Emphasis Art Quotes

Finally he spoke the three simple words that no amount of bad art or bad faith can every quite cheapen. She repeated them, with exactly the same slight emphasis on the second word, as though she were the one to say them first. He had no religious belief, but it was impossible not to think of an invisible presence or witness in the room, and that these words spoken aloud were like signatures on an unseen contract.

We want to make good time, but for us now this is measured with the emphasis on "good" rather than on "time"....

Nothing as singular or as important had happened since the day of his birth. She returned his gaze, struck by the sense of her own transformation, and overwhelmed by the beauty in a face which a lifetime's habit had taught her to ignore. She whispered his name with the deliberation of a child trying out the distinct sounds. When he replied with her name, it sounded like a new word - the syllables remained the same, the meaning was different. Finally he spoke the three simple words that no amount of bad art or bad faith can ever quite cheapen. She repeated them, with exactly the same emphasis on the second word, as if she had been the one to say them first. He had no religious belief, but it was impossible not to think of an invisible presence or witness in the room, and that these words spoken aloud were like signatures on an unseen contract

I cannot understand the almost exclusive emphasis on racial integration, when in fact we are getting more and more segregated into tight little cliques on age grounds.

Why have so many schools reduced the time and emphasis they place on art, music, and physical education? The answer is beyond simple: those areas aren’t measured on the all-important tests. You know where those areas are measured… in life! Art, music, and a healthy lifestyle help us develop a richer, deeper, and more balanced perspective. Never before have we needed more of an emphasis on the development of creativity, but schools have gone the exact opposite direction in an effort to make the best test-taking automatons possible. Our economy no longer rewards people for blindly following rules and becoming a cog in the machine. We need risk-takers, outside-the-box thinkers, and entrepreneurs; our school systems do the next generation a great disservice by discouraging these very skills and attitudes. Instead of helping and encouraging them to find and develop their unique strengths, they're told to shut up, put the cell phones away, memorize these facts and fill in the bubbles.

To learn theory by experimenting and doing. To learn belonging by participating and self-rule. Permissiveness in all animal behavior and interpersonal expression. Emphasis on individual differences. Unblocking and training feeling by plastic arts, eurythmics and dramatics. Tolerance of races, classes, and cultures. Group therapy as a means of solidarity, in the staff meeting and community meeting. Taking youth seriously as an age in itself. Community of youth and adults, minimizing 'authority.' Educational use of the actual physical plant (buildings and farms) and the culture of the school community. Emphasis in the curriculum on real problems and wider society, its geography and history, with actual participation in the neighboring community (village or city). Trying for functional interrelation of activities.

At school, creativity was suppressed and crushed. It was something that teachers and authorities actually feared. They regarded it as dangerous, something they couldn’t control. They steered students away from it in the same way they steered them away from drugs, burglary or gambling. At art college I found the opposite. The spirit was one in which mistakes were good. Where you could try and fail. There was no emphasis on getting it ‘right’. All around me were people experimenting for the sheer hell of it, doing things that made no sense – or rather doing things because they made no sense.

If sexual physiology provides the pattern for our experience of the world, what is woman's basic metaphor? It is mystery, the hidden. Karen Horney speaks of a girl's inability to see her genitals and a boy's ability to see his as the source of "the greater subjectivity of women as compared with the greater objectivity of men." To rephrase this with my different emphasis: men's delusional certitude that objectivity is possible is based on the visibility of their genitals. Second, this certitude is a defensive swerve from the anxiety-inducing invisibility of the womb. Women tend to be more realistic and less obsessional because of their toleration for ambiguity which they learn from their inability to learn about their own bodies. Women accept limited knowledge as their natural condition, a great human truth that a man may take a lifetime to reach. The female body’s unbearable hiddenness applies to all aspects men’s dealings with women. What does it look like in there? Did she have an orgasm? Is it really my child? Who was my real father? Mystery surrounds women’s sexuality. This mystery is the main reason for the imprisonment man has imposed on women. Only by confining his wife in a locked harem guarded by eunuchs could he be certain that her son was also his.

He was thoroughly convinced that this is indispensable for everything sorcerers do, and for this reason he put an enormous emphasis on guiding all his students to fulfill this requirement. He was of the opinion that self-importance is not only the sorcerers' supreme enemy but the nemesis of mankind. Don Juan's argument was that most of our energy goes into upholding our importance. This is most obvious in our endless worry about the presentation of the self, about whether or not we are admired or liked or acknowledged. He reasoned that if we were capable of losing some of that importance, two extraordinary things would happen to us. One, we would free our energy from trying to maintain the illusory idea of our grandeur; and, two, we would provide ourselves with enough energy to enter into the second attention to catch a glimpse of the actual grandeur of the universe.

We want to make good time, but for us now this is measured with emphasis on “good” rather than “time” and when you make that shift in emphasis the whole approach changes.

Pattern and argument live in each other; and it is by the brevity, clearness, charm, or emphasis of the second, that we judge the strength and fitness of the first.

Our culture tends "to regard the mere energy of impulse as being in every mental and moral way equivalent and even superior to defined intention." Instead we should consider "an idea that once was salient in western culture: the idea of "making a life", by which was meant conceiving human existence, one's own or another's, as if it were a work of art upon which one might pass judgment.... This desire to fashion, to shape, a self and a life has all but gone from a contemporary culture whose emphasis, paradoxically enough, is so much on self.

No nation can approve violence against the most innocent and vulnerable, and expect the effects of that approval to be limited. By 1995, what had seemed a purely private decision in rare circumstances would become a standard method of birth control, an industry, a political litmus test, a rite of passage...a central tenet of a whole culture that centers not around life, its promise and responsibilities, but around self, its creation and cultivation. Those unalienable rights to life and liberty Mr. Jefferson mentioned in the Declaration seem to have been eclipsed by a sad emphasis on the pursuit of happiness. And for all the happiness that the unbridled right to an abortion is supposed to make possible, no political question since slavery seems so heavy with guilt, and its denial. Or else there would be no reason for those who favor abortion to call it something else, "choice" being the most popular euphemism and "reproductive freedom" the most ironic. The signs of this culture of death are now so common that they no longer stand out. In politics and economics, pop culture and art, lifestyle long ago replaced life.

Why have so many schools reduced the time and emphasis they place on art, music, and physical education? The answer is beyond simple: those areas aren’t measured on the all-important tests.

The aspect of this transcendent reality upon which, both in terms of liberal morals, and of the art of the novel, Miss Murdoch lays most emphasis, is what she calls the ‘opacity of persons’.

There are, broadly speaking, three directly analogous progressions inthe history of art: in Antiquity, from the blockiness of Egyptian art to the loose, painterly handling of Roman landscape frescoes; in the Middle Ages, from the tectonic emphasis of Ottonian art to the flamboyance of late Gothic; and in later times, from early Renaissance linearity to the sparkling web of light spun by the Rococo. The wheel turns full circle, but more rapidly each time.

The practitioners of ‘dry’ art admire myth and symbol, precision and coherence; they would, theoretically, be more excited by an interpretation of one of Shakespeare’s plays which offered them a beautifully plotted, ‘containing’ framework of themes and recurrent symbols, than by one which placed its main emphasis on Shakespeare’s skill in reproducing the accidental, the idiosyncratic happenings of life, or his power to arouse in the audience an immediate emotional attachment to Falstaff.

Medieval art was deficient in perspective, and poetry followed suit. Nature, for Chaucer, is all foreground; we never get a landscape. And neither poets nor artists were much interested in the strict illusionism of later periods. The relative size of objects in the visible arts is determined more by the emphasis the artist wishes to lay upon them than by their sizes in the real world or by their distance. Whatever details we are meant to see will be shown whether they would really be visible or not.

How ironic that in a building where so much emphasis and importance is put on art, decor, painting, sculptures - a place where they want to surround themselves with all these beautiful things - I need to remind them just how important the arts are to young people.

By means of the Jante Law’s ten commandments, Jante holds Jante down.  And now you must hear them all: 1.  Thou shalt not believe thou art something.  2.  Thou shalt not believe thou art as good as we.  3.  Thou shalt not believe thou art more wise than we.  4.  Thou shalt not fancy thyself better than we.  5.  Thou shalt not believe thou knowest more than we.  6.  Thou shalt not believe thou art greater than we.  7.  Thou shalt not believe thou amountest to anything, 8.  Thou shalt not laugh at us.  9.  Thou shalt not believe that anyone is concerned with thee.  10. Thou shalt not believe thou canst teach us anything.  Some of these commandments may perhaps be quite all right as they sound.  But he who has lived under the Law of Jante during the fifteen years it took him to develop, who has come to realize its bloody emphasis and its hysterical thirst for power, regards these commandments very differently.

