Distorted Mirror Quotes

I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me.

Other people teach us who we are. Their attitudes to us are the mirror in which we learn to see ourselves, but the mirror is distorted. We are, perhaps, rather dimly aware of the immense power of our social enviornment.

We too, must shatter the mirrors. We must look in to ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us.

Poetry is a mirror which makes beautiful that which is distorted

Inside each of us resides the truth, I began, the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the real thing, when in fact we are viewing a facsimile, a distortion.

You imagine the carefully pruned, shaped thing that is presented to you is truth. That is just what it isn't. The truth is improbable, the truth is fantastic; it's in what you think is a distorting mirror that you see the truth.

The society to which we belong seems to be dying or is already dead. I don't mean to sound dramatic, but clearly the dark side is rising. Things could not have been more odd and frightening in the Middle Ages. But the tradition of artists will continue no matter what form the society takes. And this is another reason to write: people need us, to mirror for them and for each other without distortion-not to look around and say, 'Look at yourselves, you idiots!,' but to say, 'This is who we are.

My reflection followed me mercilessly in mirrors, car doors, shop windows. I lived in a world of circus mirrors, the grotesque distortion of my body looking back at me everywhere.

There's this truth about mirrors. It's inescapable. But they can lie, too. They can distort the truth, even hide the truth. They create illusion.

I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me.

Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me.

Man made God in his own image, so it's natural he should love him. You know those distorting mirrors at fairs. Man's made a beautifying mirror too in which he sees himself lovely and powerful and just and wise. It's his idea of himself. He recognizes himself easier than in the distorting mirror which only makes him laugh, but how he loves himself in the other.

Having a matrix of preferences presented as your essence, as the whole you? Maybe that was it. It was some kind of mirror, but it was incomplete, distorted.

Poetry can unleash a terrible fear. I suppose it is the fear of possibilities, too many possibilities, each with its own endless set of variations. It's like looking too closely and too long into a mirror; soon your features distort, then erupt. You look too closely into your poems, or listen too closely to them as they arrive in whispers, and the features inside you - call it heart, call it mind, call it soul - accelerate out of control. They distort and they erupt, and it is one strange pain. You realize, then, that you can't attempt breaking down too many barriers in too short a time, because there are as many horrors waiting to get in at you as there are parts of yourself pushing to break out, and with the same, or more, fevered determination.

Sometimes our mind is like the equivalent of a funhouse mirror, distorting and contorting and blurring our lives and our potential.

The Idols of Tribe have their foundation in human nature itself, and in the tribe or race of men. For it is a false assertion that the sense of man is the measure of things. On the contrary, all perceptions as well of the sense as of the mind are according to the measure of the individual and not according to the measure of the universe. And the human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it.

But fairytales were, at best, dirty mirrors whose warped and pitted surfaces reflected a highly distorted view of the truth, quite different from reality.

In the distorting mirror of your mind, an angel can seem to have a devil's face.

Sexual distortions carry strong undertones of prejudice—sexism, racism and homophobia—that rob individuals of their individuality. Common stereotypes include “men are all dogs,” “women are less interested in sex,” “gays are promiscuous,” certain races are frigid or hung, and certain sex acts are indulgent, effeminate, or immoral. Other distortions clearly function as tools of organizations or of religious or political figures to shape public opinion through dogma and to control their followers’ lives.

‎"Blind nationalism, like a distorting mirror at a fairground, bends the critical capacity of the beholder; and those who distinguish their personal identity by accident of geography will always, in a sense, remain vulnerable".

The human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature.

Inside each of us resides the truth,” I began, “the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the real thing, when in fact we are viewing a facsimile, a distortion. As I listen to this trial, I am reminded of the climactic scene of a James Bond film, The Man with the Golden Gun. James Bond escaped his hall of mirrors by breaking the glass, shattering the illusions, until only the true villain stood before him. We, too, must shatter the mirrors. We must look into ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us. Only then will justice be served.

You enter a novel as you enter a house of strangers not knowing who you may meet or what might happen. Like a mirror maze, you must follow the reflections and distortions to the secrets veiled by the words.

...that icy glass reduces your beauty - dims your fire - let me be your mirror...

Something inside her brain cracked like a funhouse mirror that existed only to reflect a distorted world,

We know ourselves by how we see ourselves mirrored in others’ eyes. So when a man lies habitually, he distorts the mirror he holds up to the world. In fooling others, he loses himself. Those who praise him? Those who love him? He knows they must simply be fools. He hates himself because there’s a gap between what he is and what he believes himself to be. If the gap grows too large, it becomes a tear, a schism. A man torn asunder lives in madness. So, my friend, do you know who you are?

He was dignity distorted, bravery become knavery, sanctimoniousness masking sin. He was a mirror, jeering at the subject it reflected. Yet so muted were the jeers, so delicate the inaccuracies of delineation, that they evaded detection. True and false were blended together. The false was merely an extended shadow of the true.

So often, we don’t see the beauty in ourselves. If we keep observing our reflection in the distorted mirrors of bad relationships, we start believing we are ugly and unlovable. And the flaws aren’t in how we look, but in whose eyes we’re seeing ourselves through.

I’m in a hall of mirrors, full of distorted reflections and false endings. I’ve lost track of which way I came in and I have no idea how to get out.

Inside each of us resides the truth, the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the read thing, when in fact we are viewing a facsimile, a distortion...We too, must shatter the mirrors. We must look into ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us. Only then will justice be served.

All these mirrors carnival distortions of selves we never were.

That is just a sparkly hall of mirrors, and staring too long through the lens of how other people perceive you is bound to start distorting how you see yourself.

When you look in the mirror, your difficult sibling always looks back, though the image is distorted. In the shadows lurk parts of yourself and your past that you don't want to notice. Behind the reflection, silently influencing the interaction, stand your parents, your grandparents, and all their siblings.

A man's memory is bound to be a distortion of his past in accordance with his present interests, and the most faithful autobiography is likely to mirror less what a man was than what he has become.

For it is a false assertion that the sense of man is the measure of things.  On the contrary, all perceptions as well of the sense as of the mind are according to the measure of the individual and not according to the measure of the universe.  And the human understanding is like a false mirror; which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it.

Here’s the weird part: even when I was in the darkest and most despairing times of my depression, I still found depression funny. It was funny to me that the illness distorted my view of the real world like a funhouse mirror. It was funny that I could be immobilized by something that had no basis in a broken bone or bacteria or any tangible factor. And when other people, especially comedians and writers, shared their experiences with depression and those experiences were resonant with my own, I could laugh because we were all getting fooled together. I laughed in the same way an audience laughs at a particularly good trick pulled off by a magician. “We’ve all been deceived, but we don’t know how!

I PAINT MY FACE. By Omrane Khuder. Mirror, distorted; I sit, paint my Face, Toxic white Make-up buries my Scars, My Eyes tell lies; Dumbfounded Confidence hides the Disgrace. Place the tragic Vehicle called My Life in to Drive, Sad pathetic Clown; Late for the suppression show, Despair another time; Let the chuckles and defeat derive. I paint my Heart; I hide my True. I paint my Soul; I keep it from You. I paint, I cannot accept; To ignore you the way you ignore Me? I paint my scarred and pitiful Face; No Will left to restore Me. I paint my Face; it’s all I know to do. My painted Face shatters the Mirror, yet still all I see is You.

Mindfulness brings us back to the present moment and provides the type of balanced awareness that forms the foundation of self-compassion. Like a clear, still pool without ripples, mindfulness perfectly mirrors what’s occurring without distortion. Rather than becoming lost in our own personal soap opera, mindfulness allows us to view our situation with greater perspective and helps to ensure that we don’t suffer unnecessarily.

Fantasy—and all fiction is fantasy of one kind or another—is a mirror. A distorting mirror, to be sure, and a concealing mirror, set at forty-five degrees to reality, but it’s a mirror nonetheless, which we can use to tell ourselves things we might not otherwise see. (Fairy tales, as G. K Chesterton once said, are more than true. Not because they tell us that dragons exist, but because they tell us that dragons can be defeated.)

None of us are the same, Anne. Some days I hardly recognise myself in the mirror. It's not my face that has changed; it's the way I see the world. I've seen things that have permanently altered me. I've done things that have distorted my vision. I've crossed lines and tried to find them again, only to discover that all my lines have disappeared. And without lines, everything blurs together [...] But when I look at you, I still see Anne [...] Your lines are sharp and clean. The faces around you are faded and dull - they've been faded and dull for years now - but you ... you are perfectly clear.

Oftentimes, I had gone to the river to look at my reflection in the sunlight. Each time a face looked at me with subdued eyes. What I saw was not the same as the image I pretended to see when I looked in the mirror. Stubbornly, I found solace in blaming the ripples for the wrinkles and abhorrent distortions on my face. A painful allegory of sight, and a revelation of reality.

Behold the word: Destroy, destroy, destroy. Destroy within yourself; destroy what surrounds you. Make space for your soul and for all other souls. Destroy all good and all evil. Their ruins are the same. Destroy the old dwellings of man and old the dwellings of the soul; what is dead is a distorting mirror. Destroy, for all creation comes from destruction. And for higher benevolence you must annihilate lower benevolence. And thus new good appears saturated with evil.

God reproduces and lives out His image in millions of ordinary people like us. It is a supreme mystery. We are called to bear that image as a Body because any one of us taken individually would present an incomplete image, one partly false and always distorted, like a single glass chip hacked from a mirror. But collectively, in all our diversity, we can come together as a community of believers to restore the image of God in the world. (In His Image, Philip Yancey and Dr. Paul Brand, p. 40)

But the thing about depression is that it doesn’t create bad thoughts, it amplifies and distorts them. Depression doesn’t make me look in the mirror and see a girl who’s overweight and has too-wide hips and pudgy cheeks. Those thoughts are already there. Depression just cranks up the volume on them so loud that I can’t hear anything else.

Being a failed teenager is not a crime, but a predicament and a secret crucible. It is a fun-house mirror where distortion and mystification led to the bitter reflection that sometimes ripens into self knowledge. Time is the only ally of the humiliated teenager, who eventually discovers the golden boy of the senior class is a bloated, bald drunk at the twentieth reunion, and that the homecoming queen married a wife-beater and philanderer and died in a drug rehabilitation center before she was thirty. The prince of acne rallied in college and is now head of neurology, and the homeliest girl blossoms in her twenties, marries the chief financial officer of a national bank, and attends her reunion as president of the Junior League. But since a teenager is denied a crystal ball that will predict the future, there is a forced march quality to this unspeakable rite of passage. It is an unforgivable crime for teenagers not to be able to absolve themselves for being ridiculous creatures at the most hazardous time of their lives.

Telling the real, Jacques emphasized, is constitutionally difficult; you have to deal with the fact that the teller is always a distorting mirror.

Because the past is a dark, distorted mirror. You look at it, you only see your own pain. There is no room in there for someone else's pain.

I am a man of substance, of flesh and bone, fiber and liquids- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in a circus sideshow, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination- indeed, everything and anything except me.

Some curses fade and leave nothing but the faintest mark, a tea stain on watered silk. There are those that are so malevolent that, upon defeat, explode in a fiery burst of sulfurous flames, burning everything they touch as they die. Others dissolve like morning mist in the brightness of the midday sun. Some cannot be defeated at all, but feed upon the energy spent trying to vanquish it, growing more and more potent with each failed attempt. And then there are those ancient curses with deceptively simple antidotes that shatter like jagged shards of a vast mirror. These curses may be broken, but never completely destroyed, sharp slivers of light distorted.

A person or group of people can suffer real damage, real distortion, if the people or society around them mirror back to them a confining or demeaning or contemptible picture of themselves.”24

Gathering a huge number of words together with as much accuracy as possible was like finding a mirror without distortion. The less distortion in the word-mirror, the greater chance that when you opened up to someone and revealed your inner self, your feelings and thoughts would be reflected there with clarity and depth. You could look together in the mirror and laugh, weep, get angry.

