Fascinating Related Quotes

In a traditional German toilet, the hole into which shit disappears after we flush is right at the front, so that shit is first laid out for us to sniff and inspect for traces of illness. In the typical French toilet, on the contrary, the hole is at the back, i.e. shit is supposed to disappear as quickly as possible. Finally, the American (Anglo-Saxon) toilet presents a synthesis, a mediation between these opposites: the toilet basin is full of water, so that the shit floats in it, visible, but not to be inspected. [...] It is clear that none of these versions can be accounted for in purely utilitarian terms: each involves a certain ideological perception of how the subject should relate to excrement. Hegel was among the first to see in the geographical triad of Germany, France and England an expression of three different existential attitudes: reflective thoroughness (German), revolutionary hastiness (French), utilitarian pragmatism (English). In political terms, this triad can be read as German conservatism, French revolutionary radicalism and English liberalism. [...] The point about toilets is that they enable us not only to discern this triad in the most intimate domain, but also to identify its underlying mechanism in the three different attitudes towards excremental excess: an ambiguous contemplative fascination; a wish to get rid of it as fast as possible; a pragmatic decision to treat it as ordinary and dispose of it in an appropriate way. It is easy for an academic at a round table to claim that we live in a post-ideological universe, but the moment he visits the lavatory after the heated discussion, he is again knee-deep in ideology.

I love you,” she whispered. “I love you so much that I hated you for a while. And now that I know that you are damaged, I love you even more. Perfect things are not relatable. Unbreakable is fascinating, but not lovable. You’re breakable, Dean Cole. I’m going to do my best to keep you whole.

Einstein's relativity work is a magnificent mathematical garb which fascinates, dazzles and makes people blind to the underlying errors. The theory is like a beggar clothed in purple whom ignorant people take for a king... its exponents are brilliant men but they are metaphysicists rather than scientists.

All my moral and intellectual being is penetrated by an invincible conviction that whatever falls under the dominion of our senses must be in nature and, however exceptional, cannot differ in its essence from all the other effects of the visible and tangible world of which we are a self-conscious part. The world of the living contains enough marvels and mysteries as it is—marvels and mysteries acting upon our emotions and intelligence in ways so inexplicable that it would almost justify the conception of life as an enchanted state. No, I am too firm in my consciousness of the marvelous to be ever fascinated by the mere supernatural which (take it any way you like) is but a manufactured article, the fabrication of minds insensitive to the intimate delicacies of our relation to the dead and to the living, in their countless multitudes; a desecration of our tenderest memories; an outrage on our dignity.

The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.

There’s a fascinating frailty of the human mind that psychologists know all about, called “argument from ignorance.” This is how it goes. Remember what the “U” stands for in “UFO”? You see lights flashing in the sky. You’ve never seen anything like this before and don’t understand what it is. You say, “It’s a UFO!” The “U” stands for “unidentified.” But then you say, “I don’t know what it is; it must be aliens from outer space, visiting from another planet.” The issue here is that if you don’t know what something is, your interpretation of it should stop immediately. You don’t then say it must be X or Y or Z. That’s argument from ignorance. It’s common. I’m not blaming anybody; it may relate to our burning need to manufacture answers because we feel uncomfortable about being steeped in ignorance.

White folks have controlled New Orleans with money and guns, black folks have controlled it with magic and music, and although there has been a steady undercurrent of mutual admiration, an intermingling of cultures unheard of in any other American city, South or North; although there has prevailed a most joyous and fascinating interface, black anger and white fear has persisted, providing the ongoing, ostensibly integrated fete champetre with volatile and sometimes violent idiosyncrasies.

There is one thing I like about the Poles—their language. Polish, when it is spoken by intelligent people, puts me in ecstasy. The sound of the language evokes strange images in which there is always a greensward of fine spiked grass in which hornets and snakes play a great part. I remember days long back when Stanley would invite me to visit his relatives; he used to make me carry a roll of music because he wanted to show me off to these rich relatives. I remember this atmosphere well because in the presence of these smooth−tongued, overly polite, pretentious and thoroughly false Poles I always felt miserably uncomfortable. But when they spoke to one another, sometimes in French, sometimes in Polish, I sat back and watched them fascinatedly. They made strange Polish grimaces, altogether unlike our relatives who were stupid barbarians at bottom. The Poles were like standing snakes fitted up with collars of hornets. I never knew what they were talking about but it always seemed to me as if they were politely assassinating some one. They were all fitted up with sabres and broad−swords which they held in their teeth or brandished fiercely in a thundering charge. They never swerved from the path but rode rough−shod over women and children, spiking them with long pikes beribboned with blood−red pennants. All this, of course, in the drawing−room over a glass of strong tea, the men in butter−colored gloves, the women dangling their silly lorgnettes. The women were always ravishingly beautiful, the blonde houri type garnered centuries ago during the Crusades. They hissed their long polychromatic words through tiny, sensual mouths whose lips were soft as geraniums. These furious sorties with adders and rose petals made an intoxicating sort of music, a steel−stringed zithery slipper−gibber which could also register anomalous sounds like sobs and falling jets of water.

She saw the light again. With some irony in her interrogation, for when one woke at all, one's relations changed, she looked at the steady light, the pitiless, the remorseless, which was so much her, yet so little her, which had her at its beck and call (she woke in the night and saw it bent across their bed, stroking the floor), but for all that she thought, watching it with fascination, hypnotised, as if it were stroking with its silver fingers some sealed vessel in her brain whose bursting would flood her with delight, she had known happiness, and it silvered the rough waves a little more brightly, as daylight faded, and the blue went out of the sea and it rolled in waves of pure lemon which curved and swelled and broke upon the beach and the ecstasy burst in her eyes and waves of pure delight raced over the floor of her mind and she felt, It is enough! It is enough!

I spent a considerable amount of time when I was, o, adolescent, wondering why I was different, whether there were other people like me. Why, when everyone else was fascinated by their developing sexual nature, I couldn't give a damn. I've never been attracted to men. Or women. Or anything else. It's difficult to explain, but while I have an apparently normal female body, I don't have any sexual urge or appetite.

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

So much of what a law enforcement officer does is difficult to share with anyone, even a spouse. When you spend your days looking at dead and mutilated bodies, particularly when they're children, it's not the kind of thing you want to bring home with you. You can't say over the dinner table, 'I had a fascinating lust murder today. Let me tell you about it." That's why you so often see cops drawn to nurses and vice versa—people who can relate in some way to each other's work.

It fascinated me that Europeans could at once be so alike – that they could be so universally bookish and cerebral, and drive small cars, and live in little houses in ancient towns, and love soccer, and be relatively unmaterialistic and law-abiding, and have chilly hotel rooms and cosy and inviting places to eat and drink – and yet be so endlessly, unpredictably different from each other as well. I loved the idea that you could never be sure of anything in Europe.

I love you so much that I hated you for a while. And now that I know that you are damaged, I love you even more. Perfect things are not relatable. Unbreakable is fascinating, but not lovable.

Catherine Lutz, an anthropologist who has been carrying out a project studying the archipelago of US overseas military bases. She made the fascinating observation that almost all of these bases organize outreach programs, in which soldiers venture out to repair schoolrooms or to perform free dental checkups in nearby towns and villages. The ostensible reason for the programs was to improve relations with local communities, but they rarely have much impact in that regard; still, even after the military discovered this, they kept the programs up because they had such an enormous psychological impact on the soldiers, many of whom would wax euphoric when describing them: for example, “This is why I joined the army,” “This is what military service is really all about—not just defending your country, it’s about helping people!” Soldiers allowed to perform public service duties, they found, were two or three times more likely to reenlist. I remember thinking, “Wait, so most of these people really want to be in the Peace Corps?” And I duly looked it up and discovered: sure enough, to be accepted into the Peace Corps, you need to already have a college degree. The US military is a haven for frustrated altruists.

What fascinates me in dreams is the idea that they emanate from our subconscious. I think that there are many possibilities to interpret dreams but a great deal of mystery always remains. When a dream is explained to us, it’s necessary to know the personal context of the subject. For example, what his childhood was like, his adolescence, his interpersonal relations. You’ve got to understand all these elements in order to tally up the dream and to decode it. At the cinema, that can’t happen because the approach demands the introduction of too many elements. In order for viewers to identify with this dream, I chose a parade which makes one think automatically of other common dreams and unconscious states. There are very old characters like objects that are discarded by people today or religious symbols that people have forgotten. I think that even nowadays, people have forgotten the importance of dreams.

On my last birthday I was ninety-three years old. That is not young, of course. In fact, it is older than ninety. But age is a relative matter. If you continue to work and to absorb the beauty in the world about you, you find that age does not necessarily mean getting old. At least, not in the ordinary sense. I feel many things more intensely than ever before, and for me life grows more fascinating.