Why have so many schools reduced the time and emphasis they place on art, music, and physical education? The answer is beyond simple: those areas aren’t measured on the all-important tests. You know where those areas are measured… in life! Art, music, and a healthy lifestyle help us develop a richer, deeper, and more balanced perspective.

In school, when I was young, teachers walked around the classroom, man, and pop-pop-pop.” He smacks the back of his own head for emphasis. “You’re breathing from your mouth, you get pop,” he says. Mouthbreathing leads to sickness and is disrespectful, he told me, which is why he and everyone else he grew up with in Puebla, Mexico, learned to breathe through the nose.

This death to the logic of emotional commitments of our chance moment in the world of space and time, this recognition of, the shift of our emphasis to, the universal life that throbs and celebrates its victory in the very kiss of our own annihilation, this amor fati, 'love of fate,' love of the fate that is inevitably death, constitutes the experience of the tragic art...

Theoretically, the curriculum consists of the “seven liberal arts.”2 But schools rarely teach all seven of the arts, and the emphasis is very unequal. These “arts” are “liberal” because their purpose is not moneymaking and because they are worthy of a free man. There are seven mainly because people are fond of the number seven, one of the keys to a numerologically ordered universe.

Ironically, many of the institutions that run the economy, such as medicine, education, law and even psychology are largely dependent upon failing health. If you add up the amounts of money exchanged in the control, anticipation and reaction to failing health (insurance, pharmaceutical research and products, reactive or compensatory medicine, related legal issues, consultation and therapy for those who are unwilling to improve their physical health and claim or believe the problem is elsewhere, etc.), you end up with an enormous chunk. To keep that moving, we need people to be sick. Then we have the extreme social emphasis placed on the pursuit and maintenance of a lifestyle based on making money at any cost, often at the sacrifice of health, sanity and well-being.

... The Sirens of Titan …. … ‘That’s a funny name for a book,’ I said with a gulp. ‘Are those women going to get arrested?’ Mr Peterson didn’t know what the hell I was talking about. ‘They’re not wearing many clothes,’ I pointed out. ‘What’s your point?’ he asked. ‘So I thought maybe the sirens might be for them.’ Mr Peterson frowned. ‘ I think the police are allowed to arrest you for wearing too few clothes,’ I explained. Comprehension dawned on Mr Peterson’s face. ‘No, kid. Not sirens as in police sirens. Sirens as in Homer.’ I frowned. ‘Simpson?’ ‘The Odyssey!’ I looked at him blankly. At some point in the last thirty seconds, we’d stopped speaking the same language. Mr Peterson sighed and rubbed his wrinkled forehead. ‘The Odyssey’s a very old Greek story by a very old Greek man called Homer. And in The Odyssey there are these very beautiful women called sirens …… ‘oh’, I said. ‘So the women are the sirens? And that’s why they’re not wearing very many clothes?” ‘Right. Except in Kurt Vonnegut’s book the Sirens don’t live in the Mediterranean. They live on Titan, which is one of Saturn’s moons.’ ‘Yes, I know that,’ I said. (I didn’t want Mr Peterson to think I was an idiot). ‘It’s the second largest moon in the solar system, after Ganymede, Jupiter’s largest moon. It’s actually larger than Mercury, though not nearly so dense.’ Mr Peter frowned again and shook his head. ‘I guess these days school puts a big emphasis on sciences instead of the arts, huh?’ ‘No, not really. School puts a big emphasis on exam questions. Do sirens breathe methane?

Whitman himself "accepted" a great deal that his contemporaries found unmentionable. For he is not only writing of the prairie, he also wanders through the city and notes the shattered skull of the suicide, the "grey sick faces of onanists," etc., etc. But unquestionably our own age, at any rate in Western Europe, is less healthy and less hopeful than the age in which Whitman was writing. Unlike Whitman, we live in a shrinking world. The "democratic vistas" have ended in barbed wire. There is less feeling of creation and growth, less and less emphasis on the cradle, endlessly rocking, more and more emphasis on the teapot, endlessly stewing. To accept civilisation as it is practically means accepting decay. It has ceased to be a strenuous attitude and become a passive attitude—even "decadent," if that word means anything.

Finally he spoke the three simple words that no amount of bad art or bad faith can ever quite cheapen. She repeated them, with exactly the same slight emphasis on the second word, as though she had been the one to say them first. He had no religious belief, but it was impossible not to think of an invisible presence or witness in the room, and that these words spoken aloud were like signatures on an unseen contract.

Degas, more than any other Realist, looked upon the photograph not merely as a means of documentation, but rather as an inspiration: it evoked the spirit of his own imagery of the spontaneous, the fragmentary and the immediate. Thus, in a certain sense, critics of Realism were quite correct to equate the objective, detached, scientific mode of photography, and its emphasis on the descriptive rather than the imaginative or evaluative, with the basic qualities of Realism itself. As Paul Valéry pointed out in an important though little known article: ‘the moment that photography appeared, the descriptive genre began to invade Letters. In verse as in prose, the décor and the exterior aspects of life took an almost excessive place.… With photography… realism pronounces itself in our Literature’ and, he might have said, in our art as well.

Two days before we were "banished" from the town my father came to see me. He sat down and in a leisurely way, without looking at me, wiped his red face, then took out of his pocket our town Messenger, and deliberately, with emphasis on each word, read out the news that the son of the branch manager of the State Bank, a young man of my age, had been appointed head of a Department in the Exchequer. "And now look at you," he said, folding up the newspaper, "a beggar, in rags, good for nothing! Even working-class people and peasants obtain education in order to become men, while you, a Poloznev, with ancestors of rank and distinction, aspire to the gutter! But I have not come here to talk to you; I have washed my hands of you --" he added in a stifled voice, getting up. "I have come to find out where your sister is, you worthless fellow. She left home after dinner, and here it is nearly eight and she is not back. She has taken to going out frequently without telling me; she is less dutiful -- and I see in it your evil and degrading influence. Where is she?" In his hand he had the umbrella I knew so well, and I was already flustered and drew myself up like a schoolboy, expecting my father to begin hitting me with it, but he noticed my glance at the umbrella and most likely that restrained him. "Live as you please!" he said. "I shall not give you my blessing!

For men as a rule, love is but and episode which takes its place among the other affairs of the day, and the emphasis laid on it in novels gives it and importance which is untrue to life. There are few men to whom it is the most important thing it the world, and they are not very interesting ones; even women, with whom the subject is of paramount interest, have a contempt for them. They are flattered and excited by them, but have an uneasy feeling that they are poor creatures. But even during the brief intervals in which they are in love, men do other things which distract their minds; the trades by which they earn a living engage their attention; they are absorbed in sport; they can interest themselves in art. For the most part, they keep their various activities in various compartments, and they can pursue one to the temporary exclusion of the other. They have a faculty of concentration on that which occupies them at the moment, and it irk them if one encroaches on the other. As lovers, the difference between men and women is that women can love all day long, but men only at times.

The intellectual context in which Eliot began work on the "long poem" that was to become The Waste Land has much to tell us about formal aspects of his poem. Certainly it reveals something of the problem any artist would have had in finding a perspective on the twentieth century. Emphasis on context, however, should not be taken as an assertion of specific influence. It should not be assumed that Eliot was consciously trying to adjust his presentation of reality to conform with the presentations in science or in the visual arts or even that he was greatly influenced by any specific scientific theory or any aesthetic manifesto. Without a doubt, he was aware of what was happening in science, in philosophy, and in the other arts. And without a doubt, he created structures in art which show his sensitivity to his age and which are formally analogous to structures created by other artists. He arrived, however, not by following anyone but by trying to find his own way. He spent most of the decade before writing The Waste Land as a close student of philosophy, comparative religion, and Buddhism, and his understanding of these subjects is part of the basic context of his art.