I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass.When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me.

The comic effect of the satire is derived from the simultaneous presence, in the reader's mind, of the social reality with which he is familiar, and of its reflections in the distorting mirror of the satirist. It focuses attention on abuses and deformities in society of which, blunted by habit, we were no longer aware; it makes us suddenly discover the absurdity of the familiar and the familiarity of the absurd.

There remains a mirror, on the hall wall. If I turn my head so that the white wings framing my face direct my vision towards it, I can see it as I go down the stairs, round, convex, a pier-glass, like the eye of a fish, and myself in it like a distorted shadow, a parody of something, some fairytale figure in a red cloak, descending towards a moment of carelessness that is the same as danger. A Sister, dipped in blood.

I cannot write myself. What, after all, is this "I" who would write himself? Even as he would enter into the writing, the writing would take the wind out of his sails, would render him null and void -- futile; a gradual dilapidation would occur, in which the other's image, too, would be gradually involved (to write on something is to outmode it), a disgust whose conclusion could only be: what's the use? what obstructs amorous writing is the illusion of expressivity: as a writer, or assuming myself to be one, I continue to fool myself as to the effects of language: I do not know that the word "suffering" expresses no suffering and that, consequently, to use it is not only to communicate nothing but even, and immediately, to annoy, to irritate (not to mention the absurdity). Someone would have to teach me that one cannot write without burying "sincerity" (always the Orpheus myth: not to turn back). What writing demands, and what any lover cannot grant it without laceration, is to sacrifice a little of his Image-repertoire, and to assure thereby, through his language, the assumption of a little reality. All I might produce, at best, is a writing of the Image-repertoire; and for that I would have to renounce the Image-repertoire of writing -- would have to let myself be subjugated by my language, submit to the injustices (the insults) it will not fail to inflict upon the double Image of the lover and of his other. The language of the Image-repertoire would be precisely the utopia of language: an entirely original, paradisiac language, the language of Adam -- "natural, free of distortion or illusion, limpid mirror of our sense, a sensual language (die sensualische Sprache)": "In the sensual language, all minds converse together, they need no other language, for this is the language of nature.

Not everyone is going to love us. And that's OK. There's nothing like rejection to make a vulnerable person question their worth. But do not let your reflection in the mirror be distorted by what you imagined someone else saw.

man's sense is falsely asserted to be the standard of things; on the contrary, all the perceptions both of the senses and the mind bear reference to man and not to the Universe, and the human mind resembles these uneven mirrors which impart their own properties to different objects, from which rays are emitted and distort and disfigure them.

Bad horror stories concern themselves with six ways to kill a vampire, and graphic accounts of how the rats ate Billy's genitalia. Good horror stories are about larger things. About hope and despair. About love and hatred, lust and jealousy. About friendship and adolescence and sexuality and rage, loneliness and alienation and psychosis, courage and cowardice, the human mind and body and spirit under stress and in agony, the human heart in unending conflict with itself. Good horror stories make us look at our reflections in dark distorting mirrors, where we glimpse things that disturb us, things that we did not really want to look at. Horror looks into the shadows of the human soul, at the fears and rages that live within us all. But darkness is meaningless without light, and horror is pointless without beauty. The best horror stories are stories first and horror second, and however much they scare us, they do more than that as well. They have room in them for laughter as well as screams, for triumph and tenderness as well as tragedy. They concern themselves not simply with fear, but with life in all its infinite variety, with love and death and birth and hope and lust and transcendence, with the whole range of experiences and emotions that make up the human condition. Their characters are people, people who linger in our imagination, people like those around us, people who do not exist solely to be the objects of violent slaughter in chapter four. The best horror stories tell us truths.

We let rip with idealism and grand words, but it's nothing but rationalizations of our own egoistic behavior. Not only do we lie to others; we also lie to ourselves. Each one of us lives inside a house of mirrors -- our own instinctive self-righteousness distorts the way we view reality so that we can justify our actions to ourselves. And there's no way we can escape.

Fantasy—and all fiction is fantasy of one kind or another—is a mirror. A distorting mirror, to be sure, and a concealing mirror, set at forty-five degrees to reality, but it’s a mirror nonetheless, which we can use to tell ourselves things we might not otherwise see.

We should therefore, with grace and optimism, embrace NOMA's tough-minded demand: Acknowledge the personal character of these human struggles about morals and meanings, and stop looking for definite answers in nature's construction. But many people cannot bear to surrender nature as a "transitional object"--a baby's warm blanket for adult comfort. But when we do (for we must), nature can finally emerge in her true form: not as a distorted mirror of our needs, but as our most fascinating companion. Only then can we unite the patches built by our separate magisteria into a beautiful and coherent quilt called wisdom.

Yet still they flew on and on, higher and higher, till at last the mirror trembled so fearfully that it slipped from their hands and fell to the earth, shivered into hundreds of millions and billions of bits. And then it did more harm than ever. Some of these bits were not as big as a grain of sand and these flew about, all over the world, getting into people’s eyes. And once in, they stuck there and distorted everything they looked at or made them see everything that was amiss.

In a man's letters, you know, madam, his soul lies naked. His letters are only the mirror of his heart. Whatever passes within him is there shown undisguised in its natural progress; nothing is invented, nothing distorted; you see systems in their elements, you discover action in their motives. Samuel Johnson to Mrs. Thrale (1777)

The (Boy) code is a set of behaviors, rules of conduct, cultural shibboleths, and even a lexicon, that is inculcated into boys by our society- from the very beginning of a boy's life. In effect we hold up a mirror to our boys that reflects back a distorted and outmoded image of the ideal boy- an image that our boys feel under great pressure to emulate.

We reflect each other as mirrors do, but there is no need to look at mirrors that distort our reflection.

We reflect each other as mirrors do, but there is no need to look at mirrors that distort our reflection.

The news coverage of the Indian Ocean tsunami indicates how the South China Sea may appear to the world through the media’s distorting mirror.

Words of praise should mirror for the child a realistic picture of her accomplishments, not a distorted image of her personality.

Other people teach us who we are. Their attitudes to us are the mirror in which we learn to see ourselves, but the mirror is distorted!

There’s this truth about mirrors. It’s inescapable. But they can lie, too. They can distort the truth, even hide the truth. They create illusion.” Like

But it is the repetition, from all walks of life, that slowly destroys, turns the looking-glass into a mirror, distorting or true, both cruel.

The goal of yoga science is to calm the mind, that without distortion it may mirror the divine vision in the universe.

i’m sleeping next to no one or no thing except the mirror and the only thing i see in the room is the reflection of the person i despise the most

So when a man lies habitually, he distorts the mirror he holds up to the world. In fooling others, he loses himself. Those who praise him? Those who love him? He knows they must simply be fools. He hates himself because there’s a gap between what he is and what he believes himself to be. If the gap grows too large, it becomes a tear, a schism. A man torn asunder lives in madness.

The rebel may shrug off attempts to please Mom since she deems it impossible anyway and cast herself as “the bad child.” She escapes the pressure of being good and looks outwardly independent—but beneath the outward facing, tough chick act is a little girl who wonders if she is loveable. As a result, she has trouble letting anyone get close—better to keep people at arm’s length. The rebel has trouble trusting, while the Good Daughter naively seems to trust everyone. They are mirror images of each other, each a distorted reflection of their mother’s unintegrated aspects of herself.

In a darkened room, faced with a mirror, the brain malfunctions. Even waking, the brain sees its walking cradle melt, distort, rotate, or else be replaced entirely. It no longer recognizes itself.

That’s why I like stories. They usually wind up revealing more about a person than what they’d tell you about themselves. It’s not that they lie intentionally, but when people describe themselves they’re really describing what they see in a mirror, and most mirrors are too distorted to show us the truth. If you listen hard enough, there’s more truth in fiction than in all the other s*** combined.

Intuition is soul guidance, appearing naturally in man during those instants when his mind is calm. Nearly everyone has had the experience of an inexplicably correct ‘hunch’, or has transferred his thoughts effectively to another person. The human mind, free from the static of restlessness, can perform through its antenna of intuition all the functions of complicated radio mechanisms—sending and receiving thoughts and tuning out undesirable ones. As the power of a radio depends on the amount of electrical current it can utilise, so the human radio is energised according to the power of will possessed by each individual. All thoughts vibrate eternally in the cosmos. By deep concentration, a master is able to detect the thoughts of any mind, living or dead. Thoughts are universally and not individually rooted; a truth cannot be created, but only perceived. The erroneous thoughts of man result from imperfections in his discernment. The goal of yoga science is to calm the mind that without distortion it may mirror the divine vision in the universe.

The truth of the matter was that these days Gracie barely remembered him. Her mind had become a one-way mirror. Ernest could see her clearly, but to Gracie he’d been lost behind her troubled, distorted reflection.

The elevation of the Citaceleste into the sky, the air currents for the dog sleighs, the distortions of space, the strong rooms, the concept of the sandglasses: there wasn’t a thing here that didn’t bear her trademark.

How hard it is, to be forced to the conclusion that people should be, nine tenths of the time, left alone! - When there is that in me that longs for absolute commitment. One of the poem-ideas I had was that one could respect only the people who knew that cups had to be washed up and put away after drinking, and knew that a Monday of work follows a Sunday in the water meadows, and that old age with its distorting-mirror memories follows youth and its raw pleasures, but that it's quite impossible to love such people, for what we want in love is release from our beliefs, not confirmation in them. That is where the 'courage of love' comes in - to have the courage to commit yourself to something you don't believe, because it is what - for the moment, anyway - thrills your by its audacity. (Some of the phrasing of this is odd, but it would make a good poem if it had any words...)

I think of sense, and of thoughts built on sense, as windows, not as prison bars. I think that we can, however imperfectly, mirror the world, like Leibnitz’s monads; and I think it is the duty of the philosopher to make himself as undistorting a mirror as he can. But it is also his duty to recognize such distortions as are inevitable from our very nature. Of these, the most fundamental is that we view the world from the point of view of the here and now, not with that large impartiality which theists attribute to the Deity. To achieve such impartiality is impossible for us, but we can travel a certain distance towards it. To show the road to this end is the supreme duty of the philosopher.

Relationship is a mirror in which I can see myself. That mirror can either be distorted, or it can be ‘as is’, reflecting that which is. But most of us see in relationship, in that mirror, things we would rather see; we do not see what is.

I wanted to be normal again. I wanted to be genuinely happy again and not just pretend. I didn’t want distorted mirror images to destroy and define my life any longer. I wished to breathe in the customary air, instead of the suffocating one people like me had accustomed themselves to breathe. I just wanted to break through these metal rods that I’d been caged behind for the last two years of my life. I wanted to feel plain, simple, genuine contentment again. I wanted to; I needed to.

A fear-based faith distorts a lot of things, but what it distorts the most is the reflection we see in the mirror. Fear has a way of reflecting ugliness and distorted realities--lies with the appearance of truth--and gives us the false impression that fear tells the truth while concealing the reality that fear is a liar. It may be a good liar because it mixes fact with fiction, but it's a liar nonetheless. The reflections of fear must never be trusted, no matter how many nuggets of truth may be mixed in those ugly waters.

If you’ve never experienced anxiety, you might find it difficult to understand what that feels like. I can throw any number of clichés and similes at you: it’s like trying to find your way out of a dark and dense forest, only to keep circling back to the same point you started from; it feels like being caught in a washing machine, disorientating and dizzy-making and like you’re always on the precipice of drowning; it’s like a carnival tent full of distorting mirrors, and you’re too terrified to look into any of them because you’re afraid your own reflection might assume a life of its own and start to mock you. It’s like all of these things at once and that’s an easy way to visualise it. But the simple and most universal truth is that anxiety just makes you feel incredibly, desperately alone. I

The final and possibly most psychologically destructive, distortion of the social internet is its distortion of scale. This is not an accident but an essential design feature: social media was constructed around the idea that a thing is important insofar as it is important to you.

the tradition of artists will continue no matter what form the society takes. And this is another reason to write: people need us, to mirror for them and for each other without distortion—not to look around and say, “Look at yourselves, you idiots!,” but to say, “This is who we are.

