Elevator Picture Quotes

We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us even in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavour. It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.

[F]or contemporary judgment does not recognize that much depth of soul is needed to light up the picture drawn from contemptible life and elevate it into a pearl of creation...

He liked books if they were books of information and had pictures of grain elevators or of fat foreign children doing exercises in model schools.

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.

Then I’d throw my automatic down the elevator shaft-after I’d wiped off all the fingerprints and all. Then I’d crawl back up to my room and call up Jane and have her come over and bandage up my guts. I pictured her holding a cigarette for me to smoke while I was bleeding and all. The goddam movies. They can ruin you. I’m not kidding.

Happy the writer who, passing by characters that are boring, disgusting, shocking in their mournful reality, approaches characters that manifest the lofty dignity of man, who from the great pool of daily whirling images has chosen only the rare exceptions, who has never once betrayed the exalted turning of his lyre, nor descended from his height to his poor, insignificant brethren, and, without touching the ground, has given the whole of himself to his elevated images so far removed from it. Twice enviable is his beautiful lot: he is among them as in his own family; and meanwhile his fame spreads loud and far. With entrancing smoke he has clouded people's eyes; he has flattered them wondrously, concealing what is mournful in life, showing them a beautiful man. Everything rushes after him, applauding, and flies off following his triumphal chariot. Great world poet they name him, soaring high above all other geniuses in the world, as the eagle soars above the other high fliers. At the mere mention of his name, young ardent hearts are filled with trembling, responsive tears shine in all eyes...No one equals him in power--he is God! But such is not the lot, and other is the destiny of the writer who has dared to call forth all that is before our eyes every moment and which our indifferent eyes do not see--all the stupendous mire of trivia in which our life in entangled, the whole depth of cold, fragmented, everyday characters that swarm over our often bitter and boring earthly path, and with the firm strength of his implacable chisel dares to present them roundly and vividly before the eyes of all people! It is not for him to win people's applause, not for him to behold the grateful tears and unanimous rapture of the souls he has stirred; no sixteen-year-old girl will come flying to meet him with her head in a whirl and heroic enthusiasm; it is not for him to forget himself in the sweet enchantment of sounds he himself has evoked; it is not for him, finally, to escape contemporary judgment, hypocritically callous contemporary judgment, which will call insignificant and mean the creations he has fostered, will allot him a contemptible corner in the ranks of writers who insult mankind, will ascribe to him the quality of the heroes he has portrayed, will deny him heart, and soul, and the divine flame of talent. For contemporary judgment does not recognize that equally wondrous are the glasses that observe the sun and those that look at the movement of inconspicuous insect; for contemporary judgment does not recognize that much depth of soul is needed to light up the picture drawn from contemptible life and elevate it into a pearl of creation; for contemporary judgment does not recognize that lofty ecstatic laughter is worthy to stand beside the lofty lyrical impulse, and that a whole abyss separates it from the antics of the street-fair clown! This contemporary judgment does not recognize; and will turn it all into a reproach and abuse of the unrecognized writer; with no sharing, no response, no sympathy, like a familyless wayfarer, he will be left alone in the middle of the road. Grim is his path, and bitterly he will feel his solitude.

Novelists should never allow themselves to weary of the study of real life. If they observed this duty conscientiously, they would give us fewer pictures chequered with vivid contrasts of light and shade; they would seldom elevate their heroes and heroines to the heights of rapture — still seldomer sink them to the depths of despair; for if we rarely taste the fulness of joy in this life, we yet more rarely savour the acrid bitterness of hopeless anguish.

At this point in history, our society tends to elevate and reward the specialist...This concentrated focus has brought some benefits...It may also be a modern malady. Specialization, when taken too far and allowed to define who and what we are, becomes limiting. It robs us of our wholeness and our self-sufficiency. It misses the big picture and confines us to a narrow zoom. And it leaves us at the mercy of experts.

I ripped the pages out of the book. I reversed the order, so the last one was first, and the first was last. When I flipped through them, it looked like the man was floating up through the sky. And if I'd had more pictures, he would've flown through a window, back into the building, and the smoke would've poured into the hole that the plane was about to come out of. Dad would've left his messages backward, until the machine was empty, and the plane would've flown backward away from him, all the way to Boston. He would've taken the elevator to the street and pressed the button for the top floor. He would've walked backward to the subway, and the subway would've gone backward through the tunnel, back to our stop. Dad would've gone backward through the turnstile, then swiped his Metrocard backward, then walked home backward as he read the New York Times from right to left. He would've spit coffee into his mug, unbrushed his teeth, and put hair on his face with a razor. He would've gotten back into bed, the alarm would've rung backward, he would've dreamt backward. Then he would've gotten up again at the end of the night before the worst day. He would've walked backward to my room, whistling 'I Am the Walrus' backward. He would've gotten into bed with me. We would've looked at the stars on my ceiling, which would've pulled back their light from our eyes. I'd have said 'Nothing' backward. He'd have said 'Yeah, buddy?' backward. I'd have said 'Dad?' backward, which would have sounded the same as 'Dad' forward. He would have told me the story of the Sixth Borough, from the voice in the can at the end to the beginning, from 'I love you' to 'Once upon a time.' We would have been safe.

Lord Henry elevated his eyebrows and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful

If athletes include as part of their training the visualization of their sport and mentally picturing themselves going through all the steps required for success, how then can believers fail to visualize what is more important and consequential than sport? People of spiritual elevation prepare themselves psychologically for the ultimate journey. Although death is a sudden severance from this life, one remains conscious in a different way. In fact, the deceased is in a hyperconscious state that makes this life appear like a dream. ʿAlī ibn AbīṬālib, may God be pleased with him, said, “People are asleep. When they die, they wake up.

We, who were reduced to eating on the sidewalk , were suddenly elevated in status by this man's misery. We were the aristocrats and he the beggar. It flattered us. We were superbly above him and the comedy gave us a delusion of high self-respect. In a while, the magnanimity of the rich would complete the picture. We would feed our scraps to the poor.

Liv counted down from ten, picturing herself riding an elevator down. It was a technique she often used to get to sleep.

You're a cold sore on picture day. You are a fart in a cramped elevator." -Erin

Lord Henry elevated his eyebrows and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy-opium tainted cigarette.

Lord Henry, I am not at all surprised that the world says that you are extremely wicked.” “But what world says that?” asked Lord Henry, elevating his eyebrows. “It can only be the next world. This world and I are on excellent terms.

