, and even in some cases we can borrow other people’s lenses in order to feel safe in the world. Sometimes the layers and layers can become quite complex. How many of you feel that anything you come in contact with gets to be translated through a menagerie of different thoughts, ideas, and histories before it fully gets seen?

Translation is a powerful art requiring great intellect. It is not a process that can be conducted without bias. The page is regarded through multiple lenses, including those of the author, audience, and translator. Each brings something new to the text. The same sentences, pressed from one language and culture into the language and realm of another, can lead to war or to peace, with the difference sometimes dependent on the slimmest thread of reason.

Though we recognize distinct cultural differences across time and place, the commonalities warrant our attention. To think about how these ancient commonalities need to be differentiated from our modern ways of thinking, we can use the metaphor of a cultural river, where the currents represent ideas and conventional ways of thinking. Among the currents in our modern cultural context we would find fundamentals such as rights, privacy, freedom, capitalism, consumerism, democracy, individualism, globalism, social media, market economy, scientific naturalism, an expanding universe, empiricism, and natural laws, just to name a few. As familiar as these are to us, such ways of thinking were unknown in the ancient world. Conversely, the ancient cultural river had among their shared ideas currents that are totally foreign to us. Included in the list we would find fundamental concepts such as community identity, the comprehensive and ubiquitous control of the gods, the role of kingship, divination, the centrality of the temple, the mediatory role of images, and the reality of the spirit world and magic. It is not easy for us to grasp their shape or rationale, and we often find their expression in texts impenetrable. In today’s world people may find that they dislike some of the currents in our cultural river and wish to resist them. Such resistance is not easy, but even when we might occasionally succeed, we are still in the cultural river—even though we may be swimming upstream rather than floating comfortably on the currents. This was also true in the ancient world. When we read the Old Testament, we may find reason to believe that the Israelites were supposed to resist some of the currents in their cultural river. Be that as it may (and the nuances are not always easy to work with), they remain in that ancient cultural river. We dare not allow ourselves to think that just because the Israelites believed themselves to be distinctive among their neighbors that they thought in the terms of our cultural river (including the dimensions of our theology). We need to read the Old Testament in the context of its own cultural river. We cannot afford to read instinctively because that only results in reading the text through our own cultural lenses. No one reads the Bible free of cultural bias, but we seek to replace our cultural lenses with theirs. Sometimes the best we can do is recognize that we have cultural lenses and try to take them off even if we cannot reconstruct ancient lenses. When we consider similarities and differences between the ancient cultural river and our own, we must be alert to the dangers of maintaining an elevated view of our own superiority or sophistication as a contrast to the naïveté or primitiveness of others. Identification of differences should not imply ancient inferiority. Our rationality may not be their rationality, but that does not mean that they were irrational. Their ways of thinking should not be thought of as primitive or prehistorical. We seek to understand their texts and culture, not to make value judgments on them.

Empathy Skill #1: To see the world as others see it, or perspective taking We see the world through a set of unique lenses that bring together who we are, where we come from, and our vast experiences. Our lenses certainly include factors like age, race, ethnicity, ability, and spiritual beliefs, but we also have other lenses that shape how we see the world, including our knowledge, insights, and experience. Our take on the world is completely unique because our point of view is a product of our history and experiences. This is why ten people can witness the same incident and have ten different perspectives on what happened, how it happened, and why it happened.

WE ALL VIEW THE WORLD around us through a unique set of lenses. Much of how we see clinical supervision comes from our own experiences, which have informed our current ideas, beliefs, and practices. Engagement in supervisory conversation invites us into a process about how we can learn to see things differently with “super-vision” – new eyes, new perceptions, new visions. Supervision then becomes a new way of seeing, a super way of visioning (Carroll, 2011). What would happen if we looked at ourselves, our supervisees, our clients, the multiple systems, and all the intertwining relationships in different ways? By sharing our perspectives, I believe that together we can co-create multiple ways of seeing and thinking about the practice of systemic clinical supervision.

Inspiration is gauging things through different lenses, it's me, you, and they, everyone puts their own lenses.

as we approach death, we have the confidence that our consciousness is not filled with the karmic seeds of our fears or anxieties. We have created beneficial habits. We are open-minded. We know the world is ever changing—impermanent and illusory—not something to solidify. We are open to seeing ourselves through many different lenses. And as we learn to live with that open-mindedness, we are less likely to feel afraid or anxious.

Goals and vision are different. They’re like the two magnifications in progressive eyeglass lenses. When you look down at what’s right in front of you—like you would with the “reading” lenses in progressives—you’re looking at goals. When you look out at the horizon—the “distance” lenses—you’re in vision. But when you try to look at both at once? That’s a recipe for blurriness, confusion, and a headache.

Under Young’s lenses, they become darker yet and serve as the brooding centers of these overwhelmingly beautiful films. Black skin, full of unexpected gradations of blue, purple, or ocher, sets a tone for the narrative: Adenike lost in thought on her wedding day, King on an evening telephone call to his wife or in discussion in a jail cell with other civil rights leaders. In a larger culture that tends to value black people for their abilities to jump, dance, or otherwise entertain, these moments of inwardness open up a different space of encounter.