Book Excerpt: "What about your family, Abu Huwa? Are you an orphan?” the little girl very innocently asked the Sphinx. “My father and your father are one and the same. However, I do have a brother who has stood as my mirror throughout time on the opposite horizon. It is I who faces east, but it is he who faces west. I am the recorder of yesterday and he holds the records of tomorrow. I am the positive, and he is my negative. I carry the right eye of the sun and he carries the left eye of the moon. He keeps his eye on the underworld and I keep an eye on the world over. Together we have joined the sky and earth, and split fire and water.” Seham stood on all toes to peek over the Sphinx's shoulder for a sign of his brother. “Where is he?” she asked, her eyes still searching the open horizon. “He has yet to be uncovered, but as I stand above the sands of time, he still sleeps below. Before the descent of Adam, we have both stood as loyal Protectors of the Two Halls of Truth.” The girl asked in astonishment, “I've never heard of these halls, Abu Huwa. Where are they?” “At the end of each of our tails is a passage that will reveal to you the secrets of Time. One hall reflects a thousand truths, and the other hall reflects all that is untrue. One will speak to your heart, and the other will speak to your mind. This is why you need to use both your heart and mind to understand which one is real, and which is a distorted illusion created to misguide those that have neglected their conscience. Both passageways connect you to the Great Hall of Records.” “What is the Hall of Records?” “The Great Pyramid, my child. It is as multidimensional in its shape as it is in its purpose. Every layer and every brick marks the coming of a prophet, the ascension of evil, or another cycle of man. It contains the entire history and future of mankind. And, as is above, so is below. Above ground, it serves as the most powerful energy source to harmonize and power the world! The shape of the pyramid above ground is also the same image mirrored beneath it. Underground, it serves as a powerful well and drain. This is really why Egypt is called the Land of Two Lands. There exists a huge world of its own underneath the plateau, a world within worlds. Large amounts of gold, copper and mercury were once housed here, including the secrets of Time, the 100th name of He Who Is All, and a gift from Truth that still awaits to be discovered. It sleeps with Time in the Great Pyramid, hidden away in a lower shaft that leads to the stars.” Dialogue from 'The Little Girl and the Sphinx' by Suzy Kassem, Rise Up and Salute the Sun (Dar-El Shams, 2010)

Overhead, an enemy plane had been dragging, drumming slowly round in the pool of night, drawing up bursts of gunfire--nosing, pausing, turning, fascinated to the point for its intent. The barrage banged, coughed, retched; in here the lights in the mirrors rocked. Now down a shaft of anticipating silence the bomb swung whistling. With the shock of detonation, still to be heard, four walls of in here yawped in then bellied out; bottles danced on glass; a distortion ran through the view. The detonation dulled off into the cataracting roar of a split building: direct hit, somewhere else.

There must be some kind of internal time distortion effect in here, because when I look at myself in the little mirror above my sink, what I see is my father's face, my face turning into his. I am beginning to feel how the man looked, especially how he looked on those nights he came home so tired he couldn't even make it through dinner without nodding off, sitting there with his bowl of soup cooling in front of him, a rich pork-and-winter-melon-saturated broth that, moment by moment, was losing - or giving up - its tiny quantum of heat into the vast average temperature of the universe.

Burns lists ten “cognitive distortions,” such as all-or-nothing thinking, overgeneralization, disqualifying the positive, jumping to conclusions, and giving ourselves labels. By understanding these distortions, we are led to the awareness that “feelings aren’t facts,” they are only mirrors of our thoughts.

His likeness? How can I trace it? I have seen Arsène Lupin a score of times, and each time a different being has stood before me… or rather the same being under twenty distorted images reflected by as many mirrors, each image having its special eyes, its particular facial outline, its own gestures, profile, and character. “I myself,” he once said to me, “have forgotten what I am really like. I no longer recognize myself in a glass.” A paradoxical whim of the imagination, no doubt; and yet true enough as regards those who come into contact with him, and who are unaware of his infinite resources, his patience, his unparalleled skill in make-up, and his prodigious faculty for changing even the proportions of his face and altering the relations of his features one to the other. “Why,” he asked, “should I have a definite, fixed appearance? Why not avoid the dangers attendant upon a personality that is always the same? My actions constitute my identity sufficiently.” And he added, with a touch of pride: “It is all the better if people are never able to say with certainty: ‘There goes Arsène Lupin.’ The great thing is that they should say without fear of being mistaken: ‘That action was performed by Arsène Lupin.

Dream" If dreaming really were a kind of truce (as people claim), a sheer repose of mind, why then if you should waken up abruptly, do you feel that something has been stolen from you? Why should it be so sad, the early morning? It robs us of an inconceivable gift, so intimate it is only knowable in a trance which the nightwatch gilds with dreams, dreams that might very well be reflections, fragments from the treasure-house of darkness, from the timeless sphere that does not have a name, and that the day distorts in its mirrors. Who will you be tonight in your dreamfall into the dark, on the other side of the wall?

To be Black in predominantly white spaces for the majority of your days often means affirming yourself or going without affirmation and representation for long stretches at a time. Aggressions like “I don’t see color” or assumptions that educational achievement somehow offsets racism and sexism are laughable and offensive. We are intentionally robbed of opportunities to see the spectrum of who we can become. Without an accurate reflection, our world becomes a funhouse mirror of distorted expectations we can never meet. More often than not, the people around me believe that they are doing me a favor by not acknowledging my differences.

Fat Charlie looked at the front yard, at the faded plastic flamingos and the gnomes and the red mirrored gazing ball sitting on a small concrete plinth like an enormous Christmas tree ornament. He walked over to the ball, just like the one he had broken when he was a boy, and saw himself distorted, staring back from it.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

As the flames leapt higher, something inside me crystallized—a chilling, absolute stillness. Reality buckled and distorted, like one’s reflection when standing too close to a mirror. And I was left on the threshold between what had been and what could never be again, suspended in a moment that was too brutal to absorb fully.

Shrill flaring gas-jets, dulled and distorted in the fly-blown mirrors that faced them, were ranged round the walls. Greasy reflectors of ribbed tin backed them, making quivering disks of light. The floor was covered with ochre-coloured sawdust, trampled here and there into mud, and stained with dark rings of spilled liquor. Some

HISTORY AND THE TRIPLET OF OPACITY History is opaque. You see what comes out, not the script that produces events, the generator of history. There is a fundamental incompleteness in your grasp of such events, since you do not see what's inside the box, how the mechanisms work. What I call the generator of historical events is different from the events themselves, much as the minds of the gods cannot be read just by witnessing their deeds. You are very likely to be fooled about their intentions. This disconnect is similar to the difference between the food you see on the table at the restaurant and the process you can observe in the kitchen. (The last time I brunched at a certain Chinese restaurant on Canal Street in downtown Manhattan, I saw a rat coming out of the kitchen.) The human mind suffers from three ailments as it comes into contact with history, what I call the triplet of opacity. They are: a. the illusion of understanding, or how everyone thinks he knows what is going on in a world that is more complicated (or random) than they realize; b. the retrospective distortion, or how we can assess matters only after the fact, as if they were in a rearview mirror (history seems clearer and more organized in history books than in empirical reality); and c. the overvaluation of factual information and the handicap of authoritative and learned people, particularly when they create categories—when they "Platonify.

Life, where we apply our intelligence, is an open system. Messy, full of tricks and feints and ambiguities and false friends. So is language – not a problem to be solved or a device for solving problems. It’s more like a mirror, no, a billion mirrors in a cluster like a fly’s eye, reflecting, distorting and constructing our world at different focal lengths.

...Lionel turned his thoughts eagerly inward, to discover that inward was perilous, too; his soul was a sort of curved reflective surface that distorts, as in a funhouse mirror, the face of one peering into it. You might be anyone, any face. The face is mere skin. Accident. He seemed at such times to be approaching a profound yet unspeakable truth: that our identities are accidents.

Historical writing, which had begun to keep a continuous record of the present, now also cast a glance back to the past, gathered traditions and legends, interpreted the traces of antiquity that survived in customs and usages, and in this way created a history of the past. It was inevitable that this early history should have been an expression of present beliefs and wishes rather than a true picture of the past; for many things had been dropped from the nation's memory, while others were distorted, and some remains of the past were given a wrong interpretation in order to fit in with contemporary ideas. Moreover people's motive for writing history was not objective curiosity but a desire to influence their contemporaries, to encourage and inspire them, or to hold a mirror up before them. A man's conscious memory of the events of his maturity is in every way comparable to the first kind of historical writing [which was a chronicle of current events]; while the memories that he has of his childhood correspond, as far as their origins and reliability are concerned, to the history of a nation's earliest days, which was compiled later and for tendentious reasons.

FRIEND/ENEMY CENTEREDNESS. Young people are particularly, though certainly not exclusively, susceptible to becoming friend-centered. Acceptance and belonging to a peer group can become almost supremely important. The distorted and ever-changing social mirror becomes the source for the four life-support factors, creating a high degree of dependence on the fluctuating moods, feelings, attitudes, and behavior of others.

The Idols of the Tribe have their foundation in human nature itself, and in the tribe or race of men. For it is a false assertion that the sense of man is the measure of things. On the contrary, all perceptions as well of the sense as of the mind are according to the measure of the individual and not according to the measure of the universe. And the human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it.

It ascended by levels: Da's cameo recessed against the glow of the tuner's parade,the drawer of utensils withdrawn past its fulcrum, the disembodied face of my brother miming and distorting my desperate attempt by expression alone to make Mum look up from me and see him, I no longer feeling my features' movements so much as seeing them on that writhing white face against the pantry's black, the throttle-popped eyes and cheeks ballooning against the gag's restraint, Mum squatting chairside to even my ears, my face before us bother farther and farther from my own control as I saw in his twin face what all lolly-smeared hand-held brats must see in the fun-house mirror- the gross and pitiless sameness, the distortion in which there is, tiny, at the center, something cruelly true about the we who leer and woggle at stick necks and and concave skulls, goggling eyes that swell to the edges- as the mimicry ascended reflected levels to become finally the burlesque of a wet hysteria that plastered cut strands to a wet white brow, the strangled man's sobs blocked by cloth, storm's thrum and electric hiss and Da's mutter against the lalation of shears meant for lambs, an unseen fit that sent my eyes upward again and again into their own shocked white, knowing past sight that my twin's face would show the same, to mock it- until the last refuge was slackness, giving up the ghost completely for a blank sack gagged mask's mindless stare-un seen and seeing- into a mirror I could not know or feel myself without. No not ever again.

Maybe the Bards function, and the function of story in general, is to constantly recreate us by re-observing us. The storyteller holds up a mirror to us, and he or she has great power to show us in a flattering or insulting manner. As we re-observe ourselves (and the author believes we are frequently distorting the image we have of ourselves) through the nightly news, advertising media (magazines, billboards, advertisements, and so forth), television, and film, we are the consciousness that collapses the wave function and recreates ourselves.

Okay, granted, there's a lot of willful blindness out there, more than enough to go around, and failures of imagination abound as well. One can be sympathetic to Trump voters without giving them a free pass. Feeling angry, undervalued, and ignored, they don't seem to grasp that these are not new feelings. They're just new to them. American blacks and Latinos and LGBT folks have been feeling the same way for a long time. And I want to be clear about the man himself. Donald Trump is a despicable human being - a full-blown narcissist, a pathological liar, a vulgarian, a groper of women and girls. He's completely unfit to be president of the United States. As regards the working class, however, he did what Dickens did. He held a mirror up to a whole class of people who were too often ignored. Because Dickens was both a good man and a great artist, what people saw in that mirror was their best selves. And because Trump is neither good nor great, his distorted mirror reflects little but his supporters' bigotry and anger. But give the man this much credit. To his supporters he was saying, I see you. I see your value. Which is more than can be said for the elites of either party.

