Eye Optical Quotes

The bar staff and croupiers all wore black with the same green triangle logo emblazoned on their shirts, and contact lenses which made their eyes shine an eerie, vibrant green. The bar optics glowed with the same green light, the intensity of which was linked to the music. As the bartender walked away to fetch the drinks, a breakdown in the techno track commenced and the bottles began to palpitate. The bartender's eyes glowed with a hallucinatory felinity that made Mangle feel nervous.

Jason once told me that eye contact is the most intimacy two people can have -- forget sex -- because the optic nerve is technically an extension of the brain, and when two people look into each other's eyes, it's brain-to-brain.

Gideon rolled her eyes so hard that she felt in danger of twisting the optic nerve.

What you see with the eyes of faith is more real than what you see with your optical eyes.

There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).

In the neuter austerity of that terrain all phenomena were bequeathed a strange equality and no one thing nor spider nor stone nor blade of grass could put forth claim to precedence. The very clarity of these articles belied their familiarity, for the eye predicates the whole on some feature or part and here was nothing more luminous than another and nothing more enshadowed and in the optical democracy of such landscapes all preference is made whimsical and a man and a rock become endowed with unguessed kinship.

Annabel was, like the writer, of mixed parentage: half-English, half-Dutch, in her case. I remember her features far less distinctly today than I did a few years ago, before I knew Lolita. There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).

The blaring of an alarm jarred me out of sleep. I shot up in bed, and for a second, I couldn’t see anything. Fear punched through me. Had the contacts rolled into the back of my eyes while I slept and severed my optic nerves? Was that even possible? Aly groaned somewhere nearby. “What is that sound?” “I don’t know. I’ve gone blind,” I said, voice laced with panic. Fuck, that was the second time I’d forgotten to disguise it. “What?” she yelped, and the mattress shifted with her movement. “Help me,” I whimpered, Batman-style, and yes, it was just as pathetic as it sounds. “Oh my god,” she said with a shaky laugh. “You’re not blind. Your dumb baklava slid sideways.

There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, [...]; and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors.

The eye: the window to the soul; the center of the face's beauty; the point where a person's identity is concentrated; but at the same time an optical instrument that requires constant washing, wetting, maintenance by a special liquid dosed with salt. So the gaze, the greatest marvel man possesses, is regularly interrupted by a mechanical washing action.

That's when I saw you, really saw you for the first time. I didn't intend to look at you, it just happened. It was like those pictures, you know, those optical illusions. You can gaze at them forever and see only one thing. Then when you relax your eyes for just a moment, another picture magically appears. The funny thing with that kind of visual trick it that it's really hard to go back to seeing the original picture once you've seen the new one.

Perception requires imagination because the data people encounter in their lives are never complete and always equivocal. For example, most people consider that the greatest evidence of an event one can obtain is to see it with their own eyes, and in a court of law little is held in more esteem than eyewitness testimony. Yet if you asked to display for a court a video of the same quality as the unprocessed data catptured on the retina of a human eye, the judge might wonder what you were tryig to put over. For one thing, the view will have a blind spot where the optic nerve attaches to the retina. Moreover, the only part of our field of vision with good resolution is a narrow area of about 1 degree of visual angle around the retina’s center, an area the width of our thumb as it looks when held at arm’s length. Outside that region, resolution drops off sharply. To compensate, we constantly move our eyes to bring the sharper region to bear on different portions of the scene we wish to observe. And so the pattern of raw data sent to the brain is a shaky, badly pixilated picture with a hole in it. Fortunately the brain processes the data, combining input from both eyes, filling in gaps on the assumption that the visual properties of neighboring locations are similar and interpolating. The result - at least until age, injury, disease, or an excess of mai tais takes its toll - is a happy human being suffering from the compelling illusion that his or her vision is sharp and clear. We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out “picture” is clear and accurate. But is it?

There was a sudden sunburst in my head. And then black night. That blackness was sublime. I felt distributed through space and time: One foot upon a mountaintop, one hand 150  Under the pebbles of a panting strand, One ear in Italy, one eye in Spain, In caves, my blood, and in the stars, my brain. There were dull throbs in my Triassic; green Optical spots in Upper Pleistocene, An icy shiver down my Age of Stone, And all tomorrows in my funnybone. During

When explicit thinking patterns were in charge, light waves of particular lengths were thought to stimulate Jenny’s optical nerve, changing hue of her eye color.

But what of Lenore, of Lenore’s hair? Here is hair that is clearly within and of itself every color—blond and red and jet-black-blue and honeynut—but which effects an outward optical compromise with possibility that consists of appearing simply dull brown, save for brief teasing glimpses out of the corner of one’s eye.

And then he had trained them, those lupine eyes, on her. The hunger in them so startled her that she took a step backward, striking her head against an iron pillar with such force that she later found crumbs of dried blood in her hair. It was a purely impersonal hunger, if such a thing there was - and here her report to Mr. Panicker faltered under the burden of his disapproval for her "romantic nature" - a hunger devoid of prurience, appetite, malice, or goodwill. It was a hunger, she decided later, for information. And yet there was liveliness in his gaze, a kind of cool vitality that was nearly amusement, as if a steady lifelong diet of mundane observations had preserved the youthful-ness of his optic organs alone.

Infrared satellite imagery, optical telescopes, and the Hubbell space telescope bring vastness within our visual sphere. Electron microscopes let us wander the remote universe of our own cells. But at the middle scale, that of the unaided eye, our senses seem to be strangely dulled. With sophisticated technology, we strive to see what is beyond us, but are often blind to the myriad sparkling facets that lie so close at hand. We thing we're seeing when we've only scratched the surface. Our acuity at this middle scale seems diminished, not by any failing of the eyes, but by the willingness of the mind. Has the power of our devices led us to distrust our unaided eyes? Or have we become dismissive of what takes no technology but only time and patience to perceive? Attentiveness alone can rival the most powerful magnifying lens.

It was a dimly glowing mass of pale-blue light, mottled, immense, and terrifying. Even at the first glimpse I knew it was not a sun. No sun can be so blue and so dim. It hurt the eyes to look at it, not because of its brightness. It hurt inside the eyes, up far into the optic track; the pain was in the brain itself.

Beauty magnetizes curiosity and wonder, beckoning us to discover—in the literal sense, to uncover and unconceal—what lies beneath the surface of the human label. What we recognize as beauty may be a language for encoding truth, a memetic mechanism for transmitting it, as native to the universe as mathematics—the one perceived by the optical eye, the other by the mind's eye.

The moment you are born your death is foretold by your newly minted cells as your mother holds you up, then hands you to your father, who gently tickles the stomach where the cancer will one day form, studies the eyes where melanoma’s dark signature is already written along the optic nerve, touches the back where the liver will one day house the cirrhosis, feels the bloodstream that will sweeten itself into diabetes, admires the shape of the head where the brain will fall to the ax-handle of stroke, or listens to your heart, which, exhausted by the fearful ways and humiliations and indecencies of life, will explode in your chest like a light going out in the world.

Baseball is a game where a curve is an optical illusion, a screwball can be either a pitch or a person, stealing is legal, and you can spit anywhere you like except in the umpire's eye or the ball.

The concept of divine revelation was central to Augustine's epistemology, or theory of knowledge. The metaphor of light is instructive. In our present earthly state we are equipped with the faculty of sight. We have eyes, optic nerves, and so forth- all the equipment needed for sight. But a man with the keenest eyesight can see nothing if he is locked in a totally dark room. So just as an external source of light is needed for seeing, so an external revelation from God is needed for knowing. When Augustine speaks of revelation, he is not speaking of Biblical revelation alone. He is also concerned with "general" or "natural" revelation. Not only are the truths in Scripture dependent on God's revelation, but all truth, including scientific truth, is dependent on divine revelation. This is why Augustine encouraged students to learn as much as possible about as many things as possible. For him, all truth is God's truth, and when one encounters truth, one encounters the God whose truth it is.

From his earliest years Cincinnatus, by some strange and happy chance comprehending his danger, carefully managed to conceal a certain peculiarity. He was impervious to the rays of others, and therefore produced when off his guard a bizarre impression, as of a lone dark obstacle in the world of souls transparent to one other; he learned however to feign translucence, employing a complex system of optical illusions, as it were--but he had only to forget himself, to allow a momentary lapse in self control, in the manipulation of cunningly illuminated facets and angles at which he turned his soul, and immediately there was alarm. In the midst of the excitement of a game his coevals would suddenly forsake him, as if they had sensed that his lucid gaze and the azure of his temples were but a crafty deception and that actually Cincinnatus was opaque. Sometimes, in the midst of sudden silence, the teacher, in a chagrined perplexity, would gather up all the reserves of skin around his eyes, gaze at him for a long while and finally say: "What is wrong with you, Cincinnatus?" Then Cincinnatus would take hold of himself, and, clutching his own self to his breast, would remove that self to a safe place.

That wall," explained the Shaggy Man, "is what is called an optical illusion. It is quite real while you have your eyes open, but if you are not looking at it the barrier doesn't exist at all. It's the same way with many other evils in life; they

But all this doesn´t happen effortlessly, as demonstrated by patients who surgically recover their eyesight after decades of blindless: they do not suddenly see the world, but instead must learn to see again. At first the world is buzzing, jangling barrage of shapes and colors, and even when the optics of their eyes are perfectly functional, their brain must learn how to interpret the data coming in.

To be honest, owls aren’t the brightest of birds, amazing as they are; parrots and crows are much smarter. It’s all in the eyes: those magnificent piercing optics are what make all owls look like they are deep in concentrated scrutiny and steeped in long-lost knowledge.

He could swear he did not look back, could not—by any optical chance, or in any prism—have seen her physically as he walked away; and yet, with dreadful distinction, he retained forever a composite picture of her standing where he left her. The picture—which penetrated him, through an eye in the back of his head, through his vitreous spinal canal, and could never be lived down, never—consisted of a selection and blend of such random images and expressions of hers that had affected him with a pang of intolerable remorse at various moments in the past.

The individual, floating, but held on a leash like a dog, like an eye popping out of its socket, hanging on the end of its optic nerve, scanning the horizon through 180 degrees but not sending back any images—a disembodied panoptical terminal, runaway organ of a species of mutants.

That wall," explained the Shaggy Man, "is what is called an optical illusion. It is quite real while you have your eyes open, but if you are not looking at it the barrier doesn't exist at all. It's the same way with many other evils in life; they seem to exist, and yet it's all seeming and not true.

When a body succeeds in emitting or in reflecting luminous vibrations in a distinct and recognizable order--I thought--what does it do with these vibrations? Put them in its pocket? No, it releases them on the first passer-by. And how will the latter behave in the face of vibrations he can't utilize and which, taken in this way, might even be annoying? Hide his head in a hole? No, he'll thrust it out in that direction until the point most exposed to the optic vibrations becomes sensitized and develops the mechanism for exploiting them in the form of images. In short, I conceived of the eye-encephalon link as a kind of tunnel dug from the outside by the force of what was ready to become image, rather than from within by the intention of picking up any old image.

They rode on. The horses trudged sullenly the alien ground and the round earth rolled beneath them silently milling the greater void wherein they were contained. In the neuter austerity of that terrain all phenomena were bequeathed a strange equality and no one thing nor spider nor stone nor blade of grass could put forth claim to precedence. The very clarity of these articles belied their familiarity, for the eye predicates the whole on some feature or part and here was nothing more luminous than another and nothing more enshadowed and in the optical democracy of such landscapes all preference is made whimsical and a man and a rock become endowed with unguessed kinships.

