Dynamic Character Quotes

In the courageous standing of uncertainty, faith shows most visibly its dynamic character.

It's never too late to change what you are, it took me a long time to figure that out.

The gospel of justifying faith means that while Christians are, in themselves still sinful and sinning, yet in Christ, in God’s sight, they are accepted and righteous. So we can say that we are more wicked than we ever dared believe, but more loved and accepted in Christ than we ever dared hope — at the very same time. This creates a radical new dynamic for personal growth. It means that the more you see your own flaws and sins, the more precious, electrifying, and amazing God’s grace appears to you. But on the other hand, the more aware you are of God’s grace and acceptance in Christ, the more able you are to drop your denials and self-defenses and admit the true dimensions and character of your sin.

You must learn to be three people at once: writer, character, and reader.

Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic. So, stand aside, forget targets, let the characters, your fingers, body, blood, and heart do.

Because information is so accessible and communication instantaneous, there is a diminution of focus on its significance, or even on the definition of what is significant. This dynamic may encourage policymakers to wait for an issue to arise rather than anticipate it, and to regard moments of decision as a series of isolated events rather than part of a historical continuum. When this happens, manipulation of information replaces reflection as the principal policy tool.

below the hopelessness is faith, under the sorrow is joy, and beneath the spastic pelvic floor is the genital apparatus and the way to freedom.

intellectualized insight alone is not sufficient to result in positive changes.

Final Fantasy VII awoke American gaming to the possibilities of narrative dynamism and the importance of relatively developed characters—no small inspiration to take from a series whose beautifully androgynous male characters often appear to be some kind of heterosexual stress test.

This is the difference between someone whose heart is purified and sound and one whose heart is impure and corrupt. Impure people oppress, and the pure-hearted not only forgive their oppressors, but elevate them in status and character. In order to purify ourselves, we must begin to recognize this truth. This is what this book is all about — a book of self-purification and a manual of liberation. If we work on our hearts, if we actually implement what is suggested here, we’ll begin to see changes in our lives, our condition, our society, and even within our own family dynamics. It is a blessing that we have this science of purification, a blessing that this teaching exists in the world today. What remains is for us to take these teachings seriously. Signs, Symptoms and Cures of the Spiritual Diseases of the Heart. Translation and Commentary of Imam Mawlud's Matharat al-Qulub. Schaykh Hamza Yusuf. E-Book S. 10

The notion of Local Inertial Frame is crucial to understanding Nature and, in particular, General Relativity. Notwithstanding, very few popular science books (not even textbooks) emphasize enough its fundamental character.

Your past constructs your present and future, thereby making you a three-dimensional human being.

The amount of dynamic energy and physical strength that a person possesses frequently influences the character of their mental and psychological disposition.

The universal character of the centrifugal forces leaves us impotent as to discern whether what is going on inside the carrousel is because we are rotating with respect to terra firma (remember my eyes are closed), or because – for some unknown reason unrelated to motion – radial gravitational field has temporarily emerged while the carrousel is as in repose as it was before the given impulse. The latter would have certainly been the interpretation adopted by an intelligent being, had s/he been born and grown up inside the carrousel, without any access whatsoever to the exterior world.

Let us fool ourselves no longer. At the very moment Western nations, threw off the ancient regime of absolute government, operating under a once-divine king, they were restoring this same system in a far more effective form in their technology, reintroducing coercions of a military character no less strict in the organization of a factory than in that of the new drilled, uniformed, and regimented army. During the transitional stages of the last two centuries, the ultimate tendency of this system might b e in doubt, for in many areas there were strong democratic reactions; but with the knitting together of a scientific ideology, itself liberated from theological restrictions or humanistic purposes, authoritarian technics found an instrument at hand that h as now given it absolute command of physical energies of cosmic dimensions. The inventors of nuclear bombs, space rockets, and computers are the pyramid builders of our own age: psychologically inflated by a similar myth of unqualified power, boasting through their science of their increasing omnipotence, if not omniscience, moved by obsessions and compulsions no less irrational than those of earlier absolute systems: particularly the notion that the system itself must be expanded, at whatever eventual co st to life. Through mechanization, automation, cybernetic direction, this authoritarian technics has at last successfully overcome its most serious weakness: its original dependence upon resistant, sometimes actively disobedient servomechanisms, still human enough to harbor purposes that do not always coincide with those of the system. Like the earliest form of authoritarian technics, this new technology is marvellously dynamic and productive: its power in every form tends to increase without limits, in quantities that defy assimilation and defeat control, whether we are thinking of the output of scientific knowledge or of industrial assembly lines. To maximize energy, speed, or automation, without reference to the complex conditions that sustain organic life, have become ends in themselves. As with the earliest forms of authoritarian technics, the weight of effort, if one is to judge by national budgets, is toward absolute instruments of destruction, designed for absolutely irrational purposes whose chief by-product would be the mutilation or extermination of the human race. Even Ashurbanipal and Genghis Khan performed their gory operations under normal human limits. The center of authority in this new system is no longer a visible personality, an all-powerful king: even in totalitarian dictatorships the center now lies in the system itself, invisible but omnipresent: all its human components, even the technical and managerial elite, even the sacred priesthood of science, who alone have access to the secret knowledge by means of which total control is now swiftly being effected, are themselves trapped by the very perfection of the organization they have invented. Like the Pharoahs of the Pyramid Age, these servants of the system identify its goods with their own kind of well-being: as with the divine king, their praise of the system is an act of self-worship; and again like the king, they are in the grip of an irrational compulsion to extend their means of control and expand the scope of their authority. In this new systems-centered collective, this Pentagon of power, there is no visible presence who issues commands: unlike job's God, the new deities cannot be confronted, still less defied. Under the pretext of saving labor, the ultimate end of this technics is to displace life, or rather, to transfer the attributes of life to the machine and the mechanical collective, allowing only so much of the organism to remain as may be controlled and manipulated.

Emotional math is really a subset of a larger dynamic. When something goes wrong and I am part of it, I will tend to attribute my actions to the situation; you will tend to attribute my actions to my character.

Psychologists call this dynamic a “not me” experience: People have a character structure that does not allow them to see certain realities as part of themselves. They project things onto others and cannot own their own flaws.

I’ll suggest that the kingdom Jesus came to establish is “not from this world” (John 18:36), for it operates differently than the governments of the world do. While all the versions of the kingdom of the world acquire and exercise power over others, the kingdom of God, incarnated and modeled in the person of Jesus Christ, advances only by exercising power under others.5 It expands by manifesting the power of self-sacrificial, Calvary-like love. To put it differently, the governments of the world seek to establish, protect, and advance their ideals and agendas. It’s in the fallen nature of all those governments to want to “win.” By contrast, the kingdom Jesus established and modeled with his life, death, and resurrection doesn’t seek to “win” by any criteria the world would use. Rather, it seeks to be faithful. It demonstrates the reign of God by manifesting the sacrificial character of God, and in the process, it reveals the most beautiful, dynamic, and transformative power in the universe. It testifies that this power alone—the power to transform people from the inside out by coming under them—holds the hope of the world. Everything the church is about, I argue, hangs on preserving the radical uniqueness of this kingdom in contrast to the kingdom of the world.

If Samkhya-Yoga philosophy does not explain the reason and origin of the strange partnership between the spirit and experience, at least tries to explain the nature of their association, to define the character of their mutual relations. These are not real relationships, in the true sense of the word, such as exist for example between external objects and perceptions. The true relations imply, in effect, change and plurality, however, here we have some rules essentially opposed to the nature of spirit. “States of consciousness” are only products of prakriti and can have no kind of relation with Spirit the latter, by its very essence, being above all experience. However and for SamPhya and Yoga this is the key to the paradoxical situation the most subtle, most transparent part of mental life, that is, intelligence (buddhi) in its mode of pure luminosity (sattva), has a specific quality that of reflecting Spirit. Comprehension of the external world is possible only by virtue of this reflection of purusha in intelligence. But the Self is not corrupted by this reflection and does not lose its ontological modalities (impassibility, eternity, etc.). The Yoga-sutras (II, 20) say in substance: seeing (drashtri; i.e., purusha) is absolute consciousness (“sight par excellence”) and, while remaining pure, it knows cognitions (it “looks at the ideas that are presented to it”). Vyasa interprets: Spirit is reflected in intelligence (buddhi), but is neither like it nor different from it. It is not like intelligence because intelligence is modified by knowledge of objects, which knowledge is ever-changing whereas purusha commands uninterrupted knowledge, in some sort it is knowledge. On the other hand, purusha is not completely different from buddhi, for, although it is pure, it knows knowledge. Patanjali employs a different image to define the relationship between Spirit and intelligence: just as a flower is reflected in a crystal, intelligence reflects purusha. But only ignorance can attribute to the crystal the qualities of the flower (form, dimensions, colors). When the object (the flower) moves, its image moves in the crystal, though the latter remains motionless. It is an illusion to believe that Spirit is dynamic because mental experience is so. In reality, there is here only an illusory relation (upadhi) owing to a “sympathetic correspondence” (yogyata) between the Self and intelligence.