But it didn’t stay that way. Sin entered the world, and since then everything has been a mess. Our world is sick, and none of us are immune to the infection. At our cores we’re sinners. We purposely rebel against our Creator. We were made to be mirrors perfectly reflecting God’s goodness, but with sin that mirror was fractured and the reflection is distorted. Instead of following God, we assume we’re wiser and follow our own misguided intuition. We’re choosing what we think will make us happy, but in the process we’ve made God angry. He despises sin and He will judge us for it. We’re beautifully made, but tragically broken.

The human mind suffers from three ailments as it comes into contact with history, what I call the triplet of opacity. They are: the illusion of understanding, or how everyone thinks he knows what is going on in a world that is more complicated (or random) than they realize; the retrospective distortion, or how we can assess matters only after the fact, as if they were in a rearview mirror (history seems clearer and more organized in history books than in empirical reality); and the overvaluation of factual information and the handicap of authoritative and learned people, particularly when they create categories—when they “Platonify.

Today, we live in an increasingly narcissistic society. Libido is primarily invested in one’s own subjectivity. Narcissism is not the same as self-love. The subject of selflove draws a negative boundary between him- or herself and the Other. The narcissistic subject, on the other hand, never manages to set any clear boundaries. In consequence, the border between the narcissist and the Other becomes blurry. The world appears only as adumbrations of the narcissist’s self, which is incapable of recognizing the Other in his or her otherness — much less acknowledging this otherness for what it is. Meaning can exist for the narcissistic self only when it somehow catches sight of itself. It wallows in its own shadow everywhere until it drowns — in itself. Depression is a narcissistic malady. It derives from overwrought, pathologically distorted self reference. The narcissistic-depressive subject has exhausted itself and worn itself down. Without a world to inhabit, it has been abandoned by the Other. Eros and depression are opposites. Eros pulls the subject out of itself, toward the Other. Depression, in contrast, plunges the subject into itself. Today’s narcissistic “achievement-subject” seeks out success above all. Finding success validates the One through the Other. Thereby, the Other is robbed of otherness and degrades into a mirror of the One — a mirror affirming the latter’s image.

I stare at my freakish eyeball, gaze into the distorted pupil until it expands and fills the mirror, fills my brain and I’m rushing through vacuum. Wide awake and so far at such speed I flatten into a subatomic contrail. That grand cosmic maw, that eater of galaxies, possesses sufficient gravitational force to rend the fabric of space and time, to obliterate reality, and in I go, bursting into trillions of minute particles, quadrillions of whining fleas, consumed. Nanoseconds later, I understand everything there is to understand. Reduced to my “essential saltes” as it were, I’m the prime mover seed that gets sown after the heat death of the universe when the Ouroboros swallows itself and the cycle begins anew with a big bang.

10:13 Your situation is not unique! Every human life faces contradictions! Here is the good news: God believes in your freedom! He has made it possible for you to triumph in every situation that you will ever encounter! 10:14  My 1dearly loved friends! Escape into his image and likeness in you where the 2distorted image (2idolatry) loses its attraction! (Dearly loved friends, translated as  1agapetos; to know the agape love of God is to know our true identity! The word, agape, comes from agoo, meaning to lead as a shepherd guides his sheep, and pao, to rest, like in Psalm 23, ”he leads me beside still waters where my soul is restored; by the waters of reflection my soul remembers who I am! Now I can face the valley of the shadow of death and fear no evil!”)

Whatever stamped itself on Niels's mind, what he saw, what he understood and what he misunderstood, what he admired and what he knew he ought to admire--all was woven into the story. As running water is colored by every passing picture, sometimes holding the image with perfect clearness, sometimes distorting it or throwing it back in wavering, uncertain lines, then again drowning it completely in the color and play of its own ripples, so the lad's story reflected feeling and thoughts, his own and those of other people, mirrored human beings and events, life and books, as well as it could. It was a play life, running side by side with real life. It was a snug retreat, where you could abandon yourself to dreams of the wildest adventures. It was a fairy garden that opened at your slightest nod, and received you in all its glory, shutting out everybody else.

I talk about my feeling of living with one foot in madness, the distortions of reality, the fog that descends at certain moments, unsettling as amnesia. (What am I doing in this classroom? Why, in this mirror, does my face look so weird? I wrote that? What could I have meant?) I talk about how, no matter how much I sleep, I’m exhausted. About the number of times I bump into something, or drop something, or trip over my own feet. Stepping off the curb into the path of a car that would have struck me if someone standing by hadn’t jerked me back. The days when I don’t eat, the days when I eat nothing but junk. Absurd fears: What if there’s a gas leak and the building blows up? Losing or misplacing stuff. Forgetting to do my taxes. These are all symptoms of bereavement, the therapist tells me unnecessarily. Doctor Obvious. But you know, Apollo, I say after my fourth or fifth session, I think I really am beginning to feel a little better. •

I have no longer the feeling that intellect is superior to sense, and that only Plato's world of ideas gives access to the 'real' world. I used to think of sense, and of thought which is built on sense, as a prison from which we can be freed by thought which is emancipated from sense. I now have no such feelings. I think of sense, and of thoughts built on sense, as windows, not as prison bars. I think that we can, however imperfectly, mirror the world, like Leibniz's monads; and I think it is the duty of the philosopher to make himself as undistorting a mirror as he can. But it is also his duty to recognize such distortions as are inevitable from our very nature. Of these, the most fundamental is that we view the world from the point of view of the here and now, not with that large impartiality which theists attribute to the Deity. To achieve such impartiality is impossible for us, but we can travel a certain distance towards it. To show the road to this end is the supreme duty of the philosopher.

Understand: we can never really experience what other people are experiencing. We always remain on the outside looking in, and this is the cause of so many misunderstandings and conflicts. But the primal source of human intelligence comes from the development of mirror neurons (see here), which gives us the ability to place ourselves in the skin of another and imagine their experience. Through continual exposure to people and by attempting to think inside them we can gain an increasing sense of their perspective, but this requires effort on our part. Our natural tendency is to project onto other people our own beliefs and value systems, in ways in which we are not even aware. When it comes to studying another culture, it is only through the use of our empathic powers and by participating in their lives that we can begin to overcome these natural projections and arrive at the reality of their experience. To do so we must overcome our great fear of the Other and the unfamiliarity of their ways. We must enter their belief and value systems, their guiding myths, their way of seeing the world. Slowly, the distorted lens through which we first viewed them starts to clear up. Going deeper into their Otherness, feeling what they feel, we can discover what makes them different and learn about human nature. This applies to cultures, individuals, and even writers of books. As Nietzsche once wrote, “As soon as you feel yourself against me you have ceased to understand my position and consequently my arguments! You have to be the victim of the same passion.

A shudder went through me at the thought of what I should still learn in this hour. How awry, altered and distorted everything and everyone was in these mirrors, how mockingly and unattainably did the face of truth hide itself behind all these reports, counter-reports and legends! What was still truth? What was still credible? And what would remain when I also learned about myself, about my own character and history from the knowledge stored in these archives? I must be prepared for anything. Suddenly I could bear the uncertainty and suspense no longer. I hastened to the section Chattorum res gestas, looked for my sub-division and number and stood in front of the part marked with my name. This was a niche, and when I drew the thin curtains aside I saw that it contained nothing written. It contained nothing but a figure, an old and worn-looking model made from wood or wax, in pale colours. It appeared to be a kind of deity or barbaric idol. At first glance it was entirely incomprehensible to me. It was a figure that really consisted of two; it had a common back. I stared at it for a while, disappointed and surprised. Then I noticed a candle in a metal candlestick fixed to the wall of the niche. A match-box lay there. I lit the candle and the strange double figure was now brightly illuminated. Only slowly did it dawn upon me. Only slowly and gradually did I begin to suspect and then perceive what it was intended to represent. It represented a figure which was myself, and this likeness of myself was unpleasantly weak and half-real; it had blurred features, and in its whole expression there was something unstable, weak, dying or wishing to die, and looked rather like a piece of sculpture which could be called "Transitoriness" or "Decay," or something similar. On the other hand, the other figure which was joined to mine to make one, was strong in colour and form, and just as I began to realise whom it resembled, namely, the servant and President Leo, I discovered a second candle in the wall and lit this also. I now saw the double figure representing Leo and myself, not only becoming clearer and each image more alike, but I also saw that the surface of the figures was transparent and that one could look inside as one can look through the glass of a bottle or vase. Inside the figures I saw something moving, slowly, extremely slowly, in the same way that a snake moves which has fallen asleep. Something was taking place there, something like a very slow, smooth but continuous flowing or melting; indeed, something melted or poured across from my image to that of Leo's. I perceived that my image was in the process of adding to and flowing into Leo's, nourishing and strengthening it. It seemed that, in time, all the substance from one image would flow into the other and only one would remain: Leo. He must grow, I must disappear. As I stood there and looked and tried to understand what I saw, I recalled a short conversation that I had once had with Leo during the festive days at Bremgarten. We had talked about the creations of poetry being more vivid and real than the poets themselves. The candles burned low and went out. I was overcome by an infinite weariness and desire to sleep, and I turned away to find a place where I could lie down and sleep.

It is raining.  The clock ticks.  I am leaning on my elbow.  The wind blows through the cracks.  The door rattles in its frame.  My arm is tired of staying in one position.  There is a pressure on the wrist.  My temple burns on one side.  I wonder what will happen next.  Someone laughs.  If he had heard the rain, the clock, and the door, he would have kept silent.  Had I been laughing, I would not have heard these things. Gaze into a cat's eye or a gorilla's.  You will notice a peculiar thing that will make you shudder.  sometimes cats claw at human eyes.  Some- times gorillas enrage. Telepathy and death are wound inextricably together.  To see why this is so, you must understand consciousness.  When, late at night in your bed, you hear a distant automobile, you and the driver are parts of yourself.  When you speak, you are alone and the listener is both you and himself.  Two men, one on the mountain and the other in the village, cannot communicate.  Each is looking into a mirror.  Wave, and *he* waves - shout, and *he* replies.  All of us see the same moon and feel the same heartbeat, but we can never admit it.  One says the moon is a pale disc, another that it is a satellite of the Earth, a third that it is a silver world.  My heart thumps, yours clatters, and his booms.  Consciousness is distortion. But much telepathy passes unnoticed.  Dogs in the night, a dream of Mabel, Dr. Rhines' dice games - these are self-conscious tricks that mean nothing.  What of the more obvious examples?  You know when another is lying.  You know who is going down the stair.  You know emotion without seeing it.  You know the intelligence of others.  Some sign gives them away.  It is coincidence?  Guessing games again?   Then think of what you could not possibly know, what no one could tell you.  Is there any doubt you do not know that fellow on the gibbet or the thought of that girl on the stake?  Watch someone die and you may read his mind at ease. You need not got so far.  We human beings understand one another better than we think.  Argue, deny, shout, denounce, destroy.  Nothing alters truth.  You, reader, see my flaws and concentrate on them.  You wonder why I choose this word and not that. My arguments are weak and you can drum up stronger ones against them.  But we are eye to eye for all of that.