Looking at the works of art that are considered worthy of preservation in our Museums, and that were once the common objects of the market place, I could not but realise that a society can only be considered truly civilised when it is possible for every man to earn his living by the very work he would rather be doing than anything else in the world, a condition that has only been attained in social orders integrated on the basis of vocation, "svadharma". At the same time I should like to emphasis that I have never built up a philosophy of my own or wished to establish a new school of thought. Perhaps the greatest thing I have learnt is never to think for myself; I fully agree with Andre Gide that "Toutes choses sont dites deja", and what I have sought is to understand what has been said, while taking no account of the "inferior philosophers". Holding with Heraclitus that the Word is common to all, and that Wisdom is to know the Will whereby all things are steered, I am convinced with Jeremias that the human cultures in all their apparent diversity are but the dialects of one and the same language of the spirit, that there is a "common universe of discourse" transcending the differences of tongues".

According to Hegel, both bourgeois society and the Christian state are unfavourable to the development of creative art. Two inferences may be drawn from this: either art must perish in order to save the 'Absolute State', or the latter must be abolished in order to permit a new con­dition of·the world, and a new renaissance of art. Hegel himself inclined to the first alternative. But with a slight change of emphasis the doctrine of the anti-aesthetic spirit of reality could readily assume a revolutionary character; and indeed Hegel's Aesthetik was thus interpreted by his radical followers whom Marx joined in 1837.

Campaign to destigmatize so-called "mental illness" often take a wrong turning here. They try to demonstrate how suffers of some condition have made amazing contributions to the science or the arts. Trying to destigmatize the diagnosis of autism, for example, we read how Einstein and Newton would have received that diagnosis today, and yet made fabulous discoveries in the field of physics. Even if they are acknowledged to have been "different", their worth is still reckoned in terms of how their work has impacted on the world of others. However well-intentioned, such perspectives are hardly judicious, as they make an implicit equation between value and social utility. Taking this step is dangerous, as the moment that human life is defined in terms of utility, the door to stigmatization and segregation is opened. If someone was found to be not useful, what value, then, would their life have? This was in fact exactly the argument of the early-twentieth-century eugenicists who complained for the extermination of the mentally ill. Although no one would admit such aspirations today, we cannot ignore the resurfacing in recent years of a remarkably similar discourse, with its emphasis on social utility, hereditary and genetic vulnerability.

The underlying principle: Always try to do the most with the least—with the emphasis on try. You may not always succeed, but attempt to produce the greatest effect in the viewer’s mind by the least number of things on screen. Why? Because you want to do only what is necessary to engage the imagination of the audience—suggestion is always more effective than exposition. Past a certain point, the more effort you put into wealth of detail, the more you encourage the audience to become spectators rather than participants. The same principle applies to all the various crafts of filmmaking: acting, art direction, photography, music, costume, etc.

The gestures of models (mannequins) and mythological figures. The romantic use of nature (leaves, trees, water) to create a place where innocence can be refound. The exotic and nostalgic attraction of the Mediterranean. The poses taken up to denote stereotypes of women: serene mother (madonna), free-wheeling secretary (actress, king’s mistress), perfect hostess (spectator-owner’s wife), sex-object (Venus, nymph surprised), etc. The special sexual emphasis given to women’s legs. The materials particularly used to indicate luxury: engraved metal, furs, polished leather, etc. The gestures and embraces of lovers, arranged frontally for the benefit of the spectator. The sea, offering a new life. The physical stance of men conveying wealth and virility. The treatment of distance by perspective – offering mystery. The equation of drinking and success. The man as knight (horseman) become motorist. Why does publicity depend so heavily upon the visual language of oil painting? Publicity is the culture of the consumer society. It propagates through images that society’s belief in itself. There are several reasons why these images use the language of oil painting. Oil painting, before it was anything else, was a celebration of private property. As an art-form it derived from the principle that you are what you have.

Contemplating the goodness within ourselves is a classical meditation, done to bring light, joy, and rapture to the mind. In contemporary times this practice might be considered rather embarrassing, because so often the emphasis is on all the unfortunate things we have done, all the disturbing mistakes we have made. Yet this classical reflection is not a way of increasing conceit. It is rather a commitment to our own happiness, seeing our happiness as the basis for intimacy with all of life. It fills us with joy and love for ourselves and a great deal of self-respect. Significantly, when we do metta practice, we begin by directing metta toward ourselves. This is the essential foundation for being able to offer genuine love to others

He singled out aspects of Quality such as unity, vividness, authority, economy, sensitivity, clarity, emphasis, flow, suspense, brilliance, precision, proportion, depth and so on; kept each of these as poorly defined as Quality itself, but demonstrated them by the same class reading techniques. He showed how the aspect of Quality called unity, the hanging-togetherness of a story, could be improved with a technique called an outline. The authority of an argument could be jacked up with a technique called footnotes, which gives authoritative reference. Outlines and footnotes are standard things taught in all freshman composition classes, but now as devices for improving Quality they had a purpose. And if a student turned in a bunch of dumb references or a sloppy outline that showed he was just fulfilling an assignment by rote, he could be told that while his paper may have fulfilled the letter of the assignment it obviously didn’t fulfill the goal of Quality, and was therefore worthless.

Selecting officials on the basis of their mastery of literature and philosophy had several advantages. It ensured that most Chinese bureaucrats were smart—the examinations had the effect of screening for IQ as well as the ability to memorize. Another advantage of the examination system was its emphasis on merit over family background, engaging the loyalties of the lower classes by making it possible for a man of humble birth to pass the jin shi and become a mandarin. Still a third advantage was that the examination system co-opted the intellectual classes, who in other societies were often critics of the established order. Intellectuals in traditional China had a ready avenue to power. Above all, the examination system ensured that throughout the country, voluntarily, each generation of the most talented people in China steeped themselves in the core cultural values of the empire. From a pragmatic standpoint, this was a good thing for preserving cultural continuity. But it was also a good thing because those core cultural values constituted such a remarkable legacy in themselves, amalgamating properties that in the West would be divided into religion and civic culture.

Humanism split into three main branches. The orthodox branch holds that each human being is a unique individual possessing a distinctive inner voice and a never-to-be-repeated string of experiences. Every human being is a singular ray of light, which illuminates the world from a different perspective, and which adds colour, depth and meaning to the universe. Hence we ought to give as much freedom as possible to every individual to experience the world, follow his or her inner voice and express his or her inner truth. Whether in politics, economics or art, individual free will should have far more weight than state interests or religious doctrines. The more liberty individuals enjoy, the more beautiful, rich and meaningful is the world. Due to this emphasis on liberty, the orthodox branch of humanism is known as ‘liberal humanism’ or simply as ‘liberalism’. It is liberal politics that believes the voter knows best. Liberal art holds that beauty is in the eye of the beholder. Liberal economics maintains that the customer is always right. Liberal ethics advises us that if it feels good, we should go ahead and do it. Liberal education teaches us to think for ourselves, because we will find all the answers within us.

Sir Magnus Donners himself appeared to greet his guests at exactly the same moment. I wondered whether he had been watching at a peephole. It was like the stage entrance of a famous actor, the conscious modesty of which is designed, by its absolute ease and lack of emphasis, both to prevent the performance from being disturbed at some anti-climax of the play by too deafening a round of applause, at the same time to confirm--what everyone in the theater knows already--the complete mastery he possesses of his art. The manner in which Sir Magnus held out his hand also suggested brilliant miming of a distinguished man feeling a little uncomfortable about something.

Chinese seek victory not in a decisive battle but through incremental moves designed to gradually improve their position. To quote Kissinger again: “Rarely did Chinese statesmen risk the outcome of a conflict on a single all-or-nothing clash: elaborate multi-year maneuvers were closer to their style. Where the Western tradition prized the decisive clash of forces emphasizing feats of heroism, the Chinese ideal stressed subtlety, indirection, and the patient accumulation of relative advantage.”48 In an instructive analogy, David Lai illustrates this by comparing the game of chess with its Chinese equivalent, weiqi—often referred to as go. In chess, players seek to dominate the center and conquer the opponent. In weiqi, players seek to surround the opponent. If the chess master sees five or six moves ahead, the weiqi master sees twenty or thirty. Attending to every dimension in the broader relationship with the adversary, the Chinese strategist resists rushing prematurely toward victory, instead aiming to build incremental advantage. “In the Western tradition, there is a heavy emphasis on the use of force; the art of war is largely limited to the battlefields; and the way to fight is force on force,” Lai explains. By contrast, “The philosophy behind go is to compete for relative gain rather than seeking complete annihilation of the opponent forces.” In a wise reminder, Lai warns that “It is dangerous to play go with the chess mindset. One can become overly aggressive so that he will stretch his force thin and expose his vulnerable parts in the battlefields.

