Frame Design For Quotes

What seemed at first like an act of incandescent self-destruction turned out to be the onramp to a bleak treadmill, one that felt designed to eradicate my personality and identity. It didn’t end my self-recrimination and misery. Instead, it illustrated just how good I’d had it living on the street.

Design a flight of stairs for the day a nervous bride descends them. Shape a window to frame a view of a specific tree on a perfect day in autumn.

It is not for nothing that you are named Ransom,” said the Voice... The whole distinction between things accidental and things designed, like the distinction between fact and myth, was purely terrestrial. The pattern is so large that within the little frame of earthly experience there appear pieces of it between which we can see no connection, and other pieces between which we can. Hence we rightly, for our sue, distinguish the accidental from the essential. But step outside that frame and the distinction drops down into the void, fluttering useless wings. He had been forced out of the frame, caught up into the larger pattern… “My name also is Ransom,” said the Voice.

Pantaloons were often worn tight as paint and were not a great deal less revealing, particularly as they were worn without underwear. . . . Jackets were tailored with tails in the back, but were cut away in front so that they perfectly framed the groin. It was the first time in history that men's apparel was consciously designed to be more sexy than women's.

The presumption that what is male is universal is a direct consequence of the gender data gap. Whiteness and maleness can only go without saying because most other identities never get said at all. But male universality is also a cause of the gender data gap: because women aren't seen and aren't remembered, because male data makes up the majority of what we know, what is male comes to be seen as universal. It leads to the positioning of women, half the global population, as a minority. With a niche identity and subjective point of view. In such a framing, women are set up to be forgettable. Ignorable. Dispensable - from culture, from history, a from data. And so, women become invisible.

Thinking like a Freak may sometimes sound like an exercise in using clever means to get exactly what you want, and there’s nothing wrong with that. But if there is one thing we’ve learned from a lifetime of designing and analyzing incentives, the best way to get what you want is to treat other people with decency. Decency can push almost any interaction into the cooperative frame.

More troubling than this oddly timed debate about birth control is the vehemence with which women need to justify or explain why they take birth control—health reasons, to regulate periods, you know, as if there’s anything wrong with taking birth control simply because you want to have sex without that sex resulting in pregnancy. In certain circles, birth control is being framed as whore medicine. We are now dealing with a bizarre new morality where a woman cannot simply say, in one way or another, “I’m on the pill because I like dick.” It’s extremely regressive for women to feel like they need to make it seem like they are using birth control for reasons other than what birth control was originally designed for: to control birth.

Opening night is in a week. Already announced to the papers, already sent out in the newsletter in fancy, glossy, full-color glory. Which means I have two days, max, to finish the framing—easily a week’s worth of work—and then four days for drilling the star maps I’ve already marked on the plywood, painting, wiring, installing, and finessing.Leaving me only one day—the day of the evening gala—to clean and get the actual exhibits set up. It’s impossible. I will make it happen or die trying. I don’t realize I’ve said that last part aloud until I notice Michelle’s horrified face.

In his original design the solicitor's clerk seemed to have forgotten the need for a staircase to link both the floors, and what he had provided had the appearance of an afterthought. Doorways had been punched in the eastern wall and a rough wooden staircase - heavy planks on an uneven frame with one warped unpainted banister, the whole covered with a sloping roof of corrugated iron - hung precariously at the back of the house, in striking contrast with the white-pointed brickwork of the front, the white woodwork and the frosted glass of doors and windows. For this house Mr.Biswas had paid five thousand five hundred dollars.

The dining-room was in the good taste of the period. It was very severe. There was a high dado of white wood and a green paper on which were etchings by Whistler in neat black frames. The green curtains with their peacock design, hung in straight lines, and the green carpet, in the pattern of which pale rabbits frolicked among leafy trees, suggested the influence of William Morris. There was blue delft on the chimneypiece. At that time there must have been five hundred dining-rooms in London decorated in exactly the same manner. It was chaste, artistic, and dull.

US analysis has found that framing human rights issues as women’s rights issues makes male politicians less likely to support legislation, and if a rights bill is mainly sponsored by women, it ends up being watered down and states are less likely to invest resources.63 It seems that democracy – in so far as it pertains to women – is broken.

Seasons is a wise metaphor for the movement of life, I think. It suggests that life is neither a battlefield nor a game of chance but something infinitely richer, more promising, more real. The notion that our lives are like the eternal cycle of the seasons does not deny the struggle or the joy, the loss or the gain, the darkness or the light, but encourages us to embrace it all-and to find in all of it opportunities for growth. If we lived close to nature in an agricultural society, the seasons as metaphor and fact would continually frame our lives. But the master metaphor of our era does not come from agriculture-it comes from manufacturing. We do not believe that we "grow" our lives-we believe that we "make" them. Just listen to how we use the word in everyday speech: we make time, make friends, snake meaning, make money, make a living, make love. I once heard Alan Watts observe that a Chinese child will ask, "How does a baby grow?" But an American child will ask, "How do you make a baby?" From an early age, we absorb our culture's arrogant conviction that we manufacture everything, reducing the world to mere "raw material" that lacks all value until we impose our designs and labor on it.

You are the master builder; you are the architect and the designer of your life. Your thoughts are the brick and mortar with which you erect the frame that literally molds your body, your circumstances, and ultimately your entire life. Thoughts

In political economies, illness is seen as a drag on productivity. Frequent or prolonged illness is often seen as disqualifying or devaluing an individual’s labor power. There is a rush to be over with ill health and get back to work as quickly as possible. Rest is scarce, and all treatment under health capitalism is rationed along class lines. The ways we encounter medicine reflect this dynamic: care is designed around billable encounters, acute care is most easily accessible, and our cultural imaginary frames disease as some thing which is episodic.

