Fidelity Real Time Quotes

You cannot train yourself to successfully and sustainedly unsee and unhear — you do them all the time, but they also fail, repeatedly, and you cheat, repeatedly, in all sorts of small ways. The book mentions that several times. It is absolutely about absolute fidelity to those particular urban protocols, exaggerations or extrapolations of the ones that I think are all around us all the time in the real world; but it's also about cheating them, and failing them, and playing a little fast and loose, which I think is an inextricable part of such norms.

The Marie bit is easy enough to understand, then. The Laura thing takes a bit more explaining, but what it is, I think, is this: sentimental music has this great way of taking you back somewhere at the same time that it takes you forward, so you feel nostalgic and hopeful all at the same time. Marie’s the hopeful, forward part of it – maybe not her, necessarily, but somebody like her, somebody who can turn things around for me. (Exactly that: I always think that women are going to save me, lead me through to a better life, that they can change and redeem me.) And Laura’s the backward part, the last person I loved, and when I hear those sweet, sticky acoustic guitar chords I reinvent our time together, and, before I know it, we’re in the car trying to sing the harmonies on “Sloop John B” and getting it wrong and laughing. We never did that in real life. We never sang in the car, and we certainly never laughed when we got something wrong. This is why I shouldn’t be listening to pop music at the moment.

This time, something different happens, though. It’s the daydreaming that does it. I’m doing the usual thing—imagining in tiny detail the entire course of the relationship, from first kiss, to bed, to moving in together, to getting married (in the past I have even organized the track listing of the party tapes), to how pretty she’ll look when she’s pregnant, to names of children—until suddenly I realize that there’s nothing left to actually, like, happen. I’ve done it all, lived through the whole relationship in my head. I’ve watched the film on fast-forward; I know the whole plot, the ending, all the good bit. Now I’ve got to rewind and watch it all over again in real time, and where’s the fun in that? And fucking … when’s it all going to fucking stop? I’m going to jump from rock to rock for the rest of my life until there aren’t any rocks left? I’m going to run each time I get itchy feet? Because I get them about once a quarter, along with the utilities bills. More than that, even, during British Summer Time. I’ve been thinking with my guts since I was fourteen years old, and frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains.

Through style, the creative effort reconstructs the world, and always with the same slight distortion that is the mark of both art and protest. Whether it is the enlargement of the microscope which Proust brings to bear on human experience or, on the contrary, the absurd insignificance with which the American novel endows its characters, reality is in some way artificial. The creative force, the fecundity of rebellion, are contained in this distortion which the style and tone of a work represent. Art is an impossible demand given expression and form. When the most agonizing protest finds its most resolute form of expression, rebellion satisfies its real aspirations and derives creative energy from this fidelity to itself. Despite the fact that this runs counter to the prejudices of the times, the greatest style in art is the expression of the most passionate rebellion. Just as genuine classicism is only romanticism subdued, genius is a rebellion that has created its own limits. That is why there is no genius, contrary to what we are taught today, in negation and pure despair.

It's not like anyone said anything that's memorable, or wise, or acute; it's more a mood thing. For the first time in my life I felt as though I'm in an episode of thirtysomethibng rather than an episode of... of... of some sitcom that hasn't been made yet about three guys who work in a record shop and talk about sandwich fillings an sax solos all day, and I love it. And I know thirtysomethibng is soppy and cliche'd and American and naff, I can see that. But when you're sitting in a one-bedroom flat in Crouch End and your business is going down the toilet and your girlfriend's gone off with the guy from the flat upstairs, a starring role in a real-life episode of thirtysomethibng, with all the kids and marriages and jobs and barbecues and k.d. lang CDs that this implies, seems more than one could possibly ask of life.

...[W]hen's it all going to f***ing stop? I’m going to jump from rock to rock for the rest of my life until there aren’t any rocks left? I’m going to run each time I get itchy feet? Because I get them about once a quarter, along with the utilities bills. More than that, even… I’ve been thinking with my guts since I was fourteen years old, and frankly speaking, between you and me, I have come to the conclusion that my guts have s*** for brains. I know what's wrong with Laura. What's wrong with Laura is that I'll never see her for the first or second or third time again. I'll never spend two or three days in a sweat trying to remember what she looks like, never again will I get to a pub half an hour early to meet her staring at the same article in a magazine and looking at my watch every thirty seconds, never again will thinking about her set something off in me like "Let's Get it On" sets something off in me. And sure, I love her and like her and have good conversations, nice sex and intense rows with her, and she looks after me and worries about me and arranges the Groucho for me, but what does all that count for, when someone with bare arms, a nice smile, and a pair of Doc Martens comes into the shop and says she wants to interview me? Nothing, that's what, but maybe it should count for a bit more.