Add to this the species of government which prevails over nine tenths of the globe, which is despotism: a government, as Locke justly observes, altogether "vile and miserable," and "more to be deprecated than anarchy itself."(2*) Certainly every man who takes a dispassionate survey of this picture will feel himself inclined to pause respecting the necessity of the havoc which is thus made of his species, and to question whether the established methods for protecting mankind against the caprices of each other are the best that can be devised. He will be at a loss which of the two to pronounce most worthy of regret, the misery that is inflicted, or the depravity by which it is produced. If this be the unalterable allotment of our nature, the eminence of our rational faculties must be considered as rather an abortion than a substantial benefit; and we shall not fail to lament that, while in some respects we are elevated above the brutes, we are in so many important ones destined for ever to remain their inferiors.

Einstein’s developmental problems have probably been exaggerated, perhaps even by himself, for we have some letters from his adoring grandparents saying that he was just as clever and endearing as every grandchild is. But throughout his life, Einstein had a mild form of echolalia, causing him to repeat phrases to himself, two or three times, especially if they amused him. And he generally preferred to think in pictures, most notably in famous thought experiments, such as imagining watching lightning strikes from a moving train or experiencing gravity while inside a falling elevator. “I very rarely think in words at all,” he later told a psychologist. “A thought comes, and I may try to express it in words afterwards.”4

Neurons on the two ends of the log-normal distribution of activity organize themselves differently. Fast-firing neurons are better connected with each other and burst more than slow-firing neurons. The more strongly connected faster firing neurons form a “rich club” with better access to the entire neuronal population, share such information among themselves, and, therefore, generalize across situations. In contrast, slow firing neurons keep their independent solitude and elevate their activity only in unique situations. The two tails of the distribution are maintained by a homeostatic process during non-REM sleep. The emerging picture is that a simple measure, such as the baseline firing frequency, can reveal a lot about a neuron’s role in computation and its wiring properties. The

Ranger was the second biggest complication in my life, and now that Morelli was out of the picture, I supposed Ranger was elevated to numero uno. He’s close to six foot, one way or the other, is Latino, with medium brown skin and dark brown hair cut short. His teeth are white and even, and he has a killer smile that is seen only on special occasions. He dresses in black, and today he was wearing a black T-shirt and black cargo pants.

One of the difficulties I experienced in trying to learn about the biology of emotions was the definition of terms...How would [Prof. Richard Davidson], as an experimental psychologist, deconstruct [hope]? "I understand hope as an emotion made up of two parts: a cognitive part and an affective part. When we hope for something, we employ, to some degree, our cognition, marshalling information and data relevant to a desired future event. If...you are suffering with a serious illness and you hope for improvement, even for a cure, you have to generate a different vision of your condition in your mind. That picture is painted in part by assimilating information about the disease and its potential treatments. "But hope also involves what I would call affective forecasting--that is, the comforting, energizing, elevating feeling that you experience when you project in your mind a positive future. This requires the brain to generate a different affective, or feeling, state than the one you are currently in.

THE BRIGHT ONES Even the bright ones lose their glow Even the royal lose their throne Even the dancer’s feet grow sore I can see your spirit elevated In a majestic leap toward the sky I can understand now Why we wish upon the stars at night Sometimes the ones we love wait quiet Sometimes we lose them in an instant Sometimes we don’t understand the reason I can see your mind reeling Pictures scattered across the floor It should comfort us These memories But right now I want to wage a war Even the bright ones lose their glow

His handsome face, multiplied by the presses, swept down upon Paris and all of France, to the depths of the most out-of-the-way villages, in castles and cabins, revealing to the mirthless bourgeois that their daily lives are grazed by enchanting murderers, cunningly elevated to their sleep, which they will cross by some back stairway that has abetted them by not creaking. Beneath his picture burst the dawn of his crimes: murder one, murder two, murder three, up to six, bespeaking his secret glory and preparing his future glory.

The fear of course is that in denying or refusing complicity in the marginalization of 'black' writers, I ended up on the very distant and very 'other' side of a line that is imaginary at best. I didn't write as an act of testimony or social indignation (though all writing in some way is just that) and I did not write out of a so-called family tradition of oral storytelling. I never tried to set anybody free, never tried to paint the next real and true picture of the life of my people, never had any people whose picture I knew well enough to paint. Perhaps if I had written in the time immediately following Reconstruction, I would have written to elevate the station of my fellow oppressed. But the irony was beautiful. I was a victim of racism by virtue of my failing to acknowledge racial difference and by failing to have my art be defined as an exercise in racial self-expression. So, I would not be economically oppressed because of writing a book that fell in line with the very books I deemed racist. And I would have to wear the mask of the person I was expected to be.

In a word, every man for his own ends. Our summum bonum is commodity, and the goddess we adore Dea Moneta, Queen Money, to whom we daily offer sacrifice, which steers our hearts, hands, affections, all: that most powerful goddess, by whom we are reared, depressed, elevated, esteemed the sole commandress of our actions, for which we pray, run, ride, go, come, labour, and contend as fishes do for a crumb that falleth into the water. It is not worth, virtue (that's bonum theatrale [a theatrical good]), wisdom, valour, learning, honesty, religion, or any sufficiency for which we are respected, but money, greatness, office, honour, authority; honesty is accounted folly; knavery, policy; men admired out of opinion, not as they are, but as they seem to be: such shifting, lying, cogging, plotting, counterplotting, temporizing, flattering, cozening, dissembling, "that of necessity one must highly offend God if he be conformable to the world," Cretizare cum Crete [to do at Crete as the Cretans do], "or else live in contempt, disgrace, and misery." One takes upon him temperance, holiness, another austerity, a third an affected kind of simplicity, whenas indeed he, and he, and he, and the rest are hypocrites, ambidexters, outsides, so many turning pictures, a lion on the one side, a lamb on the other.

Freud elevated unconscious processes to the throne of the mind, imbuing them with the power to guide our every thought and deed, and to a significant extent writing free will out of the picture. Decades later, neuroscience has linked genetic mechanisms to neuronal circuits coursing with a multiplicity of neurotransmitters to argue that the brain is a machine whose behavior is predestined, or at least determined, in such a way as seemingly to leave no room for the will. It is not merely that will is not free, in the modern scientific view; not merely that it is constrained, a captive of material forces. It is, more radically, that the will, a manifestation of the mind, does not even exist, because a mind independent of brain does not exist.

To be awake is to be alive. I have never yet met a man who was quite awake. how could I have ever looked him in the face?...we must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor. It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look. every man is tasked to make his life, even in its details, worthy of the contemplation of his most elevated and critical hour.

