Explorers Movie Quotes

You need mountains, long staircases don't make good hikers.

All worries are less with wine.

Hunger gives flavour to the food.

Some people when they see cheese, chocolate or cake they don't think of calories.

Travelling shouldn't be just a tour, it should be a tale.

Travelling the road will tell you more about the road than the google will tell you about the road.

Be a true traveller, don't be a temporary tourist.

Most people live life on the path we set for them. Too afraid to explore any other. But once in a while people like you come along and knock down all the obstacles we put in your way. People who realize free will is a gift, you'll never know how to use until you fight for it.

You want to write a book? Make a song? Direct a movie? Decorate pottery? Learn a dance? Explore a new land? You want to draw a penis on your wall? Do it. Who cares? It’s your birthright as a human being, so do it with a cheerful heart. (I mean, take it seriously, sure—but don’t take it seriously.) Let inspiration lead you wherever it wants to lead you.

Travel teaches as much as a teacher.

And we've read scary books and watched scary movies and TV shows together. He's met monsters, ghouls, and demons on the page and on the screen. There's nothing like watching Anaconda with your best friend or lying in bed next to your mother reading Roald Dahl, because that way you get to explore dark stuff safely. You get to laugh with it, to step out on the vampire's dance floor and take him for a spin, and then step back into your life. When you make friends with fear, it can't rule you.

All I want to do is make serious movies that explore social issues and turn a profit, and slip the schnitzel to Jane DePugh.

Ability to find the answers is more important than ability to know the answers.

Our inner dialogue is frequently composed of old tape loops that we run again and again... The normal personality marshals sufficient defense mechanisms to exclude dangerous and unknown stimuli and just enough windows to let in an occasional wandering minstrel. Neurotic identity crises come when our defense mechanisms have been too successful and we're encapsulated in the fortress we have constructed with nothing to refresh us in our solitary confinement. So we play the old movies with their stale fears and their unrealistic hopes until we become bored enough to risk disarmament and engagement.

Neurotic identity crises come when our defense mechanisms have been too successful and we're encapsulated in the fortress we have constructed with nothing to refresh us in our solitary confinement. So we play the old movies with their stale fears and their unrealistic hopes until we become bored enough to risk disarmament and engagement.

Someday when we get around to writing a genealogy of our failures, inadequacies, and disappointments, an important place in such a study will be the books we never read, for whatever reason. Aside from the music we never listened to, the movies we never watched, or the old archives and maps we never explored, the books we never read will be one of the indicators of our anachronisms and our flawed humanity.

It is the form that allows a writer the greatest opportunity to explore human experience...For that reason, reading a novel is potentially a significant act. Because there are so many varieties of human experience, so many kinds of interaction between humans, and so many ways of creating patterns in the novel that can’t be created in a short story, a play, a poem or a movie. The novel, simply, offers more opportunities for a reader to understand the world better, including the world of artistic creation. That sounds pretty grand, but I think it’s true.

There's a class of things to be afraid of: it's "those things that you should be afraid of". Those are the things that go bump in the night, right? You're always exposed to them when you go to horror movies, especially if they're not the gore type of horror movie. They're always hinting at something that's going on outside of your perceptual sphere, and they frighten you because you don't know what's out there. For that the Blair Witch Project was a really good example, because nothing ever happens in that movie but it's frightenting and not gory. It plays on the fact tht you do have a category of Those Things Of Which You Should Be Afraid. So it's a category, frightening things. And only things capable of abstraction can come up with something like the caregory of frightenting things. And so Kali is like an embodied representation of the category of frightening things. And then you might ask yourself, well once you come up with the concept of the category of frightening things, maybe you can come up with the concept of what to do in the face of frightening things. Which is not the same as "what do you do when you encounter a lion", or "what do you do when you encounter someone angry". It's a meta question, right? But then you could say, at a philosophical level: "You will encounter elements of the category of all those things which can frighten and undermine you during your life. Is there something that you can do *as a category* that would help you deal with that." And the answer is yeah, there is in fact. And that's what a lot of religious stories and symbolic stories are trying to propose to you, is the solution to that. One is, approach it voluntarily. Carefully, but voluntarily. Don't freeze and run away. Explore, instead. You expose yourself to risk but you gain knowledge. And you wouldn't have a cortex which, you know, is ridiculously disproportionate, if as a species we hadn't decided that exploration trumps escape or freezing. We explore. That can make you the master of a situation, so you can be the master of something like fire without being terrified of it. One of the things that the Hindus do in relationship to Kali, is offer sacrifices. So you can say, well why would you offer sacrifices to something you're afraid of. And it's because that is what you do, that's always what you do. You offer up sacrifices to the unknown in the hope that good things will happen to you. One example is that you're worried about your future. Maybe you're worried about your job, or who you're going to marry, or your family, there's a whole category of things to be worried about, so you're worried about your future. SO what're you doing in university? And the answer is you're sacrificing your free time in the present, to the cosmos so to speak, in the hope that if you offer up that sacrifice properly, the future will smile upon you. And that's one of the fundamental discoveries of the human race. And it's a big deal, that discovery: by changing what you cling to in the present, you can alter the future.

I have a whole world tucked away in my closet; sepia colored memories of my parents in the eighties, ticket stubs from movies I don’t remember because I was too busy exploring the mouth of a boy I do, and crinkled petals from a golden sunflower that said you still love me. And though you haven’t come back yet, I know you will, because sunflowers never lie. Sunflowers Never Lie

Visit Arcata, I really do recommend it. Play the nearly impossible to find original Pac Man at the cafe, explore the HSU campus, see a two-dollar movie, buy a tofu dog from the vendor in Town Square, sleep on the rooftops, and if they ask you what time it is, there's only one correct answer--'4:20'!

That which interests most people leaves me without any interest at all. This includes a list of things such as: social dancing, riding roller coasters, going to zoos, picnics, movies, planetariums, watching tv, baseball games; going to funerals, weddings, parties, basketball games, auto races, poetry readings, museums, rallies, demonstrations, protests, children’s plays, adult plays … I am not interested in beaches, swimming, skiing, Christmas, New Year’s, the 4th of July, rock music, world history, space exploration, pet dogs, soccer, cathedrals and great works of Art. How can a man who is interested in almost nothing write about anything? Well, I do. I write and I write about what’s left over: a stray dog walking down the street, a wife murdering her husband, the thoughts and feelings of a rapist as he bites into a hamburger sandwich; life in the factory, life in the streets and rooms of the poor and mutilated and the insane, crap like that, I write a lot of crap like that

Trekking means a travelling experience with a thrilling excitement.