Orin's special conscious horror, besides heights and the early morning, is roaches. There'd been parts of metro Boston near the Bay he'd refused to go to, as a child. Roaches give him the howling fantods. The parishes around N.O. had been having a spate or outbreak of a certain Latin-origin breed of sinister tropical flying roaches, that were small and timid but could fucking fly, and that kept being found swarming on New Orleans infants, at night, in their cribs, especially infants in like tenements or squalor, and that reportedly fed on the mucus in the babies' eyes, some special sort of optical-mucus — the stuff of fucking nightmares, mobile flying roaches that wanted to get at your eyes, as an infant — and were reportedly blinding them; parents'd come in in the ghastly A.M.-tenement light and find their infants blind, like a dozen blinded infants that last summer; and it was during this spate or nightmarish outbreak, plus July flooding that sent over a dozen nightmarish dead bodies from a hilltop graveyard sliding all gray-blue down the incline Orin and two teammates had their townhouse on, in suburban Chalmette, shedding limbs and innards all the way down the hillside's mud and one even one morning coming to rest against the post of their roadside mailbox, when Orin came out for the morning paper, that Orin had had his agent put out the trade feelers.

Let us leave our old friend in one of those moments of unmixed happiness, of which, if we seek them, there are ever some, to cheer our transitory existence here. There are dark shadows on the earth, but its lights are stronger in the contrast. Some men, like bats or owls, have better eyes for the darkness than for the light. We, who have no such optical powers, are better pleased to take our last parting look at the visionary companions of many solitary hours, when the brief sunshine of the world is blazing full upon them.

Then she placed her hands, vertically, over her eyes and pressed the heels hard, as though to paralyze the optic nerve and drown all images into a voidlike black.

it was a reality shared by all the world, and not merely an optical delusion confined to their own eyes in their own garden.

Schopenhauer and Spinoza distilled, condensed, and funneled through the pupil, along the optic nerve, and directly into our occipital lobes. I’d love to be able to eat with my eyes—I’m

Because the girl had never learned language at all. For an hour she had held her eyes open, held them in the direction of our mother's face, but her optic nerves never had time to awaken and so that face had remained beyond reach. For her, there would have been only a voice. Don't die. For God's sake don't die. Unintelligible words, the only words she was ever to hear.

A tear can be shed in this place on several occasions. Assuming that beauty is the distribution of light in the fashion most congenial to one's retina, a tear is an acknowledgment of the retina's, as well as the tear's, failure to retain beauty. On the whole, love comes with the speed of light; separation, with that of sound. It is the deterioration of the greater speed to the lesser that moistens one's eye. Because one is finite, a departure from this place always feel final; leaving it behind is leaving it forever. For leaving is banishment of the eye to the provinces of the other senses; at best, to the crevices and crevasses of the brain. For the eye identifies itself not with the body it belongs to but with the object of its attention. And to the eye, for purely optical reasons, departure is not the body leaving the city but the city abandoning the pupil. Likewise, disappearance of the beloved, especially a gradual one, causes grief no matter who, and for what peripatetic reason, is actually in motion. As the world goes, this city is the eye's beloved. After it, everything is a letdown. A tear is the anticipation of the eye's future.

Why is the world full of color anyway? Sunlight is white, and when it is reflected, it is still white. And so we should be surrounded by a clinical looking, optically pure landscape. That this is not what we see is because every material absorbs light differently or converts it into other kinds of radiation. Only the wavelengths that remain are refracted and reach our eyes. Therefore, the color of organisms and objects is dictated by the color of the reflected light. And in the case of leaves on trees, this color is green. But why don't we see leaves as black? Why don't they absorb all light? Chlorophyll helps leaves process light. If trees processed light super-efficiently, there would be hardly any left over-and the forest would then look as dark during the day as it does at night. Chlorophyll, however, has one disadvantage. It has a so-called green gap, and because it cannot use this part of the color spectrum, it has to reflect it back unused. This weak spot means that we can see this photosynthetic leftover, and that's why almost all plants look deep green to us. What we are really seeing is waste light, the rejected part that trees cannot use. Beautiful for us; useless for the trees. Nature that we find pleasing because it reflects trash? Whether trees feel the same way about this I don't know, but one thing is for certain: hungry beeches and spruce are as happy to see blue sky as I am.

The South was like that optical-illusion drawing of the duck that is at the same time a rabbit. I’d always see the duck first, his round eye cheery and his bill seeming to smile. But if I shifted my gaze, the duck’s bill morphed into flattened, worried ears. The cheery eye, reversed, held fear, and I could see only a solemn rabbit. The Souths were like that drawing. Both existed themselves, but they were so merged that I could shift from one and find myself inside the other without moving.

In the neuter austerity of that terrain all phenomena were bequeathed a strange equality and no one thing nor spider nor stone nor blade of grass could put forth claim to precedence. The very clarity of these articles belied their familiarity, for the eye predicates the whole on some feature or part and here was nothing more luminous than another and nothing more enshadowed and in the optical democracy of such landscapes all preference is made whimsical and a man and a rock become endowed with unguessed kinships.

Reading off a page is like looking down at a landscape from a balloon – your eye "sees" the story as well as reads it, its layout, its paragraphs and structure, and "remembers" what it just read because it's still there, on the page, simultaneously. If you want to, you can reread any line instantly; or linger; or speed up; or optically "flinch." Reading a series of tweets is more like looking through a narrow window from a train speeding through a landscape full of tunnels and bands of light and dark. Each tweet erases its predecessor.

An attention economy dissolves the separation between the personal and professional, between entertainment and information, all overridden by a compulsory functionality of communication that is inherently and inescapably 24/7. Even as a contemporary colloquialism, the term “eyeballs” for the site of control repositions human vision as a motor activity that can be subjected to external direction or stimuli. The goal is to refine the capacity to localize the eye’s movement on or within highly targeted sites or points of interest. The eye is dislodged from the realm of optics and made into an intermediary element of a circuit whose end result is always a motor response of the body to electronic solicitation. It is out of this context that Google and other corporate players now compete for dominance over the remains of the everyday.

When I closed my eyes, for instance, I occasionally saw very faint bursts of light: cosmic rays—high-energy particles from some distant sun racing across the universe and striking my optic nerve like a personal lightning bolt. The flashes were right at the edge of perception, almost as if teasing me to detect them.

Scarlett activated the viola and it came down like short shimmering curtain that covered her eyes with a band of violet light. It dilated her eyes, increasing her binocular summation so that everything in her field of vision was magnified and clear. It also protected her retinas from any sort of laser fire or plasma flash.

However, questions arise. Are there people who aren't naive realists, or special situations in which naive realism disappears? My theory—the self-model theory of subjectivity—predicts that as soon as a conscious representation becomes opaque (that is, as soon as we experience it as a representation), we lose naive realism. Consciousness without naive realism does exist. This happens whenever, with the help of other, second-order representations, we become aware of the construction process—of all the ambiguities and dynamical stages preceding the stable state that emerges at the end. When the window is dirty or cracked, we immediately realize that conscious perception is only an interface, and we become aware of the medium itself. We doubt that our sensory organs are working properly. We doubt the existence of whatever it is we are seeing or feeling, and we realize that the medium itself is fallible. In short, if the book in your hands lost its transparency, you would experience it as a state of your mind rather than as an element of the outside world. You would immediately doubt its independent existence. It would be more like a book-thought than a book-perception. Precisely this happens in various situations—for example, In visual hallucinations during which the patient is aware of hallucinating, or in ordinary optical illusions when we suddenly become aware that we are not in immediate contact with reality. Normally, such experiences make us think something is wrong with our eyes. If you could consciously experience earlier processing stages of the representation of the book In your hands, the image would probably become unstable and ambiguous; it would start to breathe and move slightly. Its surface would become iridescent, shining in different colors at the same time. Immediately you would ask yourself whether this could be a dream, whether there was something wrong with your eyes, whether someone had mixed a potent hallucinogen into your drink. A segment of the wall of the Ego Tunnel would have lost its transparency, and the self-constructed nature of the overall flow of experience would dawn on you. In a nonconceptual and entirely nontheoretical way, you would suddenly gain a deeper understanding of the fact that this world, at this very moment, only appears to you.

The horses trudged sullenly the alien ground and the round earth rolled beneath them silently milling the greater void wherein they were contained. In the neuter austerity of that terrain all phenomena were bequeathed a strange equality and no one thing nor spider nor stone nor blade of grass could put forth claim to precedence. The very clarity of these articles belied their familiarity, for the eye predicates the whole on some feature or part and here was nothing more luminous than another and nothing more enshadowed and in the optical democracy of such landscapes all preference is made whimsical and a man and a rock become endowed with unguessed kinships.

[Howard's] eyes were open and very clear. I'd forgotten what a beautiful gray they were--illness and medicine had regularly glazed them over; now they were bright and attentive, and he was watching me, consciously, through long lashes. Lungs, heart may have stopped but the optic nerves were still sending messages to a brain which, those who should know tell us, does not immediately shut down. So we stared at each other at the end... 'Can you hear me?' I asked him. 'I know you can see me.' Although there was no breath for speech, he now had a sort of wry wiseguy from the Bronx expression on his face which said clearly to me who knew all his expressions, 'So this is the big fucking deal everyone goes on about.

She knew that if she tied this man up in a quiet room, gagged him so his screams wouldn’t block the other noises, and held a laser like this one to his eyes, she’d hear a low pop as the surface of his retinas flash-boiled and seared onto the face of his optic nerves. Ever afterward, his would be a world of pain and darkness and weird flashes in the shadows.

The old legends of America belong quite as much to the blue-eyed little patriot as to the black-haired aborigine. And when they are grown tall like the wise grown-ups may they not lack interest in a further study of Indian folklore, a study which so strongly suggests our near kinship with the rest of humanity and points a steady finger toward the great brotherhood of mankind, and by which one is so forcibly impressed with the possible earnestness of life as seen through the teepee door! If it be true that much lies "in the eye of the beholder," then in the American aborigine as in any other race, sincerity of belief, though it were based upon mere optical illusion, demands a little respect. After all he seems at heart much like other peoples.

Even more surprising—because we had been taught it was impossible—was that the axons from the resurrected retinal ganglion cell grew all the way from the back of the eye to a place near the center of the brain called the optic chiasm. “The amazing thing is that the regenerated axons were able to find their way home along these long, tortuous routes back to their targets in the brain . . . that’s incredible,” Huberman says.

Thus, when the eye-cups (the future retina), which grow out of the brain at the end of two stalks (the future optic nerves), make physical contact with the surface, the skin over the contact area folds into the concave cups and differentiates into transparent lenses (see arrows on the right of the diagram). The eye-cup induces the skin to form a lens, and the lens in its turn induces adjacent tissues to form a transparent horny membrane, the cornea. Moreover, if an eye-cup is transplanted under the skin on the belly of a frog embryo, the skin over it will obligingly differentiate into a lens. We may regard this obligingness or 'docility' of embryonic tissue, its readiness to differentiate into the kind of organ best suited to the tissue's position in the growing organism, as a manifestation of the integrative tendency, of the part's subordination to the interests of the whole.

Paul closed his eyes and turned his face to the sun. In spite of everything, it was hard not to take solace from the warmth flooding onto his skin. He stretched the muscles in his arms, his shoulders, his back -- and it felt like he was reaching out from the "self" in his virtual skull to all his mathematical flesh, imprinting the nebulous data with meaning; binding it all together, staking some kind of claim. He felt the stirrings of an erection. Existence was beginning to seduce him. He let himself surrender for a moment to a visceral sense of identity which drowned out all his pale mental images of optical processors, all his abstract reflections on the software's approximations and short-cuts. This body didn't want to evaporate. This body didn't want to bale out. It didn't much care that there was another -- "more real" -- version of itself elsewhere. It wanted to retain its wholeness. It wanted to endure.

was a brilliant ache in his optic nerve, and a steady, painless throbbing at the base of his skull—the distant thunder of an approaching migraine. He rolled onto his side and pushed up into a sitting position, tucking his head between his knees. Sensed the instability of the world long before he opened his eyes, like its axis had been cut loose to teeter. His first deep breath felt like someone driving a steel wedge between the ribs high on his left side, but he groaned through

Like the railroads that bankrupted a previous generation of visionary entrepreneurs and built the foundations of an industrial nation, fiber-optic webs, storewidth breakthroughs, data centers, and wireless systems installed over the last five years will enable and endow the next generation of entrepreneurial wealth. As Mead states, "the hardest thing I ever had to do in my life was to get a company going during the bubble". Now, Mead says, "there's space available; you can get fab runs; you can get vendors to answer the phone. You can make deals with people; you can sit down and they don't spend their whole time telling you how they're a hundred times smarter than you. It's absolutely amazing. You can actually get work done now, which means what's happening now is that the entrepreneurs, the technologists, are building the next generation technology that isn't visible yet but upon which will be built the biggest expansion of productivity the world has ever seen.