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

For nothing is so productive of elevation of mind as to be able to examine methodically and truly every object which is presented to thee in life, and always to look at things so as to see at the same time what kind of universe this is, and what kind of use everything performs in it, and what value everything has with reference to the whole, and what with reference to man, who is a citizen of the highest city, of which all other cities are like families; what each thing is, and of what it is composed, and how long it is the nature of this thing to endure which now makes an impression on me, and what virtue I have need of with respect to it, such as gentleness, manliness, truth, fidelity, simplicity, contentment, and the rest. Wherefore, on every occasion a man should say: this comes from God; and this is according to the apportionment and spinning of the thread of destiny, and such-like coincidence and chance; and this is from one of the same stock, and a kinsman and partner, one who knows not however what is according to his nature. But I know; for this reason I behave towards him according to the natural law of fellowship with benevolence and justice.

The photographer was taking pictures with a small pocket camera but the sergeant sent him back to the car for his big Bertillon camera. Grave Digger and Coffin Ed left the cellar to look around. The apartment was only one room wide but four storeys high. The front was flush with the sidewalk, and the front entrance elevated by two recessed steps. The alleyway at the side slanted down from the sidewalk sufficiently to drop the level of the door six feet below the ground-floor level. The cellar, which could only be entered by the door at the side, was directly below the ground-floor rooms. There were no apartments. Each of the four floors had three bedrooms opening on to the public hall, and to the rear was a kitchen and a bath and a separate toilet to serve each floor. There were three tenants on each floor, their doors secured by hasps and staples to be padlocked when they were absent, bolts and chains and floor locks and angle bars to protect them from intruders when they were present. The doors were pitted and scarred either because of lost keys or attempted burglary, indicating a continuous warfare between the residents and enemies from without, rapists, robbers, homicidal husbands and lovers, or the landlord after his rent. The walls were covered with obscene graffiti, mammoth sexual organs, vulgar limericks, opened legs, telephone numbers, outright boasting, insidious suggestions, and impertinent or pertinent comments about various tenants’ love habits, their mothers and fathers, the legitimacy of their children. “And people live here,” Grave Digger said, his eyes sad. “That’s what it was made for.” “Like maggots in rotten meat.” “It’s rotten enough.” Twelve mailboxes were nailed to the wall in the front hall. Narrow stairs climbed to the top floor. The ground-floor hallway ran through a small back courtyard where four overflowing garbage cans leaned against the wall. “Anybody can come in here day or night,” Grave Digger said. “Good for the whores but hard on the children.” “I wouldn’t want to live here if I had any enemies,” Coffin Ed said. “I’d be scared to go to the john.” “Yeah, but you’d have central heating.” “Personally, I’d rather live in the cellar. It’s private with its own private entrance and I could control the heat.” “But you’d have to put out the garbage cans,” Grave Digger said. “Whoever occupied that whore’s crib ain’t been putting out any garbage cans.” “Well, let’s wake up the brothers on the ground floor.” “If they ain’t already awake.

While the picture houses were struggling to maintain their audiences, things were not going terribly well on the production side of the business either. The previous November unions representing the craft trades—painters, carpenters, electricians, and the like—had secured something called the Studio Basic Agreement, which granted them important and costly concessions. The studios were now terrified of being squeezed similarly by actors and writers. With this in mind, thirty-six people from the creative side of the industry met for dinner at the Ambassador Hotel in Los Angeles in January 1927 and formed a kind of executive club to promote—but even more to protect—the studios. It was a reflection of their own sense of self-importance that they called it the International Academy of Motion Picture Arts and Sciences, elevating the movies from popular entertainment to something more grandly artistic, scientific, and literally academic. In the second week of May, while the world fretted over the missing airmen Nungesser and Coli, the academy was formally inaugurated at a banquet at the Biltmore Hotel in Los Angeles. (The idea of having an awards ceremony was something of an afterthought, and wasn’t introduced until the academy’s second anniversary dinner in 1929.)

POEM – MY AMAZING TRAVELS [My composition in my book Travel Memoirs with Pictures] My very first trip I still cannot believe Was planned and executed with such great ease. My father, an Inspector of Schools, was such a strict man, He gave in to my wishes when I told him of the plan. I got my first long vacation while working as a banker One of my co-workers wanted a travelling partner. She visited my father and discussed the matter Arrangements were made without any flutter. We travelled to New York, Toronto, London, and Germany, In each of those places, there was somebody, To guide and protect us and to take us wonderful places, It was a dream come true at our young ages. We even visited Holland, which was across the Border. To drive across from Germany was quite in order. Memories of great times continue to linger, I thank God for an understanding father. That trip in 1968 was the beginning of much more, I visited many countries afterward I am still in awe. Barbados, Tobago, St. Maarten, and Buffalo, Cirencester in the United Kingdom, Miami, and Orlando. I was accompanied by my husband on many trips. Sisters, nieces, children, grandchildren, and friends, travelled with me a bit. Puerto Rico, Los Angeles, New York, and Hialeah, Curacao, Caracas, Margarita, Virginia, and Anguilla. We sailed aboard the Creole Queen On the Mississippi in New Orleans We traversed the Rockies in Colorado And walked the streets in Cozumel, Mexico. We were thrilled to visit the Vatican in Rome, The Trevi Fountain and the Colosseum. To explore the countryside in Florence, And to sail on a Gondola in Venice. My fridge is decorated with magnets Souvenirs of all my visits London, Madrid, Bahamas, Coco Cay, Barcelona. And the Leaning Tower of Pisa How can I forget the Spanish Steps in Rome? Stratford upon Avon, where Shakespeare was born. CN Tower in Toronto so very high I thought the elevator would take me to the sky. Then there was El Poble and Toledo Noted for Spanish Gold We travelled on the Euro star. The scenery was beautiful to behold! I must not omit Cartagena in Columbia, Anaheim, Las Vegas, and Catalina, Key West, Tampa, Fort Lauderdale, and Pembroke Pines, Places I love to lime. Of course, I would like to make special mention, Of two exciting cruises with Royal Caribbean. Majesty of the Seas and Liberty of the Seas Two ships which grace the Seas. Last but not least and best of all We visited Paris in the fall. Cologne, Dusseldorf, and Berlin Amazing places, which made my head, spin. Copyright@BrendaMohammed

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, not any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur; other gifts Have followed; for such loss, I would believe, Abundant recompense. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