Freud was fascinated with depression and focused on the issue that we began with—why is it that most of us can have occasional terrible experiences, feel depressed, and then recover, while a few of us collapse into major depression (melancholia)? In his classic essay “Mourning and Melancholia” (1917), Freud began with what the two have in common. In both cases, he felt, there is the loss of a love object. (In Freudian terms, such an “object” is usually a person, but can also be a goal or an ideal.) In Freud’s formulation, in every loving relationship there is ambivalence, mixed feelings—elements of hatred as well as love. In the case of a small, reactive depression—mourning—you are able to deal with those mixed feelings in a healthy manner: you lose, you grieve, and then you recover. In the case of a major melancholic depression, you have become obsessed with the ambivalence—the simultaneity, the irreconcilable nature of the intense love alongside the intense hatred. Melancholia—a major depression—Freud theorized, is the internal conflict generated by this ambivalence. This can begin to explain the intensity of grief experienced in a major depression. If you are obsessed with the intensely mixed feelings, you grieve doubly after a loss—for your loss of the loved individual and for the loss of any chance now to ever resolve the difficulties. “If only I had said the things I needed to, if only we could have worked things out”—for all of time, you have lost the chance to purge yourself of the ambivalence. For the rest of your life, you will be reaching for the door to let you into a place of pure, unsullied love, and you can never reach that door. It also explains the intensity of the guilt often experienced in major depression. If you truly harbored intense anger toward the person along with love, in the aftermath of your loss there must be some facet of you that is celebrating, alongside the grieving. “He’s gone; that’s terrible but…thank god, I can finally live, I can finally grow up, no more of this or that.” Inevitably, a metaphorical instant later, there must come a paralyzing belief that you have become a horrible monster to feel any sense of relief or pleasure at a time like this. Incapacitating guilt. This theory also explains the tendency of major depressives in such circumstances to, oddly, begin to take on some of the traits of the lost loved/hated one—and not just any traits, but invariably the ones that the survivor found most irritating. Psychodynamically, this is wonderfully logical. By taking on a trait, you are being loyal to your lost, beloved opponent. By picking an irritating trait, you are still trying to convince the world you were right to be irritated—you see how you hate it when I do it; can you imagine what it was like to have to put up with that for years? And by picking a trait that, most of all, you find irritating, you are not only still trying to score points in your argument with the departed, but you are punishing yourself for arguing as well. Out of the Freudian school of thought has come one of the more apt descriptions of depression—“aggression turned inward.” Suddenly the loss of pleasure, the psychomotor retardation, the impulse to suicide all make sense. As do the elevated glucocorticoid levels. This does not describe someone too lethargic to function; it is more like the actual state of a patient in depression, exhausted from the most draining emotional conflict of his or her life—one going on entirely within. If that doesn’t count as psychologically stressful, I don’t know what does.

Most people didn't even think aliens really existed. And among those who did believe, "my" relatives had a bad rep. Little, gray and creepy. Known for cattle mutilations, abductions, and an extreme fascination with probing of all kinds. Not that any of those rumors were true, as far as I knew. Exept for the being little and gray-that bit was accurate, as far as I could tell, based on my own physiology and the Internet, of course.

In Hamilton's The Universe Wreckers... it was in that novel that, for the first time, I learned Neptune had a satellite named Triton... It was from The Drums of Tapajos that I first learned there was a Mato Grosso area in the Amazon basin. It was from The Black Star Passes and other stories by John W. Campbell that I first heard of relativity. The pleasure of reading about such things in the dramatic and fascinating form of science fiction gave me a push toward science that was irresistible. It was science fiction that made me want to be a scientist strongly enough to eventually make me one. That is not to say that science fiction stories can be completely trusted as a source of specific knowledge... However, the misguidings of science fiction can be unlearned. Sometimes the unlearning process is not easy, but it is a low price to pay for the gift of fascination over science.

This is one aspect of a reporter's job that never ceases to fascinate and disturb me: facts that go unreported do not exist. How many massacres, how many earthquakes happen in the world, how many ships sink, how many volcanoes erupt, and how many people are persecuted, tortured and killed. Yet if no one is there to see, to write, to take a photograph, it is as if these facts had never occurred, this suffering has no importance, no place in history. Because history exists only if someone relates it. Every little description of a thing observed one can leave a seed in the soil of memory - that keeps me tied to my profession.

So much of what a law enforcement officer does is difficult to share with anyone, even a spouse. When you spend your days looking at dead and mutilated bodies, particularly when they're children, it's not the kind of thing you want to bring home with you. You can't say over the dinner table, 'I had a fascinating lust murder today. Let me tell you about it.' That's why you so often see cops drawn to nurses and vice versa—people who can relate in some way to each other's work.

...The spiritual Oriental teachers say a person has three forms of mind,'' Beatrice was explaining to him once, while they were on break between one lesson and another at university, ''which are the dense mind, the subtle level and the ultra-subtle mind. Primary Consciousness, or the dense mind, is that existential, Sartrean mind which is related to our senses and so it is guided directly by human primitive instincts; in Sanskrit, this is referred to as ālaya-vijñāna which is directly tied to the brain. The subtle mind comes into effect when we begin to be aware of our true nature or that which in Sanskrit is called Ātman or self-existent essence that eventually leads us to the spiritual dimension. Ultimately there is the Consciousness-Only or the Vijñapti-Mātra, an ultra-subtle mind which goes beyond what the other two levels of mind can fabricate, precisely because this particular mind is not a by-product of the human brain but a part of the Cosmic Consciousness of the Absolute, known in Sanskrit as Tathāgatagarbha, and it is at this profound level of Consciousness that we are able to achieve access to the Divine Wisdom and become one with it in an Enlightened State.'' ''This spiritual subject really fascinates me,'' the Professor would declare, amazed at the extraordinary knowledge that Beatrice possessed.'' ''In other words, a human being recognises itself from its eternal essence and not from its existence,'' Beatrice replied, smiling, as she gently touched the tip of his nose with the tip of her finger, as if she was making a symbolic gesture like when children are corrected by their teachers. ''See, here,'' she had said once, pulling at the sleeve of his t-shirt to make him look at her book. ''For example, in the Preface to the 1960 Notes on Dhamma, the Buddhist philosopher from the University of Cambridge, Ñāṇavīra Thera, maintains those that have understood Buddhist teachings have gone way beyond Existential Thought. And on this same theme, the German scholar of Buddhist texts, Edward Conze, said that the possible similarity that exists between Buddhist and Existential Thought lies only on the preliminary level. He said that in terms of the Four Noble Truths, or in Sanskrit Catvāri Āryasatyāni, the Existentialists have only the first, which teaches everything is ill. Of the second - which assigns the origin of ill to craving - they have a very imperfect grasp. As for the third and fourth, which consist of letting go of craving, and the Noble Eightfold Path that leads to liberation from the cycle of rebirth in the form of Nirvāṇa - these are unheard of. Knowing no way out, the Existentialists are manufacturers of their own woes...

Devaluation of the Earth, hostility towards the Earth, fear of the Earth: these are all from the psychological point of view the expression of a weak patriarchal consciousness that knows no other way to help itself than to withdraw violently from the fascinating and overwhelming domain of the Earthly. For we know that the archetypal projection of the Masculine experiences, not without justice, the Earth as the unconscious-making, instinct-entangling, and therefore dangerous Feminine. At the same time the projection of the masculine anima is mingled with the living image of the Earth archetype in the unconscious of man; and the more one-sidedly masculine man's conscious mind is the more primitive, unreliable, and therefore dangerous his anima will be. However, the Earth archetype, in compensation to the divinity of the archetype of Heaven and the Father, that determined the consciousness of medieval man, is fused together with the archaic image of the Mother Goddess. Yet in its struggle against this Mother Goddess, the conscious mind, in its historical development, has had great difficulty in asserting itself so as to reach its – patriarchal - independence. The insecurity of this conscious mind-and we have profound experience of how insecure the position of the conscious mind still is in modern man-is always bound up with fear of the unconscious, and no well-meaning theory "against fear" will be able to rid the world of this deeply rooted anxiety, which at different times has been projected on different objects. Whether this anxiety expresses itself in a religious form as the medieval fear of demons or witches, or politically as the modern fear of war with the State beyond the Iron Curtain, in every case we are dealing with a projection, though at the same time the anxiety is justified. In reality, our small ego-consciousness is justifiably afraid of the superior power of the collective forces, both without and within. In the history of the development of the conscious mind, for reasons which we cannot pursue here, the archetype of the Masculine Heaven is connected positively with the conscious mind, and the collective powers that threaten and devour the conscious mind both from without and within, are regarded as Feminine. A negative evaluation of the Earth archetype is therefore necessary and inevitable for a masculine, patriarchal conscious mind that is still weak. But this validity only applies in relation to a specific type of conscious mind; it alters as the integration of the human personality advances, and the conscious mind is strengthened and extended. A one-sided conscious mind, such as prevailed in the medieval patriarchal order, is certainly radical, even fanatical, but in a psychological sense it is by no means strong. As a result of the one-sidedness of the conscious mind, the human personality becomes involved in an equally one-sided opposition to its own unconscious, so that actually a split occurs. Even if, for example, the Masculine principle identifies itself with the world of Heaven, and projects the evil world of Earth outwards on the alien Feminine principle, both worlds are still parts of the personality, and the repressing masculine spiritual world of Heaven and of the values of the conscious mind is continually undermined and threatened by the repressed but constantly attacking opposite side. That is why the religious fanaticism of the representatives of the patriarchal World of Heaven reached its climax in the Inquisition and the witch trials, at the very moment when the influence of the archetype of Heaven, which had ruled the Middle Ages and the previous period, began to wane, and the opposite image of the Feminine Earth archetype began to emerge.

There is, as every schoolboy knows in this scientific age, a very close chemical relation between coal and diamonds. It is the reason, I believe, why some people allude to coal as "black diamonds." Both these commodities represent wealth; but coal is a much less portable form of property. There is, from that point of view, a deplorable lack of concentration in coal. Now, if a coal-mine could be put into one's waistcoat pocket—but it can't! At the same time, there is a fascination in coal, the supreme commodity of the age in which we are camped like bewildered travellers in a garish, unrestful hotel.