[I]n every real part of the existing world, as well as in every real individual. positive and negative traits are always combined. because there is always a reason for praise as well as for abuse. Such an explanation has a static and mechanical character; it conceives parts of the world scene as isolated, immovable. and completed. Moreover. separate features are stressed according to abstract moral principles. In Rabelais' novel praise-abuse is aimed at the entire present and at each of its parts. for all that exists dies and is born simultaneously, combines the past and the future, the obsolete and the youthful, the old truth and the new truth. However small the part of the existing world we have chosen. we shall find in it the same fusion. And this fusion is deeply dynamic: all that exists, both in the whole and in each of its parts. is in the act of becoming. and therefore comic (as all that is becoming), but its nature is also ironic and joyful.

There was yet another disadvantage attaching to the whole of Newton’s physical inquiries, ... the want of an appropriate notation for expressing the conditions of a dynamical problem, and the general principles by which its solution must be obtained. By the labours of LaGrange, the motions of a disturbed planet are reduced with all their complication and variety to a purely mathematical question. It then ceases to be a physical problem; the disturbed and disturbing planet are alike vanished: the ideas of time and force are at an end; the very elements of the orbit have disappeared, or only exist as arbitrary characters in a mathematical formula.

The casting of the brash United States Army Air Force officer Colonel Robert E. Hogan and the pompous German Luftwaffe officer Colonel Wilhelm Klink was inspired. For this series—a comedy with the serious backdrop of war—to succeed, the lead players had to be the perfect fit. The dynamic portrayal of this military odd couple had to be articulate, accurate, and precise. For the show to work, for the concept to be accepted, for one of the most outlandish premises in television history to be believed, the actors signed to play the two leading characters not only had to bring these extreme individuals to life with broad, fictional strokes, they had to make them real in the details.

We writers want readers to love our books. Greedy people that we are, we mean all readers. But in our more rational moments, we know that there is no book written that every reader enjoys. This is because people read for different reasons. Some readers want fast-paced excitement—and will put down a slower-paced book that examines the same reality as their own lives. Others want thoughtful insights into reality—and will put down fantasies of nonstop adventure. Some want to read about people they can identify with, some about characters they will never meet. Some seek clear, straightforward storytelling, and some cherish style: the unexpected phrase in exactly the right place. Some want affirmations of values they already hold, and some hope to be challenged, even disturbed. It’s

any woman who stepped out of line risked arousing the interest of a witch-hunter. Talking back to a neighbor, speaking loudly, having a strong character or showing a bit too much awareness of your own sexual appeal: being a nuisance of any kind would put you in danger. According to a paradoxical dynamic familiar to women in all eras, every behavior and its opposite could be used against you:

While making racism bad seems like a positive change, we have to look at how this functions in practice. Within this paradigm, to suggest that I am racist is to deliver a deep moral blow—a kind of character assassination. Having received this blow, I must defend my character, and that is where all my energy will go—to deflecting the charge, rather than reflecting on my behavior. In this way, the good/bad binary makes it nearly impossible to talk to white people about racism, what it is, how it shapes all of us, and the inevitable ways that we are conditioned to participate in it. If we cannot discuss these dynamics or see ourselves within them, we cannot stop participating in racism. The good/bad binary made it effectively impossible for the average white person to understand—much less interrupt—racism.

The pieces are connected to each other and the King and they are in this dynamic rhythm amongst themselves and with the opponent’s pieces, wherein lies their purpose. Each move is an attempt to change that balance and to establish a new, more favorable balance and that is why in chess (and in life) we are most vulnerable when we are most aggressive—the aggressive move essentially causes us to lose balance.

Not only the gods, but the goddesses, too, are libido-symbols, when regarded from the point of view of their dynamism. The libido expresses itself in images of sun, light, fire, sex, fertility, and growth. In this way the goddesses, as we have seen, come to possess phallic symbols, even though the latter are essentially masculine. One of the main reasons for this is that, just as the female lies hidden in the male (pl. XXIX), so the male lies hidden in the female.28 The feminine quality of the tree that represents the goddess (cf. pl. XXXI) is contaminated with phallic symbolism, as is evident from the genealogical tree that grows out of Adam’s body. In my Psychology and Alchemy I have reproduced, from a manuscript in Florence, a picture of Adam showing the membrum υirile as a tree.29 Thus the tree has a bisexual character, as is also suggested by the fact that in Latin the names of trees have masculine endings and the feminine gender.30

The great weakness of Christianity lies in the fact that it ignores rhythm. It balances God with Devil instead of Vishnu with Siva. Its dualisms are antagonistic instead of equilibrating, and therefore can never issue in the functional third in which power is in equilibrium. Its God is the same yesterday, to-day, and for ever, and does not evolve with an evolving creation, but indulges in one special creative act and rests on His laurels. The whole of human experience, the whole of human knowledge, is against the likelihood of such a concept being true. The Christian concept being static, not dynamic, it does not see that because a thing is good, its opposite is not necessarily evil. It has no sense of proportion because it has no realisation of the principle of equilibrium in space and rhythm in time. Consequently, for the Christian ideal the part is all too often greater than the whole. Meekness, mercy, purity and love are made the ideal of Christian character, and as Nietzsche truly points out, these are slave virtues. There should be room in our ideal for the virtues of the ruler and leader-courage, energy, justice and integrity. Christianity has nothing to tell us about the dynamic virtues; consequently those who get the world's work done cannot follow the Christian ideal because of its limitations and inapplicability to their problems. They can measure right and wrong against no standard save their own self-respect. The result is the ridiculous spectacle of a civilisation, committed to a one-sided ideal, being forced to keep its ideals and its honour in separate compartments.

One theft, however, does not make a thief . . Action which defines a man, describes his character, is action which has been repeated over and over and so has come in time to be a coherent and relatively independent mode of behavior. At first it may have been fumbling and uncertain, may have required attention, effort, will - as when first drives a car, first makes love, first robs a bank, first stands up against injustice. If one perseveres on any such course it comes in time to require less effort, less attention, begins to function smoothly; its small component behaviors become integrated within a larger pattern which has an ongoing dynamism and cohesiveness, carries its own authority. Such a mode then pervades the entire person, permeates other modes, colors other qualities, in some sense is living and operative even when the action is not being performed, or even considered. . . . Such a mode of action tends to maintain itself, to resist change. A thief is one who steals; stealing extends and reinforces the identity of a thief, which generates further thefts, which further strengthen and deepen the identity. So long as one lives, change is possible; but the longer such behavior is continued the more force and authority it acquires, the more it permeates other constant bodes, subordinates other conflicting modes; changing back becomes steadily more difficult; settling down to an honest job, living on one's earnings becomes ever more unlikely. And what is said here of stealing applies equally to courage, cowardice, creativity . . . or any other of the myriad ways of behaving, and hence of being.

to suggest that I am racist is to deliver a deep moral blow—a kind of character assassination. Having received this blow, I must defend my character, and that is where all my energy will go—to deflecting the charge, rather than reflecting on my behavior. In this way, the good/bad binary makes it nearly impossible to talk to white people about racism, what it is, how it shapes all of us, and the inevitable ways that we are conditioned to participate in it. If we cannot discuss these dynamics or see ourselves within them, we cannot stop participating in racism.

The trouble is that such categories do not take us much further. They are academic abstractions that do not do justice to the process-character of the observable social data to which they refer. Underlying them is the idea that the tidy division into epochs we usually find in history books best fits the actual course of social development. Each figure who is known through the magnitude of his or her achievement is then allocated to one epoch or the other as its high point. On closer examination, however, it not uncommonly emerges that outstanding achievements occur most frequently at times which could at most be called transitional phases if static concepts of epochs are used. In other words, such achievements arise from the dynamics of the conflict between the canons of older declining classes and newer rising ones.

Consciousness is not the product of a special network that enables all of our mental events to be conscious. Instead, each mental event is managed by brain modules that possess the capacity to make us conscious of the results of their processing. The results bubble up from various modules like bubbles in a boiling pot of water. Bubble after bubble, each the end result of a module’s or a group of modules’ processing, pops up and bursts forth for a moment, only to be replaced by others in a constant dynamic motion. Those single bursts of processing parade one after another, seamlessly linked by time. (This metaphor is limited to bubbles roiling up at a rate of twelve frames a second or faster; or consider a cartoon flip book, where the faster we snap the pages, the more continuous the movements of the characters appear.)

If there are always forces around which are concerned to depress and discourage, there are always forces above and around us which we can draw upon, - draw into ourselves to restore, to fill up again with strength and faith and joy and the power that perseveres and conquers. It is really a habit that one has to get of opening to these helpful forces and either passively receiving them or actively drawing upon them - for one can do either. It is easier if you have the conception of them above and around you and the faith and the will to receive them - for that brings the experience and concrete sense of them and the capacity to receive at need or at will. It is a question of habituating your consciousness to get into touch and keep in touch with these helpful forces - and for that you must accustom yourself to reject the impressions forced on you by the others, depression, self-distrust, repining and all similar disturbances. ... it is part of the experience of those who have advanced far in Yoga that besides the ordinary forces and activities of the mind and life and body in Matter, there are other forces and powers that can act and do act from behind and from above; there is also a spiritual dynamic power which can be possessed by those who are advanced in the spiritual consciousness, though all do not care to possess or, possessing, to use it, and this power is greater than any other and more effective. The invisible Force producing tangible results both inward and outward is the whole meaning of the Yogic consciousness. Your question about Yoga bringing merely a feeling of Power without any result was really very strange. Who would be satisfied with such a meaningless hallucination and call it Power? If we had not had thousands of experiences showing that the Power within could alter the mind, develop its powers, add new ones, bring in new ranges of knowledge, master the vital movements, change the character, influence men and things, control

Deprived of all forms of memory, people would act only to satiate the immediacy of their base cravings. Without past memories acting as guidepost, humankind’s dynamics diminish to the entropy of commission and reaction. The desire to achieve lastingness would be frivolous without appreciation of our joint history. In absence of historical awareness, there could be no culture dialogue or community inwardness. Absent historical awareness, there would be no evolving community consciousness and there would be no social engine capable of generating any communities’ battery of self-determinacy. Self-improvement would be frivolous without forging an intimate relationship with our historiology as well as familiarity with the account of select people’s exhibited character traits that we might wish to emulate. Notions of personal pliancy and individual lability would lose its root structure without the prongs of memory to provide the necessary griddle and supporting trusses to configure and provide cohesion for our developing sense of selfhood.