Mrs Vane glanced at her [daughter], and with one of those false theatrical gestures that so often become a mode of second nature to a stage-player, clasped her in her arms. At this moment the door opened, and a young lad with rough brown hair came into the room… Mrs Vane fixed her eyes on him, and intensified the smile. She mentally elevated her son to the dignity of an audience. She felt sure that the tableau was interesting. ‘You might keep some of your kisses for me, Sibyl, I think,’ said the lad, with a good-natured grumble… James Vane looked into his sister’s face with tenderness. ‘I want you to come out with me for a walk, Sibyl. I don’t suppose I shall ever see this horrid London again. I am sure I don’t want to.’ ‘My son, don’t say such dreadful things,’ murmured Mrs Vane, taking up a tawdry theatrical dress, with a sigh, and beginning to patch it. She felt a little disappointed that he had not joined the group. It would have increased the theatrical picturesqueness of the situation… ‘Come, Sibyl,’ said her brother, impatiently. He hated his mother’s affectations… He was conscious also of the shallowness and vanity of his mother’s nature, and in that saw infinite peril for Sibyl and Sibyl’s happiness. Children being by loving their parents; as they grow older they judge them; sometimes they forgive them… After some time, he thrust away his plate, and put his head in his hands. He felt that he had a right to know. It should have been told to him before, if it was as he suspected. Leaden with fear, his mother watched him. Words dropped mechanically from her lips. A tattered lace handkerchief twitched in her fingers. When the clock struck six, he got up, and went to the door. Then he turned back, and looked at her. Their eyes met. In hers he saw a wild appeal for mercy. It enraged him. ‘Mother, I have something to ask you,’ he said. Her eyes wandered vaguely about the room. She made no answer. ‘Tell me the truth. I have a right to know. Were you married to my father?’ She heaved a deep sigh. It was a sigh of relief. The terrible moment, the moment that night and day, for weeks and months, she had dreaded, had come at last, and yet she felt no terror. Indeed in some measure it was a disappointment to her. The vulgar directness of the question called for a direct answer. The situation had not been gradually led up to. It was crude. It reminded her of a bad rehearsal.

Worship as such especially provides the subject-matter of prayer. This is indeed a situation of humility, of the sacrifice of Pelf and the quest for peace in another, but still it is not so much begging (Bitten) as praying (Beten). Of course begging and praying are closely related because a prayer may also be a begging. Yet begging proper wants something for itself; it is addressed to someone who possesses something essential to me, in the hope that my begging will incline his heart to me, weaken his heart, and stimulate his love for me and so arouse in him a sense of identity with me. But what I feel in begging him is the desire for something that he is to lose when I get it; he is to love me so that my own selfishness can be satisfied and my interest and welfare furthered. But I give nothing in return except perhaps an implicit avowal that he can ask the same things of me. This is not the kind of thing that prayer is. Prayer is an elevation of the heart to God who is absolute love and asks nothing for himself. Worship itself is the prayer answered; the petition itself is bliss. For although prayer may also contain a petition for some particular thing, this particular request is not what should really be expressed; on the contrary, the essential thing is the assurance of simply being heard, not of being heard in respect of this particular request, but absolute confidence that God will give me what is best for me. Even in this respect, prayer is itself satisfaction, enjoyment, the express feeling and consciousness of eternal love which is not only a ray of transfiguration shining through the worshipper’s figure and situation, but is in itself the situation and what exists and is to be portrayed. This is the prayerful situation of e.g. Pope Sixtus in the Raphael picture that is called after him,[18] and of St. Barbara in the same picture; the same is true of the innumerable prayerful situations of Apostles and saints (e.g. St. Francis) at the foot of the Cross, where what is now chosen as the subject is, not Christ’s grief or the timorousness, doubt, and despair of the Disciples, but the love and adoration of God, the prayer that loses itself in him. Especially in the earlier ages of painting there are faces of this kind, usually of old men who have gone through much in life and suffering. The faces have been treated as if they were portraits, yet they are those of worshipful souls. The result is that this worship is not their occupation at this moment only, but on the contrary they become priests, as it were, or saints whose whole life, thought, desire, and will is worship, and their expression, despite all portraiture, has in it nothing but this assurance and this peace of love.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind, With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days, And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur, other gifts Have followed; for such loss, I would believe, Abundant recompence. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and

I’ll be there in five.” Eight minutes later I parked in the parking garage, climbed the four flights to my floor, and walked down the hall. The building has an elevator, but tough guys climbed stairs. Picture me bristling with manliness. Also, impatience. Cindy’s door was closed. The door to the little insurance agency across from my office was closed. My door was open.

Most of the cadets accepted an invitation to attend a reception at the Venezuelan Naval Academy in La Guaira. Don Silke and I had other ideas and figured on getting a cab to the capital city of Caracas. The ride would take about a half hour, if the car did not overheat going over the mountain pass on the newly constructed highway. The capital city had an elevation of 7,083 feet and we were at sea level. As we stepped off the gangway, I noticed two stunningly beautiful girls standing on the concrete dock looking at the ship. Neither of us could figure out why the girls were there. Perhaps they were tourists, but I would find out. Approaching them, I asked if we could help, but soon discovered that they didn’t speak English and we didn’t speak what seemed to be French. It could have led to an impasse but my knowledge of German saved the day. It turned out that both girls were from France and one of them came from the Alsace Province and spoke German. They were both quite bubbly and we soon found out that they were dancers with the Folies Bergère, on tour to South America. From what I understood, they would be performing in Caracas that night and could get us free tickets. It all sounded great except that we had to be back aboard by 10:00 p.m., since the ship would be leaving first thing in the morning. Rats! You win some and you lose some, but at least we were with them for now. Don and I offered to take them aboard for lunch. It all seemed exciting for them to board a ship with so many single men. Ooh là là. The girls attracted a lot of attention and the ship’s photographer couldn’t stop taking pictures. The rest of our classmates couldn’t believe what they saw and of course thought that we were luckier than we really were. For us, the illusion had to be enough and fortunately the lunch served that day was reasonably good.