It’s not the drug that causes the junkie it’s the laws that causes the junkie because of course the drug laws means that he can’t go and get help because he is afraid of being arrested. He also can’t have a normal life because the war on drugs has made drugs so expensive and has made drug contracts unenforceable which means they can only be enforced through criminal violence. It becomes so profitable to sell drugs to addicts that the drug dealers have every incentive to get people addicted by offering free samples and to concentrate their drug to the highest possible dose to provoke the greatest amount of addiction as possible. Overall it is a completely staggering and completely satanic human calamity. It is the new gulag and in some ways much more brutal than the soviet gulag. In the soviet gulags there was not a huge prison rape problem and in this situation your life could be destroyed through no fault of your own through sometimes, no involvement of your own and the people who end up in the drug culture are walled off and separated as a whole and thrown into this demonic, incredibly dangerous, underworld were the quality of the drugs can’t be verified. Were contracts can’t be enforced except through breaking peoples kneecaps and the price of drugs would often led them to a life of crime. People say “well, I became a drug addict and I lost my house, family, and my job and all that.” It’s not because you became a drug addict but, because there is a war on drugs which meant that you had to pay so much for the drugs that you lost your house because you couldn't go and find help or substitutes and ended up losing your job. It’s all nonsense. The government can’t keep drugs out of prisons for heaven’s sakes. The war on drugs is not designed to be won. Its designed to continue so that the government can get the profits of drug running both directly through the CIA and other drug runners that are affiliated or through bribes and having the power of terrorizing the population. To frame someone for murder is pretty hard but to palm a packet of cocaine and say that you found it in their car is pretty damn easy and the government loves having that power." -Stefan Molyneux

The main hindrance is one's own antagonistic frame of mind. All the systems of Yoga in India and every form of religious discipline, worship, or prayer is designed to overcome the barriers posed by the overcritical intellect, by dogma, skepticism, ego, pride, and other recalcitrant traits of the mind.

You’re sure you want to do this,” Galen says, eyeing me like I’ve grown a tiara of snakes on my head. “Absolutely.” I unstrap the four-hundred-dollar silver heels and spike them into the sand. When he starts unraveling his tie, I throw out my hand. “No! Leave it. Leave everything on.” Galen frowns. “Rachel would kill us both. In our sleep. She would torture us first.” “This is our prom night. Rachel would want us to enjoy ourselves.” I pull the thousand-or-so bobby pins from my hair and toss them in the sand. Really, both of us are right. She would want us to be happy. But she would also want us to stay in our designer clothes. Leaning over, I shake my head like a wet dog, dispelling the magic of hairspray. Tossing my hair back, I look at Galen. His crooked smile almost melts me where I stand. I’m just glad to see a smile on his face at all. The last six months have been rough. “Your mother will want pictures,” he tells me. “And what will she do with pictures? There aren’t exactly picture frames in the Royal Caverns.” Mom’s decision to mate with Grom and live as his queen didn’t surprise me. After all, I am eighteen years old, an adult, and can take care of myself. Besides, she’s just a swim away. “She keeps picture frames at her house though. She could still enjoy them while she and Grom come to shore to-“ “Okay, ew. Don’t say it. That’s where I draw the line.” Galen laughs and takes off his shoes. I forget all about Mom and Grom. Galen, barefoot in the sand, wearing an Armani tux. What more could a girl ask for? “Don’t look at me like that, angelfish,” he says, his voice husky. “Disappointing your grandfather is the last thing I want to do.” My stomach cartwheels. Swallowing doesn’t help. “I can’t admire you, even from afar?” I can’t quite squeeze enough innocence in there to make it believable, to make it sound like I wasn’t thinking the same thing he was. Clearing his throat, he nods. “Let’s get on with this.” He closes the distance between us, making foot-size potholes with his stride. Grabbing my hand, he pulls me to the water. At the edge of the wet sand, just out of reach of the most ambitious wave, we stop. “You’re sure?” he says again. “More than sure,” I tell him, giddiness swimming through my veins like a sneaking eel. Images of the conference center downtown spring up in my mind. Red and white balloons, streamers, a loud, cheesy DJ yelling over the starting chorus of the next song. Kids grinding against one another on the dance floor to lure the chaperones’ attention away from a punch bowl just waiting to be spiked. Dresses spilling over with skin, matching corsages, awkward gaits due to six-inch heels. The prom Chloe and I dreamed of. But the memories I wanted to make at that prom died with Chloe. There could never be any joy in that prom without her. I couldn’t walk through those doors and not feel that something was missing. A big something. No, this is where I belong now. No balloons, no loud music, no loaded punch bowl. Just the quiet and the beach and Galen. This is my new prom. And for some reason, I think Chloe would approve.

But male universality is also a cause of the gender data gap: because women aren't seen and aren't remembered, because male data makes up the majority of what we know, what is male comes to be seen as universal. It leads to the positioning of women, half of the global population, as a minority. With a niche identity and a subjective point of view. In such a framing, women are set up to be forgettable Ignorable. Dispensable - from culture, from history, from data. And so, women become invisible.

An organizational structure carries inherent capabilities as to what can be achieved within its frame.

Successful organizing forces you to look at the big picture, not one small section of the frame, so that the system you design will be complete.

White men have created 95% of the cinematic images we’ve ever seen in American main stream films, have made all the micro-decisions related to the shots, the framing, the lighting, the sound design of movie images that we have ever seen. So powerful is the impact of film and so ubiquitous white men’s perspective in shaping it that their worldview has been normalized to the point of being considered the one true, accurate, and all-inclusive reflection of reality. It is not. It is one narrow prism through which we are all being forced to look.

The frame of the mirror was a deep mahogany and carved with an intricate design of what appeared in the dim light to be leaves and vines. The mirror’s surface was clouded with dust and age, so much that Quinn could not even see his own reflection. On impulse, he rubbed a small circle with the back of his wrist but beneath the dust the glass was still milky and unclear. ~ "The Mirror

The focus on problems, whether wicked or tame, as the primary justifiable trigger for taking action in human affairs has limited our ability to frame change as an outcome of intention and purpose.

Let me tell you something about women, Tigernan,” Ruari offered, stretching his legs and holding up his empty ale bowl to attract the innkeeper’s attention. “I’ve given a bit of thought to them, having lived more years than you. Women are something a man requires, as necessary as air to breathe and ale to drink. I cannot boast of understanding them, mind you, but I suspect nature designed them for a specific purpose, and it would be a mistake to try to change them. “Women render men an invaluable service that may not at first be apparent. They are born to be responsible, to caretake. It is in them to probe their men as they would examine an old cloak, looking for holes that could let the wind through. Women understand survival better than we do, I think. They will nag and probe and provoke until they find a lowered defense, even the smallest hole, then they poke their fingers through and shout, ‘Aha!’ “In this way they force their men to keep their cloaks mended and their weapons in repair, and ultimately this helps them survive. With a woman treading on his heels a man must stay alert and in the proper frame of mind to go out and slay dragons. Never provoke a quarrel with a man who has just had his flaws pointed out to him by some woman.