Einstein’s personal detachment and scientific creativity seemed to be subtly linked. According to his colleague Abraham Pais, this detachment sprang from Einstein’s salient trait of “apartness,” which led him to reject scientific conventional wisdom as well as emotional intimacies. It is easier to be a nonconformist and rebel, both in science and in a militaristic culture like Germany’s, when you can detach yourself easily from others. “The detachment enabled him to walk through life immersed in thought,” Pais said. It also allowed him—or compelled him—to pursue his theories in both a “single-minded and single-handed” manner.35 Einstein understood the conflicting forces in his own soul, and he seemed to think it was true for all people. “Man is, at one and the same time, a solitary being and a social being,” he said.36 His own desire for detachment conflicted with his desire for companionship, mirroring the struggle between his attraction and his aversion to fame. Using the jargon of psychoanalysis, the pioneering therapist Erik Erikson once pronounced of Einstein, “A certain alternation of isolation and outgoingness seems to have retained the character of a dynamic polarization.

In other words, in the long list, most everything is about a leader’s character; only a single characteristic pertains to giftedness (teaching). Depending on how the traits are counted, the ratio is as drastic as twelve to one. There’s nothing on this list about being a strong leader, being able to cast a vision, or being charismatic or dynamic. I am not suggesting those aspects of leadership are irrelevant, but they certainly are not the heart of God’s concern for a pastor. Nor are they ever to trump God’s concern over character. As the Reformer Martin Bucer noted, “It is better to take those who may be lacking in eloquence and learning, but are genuinely concerned with the things of Christ.”33 When this God-given ratio is reversed and churches prefer giftedness over character, churches inevitably begin to overlook a pastor’s character flaws because he’s so successful in other areas. Leadership performance becomes the shield that protects the pastor from criticism. As Michael Jensen observed, “We frequently promote narcissists and psychopaths. Time and time again, we forgive them their arrogance. We bracket out their abuses of their power, because we feel that we need that power to get things done.”34

I decided to begin with romantic films specifically mentioned by Rosie. There were four: Casablanca, The Bridges of Madison County, When Harry Met Sally, and An Affair to Remember. I added To Kill a Mockingbird and The Big Country for Gregory Peck, whom Rosie had cited as the sexiest man ever. It took a full week to watch all six, including time for pausing the DVD player and taking notes. The films were incredibly useful but also highly challenging. The emotional dynamics were so complex! I persevered, drawing on movies recommended by Claudia about male-female relationships with both happy and unhappy outcomes. I watched Hitch, Gone with the Wind, Bridget Jones’s Diary, Annie Hall, Notting Hill, Love Actually, and Fatal Attraction. Claudia also suggested I watch As Good as It Gets, “just for fun.” Although her advice was to use it as an example of what not to do, I was impressed that the Jack Nicholson character handled a jacket problem with more finesse than I had. It was also encouraging that, despite serious social incompetence, a significant difference in age between him and the Helen Hunt character, probable multiple psychiatric disorders, and a level of intolerance far more severe than mine, he succeeded in winning the love of the woman in the end. An excellent choice by Claudia.

Even man’s strength comes from Brahman. It is clear from these examples, which could be multiplied indefinitely, that the Brahman concept, by virtue of all its attributes and symbols, coincides with that of a dynamic or creative principle which I have termed libido. The word Brahman means prayer, incantation, sacred speech, sacred knowledge (veda), holy life, the sacred caste (the Brahmans), the Absolute. Deussen stresses the prayer connotation as being especially characteristic.71 The word derives from barh (cf. L. farcire), ‘to swell,’72 whence “prayer” is conceived as “the upward-striving will of man towards the holy, the divine.” This derivation indicates a particular psychological state, a specific concentration of libido, which through overflowing innervations produces a general state of tension associated with the feeling of swelling. Hence, in common speech, one frequently uses images like “overflowing with emotion,” “unable to restrain oneself,” “bursting” when referring to such a state. (“What filleth the heart, goeth out by the mouth.”) The yogi seeks to induce this concentration or accumulation of libido by systematically withdrawing attention (libido) both from external objects and from interior psychic states, in a word, from the opposites. The elimination of sense-perception and the blotting out of conscious contents enforce a lowering of consciousness (as in hypnosis) and an activation of the contents of the unconscious, i.e., the primordial images, which, because of their universality and immense antiquity, possess a cosmic and suprahuman character. This accounts for all those sun, fire, flame, wind, breath similes that from time immemorial have been symbols of the procreative and creative power that moves the world. As I have made a special study of these libido symbols in my book Symbols of Transformation, I need not expand on this theme here.

The educational goal of self-esteem seems to habituate young people to work that lacks objective standards and revolves instead around group dynamics. When self-esteem is artificially generated, it becomes more easily manipulable, a product of social technique rather than a secure possession of one’s own based on accomplishments. Psychologists find a positive correlation between repeated praise and “shorter task persistence, more eye-checking with the teacher, and inflected speech such that answers have the intonation of questions.” 36 The more children are praised, the more they have a stake in maintaining the resulting image they have of themselves; children who are praised for being smart choose the easier alternative when given a new task. 37 They become risk-averse and dependent on others. The credential loving of college students is a natural response to such an education, and prepares them well for the absence of objective standards in the job markets they will enter; the validity of your self-assessment is known to you by the fact it has been dispensed by gatekeeping institutions. Prestigious fellowships, internships, and degrees become the standard of self-esteem. This is hardly an education for independence, intellectual adventurousness, or strong character. “If you don’t vent the drain pipe like this, sewage gases will seep up through the water in the toilet, and the house will stink of shit.” In the trades, a master offers his apprentice good reasons for acting in one way rather than another, the better to realize ends the goodness of which is readily apparent. The master has no need for a psychology of persuasion that will make the apprentice compliant to whatever purposes the master might dream up; those purposes are given and determinate. He does the same work as the apprentice, only better. He is able to explain what he does to the apprentice, because there are rational principles that govern it. Or he may explain little, and the learning proceeds by example and imitation. For the apprentice there is a progressive revelation of the reasonableness of the master’s actions. He may not know why things have to be done a certain way at first, and have to take it on faith, but the rationale becomes apparent as he gains experience. Teamwork doesn’t have this progressive character. It depends on group dynamics, which are inherently unstable and subject to manipulation. On a crew,

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

The existence in man of a dynamic internal world, whose essential nature cannot be probed by any instrument, and can be known only when it finds expressions in gestures and symbols and constructive activities, is a mystery as profound as the forces that bind together the components of the atom and account for the character and behavior of the elements. In man that mystery can be experienced, but not described, still less explained: for the mind cannot mirror itself from within. Only by getting outside itself does it become conscious of its inwardness.

Compared to the kata for sword fighting or jūjutsu, karate kata are longer. They are a sequence of scenes designed like a little drama. A long karate kata can include more than 70 different actions. Sword fighting or jūjutsu kata, however, are only single attack or defense actions. They are not dynamic forms like karate kata but static models. In fact, for the two kata types even different kanji are used. This specific character of karate kata must be well understood. Karate was created and developed in the Tokugawa period and was not protected and promoted by the ruling system like sword fighting. Instead it was highly suppressed by the officials. The technical and the psychological and spiritual knowledge could not be put down in a sophisticated language as it could be done for sword fighting. In order to explain the techniques to the students by using kata, to demonstrate what was to be observed in particular and what was not done correctly, one needed rather long sequences of actions. The old masters could not describe the techniques with written words or pictures and had to express them in the kata. This needed a lot of time, brains and effort. Furthermore, the kata had to become a means to teach without words not only the technical aspects but also the psychological and spiritual abilities to turn the methods of killing into methods of saving lives.