If one person is to be singled out as the one who took that step, it should be Édouard Manet (1832–1883). The painting is not a window on the world, Manet announced. It consists of patches of color on a two-dimensional surface. You don’t look through a painting but at it. Manet proclaimed further that “realism” does not consist of a Kalf-like fidelity to the way things look when they are minutely inspected. When people observe a scene in real life, they perceive it as a whole, focusing on some objects and not on others; seeing motion, with all its blurriness, rather than movement frozen in time; seeing light and shapes rather than specific clouds and shadows.

It is easy to be virtuous in our world because we have adopted easy virtues. We applaud ourselves for our goodness, but it costs nothing to be “good” in modern times. A man can be good just by sitting in his living room. The couch potato is the new paragon of virtue, exceeded in goodness only by the man in a coma. Virtue has been pulled down from its lofty perch and made accessible to the inert. By this standard, the most virtuous thing on the planet is a turnip or a blade of grass. It just sits there and says nothing and does nothing and does not get in the way. The church, once the stalwart defender of real virtues, now promotes cheap and shallow ones. Christians are not often exhorted to courage, chastity, fidelity, temperance, and modesty anymore. Those virtues require action and sacrifice and intention and thought and sometimes pain. They ask you to do something for their sake, become something, be something. These are the formidable, inconvenient virtues. You must rise to them because they will not come down to you. Luckily for us, we are no longer asked to strive for those high virtues. Instead we are encouraged to be welcoming, accepting, and tolerant. The turnip virtues. Compassionate, too. Always compassionate. And I agree, of course, that a Christian ought to be welcoming, accepting, and tolerant. Certainly he must be compassionate. But these virtues have superseded and ultimately consumed all the others.

Honestly, sir,” I said, “I don’t see why you’re making such a fuss.” We had excused ourselves to speak privately for a moment, leaving poor Charlie politely rocking on his heels in the foyer. The office was warm and smelled of sage and witch hazel, and the desk was littered with bits of twine and herbs where Jackaby had been preparing fresh wards. Douglas had burrowed into a nest of old receipts on the bookshelf behind us and was sound asleep with his bill tucked back into his wing. I had given up trying to get him to stop napping on the paperwork. “You’re the one who told me that I shouldn’t have to choose between profession and romance,” I said. “I’m not the one making a fuss. I don’t care the least bit about your little foray into . . . romance.” Jackaby pushed the word out of his mouth as though it had been reluctantly clinging to the back of his throat. “If anything, I am concerned that you are choosing to make precisely the choice that I told you you should not make!” “What? Wait a moment. Are you . . . jealous?” “Don’t be asinine! I am not jealous! I am merely . . . protective. And perhaps troubled by your lack of fidelity to your position.” “That is literally the definition of jealous, sir. Oh, for goodness’ sake. I’m not choosing Charlie over you! I’m not going to suddenly stop being your assistant just because I spend time working on another case!” “You might!” he blurted out. He sank down into the chair at his desk. “You just might.” “Why are you acting like this?” He pinched the bridge of his nose. “Because things change. Because people change. Because . . . because Charlie Barker is going to propose,” he said. He let his hand drop and looked me in the eyes. “Marriage,” he added. “To you.” I blinked. “I miss a social cue or two from time to time, but even I’m not thick enough to believe all that was about analyzing bloodstains together. He has the ring. It’s in his breast pocket right now. He’s attached an absurd level of emotional investment to the thing—I’m surprised it hasn’t burned a hole right through the front of his jacket, the way its aura is glowing. He’s nervous about it. He’s going to propose. Soon, I would guess.” I blinked. The air in front of me wavered like a mirage, and in another moment Jenny had rematerialized. “And if he does,” she said softly, “it will be Abigail’s decision to face, not yours. There are worse fates than to receive a proposal from a handsome young suitor.” She added, turning to me with a grin, “Charlie is a good man.” “Yes, fine! But she has such prodigious potential!” Jackaby lamented. “Having feelings is one thing—I can grudgingly tolerate feelings—but actually getting married? The next thing you know they’ll be wanting to do something rash, like live together ! Miss Rook, you have started something here that I am loath to see you leave unfinished. You’ve started becoming someone here whom I truly want to meet when she is done. Choosing to leave everything you have here to go be a good man’s wife would be such a wretched waste of that promise.” He faltered, looking to Jenny, and then to the floorboards. “On the other hand, you should never have chosen to work for me in the first place. It remains one of your most ill-conceived and reckless decisions to date—and that is saying something, because you also chose to blow up a dragon once.” He sighed. “Jenny is right. You could make a real life with that young man, and you shouldn’t throw that away just to hang about with a fractious bastard and a belligerent duck.” He sagged until his forehead was resting on his desk.