There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: “honey-colored skin,” “thin arms,” “brown bobbed hair,” “long lashes,” “big bright mouth”); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).

WHEN I OPENED MY eyes, it was morning. All the lamps in the room were still blazing and I was under the covers with no memory of how I’d gotten under them. Everything was still bathed and saturated with her presence—higher, wider, deeper than life, a shift in optics that had produced a rainbow edge, and I remember thinking that this must be how people felt after visions of saints—not that my mother was a saint, only that her appearance had been as distinct and startling as a flame leaping up in a dark room.

When we look at the sun we wish to know [135]something about the sun itself, which is ninety-three million miles away; but what we see is dependent upon our eyes, and it is difficult to suppose that our eyes can affect what happens at a distance of ninety-three million miles. Physics tells us that certain electromagnetic waves start from the sun, and reach our eyes after about eight minutes. They there produce disturbances in the rods and cones, thence in the optic nerve, thence in the brain. At the end of this purely physical series, by some odd miracle, comes the experience which we call "seeing the sun," and it is such experiences which form the whole and sole reason for our belief in the optic nerve, the rods and cones, the ninety-three million miles, the electromagnetic waves, and the sun itself. It is this curious oppositeness of direction between the order of causation as affirmed by physics, and the order of evidence as revealed by theory of knowledge, that causes the most serious perplexities in regard to the nature of physical reality. Anything that invalidates our seeing, as a source of knowledge concerning physical reality, invalidates also the whole of physics and physiology. And yet, starting from a common-sense acceptance of our seeing, physics has been led step by step to the construction of the causal chain in which our seeing is the last link, and the immediate object which we see cannot be regarded as that initial cause which we believe to be ninety-three million miles away, and which we are inclined to regard as the "real" sun.

And yet they persist in the belief that everyone should draw the same conclusion if given the same information, as though reason operated according to an obligatory physics, like the optics of an eye. These book club members aren’t alone. We are raised believing that reasonable discourse can establish the superiority of one line of thought over another. The underlying presumption is that each of us has an innate faculty of reason that can overcome our perceptual differences and see a problem from the “optimal perspective.” One goal of this book is to dispel this misconception.

Precisely at the place of its origin, the retina of the eye has a "blind spot," where the optic nerve enters the eyeball. Likewise, the spirit is "blind" precisely at its origin-precisely there, no self-observation, no mirroring of itself is possible; where the spirit is "original" spirit, where it is fully itself, precisely there it is also unconscious of itself. We may therefore fully subscribe to what has been said in the Indian Vedas: "That which does the seeing, cannot be seen; that which does the hearing, cannot be heard; and that which does the thinking, cannot be thought.

54. Long before either wave or particle, some (Pythagoras, Euclid, Hipparchus) thought that our eyes emitted some kind of substance that illuminated, or "felt," what we saw. (Aristotle pointed out that this hypothesis runs into trouble at night, as objects become invisible despite the eyes' purported power.) Others, like Epicurus, proposed the inverse--that objects themselves project a kind of ray that reaches out toward the eye, as if they were looking at us (and surely some of them are). Plato split the difference, and postulated that a "visual fire" burns between our eyes and that which they behold. This still seems fair enough.

Every instant of every day we are bombarded by information. In fact, all complex organisms, especially those with brains, suffer from information overload. Our eyes and ears receive lights and sounds (respectively) across the spectrums of visible and audible wavelengths; our skin and the rest of our innervated parts send their own messages of sore muscles or cold feet. All told, every second, our senses transmit an estimated 11 million bits of information to our poor brains, as if a giant fiber-optic cable were plugged directly into them, firing information at full bore. In light of this, it is rather incredible that we are even capable of boredom.

He came to lying on his back with sunlight pouring down into his face and the murmur of running water close by. There was a brilliant ache in his optic nerve, and a steady, painless throbbing at the base of his skull—the distant thunder of an approaching migraine. He rolled onto his side and pushed up into a sitting position, tucking his head between his knees. Sensed the instability of the world long before he opened his eyes, like its axis had been cut loose to teeter. His first deep breath felt like someone driving a steel wedge between the ribs high on his left side, but he groaned through the pain and forced his eyes to open. His left eye must have been badly swollen, because it seemed like he was staring through a slit.

The human brain runs first-class simulation software. Our eyes don’t present to our brains a faithful photograph of what is out there, or an accurate movie of what is going on through time. Our brains construct a continuously updated model: updated by coded pulses chattering along the optic nerve, but constructed nevertheless. Optical illusions are vivid reminders of this.47 A major class of illusions, of which the Necker Cube is an example, arise because the sense data that the brain receives are compatible with two alternative models of reality. The brain, having no basis for choosing between them, alternates, and we experience a series of flips from one internal model to the other. The picture we are looking at appears, almost literally, to flip over and become something else.

Simply put, I got pulled through the wormhole of the Absolute, and in that rush I suddenly understood the workings of the universe completely. I left my body, I left the room, I left the planet, I stepped through time and I entered the void. I was inside the void, but I also was the void and I was looking at the void, all at the same time. The void was a place of limitless peace and wisdom, The void was conscious and intelligent. The void was God, which means that I was inside God. But not in a gross, physical way - not like I was Liz Gilbert stuck inside a chunk of God's thigh muscle. I just was part of God. In addition to being God. I was both a tiny piece of the universe and exactly the same size as the universe. ("All know that the drop merges into ocean, but few know that the ocean merges into the drop," wrote the sage Kabir - and I can personally attest now that this is true.) It wasn't hallucinogenic, what I was feeling. It was the most basic of events. It was heaven, yes. It was the deepest love I'd ever experienced, beyond anything I could previously imagined, but it wasn't euphoric. It wasn't exciting. There wasn't enough ego or passion left in me to create euphoria and excitement. It was just obvious. Like when you've been looking at an optical illusion for a long time, straining your eyes to decode the trick, and suddenly your cognizance shifts and there - now you can clearly see it! - the two vases are actually two faces. And once you've seen through the optical illusion, you can never not see it again. "So this is God," I thought. "Congratulations to meet you." -

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

For many decades quantum theory was regarded primarily as a mathematical description of phenomenal accuracy and reliability, capable of explaining the shapes and behaviours of molecules, the workings of electronic transistors, the colours of nature and the laws of optics, and a whole lot else. It would be routinely described as ‘the theory of the atomic world’: an account of what the world is like at the tiniest scales we can access with microscopes. Talking about the interpretation of quantum mechanics was, on the other hand, a parlour game suitable only for grandees in the twilight of their career, or idle discussion over a beer. Or worse: only a few decades ago, professing a serious interest in the topic could be tantamount to career suicide for a young physicist. Only a handful of scientists and philosophers, idiosyncratically if not plain crankily, insisted on caring about the answer. Many researchers would shrug or roll their eyes when the ‘meaning’ of quantum mechanics came up; some still do. ‘Ah, nobody understands it anyway!

She finds herself, by some miraculous feat, no longer standing in the old nursery but returned to the clearing in the woods. It is the 'green cathedral', the place she first kissed Jack all those weeks ago. The place where they laid out the stunned sparrowhawk, then watched it spring miraculously back to life. All around, the smooth, grey trunks of ancient beech trees rise up from the walls of the room to tower over her, spreading their branches across the ceiling in a fan of tangled branches and leaves, paint and gold leaf cleverly combined to create the shimmering effect of a leafy canopy at its most dense and opulent. And yet it is not the clearing, not in any real or grounded sense, because instead of leaves, the trees taper up to a canopy of extraordinary feathers shimmering and spreading out like a peacock's tail across the ceiling, a hundred green, gold and sapphire eyes gazing down upon her. Jack's startling embellishments twist an otherwise literal interpretation of their woodland glade into a fantastical, dreamlike version of itself. Their green cathedral, more spectacular and beautiful than she could have ever imagined. She moves closer to one of the trees and stretches out a hand, feeling instead of rough bark the smooth, cool surface of a wall. She can't help but smile. The trompe-l'oeil effect is dazzling and disorienting in equal measure. Even the window shutters and cornicing have been painted to maintain the illusion of the trees, while high above her head the glass dome set into the roof spills light as if it were the sun itself, pouring through the canopy of eyes. The only other light falls from the glass windowpanes above the window seat, still flanked by the old green velvet curtains, which somehow appear to blend seamlessly with the painted scene. The whole effect is eerie and unsettling. Lillian feels unbalanced, no longer sure what is real and what is not. It is like that book she read to Albie once- the one where the boy walks through the wardrobe into another world. That's what it feels like, she realizes: as if she has stepped into another realm, a place both fantastical and otherworldly. It's not just the peacock-feather eyes that are staring at her. Her gaze finds other details: a shy muntjac deer peering out from the undergrowth, a squirrel, sitting high up in a tree holding a green nut between its paws, small birds flitting here and there. The tiniest details have been captured by Jack's brush: a silver spider's web, a creeping ladybird, a puffy white toadstool. The only thing missing is the sound of the leaf canopy rustling and the soft scuttle of insects moving across the forest floor.

Abruptly, then, and very quickly, she went in the farthest and most anonymous-looking of the seven or eight enclosures-which, by luck, didn’t require a coin for entrance-closed the door behind her, and, with some little difficulty, manipulated the bolt to a locked position. Without any apparent regard to the suchness of her environment, she sat down. She brought her knees together very firmly, as if to make herself a smaller, more compact unit. Then she placed her hands, vertically, over her eyes and pressed the heels hard, as though to paralyze the optic nerve and drown all images into a voidlike black. Her extended fingers, though trembling or because they were trembling, looked oddly graceful and pretty. She held that tense, almost fetal position for a suspensory moment-then broke down. She cried for fully five minutes. She cried without trying to suppress any of the noisier manifestations of grief and confusion with all the convulsive throat sounds that a hysterical child makes when the breath is trying to get up through a partly closed epiglottis. And yet, when finally she stopped, she merely stopped without the painful, knifelike intakes of breath that usually follow a violent outburst-inburst. When she stopped, it was as though some momentous change of polarity had taken place inside her mind, one that had an immediate, pacifying effect on her body.

To give you a sense of the sheer volume of unprocessed information that comes up the spinal cord into the thalamus, let’s consider just one aspect: vision, since many of our memories are encoded this way. There are roughly 130 million cells in the eye’s retina, called cones and rods; they process and record 100 million bits of information from the landscape at any time. This vast amount of data is then collected and sent down the optic nerve, which transports 9 million bits of information per second, and on to the thalamus. From there, the information reaches the occipital lobe, at the very back of the brain. This visual cortex, in turn, begins the arduous process of analyzing this mountain of data. The visual cortex consists of several patches at the back of the brain, each of which is designed for a specific task. They are labeled V1 to V8. Remarkably, the area called V1 is like a screen; it actually creates a pattern on the back of your brain very similar in shape and form to the original image. This image bears a striking resemblance to the original, except that the very center of your eye, the fovea, occupies a much larger area in V1 (since the fovea has the highest concentration of neurons). The image cast on V1 is therefore not a perfect replica of the landscape but is distorted, with the central region of the image taking up most of the space. Besides V1, other areas of the occipital lobe process different aspects of the image, including: •  Stereo vision. These neurons compare the images coming in from each eye. This is done in area V2. •  Distance. These neurons calculate the distance to an object, using shadows and other information from both eyes. This is done in area V3. •  Colors are processed in area V4. •  Motion. Different circuits can pick out different classes of motion, including straight-line, spiral, and expanding motion. This is done in area V5. More than thirty different neural circuits involved with vision have been identified, but there are probably many more. From the occipital lobe, the information is sent to the prefrontal cortex, where you finally “see” the image and form your short-term memory. The information is then sent to the hippocampus, which processes it and stores it for up to twenty-four hours. The memory is then chopped up and scattered among the various cortices. The point here is that vision, which we think happens effortlessly, requires billions of neurons firing in sequence, transmitting millions of bits of information per second. And remember that we have signals from five sense organs, plus emotions associated with each image. All this information is processed by the hippocampus to create a simple memory of an image. At present, no machine can match the sophistication of this process, so replicating it presents an enormous challenge for scientists who want to create an artificial hippocampus for the human brain.