As I contemplated this vista, I wondered where my body was. The conduits which displaced my vision and action around the room were in principle no different from those which connected my original eyes and hands to my brain. For the duration of this experiment, were these manipulators not essentially my hands? Were the magnifying lenses at the end of my periscope not essentially my eyes? I was an everted person, with my tiny, fragmented body situated at the center of my own distended brain.

All their lives, most of these students have looked out at the world through Christian glasses. They have learned to describe what they see in Christian terms and not to ask questions about what they ca not see clearly. Now, having tried on some glasses from other traditions - one or two of which have brought troublesome areas of their lives into sharper focus for the first time - they are suddenly aware of how many ways there are to view reality. The lens is not the landscape. It is a way of transplanting the landscape so that people can walk upright on it, making some sense of what happens to them. To complicate matters, some students realize for the first time that Catholic lenses are different from Protestant ones, just as Asian lenses are different from Native American ones. Remembering that Torah goes with Judaism is a very minor detail to most of them at this point. They are still trying to get their heads around the fact that God may speak more languages than they ever thought, to far more people than they thought, using different methods than they thought. Either that, or the whole thing is fiction.

Mercy is doing her part to make a difference," Bates continued. "Now, imagine if every did that - took a small part in reaching out. Then imagine if all those small parts were added together. We'd be able to accomplish a great deal of good." Joseph nodded. He knew the changes had to begin somewhere. Starting small was better than sitting around and simply complaining about the problems, as many of his peers were wont to do. He'd heard of organizations forming charities, of other concerned members of the upper class who genuinely desired to provide relief to the poor as his father had wanted to do. But was it too little, too late? "The question I have for you, son, is this," Bates replaced his spectacles and peered through the lenses in his direct manner. "What's the small part God's calling you to? Are you seeking His leading or are you running away from it?

Only when we choose to pause and to see life through a different set of lenses will we find ourselves grounded in a power that is greater than our own and rediscover what is deeply real and truly important.

Learning to read the Bible through the eyes of Christians from a different time and place will readily reveal the distorting effect of our own cultural, historical, linguistic, philosophical and, yes, even theological lenses. This is not to assert that the fathers did not have their own warped perspectives and blind spots. Itis to argue, however, that we will not arrive at perspective and clarity regarding our own strengths and weaknesses if we refuse to look beyond our own theological and hermeneutical noses.

If an observer can only make sense of the “reality” through different idiosyncratic lenses, this forces us to rethink our notion of objectivity.

At the messy, lovable, chaotic potluck that is life in the church, transgender Christians have a lot to bring to the table. We can help the church see Scripture through different lenses; we can help other Christians understand their own gender identities; we can help to break down barriers created by sexism and misogyny; we can remind people of the diversity of God’s creation, and of God’s unlimited nature; we can stand in the gaps and bridge middle spaces where others may be uncomfortable or uninformed; we can help make connections between the sacred and the secular, making the church more relevant for the world, and we can provoke people into asking questions about themselves and about God that they may never have thought to ask before.

With his five senses he engages this real world. All things necessary to his physical existence he apprehends by the faculties with which he has been equipped by the God who created him and placed him in such a world as this. Now, by our definition also God is real. He is real in the absolute and final sense that nothing else is. All other reality is contingent upon His. The great Reality is God who is the Author of that lower and dependent reality which makes up the sum of created things, including ourselves. God has objective existence independent of and apart from any notions which we may have concerning Him. The worshipping heart does not create its Object. It finds Him here when it wakes from its moral slumber in the morning of its regeneration. Another word that must be cleared up is the word reckon. This does not mean to visualize or imagine. Imagination is not faith. The two are not only different from, but stand in sharp opposition to, each other. Imagination projects unreal images out of the mind and seeks to attach reality to them. Faith creates nothing; it simply reckons upon that which is already there. God and the spiritual world are real. We can reckon upon them with as much assurance as we reckon upon the familiar world around us. Spiritual things are there (or rather we should say here) inviting our attention and challenging our trust. Our trouble is that we have established bad thought habits. We habitually think of the visible world as real and doubt the reality of any other. We do not deny the existence of the spiritual world but we doubt that it is real in the accepted meaning of the word. The world of sense intrudes upon our attention day and night for the whole of our lifetime. It is clamorous, insistent and self-demonstrating. It does not appeal to our faith; it is here, assaulting our five senses, demanding to be accepted as real and final. But sin has so clouded the lenses of our hearts that we cannot see that other reality, the City of God, shining around us. The world of sense triumphs. The visible becomes the enemy of the invisible; the temporal, of the eternal. That is the curse inherited by every member of Adam's tragic race. At the root of the Christian life lies belief in the invisible. The object of the Christian's faith is unseen reality. Our uncorrected thinking, influenced by the blindness of our natural hearts and the intrusive ubiquity of visible things, tends to draw a contrast between the