[E]very individual is a unique manifestation of the Whole, as every branch is a particular outreaching of the tree. To manifest individuality, every branch must have a sensitive connection with the tree, just as our independently moving and differentiated fingers must have a sensitive connection with the whole body. The point, which can hardly be repeated too often, is that differentiation is not separation. The head and the feet are different, but not separate, and though man is not connected to the universe by exactly the same physical relation as branch to tree or feet to head, he is nonetheless connected—and by physical relations of fascinating complexity.

But this book is about semantics, and I would not make a claim on your attention if I did not think that the relation of language to our inner and outer worlds was a matter of intellectual fascination and real-world importance.

Life will give you what you need once you will do something with it. It may not give you what you want so as to be as comfortable as you want, as Nature’s concern is need as it relates to evolution. In my humble opinion, Nature is too kind, but, as I say, the game is big, and the challenges and temptations absolute. And this is a fascinating aspect of the totality of beauty; it gives more than is only necessary. The generosity is mind- and heart boggling.

Fascination with the question of social inequality was relatively new in the 1700s, and it had everything to do with the shock and confusion that followed Europe’s sudden integration into a global economy, where it had long been a very minor player.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

Human beings have a deeply ingrained habit of passivity, which is strengthened by the relatively long period that we spend under the control of parents and schoolmasters. Moments of intensity are also moments of power and control; yet we have so little understanding of this that we wait passively for some chance to galvanize the muscle that created the intensity. But whether you use the negative methods of relaxation (which is fundamentally 'transcendental meditation') or the positive method of intense alertness and concentration, the result is the same: a realization of the enormous vistas of reality that lie outside our normal range of awareness. You recognize that the chief obstacle to such awareness is that we don't need it to get through an ordinary working day. I can make do fairly well with a narrow awareness and a moderate mount of vital energy. I have 'peak experiences' when I occasionally develop more awareness and more energy than I need for the task in hand; then I 'overflow', and realize, for a dazzled moment, what a fascinating universe I actually inhabit. It is significant that Maslow's 'peakers' were not daydreaming romantics, but healthy, practical people...

It isn’t always a matter, we should note, of identifying with the protagonist. No one I know, regardless of how much they love his novel, wants to be Humbert Humbert or Victor Frankenstein, although perhaps for different reasons. Or Heathcliff. Ever want to be Heathcliff? I didn’t think so. They are not the stuff of our fantasy lives, yet we may revel in their world, even while reviling their personalities. Consider Humbert. The narrative strategy Nabokov employs is very daring, since it demands that we identify with someone who is breaking what nearly everyone will consider the most absolute taboo. …Sympathy is out of the question. What the novel requires, however, is that we continue reading, something it audaciously gives us reason to do. The word games and intellectual brilliance helps, certainly; he’s detestable but charming and brilliant. The other element is that we watch him with a sort of appalled fascination: can he really intend that; does he really do this; would he really attempt even that; has he lost all sense of proportion? The answers are, in order, yes, yes, yes, and yes. Pretty clearly, then, there are pleasures in the text that are not inherent in the personality of the main character.

Why were you named Garrett?" she heard him ask. "My mother was convinced that I was going to be a boy. She wanted to name me after one of her brothers, who died while he was still young. But she didn't survive my birth. Above the objections of friends and relations, my father insisted on calling me Garrett anyway." "I like it," Ransom murmured. "It suits me," Garrett said, "although I'm not certain my mother would have approved of giving a masculine name to a daughter." After a reflective pause, she surprised herself by saying impulsively, "Sometimes I imagine going back in time, to stop the hemorrhage that killed her." "Is that why you became a doctor?" Garrett pondered the question with a slight frown. "I've never thought about it that way before. I suppose helping people could be my way of saving her, over and over. But I would have found the study of medicine fascinating regardless. The human body is a remarkable machine.

See pills of every shape and size, Such fascinating colors, too— Some green, some pink, some brown, some blue. ‘All right,’ she says, ‘let’s try the brown.’ She takes one pill and gulps it down. ‘Yum-yum!’ she cries. ‘Hooray! What fun! They’re chocolate-coated, every one!’ She gobbles five, she gobbles ten, She stops her gobbling only when The last pill’s gone. There are no more. Slowly she rises from the floor. She stops. She hiccups. Dear, oh dear, She starts to feel a trifle queer. You see, how could young Goldie know, For nobody had told her so, That Grandmama, her old relation Suffered from frightful constipation. This

Hungry?” he asks. “The wager?” I remind him. “I’m getting there—it’s related to my question.” He lifts his chin to the meat locker. “They have good steaks here.” And just like that, I’m interested in whatever he’s suggesting. “They do. What’re you thinking?” “They have a porterhouse for two, three, or four.” I haven’t eaten in nearly twenty-four hours, and the idea of a big juicy steak has me salivating. “Yeah?” “So, I say we split the one for three, and whoever eats more wins.” “I’m going to guess their porterhouse for three could feed us both for a week.” “I’m betting you’re right.” His adorable grin should be accompanied by the sound of a silvery ding. “And your dinner is on me.” For not the first time, it occurs to me to ask him how he makes ends meet, but I can’t—not here, and maybe not when we’re alone, either. “You don’t have to do that.” “I think I can handle treating my wife to dinner on our wedding night.” Our wedding night. My heart thuds heavily. “That’s a lot of meat. No pun intended.” He grins enthusiastically. “I’d sure like to see how you handle it.” “You’re betting Holland can’t finish a steak?” Lulu chimes in from behind me. “Oh, you sweet summer child.” *** As we get up, I groan, clutching my stomach. “Is this what pregnancy feels like? Not interested.” “I could carry you,” Calvin offers sweetly, helping me with my coat. Lulu pushes between us, giddy from wine as she throws her arms around our shoulders. “You’re supposed to carry the bride across the threshold to be romantic, not because she’s broken from eating her weight in beef.” I stifle a belch. “The way to impress a man is to show him how much meat you can handle, don’t you know this, Lu?” Calvin laughs. “It was a close battle.” “Not that close,” Mark says, beside him. We went so far as to have the waiter split the cooked steak into two equal portions, much to the amused fascination of our tablemates. I ate roughly three-quarters of mine. Calvin was two ounces short. “Calvin Bakker has a pretty solid ring to it,” I say. He laugh-groans. “What did I get myself into?” “A marriage to a farm girl,” I say. “It’s best you learn on day one that I take my eating very seriously.

The thing that has to be explained in human relations is precisely the fascination of the person who holds or symbolizes power. There is something about him that seems to radiate out to others and to melt them into his aura, a “fascinating effect,” as Christine Olden called it, of “the narcissistic personality”3 or, as Jung preferred to call him, the “mana-personality.

People who believe happiness comes ‘from the world’ often also falsely believe it originates from status. We may argue that it is related to the fascination with wealth, and sometimes it is. However, in essence it is about power, or an elevated position, in whatever form – whether related to riches or not. It is about enjoying a standing of relative authority – albeit only in appearance or title.

The fascination of any search after truth lies not in the attainment, which at best is found to be very relative, but in the pursuit, where all the powers of the mind and character are brought into play and are absorbed by the task. One feels oneself in contact with something that is infinite and one finds joy that is beyond expression in sounding the abyss of science and the secrets of the infinite mind.

Safely past the livery stable, we crossed back over Maple Street. We usually met a relative or two. Sometimes it was Uncle Fred, my father’s oldest brother, who had a fascinating bald head. After we passed him, Mother said, “You mustn’t stare at Uncle Fred’s bald head. You might hurt his feelings.” How could I hurt his feelings when I so admired his bald head? I once tried to cut off my own hair so I could be bald, too.

I had been through no war and yet I related to that feeling of pain contained in every new day, as “Dawn breaks open like a wound that bleeds afresh.” It fascinated me how depression and anxiety overlap with posttraumatic stress disorder. Had we been through some trauma we didn’t know about? Was the noise and speed of modern life the trauma for our caveman brains? Was I that soft? Or was life a kind of war most people didn’t see?

Q. Which is my favorite country? A. The United States of America. Not because I'm chauvinistic or xenophobic, but because I believe that we alone have it all, even if not to perfection. The U.S. has the widest possible diversity of spectacular scenery and depth of natural resources; relatively clean air and water; a fascinatingly heterogeneous population living in relative harmony; safe streets; few deadly communicable diseases; a functioning democracy; a superlative Constitution; equal opportunity in most spheres of life; an increasing tolerance of different races, religions, and sexual preferences; equal justice under the law; a free and vibrant press; a world-class culture in books,films, theater, museums, dance, and popular music; the cuisines of every nation; an increasing attention to health and good diet; an abiding entrepreneurial spirit; and peace at home.

She was ashamed not only of her situation but of her reaction to it. She had never felt any pity for the unpopular girls who skulked in dressing-rooms because they could attract no partners on the floor, or for girls who were outsiders at Lake Forest, and now she was like them--hiding miserably out of life. Alarmed lest already the change was written in her face, she paused in front of the mirror, fascinated as ever by what she found there.