At any rate, I CAME TO THE CONCLUSION THAT SELF-DEFENSE IS BEING TAUGHT WRONG NEARLY EVERYWHERE, FOR THE FOLLOWING MAJOR REASONS: 1. Beginners are not grounded in the four principal methods of putting the body-weight into fast motion: (a) FALLING STEP, (b) LEG SPRING, (c) SHOULDER WHIRL, (d) UPWARD SURGE. 2. The extremely important POWER LINE in punching seems to have been forgotten. 3. The wholesale failure of instructors and trainers to appreciate the close cooperation necessary between the POWER LINE and WEIGHTMOTION results generally in impure punching-weak hitting. 4. Explosive straight punching has become almost a lost art because instructors place so much emphasis on shoulder whirl that beginners are taught wrongfully to punch straight 'without stepping whenever possible. 5. Failure to teach the FALLING STEP ("trigger step") for straight punching has resulted in the LEFT JAB being used generally as a light, auxiliary weapon for making openings and "setting up," instead of as a stunning blow. 6. Beginners are not shown the difference between SHOVEL HOOKS and UPPERCUTS. 7. Beginners are not warned that taking LONG STEPS with hooks may open up those hooks into SWINGS. 8. The BOB-WEAVE rarely is explained properly. 9. Necessity for the THREE-KNUCKLE LANDING is never pointed out. 10. It is my personal belief that BEGINNERS SHOULD BE TAUGHT ALL TYPES OF PUNCHES BEFORE BEING INSTRUCTED IN DEFENSIVE MOVES, for nearly every defensive move should be accompanied by a simultaneous or a delayed counterpunch. You must know how to punch and you must have punching confidence before you can learn aggressive defense.

we were disposed, when starting out, to use them as the basis for our practice in this new context. In our early work with professors, however, we were not in a position to impose rules. We soon discovered the folly of making any pronouncements about the amount of writing, for instance, which might distinguish a writing-intensive approach, and took it as our goal to find professors willing to experiment and to take some steps toward engaging more with writing. We were consultants with expertise in how to use and teach writing, and we suggested strategies and provided materials. The fact that those strategies were grounded in research and theory, and could be signaled as criteria emerged in our process of discussion with faculty about the rationale for adopting particular teaching strategies. The emphasis was on alternative pedagogies, not on a list of rules requiring compliance. Just as one does not need to know that a particular word in a sentence is functioning as an adjective in order to use adjectives, faculty also neither needed, nor were necessarily concerned, to associate a practice like revision with criteria for an as yet non-existent W-course. What eventually became official criteria were initially the elements that we encouraged according to what an individual faculty member was able and willing to accommodate. The early pilot courses overall represented all the elements that we would identify as foundational to effective practice in teaching writing, but in very few courses were all of the criteria present. Faculty members positioned themselves across a spectrum of starting points in their views of writing and its role in their courses. For many professors in the Arts and social sciences, the “writing-intensive” label simply acknowledged that their courses included substantial amounts of writing. For many in the Physical Sciences, the concept as applied to their courses could, at first glance,

Revolt of solitary instincts against social bonds is the key to the philosophy, the politics, and the sentiments, not only of what is commonly called the romantic movement, but of its progeny down to the present day. Philosophy, under the influence of German idealism, became solipsistic, and self-development was proclaimed as the fundamental principle of ethics. As regards sentiment, there has to be a distasteful compromise between the search for isolation and the necessities of passion and economics. D. H. Lawrence's story, 'The Man Who Loved Islands', has a hero who disdained such compromise to a gradually increasing extent and at last died of hunger and cold, but in the enjoyment of complete isolation; but this degree of consistency has not been achieved by the writers who praise solitude. The comforts of civilized life are not obtainable by a hermit, and a man who wishes to write books or produce works of art must submit to the ministrations of others if he is to survive while he does his work. In order to continue to feel solitary, he must be able to prevent those who serve him from impinging upon his ego, which is best accomplished if they are slaves. Passionate love, however, is a more difficult matter. So long as passionate lovers are regarded as in revolt against social trammels, they are admired; but in real life the love-relation itself quickly becomes a social trammel, and the partner in love comes to be hated, all the more vehemently if the love is strong enough to make the bond difficult to break. Hence love comes to be conceived as a battle, in which each is attempting to destroy the other by breaking through the protecting walls of his or her ego. This point of view has become familiar through the writings of Strindberg, and, still more, of D. H. Lawrence. Not only passionate love, but every friendly relation to others, is only possible, to this way of feeling, in so far as the others can be regarded as a projection of one's own Self. This is feasible if the others are blood-relations, and the more nearly they are related the more easily it is possible. Hence an emphasis on race, leading, as in the case of the Ptolemys, to endogamy. How this affected Byron, we know; Wagner suggests a similar sentiment in the love of Siegmund and Sieglinde. Nietzsche, though not scandalously, preferred his sister to all other women: 'How strongly I feel,' he writes to her, 'in all that you say and do, that we belong to the same stock. You understand more of me than others do, because we come of the same parentage. This fits in very well with my "philosophy".

The Dakota 38 refers to thirty-eight Dakota men who were executed by hanging, under orders from President Abraham Lincoln. To date, this is the largest “legal” mass execution in US history. The hanging took place on December 26, 1862—the day after Christmas. This was the same week that President Lincoln signed the Emancipation Proclamation. --- These amended and broken treaties are often referred to as the Minnesota Treaties. The word Minnesota comes from mni, which means water; and sota, which means turbid. Synonyms for turbid include muddy, unclear, cloudy, confused, and smoky. Everything is in the language we use. -- Without money, store credit, or rights to hunt beyond their ten-mile tract of land, Dakota people began to starve. The Dakota people were starving. The Dakota people starved. In the preceding sentence, the word “starved” does not need italics for emphasis. -- Dakota warriors organized, struck out, and killed settlers and traders. This revolt is called the Sioux Uprising. Eventually, the US Cavalry came to Mnisota to confront the Uprising. More than one thousand Dakota people were sent to prison. As already mentioned,“Real” poems do not “really” require words. --- I am a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship, I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.

April 15 MORNING “My God, my God, why hast Thou forsaken me?” — Psalm 22:1 WE here behold the Saviour in the depth of His sorrows. No other place so well shows the griefs of Christ as Calvary, and no other moment at Calvary is so full of agony as that in which His cry rends the air — “My God, my God, why hast Thou forsaken me?” At this moment physical weakness was united with acute mental torture from the shame and ignominy through which He had to pass; and to make His grief culminate with emphasis, He suffered spiritual agony surpassing all expression, resulting from the departure of His Father’s presence. This was the black midnight of His horror; then it was that He descended the abyss of suffering. No man can enter into the full meaning of these words. Some of us think at times that we could cry, “My God, my God, why hast Thou forsaken me?” There are seasons when the brightness of our Father’s smile is eclipsed by clouds and darkness; but let us remember that God never does really forsake us. It is only a seeming forsaking with us, but in Christ’s case it was a real forsaking. We grieve at a little withdrawal of our Father’s love; but the real turning away of God’s face from His Son, who shall calculate how deep the agony which it caused Him? In our case, our cry is often dictated by unbelief: in His case, it was the utterance of a dreadful fact, for God had really turned away from Him for a season. O thou poor, distressed soul, who once lived in the sunshine of God’s face, but art now in darkness, remember that He has not really forsaken thee. God in the clouds is as much our God as when He shines forth in all the lustre of His grace; but since even the thought that He has forsaken us gives us agony, what must the woe of the Saviour have been when He exclaimed, “My God, my God, why hast Thou forsaken me?

Self-taught fiction writer Octavia Butler once noted, “Forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice.” (Emphasis mine.) Yes, inspiration might contain the spark and life of your idea, but habit gets the writing done. Inspiration resides in your heart; habit resides in your fingers. Inspiration propels; habit completes. Art equals habit plus inspiration. It’s a simple equation.

