Dome Best Quotes

What about the lame, the sick and the destitute?” Is an often-voiced question. Most other countries in the world have attempted to use the power of government to meet this need. Yet, in every case, the improvement has been marginal at best and has resulted in the long run creating more misery, more poverty, and certainly less freedom than when government first stepped in. Most of the major ills of the world have been caused by well-meaning people who ignored the principle of individual freedom, except as applied to themselves, and were obsessed with fanatical zeal to improve the lot of man kind-in-the-mass through some pet formula of their own… The harm dome by ordinary criminals, murderers, gangsters, and thieves is negligible in comparison with the agony inflicted upon human beings by the professional ‘do-gooder,’ who attempt to set themselves up as gods on earth and who would ruthlessly force their views on all others—with the abiding assurance that the end justifies the means.”(The Proper Role of Government, Ezra T. Benson)

The bad psychological material is not a sin but a disease. It does not need to be repented of, but to be cured. And by the way, that is very important. Human beings judge one another by their external actions. God judges them by their moral choices. When a neurotic who has a pathological horror of cats forces himself to pick up a cat for some good reason, it is quite possible that in God's eyes he has shown more courage than a healthy man may have shown in winning the V.C. When a man who has been perverted from his youth and taught that cruelty is the right thing does dome tiny little kindness, or refrains from some cruelty he might have committed, and thereby, perhaps, risks being sneered at by his companions, he may, in God's eyes, be doing more than you and I would do if we gave up life itself for a friend. It is as well to put this the other way round. Some of us who seem quite nice people may, in fact, have made so little use of a good heredity and good upbringing that we are really worse than those whom we regard as fiends. Can we be quite certain how we should have behaved if we had been saddled with the psychological outfit, and then with the bad upbringing, and then with the power, say, of Himmler? That is why Christians are told not to judge. We see only the results which a man's choices make out of his raw material. But God does not judge him on the raw material at all, but on what he has done with it. Most of the man's psychological makeup is probably due to his body: when his body dies all that will fall off him, and the real central man, the thing that chose, that made the best or worst out of this material, will stand naked. All sorts of nice things which we thought our own, but which were really due to a good digestion, will fall off some of us: all sorts of nasty things which were due to complexes or bad health will fall off others. We shall then, for the first time, see every one as he really was. There will be surprises.

When I walk into [the studio] I am alone, but I am alone with my body, ambition, ideas, passions, needs, memories, goals, prejudices, distractions, fears. These ten items are at the heart of who I am. Whatever I am going to create will be a reflection of how these have shaped my life, and how I've learned to channel my experiences into them. The last two -- distractions and fears -- are the dangerous ones. They're the habitual demons that invade the launch of any project. No one starts a creative endeavor without a certain amount of fear; the key is to learn how to keep free-floating fears from paralyzing you before you've begun. When I feel that sense of dread, I try to make it as specific as possible. Let me tell you my five big fears: 1. People will laugh at me. 2. Someone has done it before. 3. I have nothing to say. 4. I will upset someone I love. 5. Once executed, the idea will never be as good as it is in my mind. "There are mighty demons, but they're hardly unique to me. You probably share some. If I let them, they'll shut down my impulses ('No, you can't do that') and perhaps turn off the spigots of creativity altogether. So I combat my fears with a staring-down ritual, like a boxer looking his opponent right in the eye before a bout. 1. People will laugh at me? Not the people I respect; they haven't yet, and they're not going to start now.... 2. Someone has done it before? Honey, it's all been done before. Nothing's original. Not Homer or Shakespeare and certainly not you. Get over yourself. 3. I have nothing to say? An irrelevant fear. We all have something to say. 4. I will upset someone I love? A serious worry that is not easily exorcised or stared down because you never know how loved ones will respond to your creation. The best you can do is remind yourself that you're a good person with good intentions. You're trying to create unity, not discord. 5. Once executed, the idea will never be as good as it is in my mind? Toughen up. Leon Battista Alberti, the 15th century architectural theorist, said, 'Errors accumulate in the sketch and compound in the model.' But better an imperfect dome in Florence than cathedrals in the clouds.

Just as when we step into a mosque and its high open dome leads our minds up, up, to greater things, so a great carpet seeks to do the same under the feet. Such a carpet directs us to the magnificence of the infinite, veiled, yet never near, closer than the pulse of jugular, the sunburst that explodes at the center of a carpet signals this boundless radiance. Flowers and trees evoke the pleasures of paradise, and there is always a spot at the center of the carpet that brings calm to the heart. A single white lotus flower floats in a turquoise pool, and in this tiniest of details, there it is: a call to the best within, summoning us to the joy of union. In carpets, I now saw not just intricacies of nature and color, not just mastery of space, but a sign of the infinite design. In each pattern lay the work of a weaver of the world, complete and whole; and in each knot of daily existence lay mine.