First, fidelity. The dictionary defines fidelity as a strict and continuing faithfulness to an obligation, trust, or duty. To my mind, that word on our shield reminds us that the FBI must abide two obligations at the same time. First, the FBI must be independent of all political forces or interests in this country. In a real sense, it must stand apart from other institutions in American life. But, second, at the same time, it must be part of the United States Department of Justice, and constrained by the rule of law and the checks and balances built into our brilliant design by our nation’s founders.

MVP Testing. Prototyping and prototype testing should proceed in iterative loops until a dominant design emerges. Based on test feedback, designers should reject some prototypes and refine others, producing higher-fidelity versions. Once they converge on a single, favored solution, it’s time for minimum viable product testing. An MVP is a prototype—a facsimile of the future product. What distinguishes an MVP from other prototypes is how it is tested. Rather than sitting across a table, getting verbal feedback from a reviewer, you put a prototype that seems like a real product in the hands of real customers in a real-world context. The goal is to quickly but rigorously test assumptions about the demand for your solution—and gain what Eric Ries calls “validated learning”—with as little wasted effort as possible.

Right now, We are living in perhaps the most exciting time in history to buy, own or play that eternal instruments, The piano Cover. What is your goal is to purchase something as small as software that can record what you want to play, a newly designed player piano, a digital machine or a classic phonetic model, there have never been as many options for the trencherman. Player Pianos Also called reproducing pianos. this class of instrument describe a modern update on the paper-outcry player pianos you keep in mind from old movies, and they have grown enormously in popularity over the final decennial. These are not digital instruments they are real, philological pianos with hammers and rope that can be played generally. but they can also start themselves. using filthy electronic technology. Instead of shove paper, they take their hint from lethargic disks, specially formatted CDs or internal memory systems. different manufacturers offer vast sanctum of pre-recorded titles for their systems. music in every genre from pop to the classics filed by some of the earth’s top pianists. These sophisticated systems arrest every nuance of the original performances and play them back with dramatic accuracy providing something that’s actually so much better than CD fidelity because the activities are live. Watch my new cover : Dancing on my own piano Thanks to these new systems, many people who do not play the piano are enjoying live piano music at any time of at morning, night and day. How many they are concurrent dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre period. For people who do play the piano, these systems can be used to record their own piano deeds, Interface by- Computers, aid in music education, assist with composing and many other applications. In short, these modern marvels aren’t your grandfather's’ player pianos! If you want to learn see the video first : Dancing on my own piano cover