It's easy to imagine that, in the future, telepathy and telekinesis will be the norm; we will interact with machines by sheer thought. Our mind will be able to turn on the lights, activate the internet, dictate letters, play video games, communicate with friends, call for a car, purchase merchandise, conjure any movie-all just by thinking. Astronauts of the future may use the power of their minds to pilot their spaceships or explore distant planets. Cities may rise from the desert of Mars, all due to master builders who mentally control the work of robots.

Sometimes I wish I could tell my younger self that. That it didn't matter. That the body I had then carried me up hills at Cross Country meets and through the water during the painful last lap at a swim meet, and that it should be celebrated instead of being picked away at and filled with hunger pangs. I should have gotten both the popcorn and the box of candy at the movies that night, instead of slipping away at a Diet Coke from the concession stand.

It’s interesting to observe the fascination children have with fear. Whether it’s movies, books, or Halloween, part of them wants to be scared at the same time another part doesn’t. It’s like being tickled. There’s delight in fright. Perhaps it’s their way of learning about fear, of gradually coming to know the difference between what’s real and imagined. It’s a knack that takes continual practice. But as we mature, society convinces us that fear is a weakness, and we stop exploring it. Sure, we may still go to horror movies and read Stephen King novels, but we no longer engage fear like we used to. And as a result, we lose our perspective. Instead of flinching when someone says, “Boo!” we slide further into our cocoons.

lower her to my side and pull her against me so that her head is resting on my jacket. Her breath tastes like starburst and it makes me want to keep kissing her until I can identify every single flavor. Her hand touches my arm and she gives it a tight squeeze just as my tongue slips inside her mouth. That would be strawberry on the tip of her tongue. She keeps her hand on my arm, periodically moving it to the back of my head, then returning it to my arm. I keep my hand on her waist, never once moving it to touch any other part of her. The only thing we explore is each other’s mouths. We kiss without making another sound. We kiss until the alarm sounds off on my phone. Despite the noise, neither of us stops kissing. We don’t even hesitate. We kiss for another solid minute until the bell rings in the hallway outside and suddenly lockers are slamming shut and people are talking and everything about our moment is stolen from us by all the inconvenient external factors of school. I still my lips against hers, then slowly pull back. “I have to get to class,” she whispers. I nod, even though she can’t see me. “Me, too,” I reply. She begins to scoot out from beneath me. When I roll onto my back, I feel her move closer to me. Her mouth briefly meets mine one more time, then she pulls away and stands up. The second she opens the door, the light from the hallway pours in and I squeeze my eyes shut, throwing my arm over my face. I hear the door shut behind her and by the time I adjust to the brightness, the light is gone again. I sigh heavily. I also remain on the floor until my physical reaction to her subsides. I don’t know who the hell she was or why the hell she ended up here, but I hope to God she comes back. I need a whole hell of a lot more of that. • • • She didn’t come back the next day. Or the day after that. In fact, today marks exactly a week since she literally fell into my arms, and I’ve convinced myself that maybe that whole day was a dream. I did stay up most of the night before watching zombie movies with Chunk, but even though I was going on two hours of sleep, I don’t know that I would have been able to imagine that. My fantasies aren’t that fun. Whether she comes back or not, I still don’t have a fifth period and until someone calls me out on it, I’ll keep hiding out in here. I actually slept way too much last night, so I’m not tired. I pull my phone out to text Holder when the door to the closet begins to open. “Are you in here, kid?” I hear her whisper. My heart immediately picks up pace and I can’t tell if it’s that she came back or if it’s because the

I really liked movies and books about people exploring new places. When I was little, I never wondered how I’d do it. I just knew one day I would go everywhere. But when you get older, you realise wanting isn’t the same as having. There are all those places you want to go, but it doesn’t mean you can actually get there.

Sliding Doors and Run Lola Run (1998)—These two movies, neither of which is technically science fiction, were released in the same year. We see the idea of timelines branching from a single point which lead to different outcomes. In the example of Sliding Doors, a separate timeline branches off of the first timeline and then exists in parallel for some time, overlapping the main timeline, before merging back in. In Run Lola Run, on the other hand, we see Lola trying to rescue her boyfriend Manni by rewinding what happened and making different choices multiple times. We see visually what running our Core Loop might look like in a real-world, high-stress situation.

When the IOI corporate police came to arrest me, I was right in the middle of the movie Explorers (1985, directed by Joe Dante). It’s about three kids who build a spaceship in their backyard and then fly off to meet aliens. Easily one of the greatest kid flicks ever made. I’d gotten into the habit of watching it at least once a month. It kept me centered.

Women have always been the most important part of monster movies. As I walked home one night, I realized why. Making my way down dark city streets to my apartment in Brooklyn, I was alert and on edge. I was looking for suspicious figures, men that could be rapists, muggers or killers. I felt like Laurie Strode in Halloween. Horror is a pressure valve for society's fears and worries: monsters seeking to control our bodies, villains trying to assail us in the darkness, disease and terror resulting from the consequences of active sexuality, death. These themes are the staple of horror films. There are people who witness these problems only in scary movies. But for much of the population, what is on the screen is merely an exaggerated version of their everyday lives. These are forces women grapple with daily. Watching Nancy Thompson escape Freddy Krueger's perverted attacks reminds me of how I daily fend off creeps asking me to smile for them on the subway. Women are the most important part of horror because, by and large, women are the ones the horror happens to. Women have to endure it, fight it, survive it — in the movies and in real life. They are at risk of attack from real-life monsters. In America, a woman is assaulted every nine seconds. Horror films help explore these fears and imagine what it would be like to conquer them. Women need to see themselves fighting monsters. That’s part of how we figure out our stories. But we also need to see ourselves behind-the-scenes, creating and writing and directing. We need to tell our stories, too.

France has the largest, most lucrative cinema in Europe, making it the second most successful cinema in the Western world (a distant second, monetarily), and in terms of roles for women, it’s unquestionably in the lead. When a French actress comes to America, she leaves a cinema interested in exploring her essence in favor of one that’s not interested in anything about her, that’s even hostile to the notion of making movies about women at all.

FRENCH CINEMA’S PORTRAITS of the young woman on her own constitute a strong and enriching strain in recent decades. Some of these films are romances, but just as many aren’t. Even when they are, romance and men are just conveyances for the movies’ real points of focus. These are movies all about exploring a young woman’s essence, character and soul, and many actresses begin their great careers by putting their own stamp on specifically these kinds of films.