Precarity designates that politically induced condition in which certain populations suffer from failing social and economic networks of support and become differentially exposed to injury, violence, and death.

Fundamentalism therefore reveals a fissure in society, which is polarized between those who enjoy secular culture and those who regard it with dread. As time passes, the two camps become increasingly unable to understand one another. Fundamentalism thus begins as an internal dispute, with liberalizers or secularists within one’s own culture or nation. In the first instance, for example, Muslim fundamentalists will often oppose their fellow countrymen or fellow Muslims who take a more positive view of modernity, rather than such external foes as the West or Israel. Very often, fundamentalists begin by withdrawing from mainstream culture to create an enclave of pure faith (as, for example, within the ultra-Orthodox Jewish communities in Jerusalem or New York). Thence they will sometimes conduct an offensive which can take many forms, designed to bring the mainstream back to the right path and resacralize the world. All fundamentalists feel that they are fighting for survival, and because their backs are to the wall, they can believe that they have to fight their way out of the impasse. In this frame of mind, on rare occasions, some resort to terrorism. The vast majority, however, do not commit acts of violence, but simply try to revive their faith in a more conventional, lawful way.

The painted aircraft took on sunlight and pulse. Sweeps of color, bands and spatters, airy washes, the force of saturated light—the whole thing oddly personal, a sense of one painter’s hand moved by impulse and afterthought as much as by epic design. I hadn’t expected to register such pleasure and sensation. The air was color-scrubbed, coppers and ochers burning off the metal skin of the aircraft to exchange with the framing desert.

Although a 2015 Pew Research Center report53 found that equal numbers of American men and women play video games, only 3.3%54 of the games spotlighted at press conferences during 2016’s E3 (the world’s largest annual gaming expo) starred female protagonists. This is actually lower than the figure for 2015 which, according to Feminist Frequency, was 9%.55 If female playable characters do make it into a game they are still often framed as just another feature.

an organization is a factory that manufactures judgments and decisions. Every factory must have ways to ensure the quality of its products in the initial design, in fabrication, and in final inspections. The corresponding stages in the production of decisions are the framing of the problem that is to be solved, the collection of relevant information leading to a decision, and reflection and review. An organization that seeks to improve its decision product should routinely look for efficiency improvements at each of these stages. The

Kuhn argued that most research is “normal science”—studies that add more detail to existing knowledge and theories. Normal science, however, usually suppresses the contradictions, the observations that don’t fit the frameworks that the scientific community shares. Over time these discrepancies grow into crises until someone comes along to propose a paradigm shift, a new way to understand natural forces, a new set of questions, a new way to search and research. Kuhn described these paradigm shifts as scientific revolutions. They require paradigm destruction—the shedding of the previous paradigm. The new paradigm changes how scientists understand phenomena. It changes what scientists see and how they act in designing experiments. Paradigm shifts count as insights because the result is a shift from a mediocre frame to one that provides a better understanding of the same phenomenon.

Mr. Wonderful was probably taking his sweet time, right?” “No, it was actually my fault this morning. I was busy with…paperwork.” “Oh. Well, that’s alright. Don’t worry about it. What kind of paperwork?” He smiled. “Nothing important.” Mr. Kadam held the door for me, and we walked out into an empty hallway. I was just starting to relax at the elevator doors when I heard a hotel room door close. Ren walked down the hall toward us. He’d purchased new clothes. Of course, he looked wonderful. I took a step back from the elevator and tried to avoid eye contact. Ren wore a brand new pair of dark-indigo, purposely faded, urban-destruction designer jeans. His shirt was long-sleeved, buttoned-down, crisp, oxford-style and was obviously of high quality. It was blue with thin white stripes that matched is eyes perfectly. He’d rolled up the sleeves and left his shirt untucked and open at the collar. It was also an athletic cut, so it fit tightly to his muscular torso, which made me suck in an involuntary breath in appreciation of his male splendor. He looks like a runway model. How in the world am I going to be able to reject that? The world is so unfair. Seriously, it’s like turning Brad Pitt down for a date. The girl who could actually do it should win an award for idiot of the century. I again quickly ran through my list of reasons for not being with Ren and said a few “He’s not for me’s.” The good thing about seeing his mouthwatering self and watching him walk around like a regular person was that it tightened my resolve. Yes. It would be hard because he was so unbelievably gorgeous, but it was now even more obvious to me that we didn’t belong together. As he joined us at the elevator, I shook my head and muttered under my breath, “Figures. The guy is a tiger for three hundred and fifty years and emerges from his curse with expensive taste and keen fashion sense too. Incredible!” Mr. Kadam asked, “What was that, Miss Kelsey?” “Nothing.” Ren raised an eyebrow and smirked. He probably heard me. Stupid tiger hearing. The elevator doors opened. I stepped in and moved to the corner hoping to keep Mr. Kadam between the two of us, but unfortunately, Mr. Kadam wasn’t receiving the silent thoughts I was projecting furiously toward him and remained by the elevator buttons. Ren moved next to me and stood too close. He looked me up and down slowly and gave me a knowing smile. We rode down the elevator in silence. When the doors opened, he stopped me, took the backpack off my shoulder, and threw it over his, leaving me with nothing to carry. He walked ahead next to Mr. Kadam while I trialed along slowly behind, keeping distance between us and a wary eye on his tall frame.

You’d have to be intolerably ignorant not to recognize the Steele “dossier” for what it was: a politically driven collection of fables designed to defame and discredit Trump. Regardless, once created, it was then appropriated by high government officials at the FBI and DOJ to try to commandeer the election process, defeat Trump, and elevate Clinton. When the odious plot failed to succeed, the conspirators doubled-down and sought ways to destroy the new president. Spying on Trump was one of their gambits. It was the kind of government abuse of surveillance powers that Justice Holmes argued against.