Moore’s Law, the rule of thumb in the technology industry, tells us that processor chips—the small circuit boards that form the backbone of every computing device—double in speed every eighteen months. That means a computer in 2025 will be sixty-four times faster than it is in 2013. Another predictive law, this one of photonics (regarding the transmission of information), tells us that the amount of data coming out of fiber-optic cables, the fastest form of connectivity, doubles roughly every nine months. Even if these laws have natural limits, the promise of exponential growth unleashes possibilities in graphics and virtual reality that will make the online experience as real as real life, or perhaps even better. Imagine having the holodeck from the world of Star Trek, which was a fully immersive virtual-reality environment for those aboard a ship, but this one is able to both project a beach landscape and re-create a famous Elvis Presley performance in front of your eyes. Indeed, the next moments in our technological evolution promise to turn a host of popular science-fiction concepts into science facts: driverless cars, thought-controlled robotic motion, artificial intelligence (AI) and fully integrated augmented reality, which promises a visual overlay of digital information onto our physical environment. Such developments will join with and enhance elements of our natural world. This is our future, and these remarkable things are already beginning to take shape. That is what makes working in the technology industry so exciting today. It’s not just because we have a chance to invent and build amazing new devices or because of the scale of technological and intellectual challenges we will try to conquer; it’s because of what these developments will mean for the world.

With the introduction of radio, we now had a superfast. convenient, and wireless way of communicating over long distances. Historically, the lack of a fast and reliable communication system was one of the great obstacles to the march of history. (In 490 BCE, after the Battle of Marathon between the Greeks and the Persians, a poor runner was ordered to spread the news of the Greek victory as fast as he could. Bravely, he ran 26 miles to Athens after previously running 147 miles to Sparta, and then, according to legend, dropped dead of sheer exhaustion. His heroism, in the age before telecommunication, is now celebrated in the modern marathon.) Today, we take for granted that we can send messages and information effortlessly across the globe, utilizing the fact that energy can be transformed in many ways. For example, when speaking on a cell phone, the energy of the sound of your voice converts to mechanical energy in a vibrating diaphragm. The diaphragm is attached to a magnet that relies on the interchangeability of electricity and magnetism to create an electrical impulse, the kind that can be transported and read by a computer. This electrical impulse is then translated into electromagnetic waves that are picked up by a nearby microwave tower. There, the message is amplified and sent across the globe. But Maxwell's equations not only gave us nearly instantaneous communication via radio, cell phone, and fiber-optic cables, they also opened up the entire electromagnetic spectrum, of which visible light and radio were just two members. In the 166os, Newton had shown that white light, when sent through a prism, can be broken up into the colors of the rainbow. In 1800, William Herschel had asked himself a simple question: What lies beyond the colors of the rainbow, which extend from red to violet? He took a prism, which created a rainbow in his lab, and placed a thermometer below the color red, where there was no color at all. Much to his surprise, the temperature of this blank area began to rise. In other words, there was a "color" below red that was invisible to the naked eye but contained energy. It was called infrared light. Today, we realize that there is an entire spectrum of electromagnetic radiation, most of which is invisible, and each has a distinct wavelength. The wavelength of radio and TV, for example, is longer than that of visible light. The wavelength of the colors of the rainbow, in turn, is longer than that of ultraviolet and X-rays. This also meant that the reality we see all around us is only the tiniest sliver of the complete EM spectrum, the smallest approximation of a much larger universe

The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface. Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia. . . . It made him feel naked and weak and brave. The lens can see half of the universe -- the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in. Down inside the computer are three lasers -- a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing. In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack. So Hiro's not actually here at all. He's in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.

TWO YEARS AGO I FOUND AN IMAGE OF A KID WITH HER HANDS COVERING HER FACE. A SEATBELT REACHED ACROSS HER TORSO, RIDING UP HER NECK AND A MOP OF BLONDE HAIR STAYED SWEPT, FOR THE MOMENT, BEHIND HER EARS. HER EYES SEEMED CLEAR AND CALM BUT NOT BLANK, THE ROAD BEHIND HER SEEMED THE SAME, I PUT MYSELF IN HER SEAT THEN I PLAYED IT ALL OUT IN MY HEAD. THE CLAUSTROPHOBIA HITS AS THE SEATBELT TIGHTENS, PREVENTING ME FROM EVEN LEANING FORWARD IN MY SEAT, THE PRESSING ON INTERNAL ORGANS. I LEAN BACK AND FORWARD TO RELEASE IT, THEN BACKWARDS AND FORWARD AGAIN. THERE IT IS I GOT FREE. HOW MUCH OF MY LIFE HAS HAPPENED INSIDE OF A CAR? I WONDER IF THE ODDS ARE THAT I'LL DIE IN ONE, KNOCK ON WOOD-GRAIN. SHOULDN'T SPEAK LIKE THAT. WE LIVE IN CARS IN SOME CITIES, COMMUTING ACROSS SPACE EITHER FOR OUR LIVELIHOOD, OR DEVOURING FOSSIL FUELS FOR JOY. IT'S CLOSE TO AS MUCH TIME AS WE SPEND IN OUR BEDS, MORE FOR SOME. THE FIRST TIME I DID SHROOMS, MY MANAGER HAD TO COME RESCUE ME FROM CALTECH'S 'TRIP DAY. AS I GOT INTO HER CAR, I SWEAR TO GOD THE ALUMINUM CENTER CONSOLE IN HER PORSCHE TRUCK LOOKED LIKE IT WAS BREATHING, LIKE THE THROAT OF SOMETHING. ON THE FREEWAY, LEAVING PASADENA, WE SPOKE AND I LOOKED AWAY, OUTSIDE, AT THE WHEELS AND TIRES OF CARS DOING THAT OPTICAL ILLUSION THING THEY DO WHERE IT LOOKS LIKE THEY'RE SPINNING BACKWARDS, WHICH, ACCORDING TO GOOGLE, HAPPENS BECAUSE OUR BRAINS ARE ASSUMING SOMETHING COMPLETELY WRONG AND SHOWING IT TO US. STARING, I WAS TRANSFIXED BY ALL THE INDICATOR LIGHTS OSCILLATING AND THROBBING AGAINST THE WIND. WE DROVE THRU DOWNTOWN LA HEADED WEST, FLYING ON THE SAME FREEWAYS I USED TO RUN OUTTA GAS ON. WELCOMED IN BY THE PERENNIAL CREATURES, IMPERIAL PALM TREES AND CLIMBING VINES LIVING THEIR LIVES OUT JUST OFF THE SHOULDER. THE FEELING OF FAMILIAR ENHANCED, ON THE 10. I USED TO RIDE AROUND IN MY SINEWY CROSSOVER SUV, SMOKE AND LISTEN TO ROUGH MIXES OF MY OLD SHIT BEFORE IT CAME OUT, OR WHATEVER SOMEONE WANTED TO PLAY WHEN THEY HOOKED UP THEIR IPHONE TO THE AUX CORD A FEW YEARS AND A FEW DAILY-DRIVERS LATER I'M NOT DRIVING MUCH ANYMORE, IT'S BEEN A YEAR SINCE I MOVED TO LONDON, AT THE TIME OF WRITING THIS, AND THERE'S NO PRACTICAL REASON TO DRIVE IN THIS CITY. I ORDERED A GT3 RS AND IT'LL KEEP LOW MILES OUT HERE BUT I GUESS IT'S GOOD TO HAVE IN CASE OF EMERGENCY :) RAF SIMONS ONCE TOLD ME IT WAS CLICHE, MY WHOLE CAR OBSESSION MAYBE IT LINKS TO A DEEP SUBCONSCIOUS STRAIGHT BOY FANTASY. CONSCIOUSLY THOUGH, I DON'T WANT STRAIGHT A LITTLE BENT IS GOOD. I FOUND IT ROMANTIC, SOMETIMES, EDITING THIS PROJECT. THE WHOLE TIME I FELT AS THOUGH I WAS IN THE PRESENCE OF A $16M MCLAREN F1 ARMED WITH A DISPOSABLE CAMERA. MY MEMORIES ARE IN THESE PAGES, PLACES CLOSEBY AND LONG ASS-NUMBING FLIGHTS AWAY. CRUISING THE SUBURBS OF TOKYO IN RWB PORSCHES. THROWING PARTIES AROUND ENGLAND AND MOBBING FREEWAYS IN FOUR PROJECT M3S THAT I BUILT WITH SOME FRIENDS. GOING TO MISSISSIPPI AND PLAYING IN THE MUD WITH AMPHIBIOUS QUADS. STREET-CASTING MODELS AT A RANDOM KUNG FU DOJO OUT IN SENEGAL. COMMISSIONING LIFE-SIZE TOY BOXES FOR THE FUCK OF IT SHOOTING A MUSIC VIDEO FOR FUN WITH TYRONE LEBON, THE GENIUS GIANT. TAKING A BREAK-SLASH-RECONNAISSANCE MISSION TO TULUM, MEXICO, ENJOYING SOME STAR VISIBILITY FOR A CHANGE. RECORDING IN TOKYO, NYC, MIAMI, LA, LONDON, PARIS. STOPPING IN BERLIN TO WITNESS BERGHAIN FOR MYSELF, TRADING JEWELS AND SOAKING IN PARABLES WITH THE MANY-HEADED BRANDON AKA BASEDGOD IN CONVERSATION, I WROTE A STORY IN THE MIDDLE-IT'S CALLED 'GODSPEED', IT'S BASICALLY A REIMAGINED PART OF MY BOYHOOD. BOYS DO CRY, BUT I DON'T THINK I SHED A TEAR FOR A GOOD CHUNK OF MY TEENAGE YEARS. IT'S SURPRISINGLY MY FAVORITE PART OF LIFE SO FAR. SURPRISING, TO ME, BECAUSE THE CURRENT PHASE IS WHAT I WAS ASKING THE COSMOS FOR WHEN I WAS A KID. MAYBE THAT PART HAD IT'S ROUGH STRETCHES TOO, BUT IN MY REARVIEW MIRROR IT'S GETTING SMALL ENOUGH TO CONVINCE MYSELF IT WAS ALL GOOD. AND REALLY THOUGH... IT'S STILL ALL GOOD.

After listening to that story, Rayzo had learned that he was able to roll his eyes hard enough to cause physical pain. He feared he might have twisted his optic nerve.

modern science itself agrees that we don’t really see with our eyes. They are merely links in a long chain stretching from the sun, through sunlight and atmosphere and illuminated objects, through eye lenses and retinae and optic nerves, right down to particle/wavicle-haunted space in a region of the brain, where at last (it’s said) seeing really occurs.