André Beaufre captured the interactive nature, the dueling character of strategic behavior when he states that strategy is the art of the dialectic of two opposing wills using force to resolve their dispute.37 A recently posited definition emphasizes the dynamic nature of this process, and of strategy, stating that strategy is a process, a constant adaptation to shifting conditions and circumstances in a world where chance, uncertainty and ambiguity dominate, a view that is very much in line with Boyd’s idea.38 Strategy has also widespread application beyond the military sphere. Since World War II civil institutions – businesses, corporations, non-military government departments, universities – have come to develop strategies, by which they usually mean policy planning of any kind.39 But here too there are various opinions of what strategy is and does.40 The following viewpoints enjoy agreement among experts:41 Strategy concerns both organization and environment: the organization uses strategy to deal with changing environments; Strategy affects overall welfare of the organization: strategic decisions are considered important enough to affect the overall welfare of the organization; Strategy involves issues of both content and process: the study of strategy includes both the actions taken, or the content of strategy, and the processes by which actions are decided and implemented; Strategies exist on different levels: firms have corporate strategy (what business shall we be in?) and business strategy (how shall we compete in each business?); Strategy involves various thought processes: strategy involves conceptual as well as analytical exercises.

scripting language is a programming language that provides you with the ability to write scripts that are evaluated (or interpreted) by a runtime environment called a script engine (or an interpreter). A script is a sequence of characters that is written using the syntax of a scripting language and used as the source for a program executed by an interpreter. The interpreter parses the scripts, produces intermediate code, which is an internal representation of the program, and executes the intermediate code. The interpreter stores the variables used in a script in data structures called symbol tables. Typically, unlike in a compiled programming language, the source code (called a script) in a scripting language is not compiled but is interpreted at runtime. However, scripts written in some scripting languages may be compiled into Java bytecode that can be run by the JVM. Java 6 added scripting support to the Java platform that lets a Java application execute scripts written in scripting languages such as Rhino JavaScript, Groovy, Jython, JRuby, Nashorn JavaScript, and so on. Two-way communication is supported. It also lets scripts access Java objects created by the host application. The Java runtime and a scripting language runtime can communicate and make use of each other’s features. Support for scripting languages in Java comes through the Java Scripting API. All classes and interfaces in the Java Scripting API are in the javax.script package. Using a scripting language in a Java application provides several advantages: Most scripting languages are dynamically typed, which makes it simpler to write programs. They provide a quicker way to develop and test small applications. Customization by end users is possible. A scripting language may provide domain-specific features that are not available in Java. Scripting languages have some disadvantages as well. For example, dynamic typing is good to write simpler code; however, it turns into a disadvantage when a type is interpreted incorrectly and you have to spend a lot of time debugging it. Scripting support in Java lets you take advantage of both worlds: it allows you to use the Java programming language for developing statically typed, scalable, and high-performance parts of the application and use a scripting language that fits the domain-specific needs for other parts. I will use the term script engine frequently in this book. A script engine is a software component that executes programs written in a particular scripting language. Typically, but not necessarily, a script engine is an implementation of an interpreter for a scripting language. Interpreters for several scripting languages have been implemented in Java. They expose programming interfaces so a Java program may interact with them.

Dialogue is more powerful than narration. It puts audience members into the scene, allowing them to hear exactly what was said. Dialogue is also shorter and punchier than narration. Finally, another advantage of dialogue is that it allows you to use vocal variety - to slightly change the pace, pitch and volume of your voice to reflect the emotions and speech of the different characters in your speech. As a result, your delivery will be more dynamic and engaging. When delivering your story, always use dialogue - not narration.

It seemed like a hybrid of Spinal Tap, the British The Office, and something entirely original. Scenes would be blocked and rehearsed almost like a play, with entire scenes performed top to bottom many times. Two or three cameras would find the action and just follow the actors as they moved around. Actors often didn’t know when they were on camera or where the cameras were. “Spy shots” lent a sense of intimacy to moments. Actors were allowed to look into the camera to show their reactions to things and spoke directly to the camera with “talking heads,” used to further the story or display another side of what a character was feeling.15, 16 Camera operators were very close or very far away but a dynamic part of the action. We would shoot eight or nine pages in a twelve-hour day, which is about double what one shoots on a feature film.

...Mexicans threw a wrench in the racial dynamics of America, and in turn, our place in the United States has been precarious ever since, because we became citizens at a time when only white people could become citizens, even though most of us were not white. ...The United States wasn't happy about giving citizenship to Mexicans. After all, Mexicans were viewed as racially inferior, primitive creatures who were ignorant and knew nothing of laws. New York Times articles from the 1870s and 1880s not how the 'Lazy Mexicans' were 'retarding progress.' We were described as 'the personification of tramphood' on the front page of the Times. Another racist piece stated, 'Greasers as citizens. What Sort of State New Mexico Would Make.' Our 'origin and character,' our 'hatred of Americans,' and our 'dense ignorance' made us 'totally unfit for American citizenship.' We were an undesirable compromise for manifesting a white destiny in the West.

Accounts of the genocide, whether academic or popular, suffer from three silences. The first concerns the history of genocide: many write as if genocide has no history and as if the Rwandan genocide had no precedent, even in this century replete with political violence. The Rwandan genocide thus appears as an anthropological oddity. For Africans, it turns into a Rwandan oddity; and for non-Africans, the aberration is Africa. For both, the temptation is to dismiss Rwanda as exceptional. The second silence concerns the agency of the genocide: academic writings, in particular, have highlighted the design from above in a one-sided manner. They hesitate to acknowledge, much less explain, the participation—even initiative—from below.5 When political analysis presents the genocide as exclusively a state project and ignores its subaltern and “popular” character, it tends to reduce the violence to a set of meaningless outbursts, ritualistic and bizarre, like some ancient primordial twitch come to life. The third silence concerns the geography of the genocide. Since the genocide happened within the boundaries of Rwanda, there is a widespread tendency to assume that it must also be an outcome of processes that unfolded within the same boundaries. A focus confined to Rwandan state boundaries inevitably translates into a silence about regional processes that fed the dynamic leading to the genocide.

Analyse those dynamic factors in the character structure of modern man, which made him want to give up freedom in fascist countries and which so widely prevail in millions of our own people.

Topics & Questions for Discussion In Chapter One, “Cyrus Jones and the Magic Funeral,” Asha describes Cyrus as “mostly human, a little bit cartoon, a tiny bit ghost.” Having read the book, what do you think of Cyrus as a character? Have you met anyone like him in real life? Think back to your high school crush(es). Do you recall that first feeling of attraction? How would you react if you happened upon that person now? What does Asha’s relationship with her older sister Mira bring to story? How does she add to your understanding of Asha as a person? Jules is a source of support, emotional and financial, for Cyrus and Asha. What other roles does he play in the novel? Recall the manifesto Cyrus writes in Chapter Three: “We don’t try to convince people to buy things We don’t spy on anyone We don’t sell our souls (we don’t sell anything) and We are equal partners and make all decisions together.” Did you predict any of these points might falter? Were you correct? Consider what kind of workplace Utopia is. Would you like to work there? What elements would you like to see in your current work situation? At the end of Chapter Five, Asha thinks about the cultural differences between her and Cyrus, contemplating his “whiteness.” To what extent do you think their differences affect their understanding of each other? Have you had to think about cultural differences in a similar way? Besides WAI, several other app ideas are mentioned in the novel: Consentify, LoneStar, Buttery, Flitter, and so on. Discuss your favorite, or if you have any other start up ideas. Asha, Cyrus, and Jules must delve into all the logistical aspects of starting and growing a business, from assembling the right team to sourcing funding. What seem to be the biggest challenges to starting a business? The novel deals with themes of gender dynamics and white male privilege throughout. At what points can you see these dynamics at play, and how do the characters respond? If you were Asha’s friend, or family member, how would you react to her relationship with Cyrus? Would you have warned her or supported her? What does or doesn’t seem to work about their marriage?

To make a conscious effort to sense yourself, to do something even as simple as deliberately feeling your elbow on the chair while reading this book, introduces a powerful catalyst into the situation. The customary situation is reversed. The “I” consciously wills itself to experience the world in the form of the body. Now the “I” is active and the world is passive. Moreover, consciousness is not so intensely and immediately confused with its own contents, but is able to step back from them, even if only for an instant or two. This small but powerful polarization is the beginning of freedom. In the Gurdjieff Work, the fundamental meditative practice is known as “sitting,” and the basic directions are simple: to be aware of the sensations of the body while sitting upright. Anyone with even a little experience of this practice is likely to make a startling discovery: sensations begin to lose their solidity, their thingness, and become fluid and dynamic. Under certain circumstances one can even sense a circulation of subtle energy. The question then arises of whether this circulation is going on all the time or the direction of attention has somehow brought about an inner transformation. Gurdjieff said, “Even a feeble light of consciousness is enough to change completely the character of a process, while it makes many of them altogether impossible. Our inner psychic processes (our inner alchemy) have much in common with those chemical processes in which light changes the character of the process and they are subject to analogous laws.” With directed attention to the body, sensations seem to move from solid to liquid; what was seemingly hard and palpable suddenly turns out to be fluid and changing. One discovers the enormous difference between the body as physical object and the body as it is felt within. To have some familiarity with this experience gives a glimpse of what esoteric teachings mean when they speak of the “subtle body.” While most systems say there are many such bodies (in Gurdjieff’s there are four), the most immediate and accessible is this subtle body to which we gain access through our own sensation.