All my moral and intellectual being is penetrated by an invincible conviction that whatever falls under the dominion of our senses must be in nature and, however exceptional, cannot differ in its essence from all the other effects of the visible and tangible world of which we are a self-conscious part. The world of the living contains enough marvels and mysteries as it is—marvels and mysteries acting upon our emotions and intelligence in ways so inexplicable that it would almost justify the conception of life as an enchanted state. No, I am too firm in my consciousness of the marvelous to be ever fascinated by the mere supernatural which . . . is but a manufactured article, the fabrication of minds insensitive to the intimate delicacies of our relation to the dead and to the living, in their countless multitudes; a desecration of our tenderest memories; an outrage on our dignity.

Whatever the future brings, Vogel believes that his research with plants can help man to the recognition of long-ignored truths. By developing simple training kits, which he is presently designing, he thinks he can teach children to release their emotions and watch the effects in a measurable way. "They can thus learn the art of loving," says Vogel, "and know truly that when they think a thought they release a tremendous power or force in space. By knowing that they are their thoughts, they will know how to use thinking to achieve spiritual, emotional, and intellectual growth.

A work of art, if it is to be of spiritual import, need not be a "work of genius"; the authenticity of sacred art is guaranteed by its prototypes. A certain monotony is in any case inseparable from traditional methods; amid all the gaiety and pageantry that are the privilege of art, this monotony safeguards spiritual poverty - the non-attachment of the "poor in spirit" (Matt. 5:3) - and prevents individual genius from foundering in some sorts of hybrid monomania; genius is as it were absorbed by the collective style, with its norm derived from the universal. It is by the qualitative interpretations, to whatever degree, of the sacred models that the genius of the artist shows itself in a particular art; that is to say: instead of squandering itself in "breadth", it is refined and developed in "depth". One need only to think of an art such that of the ancient Egypt to see clearly how severity of style can itself lead to extreme perfection. This allows us to understand how, at the time of the Renaissance, artistic geniuses suddenly sprang up almost everywhere, and with an overflowing vitality. The phenomenon is analogous to what happens in the soul of one who abandons a spiritual discipline. Psychic tendencies that have been kept in the background suddenly come to the fore, accompanied by a glittering riot of new sensations with the compulsive attaction of as yet unexhausted possibilities; but they lose their fascination as soon as the initial pressure of the soul is relaxed. Nevertheless, the emancipation of the "ego" being thenceforth the dominant motive, individualistic expansivity will continue to assert itself: it will conquer new planes, relatively lower than the first, the difference in psychic"levels" acting as the source of potential energy. This is the whole secret of the Promethean urge of the Renaissance.

Attempting to express his gratitude to the men of Easy Company, he pondered, 'What is my attachment to men such as yourself, whom I have never met? Is it respect because you put your own life on the line to ensure younger people like me have the world we live in today? Is it awe that you could live from day to day watching friends being gunned down or blown apart and still get up the next day prepared to face the same horrors? Or perhaps, fascination at how you and your comrades were able to return to relative normality after the war, with the ghosts of the dead watching what you made of the life they were denied?

Of course, it would have been even more exciting if Einstein had trusted his original equations and simply announced that his general theory of relativity predicted that the universe is expanding. If he had done that, then Hubble’s confirmation of the expansion more than a decade later would have had as great an impact as when Eddington confirmed his prediction of how the sun’s gravity would bend rays of light. The Big Bang might have been named the Einstein Bang, and it would have gone down in history, as well as in the popular imagination, as one of the most fascinating theoretical discoveries of modern physics.52

Moody was not unaware of the advantage his inscrutable grace afforded him. Like most excessively beautiful persons, he had studied his own reflection minutely and, in a way, knew himself from the outside best; he was always in some chamber of his mind perceiving himself from the exterior. He had passed a great many hours in the alcove of his private dressing room, where the mirror tripled his image into profile, half-profile, and square: Van Dyck's Charles, though a good deal more striking. It was a private practice, and one he would likely have denied--for how roundly self-examination is condemned, by the moral prophets of our age! As if the self had no relation to the self, and one only looked in mirrors to have one's arrogance confirmed; as if the act of self-regarding was not as subtle, fraught, and ever-changing as any bond between twin souls. In his fascination Moody sought less to praise his own beauty than to master it. Certainly whenever he caught his own reflection, in a window box, or in a pane of glass after nightfall, he felt a thrill of satisfaction--but as an engineer might feel, chancing upon a mechanism of his own devising and finding it splendid, flashing, properly oiled and performing exactly as he had predicted it should.

tip for applying this learning: To get people to “fall in love” with your ideas, don’t solely rely on numbers and data. People can tune out this type of input relatively easily. But if you communicate with a story or experience, you create an emotion. Start your next meeting with a story instead of a spreadsheet. Make your audience feel as well as think. Connect emotionally with them by telling a personal anecdote that reinforces the point of your presentation. Or draw upon a nostalgic shared memory. Once you inspire emotion, your listener will be less likely to disengage, and more likely to remember and respond to your message.

The things that happened in those camps still have power enough to make the stomach flutter with nausea. I feel that way myself, although the only close relative I ever had in the camps was my grandfather, and he died when I was three. But maybe there is something about what the Germans did that exercises a deadly fascination over us—something that opens the catacombs of the imagination. Maybe part of our dread and horror comes from a secret knowledge that under the right—or wrong—set of circumstances, we ourselves would be willing to build such places and staff them. Black serendipity. Maybe we know that under the right set of circumstances the things that live in the catacombs would be glad to crawl out.

EB: 'Ll showed me a long verse-letter, very obscene, he’d received from Dylan T[Thomas] before D’s last trip here [New York]—very clever, but it really can’t be published for a long, long time, he’s decided. About people D. met in the U.S. etc.—one small sample: A Streetcar Named Desire is referred to as 'A truck called F———.' RL: 'Psycho-therapy is rather amazing—something like stirring up the bottom of an aquarium—chunks of the past coming up at unfamiliar angles, distinct and then indistinct.' RL: 'I have just finished the Yeats Letters—900 & something pages—although some I’d read before. He is so Olympian always, so calm, so really unrevealing, and yet I was fascinated.' RL: 'Probably you forget, and anyway all that is mercifully changed and all has come right since you found Lota. But at the time everything, I guess (I don’t want to overdramatize) our relations seemed to have reached a new place. I assumed that would be just a matter of time before I proposed and I half believed that you would accept. Yet I wanted it all to have the right build-up. Well, I didn’t say anything then.' EB: 'so I suppose I am just a born worrier, and that when the personal worries of adolescence and the years after it have more or less disappeared I promptly have to start worrying about the decline of nations . . . But I really can’t bear much of American life these days—surely no country has ever been so filthy rich and so hideously uncomfortable at the same time.

I am fascinated by the evolution of language, and how local versions diverge to become dialects like Cornish English and Geordie and then imperceptibly diverge further to become mutually unintelligible but obviously related languages like German and Dutch. The analogy to genetic evolution is close enough to be illuminating and misleading at the same time. When populations diverge to become species, the time of separation is defined as the moment when they can no longer interbreed. I suggest that two dialects should be deemed to reach the status of separate languages when they have diverged to an analogously critical point: the point where, if a native speaker of one attempts to speak the other it is taken as a compliment rather than as an insult.

But Alfonso was no mere historian. Living long before the modern divide into “two cultures”—the sciences and the humanities—he was a renaissance man avant la lettre, multifaceted and as committed to the sciences as to the arts, and it is here, above all, that the deepest roots of the image of the Wise King are revealed. Muslim models of rulership largely inspired his fascination with the “philosophy of nature,” especially with the related fields of astronomy, astrology, and magic. Some of these models were very old, harkening back to the golden days of the caliphate in Baghdad. There, in the ninth and tenth centuries, the caliphs of the Abbasid dynasty—anxious to soak up the ancient Greek learning of the Hellenistic world that they were conquering—had founded a school of translation that came to be known as the House of Wisdom.

The old woman was not a quitter. She had her story goal – to get home – and I the reader had my story question: Would she get home that night? So she kept moving along intent on her story goal, and soon came to a pool of water. “Water, water, quench fire,” she urged. “Fire won’t burn stick, stick won’t beat dog, dog won’t bite pig, pig won’t jump over the stile, and I won’t get home tonight!” But – you guessed it – the water wouldn’t. So – but you’ve begun to get the idea, I’m sure. As a small child, I was not only fascinated with this story, but can still recall a certain degree of worry and tension in me as my mother read the tale to me over and over again. It was only many years later that it dawned on me that the story worked because all the scenes worked so well, all relating very clearly to the story question, and all ending in a disaster.

Descartes argued “I think, therefore I am,” and people after Freud translated that into the modern vernacular by saying, “I feel, therefore I am a self”; modern evangelicals of the relational type seem to have added their own quirk to it by saying that “I feel religiously, therefore I am a self.” The search for the religious self then becomes a search for religious good feelings. But the problem with making good feelings the end for which one is searching is, as Henry Fairlie argues, that it is possible to feel good about oneself, even religiously, “in states of total vacuity, euphoria, intoxication, and self-indulgence, and it is even possible when we are doing wrong and know what we are doing.” This kind of self-fascination is by no means an excrescence of an otherwise robust sector of religious life. It is at the very center of evangelicalism.