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Hallucinations relate to the higher cognitive functions of the brain. I was reading about someone at Columbia who asked volunteers to differentiate between houses and faces. Signals in the frontal cortex became active whenever subjects expected to see a face, irrespective of what the actual stimulus was. They would look at a house and "see" a face. It's called, you know Predictive coding. The brain has an expectation of what it will see, then compares this with information from the eyes. When this goes tits up, hallucinations occur. Our eyes don't present to our brains exact photographs of the things we see. They are more like sketches and impressions chattering along the optic nerve for the brain to interpret. That's what optical illusions are about. The brain's software is perfectly capable of simulating a vision in this way

Optical fatigue-“ Tallant Began. “Sure. I know every man to his own legend. There isn’t a tribe of Indians hasn’t some accounting for it. You’ve heard of the Watchers? And the twentieth century white-man comes along and it is optical fatigue. Only in the nineteeth century things weren’t quite the same and there were the Carkers.” “You got a special localized legend?” “Call it that. You glimpse things out of the corner of your mind, like you glimpse lean, dry things out of the corner of your eye. You encase them in solid circumstance and thy’re not so bad. That is the growth of the legend. The Folk Mind in Action. You take Carkers and the things you don’t see and you put them together. And they bite.

It may seem absurd at first, but it is perfectly fitting that our first touchpoint with Tiphareth, the Sephirah that represents the consciousness of the Christ, is represented by the Devil tarot card. The devil is merely a symbol for an illusion. At the same time, so are all man’s ideas of what “God” is: an illusion. We indeed become caught up in our own personal perceptions of God, rather than the reality of God. We get so wrapped up—and become slave to—our ideas and notions of what we think God is to us, just like the two chained persons in the tarot card. They are slave not to the literal creature “the devil”; they are slave to the established orthodoxy of their own ideas. The devil is merely a scapegoat for their own shortcomings. Too often we blame this invisible adversary for the sins which are, frankly, our own responsibility. Facing the devil, facing this illusion, is the first step in the dark night to receive the truth of Tiphareth, of the individuality. Moving further into the Great Work, our notions of what we perceive God to be are likely to change, to be turned completely upside down. We need to be ready, as we strive further and further to uncover the veil of the Mysteries, for Truth with a capital T. Based upon our current understanding of the world, this Truth can seem more like paradox than logic. Yet, the world of spirit is often irrational to the world of the nonspiritual. This takes an intuitive leap past the logical framework of Hod in order to reach new frontiers of understanding that will often seem downright scary because of their illogical nature. We must be constantly aware of everything around us as illusion. The Hebrew letter for this Path, Ayin, means “eye,” which aligns with the optical nature of this theme. The eye can be easily tricked. Ayin is a reminder of the paradox between the physical eye and one’s intuition. The initiate must understand that the material world is illusion and take great care not to confuse outer forms with inner reflection. One may relate to another in some way, but they are not the same thing. One may relate to another in some way, but they are not the same thing. As always, discernment is your ally.

illusions, pretending that they were actively trying to interact with me, but only on their own terms. “Vision is one of the primary ways we process the world around us,” Mrs. Franklin had said. “But always remember, eyes can be tricked, which in turn can trick your brain.” I stopped near the edge of the river and batted a nearby flower, but nothing happened, so I went on my way. “Everything really is an illusion here.” At the water’s edge, cubes of blue indicated a narrow river, and cubes of brown and green on the other side told me there was land. If I wanted to, I could count up the squares and know exactly how many cubes made up my vision, but why spoil the fun? That would be like going to a magic show and calling out all the ways the magician was making the tricks happen. First of all, it’s rude, and second of all, it ruins everything. Despite it being an optical illusion, I was happy to be where I was, standing by a river, instead of lying down in my own dull reality. From

The "Monalisa Lisa" is an optical illusion created by Leonardo Da Vinci. The woman in the painting "The Mona Lisa" doesn't appear to be always smiling. When you look at the mouth you feel she looks sad, melancholic, and hostile. But when you look at the eyes you feel she is happy and cheerful. Leonardo perfected the "sfumato technique," which translated literally from Italian means "vanished or evaporated." He created imperceptible transitions between light and shade, and sometimes between colors. "Why the Silhouette?" appears as a simple story of a few individuals, but when you look at it from a distance, it appears to show you the philosophy of life. I have tried to create imperceptible transitions between light and darkness and sometimes between colors. Hope you see the illusion in "Why the Silhouette?

The "Mona Lisa" is an optical illusion created by Leonardo Da Vinci. The woman in the painting "The Mona Lisa" doesn't appear to be always smiling. When you look at the mouth you feel she looks sad, melancholic, and hostile. But when you look at the eyes you feel she is happy and cheerful. Leonardo perfected the "sfumato technique," which translated literally from Italian means "vanished or evaporated." He created imperceptible transitions between light and shade, and sometimes between colors. "Why the Silhouette?" appears as a simple story of a few individuals, but when you look at it from a distance, it appears to show you the philosophy of life. I have tried to create imperceptible transitions between light and darkness and sometimes between colors. Hope you see the illusion in "Why the Silhouette?

The "Mona Lisa" is an optical illusion created by Leonardo Da Vinci. The woman in the painting "The Mona Lisa" doesn't appear to be always smiling. When you look at her mouth you feel she looks sad, melancholic, and hostile. But when you look at her eyes you feel she is happy and cheerful. Leonardo perfected the "sfumato technique," which translated literally from Italian means "vanished or evaporated." He created imperceptible transitions between light and shade, and sometimes between colors. "Why the Silhouette?" appears as a simple story of a few individuals, but when you look at it from a distance, it appears to show you the philosophy of life. I have tried to create imperceptible transitions between light and darkness and sometimes between colors. Hope you see the illusion in "Why the Silhouette?

The fault lies not in the eyes, but in the mind, a lazy thought process spoiled by a lifetime of optic nerve dependency. Not so for those like me.

Faith declarations for the healing of your eyes: • "I declare that God's healing power is at work in my eyes, restoring perfect vision and health to my optic nerves and retinas." • "I believe that Jesus bore my infirmities and carried my sicknesses, including any eye problems. I receive His healing and declare my eyes are whole." • "By His stripes, I am healed. I declare that my eyes are healed and restored to perfect health." • "I confess that God is my Healer and that He has promised to restore health to my body, including my eyes." • "I trust that God's healing power is working in my eyes and that I will see evidence of His healing in my body." Remember to hold on to these declarations with faith and patience, trusting that God's power and love are at work in your life. Keep seeking Him and His guidance, and believe that He is working for your good.

In case Dr. Jones's point still seems obscure or excessive, consider the celebrated "cock-eyed room" designed by Dr. Albert Ames. This is discussed in Blake's Perception mentioned above and has often been shown on educational television. This room is designed so that the brain, using its ordinary programs and metaphors, will classify it as an ordinary room. It is not ordinary, however: it has walls and ceiling and floor designed at odd angles which optically produce in educated humans the same signals as a "normal" room. (Some evidence suggests that children under 5 years of age are not taken in by this illusion.)

It is even more amusing to remember that an orange "is" "really" sort of blue in the model accepted in optical physics. That is, the fruit has absorbed blue — blue is conducted through its skin. We see "orange" precisely because there is no orange in the fruit — because orange is being reflected off the skin, to our eyes. The "substance" or "isness" of the fruit contains the blue we do not see; our brains contain the orange we do see.

She’d sketched out a werecat with its front legs stretched out to the side like Jesus on the cross. A limp tail was curled around the hind legs, and the werecat’s eyes had been gouged out. They hung down the shifter’s cheeks by the optic nerves, and Ivy had even managed to make it look like the eyeballs were glistening.

Thus it might be that the people of the Gulf trust things of the spirit and things of the imagination, but they do not trust their eyes to show them distance or clear outline or any optical exactness.

At one particular moment, with my eyes closed, I was crying and asking the question over and over aloud, „Does true love exist? Does true love exist in girls? Does true love exist? Does Sabrina love me? Does true love exist? Does true love exist?” - I had suddenly seen a flash. As if I was poking the Devil in the dark, staring too long into the darkness until it looked back at me as they say. I have never told anyone about this before. I try to describe what I had seen that night in that windowless, dark, and cold place deep inside under that big, old building, with my eyes closed. It made a half turn, flashing one of its eyes at me for a moment before disappearing again into the dark. As if it was nodding to me, I still get goosebumps years later when I try to describe it. As if it had been standing there all along, and just tried to reassure me that it had heard my question and would answer. Quite close. Just to make me be quiet finally. His eyes were yellow and red. I'm not actually sure if it had two eyes; I only saw one of them. One Evil Eye. Perhaps he had lost an eye, that's why I had seen the light of only one of them. His eye was malicious, but not particularly. It was more tired and angry yet understanding, as if he had heard this question over a billion times before from fools like me and I did not amuse him with my question and demand. As if he was about to show me a trick he had known for a long time. As if Satan had seen it all already. He knows all the tricks, he invented them, he inspired them all. As if he was bored of humanity already. (There is only One Evil Eye. The planet Saturn.) I was cuddling with Adam's cat, crying a lot, asking the darkness, about Love, and reflecting on Sabrina. Perhaps it was merely an optical illusion. I leave it up to the reader to decide what they believe about what I was facing and how I miraculously survived, as an atheist goy, as well as who truly supported me throughout the ordeal. If anyone or anything supported me in Spain at all. I had seen an advertisement somewhere saying that Miss Kittin would be playing on Saturday night, November 16th, 2013 in Barcelona at The Marhes. Satan. Saturn. Saturday. Coincidence? Maybe. So far. Perhaps. I knew I had to see her again after such a long time; she had been playing drum and bass in the early 2000s across the globe, and also in Budapest. I checked the map; The Marhes was next to Camp Nou, the FC Barcelona stadium. I thought of buying a bottle of champagne, which I didn't like, unless it’s Italian, but I wanted to celebrate, and I would walk along Avenida Roma to get there straight. I knew I'd get drunk; I didn't want to drive, I wanted to arrive intoxicated. I re-posted the Miss Kittin party’s flyer, on Instagram, writing underneath it : ‘All roads lead to Rome.

On Earth, the Phoenicians invented the alphabet, the Greeks democracy, the Chinese gunpowder, the Europeans optical glass. Our civilization is a blend of these over time. We

Keep an eye out for the healpreneurs that may have healed themselves, but perhaps are not ready, equipped or experienced enough to help others heal; much less charge for it.

To Mrs. Douglas’s more discerning eye, Mary’s happiness did not appear in so dazzling a light as the weaker optics of her aunts.

Newton was a decidedly odd figure – brilliant beyond measure, but solitary, joyless, prickly to the point of paranoia, famously distracted (upon swinging his feet out of bed in the morning he would reportedly sometimes sit for hours, immobilized by the sudden rush of thoughts to his head), and capable of the most riveting strangeness. He built his own laboratory, the first at Cambridge, but then engaged in the most bizarre experiments. Once he inserted a bodkin – a long needle of the sort used for sewing leather – into his eye socket and rubbed it around ‘betwixt my eye and the bone as near to [the] backside of my eye as I could’ just to see what would happen. What happened, miraculously, was nothing – at least, nothing lasting. On another occasion, he stared at the Sun for as long as he could bear, to determine what effect it would have upon his vision. Again he escaped lasting damage, though he had to spend some days in a darkened room before his eyes forgave him. Set atop these odd beliefs and quirky traits, however, was the mind of a supreme genius-though even when working in conventional channels he often showed a tendency to peculiarity. As a student, frustrated by the limitations of conventional mathematics, he invented an entirely new form, the calculus, but then told no one about it for twenty-seven years. In like manner, he did work in optics that transformed our understanding of light and laid the foundation for the science of spectroscopy, and again chose not to share the results for three decades.

Now their eyes kept returning to the space where Polly’s right arm should have been. It was an anomaly, an oddness, an optical discrepancy. From now on it wouldn’t be her beauty that would cause people to stare at her in shopping centers.