It was the best omelet Adrienne had ever eaten. Perfectly cooked so that the eggs were soft and buttery. Filled with sautéed onions and mushrooms and melted Camembert cheese. There were three roasted cherry tomatoes on the plate, skins splitting, oozing juice. Nutty wheat toast. Thatch had brought butter and jam to the table. The butter was served like a tiny cheesecake on a small pedestal under a glass dome. The jam was apricot, homemade, served from a Ball jar.

It was best not to ask too many questions of the Ferrets and Weasels of this world. There was less to deny when the headhunters put you on a polygraph.

It can't happen here, said even Doremus—even now. The one thing that most perplexed him was that there could be a dictator seemingly so different from the fervent Hitlers and gesticulating Fascists and the Cæsars with laurels round bald domes; a dictator with something of the earthy American sense of humor of a Mark Twain, a George Ade, a Will Rogers, an Artemus Ward. Windrip could be ever so funny about solemn jaw-drooping opponents, and about the best method of training what he called "a Siamese flea hound." Did that, puzzled Doremus, make him less or more dangerous?

Karelia is the best place to explore Finnish Orthodox customs. Onion-domed churches and traditional festivals give the place a different feel from the predominantly Lutheran rest of the country.

An astoundingly perfect black void sat where the sun had been, surrounded by a jagged white nimbus of light that nearly brought me to tears. This was the solar corona, the hot outer edges of the sun's atmosphere that drive a flood of particles into space and generate a phenomenon known as a stellar wind, a key property of how our sun and other stars evolve. I had studied this particular aspect of stars for almost my entire life, using a dozen of the best telescopes in the world, but this was the first time I could see a star's wind with my own naked-eye. Around us, the sky was a strangely uniform dome of sunsets in every direction, and the warmth of sunlight had been replaced by an almost primal up-the-neck chill. It felt like the planet itself had been put on pause at this particular place and moment in time, a frozen moment of "look.

Goodness gracious, Benny, why on earth would you hide this beautiful head of hair all the time?" He looks down sheepishly, sending a couple of dark curls tumbling over his forehead. The top of his head is covered in a thick layer of them, shiny and perfectly tousled in spite of his best efforts to crush them in a structured fabric dome day in and day out. The sides are cut short, which makes it harder to tell that he's hiding anything this gorgeous under those caps of his. "Maybe I thought it'd be too much for you to handle. I didn't even own a hat before this summer," he jokes with a sideways smirk. I bring my hands up and thread them both through his curls slowly before grabbing hold and pulling his head back to mine. Brushing his lips with mine, I say, "On second thought, you might've been onto something.

Nevertheless, Voltaire said of this city, that "before Louis XIV., it possessed but four fine monuments": the dome of the Sorbonne, the Val-de-Grâce, the modern Louvre, and I know not what the fourth was—the Luxembourg, perhaps. Fortunately, Voltaire was the author of "Candide" in spite of this, and in spite of this, he is, among all the men who have followed each other in the long series of humanity, the one who has best possessed the diabolical laugh. Moreover, this proves that one can be a fine genius, and yet understand nothing of an art to which one does not belong.