FOREWORD When Commander Perry opened up to the occidental world that shut-tight little island Kingdom, Japan, he did more than merely contact for our manufacturers a people who bought "Nifty Clothes," with two pair of pants. He gave us an insight into a world that was thoroughly organized and civilized long before Columbus discovered West where the East should have been. The Japanese learned much from the so-called civilized world, -but they taught us something we could never have learned from intercourse with any other nation. They gave our governmental forces of law and order a weapon that aided materially in the suppression of disorderly elements throughout our great cities. It took time, of course, to break down the prejudices that our early enforcement officers, in common with our then wild and wooly population, had against anything that was foreign. But when the great police forces of our largest metropolises realized that guns and billies alone would not be proof against big, burly lawbreakers, and that to instil respect in the hearts of "bruisers" they needed something other than armaments—pistols that could not be drawn fast enough,—they then discovered the wonder of Jiu-jitsu. They found that the wily little brown man depended on brain instead of brawn and that he had developed a Science and an Art that utilized another's strength to his own undoing. Strangely enough it was the layman who first appreciated the potential value of Jiu-jitsu. For many years before the Police Forces of our cities put a study of this Science into the training of every rookie policeman, there were physical culture experts in America who advocated the use of it by everyone who had any respect for physical prowess but who found the spirit more willing than the flesh. They showed that it needed no possession of unusual strength to overcome an opponent that depended entirely on his bulk and ferocious appearance to cow the meeker ones of the earth into submission. The Japanese, by the very fact of their small stature, are compelled to place more emphasis on strategy than on force. Thus they have thoroughly developed Jiu-jitsu and there is barely a saffron-hued tot in Japan that doesn't know something about the "Gentle-Art" as it is known. President Masaryk of Czechoslovakia, one of the world's greatest educators, who, together with millions of his enlightened and progressive countrymen, is a firm believer in "a strong mind in a strong body," sought to teach every schoolboy in his country some knowledge of the wisest of all physical sciences. While it does not itself develop and build muscle, it is an invaluable aid to the sensible use of the body. It is a form of wrestling that combines the cunning of the fox with the lithe grace and agility of the panther. It sharpens the brain and quickens the nerve centers. The man or woman who has self-respect must not sit by and permit our people to become a nation of spectators watching athletic specialists perform, while we become obese and ungainly applauders. Jiu-jitsu gives the man, woman and child, denied by nature a great frame, the opportunity to walk without fear, to resist successfully the bullies of their particular world, and the self-confidence which only a "well-armed" athlete can have. By its use, differences in weight, height and reach are practically wiped out, so that he who knows, may smilingly face superior odds and conquer.

From a practical, mundane standpoint, they were a highly religious, agricultural society that put great emphasis on art, culture, and the written word.

The literature of democracy was to ignore all extraordinary gifts of genius or virtue, all distinction drawn even from great passions or romantic adventures. In Whitman's works, in which this new literature is foreshadowed, there is accordingly not a single character nor a single story. His only hero is Myself, the "single separate person," endowed with the primary impulses, with health, and with sensitiveness to the elementary aspects of Nature. The perfect man of the future, the prolific begetter of other perfect men, is to work with his hands, chanting the poems of some future Walt, some ideally democratic bard. Women are to have as nearly as possible the same character as men: the emphasis is to pass from family life and local ties to the friendship of comrades and the general brotherhood of man. Men are to be vigorous, comfortable, sentimental, and irresponsible.

However, it appears that medicine in the Western world, which was once an integration of both science and art, has shifted to an emphasis on science at the expense of art.

imagination turns out to be the driving wheel of that system as well. Our imagination, the inner picture of ourselves being as rich and comfortable as a Duke of Argyll or a Bill Gates, spurs on our efforts, focusing and directing our energies toward a single purpose. “It is this deception,” Smith adds (with my emphasis), which rouses and keeps in continual motion the industry of mankind. It is this which first prompted them to cultivate the ground, to build houses, to found cities and commonwealths, and to invent and improve all the sciences and arts, which ennoble and embellish human life; which have entirely changed the whole face of the globe, have turned the rude forests of nature into agreeable and fertile plains, and made the trackless and barren ocean a new fund of subsistence, and the great high road of communication to the different nations of the earth.

WE ARE THE ARTISTS AS WELL AS THE ART As far-fetched as this idea may sound to many people, it is precisely at the crux of some of the greatest controversies among some of the most brilliant minds in recent history. In a quote from his autobiographical notes, for example, Albert Einstein shared his belief that we’re essentially passive observers living in a universe already in place, one in which we seem to have little influence: “Out yonder there was this huge world,” he said, “which exists independently of us human beings and which stands before us like a great, eternal riddle, at least partially accessible to our inspection and thinking.”2 In contrast to Einstein’s perspective, which is still widely held by many scientists today, John Wheeler, a Princeton physicist and colleague of Einstein, offers a radically different view of our role in creation. In terms that are bold, clear, and graphic, Wheeler says, “We had this old idea, that there was a universe out there, [author’s emphasis] and here is man, the observer, safely protected from the universe by a six-inch slab of plate glass.” Referring to the late-20th-century experiments that show us how simply looking at something changes that something, Wheeler continues, “Now we learn from the quantum world that even to observe so minuscule an object as an electron we have to shatter that plate glass: we have to reach in there…. So the old word observer simply has to be crossed off the books, and we must put in the new word participator.”3 What a shift! In a radically different interpretation of our relationship to the world we live in, Wheeler states that it’s impossible for us to simply watch the universe happen around us. Experiments in quantum physics, in fact, do show that simply looking at something as tiny as an electron—just focusing our awareness upon what it’s doing for even an instant in time—changes its properties while we’re watching it. The experiments suggest that the very act of observation is an act of creation, and that consciousness is doing the creating. These findings seem to support Wheeler’s proposition that we can no longer consider ourselves merely onlookers who have no effect on the world that we’re observing.

If we could combine the teaching of the new scientific and technical achievements with equal emphasis on the interpersonal human relationships we could indeed make progress, but not if the new knowledge is conveyed to the student at the price of less and less interpersonal contact

2. They were endowed abundantly with the natural gifts of intellect and foresight, and with the faculties of the arts, sciences and culture. " 'Hearing and seeing' refer to the experimental faculties. And the word 'heart' in Arabic includes intellect, or the rational faculties as well as the instruments of feeling and emotion, the aesthetic faculties."144

A story alone may accomplish those results, but for impact and efficacy, combine the two with an emphasis on culture, minor parts in facts, and acknowledging the public opinion.

Gitlow then quoted from an article Dr. Ward wrote in the August 1934 issue of Fight, which was the official publication of the American League Against War and Fascism. Titled “Churches and Fascism,” Ward wrote: They live narrow starved lives with no knowledge of economics or politics, no interest in science, no contacts with literature or art. Their religion supplies them with an opiate that takes them into the dream world. They are the natural followers of a powerful demagogue who can deceive them with vague promises and revolutionary phrases. When their economic security is gone or threatened, their undisciplined emotions can quickly be turned into hate of the Jew, the Communist, the Negro. The only preventative serum that will make them immune from these poisonous germs is propaganda in emotional terms that enables them to locate the real enemy. The people who come to know that the capitalist system is the source of their economic troubles are not easily led to chase and beat scapegoats. To work at that task the American League Against War and Fascism needs to get members in all religious organizations. [emphasis original]

This book is a compilation of interesting ideas that have strongly influenced my thoughts and I want to share them in a compressed form. That ideas can change your worldview and bring inspiration and the excitement of discovering something new. The emphasis is not on the technology because it is constantly changing. It is much more difficult to change the accompanying circumstances that affect the way technological solutions are realized. The chef did not invent salt, pepper and other spices. He just chooses good ingredients and uses them skilfully, so others can enjoy his art. If I’ve been successful, the book creates a new perspective for which the selection of ingredients is important, as well as the way they are smoothly and efficiently arranged together. In the first part of the book, we follow the natural flow needed to create the stimulating environment necessary for the survival of a modern company. It begins with challenges that corporations are facing, changes they are, more or less successfully, trying to make, and the culture they are trying to establish. After that, we discuss how to be creative, as well as what to look for in the innovation process. The book continues with a chapter that talks about importance of inclusion and purpose. This idea of inclusion – across ages, genders, geographies, cultures, sexual orientation, and all the other areas in which new ways of thinking can manifest – is essential for solving new problems as well as integral in finding new solutions to old problems. Purpose motivates people for reaching their full potential. This is The second and third parts of the book describes the areas that are important to support what is expressed in the first part. A flexible organization is based on IT alignment with business strategy. As a result of acceleration in the rate of innovation and technological changes, markets evolve rapidly, products’ life cycles get shorter and innovation becomes the main source of competitive advantage. Business Process Management (BPM) goes from task-based automation, to process-based automation, so automating a number of tasks in a process, and then to functional automation across multiple processes andeven moves towards automation at the business ecosystem level. Analytics brought us information and insight; AI turns that insight into superhuman knowledge and real-time action, unleashing new business models, new ways to build, dream, and experience the world, and new geniuses to advance humanity faster than ever before. Companies and industries are transforming our everyday experiences and the services we depend upon, from self-driving cars, to healthcare, to personal assistants. It is a central tenet for the disruptive changes of the 4th Industrial Revolution; a revolution that will likely challenge our ideas about what it means to be a human and just might be more transformative than any other industrial revolution we have seen yet. Another important disruptor is the blockchain - a distributed decentralized digital ledger of transactions with the promise of liberating information and making the economy more democratic. You no longer need to trust anyone but an algorithm. It brings reliability, transparency, and security to all manner of data exchanges: financial transactions, contractual and legal agreements, changes of ownership, and certifications. A quantum computer can simulate efficiently any physical process that occurs in Nature. Potential (long-term) applications include pharmaceuticals, solar power collection, efficient power transmission, catalysts for nitrogen fixation, carbon capture, etc. Perhaps we can build quantum algorithms for improving computational tasks within artificial intelligence, including sub-fields like machine learning. Perhaps a quantum deep learning network can be trained more efficiently, e.g. using a smaller training set. This is still in conceptual research domain.