A landmark 2007 report by the American Psychological Association (APA) found girls being sexualized--or treated as "objects of sexual desire... as things rather than as people with legitimate sexual feelings of their own"--in virtually every form of media, including movies, television, music videos and lyrics, video games and the Internet, advertising, cartoons, clothing, and toys. Even Dora the Explorer, once a cute, square-bodied child, got a makeover to make her look more svelte and "hot.

The Wall as a piece represents large amount of material spread across a range of media: the record, the concerts – enhanced with film, stage effects an props – and a movie. This has been Roger’s intention from the outset. He had already shown his fondness for exploring the possibilities of multimedia, but the Wall took things considerable further. The whole project also covered a large amount of time, a period of work that actually lasted from mid-1978, when Roger was creating the initial version, until 1982, with the release of the movie.

It’s easy to imagine that, in the future, telepathy and telekinesis will be the norm; we will interact with machines by sheer thought. Our mind will be able to turn on the lights, activate the internet, dictate letters, play video games, communicate with friends, call for a car, purchase merchandise, conjure any movie—all just by thinking. Astronauts of the future may use the power of their minds to pilot their spaceships or explore distant planets. Cities may rise from the deserts of Mars, all due to master builders who mentally control the

...the best thing an individual movie lover can do is have fun. No great movement can happen in popular art without pure pleasure being the motive. (...) There should be nothing dutiful about exploring these actresses, and no one needs to consider himself or herself virtuous for knowing their films. All they offer is the exhilaration of experiencing a grand movement and the satisfaction that great art grants to those who pay attention. If we enjoy their work and love their work and spend our money accordingly, all will turn out right in the end.

There are hundreds of ways that we distract ourselves from self-reflection, from asking those fundamental questions that really matter – movies, podcasts, games, social media. An endless stream of information you have to digest that does not allow you to spend any time alone with yourself. When you have nothing to do for a long-long time, that is when your mind starts to itch. It is then that you experience the unbearable heaviness of being. I think it happens to you too. Your most random thoughts intermingle in a chaotic descent into your own mental maelstrom, producing the strangest conclusions, as your brain explores the deepest corners of your mind.

Toyota wasn’t really worried that it would give away its “secret sauce.” Toyota’s competitive advantage rested firmly in its proprietary, complex, and often unspoken processes. In hindsight, Ernie Schaefer, a longtime GM manager who toured the Toyota plant, told NPR’s This American Life that he realized that there were no special secrets to see on the manufacturing floors. “You know, they never prohibited us from walking through the plant, understanding, even asking questions of some of their key people,” Schaefer said. “I’ve often puzzled over that, why they did that. And I think they recognized we were asking the wrong questions. We didn’t understand this bigger picture.” It’s no surprise, really. Processes are often hard to see—they’re a combination of both formal, defined, and documented steps and expectations and informal, habitual routines or ways of working that have evolved over time. But they matter profoundly. As MIT’s Edgar Schein has explored and discussed, processes are a critical part of the unspoken culture of an organization. 1 They enforce “this is what matters most to us.” Processes are intangible; they belong to the company. They emerge from hundreds and hundreds of small decisions about how to solve a problem. They’re critical to strategy, but they also can’t easily be copied. Pixar Animation Studios, too, has openly shared its creative process with the world. Pixar’s longtime president Ed Catmull has literally written the book on how the digital film company fosters collective creativity2—there are fixed processes about how a movie idea is generated, critiqued, improved, and perfected. Yet Pixar’s competitors have yet to equal Pixar’s successes. Like Toyota, Southern New Hampshire University has been open with would-be competitors, regularly offering tours and visits to other educational institutions. As President Paul LeBlanc sees it, competition is always possible from well-financed organizations with more powerful brand recognition. But those assets alone aren’t enough to give them a leg up. SNHU has taken years to craft and integrate the right experiences and processes for its students and they would be exceedingly difficult for a would-be competitor to copy. SNHU did not invent all its tactics for recruiting and serving its online students. It borrowed from some of the best practices of the for-profit educational sector. But what it’s done with laser focus is to ensure that all its processes—hundreds and hundreds of individual “this is how we do it” processes—focus specifically on how to best respond to the job students are hiring it for. “We think we have advantages by ‘owning’ these processes internally,” LeBlanc says, “and some of that is tied to our culture and passion for students.

My father, Philip Van Doren Stern, was shaving on Saturday morning, February 12, 1938, while he explored the idea for the story The Greatest Gift—which became the basis for the movie, It’s a Wonderful Life. The idea had come from a dream he had during the night. As he wrote in his notes: “The idea came to me complete from start to finish—a most unusual occurrence, as any writer will tell you, for ordinarily a story has to be struggled with, changed around and mixed up.” In contrast to his other writings, mainly on history, he said that the idea for The Greatest Gift had emerged full blown, and he had never considered changing it. What he had to do, he said, was to learn to write it.

The wonderful science behind taking the chastity pill is to preserve honor, respect, purity and worth. Again, the value of a woman’s future is dependent on how well she blocks any advances, foul balls, interceptions or explorations. It’s no surprise I question everything. What does going to the movies have to do with my vagina? What does going to the grocery store at ten pm at night to pick up a package of brownie mix have to do with my vagina? Why is ok for me not to go to a high school football game? Does wearing a tank top instead of a short sleeve shirt compromise my vagina shield? Do I have an Anti-Vagina Defense security chip installed on me that I’m not aware of, one that only works with loose clothing?

God created us for play and amusement just as he created us for work, prayer, and community. In particular he created us for art and culture: to create and look at images; to fashion stories and music and dance, and to perform and enjoy them; to explore imaginative scenarios of good and evil, of conflict and resolution. It is in our nature to engage in and to enjoy these things, as it is the nature of stars to shine and plants to grow. And, just as the sun glorifies God by shining and plants by growing, so we please and glorify him when we participate in wholesome aesthetic activities and amusements. In fact, because man has free will, he pleases God in a special way when he freely participates in the goods proper to his nature. If he does so with a will to glorify God, it can even be meritorious