The pragmatic mood is already visible in the Odyssey. The poem opens with Odysseus living on a remote island ruled by a nymph who offers him immortality if he will remain as her consort. A bit surprisingly to anyone steeped in the orthodox Western religio-philosophical-scientific tradition, he refuses, preferring mortality and a dangerous struggle to regain his position as the king of a small, rocky island and be reunited with his son, aging wife, and old father. He turns down what the orthodox tradition says we should desire above all else, the peace that comes from overcoming the transience and vicissitudes of mortality, whether that peace takes the form of personal immortality or of communing with eternal verities, moral or scientific—in either case ushering us to the still point of the turning world. Odysseus prefers going to arriving, struggle to rest, exploring to achieving—curiosity is one of his most marked traits—and risk to certainty. The Odyssey situates Calypso’s enchanted isle in the far west, the land of the setting sun, and describes the isle in images redolent of death. In contrast, Odysseus’s arrival at his own island, far to the east, a land of the rising sun, is depicted in imagery suggestive of rebirth. Another thing that is odd about the protagonist, and the implicit values, of the Odyssey from the orthodox standpoint is that Odysseus is not a conventional hero, the kind depicted in the Iliad. He is strong, brave, and skillful in fighting, but he is no Achilles (who had a divine mother) or even Ajax; and he relies on guile, trickery, and outright deception to a degree inconsistent with what we have come to think of as heroism or with its depiction in the Iliad. His dominant trait is skill in coping with his environment rather than ability to impose himself upon it by brute force. He is the most intelligent person in the Odyssey but his intelligence is thoroughly practical, adaptive. Unlike Achilles in the Iliad, who is given to reflection, notably about the heroic ethic itself, Odysseus is pragmatic. He is an instrumental reasoner rather than a speculative one. He is also, it is true, distinctly pious, a trait that the Odyssey harps on and modern readers tend to overlook. But piety in Homeric religion is a coping mechanism. Homeric religion is proto-scientific; it is an attempt to understand and control the natural world. The gods personify nature and men manipulate it by “using” the gods in the proper way. One sacrifices to them in order to purchase their intervention in one’s affairs—this is religion as magic, the ancestor of modern technology—and also to obtain clues to what is going to happen next; this is the predictive use of religion and corresponds to modern science. The gods’ own rivalries, mirroring (in Homeric thought, personifying or causing) the violent clash of the forces of nature, prevent human beings from perfecting their control over the environment. By the same token, these rivalries underscore the dynamic and competitive character of human existence and the unrealism of supposing that peace and permanence, a safe and static life, are man’s lot. Odysseus’s piety has nothing to do with loving God as creator or redeemer, or as the name, site, metaphysical underwriter, or repository of the eternal or the unchanging, or of absolutes (such as omniscience and omnipotence) and universals (numbers, words, concepts). Odysseus’s piety is pragmatic because his religion is naturalistic—is simply the most efficacious means known to his society for controlling the environment, just as science and technology are the most efficacious means by which modern people control their environment.

Online community, between people who have usually never met and share only select aspects of their lives, presumes inclusion and belonging through communicational modes that borrow from successful real-life intimacy. It prioritizes openness and transparency, encourages emotional response (albeit in a limited way through, for example, Facebook’s ever-powerful ‘like’ button), and claims to promote consensus. This rhetoric of openness and sharing—a presumption of egalitarian transparency—is inherent in the corporate mantra of Google (‘Do no evil’), Facebook (‘making the Web more social’), and Flickr-Yahoo (‘Share your pictures, watch the world’). Yet just as inner-city windows might present an illusion of togetherness in which isolation is actually the norm, this presumed openness of virtual communities hides the fact that inclusion in social media can be fickle and conditional; digital citizenship hides multiple power dynamics and relations,not all of which are explicitly stated. Whereas there has been some discussion of the meanings of digital citizenship (to mean the accepted norms of appropriate, responsible technology use), online ‘community’ is invoked as a given. The Professor of Media Studies at Utrecht University, José van Dijck, refers in her discussion of social media’s history to ‘community function’ and ‘community character’; ‘community collectivism’ and ‘community utilization’; and to ‘community’ itself as being innovative, organizational, self-selecting, and open. But community, like citizenship, carries an enormous functional, symbolic, and practical weight. What kinds of ‘community’ are being forged online, and how do they impact on self-esteem, a sense of belonging, and self-identity? How does online community differ from offline community, and how and why does loneliness result?

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

Emotions (from the Latin emovere—to move out) give shape and direction to whatever we do, and their primary expression is through the muscles of the face and body. These facial and physical movements communicate our mental state and intention to others: Angry expressions and threatening postures caution them to back off. Sadness attracts care and attention. Fear signals helplessness or alerts us to danger. We instinctively read the dynamic between two people simply from their tension or relaxation, their postures and tone of voice, their changing facial expressions. Watch a movie in a language you don’t know, and you can still guess the quality of the relationship between the characters.

While making racism bad seems like a positive change, we have to look at how this functions in practice. Within this paradigm, to suggest that I am racist is to deliver a deep moral blow - a kind of character assassination. Having received this blow, I must defend my character, and that is where all my energy will go - to deflecting the charge, rather than reflecting on my behavior. In this way, the good/bad binary makes it nearly impossible to talk to white people about racism, what it is, how it shapes all of us, and the inevitable ways that we are conditioned to participate in it. If we cannot discuss these dynamics or see ourselves within them, we cannot stop participating in racism. The good/bad binary made it effectively impossible for the average white person to understand - much less interrupt - racism.

The catastrophe that lies in wait for us is not connected to a depletion of resources. Energy itself, in all its forms, will become more and more abundant (at any rate, within the broadest time frame that could conceivably concern us as humans). Nuclear energy is inexhaustible, as are solar energy, the force of the tides, of the great fluxes of nature, and indeed of natural catastrophes, earthquakes and volcanoes (and technological imagination may be relied on to find ways and means to harness them). What is alarming, by contrast, is the dynamics of disequilibrium, the uncontrollability of the energy system itself, which is capable of getting out of hand in deadly fashion in very short order. We have already had a few spectacular demonstrations of the consequences of the liberation of nuclear energy (Hiroshima, Chernobyl), but it must be remembered that any chain reaction at all, viral or radioactive, has catastrophic potential. Our degree of protection from pandemics is epitomized by the utterly useless glacis that often surrounds nuclear power stations. It is not impossible that the whole system of world-transformation through energy has already entered a virulent and epidemic stage corresponding to the most essential character of energy itself: a fall, a differential, an imbalance - a catastrophe in miniature which to begin with has positive effects but which, once overtaken by its own impetus, assumes the dimensions of a global catastrophe.

no matter how firm someone's resolve about a particular course of action, if other features of the person's character and personality are stronger, these will override the agent's intention.

WE HAVE A SIMPLISTIC UNDERSTANDING OF RACISM The final challenge we need to address is our definition of “racist.” In the post–civil rights era, we have been taught that racists are mean people who intentionally dislike others because of their race; racists are immoral. Therefore, if I am saying that my readers are racist or, even worse, that all white people are racist, I am saying something deeply offensive; I am questioning my readers’ very moral character. How can I make this claim when I don’t even know my readers? Many of you have friends and loved ones of color, so how can you be racist? In fact, since it’s racist to generalize about people according to race, I am the one being racist! So let me be clear: If your definition of a racist is someone who holds conscious dislike of people because of race, then I agree that it is offensive for me to suggest that you are racist when I don’t know you. I also agree that if this is your definition of racism, and you are against racism, then you are not racist. Now breathe. I am not using this definition of racism, and I am not saying that you are immoral. If you can remain open as I lay out my argument, it should soon begin to make sense. In light of the challenges raised here, I expect that white readers will have moments of discomfort reading this book. This feeling may be a sign that I’ve managed to unsettle the racial status quo, which is my goal. The racial status quo is comfortable for white people, and we will not move forward in race relations if we remain comfortable. The key to moving forward is what we do with our discomfort. We can use it as a door out—blame the messenger and disregard the message. Or we can use it as a door in by asking, Why does this unsettle me? What would it mean for me if this were true? How does this lens change my understanding of racial dynamics? How can my unease help reveal the unexamined assumptions I have been making? Is it possible that because I am white, there are some racial dynamics that I can’t see? Am I willing to consider that possibility? If I am not willing to do so, then why not? If you are reading this and are still making your case for why you are different from other white people and why none of this applies to you, stop and take a breath. Now return to the questions above, and keep working through them. To interrupt white fragility, we need to build our capacity to sustain the discomfort of not knowing, the discomfort of being racially unmoored, the discomfort of racial humility.

As we imagine the world of our story, we are putting our characters into situations that may cause us to question old beliefs. Through this process we are often forcing ourselves to explore the nature of dynamics we may have otherwise overlooked. This can be exhilarating, but also very tiring. We must be gentle with ourselves as we plow forward, and we must be conscious of this phenomenon lest we make meaning out of it. Fatigue, self-doubt, confusion: these are not indications that our project should be abandoned. We must keep exploring. The exhaustion is temporary.

While making racism bad seems like a positive change, we have to look at how this functions in practice. Within this paradigm, to suggest that I am racist is to deliver a deep moral blow—a kind of character assassination. Having received this blow, I must defend my character, and that is where all my energy will go—to deflecting the charge, rather than reflecting on my behavior. In this way, the good/bad binary makes it nearly impossible to talk to white people about racism, what it is, how it shapes all of us, and the inevitable ways that we are conditioned to participate in it. If we cannot discuss these dynamics or see ourselves within them, we cannot stop participating in racism. The good/bad binary made it effectively impossible for the average white person to understand—much less interrupt—racism. As African American scholar and filmmaker Omowale Akintunde says: “Racism is a systemic, societal, institutional, omnipresent, and epistemologically embedded phenomenon that pervades every vestige of our reality. For most whites, however, racism is like murder: the concept exists, but someone has to commit it in order for it to happen. This limited view of such a multilayered syndrome cultivates the sinister nature of racism and, in fact, perpetuates racist phenomena rather than eradicates them.”2

I know I set out to tell you every single thing I know about writing, but I am also going to tell you every single thing I know about school lunches, partly because the longings and dynamics and anxieties are so similar. I think this will also show how taking short assignments and then producing really shitty first drafts of these assignments can yield a bounty of detailed memory, raw material, and strange characters lurking in the shadows.