The most successful ruse of neoliberal dominance in both global and domestic affairs is the definition of economic policy as primarily a matter of neutral, technical expertise. This expertise is then presented as separate from politics and culture, and not properly subject to specifically political accountability or cultural critique. Opposition to material inequality is maligned as "class warfare," while race, gender or sexual inequalities are dismissed as merely cultural, private, or trivial. This rhetorical separation of the economic from the political and cultural arenas disguises the upwardly redistributing goals of neoliberalism—its concerted efforts to concentrate power and resources in the hands of tiny elites. Once economics is understood as primarily a technical realm, the trickle-upward effects of neoliberal policies can be framed as due to performance rather than design, reflecting the greater merit of those reaping larger rewards.

If we can agree that the sky is blue, for example, how is it that such agreement is possible? If the world is a world of chance, how could anybody agree on anything? Agreement presupposes a world made by God, designed to be orderly and designed to be known by rational minds. You can see that this kind of argument is presuppositional. It’s appealing to the true knowledge of God that the unbeliever has but suppresses (Rom. 1)—a knowledge that he has in common with the believer. To argue this way is very different from saying, “Let’s assume that the Bible can be false, and let’s judge its truth on the higher authority of our senses and logic.” Now

Southern is a design element these days. A large craft market exists for this Decorative Southernness. Framed art and throw pillows saying – "I Love You Like Biscuits and Gravy" and "Bless Your Heart!" But I've yet to see a "You Don't Look Like You're From Around Here" dish towel. This was the phrase I heard most growing up in small town Florida.

It looks as though your shop is doing well,” Luka said, gazing around. “Could you help me find a gift for a lady friend of mine?” My heart plunged to my green satin slippers, and I had to stare down at Azarte for a minute, petting him hard. Naturally Luka had a “lady friend.” She was probably nobly born: the daughter of a count or a duke. I imagined her having thick dark hair and clear skin, and was bitterly jealous. “Of c-course,” I stammered after a time. “What would she like? A gown? A sash?” If she came in for a fitting, I decided to “accidentally” poke her with every pin. “Hmm, well, she is wearing a lovely gown today,” he said. “Although no sash.” So. He’d already seen her today, and it was not yet noon. I rubbed Azarte’s ears furiously. “What color is her gown?” “It’s sort of green, with more green, and the design looks like stained glass windows,” he said. “It’s very beautiful, like her.” I stopped petting the dog and looked up at him, not sure what I was hearing. “Oh?” My heart thumped painfully. “Yes, so perhaps she doesn’t need a sash after all. No sense gilding the lily.” He gave a melancholy sigh. “But I really would love to give her a very special gift. I was hoping if I did, she might give me a kiss in return, instead of the brotherly hugs I always get instead.” I raised my eyebrows, trying for casual interest even though I could feel my pulse beating in the blood rushing to my cheeks. “I know!” Luka snapped his fingers. “Forget a sash. I’ll give her this!” And with a flourish, he pulled a roll of parchment from his belt pouch. More confused than ever, I unrolled the paper and read. It was a letter from a priest in the Southern Counties, addressed to King Caxel. In it the priest begged for a grant of money. They had recently built a large chapel, the finest that had ever been dedicated to the Triune Gods in that region, and it had only been completed the year before. “But we do need another grant from the crown,” the priest wrote. “For a most heinous act of vandalism has taken place. Our rose-glass window, which illuminates the Triple Altar in glorious colors pleasing to the gods, has been stolen. It was removed from its frame the night before last, and not a pane of it can be found.” “Shardas?” I looked up at Luka with my eyes brimming. “Shardas!” “I have a pair of horses waiting outside,” Luka said. “We can be at Feniul’s cave by nightfall.” I threw my arms around him again, and this time I gave him the kiss he’d been waiting for.

He had combed his hair in a way that revealed his broad forehead, framed by thick hair and eyebrows. His face had become thinner, and the prominent lines of the nose, the mouth, the cheekbones formed a design more pleasing than I remembered. He looked ten years younger, the heaviness of his hips, of his chest, of his stomach had disappeared, he even seemed taller.

Pham Nuwen spent years learning to program/explore. Programming went back to the beginning of time. It was a little like the midden out back of his father’s castle. Where the creek had worn that away, ten meters down, there were the crumpled hulks of machines—flying machines, the peasants said—from the great days of Canberra’s original colonial era. But the castle midden was clean and fresh compared to what lay within the Reprise’s local net. There were programs here that had been written five thousand years ago, before Humankind ever left Earth. The wonder of it—the horror of it, Sura said—was that unlike the useless wrecks of Canberra’s past, these programs still worked! And via a million million circuitous threads of inheritance, many of the oldest programs still ran in the bowels of the Qeng Ho system. Take the Traders’ method of timekeeping. The frame corrections were incredibly complex—and down at the very bottom of it was a little program that ran a counter. Second by second, the Qeng Ho counted from the instant that a human had first set foot on Old Earth’s moon. But if you looked at it still more closely. . .the starting instant was actually some hundred million seconds later, the 0-second of one of Humankind’s first computer operating systems. So behind all the top-level interfaces was layer under layer of support. Some of that software had been designed for wildly different situations. Every so often, the inconsistencies caused fatal accidents. Despite the romance of spaceflight, the most common accidents were simply caused by ancient, misused programs finally getting their revenge. “We should rewrite it all,” said Pham. “It’s been done,” said Sura, not looking up. She was preparing to go off-Watch, and had spent the last four days trying to root a problem out of the coldsleep automation. “It’s been tried,” corrected Bret, just back from the freezers. “But even the top levels of fleet system code are enormous. You and a thousand of your friends would have to work for a century or so to reproduce it.” Trinli grinned evilly. “And guess what—even if you did, by the time you finished, you’d have your own set of inconsistencies. And you still wouldn’t be consistent with all the applications that might be needed now and then.” Sura gave up on her debugging for the moment. “The word for all this is ‘mature programming environment.’ Basically, when hardware performance has been pushed to its final limit, and programmers have had several centuries to code, you reach a point where there is far more signicant code than can be rationalized. The best you can do is understand the overall layering, and know how to search for the oddball tool that may come in handy—take the situation I have here.” She waved at the dependency chart she had been working on. “We are low on working fluid for the coffins. Like a million other things, there was none for sale on dear old Canberra. Well, the obvious thing is to move the coffins near the aft hull, and cool by direct radiation. We don’t have the proper equipment to support this—so lately, I’ve been doing my share of archeology. It seems that five hundred years ago, a similar thing happened after an in-system war at Torma. They hacked together a temperature maintenance package that is precisely what we need.” “Almost precisely.