Chapter 20 we will explore in far greater depth how to avoid brainwashing and how to distinguish reality from fiction. Here I would like to offer two simple rules of thumb. First, if you want reliable information, pay good money for it. If you get your news for free, you might well be the product. Suppose a shady billionaire offered you the following deal: “I will pay you $30 a month, and in exchange you will allow me to brainwash you for an hour every day, installing in your mind whichever political and commercial biases I want.” Would you take the deal? Few sane people would. So the shady billionaire offers a slightly different deal: “You will allow me to brainwash you for one hour every day, and in exchange, I will not charge you anything for this service.” Now the deal suddenly sounds tempting to hundreds of millions of people. Don’t follow their example. The second rule of thumb is that if some issue seems exceptionally important to you, make the effort to read the relevant scientific literature. And by scientific literature I mean peer-reviewed articles, books published by well-known academic publishers, and the writings of professors from reputable institutions. Science obviously has its limitations, and it has gotten many things wrong in the past. Nevertheless, the scientific community has been our most reliable source of knowledge for centuries. If you think the scientific community is wrong about something, that’s certainly possible, but at least know the scientific theories you are rejecting, and provide some empirical evidence to support your claim. Scientists, for their part, need to be far more engaged with current public debates. Scientists should not be afraid of making their voices heard when the debate wanders into their field of expertise, be it medicine or history. Of course, it is extremely important to go on doing academic research and to publish the results in scientific journals that only a few experts read. But it is equally important to communicate the latest scientific theories to the general public through popular science books, and even through the skillful use of art and fiction. Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people’s views of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things such as AI, bioengineering, and climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

If you are present, then you can see that you give yourself presents in each moment that you can unwrap and thoroughly enjoy - the amazing world around us that we can explore, each incredible detail, the lives, and the stories we tell ourselves or experience so that we can feel what it's like to be human, the things we can learn from an interaction, about ourselves as well as everything and everyone else. Everyone is here in their own story, writing the script as they go, living the movie picture.... choosing who to meet, what to do, how to react to each new experience. We each find our own tools to help us traverse the terrain of each particular part of our journeys. It cannot be right to judge another, or yourself, for we are all at different stages, or on different stages. We do as we need to according to where and how we find ourselves, but the more you realise that you actually put yourself exactly where you are in each moment, the more your eyes will widen. You are an amazing Being playing the game of life - your attitude makes all the difference.

Question 2: How Do You Want to Grow? When you watch how young children soak up information, you realize how deeply wired we are to learn and grow. Personal growth can and should happen throughout life, not just when we’re children. In this section, you’re essentially asking yourself: In order to have the experiences above, how do I have to grow? What sort of man or woman do I need to evolve into? Notice how this question ties to the previous one? Now, consider these four categories from the Twelve Areas of Balance: 5.​YOUR HEALTH AND FITNESS. Describe how you want to feel and look every day. What about five, ten, or twenty years from now? What eating and fitness systems would you like to have? What health or fitness systems would you like to explore, not because you think you ought to but because you’re curious and want to? Are there fitness goals you’d like to achieve purely for the thrill of knowing you accomplished them (whether it’s hiking a mountain, learning to tap dance, or getting in a routine of going to the gym)? 6.​YOUR INTELLECTUAL LIFE. What do you need to learn in order to have the experiences you listed above? What would you love to learn? What books and movies would stretch your mind and tastes? What kinds of art, music, or theater would you like to know more about? Are there languages you want to master? Remember to focus on end goals—choosing learning opportunities where the joy is in the learning itself, and the learning is not merely a means to an end, such as a diploma. 7.​YOUR SKILLS. What skills would help you thrive at your job and would you enjoy mastering? If you’d love to switch gears professionally, what skills would it take to do that? What are some skills you want to learn just for fun? What would make you happy and proud to know how to do? If you could go back to school to learn anything you wanted just for the joy of it, what would that be? 8.​YOUR SPIRITUAL LIFE. Where are you now spiritually, and where would you like to be? Would you like to move deeper into the spiritual practice you already have or try out others? What is your highest aspiration for your spiritual practice? Would you like to learn things like lucid dreaming, deep states of meditation, or ways to overcome fear, worry, or stress?

Our exploration into advertising and media is at its root a critique of the exploitative nature of capitalism and consumerism. Our economic systems shape how we see our bodies and the bodies of others, and they ultimately inform what we are compelled to do and buy based on that reflection. Profit-greedy industries work with media outlets to offer us a distorted perception of ourselves and then use that distorted self-image to sell us remedies for the distortion. Consider that the female body type portrayed in advertising as the “ideal” is possessed naturally by only 5 percent of American women. Whereas the average U.S. woman is five feet four inches tall and weighs 140 pounds, the average U.S. model is five feet eleven and weighs 117. Now consider a People magazine survey which reported that 80 percent of women respondents said images of women on television and in the movies made them feel insecure. Together, those statistics and those survey results illustrate a regenerative market of people who feel deficient based on the images they encounter every day, seemingly perfectly matched with advertisers and manufacturers who have just the products to sell them (us) to fix those imagined deficiencies.18

Note: I won’t be considering any theologically based Judeo-Christian views about these subjects beyond this broad summary here. As far as I can tell, most of the theological discussions center around omniscience—if God’s all-knowingness includes knowing the future, how can we ever freely, willingly choose between two options (let alone be judged for our choice)? Amid the numerous takes on this, one answer is that God is outside of time, such that past, present, and future are meaningless concepts (implying, among other things, that God could never relax by going to a movie and being pleasantly surprised by a plot turn—He always knows that the butler didn’t do it). Another answer is one of the limited God, something explored by Aquinas—God cannot sin, cannot make a boulder too heavy for Him to lift, cannot make a square circle (or, as another example that I’ve seen offered by a surprising number of male but not female theologians, even God cannot make a married bachelor). In other words, God cannot do everything, He can just do whatever is possible, and foreseeing whether someone will choose good or evil is not knowable, even for Him. Related to this all, Sam Harris mordantly notes that even if we each have a soul, we sure didn’t get to pick it.

This is the part of the book where the author usually sums it all up in a conclusion chapter and announces, “I did it!” I suppose I could have titled it “The Finale,” but that’s just not me. I don’t think you ever reach a point in life (or in writing!) where you get to say that. It ain’t over till it’s over. I want to be an eternal student, always pushing myself to learn more, fear less, fight harder. What lies in the future? Truthfully, I don’t know. For some people, that’s a scary thought. They like their life mapped out and scheduled down to the second. Not me. Not anymore. I take comfort in knowing not everything is definite. There’s where you find the excitement, in the unknown, uncharted, spaces. If I take the lead in my life, I expect that things will keep changing, progressing, moving. That’s the joy for me. Where will I go next? What doors will open? What doors will close? All I can tell you is that I will be performing and connecting with people--be it through dance, movies, music, or speaking. I want to inspire and create. I love the phrase “I’m created to create.” That’s what I feel like, and that’s what makes me the happiest. I’m building a house right now--my own extreme home makeover. I love the process of tearing something down and rebuilding it, creating something from nothing and bringing my artistic vision to it. I will always be someone who likes getting his hands dirty. But the blueprint of my life has completely changed from the time I was a little boy dreaming about fame. It’s broadened and widened. I want variety in my life; I like my days filled with new and different things. I love exploring the world, meeting new people, learning new crafts and art. It’s why you might often read what I’m up to and scratch your head: “I didn’t know Derek did that.” I probably didn’t before, but I do now.