Kirkus Review Children will appreciate that Fox gets his deserved comeuppance and will giggle over this spirited tale filled with comical banter that proves a smart, brave, levelheaded individual can outwit a bully. The dynamic, witty illustrations depict wonderfully expressive characters and droll underground details; kids will have fun poring over all the amusing activities happening in the bunnies’ habitat. (This book was reviewed digitally.) Readers will have a “hole” lot of fun with this entertaining book. (Picture book. 4-8)

The way out of this ideological deadlock is to supplement the negation of positive universals with the assertion of negative universals, i.e., with an impossibility constitutive of the entire domain: yes, all positive universals are relative, unstable, they can be transformed, but not simply because of the dynamic and changeable form of reality. Positive formations are so many attempts to deal with the same underlying antagonism, and what triggers change is the ultimate failure of every attempt to resolve this antagonism. One of Lacan’s negative universals is “there is no sexual relationship,” which means that it is not enough to point out the immanent instability and historical character of the traditional gender binary—one should also add that every determinate form of gender relationship, no matter how open and flexible it is, will fail to overcome the impossibility constitutive of human sexuality.

je ne sais quoi (literally “I don't know what”) some people have that animation activated active ingredients in their character that oozes charm and sophistication and this comes naturally as the sun rises, it is within themselves that is alert, dynamic, elated and energized, like a rainbow appearing across the sky from nowhere, that je ne sais quoi that is enthusiastic, excited, happy and passionate, with a quick charm and elegance that controls the moment with joy calmness and beauty, the quality of being audacious without arrogance, being courageous without belittling others, it is a quality that no money can buy, no school can teach and no one can take away from you" Kenan Hudaverdi, 02.08.2018

A quote from Reggie van Riet, one of the main characters, which sums up the power dynamics on Robben Island: “ What a fool he’d been to think fair play counted for something with the men who were in charge of the Island! Officially of course, that was only Saunders and the Commissioner, but Mr Wade was in charge of the all-important government ferry from the mainland, and Mr Gubb was in charge of the stores that arrived. They were all in it together, behaving like the rulers of kingdoms he had read about as a child. He gave a bitter laugh. And what a kingdom it was! This miserable collection of society’s outcasts and junior officials who dared not oppose their authority!

Contemporary man has not been able to organize his life in such a way as to allow himself sufficient leisure- free time- for prayer and the contemplation of Divine Being. The reason for this is covetousness, that passion which St. Paul called 'idolatry' and St. John Climacus 'the daughter of unbelief ... blasphemy against the Gospel, a turning aside from God'. True Christian 'poverty' is unknown and uncomprehend by the world. And if we go on to say that this spirit of non-acquisition grows and develops until it embraces not only the material but 'intellectual' possessions too, to the majority of people this will seem madness. Men regard their learning as spiritual riches, not suspecting the existence of a higher knowledge and riches quite incomparable, since they bring with them a deep peace. In pursuing material comfort men have lost spiritual comfort. The materialistic dynamism which dominates our century is rapidly acquiring a demoniacal character; which is not surprising, since it is nothing else but the dynamics of sin.

Buddhism has a mythological figure of the Preta, the “Hungry Ghost.” The traditional figure of the Hungry Ghost represents a deceased person for whom the circumstances of death left the spirit in a deeply deprived state. The images of the Hungry Ghost are of large, grotesque bellies with tiny necks that can’t take in nourishment or find satisfaction. The resonance of these mythological characters is akin to the kind of “ghosts” of our own past who provoke deep, emotionally charged cravings in us. Hungry Ghosts are these old object relational dynamics bound to unconscious instinct. They represent unresolved emotional content trying to work itself out in the present. Unless these hungry ghosts within us are paid adequate attention and made conscious, they will act out repetitively and unconsciously through our Instinctual Drives. Without presence, our lives become ruins full of Hungry Ghosts.

We’ve all heard the saying “You can pick your friends, but you can’t pick your family.” Well … yes and no. You’ve all picked each other as a well-thought-out cast of characters in a specific circumstance. Each member of this family has been through many past-life experiences together with you, developing an intricate pattern of energy that the group uses in order to learn and understand. If you’re able to look at your family dynamic objectively (right now, as you’re reading this), that insight can reveal the bulk of the lessons your soul has come back to learn.

James Aka, a Mississauga resident, adores the city's architecture, from the sleek lines of its modern buildings to the historical charm of its landmarks. Passionate about urban design, James explores Mississauga's diverse architectural landscape with enthusiasm, finding beauty and inspiration in every structure. As an avid photographer, he captures the city's skyline from different angles, showcasing its dynamic evolution. James actively engages in discussions about urban planning and preservation, advocating for sustainable development while honoring the city's heritage. With a deep appreciation for the unique character of Mississauga's built environment, James celebrates its architectural diversity and contributes to shaping its future with his keen eye and passionate advocacy.

Your agency bio lists that you enjoy "tightly plotted novels" told from "a distinct point of view" with "dynamic, engaging characters" that make you "laugh or cry." Given that my novel is, in fact, a book, I believe it would be the perfect fit for your list.

Thomas skillfully crafts a narrative that not only delves into the complexities of Christopher's internal struggles but also unravels the dynamics of his family and friendships. The author presents a nuanced portrayal of a young man caught between the expectations of his family and the skepticism of his friends, adding layers of depth to the central conflict.   Cheryl Thomas's writing exudes authenticity and a deep understanding of human nature. Her characters come alive with actual personalities, problems, and relationships, creating a rich and immersive reading experience. The narrative not only explores the struggles of an individual but also touches on broader spiritual themes that add depth to the storytelling.   "The Last One" is not just a tale of personal choices but a profound exploration of destiny and the impact of one individual's decisions on the entire human race. As readers journey through this gripping narrative, they are invited to contemplate the profound implications of the choices we make and the redemptive power of divine intervention.   In conclusion, Cheryl Thomas's "The Last One" is a masterfully crafted work that combines elements of suspense, spiritual exploration, and dynamic character development. This book is a testament to Thomas's ability to breathe life into her storytelling, making it a must-read for those seeking a thought-provoking and immersive literary experience.

new age of “dynamism” and a compensating new science of “dynamics” to “treat the primary unmodified forces and energies of man, the mysterious springs of love, and fear, and wonder, of Enthusiasm, Poetry, Religion, all which have a truly vital and infinite character.” The human, he says, “is not the creature and product of mechanism, but in a far truer sense, its creator and producer.” “Signs of the Times” is one of the best pieces Carlyle ever wrote. Critique is balanced by prospectus, denunciation by advocacy. “This deep paralysed subjection to physical objects comes not from nature, but from our own unwise mode of viewing nature.” Nowhere in English is there a more forceful statement of the importance of the German concept of Bildung. “To reform a world, to reform a nation, no wise man will undertake; all but foolish men know, that the only solid, though a far slower reformation, is what each begins and perfects in himself.”10

Japanese main characters are always dense as shit and that’s the only reason the romance doesn’t develop until the last episode of the entire anime! I’m a genius!

Thoreau’s stellar vision wasn’t merely technique, a fun-pack of optical tricks. It was a function of character. He considered the perception of beauty “a moral test.” Beauty is not in the eye of the beholder. It is in his heart. We can’t improve our vision without improving ourselves. The dynamic works both ways. Not only does who we are determine what we see but what we see determines who we are. As the Vedas say, “What you see, you become.

Transgressive Romance is a subgenre that pushes the boundaries of societal and moral norms within a romantic narrative. These stories often explore forbidden or taboo relationships, and delve into dark, controversial or illicit themes. Characters may engage in behaviors or find themselves in situations that challenge conventional ethical standards or societal expectations. Transgressive Romance can be a provocative exploration of love and desire set against a backdrop of moral ambiguity, allowing readers to question and explore unconventional romantic dynamics within the safety of a fictional setting.

The true character of wu wei is not mere inactivity but perfect action-because it is act without activity. In other words, it is action not carried out independently of heaven and earth and in conflict with the dynamism of the whole, but in perfect harmony with the whole. It is not mere passivity, but it is action that seems both effortless and spontaneous because performed "rightly," in perfect accordance with our nature and with our place in the scheme of things. It is completely free because there is in it no force and no violence.