Have you ever been in a place where history becomes tangible? Where you stand motionless, feeling time and importance press around you, press into you? That was how I felt the first time I stood in the astronaut garden at OCA PNW. Is it still there? Do you know it? Every OCA campus had – has, please let it be has – one: a circular enclave, walled by smooth white stone that towered up and up until it abruptly cut off, definitive as the end of an atmosphere, making room for the sky above. Stretching up from the ground, standing in neat rows and with an equally neat carpet of microclover in between, were trees, one for every person who’d taken a trip off Earth on an OCA rocket. It didn’t matter where you from, where you trained, where your spacecraft launched. When someone went up, every OCA campus planted a sapling. The trees are an awesome sight, but bear in mind: the forest above is not the garden’s entry point. You enter from underground. I remember walking through a short tunnel and into a low-lit domed chamber that possessed nothing but a spiral staircase leading upward. The walls were made of thick glass, and behind it was the dense network you find below every forest. Roots interlocking like fingers, with gossamer fungus sprawled symbiotically between, allowing for the peaceful exchange of carbon and nutrients. Worms traversed roads of their own making. Pockets of water and pebbles decorated the scene. This is what a forest is, after all. Don’t believe the lie of individual trees, each a monument to its own self-made success. A forest is an interdependent community. Resources are shared, and life in isolation is a death sentence. As I stood contemplating the roots, a hidden timer triggered, and the lights faded out. My breath went with it. The glass was etched with some kind of luminescent colourant, invisible when the lights were on, but glowing boldly in the dark. I moved closer, and I saw names – thousands upon thousands of names, printed as small as possible. I understood what I was seeing without being told. The idea behind Open Cluster Astronautics was simple: citizen-funded spaceflight. Exploration for exploration’s sake. Apolitical, international, non-profit. Donations accepted from anyone, with no kickbacks or concessions or promises of anything beyond a fervent attempt to bring astronauts back from extinction. It began in a post thread kicked off in 2052, a literal moonshot by a collective of frustrated friends from all corners – former thinkers for big names gone bankrupt, starry-eyed academics who wanted to do more than teach the past, government bureau members whose governments no longer existed. If you want to do good science with clean money and clean hands, they argued, if you want to keep the fire burning even as flags and logos came down, if you understand that space exploration is best when it’s done in the name of the people, then the people are the ones who have to make it happen.

He closed his hand on the twenty kopecks, walked on for ten paces, and turned facing the Neva, looking towards the palace. The sky was cloudless and the water was almost bright blue, which is so rare in the Neva. The dome of the cathedral, which is seen at its best from the bridge about twenty paces from the chapel, glittered in the sunlight, and in the pure air every ornament on it could be clearly distinguished. The pain from the lash eased off, and Raskolnikov forgot about it; one uneasy and not quite definite idea now occupied him completely. He stood still, and gazed long and intently into the distance; this spot was especially familiar to him. When he was attending the university, he had hundreds of times—generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marveled at a vague and mysterious emotion it aroused in him. It left him strangely cold; for him, this gorgeous picture was blank and lifeless. He wondered every time at his somber and enigmatic impression and, mistrusting himself, put off finding an explanation for it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him . . . so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all . . . He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from every one and from everything at that moment.

Jackaby,” said Marlowe. “Marlowe,” said Jackaby. “Good morning, Mayor Spade.” Spade had doffed his jacket. It was draped over the back of his chair, and a coffee brown bow tie hung undone over his beige waistcoat. He had a full beard and a perfectly bald dome, and he wore a thick pair of spectacles. Spade was not an intimidating figure at his best, and today he looked like he was several rounds into a boxing match he had no aspirations of winning. He had seemed more vibrant the first time we met, and that had been at a funeral. “I haven’t been up here in years,” continued Jackaby. “You’ve done something with the front garden, haven’t you?” “Yes,” said Spade. “We’ve let it grow back. Mary still hasn’t forgiven you.” “Is that why she’s been avoiding me? Your eyebrows have filled in nicely, by the way, and you can tell your wife the roses look healthier than ever. I’m sure being rid of that nest of pesky brownies did wonders for the roots. I understand a little ash is good for the soil, too.” “I never saw any brownies, but there was certainly plenty of ash to go around,” Spade mumbled. “That fire spread so quickly we’re lucky we managed to snuff it out at all.” “You should try blowing up a dragon some time,” I said. “No, scratch that. That went terribly. I don’t recommend it.” “Impressive blast radius, though,” Jackaby confirmed. Mayor Spade looked from me to my employer and rubbed the bridge of his nose with one hand. “Good lord, one of you was quite enough. You had to recruit?

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

Would that the structure brave, the manifold music I build, Bidding my organ obey, calling its keys to their work, Claiming each slave of the sound, at a touch, as when Solomon willed Armies of angels that soar, legions of demons that lurk, Man, brute, reptile, fly,—alien of end and of aim, Adverse, each from the other heaven-high, hell-deep removed,— Should rush into sight at once as he named the ineffable Name, And pile him a palace straight, to pleasure the princess he loved! Would it might tarry like his, the beautiful building of mine, This which my keys in a crowd pressed and importuned to raise! Ah, one and all, how they helped, would dispart now and now combine, Zealous to hasten the work, heighten their master his praise! And one would bury his brow with a blind plunge down to hell, Burrow awhile and build, broad on the roots of things, Then up again swim into sight, having based me my palace well, Founded it, fearless of flame, flat on the nether springs. And another would mount and march, like the excellent minion he was, Ay, another and yet another, one crowd but with many a crest, Raising my rampired walls of gold as transparent as glass, Eager to do and die, yield each his place to the rest: For higher still and higher (as a runner tips with fire, When a great illumination surprises a festal night— Outlining round and round Rome's dome from space to spire) Up, the pinnacled glory reached, and the pride of my soul was in sight. In sight? Not half! for it seemed, it was certain, to match man's birth, Nature in turn conceived, obeying an impulse as I; And the emulous heaven yearned down, made effort to reach the earth, As the earth had done her best, in my passion, to scale the sky: Novel splendours burst forth, grew familiar and dwelt with mine, Not a point nor peak but found and fixed its wandering star; Meteor-moons, balls of blaze: and they did not pale nor pine, For earth had attained to heaven, there was no more near nor far. Nay more; for there wanted not who walked in the glare and glow, Presences plain in the place; or, fresh from the Protoplast, Furnished for ages to come, when a kindlier wind should blow, Lured now to begin and live, in a house to their liking at last; Or else the wonderful Dead who have passed through the body and gone, But were back once more to breathe in an old world worth their new: What never had been, was now; what was, as it shall be anon;