Both vitamin pills and vegetables are loaded with essential nutrients, but not in the same combinations. Spinach is a good source of both vitamin C and iron. As it happens, vitamin C boosts iron absorption, allowing the body to take in more of it than if the mineral were introduced alone. When I first started studying nutrition, I became fascinated with these coincidences, realizing of course they're not coincidences. Human bodies and their complex digestive chemistry evolved over millenia in response to all the different foods--mostly plants--they raised or gathered from the land surrounding them. They may have died young from snakebite or blunt trauma, but they did not have diet-related illnesses like heart disease and Type II diabetes that are prevalent in our society now, even in some young adults and children. [from an entry by Barbara Kingsolver's daughter Camille]

All my moral and intellectual being is penetrated by an invincible conviction that whatever falls under the dominion of our senses must be in nature and, however exceptional, cannot differ in its essence from all the other effects of the visible tangible world of which we are a self-conscious part. The world of the living contains enough marvels and mysteries as it is - marvels and mysteries acting upon our emotions and intelligence in ways so inexplicable that it would almost justify the conception of life as an enchanted state. No, I am too firm in my consciousness of the marvelous to be ever fascinated by the mere supernatural which (take it any way you like) is but a manufactured article, the fabrication of minds insensitive to the intimate delicacies of our relation to the dead and to the living, in their countless multitudes; a desecration of our tenderest memories; an outrage on our dignity.

A fascinating study done by Professor Vicki Medvec reveals the relative importance of subjective attitudes over and above objective circumstances. Medvec studied Olympic medalists and discovered that bronze medalists were quantifiably happier than silver medalists. Here's why: Silver medalists tended to focus on how close they were to winning gold, so they weren't satisfied with silver; bronze medalists tended to focus on how close they came to not winning a medal at all, so they were just happy to be on the medal stand. How we feel isn't determined by objective circumstances. If that were the case, silver medalists would always be happier than bronze medalists because of objectively better results. But how we feel isn't circumstantial. It is perceptual. Our feelings are determined by our subjective focus. Your focus determines your reality. The outcome of your life will be determined by your outlook on life.

I can't get over the fact that Descartes compared the human body to a machine or an automaton." "The comparison was based on the fact that people in his time were deeply fascinated by machines and the workings of clocks, which appeared to have the ability to function of their own accord. The word 'automaton' means precisely that -- something that moves of its own accord. It was obviously only an illusion that they moved of their own accord. An astronomical clock, for instance, is both constructed and wound up by human hands. Descartes made a point of the fact that ingenious inventions of that kind were actually assembled very simply from a relatively small number of parts compared with the vast number of bones, muscles, nerves, veins and arteries that the human and the animal body consists of. Why should God not be able to make an animal or a human body based on mechanical laws?" "Nowadays there is a lot of talk about 'artificial intelligence'." "Yes, that is the automaton of our time...

A 2011 study done by Alan Krueger, a Princeton economics professor who served for two years as the chairman of President Obama’s Council of Economic Advisers, and Stacy Dale, an analyst with Mathematica Policy Research, tried to adjust for that sort of thing. Krueger and Dale examined sets of students who had started college in 1976 and in 1989; that way, they could get a sense of incomes both earlier and later in careers. And they determined that the graduates of more selective colleges could expect earnings 7 percent greater than graduates of less selective colleges, even if the graduates in that latter group had SAT scores and high school GPAs identical to those of their peers at more exclusive institutions. But then Krueger and Dale made their adjustment. They looked specifically at graduates of less selective colleges who had applied to more exclusive ones even though they hadn’t gone there. And they discovered that the difference in earnings pretty much disappeared. Someone with a given SAT score who had gone to Penn State but had also applied to the University of Pennsylvania, an Ivy League school with a much lower acceptance rate, generally made the same amount of money later on as someone with an equivalent SAT score who was an alumnus of UPenn. It was a fascinating conclusion, suggesting that at a certain level of intelligence and competence, what drives earnings isn’t the luster of the diploma but the type of person in possession of it. If he or she came from a background and a mindset that made an elite institution seem desirable and within reach, then he or she was more likely to have the tools and temperament for a high income down the road, whether an elite institution ultimately came into play or not. This was powerfully reflected in a related determination that Krueger and Dale made in their 2011 study: “The average SAT score of schools that rejected a student is more than twice as strong a predictor of the student’s subsequent earnings as the average SAT score of the school the student attended.

[11] “There are many Europeans who began by surrendering completely to the influence of the Christian symbol until they landed themselves in a Kierkegaardian neurosis, or whose relation to God, owing to the progressive impoverishment of symbolism, developed into an unbearably sophisticated I-You relationship—only to fall victims in their turn to the magic and novelty of Eastern symbols. This surrender is not necessarily a defeat; rather it proves the receptiveness and vitality of the religious sense. We can observe much the same thing in the educated Oriental, who not infrequently feels drawn to the Christian symbol or to the science that is so unsuited to the Oriental mind, and even develops an enviable understanding of them. That people should succumb to these eternal images is entirely normal, in fact it is what these images are for. They are meant to attract, to convince, to fascinate, and to overpower. They are created out of the primal stuff of revelation and reflect the ever-unique experience of divinity

Thomas A. Edison told his associates that "Carver is worth a fortune" and backed up his statement by offering to employ the black chemist at an astronomically high salary. Carver turned down the offer. Henry Ford, who thought Carver "the greatest scientist living," tried to get him to come to his River Rouge establishment, with an equal lack of success. Because of the strangely unaccountable source from which his magic with plant products sprang, his methods continued to be as wholly inscrutable as Burbank's to scientists and to the general public. Visitors finding Carver puttering at his workbench amid a confusing clutter of molds, soils, plants, and insects were baffled by the utter and, to many of them, meaningless simpFcity of his replies to their persistent pleas for him to reveal his secrets. To one puzzled interlocutor he said: "The secrets are in the plants. To elicit them you have to love them enough." "But why do so few people have your power?" the man persisted. "Who besides you can do these things?" "Everyone can," said Carver, "if only they believe it.

The cosmic sculptor had felt compelled to dot pupils onto the universe, yet had a tremendous terror of granting it sight. This balance of fear and desire resulted in the tininess of the stars against the hugeness of space, a declaration of caution above all. “See how the stars are points? The factors of chaos and randomness in the complex makeups of every civilized society in the universe get filtered out by the distance, so those civilizations can act as reference points that are relatively easy to manipulate mathematically.” “But there’s nothing concrete to study in your cosmic sociology, Dr. Ye. Surveys and experiments aren’t really possible.” “That means your ultimate result will be purely theoretical. Like Euclidean geometry, you’ll set up a few simple axioms at first, then derive an overall theoretic system using those axioms as a foundation.” “It’s all fascinating, but what would the axioms of cosmic sociology be?” “First: Survival is the primary need of civilization. Second: Civilization continuously grows and expands, but the total matter in the universe remains constant.” The

The idea that modern civilization started practically from scratch, from a single source of ape-men several millennia ago, has distorted, or caused to be ignored, information that has reached us just as much by tradition as through archaeological finds. We are so fascinated by the technological advances of the last centuries of modern civilization that we simply forget the periods of obscurantism that preceded them and the differences in the level of development of the various peoples of the world. We tend to consider "progress" a continuous and general phenomenon stretching from the apes to Einstein. Yet the history of man is not one of regular development. It is characterized by a succession of developments and regressions related to astrological and climatic cycles. Barbaric races, still in their infancy, destroy civilizations that had been developed by older, more evolved populations, doing away with the sciences and arts, yet allowing some scraps of knowledge to survive which serve as the basis of the development of new cultures. On all continents we can find traces of outstanding cultures and advanced technologies belonging to bygone ages, followed by periods of barbarism and ignorance.

Some of his authors were so mulishly stubborn about altering their own work, one would think he had suggested changing text in the Bible. Amanda was easy to work with, and she did not harbor great pretensions about herself or her writing. In fact, she was relatively modest about her talents, to the extent of appearing surprised and uncomfortable when he praised her. The plot of 'Unfinished Lady' centered on a young woman who tried to live strictly according to society's rules, yet couldn't make herself accept the rigid confinement of what was considered proper. She made fatal errors in her private life- gambling, taking a lover outside of marriage, having a child out of wedlock- all due to her desire to obtain the elusive happiness she secretly longed for. Eventually she came to a sordid end, dying of venereal disease, although it was clear that society's harsh judgements had caused her demise fully as much as disease. What fascinated Jack was that Amanda, as the author, had refused to take a position on the heroine's behavior, neither applauding nor condemning it. Clearly she had sympathy for the character, and Jack suspected that the heroine's inner rebelliousness reflected some of Amanda's own feelings.

Through the spectacles of geology, terra firms becomes terra mobilis, and we are forced to reconsider our beliefs of what is solid and what is not. Although we attribute to stone great power to hold back time, to refuse its claims (cairns, stone tablets, monuments, statuary), this is true only in relation to our own mutability. Looked at in the context of the bigger geological picture, rock is as vulnerable to change as any other substance. Above all, geology makes explicit challenges to our understanding of time. It giddies the sense of here-and-now. The imaginative experience of what the writer John McPhee memorably called 'deep time' - the sense of time whose units are not days, hours, minutes or seconds but millions of years or tens of millions of years - crushes the human instant; flattens it to a wafer. Contemplating the immensities of deep time, you face, in a way that is both exquisite and horrifying, the total collapse of your present, compacted to nothingness by the pressures of pasts and futures too extensive to envisage. And it is a physical as well as a cerebral horror, for to acknowledge that the hard rock of a mountain is vulnerable to the attrition of time is of necessity to reflect on the appalling transience of the human body.