I cannot pretend he escaped unscathed. The extended period of low blood pressure damaged an optic nerve and left him essentially blind in one eye. He didn’t get off the respirator for days. He was out of work for months. I was crushed by what I had put him through. Though I apologized to him and carried on with my daily routine, it took me a long time to feel right again in surgery. I can’t do an adrenalectomy without thinking of his case, and I suspect that is good. I have even tried refining the operative technique

We acknowledge the truth of the following considerations: There exists no colour, nor sound, nor odour in the objective world, but there are the vibrations of ether, or the undulations of the air, or the stimuli of the sensory nerves of smell. Colour is nothing but the translation of the stimuli into sensation by the optical nerves, so also sounds by the auditory, and odours by the smelling. Therefore nothing exists objectively exactly as it is perceived by the senses, but all are subjective. Take electricity, for example, it appears as light when perceived through the eye; it appears as sound when perceived through the ear; it appears as taste when perceived through the tongue; but electricity in reality is not light, nor sound, nor taste.

Hear me beautiful woman, The Voice from within. Greater is he that is within you than he that is within the world. You cannot begin to understand when one looks at you with eyes of the world and only sees what is optically visible. It takes time for one to know you and what's inside. Only One knows you from within, from the beginning. The world may hurt you because of its outward mindset but know that your beauty is deep. Know that you are loved by the one who sees the real you. Know that you are understood by the one who knows your mind and your heart. Know that you are a virtuous because of your resilience through love, and not defeated. Oh beautiful woman stand strong and confident in the one who reaffirms Who You Are and not how Broken You Are. Your power is strengthened with every Act of forgiveness that you practice. Your beauty is increased with every act of kindness that you show to that ugly head a worldly perception with hopes that it will recognize "you". Stop quirreling with the enemy in your mind that turns your hampster wheel. It drains your by showing you pictures passed instead of vision unrevealed. You are who HE says you are despite anyone who doesn't marvel in adoration. Don't see youself as the world reflects you; the world's mirror is tainted. Optical illusions can be fatal. Wake up! The eyes tell the mind what to see but only the heart can discern what lies beneath the scars, beyond the perseverance, inside of forgiveness, over the hills and valleys, signs on the journey, and hope for the spirit. Emotions are vissitudal. You are being etched in inexorable truth. Stand as your are, not as you're seen. Sincerely, Vitrue

Visual agnosia is the inability of the brain to make sense of or make use of some part of an otherwise normal visual stimulus and is typified by the inability to recognize familiar objects or faces. This is distinct from blindness, which is a lack of sensory input to the brain due to damage to the eye, optic nerve, or the primary visual cortex. Visual agnosia is often due to stroke affecting the posterior occipital and/or temporal lobe(s) in the brain. The specific dysfunctions vary depending on the type of agnosia. Some sufferers are unable to copy drawings but are able to manipulate objects with good dexterity. Commonly, patients can name the object, here a tea cup, categorize it, but cannot describe its function; or the reverse, be able to drink from it appropriately but not know its name or describe its uses. Lesion studies clearly demonstrate that even crystallized objects, your left foot, or here a tea cup, are not “things” in long-term memory but are concepts constructed from multiple brain modules at the moment of perception (Farah, 1999).

This hinted at something that no one had ever suspected -- that the brain tracks moving things more easily that still things. We have a built-in bias toward detecting action. Why? Because it's probably more critical for animals to spot moving things (predators, prey, falling trees) than static things, which can wait. In fact, our vision is so biased toward movement that we don't technically see stationary objects at all. To see something stationary, our brains have to scribble our eyes subtly over its surface. Experiments have even proven that if you artificially stabilize an image on the retina with a combination of special contact lenses and microelectronics, the image will vanish.

To ABDUCE  (ABDU'CE)   v.a.[Lat. abduco.]To draw to a different part; to withdraw one part from another.A word chiefly used in physic or science. And if we abduce the eye unto either corner, the object will not duplicate; for, in that position, the axis of the cones remain in the same plain, as is demonstrated in the optics delivered by Galen.Brown’sVulgar Errours,b. iii. c. 20.

The optical system of the eye cornea and lens is designed to bring point objects to a focus at a point. However the rods are not points, they are much longer than their diameter. The rod will gain in sensitivity if the light reaching it is collimated, that is travelling as a parallel beam rather than converging to a point and then diverging. The full length of the sensitive part of the rod will then be being used. If this is indeed what happens in human eyes, then the sensitivity lost through having additional layers of cells to pass through is more than made up for by the correct focusing of light onto the rods and cones by these additional cells themselves.

Beer gurgled through the beard. 'You see,' the young man began, 'the desert's so big you can't be alone in it. Ever notice that? It's all empty and there's nothing in sight, but there's always something moving over there where you can't quite see it. It's something very dry and thin and brown, only when you look around it isn't there. Ever see it?' 'Optical fatigue -' Tallant began. 'Sure. I know. Every man to his own legend. There isn't a tribe of Indians hasn't got some way of accounting for it. You've heard of the Watchers? And the twentieth-century white man comes along, and it's optical fatigue. Only in the nineteenth century things weren't quite the same, and there were the Carkers.' 'You've got a special localized legend?' 'Call it that. You glimpse things out of the corner of your mind, same like you glimpse lean, dry things out of the corner of your eye. You incase 'em in solid circumstance and they're not so bad. That is known as the Growth of Legend. The Folk Mind in Action. You take the Carkers and the things you don't quite see and put 'em together. And they bite.' Tallant wondered how long that beard had been absorbing beer. 'And what were the Carkers?' he prompted politely. 'Ever hear of Sawney Bean? Scotland - reign of James the First or maybe the Sixth, though I think Roughead's wrong on that for once. Or let's be more modern - ever hear of the Benders? Kansas in the 1870's? No? Ever hear of Procrustes? Or Polyphemus? Or Fee-fi-fo-fum? 'There are ogres, you know. They're no legend. They're fact, they are. The inn where nine guests left for every ten that arrived, the mountain cabin that sheltered travelers from the snow, sheltered them all winter till the melting spring uncovered their bones, the lonely stretches of road that so many passengers traveled halfway - you'll find 'em everywhere. All over Europe and pretty much in this country too before communications became what they are. Profitable business. And it wasn't just the profit. The Benders made money, sure; but that wasn't why they killed all their victims as carefully as a kosher butcher. Sawney Bean got so he didn't give a damn about the profit; he just needed to lay in more meat for the winter. 'And think of the chances you'd have at an oasis.' 'So these Carkers of yours were, as you call them, ogres?' 'Carkers, ogres - maybe they were Benders. The Benders were never seen alive, you know, after the townspeople found those curiously butchered bodies. There's a rumor they got this far West. And the time checks pretty well. There wasn't any town here in the 80s. Just a couple of Indian families - last of a dying tribe living on at the oasis. They vanished after the Carkers moved in. That's not so surprising. The white race is a sort of super-ogre, anyway. Nobody worried about them. But they used to worry about why so many travelers never got across this stretch of desert. The travelers used to stop over at the Carkers, you see, and somehow they often never got any further. Their wagons'd be found maybe fifteen miles beyond in the desert. Sometimes they found the bones, too, parched and white. Gnawed-looking, they said sometimes.' 'And nobody ever did anything about these Carkers?' 'Oh, sure. We didn't have King James the Sixth - only I still think it was the First - to ride up on a great white horse for a gesture, but twice there were Army detachments came here and wiped them all out.' 'Twice? One wiping-out would do for most families.' Tallant smiled at the beery confusion of the young man's speech. 'Uh-huh, That was no slip. They wiped out the Carkers twice because you see once didn't do any good. They wiped 'em out and still travelers vanished and still there were white gnawed bones. So they wiped 'em out again. After that they gave up, and people detoured the oasis. ("They Bite")

Since this organization takes place at the preconscious level, our conscious experience shows us stable, apparently independent objects, which accounts for the plausibility of realism; it certainly seems as if all we do is open our eyes and encounter a premade world. The similar “optical illusion” of the sun appearing to rise is one of the reasons Kant chose the title “Copernican Revolution” (see Nietzsche, TI 3.5, for a reference to this phenomenon).

-optical or visual illusion .Does an open eye mean an open vision? “Mind the glass” caution sign

do you get when you cross an optic with a mental object? An eye-dea

Receptor neurons bundle together into cables called axons, feeding up through holes in a perforated bone just behind the eyeballs called the cribriform plate. (In a serious head injury, the skull can shift, and the lateral movement of the cribriform plate shears those axons like a knife through spaghetti. Snip! No more sense of smell.) Once through the plate, the axons connect to two projections from the brain called the olfactory bulbs. There, in blobs of neurons called glomeruli, is where the bulk of the computation gets done. Mice, known for their acute sense of smell, have just about 1,800 glomeruli—but 1,000 genes that code for olfactory receptors. That’s a lot of perceivable smells. Humans have a seemingly pathetic 370 genes for receptors, but we have 5,500 glomeruli per bulb. That’s a lot of processing power. It must be doing something. The part of the brain that integrates all this information, the olfactory cortex, also gets inputs from the limbic region and other areas that deal with emotion—the amygdala and hypothalamus, among others. Processing of smells in the brain, then, is tied to not only the chemical perception of a molecule but also how we feel about it, and how we feel in general. Every other sense in the body is, in a way, indirect. In vision, light impinges on the retina, a sheet of cells at the back of the eye that makes pigments and connects to the optic nerve. In hearing, sound (which is really just waves of changing air pressure) pushes the eardrum in and out at particular frequencies, which translate via a series of tiny bones to nerves. Touch and taste are the same. Some cell, built to do the hard work of reception, gets between the stimulus and the nerves that lead to the brain for processing. Some physical effect—air pressure, reflected photons, whatever—gets between the stimulus and the perception. It’s all a first-order derivative. Not smell, though. When we smell something, we are smelling tiny pieces of that thing that have broken off, wafted through the air, and then touched actual neurons wired to actual pieces of brain. Olfaction is direct, with nothing between the thing we’re smelling, the smell it has, and how we perceive that smell. It is our most intimate sense.

There just weren’t enough professional astronomers who could observe enough of the heavens to have much, if any, chance of spotting such an event. But there were thousands of amateur astronomers all too happy to do that job themselves. Armed with relatively inexpensive computer-guided telescopes with Dobsonian optics, which allow quite large apertures (twelve inches is not unusual) in telescopes less than five feet long, and sensitive CCD (charge-coupled device) sensors that can collect more light than the human eye, contemporary amateur astronomers can photograph the skies better than astronomers with house-sized telescopes could a century ago. The first person to see Supernova 1987A was an observer somewhere between the amateurs and the pros. Ian Shelton, a Canadian grad-school dropout, was

Like Wheeler and Feynman, Cramer proposed that the wavefunction of a particle moving forward in time is just one of two relevant waves determining its behavior. The retarded wave in Cramer’s theory is complemented by a response wave that travels specifically from the particle’s destination, in temporal retrograde. In his theory, a measurement, or an interaction, amounts to a kind of “handshake agreement” between the forward-in-time and backward-in-time influences.13 This handshake can extend across enormous lengths of time, if we consider what happens when we view the sky at night. As Cramer writes: When we stand in the dark and look at a star a hundred light years away, not only have the retarded waves from the star been traveling for a hundred years to reach our eyes, but the advanced waves generated by absorption processes within our eyes have reached a hundred years into the past, completing the transaction that permitted the star to shine in our direction.14 Cramer may not have been aware of it, but his poetic invocation of the spacetime greeting of the eye and a distant star, and the transactional process that would be involved in seeing, was actually a staple of medieval and early Renaissance optics. Before the ray theory of light emerged in the 1600s, it was believed that a visual image was formed when rays projecting out from the eye interacted with those coming into it. It goes to show that everything, even old physics, comes back in style if you wait long enough—and it is another reason not to laugh too hard, or with too much self-assurance, at hand-waving that seems absurd from one’s own limited historical or scientific standpoint. In short: Cramer’s and Aharonov’s theories both imply a backward causal influence from the photon’s destination. The destination of the photon “already knows” it is going to receive the photon, and this is what enables it to behave with the appropriate politeness. Note that neither of these theories have anything to do with billiard balls moving in reverse, a mirror of causation in which particles somehow fly through spacetime and interact in temporal retrograde. That had been the idea at the basis of Gerald Feinberg’s hypothesized tachyons, particles that travel faster than light and thus backward in time. It inspired a lot of creative thinking about the possibilities of precognition and other forms of ESP in the early 1970s (and especially inspired the science-fiction writer Philip K. Dick), but we can now safely set aside that clunky and unworkable line of thinking as “vulgar retrocausation.” No trace of tachyons has turned up in any particle accelerator, and they don’t make sense anyway. What we are talking about here instead is an inflection of ordinary particles’ observable behavior by something ordinarily unobservable: measurements—that is, interactions—that lie ahead in those particles’ future histories. Nothing is “moving” backwards in time—and really, nothing is “moving” forwards in time either. A particle’s twists and turns as it stretches across time simply contain information about both its past and its future.