And there by the door was a big piece of some kind of woven fabric, neatly framed and under glass, with a pattern of blue leaves and vines and speckled birds and little white flowers, and everything so close and tight that it played with my eyes and made me squint. And the funny thing was, I was almost sure I'd seen that pattern somewhere before... For a minute I looked at it, trying to work out the design. The leaves looked a bit like strawberry-leaves, and there were strawberries in there too, which made me think of my strawberry wood, grown dark and strange under the glass. But there were so many things in there, so many shapes and colors, that it was hard to focus. And the pattern kept repeating, so that it looked like the birds were moving; chasing each other through the leaves, and flowers, and briars, and bunches of strawberries.

I’d gone to an outdoor store in Minneapolis called REI about a dozen times over the previous months to purchase a good portion of these items. Seldom was this a straightforward affair. To buy even a water bottle without first thoroughly considering the latest water bottle technology was folly, I quickly learned. There were the pros and cons of various materials to take into account, not to mention the research that had been done regarding design. And this was only the smallest, least complex of the purchases I had to make. The rest of the gear I would need was ever more complex, I realized after consulting with the men and women of REI, who inquired hopefully if they could help me whenever they spotted me before displays of ultralight stoves or strolling among the tents. These employees ranged in age and manner and area of wilderness adventure proclivity, but what they had in common was that every last one of them could talk about gear, with interest and nuance, for a length of time that was so dumbfounding that I was ultimately bedazzled by it. They cared if my sleeping bag had snag-free zipper guards and a face muff that allowed the hood to be cinched snug without obstructing my breathing. They took pleasure in the fact that my water purifier had a pleated glass-fiber element for increased surface area. And their knowledge had a way of rubbing off on me. By the time I made the decision about which backpack to purchase—a top-of-the-line Gregory hybrid external frame that claimed to have the balance and agility of an internal—I felt as if I’d become a backpacking expert.

It [the charcuterie] was almost on the corner of the Rue Pirouette and was a joy to behold. It was bright and inviting, with touches of brilliant colour standing out amidst white marble. The signboard, on which the name QUENU-GRADELLE glittered in fat gilt letter encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On the two side panels of the shop front, similarly painted and under glass, were chubby little Cupids playing in the midst of boars' heads, pork chops, and strings of sausages; and these still lifes, adorned with scrolls and rosettes, had been designed in so pretty and tender a style that the raw meat lying there assumed the reddish tint of raspberry jam. Within this delightful frame, the window display was arranged. It was set out on a bed of fine shavings of blue paper; a few cleverly positioned fern leaves transformed some of the plates into bouquets of flowers fringed with foliage. There were vast quantities of rich, succulent things, things that melted in the mouth. Down below, quite close to the window, jars of rillettes were interspersed with pots of mustard. Above these were some boned hams, nicely rounded, golden with breadcrumbs, and adorned at the knuckles with green rosettes. Then came the larger dishes--stuffed Strasbourg tongues, with their red, varnished look, the colour of blood next to the pallor of the sausages and pigs' trotters; strings of black pudding coiled like harmless snakes; andouilles piled up in twos and bursting with health; saucissons in little silver copes that made them look like choristers; pies, hot from the oven, with little banner-like tickets stuck in them; big hams, and great cuts of veal and pork, whose jelly was as limpid as crystallized sugar. Towards the back were large tureens in which the meats and minces lay asleep in lakes of solidified fat. Strewn between the various plates and sishes, on the bed of blue shavings, were bottles of relish, sauce, and preserved truffles, pots of foie gras, and tins of sardines and tuna fish. A box of creamy cheeses and one full of snails stuffed with butter and parsley had been dropped in each corner. Finally, at the very top of the display, falling from a bar with sharp prongs, strings of sausages and saveloys hung down symmetrically like the cords and tassels of some opulent tapestry, while behind, threads of caul were stretched out like white lacework. There, on the highest tier of this temple of gluttony, amid the caul and between two bunches of purple gladioli, the alter display was crowned by a small, square fish tank with a little ornamental rockery, in which two goldfish swam in endless circles.

He saw a chamber, broad and low, designed, in its every rich stain of picture and slumberous hanging, to appeal to the sensuous. And here the scent was thick and motionless. Costly marqueterie; Palissy candlesticks reflected in half-concealed mirrors framed in embossed silver; antique Nankin vases brimming with pot-pourri; in one comer a suit of Milanese armour, fluted, damasquinee, by Felippo Negroli; in another a tripod table of porphyry, spectrally repeating in its polished surface the opal hues of a vessel of old Venetian glass half filled with some topaz-coloured liqueur - such and many more tokens of a luxurious aestheticism wrought in the observer an immediate sense of pleasurable enervation. He noticed, with a swaying thrill of delight, that his feet were on a padded rug of Astrakhan - one of many, disposed eccentrically about the yellow tassellated-marble floor; and he noticed that the sole light in the chamber came from an iridescent globed lamp, fed with some fragrant oil, that hung near an alcove traversed by a veil of dark violet silk. ("The Accursed Cordonnier")

A public service announcement from that era, designed to combat littering, featured an Indian man (the actor Iron Eyes Cody, who was actually Sicilian) in full dress walking through a modern United States covered in litter. In the final frame, he sheds a single tear. All of this fit with the hippie-themed back-to-the-land movement that romanticized Indigenous people as much as taking them seriously. It was also of a piece with earlier responses to Native Americans. After removing them from their land, preventing them from becoming a threat, Americans often claimed to admire the special virtues of Native peoples, who were supposed to possess a unique spirit. They named towns after them, states, later sports franchises. That iconic commercial with the “Crying Indian” played to the idea that Indigenous people have a spiritual connection to the land that others do not possess. The people who took their land did not appreciate it, or care for it properly. This was almost a half-hearted confession that what had happened was wrong. That didn’t mean the land would be given back to them, of course.