What did it look like?” “My watch? It was silver. Not expensive or anything. Just a regular watch.” “Shiny?” “I guess.” “Raccoons.” Determined not to say anything stupid for at least the next ten minutes, she considered his single-word statement. Raccoons? Okay. He probably hadn’t started a word-association game, so what did he mean? Going with the safest response, she cautiously repeated, “Raccoons?” “They like shiny things. Take off with them whenever they can.” “You’re saying a raccoon stole my watch?” “Probably.” She really wanted to point out that they couldn’t possibly tell time, but knew instinctively that was a bad idea. “Can I get it back?” “Sure. If you can find it.” Could she? She glanced around at the underbrush, the trees, the stream. “Is it safe for me to go exploring?” she asked. “You’re not likely to be attacked by raccoons, but you’ll probably get lost, fall down a ravine, break your leg and starve to death. But if the watch is that important to you, have at it.” She felt herself deflating. “You don’t like me much, do you?” she asked sadly. She half expected Zane to stalk away, but instead he exhaled and shook his head. “Sorry.” She blinked. “What?” “I said I’m sorry.” Had the earth stopped turning, or had the taciturn hunky cowboy standing in front of her just apologized? “I--you--” She paused for breath. “That’s okay. I guess it was a stupid question.” “No. It was a reasonable question under the circumstances.” He shoved his hands into his pockets. “I get a little sarcastic sometimes.” “Let’s call it a dry sense of humor.” He half nodded in acknowledgement. “You’ll never find them, and even if you did, your watch would probably be all broken up and rusty from them dunking it in the water. Don’t leave out anything they’ll take. Shiny jewelry, another watch.” “I don’t have another watch. Not with me.” “You need to know the time?” “Just when the meals are.” “Cookie rings a bell.” “Really? Just like in the movies?” “Yeah.” One corner of his mouth turned up as he spoke. It wasn’t exactly a smile, but it was close enough to get her breathing up to Mach 3. “Come on,” he said. “It’s nearly time for lunch.” He started back toward the camp. Phoebe followed him happily. “You think the raccoons could ever learn to tell time?” she asked. He glanced at her. “You’re kidding, right?” “Maybe I have a dry sense of humor, too.” “City girl.” He was probably insulting her, but the way he said the word made her feel almost tall and, if not blonde, then certainly highlighted. “I think Rocky likes me,” she confided. “I’m sure he does.

Many of my readers are women and some of them email me their thoughts about the stories I’ve written. Almost all of them find a delicious pleasure in being totally frightened by the strange and dark side of life. Perhaps it’s because horror books are an escape from our sometimes-mundane lives? Or could it be that many of us actually do have a private darker side that we like to explore secretly through books, movies and music?

Create a Chocolate Factory There may be as many different types of playrooms as there are families, but every one of them should have the following design element: lots of choices. A place for drawing. A place for painting. Musical instruments. A wardrobe hanging with costumes. Blocks. Picture books. Tubes and gears. Anything where a child can be safely let loose, joyously free to explore whatever catches her fancy. Did you see the movie Willy Wonka and the Chocolate Factory? If so, you may have been filled with wonder at the chocolate plant, complete with trees, lawns, and waterfalls—a totally explorable, nonlinear ecology. That’s what I mean. I am focusing on artistic pursuits because kids who are trained in the arts

Once I got past grief, depression, and resignation, I needed help identifying other types of sad feelings. But unlike my exploration of anger, the thesaurus wasn’t much help this time. I added a few more words to the constellation, but I’m not sure how strongly I experience any of them. Sadness feels like a diffuse emotion, more of a background state of being than a tangible feeling. I’m rarely actively sad. I don’t burst into tears when I hear sad news. The last time I cried at a movie, I was 12. The only book that ever made me tear up was A Prayer for Owen Meany. More than once I’ve sat stoically immobile beside someone I love while they broke down. My sadness is all undercurrent, twisted up inside me, unable to escape to the surface. This, of course, makes me look cold and unfeeling. The stereotypical emotionless Aspie. The first time I confronted my muted sadness was in high school. A girl in my class, Karen, was killed in a car accident. The entire junior class attended her funeral, and everyone sobbed from beginning to end. Except me.

ABOUT THE AUTHOR Born in Ciechanów, Poland, Ania Ahlborn is also the author of the supernatural thrillers Seed and The Neighbors. She earned a bachelor’s degree in English from the University of New Mexico, enjoys gourmet cooking, baking, drawing, traveling, movies, and exploring the darkest depths of the human (and sometimes inhuman) condition. She lives in Albuquerque, New Mexico,

The film that has influenced me the most is probably Gus Van Sant's My Own Private Idaho, with whom I had the chance to work while in the US. Seeing that movie during a time of my life in which I was exploring my sexuality and looking at the work of River Phoenix made me dream about acting in a film.

People who claim not to be prejudiced are demonstrating a profound lack of self-awareness. Ironically, they are also demonstrating the power of socialization. We have all been taught in schools, through movies, and from family members, teachers, and clergy, that it is important not to be prejudiced. Unfortunately, the prevailing belief that prejudice is bad causes us to deny its unavoidable reality. Prejudice is foundational to understanding white fragility because suggesting that white people have racial prejudice is perceived as saying that we are bad and should be ashamed. We then feel the need to defend our character rather than explore the inevitable racial prejudices we have absorbed so that we might change them. In this way, our misunderstanding about what prejudice is protects it.

If you are preparing for an important meeting or event, for instance, you often fantasize about everything that could possibly go wrong beforehand. This is basically just an anxious mind generating a negative, insecure, and incapable image of itself. With visualization, the very space of our imagination, often dominated by fantasies of the future and nightmares of the past, could be converted into a kind of mindfully creative space, a kind of movie studio that actually benefits sentient beings.