It is curious how little countenance radical pluralism has ever had from philosophers. Whether materialistically or spiritually minded, philosophers have always aimed at cleaning up the litter with which the world apparently is filled. They have substituted economical and orderly conceptions for the first sensible tangle; and whether these are morally elevated or only intellectually neat, they were at any rate always aesthetically pure and definite, and aimed at ascribing to the world something clean and intellectual in the way of structure. As compared with all these rationalizing pictures, the pluralistic empiricism which I profess offers but a sorry appearance. It is a turbid, muddled, gothic sort of affair, without sweeping outline and with little pictorial nobility. (James 1977, p. 26)

Some viewed Chinese investors as the latest “dumb money” to hit Hollywood. It is no doubt true that financing movies is not the smartest way for any investor, from anywhere in the world, to earn the best returns. Others had a different theory—that some wealthy Chinese individuals and businesses were seeking to get their money out of China, where an autocratic government could still steal anyone’s wealth at any time, for any reason. Certainly Hollywood had long been a destination for legal money laundering. But those who worked most closely with the Chinese knew that the biggest reason for these investments was a form of reverse-colonialism. After more than a decade as a place for Hollywood to make money, China wanted to turn the tables. The United States had already proved the power of pop culture to help establish a nation’s global dominance. Now China wanted to do the same. The Beijing government considered art and culture to be a form of “soft power,” whereby it could extend influence around the world without the use of weapons. Over the past few years, locally produced Chinese films had become more successful at the box office there. But most were culturally specific comedies and love stories that didn’t translate anywhere else. China had yet to produce a global blockbuster. And with box-office growth in that country slowing in 2016 and early 2017, hits that resonated internationally would be critical if the Communist nation was to grow its movie business and use it to become the kind of global power it wanted to be. So Chinese companies, with the backing of the government, started investing in Hollywood, with a mission to learn how experienced hands there made blockbusters that thrived worldwide. Within a few years, they figured, China would learn how to do that without anyone’s help. “Working with a company like Universal will help us elevate our skill set in moviemaking,” the head of the Chinese entertainment company Perfect World Pictures said, while investing $250 million in a slate of upcoming films from the American studio. Getting there wouldn’t be easy. One of the highest-profile efforts to produce a worldwide hit out of China was The Great Wall, starring Matt Damon and made by Wanda’s Legendary Pictures. The $150 million film, about a war against monsters set on the Chinese historic landmark, grossed an underwhelming $171 million and a disastrous $45 million in the United States. Then, to create another obstacle, Chinese government currency controls established in early 2017 slowed, at least temporarily, the flow of money from China into Hollywood. But by then it was too late to turn back. As seemed to always be true when it came to Hollywood’s relationship with China, the Americans had no choice but to keep playing along. Nobody else was willing to pour billions of dollars into the struggling movie business in the mid-2010s, particularly for original or lower-budget productions.

The dream sequence where Leonard was holding Penny in the elevator shaft is captured in a photograph of the pair on Penny’s refrigerator. But as executive producer Steve Molaro points out, that picture could technically never exist. Steve Molaro: It makes me crazy because technically that photo was from the fantasy sequence, so it shouldn’t be a real photo on her refrigerator. Unless Leonard said, “Hey, we should go re-create this image I have from a dream of mine and get in the elevator shaft and have somebody take a picture of us,” it doesn’t belong there.

Whether you walk on two or four legs, the dominant function of a leg is to be a pendulum. This is illustrated in figure 19, but if a picture is worth a thousand words, then action is worth even more, so take a few steps around the room and focus on what your right leg is doing. Notice when it isn’t on the ground, it swings forward like the pendulum on a grandfather clock with its center of rotation at the hip. This “swing phase” of a stride is primarily powered by your hip muscles. Your leg’s pendular action flips, however, at the end of the swing phase when your foot collides with the ground. At this instant, your leg becomes an upside-down pendulum whose center of rotation is the ankle. In essence, your leg becomes a stilt during this “stance phase” of the stride. The stilt-like behavior of legs during stance is key to understanding how you use energy when you walk. During the first half of the stance phase, muscles vault your body up and over that leg, elevating your center of mass about two inches (five centimeters). That upward lift expends calories but stores potential energy, just as if you were to raise this book. Then during the second half of stance, your body converts that potential energy to kinetic energy by falling downward and forward, as if you were to drop the book. Eventually, your swing leg collides with the ground, halting your body’s fall and starting a new cycle. Walking thus costs calories to raise the body’s center of mass in the first half of stance, then redirect it upward and forward from one step to the next, and to swing the arms and legs.8 While at least one foot is on the ground at all times during a normal walk, the key energetic principle that moves you forward is using your legs like pendulums to exchange potential and kinetic energy. Quadrupeds like dogs and chimpanzees use their four legs in just the same way.

What a lesson for us!  How few of us ever finish the tasks assigned to us.  The world is full of souls that are like unfinished symphonies, and half-completed Gothic Cathedrals – souls who have begun the poem of their life but have never written the last line; souls that paint pictures and leave out the borders; souls that never have the joy of looking on a perfect work, seeing that it is good, and then, catching an echo from the Cross, crying out the song of victory: “It is finished”. Calvary is a place of great impatience.  Many souls follow Our Lord to the Mount of Beatitudes, but refuse to follow Him to Calvary; some carry their cross to Calvary, but when they get there, they lay it down; some are stripped of the garments of doubt, but refuse to be nailed in the fullness of sacrifice; others are nailed but unfasten themselves before the elevation of the cross; others are crucified but answer the challenge of the world and come down after one hour, after two hours, within a minute of the sound of three.  The world is full of half-crucified souls.  Few there are who stay until the very end; few there are who know what it is to give all, to see the work well done, and experience the thrill of a victory won.  Would that there were a single day in our life, in which we could honestly say – I have given God all!  “It is finished.

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 “Isn’t that kind of an intimate thing to say to a stranger?” Her tone betrayed her. I knew how to read body language, and hers was telling me that she was interested. I’d more than piqued her curiosity. “Ah, we’re not strangers, Annie,” I whispered against her lips. “We’ve already shared a cozy elevator ride, I’ve cleaned your top, and you’ve sent me a very odd a picture of a question-mark clock. We’re practically dating.