This way of envisioning the cross as a real tree, with leaves and branches, and often blossom and fruit, is widespread in medieval literature and art. In early medieval depictions of the Crucifixion the cross is often shown sprouting tendrils of growth, or coloured green to make it an emblem of life and vitality.4 The emphasis on the cross as a living tree, not a dead wooden object, helps to underline the parallel between the cross and that other tree in the Garden of Eden: ‘through a tree came to us death, when Adam ate the forbidden fruit, and through a tree came to us again life and redemption, when Christ hung on the cross to redeem us,’ as Ælfric says in one of his sermons.

In fact, it is by no means certain that the purpose of Plato or of Aristotle, as Fārābī understood it, required the actualization of the best political order or of the virtuous city. Fārābī adumbrates the problem by making a distinction between Socrates’ investigations and Plato’s investigations, as well as between “the way of Socrates” and the way adopted eventually by Plato. “The science and the art of Socrates” which is to be found in Plato’s Laws, is only a part of Plato’s, the other part being “the science and the art of Timaeus” which is to be found in the Timaeus. “The way of Socrates” is characterized by the emphasis on “the scientific investigation of justice and the virtues,” whereas the art of Plato is meant to supply “the science of the essence of every being” and hence especially the science of the divine and on the natural things. The difference between the way of Socrates and the way of Plato points back to the difference between the attitude of the two men toward the actual cities. The crucial difficulty was created by the political or social status of philosophy: in the nations and cities of Plato’s time, there was no freedom of teaching and of investigation. Socrates was therefore confronted with the alternative, whether he should choose security and life, and thus conform with the false opinions and the wrong way of life of his fellow-citizens, or else non-conformity and death. Socrates chose non-conformity and death. Plato found a solution to the problem posed by the fate of Socrates, in founding the virtuous city in speech: only in that “other city” can man reach his perfection. Yet, according to Fārābī, Plato “repeated” his account of the way of Socrates and he “repeated” the mention of the vulgar of the cities and nations which existed in his time. The repetition amounts to a considerable modification of the first statement, or to a correction of the Socratic way. The Platonic way, as distinguished from the Socratic way, is a combination of the way of Socrates with the way of Thrasymachus; for the intransigent way of Socrates is appropriate only for the philosopher’s dealing with the elite, whereas the way of Thrasymachus, which is both more and less exacting than the former, is appropriate for his dealing with the vulgar. What Fārābī suggests is that by combining the way of Socrates with the way of Thrasymachus, Plato avoided the conflict with the vulgar and thus the fate of Socrates. Accordingly, the revolutionary quest for the other city ceased to be necessary: Plato substituted it for a more constructive way of action, namely, the gradual replacement of the accepted opinions by the truth or an approximation of the truth. The replacement of the accepted opinions could not be gradual, if it were not accompanied by a provisional acceptance of the accepted opinions: as Fārābī elsewhere declares, conformity with the opinions of the religious community in which one is brought up, is a necessary qualification for the future philosopher. The replacement of the accepted opinions could not be gradual if it were not accompanied by the suggestion of opinions which, while pointing toward the truth, do not too flagrantly contradict the accepted opinions. We may say that Fārābī’s Plato eventually replaces the philosopher-king who rules openly in the virtuous city, by the secret kingship of the philosopher who, being “a perfect man” precisely because he is an “investigator,” lives privately as a member of an imperfect society which he tries to humanize within the limits of the possible.

Atherosclerosis probably would not occur [emphasis mine] in the absence of LDL-C concentrations in excess of physiological needs (on the order of 10 to 20 mg/dL).” Furthermore, the authors wrote: “If the entire population maintained LDL concentrations akin to those of a neonate (or to those of adults of most other animal species), atherosclerosis might well be an orphan disease.

Nature Reviews in 2019, “Atherosclerosis probably would not occur [emphasis mine] in the absence of LDL-C concentrations in excess of physiological needs (on the order of 10 to 20 mg/dL).

As the authors of the JAMA study concluded, “Cardiorespiratory fitness is inversely associated with long-term mortality with no observed upper limit of benefit [emphasis mine]. Extremely high aerobic fitness was associated with the greatest survival.

Feminist critique of the cross as a symbol has been a hallmark of modern theology, as writers have argued that the image of the crucifixion has been used as a justification for abuse and even violence against women and marginalized peoples. The argument focuses on the way that the traditional Christian emphasis on Christ’s suffering has been used to encourage meek and submissive self-sacrifice (especially of women) or simply to validate and even glorify suffering more generally. Some even take the position that the cross and the medieval atonement theory that lauded it are sadomasochistic.34 A more widespread view among feminist theologians is that Christian theology has been suffused with patriarchal values and often used to oppress women and that Jesus’s admonition to “take up your cross” could be understood as a justification for tolerating abuse.

Zen has its origin in India and was introduced to China where it united with the thought of Lao-tsu and the realistically oriented world outlook of the Chinese, stressing as it does the value of human labor. Zen further developed by incorporating the Confucian emphasis on etiquette and culture, reaching its zenith in the period from the Tang through the Sung dynasty (618–1279). It was transmitted to Japan in the Kamakura period (1185–1336) where it not only contributed to the disciplining of the spirit of the emotionally prone Japanese people but also deeply influenced the military and fine arts as well as daily life in general.

Those who moved from northern England to Appalachia favored a more militant Christianity and ascribed to an honor culture. They were more violent and put a greater emphasis on clan and kin. Their child-rearing techniques fostered a fierce pride that celebrated courage and independence. They cultivated a strong warrior ethic. Sure enough, even today people from Appalachia make up a disproportionate share of the U.S. military.

Actual words are tremendously important. Great emphasis of naked poem—can’t even be paraphrased because of uniqueness,

19. Emphasis on music and arts. Every social revolution has the arts front and center. Often driven by the energy and idealism of youth and young adults. One simply cannot imagine the civil rights movement, or the Vietnam war protests, or Black Lives Matter without the arts and youth. Hand in hand.

Peter Libby, one of the leading authorities on cardiovascular disease, and colleagues wrote in Nature Reviews in 2019, “Atherosclerosis probably would not occur [emphasis mine] in the absence of LDL-C concentrations in excess of physiological needs (on the order of 10 to 20 mg/dL).” Furthermore, the authors wrote: “If the entire population maintained LDL concentrations akin to those of a neonate (or to those of adults of most other animal species), atherosclerosis might well be an orphan disease.

Vary your voice continually. Vary your speed as well–dash as rapidly as a lightning flash, and anon, travel forward in quiet majesty. Shift your accent, move your emphasis, and avoid sing-song. Vary the tone; use the bass sometimes, and let the thunders roll within; at other times speak as you ought to do generally–from the lips, and let your speech be conversational… Human nature craves for variety, and God grants it in nature, providence and grace; let us have it in sermons also.

Prosochē is the ancient Stoics’ word for mindfulness. It means always being aware of our present desires, actions, and impressions, with special emphasis on the word “present.