Nothing is definite, nothing precise. Evil is a free-floating force and can inhabit the most commonplace objects. Fear of the dark is essentially unspecific; like darkness itself, it is formless, engulfing, full of menace, full of death. The rest is child's play: naming the demons (Satan, Beelzebub, Hecate, Lucifer) and filling in the details (fangs, claws, bats' wings, goats' horns, toad's skin, dragon's tail) are ways of sanitising the nameless dread, of containing the uncontainable. In horror movies, no matter how brilliant the special effects, the moment where the monster is finally revealed is invariably a disappointment. The creature from the black lagoon or the morgue or the pit or outer space is always easier to live with, however dangerously, than the nebulous shapes created by the imagination running free. Once you can put a face on evil, it becomes, as Hannah Arendt said, banal.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head... An especially interesting aspect of Dark Souls' story is that it could only be told through a video game, making it almost unique. It tells us very little through the mediums of text or film, and vast amounts through context, exploration and environmental storytelling that simply would not be possible in any other format. Nowadays it's widely regarded as a masterclass in interactive narrative design, despite the fact that any given player could bypass the story entirely if they weren't inclined to investigate.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head... ...An especially interesting aspect of Dark Souls' story is that it could only be told through a video game, making it almost unique. It tells us very little through the mediums of text or film, and vast amounts through context, exploration and environmental storytelling that simply would not be possible in any other format. Nowadays it's widely regarded as a masterclass in interactive narrative design, despite the fact that any given player could bypass the story entirely if they weren't inclined to investigate.

Your negative emotions can also be controlled and directed. PMA and self-discipline can remove their harmful effects and make them serve constructive purposes. Sometimes fear and anger will inspire intense action. But you must always submit your negative emotions--and you positive ones--to the examination of your reason before releasing them. Emotion without reason is a dreadful enemy. 카톡☛ppt33☚ 〓 라인☛pxp32☚ 홈피는 친추로 연락주세요 팔팔정판매,팔팔정파는곳,팔팔정가격,팔팔정후기,팔팔정구입방법,팔팔정복용법,팔팔정부작용,팔팔정구입사이트,팔팔정구매사이트,팔팔정판매사이트 구구정가격,비아그라가격,시알리스가격,레비트라가격,아드레닌가격,센돔가격,비닉스가격,센트립가격 What faculty provides the crucial balance between emotions and reason? It is your willpower, or ego, a subject which will be explored in more detail below. Self-discipline will teach you to throw your willpower behind either reason or emotion and amplify the intensity of their expression. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

The problem with crack dealing is the same as in every other glamour profession: a lot of people are competing for a very few prizes. Earning big money in the crack gang wasn’t much more likely than the Wisconsin farm girl becoming a movie star or the high-school quarterback playing in the NFL. But criminals, like everyone else, respond to incentives. So if the prize is big enough, they will form a line down the block just hoping for a chance. On the south side of Chicago, people wanting to sell crack vastly outnumbered the available street corners.

At the lab my professor suggested that, since it was such an amazing day, perhaps I could take the exam outside in the wetland wilderness reserve that surrounded the lab. The view of the swamp was stunning! Somehow it had never seemed beautiful to me before. She asked that I take my notebook and pencil out. “Please draw for me the complete development of the chick from fertilization to hatching. That is the only question.” I gasped, “But that is the entire course!” “Yes, I suppose it is, but make-up exams are supposed to be harder than the original, aren’t they?” I couldn’t imagine being able to regurgitate the entire course. As I sat there despondently, I closed my eyes and was flooded with grief. Then I noticed that my inner visual field was undulating like a blanket that was being shaken at one end. I began to see a movie of fertilization! When I opened my eyes a few minutes later, I realized that the movie could be run forward and back and was clear as a bell in my mind’s eye, even with my physical eyes open. Hesitantly, I drew the formation of the blastula, a hollow ball of cells that develops out of the zygote (fertilized egg). As I carefully drew frame after frame of my inner movie, it was her turn to gape! The tiny heart blossomed. The formation of the notochord, the neural groove, and the beginnings of the nervous system were flowing out of my enhanced imagery and onto the pages. A stupendous event—the animated wonder of embryonic growth and the differentiation of cells—continued at a rapid pace. I drew as quickly as I could. To my utter amazement, I was able to carefully and completely replicate the content of the entire course, drawing after drawing, like the frames of animation that I was seeing as a completed film! It took me about an hour and a quarter drawing as fast as I could to reproduce the twenty-one-day miracle of chick formation. Clearly impressed, my now suddenly lovely professor smiled and said, “Well, I suppose you deserve an A!” The sunlight twinkled on the water, the cattails waved in the gentle breeze, and the gentle wonder of life was everywhere. Reports:

Anyone who has read enough, explored enough and experienced enough, somewhere in his/ her life will realize that the life is repeating itself again and again and again. He/she will soon understand there is nothing new to discover, all quests of human life have been experience and discovered in the past and all we do to play the game over and over to gain a different result, like an idiot who watches movie several time and hope to see a different ending. In such age, people no to remain enthusiastic, they need to still be excited about the story, which they have heard more than millions of times. Hence, intellectuals and creators create new toys for them. The toys that practically has the same purpose and affect the same result, but ordinary human does not need to know that. They need to be interested to play, because if we stop, the world will stop, and then the age of nothingness will end. And we cannot let that happen can we?

The Exotic Erotic Cirque Without moving a single muscle, I sat mesmerized in my seat. At that tender age, I had never observed anything like it. This fervent performance was thirty years before Cirque De Soleil’s human circus made its mark in our popular culture. It was also precisely thirty-two years prior to the last movie Stanley Kubrick directed, “Eyes Wide Shut.” The exotic erotic cirque was already playing at Sfera Mascherata di San Valentino di Conte Mario Conti, and I had the opportunity to witness this spectacular extravaganza first hand. At 2:00 A.M., the night was young. My partners in crime, exploring the upstairs, were The Raven King and The Twins (Oscar and Devaj).

My past now played like an old movie, one I was no longer interested in, dream-like, progressively fading away. Old attachments, too, began dissolving – I didn’t care so much about the things, places or issues of my past (indeed, I threw away forty years of personal journals without an ounce of regret!). My previous world was gone, had died, but in its place, I started noticing – and exploring – the empty space left by its disappearance. Then, unexpectedly, in this emptiness, I begin to notice subtle and spontaneous changes in consciousness – expanding moments of silence, stillness, and timelessness, moments when it seemed as if the mystery of eternity was leaking into the everyday world. I was moving into a curious new and peaceful space – consciousness without thought, an awareness devoid of purpose, effort, agenda, point of view, or even self. These changes, which had been emerging unappreciated for some time, seemed to increase when observed, and eventually became harbingers of a new kind of consciousness and a new kind of life – intimations of spiritual transformation

Women’s stories matter, the stories we write, the stories we read—the big-deal winners of literary prizes, and Harlequin romances, and documentaries, and soap operas, and PBS investigations, and Lifetime movies of the week. Women’s stories matter. They tell us who we are, they give us places to explore our problems, to try on identities and imagine happy endings. They entertain us, they divert us, they comfort us when we’re lonely or alone. Women’s stories matter. And women matter, too.