In their important masterpiece entitled When the Earth Nearly Died, Allan and Delair write: In Europe immense herds of diverse animals utterly vanished off the face of the earth for no obvious biological reason Coincident with this dreadful slaughter upon the land was the deposition of myriads of contemporary marine shells, and the stranding at great elevations of marine mammals, porpoises, walruses and seals In Siberia, the picture is everywhere one of appalling disorder, carnage and wholesale destruction, with countless animals and plants frozen in positions of death ever since the day they perished. As a result, their remains are amazingly fresh-looking and are frequently indistinguishable from those of animals and plants that have died mere weeks ago The magnitude of the biological extinctions achieved by the Deluge almost transcends the imagination. It annihilated literally billions of biological units of both sexes and every age indiscriminately. Only incredibly powerful flood waters operating world-wide could have achieved such results, and only a flood produced by the means previously suggested could have operated globally They comment on the preposterous Ice Age theories of their predecessors. Although these theories hold little water, they are accepted by supposedly intelligent people. ...it is astonishing that such an unscientific explanation ever came to be formulated, yet in a short time both it and the concept of immense thick ice-sheets descending from a hypothetical northern mountain system, to cover all of northern and eastern North America and western and northern Eurasia, was enthusiastically embraced...as virtually established fact The evidence is perfectly unambiguous. Along with the removal of an “Ice Age” like that which has been hitherto commonly envisaged, the evidence suggests that there is something seriously amiss with the last phases of standard geological chronology Evidence thus converges from numerous directions to support the conclusion that, on the testimony of radio-carbon and other dating techniques, immense physical and climatic changes occurred on earth some 11,000 years or so ago – when an Ice Age that probably never existed came to an end, and an apparently uniformitarian regime was abruptly terminated The gigantic worldwide tectonic disturbances of the ‘late Pleistocene’ times occurred almost simultaneously on a nearly unimaginable scale – precisely what could be expected from a powerful external influence but not from the ‘Ice Age’ conditions conventionally believed to have existed then They note the change in the magnetic fields that occurred during the cataclysmic period of Earth’s recent history: Significantly, a drop in the strength of the earth’s magnetic field appears to have occurred sometime between 13,750 and 12,350 years ago...attended by various other important changes, including earthquakes, vulcanism, water table fluctuations and large scale climatic variations. Of these, severe earthquakes in particular may even induce axial wobble, and polarity reversals

Not surprisingly, when Barbie achieved superstar status, her houses became more ostentatious. Yet even Barbie's three-story town house, with its Tara-like pillars and ersatz wrought-iron birdcage elevator, is an outsider's interpretation of upper-class life. Authentic valuables are to Barbie's possessions what a pungent slab of gorgonzola is to "cheese food"; her furniture and artwork would not look out of place in a Ramada Inn. For all her implicit disposable income, her tastes remain doggedly middle- to lower-middle-class. As pictured in the catalogue, the town house also reflects Dynasty thinking. Both Ken and Barbie are absurdly overdressed—he in a parodic "tuxedo," she in a flouncy confection that barely fits into the elevator.

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

Henri Cartier-Bresson's approach exemplifies this interest in the autonomy of modernist photographs. Cartier-Bresson took many of his photographs as a professional photojournalist, reporting on conditions and events around the world in multi-image picture-stories. Yet he regularly republished single images from these stories in anthologies with little or no captioning, elevating them in the process from a context of journalism to art.

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—Thomas, I did not think you some miracle bestowed upon me. You were born and I was happy to have you. And I don’t think you thought of me as some miracle, either. We were, or should have been, partners. I was happy you existed and wanted you to thrive. My hope was that you were happy to exist and that you yourself would endeavor to thrive. But instead you were aggrieved by your existence and my role in it. I think that’s why you were so drawn to Christ. —I wasn’t drawn to Christ. What does that mean? —You used to draw the crucifix on your notebooks. Other kids were drawing spaceships or Grateful Dead skulls or penises, but you were drawing crucifixes. You thought that was you, suffering on the cross. I considered you a partner and an equal but you wanted to be beneath me and a martyr. —You’re the one who brought me to church. —I brought you once. You know how I hate Christianity and all that wretched iconography. You know what? You see pictures of Buddha and he’s sitting, reclining, at peace. The Hindus have their twelve-armed elephant god, who also seems so content but not powerless. But leave it to the Christians to have a dead and bloody man nailed to a cross. You walk into a church and you see a helpless man bleeding all over himself—how can we come away hopeful after such a sight? People bring their children to mass and have them stare for two hours at a man hammered to a beam and picked at by crows. How is that elevating? It’s all about accountability for them. —What is? —The Christians, the Bible. It’s all about who’s at fault. A whole religion based on accountability. Who’s to blame? What’s the judgment? Who gets punished? Who gets jailed, banished, killed, drowned, decimated. You want to know the main takeaway most people got from Jesus’s death? Not sacrifice, nothing like that. The takeaway, after all that Old Testament judgment, is that the Jews did it. —Incredible. —You loved it, though. Especially as a teenager. Young men love martyrdom. You get to be the victim and the hero at the same time.

Don’t try to aim down the arrow shaft,” he told her. “You have to sense where the arrow will go. You need to see the entire sighting picture—the bale of hay, the bow and the arrowhead. Learn where the arrow will fly.” She frowned. “How do I do that?” “There’s only one way. You practice. Over and over again, so that aligning the shot to the target becomes an instinctive action. After a while, after seeing enough arrows fly, you’ll instinctively know where to position the bow in the sighting picture. As the range increases, you’ll also need to gauge how much elevation you give the arrow—how far above the target you need to aim to hit the center.

Research has found that gaining elevation can lead us to focus more on the big picture and less on the details of a situation.

I monitor several biomarkers related to metabolism, keeping a watchful eye for things like elevated uric acid, elevated homocysteine, chronic inflammation, and even mildly elevated ALT liver enzymes. Lipoproteins, which we will discuss in detail in the next chapter, are also important, especially triglycerides; I watch the ratio of triglycerides to HDL cholesterol (it should be less than 2:1 or better yet, less than 1:1), as well as levels of VLDL, a lipoprotein that carries triglycerides—all of which may show up many years before a patient would meet the textbook definition of metabolic syndrome. These biomarkers help give us a clearer picture of a patient’s overall metabolic health than HbA1c, which is not very specific by itself.

In order to exemplify the way in which a soul seeks to actualize itself in the picture of its outer world — to show, that is, in how far culture in the "become" state can express or portray an idea of human existence — I have chosen number, the primary element on which all mathematics rests. I have done so because mathematics, accessible in its full depth only to the very few, holds a quite peculiar position amongst the creations of the mind. [...] Every philosophy has hitherto grown up in conjunction with a mathematic belonging to it. Number is the symbol of causal necessity. Like the conception of God, it contains the ultimate meaning of the world-as-nature. [...] But the actual number with which the mathematician works, the figure, formula, sign, diagram, in short the number-sign which he thinks, speaks or writes exactly, is (like the exactly-used word) from the first a symbol of these depths, something imaginable, communicable, comprehensible to the inner and the outer eye, which can be accepted as representing the demarcation. The origin of numbers resembles that of the myth. Primitive man elevates indefinable nature-impressions (the "alien," in our terminology) into deities, numina, at the same time capturing and impounding them by a name which limits them. [...] Nature is the numerable, while History, on the other hand, is the aggregate of that which has no relation to mathematics hence the mathematical certainty of the laws of Nature, the astounding Tightness of Galileo's saying that Nature is "written in mathematical language," and the fact, emphasized by Kant, that exact natural science reaches just as far as the possibilities of applied mathematics allow it to reach.