Wife's Letter (excerpt) It was not the mask that died among the boots, but you. The girl with the yoyo was not the only one to know about your masked play. From the very first instant, when, elated with pride, you talked about the distortion of the magnetic field, I too saw through you completely. Please don’t insult me any more by asking how I did it. Of course, I was flustered, confused, and frightened to death. Under any circumstances, it was an unimaginably drastic way of acting, so different from your ordinary self. It was hallucinatory, seeing you so full of self-confidence. Even you knew very well that I had seen through you. You knew and yet demanded that we go on with the play in silence. ... But you went from one misunderstanding to the next, didn’t you? You write that I rejected you, but that’s not true. Didn’t you reject yourself all by yourself?.. In a happy frame of mind, I reflected that love strips the mask from each of us, and we must endeavor for those we love to put the mask on so that it can be taken off again. For if there is no mask to start with, there is no pleasure in removing it, is there? ... Is what you think to be the mask in reality your real face, or is what you think to be your real face really a mask? Yes, you do understand. Anyone who is seduced is seduced realizing this. ... At first you were apparently trying to get your own self back by means of the mask, but before you knew it you had come to think of it only as your magician’s cloak for escaping from yourself. So it was not a mask, but somewhat the same as another real face, wasn’t it? You finally revealed your true colors. It was not the mask, but you yourself. It is meaningful to put a mask on, precisely because one makes others realize it is a mask. Even with cosmetics, which you abominate so, we never try to conceal the fact that it is make-up. After all, it was not that the mask was bad, but that you were too unaware of how to treat it. Even though you put the mask on, you could not do a thing while you were wearing it. Good or bad, you could not do a thing. All you could manage was to wander through the streets and write long, never-ending confessions, like a snake with its tail in its mouth. It was all the same to you whether you burned your face or didn’t, whether you put on a mask or didn’t. You were incapable of calling the mask back. Since the mask will not come back, there is no reason for me to return either. ... While you spoke of the face as being some kind of roadway between fellow human beings, you were like a snail that thinks only of its own doorway. You were showing off. Even though you had forced me into a compound where I had already been, you set up a fuss as if I had scaled a prison wall, as if I had absconded with money. And so, when you began to focus on my face you were flustered and confused, and without a word you at once nailed up the door of the mask. Indeed, as you said, perhaps death filled the world. I wonder if scattering the seeds of death is not the deed of men who think only of themselves, as you do. You don’t need me. What you really need is a mirror. Because any stranger is for you simply a mirror in which to reflect yourself.

The Brain Song Reviews (2025) Official Website and Try Today (hfu) The Brain Song Reviews (2025) Official Website and Try Today (hfu) November 29, 2025 Mikaela Cougar's "The Brain Song": Deconstructing an Alt-Rock Anthem CLICK HERE TO Visit The Official Website CLICK HERE TO Visit The Official Website CLICK HERE TO Visit The Official Website In a music scene saturated with polished pop and predictable beats, Mikaela Cougar’s late 2024 release, "The Brain Song," offers something different: a raw, unfiltered sonic experience. Critics have described it as a "gritty, grungy track," reminiscent of Kurt Cobain's angst and Sheryl Crow's honest storytelling. This isn't designed for instant gratification; it's a 2-minute, 31-second journey into the messy reality of the modern mind. This review delves into the cultural, emotional, and musical layers of Cougar's track. It explores the song as a rebellious statement, a response to the pressures and expectations bombarding our psyches. Unlike other "brain songs" promising order, Cougar's embraces the beautiful chaos of genuine human thought. The Sonic Landscape: Grunge, Grit, and a Feminine Perspective Cougar describes herself as "the girl all those 90's rock boy bands were singing about, and these are my response songs." This provides a crucial framework for understanding the track. "The Brain Song" isn't just influenced by 90s alt-rock; it actively continues the themes of alienation, introspection, and resistance to oversimplification. Why Grunge? Distortion as Emotional Expression The "grungy" and "raw" production is intentional. Instead of the polished sound of modern music, this track uses distortion and a minimalist soundscape to reflect the overwhelmed, fragmented state of mind. The thick, abrasive guitar tone embodies mental friction – the anxiety, inner conflict, and constant noise that disrupts our peace. The raw production becomes the song's initial message: This isn't clean or easy. This is what honest thinking sounds like. The Vocals: Confession and Confrontation Cougar's vocal performance is a standout. Channeling the power of Alanis Morrissette and the theatricality of P!NK, she delivers a masterclass in controlled intensity. * **The Verse:** Expect a lower, conversational tone conveying brooding paranoia – the sound of quiet desperation as someone analyzes their flaws and the world's constraints. * **The Chorus:** The song likely explodes into a cathartic shout, unleashing the track's "gritty" core. This isn't a plea for help but a confrontation. It's the brain, tired of its own loops and societal pressures, finally screaming its truth. This dynamic between the quiet verse and explosive chorus mirrors the inner struggle – the sudden bursts of clarity or anger that cut through mental fog. Lyrical Themes: What the Brain Sings About Without readily available lyrics, we can infer the song's themes based on its title, genre, and Cougar's artistic vision. "The Brain Song" likely explores these alt-rock conflicts: Internal Censorship and Self-Doubt: The brain is often our harshest critic. The song likely confronts this inner voice, challenging the self-criticism or refusing to let negative thoughts win. It's the soundtrack to differentiating between your true self and the noise that tries to silence you. * **Possible Lyric:** “You built a cage with all the things you thought you knew / But the noise I hear is just the engine shaking loose.” The Overload of Modern Information: This song contrasts sharply with neuro-acousti

The final, and possibly most psychologically destructive, distortion of the social internet is its distortion of scale.

You look like you fit in pretty nicely,” I say. Her story does hold an uncomfortable mirror up to my own life, except it’s distorted by the fact that this woman looks exactly like them and nothing like me.

But the unsettling logic was that he turned fact and fiction upside down, creating a topsy-turvy world in which no one could know who (or what) was play-acting. A corrupt autocracy was all smoke and distorting mirrors. Or, as his Roman biographer summed up, Elagabalus had ‘a fake life’.

The truth is far more complicated, but when you live in a world of mirrors, the truth is always distorted. Too often, it’s what we choose to see while ignoring all the inconvenient bits, the nagging details that distort our view. We crave clarity, and so we lie to ourselves.

Om tells his clients that a romantic partner mirrors how you feel about yourself. Stacy was a skinny mirror. He made me look—and feel—better than I actually looked or felt, which is why breaking his heart has probably given me seven years of bad luck. My other relationships: carnival mirrors, a different kind of distortion.

And this is another reason to write: people need us, to mirror for them and for each other without distortion—not to look around and say, “Look at yourselves, you idiots!,” but to say, “This is who we are.” In this dark and wounded

Wolf has similarly twisted the feminist movement’s core tenet that all people have the right to choose whom they have sex with and whether to carry a child. Now she was distorting that principle to cast Covid tests and vaccine mandates as violations of “bodily integrity” akin to those endured by women who underwent forced vaginal exams, claiming that all are examples of “the state penetrating their body against their will.” Clearly, that kind of language fills a cultural need, one bound up in the social currency of victimization, a theme I’ll return to later. But the point here is that abusing such terms is dangerous: it drains them of their intended meaning, their legibility, and their power.

The final and possibly most psychologically destructive distortion of the social internet is its distortion of scale. This is not an accident but an essential design feature: social media was constructed around the idea that a thing is important insofar as it is important to you.

The rise of the Times as a global news organization in some ways mirrors a rise in inequality, where there is a global class of connected citizens who rely on a handful of preferred, largely English, sources of news and information,” pointed out Lydia Polgreen, then editor in chief of HuffPost and the former editorial director of NYT Global.

Vlady did not like such arguments. The blind worship of accomplished facts always led to passivity. Why should one come to terms with the present? Such an attitude would never have brought down the Wall. He refused to accept what existed simply because happenings elsewhere were much worse. History became an alibi. It was a cursed history whose womb was producing tiny new republics. Monstrous creations. How could they be otherwise, deformed as they were by decades of unnatural confinement? Men, women and children were living and dying for these new states. In the past they had done the same for the big empires, but with this difference: in the old days they had fought reluctantly and cynically. It could have been any old job. Today they went to war with a sullen obstinacy, their heads and bodies distorted by an intolerant zeal. It would end badly. Of this Vlady was sure.

IN THE DREAM OF the Planet there are two powerful forces that shape all our agreements, attachments, and domestication. In the Toltec tradition, we call these forces the two types of love: unconditional love and conditional love. When unconditional love flows from our hearts, we move through life and engage other living beings with compassion. Unconditional love is recognizing the divinity in every human being we meet, regardless of his or her role in life or agreement with our particular way of thinking. A Master of Self sees all beings through the eyes of unconditional love, without any projected image or distortion. Conditional love, on the other hand, is the linchpin of domestication and attachment. It only allows you to see what you want to see and to domesticate anyone who doesn't fit your projected image. It's the primary tool used to subjugate those around us and ourselves. Every form of domestication can be boiled down to “If you do this, then I will give you my love” and “If you do not do this, then I will withhold my love.” Every form of attachment starts with “If this happens, then I will be happy and feel love” and “If this does not happen, then I will suffer.” The key word in all of these statements is if, which, as you will see, has no place in unconditional love. As we construct the Dream of the Planet, we have a choice to love each other unconditionally or conditionally. When we love each other unconditionally, our mirror is clean; we see others and ourselves as we really are: beautiful expressions of the Divine. But when the fog of attachment and domestication clouds our perception and we put conditions on our love, we are no longer able to see the divinity in others and ourselves. We are now competing for a commodity that we have mistaken as love. At its core, domestication is a system of control, and conditional love is its primary tool. Consequently, the moment you start trying to control others is the same moment you place conditions on your love and acceptance of them. Because you can only give what you have, the conditions you try to impose on others are the same conditions that you impose upon yourself. When you self-domesticate, you are attempting to control your own actions based on shame, guilt, or perceived reward rather than unconditional self-love.

IN THE DREAM OF the Planet there are two powerful forces that shape all our agreements, attachments, and domestication. In the Toltec tradition, we call these forces the two types of love: unconditional love and conditional love. When unconditional love flows from our hearts, we move through life and engage other living beings with compassion. Unconditional love is recognizing the divinity in every human being we meet, regardless of his or her role in life or agreement with our particular way of thinking. A Master of Self sees all beings through the eyes of unconditional love, without any projected image or distortion. Conditional love, on the other hand, is the linchpin of domestication and attachment. It only allows you to see what you want to see and to domesticate anyone who doesn't fit your projected image. It's the primary tool used to subjugate those around us and ourselves. Every form of domestication can be boiled down to “If you do this, then I will give you my love” and “If you do not do this, then I will withhold my love.” Every form of attachment starts with “If this happens, then I will be happy and feel love” and “If this does not happen, then I will suffer.” The key word in all of these statements is if, which, as you will see, has no place in unconditional love. As we construct the Dream of the Planet, we have a choice to love each other unconditionally or conditionally. When we love each other unconditionally, our mirror is clean; we see others and ourselves as we really are: beautiful expressions of the Divine. But when the fog of attachment and domestication clouds our perception and we put conditions on our love, we are no longer able to see the divinity in others and ourselves. We are now competing for a commodity that we have mistaken as love. At its core, domestication is a system of control, and conditional love is its primary tool. Consequently, the moment you start trying to control others is the same moment you place conditions on your love and acceptance of them. Because you can only give what you have, the conditions you try to impose on others are the same conditions that you impose upon yourself. When you self-domesticate, you are attempting to control your own actions based on shame, guilt, or perceived reward rather than unconditional self-love. As we saw in the example with the man who continues to eat even after he is full, this is neither a healthy nor happy way to live. Unconditional love is the antidote to domestication and attachment, and tapping into its power is a key step in becoming a Master of Self. In this chapter we will look at the practice of having unconditional love for ourselves first and foremost, as you cannot give to others what you don't have for yourself.

the retrospective distortion, or how we can assess matters only after the fact, as if they were in a rearview mirror (history seems clearer and more organized in history books than in empirical reality);

triplet of opacity. They are: the illusion of understanding, or how everyone thinks he knows what is going on in a world that is more complicated (or random) than they realize; the retrospective distortion, or how we can assess matters only after the fact, as if they were in a rearview mirror (history seems clearer and more organized in history books than in empirical reality); and the overvaluation of factual information and the handicap of authoritative and learned people, particularly when they create categories—when they “Platonify.