Books to read Music to download Movies to see Gift ideas Web sites to explore Weekend trips to take Ideas—Misc. (meaning you don’t know where else to put them!)

Tolerances of the Human Face in Crash Impacts. Travers took the glass of whisky from Karen Novotny. ‘Who is Koester? - the crash on the motorway was a decoy. Half the time we’re moving about in other people’s games.’ He followed her on to the balcony. The evening traffic turned along the outer circle of the park. The past few days had formed a pleasant no-man’s land, a dead zone on the clock. As she took his arm in a domestic gesture he looked at her for the first time in half an hour. This strange young woman, moving in a complex of undefined roles, the gun moll of intellectual hoodlums with her art critical jargon and bizarre magazine subscriptions. He had met her in the demonstration cinema during the interval, immediately aware that she would form the perfect subject for the re-enactment he had conceived. What were she and her fey crowd doing at a conference on facial surgery? No doubt the lectures were listed in the diary pages of Vogue , with the professors of tropical diseases as popular with their claques as fashionable hairdressers. ‘What about you, Karen? - wouldn’t you like to be in the movies?’ With a stiff forefinger she explored the knuckle of his wrist. ‘We’re all in the movies.

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Heat surges over my face as we near the table where my friends all sit staring at us like we’re a Hallmark Christmas movie with a twist of porn. Someone should explore that topic.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

I spend most of my Mondays with blood. I am a hematologist by training. I study blood and treat blood diseases, including cancers and precancers of white blood cells. On Monday, I arrive much earlier than my patients, when the morning light is still aslant across the black slate of the lab benches. I close the shutters and peer through the microscope at blood smears. A droplet of blood has been spread across a glass slide, to make a film of single cells, each stained with special dyes. The slides are like previews of books, or movie trailers. The cells will begin to reveal the stories of the patients even before I see them in person. I sit by the microscope in the darkened room, a notepad by my side, and whisper to myself as I go through the slides. It’s an old habit; a passerby might well consider me unhinged. Each time I examine a slide, I mumble out the method that my hematology professor in medical school, a tall man with a perpetually leaking pen in his pocket, taught me: “Divide the main cellular components of blood. Red cell. White cell. Platelet. Examine each cell type separately. Write what you observe about each type. Move methodically. Number, color, morphology, shape, size.” It is, by far, the favorite time of my day at work. Number, color, morphology, shape, size. I move methodically. I love looking at cells, in the way that a gardener loves looking at plants—not just the whole but also the parts within the parts: the leaves, the fronds, the precise smell of loam around a fern, the way the woodpecker has bored into the high branches of a tree. Blood speaks to me—but only if I pay attention.

By the late nineteenth century the dazzlingly multiethnic character of the now great metropolis echoed the diverse origins of its earliest European explorers, but only one group knew the port as their place. For if the port made New York, the Irish made the port.

Cinder’s fate, thanks to Dr. MacElroy, was not so bleak. In fact, she was slated to be a working cat, an actress, so you may have seen her on movie and television screens, though the big cats rarely get decent credits. She may one day play the part of a lovable pet, and you may be moved to want a leopard. Don’t do that. Leave the big cats alone.

5 Bone-Chilling Horror Movies to Watch for Free Horror movies have a unique power to send shivers down our spines, make us jump out of our seats, and leave us with lasting nightmares. If you're a fan of the genre and looking for some hair-raising thrills without spending a dime, you're in for a treat. Here are five heart-pounding horror movies that you can watch for free: 1. STRAWBERRY ESTATES The eerie title alone promises a spooky tale. "STRAWBERRY ESTATES" might take you on a terrifying journey through an ominous estate, uncovering dark secrets and malevolent forces that lurk within. Prepare for spine-tingling suspense and a chilling atmosphere that will keep you on edge. 2. THEY'RE WATCHING "THEY'RE WATCHING" hints at paranoia and surveillance, elements often used to great effect in horror. Expect a story filled with tension and dread as characters grapple with the unsettling sensation of being watched. This film might make you question just who or what is watching. 3. LEXI "LEXI" may take a different approach to horror, focusing on the psychological and emotional aspects. It could delve into the unsettling experiences of the titular character, Lexi, and explore themes of fear, trauma, or supernatural encounters. This movie could leave you with lingering chills rather than outright scares. 4. REDWOOD MASSACRE: ANNIHILATION With a title like "REDWOOD MASSACRE: ANNIHILATION," you can expect intense, blood-soaked horror. Brace yourself for gruesome scenes, relentless killers, and a relentless battle for survival. This film is likely to deliver the visceral scares that horror aficionados crave. 5. THE DEMONIC TAPES The mention of "demonic tapes" suggests a supernatural, found-footage-style horror experience. "THE DEMONIC TAPES" might take you on a haunting journey through unsettling recordings, paranormal phenomena, and demonic forces that terrorize unsuspecting victims. While the availability of these movies for free may vary depending on your location and the streaming platforms you have access to, they offer a diverse range of horror experiences. Whether you prefer psychological horror, supernatural encounters, or gruesome slasher flicks, these films promise to deliver thrills and chills that will keep you glued to the screen. To watch these movies, explore popular streaming platforms and free streaming services like Yesmovies. Be sure to check their availability periodically, as streaming libraries can change over time. So, dim the lights, grab your favorite snacks, and prepare to be scared. These five horror movies offer a hauntingly good time for those brave enough to dive into the world of fear and suspense, all without spending a penny. Enjoy the spine-tingling ride! For more movies like this visit YesMovies.

Conversations will become an experience that are ten times better than any movie, TV show, or book, because you're not just observing; you're living the story with another human in real-time. You'll skip the vague, snooze-worthy questions like, “What's new?” and, “How are you?” and instead turn every interaction into a “choose your own adventure” experience where you explore the topics most interesting to you.