THAT IS SO IMPORTANT TO UNDERSTAND. IN FACT, IT IS THE REASON HULK PUT THE TWO HALVES OF INSPIRATION IN THAT ORDER. SO OFTEN PEOPLE THINK TO START WITH THE TINY NUGGETS AND THEN FIGURE OUT WHAT YOU WANT TO SAY LATER, BUT IT IS HULK’S EXPERIENCE THAT PEOPLE DON’T REALLY KNOW HOW TO DO THAT. AGAIN, SO MANY FILMS ARE VOICELESS. SO MANY FILMS SIMPLY SAY "I want to write about this textured, interesting person,” AND THINK THAT IT WILL SOMEHOW MAGICALLY PRODUCE A TEXTURED, INTERESTING STORY. A GOOD NARRATIVE HAS TO BE CREATED. CRAFTED. SLAVED OVER. WORKED THROUGH TIME AND TIME AGAIN BEFORE IT IS SOMETHING SO MUCH MORE. WHAT THIS DYNAMIC ACTUALLY SPEAKS TO IS THE GREAT LESSON THAT SINGULAR DETAILS ARE NOT STAND-INS FOR CHARACTERIZATION. FOR EXAMPLE, THERE HAVE BEEN A LOT OF RECENT MOVIES THAT HAVE GOTTEN INTO TROUBLE FOR ASSUMING TEXTURE AND CHARACTER DETAIL SOMEHOW IS THE SAME THING AS CHARACTER MOTIVE. WE DON’T NEED DETAILS TO TELL US WHO CHARACTERS ARE AND WHAT THEY LIKE, WE NEED DETAILS TO SHOW US WHAT CHARACTERS WANT AND NEED AND WHAT THEY WILL LIKELY DO. THIS IS THE HEART OF DRAMA (WELL… HULK WILL USE THIS PHRASE A LOT, SO IT’S ONE OF THEM).   AND

In his Principles of Psychology, James already criticized what he took to be the artificial and deeply misleading traditional empiricist accounts of experience. Experience does not consist of discrete atomic units that simply follow or are associated with each other. This is an intellectualist abstraction of philosophers, not an account of concrete experience as it is lived. James emphasizes the dynamic, flowing quality of the “stream of experience” – what he sometimes called the “muchness” and pluralistic variety of experience. Contrary to Hume and those influenced by him, James argued that we experience “relations,” “continuity,” and “connections” directly. We experience activity – its tensions, resistances, and tendencies. We feel “the tendency, the obstacle, the will, the strain, the triumph, or the passive giving up, just as [we feel] the time, the space, the swiftness or intensity, the movement, the weight and color, the pain and pleasure, the complexity, or whatever remaining characters the situation may involve” (James 1997, p. 282). He does not denigrate or underestimate the importance of our conceptual activity, but concepts are never quite adequate to capture the concreteness of experience. To say this is not to claim that there is something about experience that is in principle knowable, but that we cannot know. Rather, it is to affirm that there is more to experience than knowing. James criticizes the epistemological prejudice, which assumes that the only or primary role that experience plays in our lives is to provide us with knowledge. Paraphrasing Hamlet, James might well have said to his fellow philosophers: “There are more things in experience than are dreamt of in your philosophy.

Despite these heady attractions, Dewey gradually drifted away from Hegel. Darwin replaced Hegel as a source of inspiration for the organic, dynamic, changing character of life. But the “subjective” factors that originally attracted Dewey to Hegel stayed with him throughout his life and deeply marked his own experimentalist version of pragmatism. Dewey, in effect, naturalized Hegel. Dewey’s concept of experience as a transaction that spans space and time, involving both undergoing and activity, shows the Hegelian influence. Subject and object are understood as functional distinctions within the dynamics of a unified developing experience. Like Hegel, Dewey is critical of all dualisms and the fixed dichotomies that have plagued philosophy, including mind and body as well as nature and experience. Dewey’s hostility to the merely formal and static was inspired by Hegel. Dewey, like Hegel, was alert to the role of conflicts in experience: how they are be overcome in the course of experience, and how new conflicts break out. Typically he approaches philosophical problems in a Hegelian manner by delineating opposing extremes, showing what is false about them, indicating how we can preserve the truth implicit in them, and passing beyond these extremes to a more comprehensive resolution.

After finishing 1st draft of a novel, I have the characters, dialogue, scenes, and a plotline. I used to think this meant I knew where the story was going, and what the book was about. I have learned over the years, this ain’t so. As I work through its 2nd draft, characters start to nudge each other. The story itself takes its first soft and shallow breath, and one could imagine he hears a little bit of a heartbeat. Passions deepen, and emotional threads start to weave through what had earlier just been little more than a sequence of events. On the 3rd run through, the characters stand tall. Some break free of my earlier concepts of what they were all about, what they wanted, how they related to each other, and where they were going. From then on, THEY set the pace, and I do my best to honor them in becoming what THEY choose to be. From then on, my friends; we have a story! By the end of the 3rd draft, I have enough of an idea of where the characters are going, and how their passions empower the story, or tear it apart, that I can start cutting away, and cutting away, anything that isn’t that. Until we reach the point where there is not a single word left anywhere in the book, that isn’t a vital, dynamic, organic contributor to the living whole.

In fact, without believable and interesting characters, you don’t really have fiction at all. You may have names walking through plot, but without the essential animation of character, a historical novel becomes mostly a history text, a mystery becomes a police report, and science fiction becomes a speculative monograph. Literary fiction simply becomes unread. Character

When holiness and love are put together, the analogy of the two sides of a coin would be closer to the truth. Neither side can be both sides at the same time. Sides are not to be equated, but the obverse side is as essential to its existence as the face. Love is the essential inner character of holiness, and holiness does not exist apart from love. That is how close they are, and in a certain sense they can be said to be the same thing. At least Wesley consistently defined holiness, as well as perfection, as love.

Liberalism’s first guiding idea—conflict—was less an ideal or principle than a way to picture society and what to expect from society. Lasting conflict of interests and beliefs was, to the liberal mind, inescapable. Social harmony was not achievable, and to pursue it was foolish. That picture was less stark than it looked, for harmony was not even desirable. Harmony stifled creativity and blocked initiative. Conflict, if tamed and turned to competition in a stable political order, could bear fruit as argument, experiment, and exchange. Human power, second, was for liberals implacable. It could never be counted on to behave well. Superior power of some people over others, whether political, economic, or social, tended inevitably to arbitrariness and domination unless resisted and checked. Liberalism’s call to resist power was often put negatively. Resistance required the refusal of submission and the prevention of domination by any single interest, faith, or class. Human character and human society as liberals saw them were, third, not static but dynamic. They were open to change. Liberal hope stiffened by liberal history suggested that both character and society might change for the better. The fourth liberal idea was that moral limits existed to how superior power could treat people. Might alone was not right. Power was obliged to respect people for themselves. Liberal respect could also be put negatively. It set out what superior power should not do: obstruct or intrude on people in pursuit of their chosen enterprises or beliefs. Once embraced democratically, respect for people as such forbade power from excluding anyone from the circle of liberal protection.

All in all, the West has displayed far more territorial movements, cultural novelties, and revolutions in the sciences and arts. For this reason, answering ‘where is the West?’ requires one to ask ‘what is the West?’ with an awareness of the fact that both the ‘what’ and the ‘where’ have changed over time.[40] This civilisation, for example, is not simply ‘Christian’ in the way others are ‘Confucian’ or ‘Hindu’ in a more stable, less varying way. Its Christian character alone has been infused with a theological and institutional dynamic (flowing from its synthesis with Classical reason and Indo-European aristocratic expansionism) stimulating a multiplicity of monastic movements (i.e. Cluniacs, Cistercians, Franciscans, Dominicans etc.) and heterodox movements (Pelagians, Waldensians, Cathars etc.), not to mention Crusades and numerous Protestant denominations lacking elsewhere.[41] The West — depending on locality, time, and groups — has been Platonic, Aristotelian, Epicurean, Stoic, Cynic, Augustinian, Monarchist, Newtonian, Gothic, Anglican, Humanist, Republican, Machiavellian, Hegelian, Fascist, Marxist, Darwinian, Surrealist, Cubist, Romantic, Socialist, Liberal, and much more. By contrast, the intellectual traditions set down in ancient/medieval times in China, the Near East, India, and Japan would persist in their essentials until the impact of the West brought some novelties.

Its character would be familiar to any reader of Werner Sombart or Arthur Moeller van den Bruck. True black Kultur rejects all white bourgeois standards, since “the values of that class are in themselves anti-humanist” and racist; in fact, any black person who adopts “American middle class standards and values” ceases to be black.34 It rejects liberalism with its mealymouthed belief in compromise and interracial unity, and it rejects capitalism, looking instead to build a community based “on free people, not free enterprise.” Black Power also reflected the Garveyite perspective that blackness could be a vehicle for mass mobilization and the destruction of a decadent white civilization. Carmichael urged blacks to “create new values” in Heidegger’s sense. Like his counterparts in the German revolution on the Right, Carmichael saw his own era as “a time of dynamism” in which new forms of authority and power must be substituted for old. The rise of the Black Power movement would sweep away the “outmoded structures and institutions” of the past, Carmichael predicted, including racism. Its motto would be “Modernization, not moderation.”35

Taking trauma to be a primary route to growth and depth, Rabih wants his own sadness to find an echo in his partner’s character. He therefore doesn’t much mind, initially, that Kirsten is sometimes withdrawn and hard to read, or that she tends to seem aloof and defensive in the extreme after they’ve had an argument. He entertains a confused wish to help her without, however, understanding that help can be a challenging gift to deliver to those who are most in need of it. He interprets her damaged aspects in the most obvious and most lyrical way: as a chance for him to play a useful role. We believe we are seeking happiness in love, but what we are really after is familiarity. We are looking to re-create, within our adult relationships, the very feelings we knew so well in childhood and which were rarely limited to just tenderness and care. The love most of us will have tasted early on came entwined with other, more destructive dynamics: feelings of wanting to help an adult who was out of control, of being deprived of a parent’s warmth or scared of his or her anger, or of not feeling secure enough to communicate our trickier wishes. How logical, then, that we should as adults find ourselves rejecting certain candidates not because they are wrong but because they are a little too right—in the sense of seeming somehow excessively balanced, mature, understanding, and reliable—given that, in our hearts, such rightness feels foreign and unearnt. We chase after more exciting others, not in the belief that life with them will be more harmonious, but out of an unconscious sense that it will be reassuringly familiar in its patterns of frustration.