Embrace Efficiency, Elevate Flavor: Smart Kitchen Tools for Culinary Adventurers The kitchen, once a realm of necessity, has morphed into a playground of possibility. Gone are the days of clunky appliances and tedious prep work. Enter the age of the smart kitchen tool, a revolution that whispers efficiency and shouts culinary liberation. For the modern gastronome, these tech-infused gadgets are not mere conveniences, but allies in crafting delectable adventures, freeing us to savor the journey as much as the destination. Imagine mornings when your smart coffee maker greets you with the perfect brew, prepped by the whispers of your phone while you dream. Your fridge, stocked like a digital oracle, suggests recipes based on its ever-evolving inventory, and even automatically orders groceries you've run low on. The multi-cooker, your multitasking superhero, whips up a gourmet chili while you conquer emails, and by dinnertime, your smart oven roasts a succulent chicken to golden perfection, its progress monitored remotely as you sip a glass of wine. But efficiency is merely the prologue. Smart kitchen tools unlock a pandora's box of culinary precision. Smart scales, meticulous to the milligram, banish recipe guesswork and ensure perfect balance in every dish. Food processors and blenders, armed with pre-programmed settings and self-cleaning prowess, transform tedious chopping into a mere blip on the culinary radar. And for the aspiring chef, a sous vide machine becomes a magic wand, coaxing impossible tenderness from the toughest cuts of meat. Yet, technology alone is not the recipe for culinary bliss. For those who yearn to paint with flavors, smart kitchen tools are the brushes on their canvas. A connected recipe platform becomes your digital sous chef, guiding you through each step with expert instructions and voice-activated ease. Spice racks, infused with artificial intelligence, suggest unexpected pairings, urging you to venture beyond the familiar. And for the ultimate expression of your inner master chef, a custom knife, forged from heirloom steel and lovingly honed, becomes an extension of your hand, slicing through ingredients with laser focus and lyrical grace. But amidst the symphony of gadgets and apps, let us not forget the heart of the kitchen: the human touch. Smart tools are not meant to replace our intuition but to augment it. They free us from the drudgery, allowing us to focus on the artistry, the love, the joy of creation. Imagine kneading dough, the rhythm of your hands mirroring the gentle whirring of a smart bread machine, then shaping a loaf that holds the warmth of both technology and your own spirit. Or picture yourself plating a dish, using smart portion scales for precision but garnishing with edible flowers chosen simply because they spark joy. This, my friends, is the symphony of the smart kitchen: a harmonious blend of tech and humanity, where efficiency becomes the brushstroke that illuminates the vibrant canvas of culinary passion. Of course, every adventure, even one fueled by smart tools, has its caveats. Interoperability between gadgets can be a tangled web, and data privacy concerns linger like unwanted guests. But these challenges are mere bumps on the culinary road, hurdles to be overcome by informed choices and responsible data management. After all, we wouldn't embark on a mountain trek without checking the weather, would we? So, embrace the smart kitchen, dear foodies! Let technology be your sous chef, your precision tool, your culinary muse. But never forget the magic of your own hands, the wisdom of your palate, and the joy of a meal shared with loved ones. For in the end, it's not about the gadgets, but the memories we create around them, the stories whispered over simmering pots, and the laughter echoing through a kitchen filled with the aroma of possibility.

I monitor several biomarkers related to metabolism, keeping a watchful eye for things like elevated uric acid, elevated homocysteine, chronic inflammation, and even mildly elevated ALT liver enzymes. Lipoproteins, which we will discuss in detail in the next chapter, are also important, especially triglycerides; I watch the ratio of triglycerides to HDL cholesterol (it should be less than 2:1 or better yet, less than 1:1), as well as levels of VLDL, a lipoprotein that carries triglycerides—all of which may show up many years before a patient would meet the textbook definition of metabolic syndrome. These biomarkers help give us a clearer picture of a patient’s overall metabolic health than HbA1c, which is not

A true miracle is the inspiration we receive from above to turn thoughts like these into realizations. They aren’t magic tricks. They are the inspirations and messages that come in the forms of mental pictures, signs and synchronicities, and they are happening around us each day.

Diet culture is a system of beliefs that: • Worships thinness and equates it to health and moral virtue, which means you can spend your whole life thinking you’re irreparably broken just because you don’t look like the impossibly thin “ideal.” • Promotes weight loss as a means of attaining higher status, which means you feel compelled to spend a massive amount of time, energy, and money trying to shrink your body, even though the research is very clear that almost no one can sustain intentional weight loss for more than a few years. • Demonizes certain ways of eating while elevating others, which means you’re forced to be hyper-vigilant about your eating, ashamed of making certain food choices, and distracted from your pleasure, your purpose, and your power. • Oppresses people who don’t match up with its supposed picture of “health,” which disproportionately harms women, femmes, trans folks, people in larger bodies, people of color, and people with disabilities, damaging both their mental and physical health.

I watch the ratio of triglycerides to HDL cholesterol (it should be less than 2:1 or better yet, less than 1:1), as well as levels of VLDL, a lipoprotein that carries triglycerides—all of which may show up many years before a patient would meet the textbook definition of metabolic syndrome. These biomarkers help give us a clearer picture of a patient’s overall metabolic health than HbA1c, which is not very specific by itself. But the first thing I look for, the canary in the coal mine of metabolic disorder, is elevated insulin. As we’ve seen, the body’s first response to incipient insulin resistance is to produce more insulin.

The shift in perspective we feel in a treehouse isn’t just in our imagination. Research has found that gaining elevation can lead us to focus more on the big picture and less on the details of a situation.

Trend currents (as opposed to current trends) are big-picture, unstoppable, inexorable forces that are shaping the world we live in.