Cam awakened slowly as he felt his wife’s voluptuous body snuggling close to his. She always slept in a nightgown made of modest white cambric, with infinite numbers of tucks and tiny ruffles. It never failed to stir him, knowing what splendid curves were concealed beneath the demure garment. The nightgown had ridden up to her knees during the night. One of her bare legs was hooked over his, her knee resting near his groin. The slight roundness of her stomach pressed against his side. Pregnancy had made her feminine form more ample and delicious. There was a glow about her these days, a burgeoning vulnerability that filled him with an overwhelming urge to protect her. And knowing that the changes in her were caused by his seed, a part of him growing inside her … that was undeniably arousing. He wouldn’t have expected to be this enthralled by Amelia’s condition. In the eyes of the Rom, childbirth and all related issues were considered mahrime, polluting events. And since the Irish were notoriously suspicious and prudish when it came to matters of reproduction, there wasn’t much on either side of his lineage to justify his delight in his wife’s pregnancy. But he couldn’t help it. She was the most beautiful and fascinating creature he had ever encountered.

Louis de Broglie, who carried the title of prince by virtue of being related to the deposed French royal family, studied history in hopes of being a civil servant. But after college, he became fascinated by physics. His doctoral dissertation in 1924 helped transform the field. If a wave can behave like a particle, he asked, shouldn’t a particle also behave like a wave? In other words, Einstein had said that light should be regarded not only as a wave but also as a particle. Likewise, according to de Broglie, a particle such as an electron could also be regarded as a wave. “I had a sudden inspiration,” de Broglie later recalled. “Einstein’s wave-particle dualism was an absolutely general phenomenon extending to all of physical nature, and that being the case the motion of all particles—photons, electrons, protons or any other—must be associated with the propagation of a wave.”46 Using Einstein’s law of the photoelectric affect, de Broglie showed that the wavelength associated with an electron (or any particle) would be related to Planck’s constant divided by the particle’s momentum. It turns out to be an incredibly tiny wavelength, which means that it’s usually relevant only to particles in the subatomic realm, not to such things as pebbles or planets or baseballs.

Despite the best laid plans and the best people, a project can still experience ruin and decay during its lifetime. Yet there are other projects that, despite enormous difficulties and constant setbacks, successfully fight nature's tendency toward disorder and manage to come out pretty well. What makes the difference? In inner cities, some buildings are beautiful and clean, while others are rotting hulks. Why? Researchers in the field of crime and urban decay discovered a fascinating trigger mechanism, one that very quickly turns a clean, intact, inhabited building into a smashed and abandoned derelict [WK82]. A broken window. One broken window, left unrepaired for any substantial length of time, instills in the inhabitants of the building a sense of abandonment—a sense that the powers that be don't care about the building. So another window gets broken. People start littering. Graffiti appears. Serious structural damage begins. In a relatively short space of time, the building becomes damaged beyond the owner's desire to fix it, and the sense of abandonment becomes reality. The "Broken Window Theory" has inspired police departments in New York and other major cities to crack down on the small stuff in order to keep out the big stuff. It works: keeping on top of broken windows, graffiti, and other small infractions has reduced the serious crime level.

As it was, Einstein merely had the pleasure of renouncing the cosmological constant, which he had never liked.53 In a new edition of his popular book on relativity published in 1931, he added an appendix explaining why the term he had pasted into his field equations was, thankfully, no longer necessary.54 “When I was discussing cosmological problems with Einstein,” George Gamow later recalled, “he remarked that the introduction of the cosmological term was the biggest blunder he ever made in his life.”55 In fact, Einstein’s blunders were more fascinating and complex than even the triumphs of lesser scientists. It was hard simply to banish the term from the field equations. “Unfortunately,” says Nobel laureate Steven Weinberg, “it was not so easy just to drop the cosmological constant, because anything that contributes to the energy density of the vacuum acts just like a cosmological constant.”56 It turns out that the cosmological constant not only was difficult to banish but is still needed by cosmologists, who use it today to explain the accelerating expansion of the universe.57 The mysterious dark energy that seems to cause this expansion behaves as if it were a manifestation of Einstein’s constant. As a result, two or three times each year fresh observations produce reports that lead with sentences along the lines of this one from November 2005: “The genius of Albert Einstein, who added a ‘cosmological constant’ to his equation for the expansion of the universe but then retracted it, may be vindicated by new research.

Sara,” she said, “do you think you can bear living here?” Sara looked round also. “If I pretend it’s quite different, I can,” she answered; “or if I pretend it is a place in a story.” She spoke slowly. Her imagination was beginning to work for her. It had not worked for her at all since her troubles had come upon her. She had felt as if it had been stunned. “Other people have lived in worse places. Think of the Count of Monte Cristo in the dungeons of the Château d’If. And think of the people in the Bastille!” “The Bastille,” half whispered Ermengarde, watching her and beginning to be fascinated. She remembered stories of the French Revolution which Sara had been able to fix in her mind by her dramatic relation of them. No one but Sara could have done it. A well-known glow came into Sara’s eyes. “Yes,” she said, hugging her knees, “that will be a good place to pretend about. I am a prisoner in the Bastille. I have been here for years and years--and years; and everybody has forgotten about me. Miss Minchin is the jailer--and Beck”--a sudden light adding itself to the glow in her eyes--“Becky is the prisoner in the next cell.” She turned to Ermengarde, looking quite like the old Sara. “I shall pretend that,” she said; “and it will be a great comfort.” Ermengarde was at once enraptured and awed. “And will you tell me all about it?” she said. “May I creep up here at night, whenever it is safe, and hear the things you have made up in the day? It will seem as if we were more ‘best friends’ than ever.” “Yes,” answered Sara, nodding. “Adversity tries people, and mine has tried you and proved how nice you are.

Sexual reproduction is thus a costly investment that has to pay for itself in the short run. The details of theory and experiment on this topic are fascinating (see, e.g., Maynard Smith, 1978; Ridley, 1993), but for our purposes a few highlights from the currently front-running theory are most instructive: sex (in vertebrates like us, at least) pays for itself by making our offspring relatively inscrutable to the parasites we endow them with from birth. Parasites have short lifespans compared with their hosts, and typically reproduce many times during their host’s lifetime. Mammals, for instance, are hosts to trillions of parasites. (Yes, right now, no matter how healthy and clean you are, there are trillions of parasites of thousands of different species inhabiting your gut, your blood, your skin, your hair, your mouth, and every other part of your body. They have been rapidly evolving to survive against the onslaught of your defenses since the day you were born.) Before a female can mature to reproductive age, her parasites evolve to fit her better than any glove. (Meanwhile, her immune system evolves to combat them, a standoff—if she is healthy—in an ongoing arms race.) If she gave birth to a clone, her parasites would leap to it and find themselves at home from the outset. They would be already optimized to their new surroundings. If instead she uses sexual reproduction to endow her offspring with a mixed set of genes (half from her mate), many of these genes—or, more directly, their products, in the offspring’s internal defenses—will be alien or cryptic to the ship-jumping parasites. Instead of home sweet home, the parasites will find themselves in terra incognita. This gives the offspring a big head start in the arms race.

Perhaps the elements of memory in plants are superficially treated," he writes, "but at least there they are in black and white! Yet no one calls his friends or neighbors, no one shouts in a drunken voice over the telephone: Have you heard the news? Plants can feel! They can feel pain! They cry out! Plants remember everything!" When Soloukhin began to telephone his own friends in excitement he learned from one of them that a prominent member of the Soviet Academy of Sciences, working in Akademgorodok, the new town inhab­ ited almost exclusively by research scientists on the outskirts of Siberia's largest industrial center, Novosibirsk, had stated: Don't be amazed! We too are carrying out many experiments of this kind and they all point to one thing: plants have memory. They are able to gather impressions and retain them over long periods. We had a man molest, even torture, a geranium for several days in a row. He pinched it, tore it, pricked its leaves with a needle, dripped acid on its living tissues, burned it with a lighted match, and cut its roots. Another man took tender care of the same geranium, watered it, worked its soil, sprayed it with fresh water, supported its heavy branches, and treated its burns and wounds. When we electroded our instruments to the plant, what do you think? No sooner did the torturer come near the plant than the recorder of the instrument began to go wild. The plant didn't just get "nervous"; it was afraid, it was horrified. If it could have, it would have either thrown itself out the window or attacked its torturer. Hardly had this inquisitor left and the good man taken his place near the plant than the geranium was appeased, its impulses died down, the recorder traced out smooth­ one might almost say tender-lines on the graph.

theory. “The development of the general theory of relativity introduced Einstein to the power of abstract mathematical formalisms, notably that of tensor calculus,” writes the astrophysicist John Barrow. “A deep physical insight orchestrated the mathematics of general relativity, but in the years that followed the balance tipped the other way. Einstein’s search for a unified theory was characterized by a fascination with the abstract formalisms themselves.”44 In his Oxford lecture, Einstein began with a nod to empiricism: “All knowledge of reality starts from experience and ends in it.” But he immediately proceeded to emphasize the role that “pure reason” and logical deductions play. He conceded, without apology, that his success using tensor calculus to come up with the equations of general relativity had converted him to a faith in a mathematical approach, one that emphasized the simplicity and elegance of equations more than the role of experience. The fact that this method paid off in general relativity, he said, “justifies us in believing that nature is the realization of the simplest conceivable mathematical ideas.”45 That is an elegant—and also astonishingly interesting—creed. It captured the essence of Einstein’s thought during the decades when mathematical “simplicity” guided him in his search for a unified field theory. And it echoed the great Isaac Newton’s declaration in book 3 of the Principia: “Nature is pleased with simplicity.” But Einstein offered no proof of this creed, one that seems belied by modern particle physics.46 Nor did he ever fully explain what, exactly, he meant by mathematical simplicity. Instead, he merely asserted his deep intuition that this is the way God would make the universe. “I am convinced that we can discover by means of purely mathematical constructions the concepts and the laws connecting them with each other,” he claimed.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