It is no good asking for a simple religion. After all, real things are not simple. They look simple, but they are not. The table I am sitting at looks simple: but ask a scientist to tell you what it is really made of—all about the atoms and how the light waves rebound from them and hit my eye and what they do to the optic nerve and what it does to my brain—and, of course, you find that what we call ‘seeing a table’ lands you in mysteries and complications which you can hardly get to the end of.

The eye allows us to see and interpret the shapes, colors, and dimensions of objects by processing light. Light enters the eye first through the clear cornea and then through the circular opening in the iris called the pupil. Next the light is converged by the crystalline lens. The light progresses through the gelatinous vitreous humor to a clear focus on the retina, the central area of which is the macula. In the retina, light impulses are changed into electrical signals and sent along the optic nerve to the occipital (posterior) lobe of the brain, which interprets these electrical signals as visual images.

From prehistoric cave paintings to the map of the London Underground, images, diagrams and charts have long been at the heart of human storytelling. The reason why is simple: our brains are wired for visuals. ‘Seeing comes before words. The child looks and recognises before it speaks,’ wrote the media theorist John Berger in the opening lines of his 1972 classic, Ways of Seeing[1]. Neuroscience has since confirmed the dominant role of visualisation in human cognition. Half of the nerve fibres in our brains are linked to vision and, when our eyes are open, vision accounts for two thirds of the electrical activity in the brain. It takes just 150 milliseconds for the brain to recognise and image and a mere 100 milliseconds more to attach a meaning to it[2]. Although we have blind spots in both of our eyes – where the optic nerve attaches to the retina – the brain deftly steps in to create the seamless illusion of a whole[3]. As a result, we are born pattern-spotters, seeing faces in clouds, ghosts in the shadows, and mythical beasts in the starts. And we learn best when there are pictures to look at. As the visual literacy expert Lynell Burmark explains, ‘unless our words, concepts and ideas are hooked onto an image, they will go in one ear, sail through the brain, and go out the other ear. Words are processed by our short-term memory where we can only retain about seven bits of information…Images, on the other hand, go directly into long-term memory where they are indelibly etched[4]. With far-fewer pen strokes, and without the weight of technical language, images have immediacy – and when text and image send conflicting messages, it is the visual messages that most often wins[5]. So the old adage turns out to be true: a picture really is worth a thousand words.

Neuroscience has since confirmed the dominant role of visualisation in human cognition. Half of the nerve fibres in our brains are linked to our vision and, when our eyes are open, vision accounts for two-thirds of the electrical activity in the brain. It takes just 150 milliseconds for the brain to recognise an image and a mere 100 milliseconds more to attach a meaning to it.24 Although we have blind spots in both of our eyes—where the optic nerve attaches to the retina—the brain deftly steps in to create the seamless illusion of a whole.

Saunderson lectured on light, lenses, optics, the phenomenon of the rainbow, and other subjects connected with sight. He also helped to make Newton's theories of the Principia Mathematica and other works accessible to students of Cambridge. Unlike Newton, however, Saunderson was famously (or infamously) irreligious, which adds another layer to Diderot's interest in this blind man.

The physics of vibration tends to emerge as perceptions of harmonics. Insights into the field optics have revealed that human eyes perceive only a window of light called the visible spectrum, we know that a broader range of light surrounds us at all times on this globe, sailing through the cosmos as we do so.

It is a particular sensation, this double consciousness, this sense of always looking at ones self through the eyes of another.

Radinka appears as a regular human female, normal in every facet except one: her eyes. She possesses a pair of grotesquely enlarged, almost froglike optical organs, their protruding lenses marring what would be an otherwise-perfect woman's face. These eyes are unique not only in their appearance, however; Radinka can perceive her surroundings only as they were in the past. She has therefore spent the bulk of her life attempting to marry her vision of the past with the messages she receives from her other senses of the present. The Conjuction, as she calls her condition, proves to Radinka beyond a reasonable doubt that reality is, in fact, more than the sum of its parts.

Repression works like the refraction of light as it passes from one lens (or psychic system) to another, thus distorting the image perceived in the mind's eye.

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

For an hour she had held her eyes open, held them in the direction of our mother's face, but her optic nerves never had time to awaken, and so that face had remained beyond reach. For her, there would have been only a voice.

The twenty-four-hour biological clock sitting in the middle of your brain is called the suprachiasmatic (pronounced soo-pra-kai-as-MAT-ik) nucleus. As with much of anatomical language, the name, while far from easy to pronounce, is instructional: supra, meaning above, and chiasm, meaning a crossing point. The crossing point is that of the optic nerves coming from your eyeballs. Those nerves meet in the middle of your brain, and then effectively switch sides. The suprachiasmatic nucleus is located just above this intersection for a good reason. It “samples” the light signal being sent from each eye along the optic nerves as they head toward the back of the brain for visual processing. The suprachiasmatic nucleus uses this

What causes the collapse of the wave function? It is the entry of stimuli into the sensory apparatus of a conscious observer, such as photons of the right wave length hitting the human eye and entering the eye through a lens which focuses the light on to the retina. The retina then sends a signal to the brain via the optic nerve and the brain turns the information into the images we see. Those images and information from the other senses constitute the human sensory world. Clearly the images and other information could not exist without observation. Nothing else in the human sensory world exists without an observation being made, so why should the results of experiments, indicating the presence of quantum entities, which show in macro level experimental apparatus be any different?

But what about mankind’s physical body? How did God conjure up the physical features of a human being? Friend, He patterned us after himself!!! “And God said, Let US make man…after our likeness” (Genesis 1:26). The original Hebrew word translated “likeness” is “demût”, meaning: likeness, figure, image, form. In a nutshell, we were fashioned to look like God! Thus, the physical concept of a human being having legs to walk, arms to hold, torso to twist, eyes to see, mouth to taste, nose to smell, and ears to hear was not the product of millions of years of random, evolutionary chance: It was God making us “like Him”! It is insanity to believe mindless spontaneity created the physical features of a human being, yet macro-evolutionary theory proposes such a ridiculous idea. Scientists, if you want to know where the ear and the eye came from, study the Scriptures: “Understand, ye brutish among the people: and ye fools, when will you be wise? He (God) that planted the ear, shall he not hear? He (God) that formed the eye, shall he not see?” (Psalms 94:8, 9). Scientists are still trying to understand “light”, for it is an extremely complex phenomenon, having the properties of both waves and particles. Yet, macro-evolutionists want us to believe good-old random “nothingness” knew exactly what light is, designing an eye to “capture it”, optic

As I adjusted to the light, the Crawler kept changing at a lightning pace, as if to mock my ability to comprehend it. It was a figure within a series of refracted panes of glass. It was a series of layers in the shape of an archway. It was a great sluglike monster ringed by satellites of even odder creatures. It was a glistening star. My eyes kept glancing off of it as if an optic nerve was not enough

In the deepest optic I love how the sun highlights your eyes Those iridescent, mesmerizing, brown eyes Flecked with gold and impossibly long lashes Getting lost in them will be my relish So intimate yet so elusive Scantly clad a while ago Now completely bare and trembling Once more, I gazed into those deep eyes Your long, fixed look consumed me Full of intent, oh so intense Held my breath Plunged into the abysmal depth Your waves, void of warmth Sent panic throughout my body Struggles now futile in overcoming With your current dragging me further Battered, I sank even more Throttled by the weight of your emotions My body descended at the deepest Murky and filled with floating specks I think I ran out of luck Everything started to hurt Writhing around, I breathed more My chest felt like it was on fire It’s as if I’m being burned alive I struggled no more and closed my eyes Although your thoughts surround me I didn’t find myself in them Even a makeshift place in your mind I occupy nothing

Then I slowly, methodically dig his eyes out from his head with the knife. I put each eyeball in my mouth and swallow it whole, optic nerves sliding down my throat like spaghetti noodles—

Oh you my Life No brains are a match for the heart the heart always wins you come to me and you dance around me without a touch your hips swinging gently like a flad of love in a gentle breeze your eyes drink the beauty in my eyes and everything in them and the air is filled with the scent of scattered rose petals I love your company I love your presence you do not belong to me, yet you choose to come to me while all your admirers are on their knees with devotion and promises and holy love I have willed you, I have called you because my soul desires your soul to be close to me it is just spiritual, it is just desire to be close I do not pretend to understand I know life works in mysterious ways Oh you my life my beautiful mirage My beautiful optical illusion This is how I love you Your eyes dwell and slumber closed You sleep like an angel in my soul No distance can keep us apart No flower so beautiful that we do not share in our heart The mask we wear as if in a carnival To protect this love of ours Your body a temple you call me to visit Your mind is a garden of imagination That you pain in romantic images of us Your soul a drinking well of life for me You give so unselfishly you heal and purify Our union of love in the deserts of life We become perfect in our moment While we thirst for more in life What is it that we are looking And when doubt invades the oceans of our minds Fear aloneness and hopelessness become real We long to be held we long to feel secure We long to be told we are loved Within this journey of life You can lie to the world But you cannot ever lie to your heart The heart has a language only another heart understands While your mind is in constant battle with thoughts Your soul becomes calm when you witness A single red rose within your hands reach Under the distant rainbow circle And all your fears and concerns fade and vanish your body sways gently as your hands clasp together Rise gently towards the sky in glory and charm Love, my luscious love, my heavenly love How you come and go How you appear and disappear In the course of your lif,e we are love Your golden body painted by the sun longs desire and craves only love You my love, you are love You are what humanity craves above all You are the only hope The only blessings that is richer then all

Oh you my Life No brains are a match for the heart the heart always wins you come to me and you dance around me without a touch your hips swinging gently like a flad of love in a gentle breeze your eyes drink the beauty in my eyes and everything in them and the air is filled with the scent of scattered rose petals I love your company I love your presence you do not belong to me, yet you choose to come to me while all your admirers are on their knees with devotion and promises and holy love I have willed you, I have called you because my soul desires your soul to be close to me it is just spiritual, it is just desire to be close I do not pretend to understand I know life works in mysterious ways Oh you my life my beautiful mirage My beautiful optical illusion This is how I love you Your eyes dwell and slumber closed You sleep like an angel in my soul No distance can keep us apart No flower so beautiful that we do not share in our heart The mask we wear as if in a carnival To protect this love of ours Your body a temple you call me to visit Your mind is a garden of imagination That you pain in romantic images of us Your soul a drinking well of life for me You give so unselfishly you heal and purify Our union of love in the deserts of life We become perfect in our moment While we thirst for more in life What is it that we are looking And when doubt invades the oceans of our minds Fear aloneness and hopelessness become real We long to be held we long to feel secure We long to be told we are loved Within this journey of life You can lie to the world But you cannot ever lie to your heart The heart has a language only another heart understands While your mind is in constant battle with thoughts Your soul becomes calm when you witness A single red rose within your hands reach Under the distant rainbow circle And all your fears and concerns fade and vanish your body sways gently as your hands clasp together Rise gently towards the sky in glory and charm Love, my luscious love, my heavenly love How you come and go How you appear and disappear In the course of your life, we are love Your golden body painted by the sun longs desire and crave only love You my love, you are love You are what humanity craves above all You are the only hope The only blessing that is richer than all

The scene was odd; barely perceptible faces surrounded the little girl, like malevolent succubae. The more Lucie’s eye became acclimated, the more details she made out. Small feet shoved into socks; matching outfits, like hospital pajamas; a uniform floor that looked like linoleum. A parallel, latent world slowly took shape. Lucie thought of optical illusions—the image of a vase, for instance, that turns into a couple making love after you’ve stared at it for a moment. In the drop-down menu, Beckers selected the brightness and contrast option and opened a dialogue box on which he could play with the settings.