All things considered, it is difficult to see Julius Evola as any kind of fascist at all. … Evola never was any kind of fascist. He was neither a ‘cryptofascist,’ a ‘parafascist,’ a ‘superfascist,’ nor a ‘neofascist.’ He was and always remained an occultist, a pagan ‘magus’. … The fact is that because fascism is considered so reprehensible, Anglo-American academics do not feel themselves obliged to treat the subject with any professional detachment. Cavalier and irresponsible claims can and have been made. … Since Fascism is almost universally held to be an unmitigated evil, no one really expects to be held accountable for their treatment of its ideas. The results are apparent. Very few academics would tolerate similar treatment of Marxist, or Marxist-Leninist, ideas. The consequence is that, more often than not, we are treated to a caricature of Fascist thought. Few academics bother to read the primary literature. That is held to be an unconscionable waste of time, since everyone knows, intuitively, that Fascists never entertained any real ideas. It is a common judgment among many that Marx, Lenin, Mao Zedong, and Fidel Castro had real ideas, but Fascists never did. As a result, we have no idea what to expect of the thought of ‘neofascists.’ As we have suggested, some see ‘neofascism’ in the political thought of Reagan Republicans, tax protesters, soccer thugs, skinheads, graveyard vandals, militia members, antisocialists, anti-egalitarians, and anyone who refuses to conform to the strictures of ‘political correctness.’ The results have been intellectually embarrassing. The nonfascist thought of an occultist such as Evola is conceived fascist, while ideas having unmistakable fascist properties often fail to be so considered. This is nowhere more evident than in the treatment of patterns of thought that are somehow insulated from criticism. In the United States, an abundance of revolutionary political thought is just so insulated. Black protest thought is hardly ever considered in a comparative context. More often than not, it is treated as though it were sui generis, a unique product reflecting incomparable experience. Actually, more fascism is to be found in black protest literature than in all the works of Julius Evola —and yet, one is at a loss to find any of it, or any mention of it, in the anthologies of neofascist reflection

The day before I'm supposed to be meeting Caroline for a drink, I develop all the text-book symptons of a crush: nervous stomach, long periods spent daydreaming, an inability to remember what she looks like. I can bring back the dress and the boots, and I can see a fringe, but her face is a blank, and I fill it in with some anonymous rent-a-cracker details - pouty red lips, even though it wax her well-scrubbed english clever-girl look that attracted me to her in the first place; almond-shaped eyes, even though she was wearing sunglasses most of the time; pale, perfect skin, even though I know there'll be an initial twinge of disappointment - this is what all that internal fuss is about? - and then I'll find something to get excited about again: the fact that she's turned up at all, a sexy voice, intelligence, wit, something. And between the second and the third meeting a whole new set of myths will be born. This time, something different happens, though. It's the daydreaming that does it. I'm doing the usual thing - imagining in tiny detail the entire course of the relationship, from first kiss, to bed, to moving in together, to getting married (in the past I have even organized the track listing of the party tapes), to how pretty she'll look when she's pregnant, to names of children - until suddenly I realize that there's nothing left to actually, like, happen. I've done it all, lived through the whole relationship in my head. I've watched the film on fast-forward; I know the whole plot, the ending, all the good bits. Now I've got to rewind and watch it all over again in real time, and where's the fun in that? And fucking... when it's all going to fucking stop? I'm going to jump from rock to rock for the rest of my life until there aren't any rocks left? I'm going to run each time I get itchy feet? Because I get them about once a quarter, along with the utilities bills... I've been thinking with my guts since I was fourteen years old, and frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains.

Could it be that this earthly realm, not in spite of but because of its very density and jagged edges, offers precisely the conditions for the expression of certain aspects of divine love that could become real in no other way? This world does indeed show forth what love is like in a particularly intense and costly way. But when we look at this process more deeply, we can see that those sharp edges we experience as constriction at the same time call forth some of the most exquisite dimensions of love, which require the condition of finitude in order to make sense—qualities such as steadfastness, tenderness, commitment, forbearance, fidelity, and forgiveness. These mature and subtle flavors of love have no real context in a realm where there are no edges and boundaries, where all just flows. But when you run up against the hard edge and have to stand true to love anyway, what emerges is a most precious taste of pure divine love. God has spoken his most intimate name.

Percy is, indeed, a bold and engaging character, and I think that in Percy we can detect something of the artistic dilemmas Peake himself was confronting at the time. Percy is a natural actor, but happens also to be painfully shy, and so adopts the persona of the wild artist – October Trellis – after faking his own suicide, in order to woo Sally Devius. To bury oneself in a false identity, albeit to attain the object of one’s dreams, is indeed a kind of suicide or death. Peake’s pursuit of theatrical success, likewise, was at the cost of the fundamental fidelity of the artist to his own imagination. Ultimately, Peake and Percy rip away “the little civilized twigs” and arrive at “the original branch/ Naked and unadorned”, succeeding in winning Sally as well as remaining true to his real identity. Sadly, financial success eluded Peake, and in The Wit to Woo, when it is considered artistically, his powerful, individual imagination is muted, and is only in evidence once we look beneath the play’s more conventional façade.