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The best surviving key to Rus greatness is Kiev’s Santa Sofia Cathedral, built in 1037 by one of the greatest Riurik princes, Prince Yaroslav the Wise. From the outside it looks much like any other baroque Ukrainian church, its original shallow Greek domes and brick walls long covered in gilt and plaster. But inside it breathes the splendid austerity of Byzantium.

A pair of waiters brought a feast to the hotel room and arranged it in the sitting area. They unfolded the hot cart into a table, draped it in white linen, and brought out silver-domed plates. By the time the wine was poured and all the dishes were uncovered, I was trembling with hunger. Luke, however, became fractious after I changed his diaper, and he howled every time I tried to set him down. Holding him against one shoulder, I contemplated the steaming grilled steak in front of me and wondered how I was going to manage with only one hand. “Let me,” Jack murmured, and came to my side of the table. He cut the steak into small, neat bites with such adroitness that I gave him a look of mock-alarm. “You certainly know how to handle a knife.” “I hunt whenever I get the chance.” Finishing the task, Jack set down the utensils and tucked a napkin into the neckline of my shirt. His knuckles brushed my skin, eliciting a shiver. “I can field-dress a deer in fifteen minutes,” he told me. “That’s impressive. Disgusting, but impressive.” He gave me an unrepentant grin as he returned to his side of the table. “If it makes you feel better, I eat anything I catch or kill.” “Thanks, but that doesn’t make me feel better in the least. Oh, I’m aware that meat doesn’t magically appear all nicely packaged in foam and cellophane at the grocery store. But I have to stay several steps removed from the process. I don’t think I could eat meat if I had to hunt the animal and . . .” “Skin and gut it?” “Yes. Let’s not talk about that right now.” I took a bite of the steak. Either it was the long period of deprivation, or the quality of the beef, or the skill of the chef . . . but that succulent, lightly smoked, melting-hot steak was the best thing I had ever tasted. I closed my eyes for a moment, my tonsils quivering. He laughed quietly at my expression. “Admit it, Ella. It’s not so bad being a carnivore.” I reached for a chunk of bread and dabbed it in soft yellow butter. “I’m not a carnivore, I’m an opportunistic omnivore.” -Jack & Ella

The best of Michaelangelo’s work on st Peter’s church would have been the dome itself but it was never completed during his lifetime and his plans were modified after his death by the architect Giacomo Della Porta. Later when we go inside I will tell you more about the church itself. Now in front of the church is the most beautiful, I think, architecture in the world, St Peter’s square. The Piazza Di San Pietro designed by Gianlorenzo Bernini. It was started in 1656 and completed in 1667. Now it’s called St Peter’s square but this is in fact wrong. It’s shape is not square but elliptical.

though her gaze kept tracking nervously to the blue sky framed by the dome, expecting any minute steeply banking wings there, fire or smoke. How could people turn on happiness like a tap, and pretend the world was a bright and shiny place when they knew it wasn’t at all?