Burbank's power of love, reported Hall, "greater than any other, was a subtle kind of nourishment that made everything grow better and bear fruit more abundantly. Burbank explained to me that in all his experimentation he took plants into his confidence, asked them to help, and assured them that he held their small lives in deepest regard and affection." Helen Keller, deaf and blind, after a visit to Burbank, wrote in Out­ look for the Blind: "He has the rarest of gifts, the receptive spirit of a child. When plants talk to him, he listens. Only a wise child can understand the language of flowers and trees." Her observation was particularly apt since all his life Burbank loved children. In his essay "Training of the Human Plant," later published as a book, he an­ticipated the more humane attitudes of a later day and shocked authori­tarian parents by saying, "It is more important for a child to have a good nervous system than to try to 'force' it along the line of book knowledge at the expense of its spontaneity, its play. A child should learn through a medium of pleasure, not of pain. Most of the things that are really useful in later life come to the children through play and through association with nature." Burbank, like other geniuses, realized that his successes came from having conserved the exuberance of a small boy and his wonder for everything around him. He told one of his biographers: 'Tm almost seventy-seven, and I can still go over a gate or run a foot race or kick the chandelier. That's because my body is no older than my mind-and my mind is adolescent. It has never grown up and I hope it never will." It was this quality which so puzzled the dour scientists who looked askance at his power of creation and bedeviled audiences who expected him to be explicit as to how he produced so many horticultural wonders. Most of them were as disappointed as the members of the American Pomological Society, gathered to hear Burbank tell "all" during a lecture entitled "How to Produce New Fruits and Flowers," who sat agape as they heard him say: In pursuing the study of any of the universal and everlasting laws of nature, whether relating to the life, growth, structure and movements of a giant planet, the tiniest plant or of the psychological movements of the human brain, some conditions are necessary before we can become one of nature's interpreters or the creator of any valuable work for the world. Preconceived notions, dogmas and all personal prejudice and bias must be laid aside. Listen patiently, quietly and reverently to the lessons, one by one, which Mother Nature has to teach, shedding light on that which was before a mystery, so that all who will, may see and know. She conveys her truths only to those who are passive and receptive. Accepting these truths as suggested, wherever they may lead, then we have the whole universe in harmony with us. At last man has found a solid foundation for science, having discovered that he is part of a universe which is eternally unstable in form, eternally immutable in substance.

Benefits of high rise apartments High rise flats have been on high demand for a very long time because of the invaluable benefits which are related to them. All evidence level to the truth that a better majority of tenants desire to stay in these sorts of residences regardless that only some could possibly afford them. This pattern is nevertheless altering due to the low price high rise apartments that are mushrooming. A number of the advantages are as outlined under. Conventionally, excessive rise flats are usually positioned in decent, fascinating urban centers with a purpose to meet the ever rising demand. The urban setting of those residences provides the tenants with limitless and quick access to quite a lot of life-style features together with however not limited to handy public transport, shopping as well as nightlife. There are lots of facilities located round excessive rise apartments. These include services comparable to fitness centers, swimming pools, rooftop decks, a door particular person, safety techniques, managed entry and 24-hour maintenance. Some high rise residences even present visitors with free drinks saving them the money spent on morning tea or coffee. Other kinds of flats do charge for utility services. Dwelling in Excessive Rises does end in lowered utility costs. Due to the bulk services, the rates which might be paid scale back. Even when every particular person pays their very own rates, the ultimate costs are comparatively lower. Most of the flats provide free Wi-Fi companies and for those who plan to use web extra regularly, then it signifies that you will have something to save. Moreover dwelling in High Rise flats makes one feel some sense of community particularly once you understand nicely all your neighbors. This makes someone really feel at a house away from home.

Il faut être fou pour faire apparaître quelqu'un dans un monde fou. C'est vrai. Mais la folie du monde est bien relative. Qui aurait préféré naître parmi les esclaves de l'Empire romain, les paysans européens pendant les épidémies de peste noire ou les ouvriers américains lors de la crise des années 30? Oui, le monde est fou. Mais celui qui endort un enfant assourdit le vacarme de la barbarie humaine. Ce bébé me fascine parce qu'il est vierge de toute morale. Il ne connaît pas encore la bonté, la franchise, l'intégrité, pas plus que la méchanceté, l'avarice ou l'égoïsme. Tout cela lui sera appris. Pour l'heure, c'est une page blanche à encrer, une barque à ancrer.

Horvitz and his colleagues discovered several genes that coded for the effectors of cell death in nematodes—the death genes. Their findings were fascinating in their own right, but by far the most unexpected and important discovery was that there were exact equivalents of the death genes in flies, mammals, and even plants. Cancer researchers had already identified some of these genes at the time, but why or how they were involved in cancer was still unknown. The link with nematodes made their function clear, while giving another demonstration of the fundamental unity of life. Not only were the human genes unambiguously related to the nematode genes, but also they could even be genetically engineered to replace the nematode genes in the worms themselves, where they worked equally well! Mutations that disabled any of the death genes prevented the nematodes from losing their 131 cells by apoptosis as usual. The implications for cancer were plain: if the same mutations had a similar effect in people, then incipient cancer cells would likewise fail to commit suicide, and would instead continue to proliferate to form a tumour.

Fascinatingly, as companies begin to struggle, the third category always seems to grow much faster than the first. In addition, the sudden wave of “semi-performance-related attrition” usually happens in companies that claim to have a “super-high talent bar.” How do all these superstar employees suddenly go from great to crap?

As a novelist it is my job to tell stories that inspire and entertain but I am increasingly mindful that many of these historical tales (which of themselves are fascinating) relate directly to our issues in society today.

Don’t Know Much About Mythology takes a slightly different tack. It sets out to examine all the fascinating myths created by these ancient cultures and relate them to their histories and achievements.

In Chapters 10–12, we’ll explore the fascinating relations between computation, mathematics, physics and mind, and explore a crazy-sounding belief of mine that our physical world not only is described by mathematics, but that it is mathematics, making us self-aware parts of a giant mathematical object.

There are typecastings, un-typecastings and re-typecastings in any imagination. A ‘healthy’ type might be one with a balanced mixture of all three. Demonisation should not be swamped by its antidote. Scepticism is always welcome in a world where few things can be as they seem. The work of international relations might be to see the fused layers of every actor and its background, and not just a layer which is forcibly represented as the worst aspect possible. It would of course be reflective if each actor could see its own fused and often contradictory layers — and they are fused together; they can be analysed in their component parts, but they can’t be unglued completely. However,in a world of ascendancy and descendancy in the international, every actor essentialises its historical glamour and greatness as an underpinning for victory. The trick for the observer — and the wise statesman — is not to believe anything, but to believe everything; to know and believe each and every single layer of the whole even when, often, the layers are far from neatly stacked but are jumbled materials that form a living collage of interchanging shapes and colours — Jackson Pollack in 3d. It would certainly make the study of international relations, and even more so its practice, quite fascinating in more than its present morbidity of power relationships.

In 2009 the staid British journal New Scientist published an article with the provocative title “Space Storm Alert: 90 Seconds from Catastrophe,” which opens with the following lines: It is midnight on 22 September 2012 and the skies above Manhattan are filled with a flickering curtain of colourful light. Few New Yorkers have seen the aurora this far south but their fascination is short-lived. Within a few seconds, electric bulbs dim and flicker, then become unusually bright for a fleeting moment. Then all the lights in the state go out. Within 90 seconds, the entire eastern half of the US is without power. A year later and millions of Americans are dead and the nation’s infrastructure lies in tatters. The World Bank declares America a developing nation. Europe, Scandinavia, China and Japan are also struggling to recover from the same fateful event—a violent storm, 150 million kilometres away on the surface of the Sun. It sounds ridiculous. Surely the Sun couldn’t create so profound a disaster on Earth. Yet an extraordinary report funded by NASA and issued by the US National Academy of Sciences (NAS) . . . claims it could do just that. (Brooks 2009; see also National Research Council 2008 for the NAS report that New Scientist is referring to) In fact, this scenario is not so ridiculous at all, as the New Scientist article goes on to relate (see also International Business Times 2011b; Lovett 2011; National Research Council 2008). Indeed, if things do not change, it may be inevitable.