Percy is, indeed, a bold and engaging character, and I think that in Percy we can detect something of the artistic dilemmas Peake himself was confronting at the time. Percy is a natural actor, but happens also to be painfully shy, and so adopts the persona of the wild artist – October Trellis – after faking his own suicide, in order to woo Sally Devius. To bury oneself in a false identity, albeit to attain the object of one’s dreams, is indeed a kind of suicide or death. Peake’s pursuit of theatrical success, likewise, was at the cost of the fundamental fidelity of the artist to his own imagination. Ultimately, Peake and Percy rip away “the little civilized twigs” and arrive at “the original branch/ Naked and unadorned”, succeeding in winning Sally as well as remaining true to his real identity. Sadly, financial success eluded Peake, and in The Wit to Woo, when it is considered artistically, his powerful, individual imagination is muted, and is only in evidence once we look beneath the play’s more conventional façade.

Wi-Fi is one of the maximum vital technological developments of the present day age. It’s the wireless networking wellknown that enables us experience all of the conveniences of cutting-edge media and connectivity. But what is Wi-Fi, definitely? The time period Wi-Fi stands for wi-fi constancy. Similar to other wi-fi connections, like Bluetooth, Wi-Fi is a radio transmission generation. Wireless fidelity is built upon a fixed of requirements that permit high-pace and at ease communications among a huge sort of virtual gadgets, get admission to points, and hardware. It makes it viable for Wi-Fi succesful gadgets to get right of entry to the net without the want for real wires. Wi-Fi can function over brief and long distances, be locked down and secured, or be open and unfastened. It’s particularly flexible and is simple to use. That’s why it’s located in such a lot of famous devices. Wi-Fi is ubiquitous and exceedingly essential for the manner we function our contemporary linked world. How does Wi-Fi paintings? Bluetooth Mesh Philips Hue Wi-fi Although Wi-Fi is commonly used to get right of entry to the internet on portable gadgets like smartphones, tablets, or laptops, in actuality, Wi-Fi itself is used to hook up with a router or other get entry to point which in flip gives the net get entry to. Wi-Fi is a wireless connection to that tool, no longer the internet itself. It also affords get right of entry to to a neighborhood community of related gadgets, that's why you may print photos wirelessly or study a video feed from Wi-Fi linked cameras without a want to be bodily linked to them. Instead of the usage of stressed connections like Ethernet, Wi-Fi uses radio waves to transmit facts at precise frequencies, most typically at 2.4GHz and 5GHz, although there are numerous others used in more niche settings. Each frequency range has some of channels which wireless gadgets can function on, supporting to spread the burden in order that person devices don’t see their indicators crowded or interrupted by other visitors — although that does happen on busy networks.

What is the real issue then, according to you?' Scholscher was on the point of replying that men needed another company than their own kind, that they craved it desperately, like an almost physical presence, and that nothing on earth seemed big enough to satisfy that urge, those roots of heaven, as Islam called them, which were forever gripping and torturing man's heart, but he felt that this sort of talk, and indeed of thinking, ill became the Army uniform he was wearing. The feeling dated probably from the time when, as a young cadet at Saint-Cyr, the thin stripe of a sub-lieutenant had been all the horizon to which he aspired. He smiled faintly at the memory of his youth. For a long time the Army uniform had remained for him the very symbol of what he had most fervently desired from the first metaphysical stirrings of adolescence: fidelity to a rule. This forbade certain attitudes, certain states of mind. So he kept his reflections to himself — all the more so since, these last years, he felt less and less need to exchange ideas with other men, because essentially they no longer came to him as questions, but as certainties. He had thus nothing left but minor curiosities. Sucking at his pipe, he gave the Dutchman a very friendly glance. 'What is the issue, according to you, if it isn't elephants?' Haas repeated, in a slightly menacing tone. 'Loneliness, I suppose,' said Scholscher vaguely.

By 9.30 a.m. they were launching a second attack, this time on the ships offshore from Playa Girón. They hit another big freighter, the Rio Escondido, which had disembarked all its troops but was still unloading supplies.