Which company is best for using construction Project work? The Shree Siva Balaaji Steels project is a significant endeavor that encompasses the establishment and operation of a modern and advanced steel manufacturing facility. This project represents a fusion of innovation, cutting-edge technology, and industrial expertise, aimed at delivering high-quality steel products to meet the growing demands of various sectors. Key Features: State-of-the-Art Manufacturing Plant: The project involves the construction and operation of a state-of-the-art manufacturing plant equipped with the latest machinery, automation systems, and environmentally friendly processes. This allows for efficient production and reduced environmental impact. Diverse Product Range: Shree Siva Balaaji Steels aims to offer a diverse range of steel products to cater to different industries such as construction, automotive, infrastructure, and manufacturing. This versatility enables the company to meet the varying needs of clients and partners. Quality Assurance: A cornerstone of the project is its commitment to delivering high-quality steel products. The facility adheres to strict quality control measures and follows international standards to ensure that the end products are durable, reliable, and meet or exceed industry specifications. Sustainability Focus: The project places a strong emphasis on sustainability and environmentally conscious practices. Energy-efficient processes, recycling initiatives, and waste reduction strategies are integrated into the manufacturing process to minimize the ecological footprint. Employment Opportunities: Shree Siva Balaaji Steels contributes to local economies by creating employment opportunities across various skill levels, from skilled labor to technical experts. This helps stimulate economic growth in the region surrounding the manufacturing facility. Collaboration and Partnerships: The project fosters collaborations with suppliers, distributors, and clients, establishing strong relationships within the steel industry. This network facilitates efficient supply chain management and enables the company to provide tailored solutions to its customers. Innovation and Research: The project invests in research and development to constantly improve manufacturing processes, product quality, and the development of new steel products. This dedication to innovation positions the company at the forefront of the steel industry. Community Engagement: Shree Siva Balaaji Steels is committed to engaging with local communities and implementing corporate social responsibility initiatives. These efforts include supporting education, healthcare, and other community-centric projects, fostering goodwill and positive impact. Vision: The Shree Siva Balaaji Steels project envisions becoming a leading name in the steel manufacturing sector, renowned for its exceptional quality, technological innovation, and sustainability practices. By adhering to its core values of integrity, excellence, and environmental responsibility, the project strives to contribute positively to the industry and the communities it operates within.

While [Frank H.] Young added, 'In a good modern layout the principles of all good layout still prevail . . . cohesion, legibility, movement, emphasis, simplicity, and continuity.

According to David Allen, author of Getting Things Done: The Art of Stress-Free Productivity, “If there’s something on a daily to-do list that doesn’t absolutely have to get done that day, it will dilute the emphasis on the things that truly do.

hand. Here was a Catholic counterpart to Brooks and Warren, shifting the emphasis away from the artist and toward the work of art. An

Instead of finding unity in our position as infants basking in a shared love of the same revelation, we are splintered by the emphasis we illegitimately place upon our interpretation of the revelation. Just as a painting we love will speak to us in different ways at different times (hence the need to return to the art that we love rather than being satisfied by seeing it once), so the revelation of God will speak in multiple ways depending upon the context within which we read it and into which it speaks.

Our school system is largely geared toward the set-up: the emphasis on factual knowledge and certifications makes it seem like life is primarily about getting the best possible grades and giving our careers the best possible jump-start. Yet the connection between degrees and workplace success is growing ever more tenuous, while the ability to self-correct is growing ever more important—even though it’s hardly taught at school.

From this basis, Boyd sets out to develop a normative view on a design for command and control. As in Patterns of Conflict, he starts with some ‘samples from historical environment’, offering nine citations from nine practitioners, including from himself (see Box 6.1):6 Sun Tzu (around 400 BC) Probe enemy strength to unmask his strengths, weaknesses, patterns of movement and intentions. Shape enemy’s perception of world to manipulate/undermine his plans and actions. Employ Cheng/Ch’I maneuvers to quickly and unexpectedly hurl strength against weaknesses. Bourcet (1764–71) A plan ought to have several branches . . . One should . . . mislead the enemy and make him imagine that the main effort is coming at some other part. And . . . one must be ready to profit by a second or third branch of the plan without giving one’s enemy time to consider it. Napoleon (early 1800s) Strategy is the art of making use of time and space. I am less chary of the latter than the former. Space we can recover, time never. I may lose a battle, but I shall never lose a minute. The whole art of war consists in a well-reasoned and circumspect defensive, followed by rapid and audacious attack. Clausewitz (1832) Friction (which includes the interaction of many factors, such as uncertainty, psychological/moral forces and effects, etc.) impedes activity. Friction is the only concept that more or less corresponds to the factors that distinguish real war from war on paper. In this sense, friction represents the climate or atmosphere of war. Jomini (1836) By free and rapid movements carry bulk of the forces (successively) against fractions of the enemy. N.B. Forrest (1860s) Git thar the fustest with the mostest. Blumentritt (1947) The entire operational and tactical leadership method hinged upon . . . rapid concise assessment of situations, . . . and quick decision and quick execution, on the principle: each minute ahead of the enemy is an advantage. Balck (1980) Emphasis upon creation of implicit connections or bonds based upon trust, not mistrust, that permit wide freedom for subordinates to exercise imagination and initiative – yet harmonize within intent of superior commanders. Benefit: internal simplicity that permits rapid adaptability. Yours truly Operate inside adversary’s observation-orientation-decision-action loops to enmesh adversary in a world of uncertainty, doubt, mistrust, confusion, disorder, fear, panic, chaos . . . and/or fold adversary back inside himself so that he cannot cope with events/efforts as they unfold.

Dons to me were sports-jacketed figures with pastel ties, reclining under the great chestnut-tree at Balliol in apparent indolence, but all the while razor-keen to detect inconsistencies in attitude or standpoint. I say 'attitude or standpoint' since formal argument held little appeal. I agreed...that some of the inconsistencies...could be approached ratiocinatively, and examined for logical contradiction; but the deeper kinds of awareness were to be reached intuitively rather than through rationalizations. This in fact constituted my justification for studying imaginative literature...rather than history or philosophy or psychology. I held that when one sensed (rather than 'detected') a defect of style, a false emphasis of rhythm, or an inadequate characterization, one was at that point gaining insight into the real subject of enquiry, through the gap between the thing made and its potentiality; and from that point one must go forward and into the work, not outward into analogy and speculation, however brilliant. What I was looking for was not a methodology but a way of life, one which would encourage and sustain a maximum receptivity to works of art.

The Aztecs, impressed by the wealth and culture of some of the tribes they conquered, labored to perfect their own state. By the time of Cortés’s arrival, their achievements had equaled and in some cases surpassed all other Indian civilizations of the New World. In the realm of government, the Aztecs developed their own system of tribunals to administer justice. They had their own viceroys to rule their provinces that spread across the land from the Atlantic to the Pacific - and to communicate between their states they set up a messenger service as efficient as any in Europe. In science, they had knowledge of medicine and had begun to experiment with herbs, classifying them along with the diseases they cured. In art, their architecture was impressive, and their sculpture brilliant. And of all their accomplishments, the art of war was the one the Aztecs had developed most highly. Their aptitude for military matters and their emphasis on training and discipline impressed the Spanish conquistadors and was even respected by them.

One famous Japanese haiku illustrates the state that Sid managed to discover in himself. It is one that Joseph Goldstein has long used to describe the unique attentional posture of bare attention:                                          The old pond.                                          A frog jumps in.                                          Plop!2 Like so much else in Japanese art, the poem expresses the Buddhist emphasis on naked attention to the often overlooked details of everyday life. Yet, there is another level at which the poem may be read. Just as in the parable of the raft, the waters of the pond can represent the mind and the emotions. The frog jumping in becomes a thought or feeling arising in the mind or body, while “Plop!” represents the reverberations of that thought or feeling, unelaborated by the forces of reactivity. The entire poem comes to evoke the state of bare attention in its utter simplicity.