Whatever else it produces, an organization is a factory that manufactures judgments and decisions. Every factory must have ways to ensure the quality of its products in the initial design, in fabrication, and in final inspections. The corresponding stages in the production of decisions are the framing of the problem that is to be solved, the collection of relevant information leading to a decision, and reflection and review. An organization that seeks to improve its decision product should routinely look for efficiency improvements at each of these stages. The

It is vain philosophy that supposes more causes than are exactly adequate to explain the phenomena of things. . . . You assert that the construction of the animal machine, the fitness of certain animals to certain situations, the connexion between the organs of perception and that which is perceived; the relation between every thing which exists, and that which tends to preserve it in its existence, imply design. It is manifest that if the eye could not see, nor the stomach digest, the human frame could not preserve its present mode of existence. It is equally certain, however, that the elements of its composition, if they did not exist in one form, must exist in another; and that the combinations which they would form, must so long as they endured, derive support for their peculiar mode of being from their fitness to the circumstances of their situation. It by no means follows, that because a being exists, performing certain functions, he was fitted by another being to the performance of these functions. So rash a conclusion would conduct, as I have before shewn, to an absurdity; and it becomes infinitely more unwarrantable from the consideration that the known laws of matter and motion, suffice to unravel, even in the present imperfect state of moral and physical science, the majority of those difficulties which the hypothesis of a Deity was invented to explain. Doubtless no disposition of inert matter, or matter deprived of qualities, could ever have composed an animal, a tree, or even a stone. But matter deprived of qualities, is an abstraction, concerning which it is impossible to form an idea. Matter, such as we behold it, is not inert. It is infinitely active and subtile.

Architects are deluding themselves if they believe that they are addressing submissive audiences, eager to communicate; that their public wants by all means to understand (even to decipher, if necessary) the meaning of architecture as seen by the designer. […] What people want to see is their own meanings in the environment – with their own system of values, from their own frames of reference, shaped by the expressive systems that they share with their community but not necessarily with the designer. And this is exactly what they do, whether designers like it or not.

had found the only hippie-opera-singer-dream-cabin-in-the-woods in Westchester! It was perfection, and I knew exactly what to do to bring it to life. I took it on like I was an interior designer on one of those makeover shows. I picked out and paid for every piece of brand-new furniture, all the knickknacks and accouterments. I chose every detail, from light fixtures to paint colors, all in “Pat’s palette.” I hung wooden flower boxes outside and filled them with romantic wildflowers. I got photo prints made of her Irish family members and Irish crests, had them mounted and framed, and hung them ascending the wall along the staircase.

Quick. Don’t think about it. Imagine an English professor in your head. No, a male English professor. What do you see? Tweeds? Elbow patches? A high pale forehead with thinning hair combed over? Eyeglasses with designer frames? Oh God, do you see a cravat? His fingernails are clean and white. His palms are silky and uncalloused. If you grip him by his upper arm, your fingers plunge to the bone. He prefers wine to beer. But when he drinks beer, he favors pretentious microbrews that he sniffs and swirls, while waxing on about oaky hints and lemony essences. You are imagining a man, yes, but one whose masculinity is so refined, so sanded down and smoothed away, that it’s hard to see how it differs from femininity. It has been said that the humanities have been feminized. In English departments, where the demographics of professors and students now skew strongly female, this is literally so. But English departments have also been feminized in spirit. There’s a sense in which if you are a guy who wants to be a literature professor, it’s wise to actively suppress all of the offensive cues that you are actually a guy. Or at least that’s how it has always seemed to me. And I think that’s how it seems to most people. In the public mind, teaching English is about as manly as styling hair.

It is rather revealing that we feel the need to offer special programs (and hire special staff) for single adult ministry in our churches. We struggle somehow to fit single adults into a kingdom plan that we have designed primarily for married folks. Perhaps the problem is with how we have framed the plan. Paul's concern in 1 Corinthians 7 was not to ask how singleness fits into God's kingdom plan. Paul was addressing the issue of how marriage fits into His kingdom plan. Single people are already with the program. They are "concerned about the things of the Lord" (v. 32). Married people are the ones who need help sorting out their priorities.

Opinion polls showed that two-thirds of Greeks rejected the conditions attached to the bailout, but wanted to stay in the eurozone. Demonstrations spread throughout Greece advocating a “No” vote. So the Germans and French tried to frame the issue in a narrow way designed to get a “Yes” answer: Did voters want to be part of Europe? The aim was to avoid asking the really important question: Did Greek voters want to impose a decade of depression on themselves, cut public services, impose anti-union labor “reforms,” and sell off the Athenian water supply, its port, their beautiful islands and their gas rights in the Aegean to Germans and other creditors?

0.1 second: This is the limit for perception of cause-and-effect between events. If software waits longer than 0.1 second to show a response to your action, cause-and-effect is broken: the software’s reaction will not seem to be a result of your action. Therefore, on-screen buttons have 0.1 second to show they’ve been clicked; otherwise users will click again. If an object the user is “dragging” lags more than 0.1 second behind the cursor, users will have trouble placing it. This 0.1-second deadline is what HCI researcher Stuart Card calls the perceptual “moment.” It is also close to the limit for perception of smooth animation: 0.063 second/frame (16 frames/second)

With all this talk of distance and duration being relative depending on the observer’s motion, some may be tempted to ask: So which observer is “right”? Whose watch shows the “actual” time elapsed? Which length of the rod is “real”? Whose notion of simultaneity is “correct”? According to the special theory of relativity, all inertial reference frames are equally valid. It is not a question of whether rods actually shrink or time really slows down; all we know is that observers in different states of motion will measure things differently. And now that we have dispensed with the ether as “superfluous,” there is no designated “rest” frame of reference that has preference over any other.