I felt as if I was in a house of mirrors where everything looked distorted and people run around frightened trying, to find a normal mirror to see what they are used to seeing

The opposite of love isn’t hate; it’s death. Your dreams dying, resolutions and loyalties writhing on the floor. On the other side of the door of love is a funeral for who you thought you were. A mirror revealing who you hoped to be as a distorted and idealistic farce.

White nationalists make explicit ideas that are already coded, veiled, or circumscribed in the wider white imagination. Hate is what many white Americans would see if they looked in a fun-house mirror: a distorted but familiar reflection.

like to think of our memories like a mirror: reflecting images back to us, something familiar, but at the same time, backward. Distorted. Not quite as they are. But it’s impossible to look our past straight in the eye, to see things with perfect clarity, so we have to rely on the memories. We have to hope they aren’t somehow warped or broken, bending reality to fit the way we wish things were.

The rest of the night, we stayed with the group, but a quiet, untraceable intimacy linked us. We played silly games and won stupid prizes. She won me a black plastic watch. I won her a whistle. We got lost together in the fun house, and I pressed her against a wavy mirror. Even distorted, our shapes were perfect together.

Like a clear, still pool without ripples, mindfulness mirrors what’s occurring without distortion so that we can gain perspective on ourselves and our lives. We can then wisely determine the best course of action to help ourselves. It takes courage to turn toward our pain and acknowledge it, but this act of courage is essential if our hearts are to open in response to suffering. We can’t heal what we can’t feel. For this reason, mindfulness is the pillar on which self-compassion rests.

41. “The idols of the tribe are inherent in human nature and the very tribe or race of man; for man's sense is falsely asserted to be the standard of things; on the contrary, all the perceptions both of the senses and the mind bear reference to man and not to the Universe, and the human mind resembles these uneven mirrors which impart their own properties to different objects, from which rays are emitted and distort and disfigure them.

This final but unknown “truth valid in infinity” is somehow perceived or felt by us as an ideal, for in countless years of observation we have formed a series of less and less false, more and more nearly true “ideas” about the phenomenon. The “ideas” are reflexes of the phenomenon, reflected in our midst as in a mirror; the reflexes may be distorted, as in a convex or concave mirror, but they suggest [pg 052] an ideal reflex valid in infinity. It is of the utmost importance to realize that the words which are used to express the ideas and the ideals are the materialization of the ideas and ideal; it is only by words that we are enabled to give to other human beings an exact or nearly exact impression which we have had of the phenomenon.

I am invisible, understand, simply because people refuse to see me,” the nameless narrator declares. “It is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me, they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me.

Of course, we do not simply step from evil to good, even recognizing that any human good and evil is seldom more than a choice between less evil and more good. In that transition we drag ourselves like cripples. We are cripples. In any such change as I was making, the soul itself is in flux. How hideous our transformations then are, wavering monstrously in their incompleteness as in a distorting mirror, until the commotion settles and the soul's new proportions are defined. In that change, practicality and precaution are of no more help than prudence or craft. It is a transit that must be made upon the knees, or not at all. For it is not only to the graves of dead brothers that we find ourselves powerless at last to bring anything but prayer. We are equally powerless at the graves of ourselves, once we know that we live in shrouds. At that end, all men must simply pray, and prayer takes as many forms as there are men. Without exception we pray. We pray because there is nothing else to do, and because that is where God is - where there is nothing else.

When something—a mirror, an inaccurate measurement, or a costume—comes between us and the things we observe, facts can become less apparent, or they can get hidden away.

As the fierce battle raged on between Prince Assad and the soldiers, the small puddle nestled amidst the underbrush continued to mirror the night sky and the radiant moon. Its surface rippled gently, distorting the celestial reflection and adding an entrancing aura to the scene. Within the puddle's depths, a bright, luminescent orb seemed suspended in the water's embrace, mirroring the moon's radiance. Amidst the enchanting dance of ripples in the puddle, Dilaram, Princess Mehjabeen's loyal companion emerged, took a deep breath, and made a daring decision. She knew the danger that Prince Assad faced in the relentless battle with the soldiers, and her love and loyalty to the princess drove her to act. With her heart pounding, Dilaram raised her delicate hands and began whispering an incantation, her words imbued with ancient magic. Dilaram's incantation, born from the depths of her love and loyalty to Princess Mehjabeen, was a powerful spell that wove together the mystical forces of Tilsim Hoshruba. It was an incantation that had been passed down through generations of enchantresses, carefully guarded and used only in the direst of circumstances. The incantation itself was a blend of ancient words and intricate hand movements, a delicate dance of both spoken and unspoken magic. As Dilaram whispered the words and traced the patterns in the air, the spell took form: "By the moon's radiant light, by the heart's unwavering might, In the name of love, in the name of fate, Create for him an unseen gate." As Dilaram continued her chant, the magic came to life. It created a shimmering tunnel amidst the swampy underbrush. Prince Assad, still embroiled in combat, continued to face the soldiers with unwavering determination. His every strike was a testament to his prowess as a skilled warrior. Dilaram's incantation worked like a silent, invisible wind. It pulled Prince Assad away from the battlefield and into the concealed tunnel she had created. The soldiers, bewildered by his sudden disappearance, exchanged confused glances, their swords raised and ready. Within the concealed tunnel, Prince Assad was transported to safety, away from the immediate danger of the soldiers' blades. As he stepped into this mystical passage, the world around him shifted, and he found himself hidden from view. Dilaram's work was not done yet. Her incantation had created the gate, and now she whispered another set of words: "Through the veil of night, beyond the soldiers' sight, Guide him to where he'll be free, under the moon's decree." This incantation was designed to lead Prince Assad to a safe location, away from the soldiers' pursuit. It was as if the night itself had become his protector, guiding him to a place where he could regroup and remain hidden. With her final words, the portal shimmered and then vanished, leaving no trace of its existence. Dilaram, her heart heavy with concern for Prince Assad, disappeared inside the puddle, from where she had initiated the spell. She knew that the fate of both Prince Assad and Princess Mehjabeen hung in the balance, and the path they would choose was a destiny intertwined with the enigmatic realm of Tilsim Hoshruba.

So what has brought you to this point in your life? Have you chosen this life you lead, these consequences? What forces shaped you, perhaps diverted you, wounded and distorted you; what forces perhaps supported you, and are still at work within you, whether you acknowledge them or not? The one question none of us can answer is: of what are we unconscious? But that which is unconscious has great power in our lives, may currently be making choices for us, and most certainly has been implicitly constructing the patterns of our personal history. No one awakens in the morning, looks in the mirror, and says, “I think I will repeat my mistakes today,” or “I expect that today I will do something really stupid, repetitive, regressive, and against my best interests.” But, frequently, this replication of history is precisely what we do, because we are unaware of the silent presence of those programmed energies, the core ideas we have acquired, internalized, and surrendered to. As Shakespeare observed in Twelfth Night, no prisons are more confining than those we know not we are in.

We reflect each other as mirrors do, but there is no need to look at mirrors that distort our reflection.

Exploring any tormented parental past—a process through which, as if trapped in a maze of distorting mirrors, we often confront our own past sorrows, our own sins and dreadful choices—can be a painful, even dangerous form of seeking information.

MY LOVE, The day Prometheus breathed life into the new me, was the day you arrived in a little box. A shiny, futuristic black box, Pandora's box, despite my doubts I couldn't help but open it to finally meet you. Doubts, because I was happy with who I was, with who I saw looking at me through the eyes of others I presented myself to in everyday life. But I was seduced by the worlds that were promised to me if I let you into my life, who I would be with you in my pocket. As soon as the lid came off and I swiped my fingers over your radiant surface for the first time, the world and I were bursting at the seams. What a creation we were together, to what sized we grew! My brain an encyclopedia, my body an unerring compass, my eyes and ears reaching infinitely with you as an extension of myself. Through you, I, the cyborg, could enter bewilderingly virtual spaces in which I was presently absent, meanwhile absently present in the material world of boring train rides, waiting lines, and mindless chit chats with others. I felt invincible, transformed into a citizen of the world because of you, an intellectual of unimaginable proportions for the vast sea of knowledge you allowed me to surf on, a public speaker and influencer of significance because my words and visual snippets of my days could be launched into the world with the flick of a finger, likes enticing and confirming me. How intoxicating! How wonderfully, pleasantly, intoxicating! But I can't help but sometimes lie awake at night, my internal clock slowing down with your seductive blue light illuminating my face with 2, 457, 600 (1920×1080) LED suns. In those moments, as my eyes are captivated by your glow, I can't help thinking about the time before you arrived, and how I sometimes miss my low definition self. You were always there, sometimes it feels like we are in fact one — finally reunited with my other Plato's half, fused into not a circle but a perfect black rectangle. Through your eyes I see the world and myself in Ultra-HD, my pixel density has never been so high. But you are sometimes vicious, my dear — a viper, a temptress, when then again with sweet codes you reflect my most beautiful self, and I cannot help but love me through your gaze, then again with suffocating algorithms you fragment my self and blow it up to grotesque self-distortions, hurling me into an endless me-loop, that eventually disgusts and alienates me. In those moments you are a distorting mirror, a frightening black box, a black hole that swallows my attention in ways I can't see through. I see my old self disappearing in the vague, dark reflection of myself, with double chin and dull eyes, which I sometimes catch in your black glass when your suns stop dazzling me for a split second. And I can't help but wonder if my 'self' in times of its digital recombination, in which the 'I' is a fragmented multitude of pixels that never fully touch at their sides, a simulacrum, maybe has lost some of its aura. But in the morning all is forgotten, my love, all is well. As soon as we merge back into one, as soon as I, panicked, reach for my pocket on the train, only to discover with a glow of relief that you were there after all, I can't imagine an "I" without you. Artificial by nature my self resides within your screen, I would be lost without you.

But the unsettling logic was that he turned fact and fiction upside down, creating a topsy-turvy world in which no one could know who (or what) was play-acting. A corrupt autocracy was all smoke and distorting mirrors. Or, as his Roman biographer summed up, Elagabalus had ‘a fake life’. The magnifying lens of these stories helps us to see clearly the anxieties that surrounded imperial rule at Rome. It was more than the capacity to kill. The power of the emperor stopped at nothing. It warped the senses, and it thrived in malevolent chaos.

We can see a mirror, and it’s doing its best—but that is not your face, just an image of it, reversed and distorted […] We need other people to see our own faces—to bear witness to their beauty and truth. God has made it so that I can never truly know myself apart from another person. I cannot trust myself to describe the curve of my nose because I've never seen it. I want someone to bear witness to my face, that we could behold the image of God in one another and believe it on one another's behalf. Audre Lorde said, "Without community there is no liberation." There is no promised land without a multitude. You think you can get there alone, and maybe by some rare chance you do. But what will become of the promise when it is collapsed by loneliness? Who is going to drink all that milk and honey with you? Look down in the cool, running stream. You cannot see yourself.

for Enoch, and for apocalyptic writers generally, there are not two worlds but one: or rather the whole of reality is split into matching pairs (rather like the biological theory of DNA) in which one half, the lower, is the mirror image (albeit in this case a distorting mirror) of the higher. That is why a revelation of what is above is not just relevant or related to what happens or is about to happen on earth: rather what happens on earth is a re-enactment in earthly terms of what has happened in heaven: a correspondence!

Aristotle rejected Plato’s idea of art as a distorting mirror of reality. Instead he analysed art in terms of its ability to engender emotion – especially emotions of pleasure and pain.