Idealism is materialism upside down. It proposes that all that exists is pure consciousness. Everything in the physical world, all matter and energy, are emergent properties of consciousness. In its more radical form, it asserts that the entire physical world is a mind-generated illusion, somewhat like the virtual world in the movie The Matrix. Idealism runs into a miracle if it proposes that out of ephemeral nonphysical consciousness there emerges a hard, physical world. How does that happen? Once emerged, is it still connected to mind or does it go on its merry way? On the other hand, if it proposes that everything is an imaginary projection of consciousness, then the miracle is that everyone other than me is also a part of my imagination. Does that mean I still have to pay taxes? Panpsychism is the fourth main worldview. It acknowledges that mind and matter are quite real, but it also proposes that these elements of reality are inseparable and go all the way down to elementary particles and “below,” and also all the way up to the universe and beyond. The idea of a complementary relationship, where something is “both/and” rather than “either/or,” is a core concept within quantum theory. Light, for example, behaves both as a wave and as a particle, depending on how you look at it. The advantage of panpsychism is that no miracles are required to account for how matter can be sentient, or how mind can have physical consequences. It is both/and. But all is not completely rosy. The trouble with panpsychism is called the binding problem. This means that if all matter is already sentient, then every atom of your body, your cells, and your organs should also be sentient. Why then is your sense of self a unity and not a multitude? What binds it all together so that the “I” within you experiences just one self rather than trillions of tiny selves? Dealing with the New Story One of the more interesting takes on the developing new story of reality has been proposed by Rice University’s Jeffrey Kripal, who, as a scholar of comparative religion, has explored the core themes of his discipline—the sacred, the paranormal, the supernormal, the mystical, and the spiritual—in a direction that few academics have dared to tred.80 He views the intense popular interest in the paranormal as more than a mere fascination with fictional miracles, but rather as a sign of the original meaning of fascination—a bewitching accompanied simultaneously by awe and terror. He defines “psychic phenomena” as “the sacred in transit from a traditional religious register into a modern scientific one,” and the sacred as what the German theologian and historian of religions Rudolf Otto meant, that is, a particular structure of human consciousness that corresponds to a palpable presence, energy, or power encountered in the environment.

Young Hans Reiter also liked to walk, like a diver, but he didn’t like to sing, for divers never sing. Sometimes he would walk east out of town, along a dirt road through the forest, and he would come to the Village of Red Men, where all they did was sell peat. If he walked farther east, there was the Village of Blue Women, in the middle of a lake that dried up in the summer. Both places looked like ghost towns, inhabited by the dead. Beyond the Village of Blue Women was the Town of the Fat. It smelled bad there, like blood and rotting meat, a dense, heavy smell very different from the smell of his own town, which smelled of dirty clothes, sweat clinging to the skin, pissed-upon earth, which is a thin smell, a smell like Chorda filum. In the Town of the Fat, as was to be expected, there were many animals and several butcher shops. Sometimes, on his way home, moving like a diver, he watched the Town of the Fat citizens wander the streets of the Village of Blue Women or the Village of Red Men and he thought that maybe the villagers, those who were ghosts now, had died at the hands of the inhabitants of the Town of the Fat, who were surely fearsome and relentless practitioners of the art of killing, no matter that they never bothered him, among other reasons because he was a diver, which is to say he didn’t belong to their world, where he came only as an explorer or a visitor. On other occasions his steps took him west, and he walked down the main street of Egg Village, which each year was farther and farther from the rocks, as if the houses could move on their own and chose to seek a safer place near the dells and forests. It wasn’t far from Egg Village to Pig Village, a village he imagined his father never visited, where there were many pigstys and the happiest herds of pigs for miles around, pigs that seemed to greet the passerby regardless of his social standing or age or marital status, with friendly grunts, almost musical, or in fact entirely musical, while the villagers stood frozen with their hats in their hands or covering their faces, whether out of modesty or shame it wasn’t clear. And farther on was the Town of Chattering Girls, girls who went to parties and dances in even bigger towns whose names the young Hans Reiter heard and immediately forgot, girls who smoked in the streets and talked about sailors at a big port who served on this or that ship, the names of which the young Hans Reiter immediately forgot, girls who went to the movies and saw the most thrilling films, with actors who were the handsomest men on the planet and actresses who, if one wanted to be fashionable, one had to imitate, and whose names the young Hans Reiter immediately forgot. When he got home, like a night diver, his mother asked him where he’d spent the day and the young Hans Reiter told her the first thing that came to mind, anything but the truth. Then his mother stared at him with her blue eye and the boy held her gaze with his two blue eyes, and from the corner near the hearth, the one-legged man watched them both with his two blue eyes and for three or four seconds the island of Prussia seemed to rise from the depths.

He points out that it's not enough to simply accept failure when it happens and move on, more or less hoping to avoid it going forward. We need to understand failure not as something to fear or try to avoid, but as a natural part of learning and exploration. Just as learning to ride a bike entails the physical discomfort of skinned knees or bruised elbows, creating a stunningly original movie requires the psychological pain of failure. Moreover, trying to avoid the pain of failure in learning will lead to far worse pain. Catmull: “for leaders especially, this strategy – trying to avoid failure by outthinking it – dooms you to fail.

The Tantric view is that there is already a complete Buddha dormant within each of us, but we’ve individually and collectively become addicted to horror movies that we mistake for documentaries. From this perspective, our whole society is caught up in a kind of shared horror story, imagining ourselves as zombie consumers rather than empowered citizens: afraid, insecure, incapable beings who have no choice but to wander through life grasping after fleeting pleasures, needlessly competing with each other instead of collaborating, isolating ourselves from the plight of those whose stories we don’t understand. Because our whole society is both constructing and watching this shared screenplay simultaneously, the physical world begins to take on the qualities of this horror movie, and it becomes more and more difficult to distinguish the theater of our experience from the screen of our own projections.

King Kong is many things, but at the bottom it’s a lament for the end of the Age of Exploration. The westerners couldn’t be made until the closing of the West. And King Kong couldn’t be made until technology had domesticated nature. We scour the globe but only find ourselves, and like Alexander the Great, we despair. There are no new lands for us to conquer.

Most people live life on the path we set for them. Too afraid to explore any other. But once in a while people like you come along and knock down all the obstacles we put in your way. People who realize free will is a gift that you’ll never know how to use until you fight for it.

In the same way, software demos need to be convincing enough to explore an idea, to communicate a step toward making a product, even though the demo is not the product itself. Like the movie, demos should be specifically choreographed, so it’s clear what must be included and what can be left out. Those things that aren’t the main focus of a demo, but are required to create the proper setting, must be realized at the correct level of detail so they contribute to the whole rather than detract from the vision.

The problem faced by the company DeBeers, which in 1902 controlled 90 percent of the world’s diamond production, was how to sell to this much bigger market without devaluing the gems in the process. They managed it through a cunning marketing campaign: by concocting the phrase “Diamonds are forever,” they invented the idea of the diamond engagement ring as the only true way to express everlasting love. Anyone who wished to convince their lover of the truth of their feelings needed to buy one, and the more expensive the diamond, the truer the feelings expressed. The marketing campaign took off spectacularly, catapulting a diamond into millions of households and culminating in a James Bond movie, accompanied by a Shirley Bassey / John Barry song, that enshrined the new social role of the diamond as the embodiment of romantic love.