...I drag the kids to the farmers' market and fill out the week's cheap supermarket haul with a few vivid bunches of organic produce...Once home, I set out fresh flowers and put the fruit in a jadeite bowl. A jam jar of garden growth even adorns the chartreuse kids' table...I found some used toddler-sized chairs to go around it...It sits right in front of the tall bookcases...When the kids are eating or coloring there, with the cluster or mismatched picture frames hanging just to their left, my son with his mop of sandy hair, my daughter just growing out of babyhood...they look like they could be in a Scandinavian design magazine. I think to myself that maybe motherhood is just this, creating these frames, the little vistas you can take in that look like pictures from magazines, like any number of images that could be filed under familial happiness. They reflect back to you that you're doing it - doing something - right. In my case, these scenes are like a momentary vacation from the actual circumstances of my current life. Children, clean and clad in brightly striped clothing, snacking on slices of organic plum. My son drawing happy gel pen houses, the flourishing clump of smiley-faced flowers beneath a yellow flat sun. To counter the creeping worry that I am a no-good person, I must collect a lot of these images, postage-stamp moments I can gaze upon and think, I can't be fucking up that bad. Can I?

To some extent, the amnesia around the concepts that tech companies draw on to make public policy (without admitting that they are doing so) is by design. Fetishizing the novelty of the problem (or at least its “framing”) deprives the public of the analytic tools it has previously brought to bear on similar problems. Granted, quite frequently these technologies are truly novel—but the companies that pioneer them use that novelty to suggest that traditional categories of understanding don’t do them justice, when in fact standard analytic tools largely apply just fine. But this practice tends to disenfranchise all of the people with a long tradition of analyzing these problems—whether they’re experts, activists, academics, union organizers, journalists, or politicians.

European statesmen of the First World War era did—to some extent—recognize the problem and its significance. As soon as they began to plan their annexation of the Middle East, Allied leaders recognized that Islam’s hold on the region was the main feature of the political landscape with which they would have to contend. Lord Kitchener, it will be remembered, initiated in 1914 a policy designed to bring the Moslem faith under Britain’s sway. When it looked as though that might not work—for the Sherif Hussein’s call to the Faithful in 1916 fell on deaf ears—Kitchener’s associates proposed instead to sponsor other loyalties (to a federation of Arabic-speaking peoples, or to the family of King Hussein, or to about-to-be-created countries such as Iraq) as a rival to pan-Islam. Indeed they framed the postwar Middle East settlement with that object (among others) in view.

Rather, productivity is about making certain choices in certain ways. The way we choose to see ourselves and frame daily decisions; the stories we tell ourselves, and the easy goals we ignore; the sense of community we build among teammates; the creative cultures we establish as leaders: These are the things that separate the merely busy from the genuinely productive. We now exist in a world where we can communicate with coworkers at any hour, access vital documents over smartphones, learn any fact within seconds, and have almost any product delivered to our doorstep within twenty-four hours. Companies can design gadgets in California, collect orders from customers in Barcelona, email blueprints to Shenzhen, and track deliveries from anywhere on earth. Parents can auto-sync the family’s schedules, pay bills online while lying in bed, and locate the kids’ phones one minute after curfew. We are living through an economic and social revolution that is as profound, in many ways, as the agrarian and industrial revolutions of previous eras. These advances in communications and technology are supposed to make our lives easier. Instead, they often seem to fill our days with more work and stress. In part, that’s because we’ve been paying attention to the wrong innovations. We’ve been staring at the tools of productivity—the gadgets and apps and complicated filing systems for keeping track of various to-do lists—rather than the lessons those technologies are trying to teach us. There are some people, however, who have figured out how to master this changing world. There are some companies that have discovered how to find advantages amid these rapid shifts. We now know how productivity really functions. We know which choices matter most and bring success within closer reach. We know how to set goals that make the audacious achievable; how to reframe situations so that instead of seeing problems, we notice hidden opportunities; how to open our minds to new, creative connections; and how to learn faster by slowing down the data that is speeding past us.

The deeply flushed midsummer sunlight, the strong, clear alcohol filling a dirty glass, a goat tethered with a rope, the enormous sides of a glitteringly white modern building, the solemn melody of the national orchestra, the slender-necked actress who was performing on the stage, the arc of a rainbow which, after a sudden shower, fell to the earth like an arrow from between the clouds, a sheepdog pressed flat under the wheel of a car, a herd of stubborn goats bobbing their heads with profound indifference, blue cloth fluttering in the wind, designating something sacred, a swarthy woman looking down on the street below from a first-floor window, her exposed chest leaning out over the wooden frame, cat-sized rats threading their way around the legs of market stalls, unlit signs and display windows, a sombrely lit butcher’s fridge, each dark red carcass still buttressed with the animal’s skeleton, Banchi’s printing shop, on the ground floor of a temple on the main street in the city centre, there Banchi makes picture postcards featuring his own translations of Indian sutras.

Subterfuge as a woman was always more complicated than subterfuge as a man; the guise of femininity required further insight, required understanding of the cultural context in which the costume would be viewed. For a man, changes in accoutrements and clothing created changes in status perception, but, no matter the culture, a man was a man. A woman, on the other hand, was never JUST a woman. A woman was an object, a canvas, upon which society and culture painted labels and framed unspoken expectations, a collectively owned piece upon which shame, scorn, and punishment should be heaped if she failed to confirm to the prescribed design. Even in the most forward-thinking countries, subconscious collusion and tacit social agreement put the value of the opinions and contributions of women at less than those of a full person - somewhere between child and adult. Subterfuge as a woman was always more complicated because a man in a suit was a man in a suit, but a woman in a dress with a hemline two inches too short was a slut, and, in the wrong part of town, a whore, and, in the wrong country, a corpse not quite yet dead.