Dear Reader, In Claudia and Crazy Peaches, we get to know Aunt Peaches better, and to see the special relationship Claudia has with her aunt. I have three aunts — Aunt Adele, Aunt Martha, and Aunt Merlena — and I have special memories of all of them. Aunt Martha is my father’s sister-in-law. She and Uncle Lyman used to give my sister and me the best presents. One Christmas, when we were very little, they gave us stockings with garters. They were meant for grown women, and we thought they were hysterical! Another year they gave my sister a red cuckoo clock, and they gave me a music box with two dancing figures under a glass dome. I still have the music box. Aunt Merlena, my mother’s sister-in-law, was my only aunt who lived nearby. And she loved arts and crafts as much as I did. We made puppets together once, she showed me how to make doll clothes, and one summer day she invited me over especially so that we could make my birthday party invitations together. Aunt Adele is my father’s sister, and we are extremely close. We talk on the phone a lot, and we share a love of sewing and needlework. We exchange patterns in the mail, we give each other sewing tips, but mostly we just enjoy talking. I’m very lucky to have three such wonderful aunts — maybe that’s where the idea for Claudia and her wonderful aunt came from. Happy reading,

She had done her best to dodge him, but this was the Hilton, not Cowboys Stadium—or whatever they called that behemoth of a dome up there in Arlington now.

When I told my Berkeley therapist that I was having panic attacks in the elevator of International House, he asked me why, as if they were voluntary. He cut me off before I could point the finger at childhood beatings, the Holocaust, or the Freudian saga of the dwarf cherry tree from Cooper’s Nursery that turned out to be full-size, outraging my mother, who had me lop the top off every fall. “Here’s why,” he said, tapping the eraser of his pencil against the dome of his conveniently shaven head, high above his eyes. “They’re called frontal lobes.” I laughed but he did not. It was a simple fact, he said, that the brain had evolved in stages and the parts fit together badly. Thinking caused anxiety the way walking upright caused backaches. Our ability to remember the past, imagine the future, and use language, all recent acquisitions, did not mesh well with ancient regions of the brain that had guarded us for eons, knew only the present, and did not distinguish between imaginary fears and real trouble. Fair enough, but why was it my frontal lobes’ fault if the primitive portion of my brain was too drunk on limbic moonshine to distinguish between real and imaginary monsters? Because, he told me, there is no difference between real and imaginary monsters, just as there is no difference between the past and the future: neither exists. Unless I wanted to spend the rest of my life on the elevator floor, I had better realize that the brain isn’t an intellectual, any more than the stomach is a gourmet. The brain is the body, and the body lives in the present, which is all there is.

Music is best played under the dome of heaven.

Cal,” I whispered. “I’ve been meaning to tell you- I mean, Darcy thinks I should. And Orion too actually, and Tory now I mention it. And anyway, well now might not be the best time, but-” The dome was suddenly ripped off of us and Lionel appeared with his claws wrapped around

In the central sphere of one of the domes there sparkled several of the peculiarly radiant globes whose counterpart had given Kinnison so seriously to think, and near them there crouched or huddled or lay at ease a many-tentacled creature indescribable to man. It was not exactly like an octopus. Though spiny, it did not resemble at all closely a sea-cucumber. Nor, although it was scaly and toothy and wingy, was it, save in the vaguest possible way, similar to a lizard, a sea serpent, or a vulture. Such a description by negatives is, of course, pitifully inadequate; but, unfortunately, it is the best that can be done.

By 1418 Filippo was probably best known for an experiment in linear perspective. This experiment must have been conducted in or before 1413, when Domenico da Prato refers to him as “the perspective expert, ingenious man, Filippo di Ser Brunellesco, remarkable for skill and fame.” It was one of the first of Filippo’s many innovations and a landmark in the history of painting.

Where the fuck is the universe? Well, you asked the right question, but I’m sorry to tell you that there is no universe in the Bible. Go stand on the eastern shore of the Mediterranean Sea. Draw a circle around you a couple thousand miles in diameter. That big flat circle is the biblical “earth.” Now, place the solid blue dome of the heaven (the sky) over this “earth” and you have the biblical “world.” The Bible thinks we live in a goddamned terrarium!

Buckminster Fuller, the discoverer/inventor of the geodesic dome, at age thirty-two contemplated suicide for a few hours one night at the edge of Lake Michigan, as the story goes, after a series of business failures that left him feeling he had made such a mess of his life that the best move would be for him to remove himself from the scene and make things simpler for his wife and daughter. Apparently everything he had touched or undertaken had turned to dust in spite of his incredible creativity and imagination, which were only recognized later. However, instead of ending his life, Fuller decided (perhaps because of his deep conviction in the underlying unity and order of the universe, of which he knew himself to be an integral part) to live from then on as if he had died that night. Being dead, he wouldn't have to worry about how things worked out any longer for himself personally and would be free to devote himself to living as a representative of the universe. The rest of his life would be a gift. Instead of living for himself, he would devote himself to asking, "what is it on this planet (which he referred to as Spaceship Earth) that needs doing that I know something about, that probably won't happen unless I take responsibility for it?

Hope for the best, prepare for the worst.