But nature has protected the lower animal by endowing them with instincts. An instinct is a programmed perception that calls into play a programmed reaction. It is very simple. Animals are not moved by what they cannot react to. They live in a tiny world, a sliver of reality, one neuro-chemical program that keeps them walking behind their nose and shuts out everything else. But look at man, the impossible creature! Here nature seems to have thrown caution to the winds along with the programmed instincts. She created an animal who has no defense against full perception of the external world, an animal completely open to experience. Not only in front of his nose, in his umwelt, but in many umwelten. He can relate not only to animals in his own species, but in some ways to all other species. He can contemplate not only what is edible for him, but everything that grows. He not only lives in this moment, but expands his inner self to yesterday, his curiosity to centuries ago, his fears to five billion years from now when the sun will cool, his hopes to an eternity from now. He lives not only on a tiny territory, nor even on an entire planet, but in a galaxy, in a universe, and in dimensions beyond visible universes. It is appalling, the burden that man bears, the experiential burden. As we saw in the last chapter, man can't even take his own body for granted as can other animals. It is not just hind feet, a tail that he drags, that are just "there," limbs to be used and taken for granted or chewed off when caught in a trap and when they give pain and prevent movement. Man's body is a problem to him that has to be explained. Not only his body is strange, but also its inner landscape, the memories and dreams. Man's very insides-his self-are foreign to him. He doesn't know who he is, why he was born, what he is doing on the planet, what he is supposed to do, what he can expect. His own existence is incomprehensible to him, a miracle just like the rest of creation, closer to him, right near his pounding heart, but for that reason all the more strange. Each thing is a problem, and man can shut out nothing. As Maslow has well said, "It is precisely the godlike in ourselves that we are ambivalent about, fascinated by and fearful of, motivated to and defensive against. This is one aspect of the basic human predicament, that we are simultaneously worms and gods." There it is again: gods with anuses.

While one could argue that those who engage in risky behavior are aware of the risks, perhaps we could all learn a lesson from this Horror. My goal is to strip away the “rose-colored glasses,” the euphemisms and the positive “self-talk” we use to avoid reality. Optimism Bias is real and there is a very interesting TED talk (ideas worth spreading) by Tali Sharot on this topic. Overestimating our ability or good luck is a fascinating concept and relates to all the Unthinkable Horrors as well as to Addictive Behaviors. Sometimes a little skepticism is a good thing.

The urge to impose a single classification on SF ignores the generic hybridity of many novels: incorporation of the Gothic in The Island of Dr Moreau, of Shakespeare’s The Tempest in Forbidden Planet, and so on. The rise of film coincides with the emergence of science fiction. The relation between SF fiction and film has included an ongoing fascination with spectacle and extraordinary special effects like those pioneered in Georges Melies’s A Trip to the Moon (1902) and The Impossible Voyage (1904).

There are long-standing observations and well-documented UFO sightings and these appearances have led to a fascinating worldwide yet still unsolved enigma. ‘’Disclosure: The Future is Now’’ takes a close non-fictional look at the history of UFO sightings and related areas such as alien abductions. Disclosure is also a science fiction story of how events in a distant future depopulated Earth may return to affect the present time. ‘’Release From Stasis’’ is a fictional sequel to the first book’s story.

There are almost no trees in Iceland, and the few that exist are all in the cemeteries; as if there were no dead without trees, as if there were no trees without the dead. They are not planted alongside the grave, as in idyllic Central Europe, but right in the center of it, to force a passerby to imagine the roots down below piercing the body. I am walking with Elvar D. in the Reykjavik cemetery; he stops at a grave whose tree is still quite small; barely a year ago his friend was buried; he starts reminiscing aloud about him: his private life was marked by some secret, probably a sexual one. "Because secrets excite such irritated curiosity, my wife, my daughters, the people around me, all insisted I tell them about it. To such an extent that my relations with my wife have been bad ever since. I couldn't forgive her aggressive curiosity, and she couldn't forgive my silence, which to her was evidence of how little I trusted her." He smiled, and then: "I divulged nothing," he said. "Because I had nothing to divulge. I had forbidden myself to want to know my friends secrets, and I didn't know them." I listened to him with fascination: since childhood I had heard it said that a friend is the person with whom you share your secrets and who even has the right, in the name of friendship, to insist on knowing them. For my Icelander, friendship is something else: it is standing guard at the door behind which your friend keeps his private life hidden; it is being the person who never opens that door; who allows no one else to open it.

In the early 1900s a Serbian scientist named Milutin Milanković studied the Earth’s position relative to other planets and came up with the theory of ice ages that we now know is accurate: The gravitational pull of the sun and moon gently affect the Earth’s motion and tilt toward the sun. During parts of this cycle—which can last tens of thousands of years—each of the Earth’s hemispheres gets a little more, or a little less, solar radiation than they’re used to. And that is where the fun begins. Milanković’s theory initially assumed that a tilt of the Earth’s hemispheres caused ravenous winters cold enough to turn the planet into ice. But a Russian meteorologist named Wladimir Köppen dug deeper into Milanković’s work and discovered a fascinating nuance. Moderately cool summers, not cold winters, were the icy culprit. It begins when a summer never gets warm enough to melt the previous winter’s snow. The leftover ice base makes it easier for snow to accumulate the following winter, which increases the odds of snow sticking around in the following summer, which attracts even more accumulation the following winter. Perpetual snow reflects more of the sun’s rays, which exacerbates cooling, which brings more snowfall, and on and on. Within a few hundred years a seasonal snowpack grows into a continental ice sheet, and you’re off to the races. The same thing happens in reverse. An orbital tilt letting more sunlight in melts more of the winter snowpack, which reflects less light the following years, which increases temperatures, which prevents more snow the next year, and so on. That’s the cycle. The amazing thing here is how big something can grow from a relatively small change in conditions. You start with a thin layer of snow left over from a cool summer that no one would think anything of and then, in a geological blink of an eye, the entire Earth is covered in miles-thick ice.

The causes related to women in the global South that capture Western fascination are often those whose discussion participates in justifying—or at least does not challenge—imperialist domination.

could write forever on the many dangers of ASI and the difficulty of reining in a superior intelligence. The arguments used in Infinity Born, such as perverse instantiation, are all real and have been used by prominent scientists (as have many other arguments that I didn’t include). For those of you interested in a very thorough, complex, and scholarly treatment of the subject matter, I would recommend the book Superintelligence: Paths, Dangers, Strategies (2014) by Nick Bostrom, a Professor at Oxford. The book I found most useful in researching this novel is entitled, Our Final Invention: Artificial Intelligence and the end of the Human Era (James Barrat, 2013). This described the “God in a box” experiment detailed in the novel, for example, and provided a fascinating, easy-to-read perspective on ASI, at least on the fear-mongering side of the debate. I’ve included a few quotes from this book that I thought were relevant to Infinity Born. Page 59—First, there are too many players in the AGI sweepstakes. Too many organizations in too many countries are working on AGI and AGI-related technology for them all to agree to mothball their projects until Friendly AI is created, or to include in their code a formal friendliness module, if one could be made. Page 61—But what if there is some kind of category shift once something becomes a thousand times smarter than we are, and we just can’t see it from here? For example, we share a lot of DNA with flatworms. But would we be invested in their goals and morals even if we discovered that many millions of years ago flatworms had created us, and given us their values? After we got over the initial surprise, wouldn’t we just do whatever we wanted? Page 86—Shall we build our robot replacement or not? On this, de Garis is clear. “Humans should not stand in the way of a higher form of evolution. These machines are godlike. It is human destiny to create them.

The greeting of risk, the willingness to discover through (certain classes of non-lethal) trial and error, the subordination of success to exploration and discovery, and the insistence of finding the edge of patterns; where they fail, all of these seem to contain echoes of field work in Special Forces and related intelligence organizations, the passion for languages, the recognition that much of what passes for effective communication can be achieved with very little actual understanding, the primacy of non-verbal communication in influencing face-to-face communications, a tolerance for ambiguity and vagueness, and a fascination with the unknown.

What made  Brutus to assassinate Caesar in the play 'Julius Caesar'. The reason for all these queries are one.....their mind as completely under the control of the two doshas related to the mind....'rajas' and 'tamas'. As these doshas covered up their mind, their intellect (buddhi) was not able to distinguish between what is wrong and and what is right. Thus their action ended up in their own destruction.

2350)  Albert Einstein's 1921 Nobel Prize in Physics was for the photoelectric effect, not for his work on relativity. He suggested for the first time that light is both a wave and a particle and established the existence of photons.

plants might originate in a supramaterial world of cosmic beings to which, long before the birth of Christ, the Hindu sages referred as “devas,” and which, as fairies, elves, gnomes, sylphs and a host of other creatures, were a matter of direct vision and experience to clairvoyants among the Celts and other sensitives.

To imagine the inner world, both intellectual and emotional, of the other. To use our imagination even in times of strife. To use it also, primarily, in moments when we feel a surge of fury, insult, loathing, righteousness, and the certainty that we have been wronged and that justice is entirely on our side. Perhaps also to ask, once in a while: What if I were her? Or him? Or them? To step, for a moment, into the other's shoes and under his skin, not in order to cross the river or be 'reborn,' but simply to understand, to sense, what is there. What is beyond the river? What do they have in their head? How do they feel over there? And what do we look like from there? Perhaps also to try to find out how deep the dividing river is. How wide? How and where might we build a bridge? This curiosity will not necessarily lead us to a conclusion of sweeping moral relativity, nor to self-abdication in favor of the other's selfhood. It will lead us, sometimes, to an exhilarating discovery, which is that there are many rivers, each of whose banks can show us a different landscape that may be fascinating and surprising. Fascinating even if it is not right for us; surprising even if it does not appeal to us. Perhaps, indeed, in curiosity lies the prospect of openness and tolerance.

My roommate, Liesel, doesn't understand my fascination with occupied Paris. 'There'll never be another Hitler again,' she said, 'so what's the point?' But I don't see it that way." "That may be true," I reply, "but even if we think that something like that could never happen again, we don't know it. Besides, I'm with you. I think there's value in learning from the past.

By the end of World War II, the Germans had developed sarin, a nerve gas far more potent than tabun. The chemistry was relatively simple: methylphosphonyl difluoride mixed with rubbing alcohol.