Diablos: the name given to the igniting of, and ignited, farts. Trevor Hickey is the undisputed master of this arcane and perilous art. The stakes could not be higher. Get the timing even slightly wrong and there will be consequences far more serious than singed trousers; the word backdraught clamours unspoken at the back of every spectator’s mind. Total silence now as, with an almost imperceptible tremble (entirely artificial, ‘just part of the show’ as Trevor puts it) his hand brings the match between his legs and – foom! a sound like the fabric of the universe being ripped in two, counterpointed by its opposite, a collective intake of breath, as from Trevor’s bottom proceeds a magnificent plume of flame – jetting out it’s got to be nearly three feet, they tell each other afterwards, a cold and beautiful purple-blue enchantment that for an instant bathes the locker room in unearthly light. No one knows quite what Trevor Hickey’s diet is, or his exercise regime; if you ask him about it, he will simply say that he has a gift, and having witnessed it, you would be hard-pressed to argue, although why God should have given him this gift in particular is less easy to say. But then, strange talents abound in the fourteen-year-old confraternity. As well as Trevor Hickey, ‘The Duke of Diablos’, you have people like Rory ‘Pins’ Moran, who on one occasion had fifty-eight pins piercing the epidermis of his left hand; GP O’Sullivan, able to simulate the noises of cans opening, mobile phones bleeping, pneumatic doors, etc., at least as well as the guy in Police Academy; Henry Lafayette, who is double-jointed and famously escaped from a box of jockstraps after being locked inside it by Lionel. These boys’ abilities are regarded quite as highly by their peers as the more conventional athletic and sporting kinds, as is any claim to physical freakishness, such as waggling ears (Mitchell Gogan), unusually high mucous production (Hector ‘Hectoplasm’ O’Looney), notable ugliness (Damien Lawlor) and inexplicably slimy, greenish hair (Vince Bailey). Fame in the second year is a surprisingly broad church; among the two-hundred-plus boys, there is scarcely anyone who does not have some ability or idiosyncrasy or weird body condition for which he is celebrated. As with so many things at this particular point in their lives, though, that situation is changing by the day. School, with its endless emphasis on conformity, careers, the Future, may be partly to blame, but the key to the shift in attitudes is, without a doubt, girls. Until recently the opinion of girls was of little consequence; now – overnight, almost – it is paramount; and girls have quite different, some would go so far as to say deeply conservative, criteria with regard to what constitutes a gift. They do not care how many golf balls you can fit in your mouth; they are unmoved by third nipples; they do not, most of them, consider mastery of Diablos to be a feather in your cap – even when you explain to them how dangerous it is, even when you offer to teach them how to do it themselves, an offer you have never extended to any of your classmates, who would actually pay big money for this expertise, or you could even call it lore – wait, come back!

Finally, in chapter 5, we turn toward the art of the sermon, exploring ways in which an enhanced emphasis upon contextuality in preaching can also contribute to sermons that are more fitting for local congregations in regard to their language, illustrations, and form. Here preaching is likened to folk art-more particularly to a circular folk dance-in which the preacher stays close to the ground of the hearers, enfleshing the sermon in language, rhythms, and forms that encourage local hearers to want to put on their own dancing shoes and join in the dance of faith.

Worse, the perpetuation of this “pseudo-mathematics,” this emphasis on the accurate yet mindless manipulation of symbols, creates its own culture and its own set of values. Those

Intuition eludes the grasp of linear thinking, with its exclusive emphasis on cause and effect that are close in time and space. The result is that most of our intuitions don’t make sense—that is, they can’t be explained in terms of linear logic. Very

This emphasis on the philosophy, or worldview, of aikido often makes understanding the art difficult for the beginning student. On one level, the student of aikido must adopt a worldview that accepts violence and attacks. On the other hand, aikido does not meet like with like—aikido does not retaliate with more violence and attacks. It

Indeed, liberation from outer domination is necessary, because such domination cripples the inner man, with the exception of rare individuals. But the one-sidedness of the emphasis on outer liberation also did great damage. In the first place, the liberators often transformed themselves into new rulers, only mouthing the ideologies of freedom. Second, political liberation could hide the fact that new un-freedom developed, but in hidden and anonymous forms. This is the case in Western democracy, where political liberation hides the fact of dependency in many disguises.

Danes are good at appreciating the small things in life and at making the best of whatever they have. They place emphasis on the inner sphere of people, places and things.

You can shift the odds in your favor by differentiating yourself from others, because a good strategy seeks uniqueness. Rather than a plan, a strategy is a framework for decision making. It is an original choice about direction, which enables subsequent choices about action. It prepares the organization to make those choices. Without a strategy, the actions taken by an organization degenerate into arbitrary sets of activity. A strategy enables people to reflect on the activity and gives them a rationale for deciding what to do next. A robust strategy is not dependent on competitors doing any single thing. It does not seek to control an independent will. Instead, it should be a “system of expedients” – with the emphasis on system.

Aesthetic ideals emerging from Zen art focus heavily on naturalness, on the emphasis of man's relation to nature. The Zen artists, as do many moderns, liked a sense of the materials and process of creation to come through in a work. But there is a subtle difference. The Zen artists frequently included in their works devices to ensure that the message reached the viewer. For example, Zen ceramics are always intended to force us to experience them directly and without analysis. The trick was to make the surface seem curiously imperfect, almost as though the artist were careless in the application of a finish, leaving it uneven and rough. At times the glaze seems still in the process of flowing over a piece, uneven and marred by ashes and lumps. There is no sense of "prettiness": instead they feel old and marred by long use. But the artist consciously is forcing us to experience the piece for itself, not as just another item in the category of bowl. We are led into the process of creation, and our awareness of the piece is heightened—just as an unfinished painting beckons us to pick up a brush,

Some cultures are pragmatic and prod their members to acquire possessions and power. Some are individualistic and urge their members to seek personal freedom above all. Others are “honor and shame” cultures, with emphasis on respect, reputation, duty, and bringing honor to your family. Some cultures are discursive and put the highest value on art, philosophy, and learning.5 These are called “cultural narratives” because they are stories that a people tell about themselves to make sense out of their shared existence. But whatever these personal and cultural narratives may be, sound contextualization shows people how the plotlines of the stories of their lives can only find a happy ending in Christ.6

A tattoo can be ruined by a too busy background or too many elements all having emphasis.

Emphasis is when we use art elements to accentuate a focal point or center of interest. This important principle helps us avoid things looking dull and muddled by giving the viewer a place to anchor their eyes temporarily.

Emphasis is of particular importance in tattoo art because tattoos can tend to be jumbled along body parts, such as an arm sleeve, and thus difficult to “read”.

The prevailing emphasis of the [Biblical] narratives, in any case, does move away from mythology. What is crucial for the literary understanding of the Bible is that this impulse to shape a different kind of narrative in prose had powerfully constructive consequences in the new medium that the ancient Hebrew writers fashioned for their monotheistic purposes. Prose narration, affording writers a remarkable range and flexibility in the means of presentation, could be utilized to liberate fictional personages from the fixed choreography of timeless events and thus could transform storytelling from ritual rehearsal to the delineation of the wayward paths of human freedom, the quirks and contradictions of men and women seen as moral agents and complex centers of motive and feeling….Because it is a literature that breaks away from the old cosmic hierarchies, the Bible switches from a reliance on metaphor … toward the indeterminacy, the shifting causal concatenations, the ambiguities of fiction made to resemble the uncertainties of life in history. And for that movement, I would add, the suppleness of prose as a narrative medium was indispensable.

At the very beginning of the poetic argument, we entered the world of Job’s inner torment through the great death wish poem that takes up all of Chapter 3. These first thirty seven lines of God’s response to Job constitute a brilliantly pointed reversal, in structure, image, and theme, of that initial poem of Job’s. Perhaps the best way to sense the special weight of disputation over theodicy is to observe that it is cast in the form of a clash between two modes of poetry, one kind spoken by man and, however memorable, appropriate to the limitations of his creaturely condition, the other kind of verse a poet of genius could persuasively imagine God speaking…. Perhaps the finest illustration of this nice match of meaning and imagery between the two poems is the beautiful counterbalance between the most haunting of Job’s lines wishing for darkness and the most exquisite of God’s lines affirming light. Job, one recalls, tried to conjure up an eternal starless night: “Let its twilight stars go dark, / let it hope for light in vain, / and let it not see the eyelids of the dawn” (3:9). God, near the beginning of His first discourse, evokes the moment when creation was completed in an image that has become justly famous in its own right but that is also, it should be observed, a counterimage to 3:9: “When the morning stars sang together, / and all the sons of God shouted for joy” (verse 7). That is, instead of a night with no twilight stars, with no glimmer of dawn, the morning stars of creation exult. The emphasis in this line on song and shouts of joy also takes us back to the poem of Chapter 3, which began with a triumphant cry on the night of conception—a cry Job wanted to wish away—and proceeded to a prayer that no joyous exclamation come into that night (3:7).

When they start something for the artists to promote talent and art, but their focus and emphasis is on business side of whatever they started .They are going to sideline other artist and going to kill the spirit of art in others, because they are trying to make business out of artists forgetting how important is the artist and the art itself.

The youth-pastor-as-bard is charged with expressing the language, narrative, and culture of the kingdom to listeners who think they already know what the kingdom is all about. For the leader among quasi-believers who are bored and mostly apathetic, who think they know all about “God and stuff,” the emphasis is on story.