Everyone knows this fairy tale: "Mirror, mirror on the wall, who is the fairest of them all?" "Why, you are, of course." In the corner of their hearts, everyone is looking for a magic mirror. If there was a mirror that would reflect the image of them as they fervently wished to be, surely everyone would treasure such a mirror for as long as they lived. On the other hand, there are mirrors that don't do that, such as concave mirrors and convex mirrors. For a long time there have been two full-length fun-house mirrors on the observation deck of the Tsūtenkaku tower in Osaka. For people from other parts of Japan who are not familiar with Osaka's fun-loving and idiosyncratic culture, why such things are in that particular place is a complete mystery; but in any case, it is amusing to play with them. When you stand in front of the concave mirror, you appear stretched out as though you are being pulled up and down by your head and your toes—as though you have been transformed into a toothpick. In front of the convex mirror it is the reverse: you look short and fat as though you have been squashed in a mechanical press. Unsightly and with short legs, you look like a comic book character. Tourists look at their distorted appearances and laugh. But how can they laugh at such warped reflections? Is it because they can relax knowing that they could not possibly look like the twisted images in the mirror? People do not believe they really look like the grossly distorted images in fun-house mirrors, so they laugh them off. However, when a magic mirror reflects an image distorted in a beautiful way, people want to think: yes indeed, this is how I really look. All of you astute readers should understand by now. The image reflected in the mirror that I am talking about in this book is the image of Japan drawn by foreigners. However, this brings up a question. What kind of a distorted image would a Japanese accept as being him or herself? What sort of a distorted image would he or she laugh off? Where exactly is the boundary between the two?

I force myself to meet my own eyes in the mirror. I force myself to see the person across from me. She is wrecked and wretched and distorted. She has been pulled apart.

Photos, mirrors, & scales—three notorious tricksters in the world of perception. They have a knack for distorting reality and making us question our worth. But here's the truth: beauty isn't defined by pixels, reflections, or numbers. It's an essence that radiates from within. So, next time you catch yourself falling victim to their deceitful charms, remember: you're a masterpiece, flaws and all. Embrace your uniqueness & imperfections, because they're what make you beautifully, you.

every self-deception was multiplied as in a hall of distorting mirrors, becoming a repeatedly confirmed picture of a fantastical dream world which no longer bore any relationship to the grim outside world.

Foundation Number One was a world of physical scientists. It represented a concentration of the dying science of the Galaxy under the conditions necessary to make it live again. No psychologists were included. It was a peculiar distortion, and must have had a purpose. The usual explanation was that Seldon’s psychohistory worked best where the individual working units—human beings—had no knowledge of what was coming, and could therefore react naturally to all situations. Do you follow me, my dear—” “Yes, Doctor.” “Then listen carefully. Foundation Number Two was a world of mental scientists. It was the mirror image of our world. Psychology, not physics, was king.” Triumphantly. “You see?” “I don’t.” “But think, Bayta, use your head. Hari Seldon knew that his psychohistory could predict only probabilities, and not certainties. There was always a margin of error, and as time passed that margin increases in geometric progression. Seldon would naturally guard as well as he could against it. Our Foundation was scientifically vigorous. It could conquer armies and weapons. It could pit force against force. But what of the mental attack of a mutant such as the Mule?” “That would be for the psychologists of the Second Foundation!” Bayta felt excitement rising within her. “Yes, yes, yes! Certainly!” “But they have done nothing so far.” “How do you know they haven’t?” Bayta considered that, “I don’t. Do you have evidence that they have?” “No. There are many factors I know nothing of. The Second Foundation could not have been established full-grown, any more than we were. We developed slowly and grew in strength; they must have also. The stars know at what stage their strength is now. Are they strong enough to fight the Mule? Are they aware of the danger in the first place? Have they capable leaders?” “But if they follow Seldon’s plan, then the Mule must be beaten by the Second Foundation.

Interestingly, mirrors not only encourage a deceptive self-focus but the very images they produce are themselves deceptive. The image you see in the mirror is actually a distorted representation of what you actually look like and who you are. Your mirror image is only one-half your actual size, and may be, as warned by Isaiah, an “image that is profitable for nothing” (Isaiah 44:10). The halving effect of mirrors may well be instructive in terms of representing only half of your being—in representing metaphorically only the temporal but not the spiritual. Mirrors cannot tell us much about ourselves.

I am not believing in mirrors; sometimes, it shows distorted images.

He stood paralyzed with panic. Whatinhell was it? He stared at a flashing belt buckle, then tilted his head back, straining his neck. The freaking thing was eight feet tall. The enormous body radiated power that he could feel almost like a wave of heat, and the face—the face was a nightmare. Tawny yellow eyes, like a wolf’s, a distorted, outslung mouth with fangs, dammit, long white canines locked over the edges of the carmine lips. The huge hands had claws, thick, powerful, razor-edged—enameled with carmine polish . . . What? His gaze traveled back up to the monster’s face. The eyes were outlined with shadow and gold tint, echoed by a little gold spangle glued decoratively to one high cheekbone. The mahogany-colored hair was drawn back in an elaborate braid. The belt was cinched in tightly, emphasizing a figure of sorts despite the

We were made to be mirrors perfectly reflecting God's goodness, but with sin that mirror fractured and the reflection is distorted.

I experience Mormondom to be a warm and beautiful and well-appointed home in which you suddenly find you're in a Patriarchy Funhouse that features crazy, rippling distortion mirrors built to magnify maleness and diminish femaleness. It's males who sit in the seats of authority, from God in his heaven on down to the leadership in Salt Lake City and out to every spot on the globe where Mormons congregate. It's males we pray to and pray through. It's males that preside at the pulpit. It's males that pray over and pass the sacrament, the tokens of the Lord's supper, and officiate in all other ordinances. It's males (nearly always) whose portriats hang on the walls of our chapels and whose faces appear on the covers of our class manuals. It's males who pronounce every doctrine and policy from church headquarters. It's males we read about in most of the Old Testament, and in ninety-nine percent of the Book of Mormon. (Thank you, Jesus of the New Testament, for being such a radical revolutionary, violating tradition, speaking of and to women, treating them as fully human.)

In the carnival hall of mirrors which is our memory, we distort what we see. In Ernie's mirror image of me, I am magnified, elongated into a girl who led him on, the object of his great, unhappy, unfulfilled love. While he, in the equal if opposite distortion of my mind's mirror, is reduced to a squat manikin from my past, a dull stranger, remembered only for his minor quirks.

Nationalism is a distorting mirror in which believers see their simple ethnic, religious, or territorial attributes transformed into glorious attributes and qualities.

Human life was reduced to slavery and the soul-ruled earthly realm through Adam’s fall but is now awakened to lordship in the heavenly realm of spiritual realities through the knowledge of our co-resurrection with Christ. ([See Col 3:1-11.] We theologically created the idea of man being “sinful by nature” as if humans are flawed by design. In fact it is a distorted mind-set that we inherited from Adam that Jesus had to free us from. “Your indifferent mind-set alienated you from God into a lifestyle of annoyances, hardships, and labors, sponsored by the law of sin and death that lodged in your bodies hosting a foreign influence, foreign to your design; just like a virus that would attach itself to a person.” Col 1:21  There is nothing wrong with our design or salvation, we were thinking wrong. [See Isa 55:8-11, Eph 4:17, 18 and also Eph 2:1-11.])

Depression is a funhouse, with suicidal ideation the wavy, distorting mirrors that have you trapped and stumbling from corner to corner in that box on the midway. You don’t think clearly, and the first thing to disappear is your sense of worth. You believe you don’t matter. You believe you’d be better off dead. When someone dies by their own hand, those left behind spin in wonder: Didn’t they know how loved they were? How valued? How much of a smoking crater they left behind by dying? Well, no, they don’t. When you’re in the funhouse of depression, the opposite becomes true. A deep, pervasive sense of worthlessness seeps across everything like a spreading stain. You fixate on the burden of your incapacity, how messed up and heavy you are, and there’s no talking yourself out of it. You can’t pull yourself up by your bootstraps because you don’t have bootstraps. You don’t even have boots. You’re treading barefoot over broken glass, day after day, exhausted and sick of the pain. You can’t seem to get it right, and you imagine how things would go much better, people would do so much better, if you weren’t around to drag them down. You’d be doing everyone a favor, really. That’s how dangerous depression can be. Not only do you believe you’d be better off dead, but also that everyone else would be relieved by your absence. Good riddance to bad rubbish.

Ultimately, the dark net is nothing more than a mirror of society. Distorted, magnified, and mutated by the strange and unnatural conditions of life online—but still recognizably us.

The mind must be passive and in some sense featureless so as not to distort what comes into it. If it interferes with its input, then, in a metaphor that permeates discussions of realism, the consequence is that (in Francis Bacon’s words) “the human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it

The child is tricked into the ego-feeling by the attitudes, words, and actions of the society which surrounds him - his parents, relatives, teachers, and, above all, his similarly hoodwinked peers. Other people teach us who we are. Their attitudes to us are the mirror in which we learn to see ourselves, but the mirror is distorted. We are, perhaps, rather dimly aware of the immense power of our social environment. We seldom realize, for example, that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images which we did not invent, but which were given to us by our society. We copy emotional reactions from our parents, learning from them that excrement is supposed to have a disgusting smell and that vomiting is supposed to be an unpleasant sensation. The dread of death is also learned from their anxieties about sickness and from their attitudes to funerals and corpses. Our social environment has this power just because we do not exist apart from a society. Society is our extended mind and body.

in the midst of a people who have forgotten their true sonship and whose lives have become distorted and perverse. (In this verse Paul quotes Deut 32:5 from the Greek Septuagint translation of the Hebrew text, with reference to Deut 32:4,5 &18. In context God’s perfect workmanship as Father of mankind is forgotten; people have become “crooked and perverse” twisted and distorted out of their true pattern of sonship. Deut 32:18 says, you have forgotten the Rock that begot you and have gotten out of step with the God

41. The idols of the tribe have their foundation in human nature itself, and in the tribe or race of men. For it is a false assertion that the sense of man is the measure of things. On the contrary, all perceptions both of the sense and of the mind are according to the measure of the individual, and not according to the measure of the universe. And the human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it. 42. The idols of the cave are the idols of the individual man. For every one (besides the errors common to human nature in general) has a cave or den of his own, which refracts and discolors the light of nature, owing either to his own proper and peculiar nature; or to his education and conversation with others; or to the reading of books and the authority of those whom he esteems and admires; or to the differences of impressions, accordingly as they take place in a mind preoccupied and predisposed or in a mind indifferent and settled; or the like. So that the spirit of man (according as it is meted out to different individuals) is in fact a thing variable and full of perturbation, and governed as it were by chance.

Many tribes, for instance, have mythical accounts of the origin of the various races (echoing the way Europeans mythologized ‘the Indian’ in terms of Western cosmology) which hold up a surprising distorting mirror to Euro-American culture. A Tohono O’odham (Papago) story describes how, long ago, the hero I’itoi brought the victims of a giant killer-eagle back to life. Those who had been dead the longest and were most decayed and pallid, he turned into white people. Because they had been dead so long that they had forgotten everything they once knew, I’itoi gave them the power of writing to help them record and remember. Clearly, from a Tohono O’odham point of view, literacy is a kind of crutch: far from being an emblem of cultural superiority, it is evidence that Europeans are lost, ignorant and detached from a knowledge of themselves.

until the conversation is directed toward those who engage in behaviors similar or identical to those of trolls, until sensationalist, exploitative media practices are no longer rewarded with page views and ad revenue—in short, until the mainstream is willing to step in front of the funhouse mirror and consider the contours of its own distorted reflection—the most aggressive forms of trolling will always have an outlet, and an audience. And so long as it does, these behaviors will implicate far more people than the trolls themselves. They will also, and just as damningly, implicate those who pick and choose when to affect outrage and when to shrug noncommittally. Or worse, when to sit back and chuckle cynically.