Once the characteristic numbers of most notions are determined, the human race will have a new kind of tool, a tool that will increase the power of the mind much more than optical lenses helped our eyes, a tool that will be as far superior to microscopes or telescopes as reason is to vision. —LEIBNIZ, Philosophical Essays, TRANS. BY ARLEW AND GARBER

Expectations paint illusions Experience paints a picture Optical Illusions manufacture confused expectations and experiences.

The screen is encroaching on the eye, from TVs to computer monitors to phone screens to smart watches to VR goggles to tiny LEDs that project images onto the retina to neural implants that communicate directly with the optic nerve.

Now seeing that the Word declares that the living in God is the life of the soul, and seeing that this living is knowledge according to each man's ability, and that ignorance does not imply the reality of anything, but is only the negation of the operation of knowing, and seeing that upon this partaking in God being no longer effected there follows at once the cancelling of the soul's life, which is the worst of evils — because of all this the Producer of all Good would work in us the cure of such an evil. A cure is a good thing, but one who does not look to the evangelic mystery would still be ignorant of the manner of the cure. We have shown that alienation from God, Who is the Life, is an evil; the cure, then, of this infirmity is, again to be made friends with God, and so to be in life once more. When such a life, then, is always held up in hope before humanity, it cannot be said that the winning of this life is absolutely a reward of a good life, and that the contrary is a punishment (of a bad one); but what we insist on resembles the case of the eyes. We do not say that one who has clear eyesight is rewarded as with a prize by being able to perceive the objects of sight; nor on the other hand that he who has diseased eyes experiences a failure of optic activity as the result of some penal sentence. With the eye in a natural state sight follows necessarily; with it vitiated by disease failure of sight as necessarily follows. In the same way the life of blessedness is as a familiar second nature to those who have kept clear the senses of the soul; but when the blinding stream of ignorance prevents our partaking in the real light, then it necessarily follows that we miss that, the enjoyment of which we declare to be the life of the partaker.

Baseball is a game where a curve is an optical illusion, a screwball can be a pitch or a person, stealing is legal, and you can spit anywhere you like except in the umpire's eye or on the ball.

I'm watching you, big boy, my eyes say, but his are closed so it's an optical monologue.

During Optical/Optometric Assistant program, students will learn the procedures and equipment used in diagnosing and treating eye and vision deficiencies and office procedures related to the vision care field.

He could still remember the feeling, sitting in another hide not fifty meters away, his eyes fixed on the Bedouins through the optic of his HK416. Whispering “Steady, steady” through clenched teeth as he willed the Egyptians to keep their nerve. And then all hell had broken loose, automatic weapons fire rippling out across the desert. Cutting down the shepherds—along with more than a few of their sheep. Alerting everyone within miles of their presence. They’d managed to regroup and storm the compound within the hour, but by that time anyone who might have once been there was already gone. Deserted

Look ’Em in the Eye Okay, this is not a game of optical chicken, to see who blinks first. Looking someone in the eye is again one of those basic, yet often overlooked and underestimated ways to connect with people. Similar to remembering someone’s name, looking someone in the eye is one of those subtle yet very powerful acts of respect. Looking someone in the eye comes naturally when you’re listening and engaged in the conversation. If you do this, you’ll be much more productive in building relationships and winning people’s trust. And you’ll earn their respect. Looking someone in the eye demonstrates your respect for others and confidence in yourself.

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.

Hear me beautiful woman, The Voice from within. Greater is He that is within you than he that is within the world. You cannot begin to understand when one looks at you with eyes of the world and only sees what is optically visible. It takes time for one to know you and what's inside. Only One knows you from within, from the beginning. The world may hurt you because of its outward mindset but know that your beauty is deep. Know that you are loved by the one who sees the real you. Know that you are understood by the one who knows your mind and your heart. Know that you are a virtuous because of your resilience through love, and not defeated. Oh beautiful woman stand strong and confident in the one who reaffirms Who You Are and not how Broken You Are. Your power is strengthened with every Act of forgiveness that you practice. Your beauty is increased with every act of kindness that you show to that ugly head a worldly perception with hopes that it will recognize "you". Stop quirreling with the enemy in your mind that turns your hampster wheel. It drains your hope by showing you pictures passed instead of vision unrevealed. You are who HE says you are despite anyone who doesn't marvel in adoration. Don't see youself as the world reflects you; the world's mirror is tainted. Optical illusions can be fatal. Wake up! The eyes tell the mind what to see but only the heart can discern what lies beneath the scars, beyond the perseverance, inside of forgiveness, over the hills and valleys, signs on the journey, and hope for the spirit. Emotions are vissitudal. You are being etched in inexorable truth. Stand as your are, not as you're seen. Sincerely, Vitrue

The cause-effect information is defined as the smaller (minimum) of the cause-information and the effect-information. If either one is zero, the cause-effect information is likewise zero. That is, the mechanism's past must be able to determine its present, which, in turn, must be able to determine its future. The more the past and the future are specified by the present state, the higher the mechanism's cause-effect power. Note that this usage of 'information' is very different from its customary meaning in engineering and science introduced by Claude Shannon. Shannon information, which is always assessed from the external perspective of an observer, quantifies how accurately signals transmitted over some noisy communication channel, such as a radio link or an optical cable, can be decoded. Data that distinguishes between two possibilities, OFF and ON, carries 1 bit of information. What that information is, though - the result of a critical blood test or the least significant bit in a pixel in the corner of a holiday photo - completely depends on the context. The meaning of Shannon information is in the eye of the beholder, not in the signals themselves. Shannon information is observational and extrinsic. Information in the sense of integrated information theory reflects a much older Aristotelian usage, derived from the Latin in-formare, 'to give form or shape to.' Integrated information gives rise to the cause-effect structure, a form. Integrated information is causal, intrinsic, and qualitative: it is assessed from the inner perspective of a system, based on how its mechanisms and its present state shape its own past and future. How the system constrains its past and future states determines whether the experience feels like azure blue or the smell of wet dog.

Optical physics refers to a phenomenon known as the ‘duct’. A duct is an atmospheric structure, born of a thermal inversion, which takes the form of a channel that traps light rays within a few minutes of the arc of the astronomical horizon. Because the curvature performed within a thermal inversion is stronger than the curvature of the earth’s surface, light rays can be continuously guided along the duct, following the earth’s own curvature, without ever diffusing up into space. In theory, therefore, if your eyes were strong enough to see that far, a duct would allow you to gaze around the whole earth and witness your own back and shoulders turned towards you. The existence of ducts has been theorized since the eighteenth century, but their science became more fully understood during the Second World War, when radar operators began observing returns from objects far beyond the normal horizon-limit.

Warbaby wiped the glasses again and put them back on. They were clear now. “There are drivers in the frames and lenses. They affect the nerves directly.” “It’s a virtual light display,” Freddie said, eager to change the subject. “Anything can be digitized, you can see it there.” “Telepresence,” Rydell said. “Naw,” Freddie said, “that’s light. That’s photons coming out and hitting on your eye. This doesn’t work like that. Mr. Warbaby walks around and looks at stuff, he can see the data-feed at the same time. You put those glasses on a man doesn’t have eyes, optic nerve’s okay, he can see the input. That’s why they built the first ones. For blind people.

With a degree of humility rare in our species, we acknowledge there is much that we can’t see, and so contrive remarkable ways to observe the world. Infrared satellite imagery, optical telescopes, and the Hubbell space telescope bring vastness within our visual sphere. Electron microscopes let us wander the remote universe of our own cells. But at the middle scale, that of the unaided eye, our senses seem to be strangely dulled.

Farside night acts as a magnet as they gather to observe the stars. Eyes and minds linked by telepathy, acting as a gigantic multi-segment telescope. There is no technology, no economy. Their culture is not orientated towards the mechanical or materialistic; their knowledge is their wealth. The data-processing capacity of their linked minds far exceeds that of any electronic computer system, and their perception is not limited to the meagre electromagnetic wavelengths of the optical bands.

The supplementation (e.g., when we believe we see the movement of a bird as movement), the immediate poetic completion already begins with sensory perception. We always formulate complete humans from that which we see and know of them. We do not tolerate the void — this is the impertinence of our imagination: how little is it bound and accustomed to truth! We do not content ourselves for a moment with the known (or knowable!). The playful processing of the material is our ceaseless basic activity, thus exercise of the imagination. One may consider as proof for how powerful this activity is the play of the optic nerve when the eye is closed. We read and listen in the same way. Precise listening and seeing is a very high level of culture — we are still far from it. As yet we do not feel the lying in it at all! This spontaneous play of fantasizing force is the basic life of our mind: the thoughts appear to us; whereas becoming aware, the reflection of the process in the process is only the relative exception — perhaps a refraction at the contrast.

Maybe in the afterlife,’ I say, feeling sorry for him. ‘She’s my cadaver, Dad. And after today I can’t take her anywhere because I severed her optic nerve, so she’s got one eye hanging out. It’s not a good look.

You can never really cover up an old tattoo,” he resumed. “But if you know what you’re doing, you can work over and around it so the eye is taken away from it. That’s the trick. I guess you could almost call it an optical illusion.

VR triggers something called vergence-accommodation conflict, or VAC. Your eyes point (converge or diverge) to match the depth of virtual objects, but they must focus at a single, fixed optical distance. That split instruction—‘look near, focus far’—tires the eye muscles and can leave you woozy. It could leave the user with blurry vision, eye strain, and even headaches. A 360-degree environment like Labyrinth would exacerbate the effects.

Vision 20 Reviews – Worth & Hype? Best Eye Health Supplement Vision 20™ is a premium eye health and vision support supplement formulated to help protect eyesight, improve visual clarity, reduce eye strain, and support long-term ocular health. Designed for adults experiencing blurred vision, screen fatigue, night-vision issues, or age-related decline, Vision 20 focuses on nutritional eye defense, antioxidant protection, and retinal support. ➤ Don’t Miss Out — Click Here: To Purchase Vision 20™ Official Website Modern life places unprecedented stress on our eyes. Prolonged screen time, blue light exposure, poor nutrition, aging, and oxidative damage all contribute to declining vision quality. Many people notice symptoms such as:  Blurry or strained vision Difficulty seeing at night Dry, irritated eyes Headaches after screen use Vision 20™ was developed to support eye health from the inside out, using clinically researched nutrients known to protect the retina, lens, and optic nerve. What is Vision 20? Vision 20™ is a daily dietary supplement designed to support: Visual sharpness and clarity Retinal and macular health Protection against oxidative stress Reduced digital eye strain Long-term eye function ➤ Don’t Miss Out — Click Here: To Purchase Vision 20™ Official Website Rather than offering a temporary fix, Vision 20 aims to nourish the eyes at the cellular level, helping maintain healthy vision as you age.

They wear kryll, organic breathing masks made by Carvers, over nose and mouths. Looks like the shed skin of a locust, legs stretching to either ear. Their tan combat gear is lighter than Core armor and complemented with brightly colored scarves. Long-barreled railguns with personalized ivory stocks are strapped to their backs. Razors hang from their hips. Orange optics cover their eyes. And on their feet are skippers. Lightweight boots that use condensed air instead of gravity to move their user. Skipping them over the ground like stones on a lake. Can’t get much height, but you can move nearly sixty kilometers an hour. They’re about a quarter the weight of my boots, have battery life for a year, and are dead cold on thermal vision. These are assassins. Not knights.