Neat rooms are much like one-dimensional characters—they remain static, unchanging. They lack depth. Now this reminds me of a dynamic character—much more personality!

When Heenehan Telecom Company took over Principal Processing Company, it fired all the staff except Jim Dennis and Beth Madison. They were tax accountants like fish out of water in the new company. The environment was hostile, the bosses were unbearable, and the cliques hated their guts. However, trouble started when a colleague, Amber Wolfe, started acting suspiciously and sabotaging their work. Jim and Beth found out the airhead exterior was only a facade, and Amber had dangerous ties to notorious cyber-terrorists. They were sitting ducks. Jim and Beth collaborate with external friends to save the company, their lives, and their careers. Would they succeed with the odds stacked against them, from bosses to colleagues? The Telecom Takeover by Beverly Winter tells the complete story. The Telecom Takeover by Beverly Winter is an intriguing novel that focuses on the corporate world. This story was riveting, from the office shenanigans to unfavorable policies to workplace bureaucracy to insensitive and selfish bosses. Winter also exposed the employee dynamics, power play, and scheming happening in the corporate world. This book has a solid plot, and the character development was beautiful. The story was also thought-provoking as I asked myself how much a person could take before throwing in the towel. At what point does perseverance become hopelessness? I could never work in such a dysfunctional environment and under such conditions. The overworked minions got the least pay while the bosses, who knew nothing, cornered fat bonuses. I loved how the tables turned on Judy. It was the best part of the novel. Keep writing beautiful stories, Beverly Winter." Jennifer Ibiam for Readers’ Favorite, ★★★★★

We can give nothing better to the world than beauty of life and character;

a male character ponders why his relationship is so different twenty years down the line; the dynamic has changed, the power base has shifted. And he realises that as his own position in life has changed, it has skewed the way he views his partner.

Fourth, character is dynamic in that it generates new strivings, new needs and problems. It is largely through the identification of these needs that diagnosis proceeds, as when the discovery of excessive dependency or aggressiveness suggests that the patient has a particular type of character-structure.

Through the Fire by Raj Lowenstein Trafford Publishing reviewed by Anita Lock "Beware the Abomination." After initially treating Michael Braun for wounds resulting from a brutal attack, David and Kelly Hartman—a physician and nurse respectively, as well as a gay, married couple—feel that the best place for her (yes, a she despite the masculine name) to recover is at the condo of David's twin brother, Dan. Dan, an overworked detective, ignores David's frantic texts and is shocked when he wakes to find a stunningly beautiful but battered woman sleeping upstairs. Michael is also a mute who communicates through American Sign Language (ASL), a language in which Dan happens to be an expert. Although the two eventually fall in love, there is more to Michael's past that Dan is aware of until he receives information from none other than Michael's abuser. Raj Lowenstein presents a romantic thriller that appears more disturbingly real than fiction. Set largely in Texas, Lowenstein's plot has a bit of a Law and Order feel to it—minus the court and prison scenes. Laced with gender-related issues and replete with a tight cast, Lowenstein's storyline zeroes in on Dan and his unexpected romance with Michael amid peculiar situations. Lowenstein punctuates her thought-provoking, third-person narrative with the sinister and hideous presence of Catfish, whose persona is a paradox to say the least. Key to Lowenstein's writing style is the use of engaging dialogue to generate dynamic characters who are developing their relationships and facing life's challenges. Lowenstein aptly fashions her well-developed cast within cliff-hanging chapters that alternate between unanticipated character scenes. Scenes are filled with back stories, steamy romantic episodes, investigations, the evil machinations of Catfish, and are all used in the deliberate build-up to the novel's intense and unnerving apogee. Kudos to Lowenstein for creating an edgy and eye-opening debut! RECOMMENDED by the US Review

Without friction a simple linear equation expresses the amount of energy you need to accelerate a hockey puck. With friction the relationship gets complicated, because the amount of energy changes depending on how fast the puck is already moving. Nonlinearity means that the act of playing the game has a way of changing the rules. You cannot assign a constant importance to friction, because its importance depends on speed. Speed, in turn, depends on friction. That twisted changeability makes nonlinearity hard to calculate, but it also creates rich kinds of behavior that never occur in linear systems. In fluid dynamics, everything boils down to one canonical equation, the Navier-Stokes equation. It is a miracle of brevity, relating a fluid's velocity, pressure, density, and viscosity, but it happens to be nonlinear. So the nature of those relationships often becomes impossible to pin down. Analyzing the behavior of a nonlinear equation like the Navier-Stokes equation is like walking through a maze whose walls rearrange themselves with each step you take. As Von Neumann himself put it: "The character of the equation ... changes simultaneously in all relevant respects: Both order and degree change. Hence, bad mathematical difficulties must be expected." The world would be a different place—and science would not need chaos—if only the Navier-Stokes equation did not contain the demon of nonlinearity.

this kind of story intrinsically satisfying.

character with both progressive motivation and internal changes, congratulations.

For Hamilton, the federal government had a right to stimulate business and also, when necessary, to restrain it. As Arthur Schlesinger, Jr., has observed, “Hamilton’s enthusiasm over the dynamics of individual acquisition was always tempered by a belief in government regulation and control.”54 In arguing, for instance, that government inspection of manufactured articles could reassure consumers and galvanize sales, he anticipated regulatory policies that were not enacted until the Progressive Era under Theodore Roosevelt: “Contributing to prevent fraud upon consumers at home and exporters to foreign countries—to improve the quality and preserve the character of the national manufactures—it cannot fail to aid the expeditious and advantageous sale of them and to serve as a guard against successful competition from other quarters.

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St. John would say that the natural working of the faculties is not adequate to attain to union with God, and the beginner is drawn to spiritual exercises as much by the satisfaction as by any purely spiritual motives. For the psychologist, even while he is refraining from making any judgment about the religious object, is often painfully aware that if interior experiences are viewed as if they had nothing to do with the overall dynamics of the psyche, then their recipient runs the risk of damaging his psychic balance. If temptations must be seen only as the direct working of the devil and inspirations and revelations the direct working of the Holy Spirit, then the totality of the psyche and the flow of its energy will be misunderstood. The biggest danger to the beginner experiencing sensible fervor, or any other tangible phenomenon, is that they will equate their experience purely and simply with union with God. The very combination of genuine spiritual gifts and how these graces work through the psyche creates a sense of conviction that this, indeed, is the work of God, but this conviction is often extended to deny the human dimension as if any participation by the psyche is a denial of divine origin. The beginner, then, can become impervious to psychological and spiritual advice. The sense of consolation, the feeling of completion, the visions seen, or the voices heard, the tongue spoken, or the healings witnessed, are all identified with the exclusive direct action of God as if there were no psyche that received and conditioned these inspirations. This same attitude is then carried over into daily life and how God's action is viewed in this world. If God is so immediately present, miracles must be taking place daily. God must be intervening day-by-day, even in the minor mundane affairs of the recipients of His Spirit. This does not mean that genuine miracles do not take place, nor that genuine inspirations do not play a role in daily life, but rather, if we believe that they are conceptually distinguishable from the ordinary working of consciousness, we run the risk of identifying God's action with our own perceptions, feelings and emotions. The initial conversion state, precisely because of the degree of emotional energy it is charged with, is often clung to as if the intensity of this energy is a guarantee of its spiritual character. As beginners under the vital force of these tangible experiences we take up an attitude of inner expectancy. We look to a realm beyond the arena of the ego and assume that what transpires there is supernatural. We reach and grasp for interior messages. Thus arises a real danger of misinterpreting what we perceive. What Jung says about the inability to discern between God and the unconscious at the level of empirical experience is verified here. We run the risk of confusing the spiritual with the psychic, our own perceptions with God Himself. An even greater danger is that we will erect this kind of knowledge into a whole theology of the spiritual life, and thus judge our progress by the presence of these phenomena. “The same problem can arise in a completely different context, which could be called a pseudo-Jungian Christianity. In it the realities of the psyche which Jung described are identified with the Christian faith. Thus, at one stroke a vivid sense of experience, even mysticism, if you will, arises. The numinous experience of the unconscious becomes equivalent to the workings of the Holy Spirit. Dreams and the psychological events that take place during the process of individuation are taken for the stages of the life of prayer and the ascent of the soul to God by faith. But this mysticism is no more to be identified with St. John's than the previous one of visions and revelations.

This is the case even among those considered to be conservative and evangelical thinkers. Stanley Grenz once asserted, “In this manner the Christian vision of God as the social Trinity and our creation to be the imago Dei provides the transcendent basis for the human ethical ideal as life-in-community. Consequently the reciprocal, perichoretic dynamic of the Triune God is the cosmic reference point for the idea of society itself.”[5] But the obscurity and debate that continue to surround the imago Dei or “image of God” hardly serve as conclusive proof that God intends the divine reality and being somehow to be normative for humanity. Mercifully, not all theologians have adopted this misuse of the trinitarian reality. Richard Bauckham quite rightly observes that “true human community comes about not as an image of the Trinitarian fellowship, but as the Spirit makes us like Jesus in his community with the Father and with others.”[6] The hard fact is that neither Scripture nor the Lutheran Confessions ever offer the mystery of the trinitarian Godhead as the model or even a model for Christian living or the shape of Christian life. As the saying goes, “God is God, and you’re not.”[7] The Christian life is shaped not by God’s trinitarian nature as model, but by God’s revealed word and work in us.[8]