The faction opposed to researching lightspeed vessels felt this way for political reasons. They believed that human civilization had suffered many trials before reaching a nearly ideal democratic society, but once humanity headed for space, it would inevitably regress socially. Space was like a distorting mirror that magnified the dark side of humanity to the maximum. A line from one of the Bronze Age defendants, Sebastian Schneider, became their slogan: When humans are lost in space, it takes only five minutes to reach totalitarianism. For a democratic, civilized Earth to scatter innumerable seeds of totalitarianism among the Milky Way was a prospect that these people found intolerable. The

FRIEND/ENEMY CENTEREDNESS. Young people are particularly, though certainly not exclusively, susceptible to becoming friend-centered. Acceptance and belonging to a peer group can become almost supremely important. The distorted and ever-changing social mirror becomes the source for the four life-support factors, creating a high degree of dependence on the fluctuating moods, feelings, attitudes, and behavior of others. Friend

During the interim, no matter how much agony the man may feel, he also experiences excitement, the excitement of learning how to cope with a closed society that reflects free society as a funhouse mirror reflects the human form: everything is there, but distorted.

but the head was turned at a sharp angle. Pulled to the left. As though her neck had been broken. It could have come from anything—a distortion in the wall, a quirk of the bulb behind her. Margot raised her hand, watching its mirror flit across the surfaces until it was at the same height as her head. It did not distort. I don’t understand. She tried turning her head to the right, seeing if she could correct the angle enough to get the shadow’s head to stand upright. For a second, it seemed to work. The head rose on the violently twisted neck, reaching a point where it was nearly straight, and then it twisted over, dropping to the other side. Something protruded from the edge of the shadow’s neck. A broken bone through skin.

the illusion of understanding, or how everyone thinks he knows what is going on in a world that is more complicated (or random) than they realize; the retrospective distortion, or how we can assess matters only after the fact, as if they were in a rearview mirror (history seems clearer and more organized in history books than in empirical reality); and the overvaluation of factual information and the handicap of authoritative and learned people, particularly when they create categories—when they “Platonify.

Each type of pathology produces its own confusion and its own distorted version of loving and giving. The borderline patient defines love as a relationship with a partner who will offer approval and support for regressive behavior, usually in the form of taking responsibility for the borderline. The narcissist defines love as the ability of someone else to admire and adore him, and to provide perfect mirroring. To extend this perspective further, the schizophrenic would seek a lover who could enter his psychotic world and form a symbiotic relationship based on the patient’s psychosis. Psychopaths seek partners who respond to their manipulations and provide them with gratification. The schizoid—a disorder caused by the lack of support in the early years of childhood akin to that experienced by borderline and narcissistic patients—finds love in an internal, autistic fantasy.

No one recognizes their faults or their virtues when these are stated by another, any more than they recognize their own voices on a tape recorder. The world transmits back to us only the asymmetric form of our vices, as a mirror reflects back the asymmetric form of our faces. There is a pact of pride in a couple's love, a pact of glory, which is at least as fundamental as sexual feelings. These latter peter out silently in the two bodies, but the pact can only be broken by the spoken word. If you say, I love you, then you have already fallen in love with language, which is already a form of breakup and infidelity.

Like a clear, still pool without ripples, mindfulness mirrors what’s occurring without distortion so that we can gain perspective on ourselves and our lives. We can then wisely determine the best course of action to help ourselves. It takes courage to turn toward our pain and acknowledge it, but this act of courage is essential if our hearts are to open in response to suffering. We can’t heal what we can’t feel.

Le Corbusier made architecture seem easy. His mind was focused. His lines are fecund and lean. His circles weave tabular cones of early morning facial grimaces. His buildings are magnificent. My spirit revolts positively whenever I muse over the masterpieces he left behind. He held his breath on rotund glimpses that stretched out in mirrors so sopping that they simply diffuse distortions. He truly was the architect of his own breathtaking designs. Impeccably talented.

One way to understand what it means to restructure our relationship to the world is to foreground the fact that how we fantasmatically conceptualize the world—what Lacan describes as our imaginary relationship to the world—may not have a whole lot to do with how the world actually is. This implies that if we are to begin to live in the world in more creative and ethically responsible ways, we need to learn to recognize the world as separate from our fantasies; we need to learn to respect the integrity of the world apart from our projections and unconscious distortions. In concrete terms, this might mean that we need to learn to treat other human beings as entities that have identities, desires, opinions, and patterns of being that are entirely independent of us. This in turn requires that we tolerate a degree of separation from others—that we recognize that others possess the kind of poignant singularity that has nothing whatsoever to do with our needs, wishes, or fantasized fulfillment. As a matter of fact, it may well be that it is only insofar as we internalize this insight that we become capable of genuine relationships—relationships that do not endeavor to consume the other or to reduce it to a narcissistic mirror for the self but that, rather, allow the other to persist as an autonomous entity.

One way to understand what it means to restructure our relationship to the world is to foreground the fact that how we fantasmatically conceptualize the world—what Lacan describes as our imaginary relationship to the world—may not have a whole lot to do with how the world actually is. This implies that if we are to begin to live in the world in more creative and ethically responsible ways, we need to learn to recognize the world as separate from our fantasies; we need to learn to respect the integrity of the world apart from our projections and unconscious distortions. In concrete terms, this might mean that we need to learn to treat other human beings as entities that have identities, desires, opinions, and patterns of being that are entirely independent of us. This in turn requires that we tolerate a degree of separation from others—that we recognize that others possess the kind of poignant singularity that has nothing whatsoever to do with our needs, wishes, or fantasized fulfillment. As a matter of fact, it may well be that it is only insofar as we internalize this insight that we become capable of genuine relationships—relationships that do not endeavor to consume the other or to reduce it to a narcissistic mirror for the self but that, rather, allow the other to persist as an autonomous entity.

The past is like a broken mirror— you don’t remember but fleeting glimpses of it, sparse moments over many years, all combined in that distorted and fragmented picture. Whenever you try to gather the fragments of the past, it hurts your soul, just as shards of broken glass hurt your fingertips while trying to collect them from the ground.

They might be different species, but it was easy enough to see your own kind in a mirror, however great the distortion.

Our mind is like a mirror in which the ideas floating in the Universal Mind are reflected, comparable to a tranquil lake in which you may see the true images of the passing clouds. If the lake’s surface is disturbed, the images become distorted. If the water becomes muddy, the reflections cease altogether. Likewise, if the mind is in a tranquil state and clear of foreign elements, the person will reflect on the grandest and noblest ideas existing within the world of the mind.

Before there was a Human Mind System, there was the Sovereign Integral. The HMS is the most opaque and distorted veil that has stood between humanity and its true self, perverting its self-expression within the domains we call reality. The Human Mind System is separated into three primary functional mechanisms: The unconscious or genetic mind, the subconscious, and the conscious. These three components intermingle to form what most people term consciousness. The unconscious, genetic mind is the repository of all humanity; the subconscious is the repository of the family bloodlines; and the conscious mind is the repository of the individual. However, and this is important to understand, the foundational patterns of thought are primarily from the subconscious and genetic mind structures of consciousness. Thus, while the individual believes themselves to be individual, unique, separate, and one-of-a-kind, in reality they are not. Not in the context of HMS. You can conceptualize yourself as a copy of the human family folded inside a copy of your parents and bloodlines, placed into an individualized expression: you. The “You” is an HMS particularized into one expression, but its roots are entirely planted in the soil of humanity and parental lineage, all of which is downloaded into the developing fetus before birth. This is precisely why, after ten thousand generations, we continue to operate in the same patterns of greed, separation, and self-destruction. The image in the mirror is upgraded with better “clothing” and more sophisticated masks, but underneath, the image remains the same feelings, the same thoughts, and the same behaviors. Social and cultural engineering via the entertainment and educational systems conspire to entrain the individual during their developmental years (3-14 years old), activating the programs and subsystems of the HMS to ensure that the individual is properly prepared to conform to the reality matrix of their time and place. Even those who are non-conformists, who fancy themselves “outside the box”, are well within the perimeter of the HMS.

Your reality is not gone, but the image of it is not with you anymore. I will be your mirror of reality; try to see me. I will guide you through this; try to hear me. You don’t know if you can make a better world for yourself, but often does your world makes itself.

Other people teach us who we are. Their attitudes to us are the mirror in which we learn to see ourselves, but the mirror is distorted. We are, perhaps, rather dimly aware of the immense power of our social environment. We seldom realize, for example, that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images which we did not invent, but which were given to us by our society. We copy emotional reactions from our parents, learning from them that excrement is supposed to have a disgusting smell and that vomiting is supposed to be an unpleasant sensation. The dread of death is also learned from their anxieties about sickness and from their attitudes to funerals and corpses. Our social environment has this power just because we do not exist apart from a society. Society is our extended mind and body.

In normal circumstances people who turn their backs on reality are soon set straight by the mockery and criticism of those around them… In the Third Reich there were no such correctives, especially for those who belonged to the upper stratum. On the contrary, every self-deception was multiplied as in a hall of distorting mirrors, becoming a repeatedly confirmed picture of a fantastical dream world, which no longer bore any relationship to the grim outside world. In those mirrors I could see nothing but my own face reproduced many times over.

Before I fell asleep, I looked at my face in the mirror, I saw that my face looked broken, faint and lifeless, it was so faded that I did not recognize myself—I got into bed, pulled the quilt over my head, turned, faced the wall, curled up my legs, closed my eyes and continued where I had left off with my thoughts—those threads that made up my dark, depressing, horrific and intoxicating destiny—that place where life intertwines with death and distorted images are born—long-extinguished and bygone desires, strangled and buried desires again come to life and scream revenge—At this time I was torn from nature and the illusory world, and was willing to be destroyed and obliterated in the current of eternity—Several times I whispered to myself, “Death . . . death . .

I imagine what it must feel like to try to exist less and less. Why keep looking in a mirror that shows you only a distortion of yourself? To avoid the pain or being sent the wrong way, one might hope not to be seen at all. And start to disappear.

What is the wisest choice for a personal life goal? Should a person seek self-actualization or self-realization? Perhaps neither goal is a realistic objective, especially if human beings lack free will. What I do know is that there is dark pit so deep inside myself that I must fill it. I can pad this black hole with dread or pleasure, booze or drugs, religion or vice, action or indolence, love or hatred. Alternatively, I can fill bleakness and emptiness by increasing self-awareness and ascertain my role in the world. With limited energy resources and lack of mental acuity, I might never attain a plane of higher consciousness. I fear remaining forever blocked in a state of psychological deadlock, forevermore exhibiting prolonged mental, emotional, and behavioral disorders and plagued by psychogenic abnormalities brought about from social rejection, grief, vocational lapses, and economic and marital setbacks. In a state of mental incapacity, I might lack the ability to blunt immediate personal destruction. I need to begin a journey that leads to a higher state of awareness, and personal survival depends upon how much progress I achieve purging my mind of falsities and other toxic impurities. While personal survival necessities moving forward in order to discover a mental state of silent stasis and reach the desired endpoint of emotional equanimity, perhaps I will never achieve a mirror-like purity of the mind that is capable of reflecting the world as it really is, without distortion by a corrupted mind.

Every day, I saw this new distorted reflection of myself, and everyday, I despised it a little more than the day before. It was uncanny and delusional, my reflection, and I felt this urge to change everything about myself. 'What is happening to me', was a question that remained unanswered for a great amount of time because I was as unaware about it as every other person around me.

The problem is that White students tend to have far too few windows and far too many mirrors. What’s more, even the mirrors White students have, like funhouse mirrors, often provide them with a distorted view of themselves in relationship with others.

As the seventeenth-century French philosopher Montaigne once said, “My life has been filled with terrible misfortune, most of which never happened.” Mindfulness brings us back to the present moment and provides the type of balanced awareness that forms the foundation of self-compassion. Like a clear, still pool without ripples, mindfulness perfectly mirrors what’s occurring without distortion. Rather than becoming lost in our own personal soap opera, mindfulness allows us to view our situation with greater perspective and helps to ensure that we don’t suffer unnecessarily.