Someone’s gotta do it. No one’s gonna do it. So I’ll do it. Your honor, I rise in defense of drunken astronauts. You’ve all heard the reports, delivered in scandalized tones on the evening news or as guaranteed punch lines for the late-night comics, that at least two astronauts had alcohol in their systems before flights. A stern and sober NASA has assured an anxious nation that this matter, uncovered by a NASA-commissioned study, will be thoroughly looked into and appropriately dealt with. To which I say: Come off it. I know NASA has to get grim and do the responsible thing, but as counsel for the defense—the only counsel for the defense, as far as I can tell—I place before the jury the following considerations: Have you ever been to the shuttle launchpad? Have you ever seen that beautiful and preposterous thing the astronauts ride? Imagine it’s you sitting on top of a 12-story winged tube bolted to a gigantic canister filled with 2 million liters of liquid oxygen and liquid hydrogen. Then picture your own buddies—the “closeout crew”—who met you at the pad, fastened your emergency chute, strapped you into your launch seat, sealed the hatch and waved smiling to you through the window. Having left you lashed to what is the largest bomb on planet Earth, they then proceed 200 feet down the elevator and drive not one, not two, but three miles away to watch as the button is pressed that lights the candle that ignites the fuel that blows you into space. Three miles! That’s how far they calculate they must go to be beyond the radius of incineration should anything go awry on the launchpad on which, I remind you, these insanely brave people are sitting. Would you not want to be a bit soused? Would you be all aflutter if you discovered that a couple of astronauts—out of dozens—were mildly so? I dare say that if the standards of today’s fussy flight surgeons had been applied to pilots showing up for morning duty in the Battle of Britain, the signs in Piccadilly would today be in German. Cut these cowboys some slack. These are not wobbly Northwest Airlines pilots trying to get off the runway and steer through clouds and densely occupied airspace. An ascending space shuttle, I assure you, encounters very little traffic. And for much of liftoff, the astronaut is little more than spam in a can—not pilot but guinea pig. With opposable thumbs, to be sure, yet with only one specific task: to come out alive. And by the time the astronauts get to the part of the journey that requires delicate and skillful maneuvering—docking with the international space station, outdoor plumbing repairs in zero-G—they will long ago have peed the demon rum into their recycling units.

He was sitting on the divan.Calm faced,a beautiful structure as if in white attire.just a white robe carelessly worn on his shoulder.A smoth smile enlighting the room.He,as if wandering in other world the body present as invitee.I stared at him just as I entered the room.I was stuck by the picture.Time passed.whatever was to be done went as per schedule.I was imprisoned by the handsome saint or perhaps a sage like man.He looked straight into my eyes.My eyes spoke out my rising desire.And again we exchanged our look....twice, thrice, so many times,as if the room was not so crowded, as if alone in a planet we stayed at two poles.Not a word his eyes uttered but a cool wind shivered into my femininity. And suddenly he was standing before me.He took my hand softly and said "let's go somewhere else and talk".He wore the same smile on his face.I followed him like a kid.The elevator took us to a small tidy room.white walls.a single bed wore white bedsheet, a small writing table and chair. We looked at each other."touch me"he said softly.I touched his maleness.A tough erected one,big.The fire spread inside my abdomen.----see how your desire is transmitted into me without uttering a word,stranger as we are to each other".

The professor's voice was amplified with her mike. 'In the nineteenth century... artists were compelled by the idea of the sublime, which was the most elevated expression of the harmony between nature and man. By contemplating nature, a figure like this one on the mountaintop would be inspired with reverence for the majesty of what God created--both humbled by it and also elevated by it because he, as a witness and an observer, had a privileged relation to all of creation--both of it and standing outside it to contemplate it. It was through contemplating nature that one would gain this experience of the sublime, so you tend to find in pictures from this time--' Slide changed. '--this theme repeated: the untamed and overwhelming power and beauty of nature, and the witness to it, somewhere in the painting, a stand-in for the viewer and the painter....

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The only sounds at the late hour were the faint jingle of a phone ringing in the nurses’ station, the ping of an elevator, the faraway sound of the wheels of a cart, and the gentle beep of Brandon’s vital signs monitor. They wouldn’t allow any flowers or personal items in the ICU, but Sloan had snuck in an engagement photo. It sat on the table next to the bed. Her and Brandon on the beach, the surf crashing around their feet, her tattooed arm over his shoulder, them looking at each other. Both of them laughing. I looked back at him and sighed. “You’re going to have some gnarly scars, buddy.” They’d started the skin grafts for the road rash on his arm. “But you’ll get to do everything you planned to do with your life. One of us is going to get the girl. I’ll help you any way I can. Even if I have to wheel your ass to the altar.” I could picture his smile. With any luck I’d see it in a few hours. A knock on the door frame turned me around in my chair. “Hey, cutie.” Valerie came into the room for her vitals check. She turned the lights up, and I stood and stretched. As if sleeping in a chair wasn’t hard enough, the activity every two hours was the final kicker. I wouldn’t call anything I did on these overnight shifts sleeping. Maybe napping, but not sleeping. Every two hours Brandon was moved. They checked his airways, changed out bags, looked at his vitals. I don’t know how Sloan was handling doing this almost nightly for the last three weeks. Sloan was a good woman. I’d always liked her, but now she’d earned my respect, and I was grateful Brandon and Kristen had her. “Did you decide what day you want to bring the kids to the station?” I asked Valerie, yawning. She cycled the blood pressure cuff on Brandon’s arm and smiled. “I’m thinking Tuesday. You on shift Tuesday?” “Yup.” She wrote down some notes on Brandon’s chart and then gave me a raised eyebrow. “Any updates with your lady friend?” I laughed a little. “No.” The whole nursing staff knew about my depressing love life. I’d gotten hit on a few too many times by some of the younger nurses. I couldn’t claim to have a girlfriend, and I wasn’t married, so it was either “I’m gay” or “I’m in love with that girl over there.” I’d gone with the latter, and now I wished I’d said I was gay. They didn’t know why Kristen wouldn’t date me, just that she wouldn’t. It had turned into the favorite topic of the ICU. A real-life episode of Grey’s Anatomy. I rarely got through a Brandon visit without it coming up. The drama escalated when Kristen had been hit on by the nurses’ favorite single orthopedic surgeon. According to the nurses’ gossip circuit, Kristen told him to go fuck himself. And apparently she’d actually said, “Go fuck yourself.” After that everyone was sure she was holding out for me. Only I knew better.

Worships thinness and equates it to health and moral virtue, which means you can spend your whole life thinking you’re irreparably broken just because you don’t look like the impossibly thin “ideal.” • Promotes weight loss as a means of attaining higher status, which means you feel compelled to spend a massive amount of time, energy, and money trying to shrink your body, even though the research is very clear that almost no one can sustain intentional weight loss for more than a few years. •  Demonizes certain ways of eating while elevating others, which means you’re forced to be hyper-vigilant about your eating, ashamed of making certain food choices, and distracted from your pleasure, your purpose, and your power. •  Oppresses people who don’t match up with its supposed picture of “health,” which disproportionately harms women, femmes, trans folks, people in larger bodies, people of color, and people with disabilities, damaging both their mental and physical health.

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