I think that's quite true. and in fact the people who understand this the best are those who are carrying out the control and domination in the more free societies. like the U.S. and England, where popular struggles have have won a lot of freedoms over the years and the state has limited capacity to coerce. It is very striking that it's precisely in those societies that elite groups—the business world, state managers and so on—recognized early on that they are going to have to develop massive methods of control of attitude and opinion, because you cannot control people by force anymore and therefore you have to modify their consciousness so that they don't perceive that they are living under conditions of alienation, oppression, subordination and so on. In fact, that's what probably a couple trillion dollars are spent on each year in the U.S., very self-consciously, from the framing of television advertisements for two-year olds to what you are taught in graduate school economics programs. It's designed to create a consciousness of subordination and it's also intended specifically and pretty consciously to suppress normal human emotions. Normal human emotions are sympathy and solidarity, not just for people but for stranded dolphins. It's just a normal reaction for people. If you go back to the classical political economists, people like Adam Smith, this was just taken for granted as the core of human nature and society. One of the main concentrations of advertising and education is to drive that out of your mind. And it's very conscious. In fact, it's conscious in social policy right in front of our eyes today. Take the effort to destroy Social Security. Well, what's the point of that? There's a lot of scam about financial problems, which is all total nonsense. And, of course, they want Wall Street to make a killing. Underlying it all is something much deeper. Social Security is based on a human emotion and it's a natural human emotion which has to be driven out of people minds, namely the emotion that you care about other people. You care. It's a social and community responsibility to care whether a disabled widow across town has enough food to eat, or whether a kid across the street can go to school. You have to get that out of people's heads. You have to make them say, "Look, you are a personal, rational wealth maximizer. If that disabled widow didn't prepare for her own future, it's her problem not your problem. It's not your fault she doesn't have enough to eat so why should you care?

Hey, I have an idea,” Lex said. “Give me a sec.” He kept trying. “Idea as in ‘good idea,’ or idea as in ‘let’s take the Ferris wheel, everyone, I’m sure it’ll be a carefree ride of thrills and delights and whimsy’—” “Does this help?” Driggs opened his eyes and, in the space of a yoctosecond, popped right into a solid body. Lex half expected to hear a wacky boing sound effect. She grabbed his arm to keep him that way, while he kept on staring at her bare chest. “So,” he said, swallowing, “good idea, then.” “Thank you.” He pulled her close and gave her a kiss. “And thank you for sparing me your devil corset.” She held it up and waved it in his face. “It’s a standard bra, Driggs. From, like, Target.” “Satan employs many disguises.” “Like you’re from the Land of Superior Underwear. Let’s see what sort of designer boxers you’ve chosen to grace my presence with today.” She unzipped his pants and looked. “Dude. Penguins?” “Um, penguins are officially recognized as the most adorable bird on the planet,” he said, a hint of anxiety creeping into his voice. “What’s wrong with penguins?” “Nothing—” “And igloos. See their little igloos?” “Yes—” “The Santa hats are a bit much, I’ll give you that, but they were a Christmas present, okay? And if I’d known that I was going to die while wearing them and be forever doomed to their Arctic quirkiness—and of hypothermia, too, how’s that for irony—” “Driggs,” she interrupted, grabbing his chin and boring her eyes into his. “I thought we were on a tight time frame here.” “Right.” He scratched his head. “I think that perhaps, since I’m talking way too much, there is the slightest chance that I might be a tiny bit nervous.” Lex smirked. “Relax, spaz.” “Oh, no way. You do not get to use that against me.

The steel faithfully taught me the correspondence between the spirit and the body: thus feeble emotions, it seemed to me, corresponded to flaccid muscles, sentimentality to a sagging stomach, and overimpressionability to an oversensitive, white skin. Bulging muscles, a taut stomach, and a tough skin, I reasoned, would correspond respectively to an intrepid fighting spirit, the power of dispassionate intellectual judgement, and a robust disposition. I hasten to point out here that I do not believe ordinary people to be like this. Even my own scanty experience is enough to furnish me with innumerable examples of timid minds encased within bulging muscles. Yet, as I have already pointed out, words for me came before the flesh, so that intrepidity, dispassionateness, robustness, and all those emblems of moral character summed up by words, needed to manifest themselves in outward, bodily tokens. For that reason, I told myself, I ought to endow myself with the physical characteristics in question as a kind of educative process. Beyond the educative process there also lurked another, romantic design. The romantic impulse that had formed an undercurrent in me from boyhood on, and that made sense only as the destruction of classical perfection, lay waiting within me. Like a theme in an operatic overture that is later destined to occur throughout the whole work, it laid down a definitive pattern for me before I had achieved anything in practice. Specifically, I cherished a romantic impulse towards death, yet at the same time I required a strictly classical body as its vehicle; a peculiar sense of destiny made me believe that the reason why my romantic impulse towards death remained unfulfilled in reality was the immensely simple fact that I lacked the necessary physical qualifications. A powerful, tragic frame and sculpturesque muscles were indispensable in a romantically noble death.

THE IRIS OF THE EYE WAS TOO BIG TO HAVE BEEN FABRICATED AS A single rigid object. It had been built, beginning about nine hundred years ago, out of links that had been joined together into a chain; the two ends of the chain then connected to form a loop. The method would have seemed familiar to Rhys Aitken, who had used something like it to construct Izzy’s T3 torus. For him, or anyone else versed in the technological history of Old Earth, an equally useful metaphor would have been that it was a train, 157 kilometers long, made of 720 giant cars, with the nose of the locomotive joined to the tail of the caboose so that it formed a circular construct 50 kilometers in diameter. An even better analogy would have been to a roller coaster, since its purpose was to run loop-the-loops forever. The “track” on which the “train” ran was a circular groove in the iron frame of the Eye, lined with the sensors and magnets needed to supply electrodynamic suspension, so that the whole thing could spin without actually touching the Eye’s stationary frame. This was an essential design requirement given that the Great Chain had to move with a velocity of about five hundred meters per second in order to supply Earth-normal gravity to its inhabitants. Each of the links had approximately the footprint of a Manhattan city block on Old Earth. And their total number of 720 was loosely comparable to the number of such blocks that had once existed in the gridded part of Manhattan, depending on where you drew the boundaries—it was bigger than Midtown but smaller than Manhattan as a whole. Residents of the Great Chain were acutely aware of the comparison, to the point where they were mocked for having a “Manhattan complex” by residents of other habitats. They were forever freeze-framing Old Earth movies or zooming around in virtual-reality simulations of pre-Zero New York for clues as to how street and apartment living had worked in those days. They had taken as their patron saint Luisa, the eighth survivor on Cleft, a Manhattanite who had been too old to found her own race. Implicit in that was that the Great Chain—the GC, Chaintown, Chainhattan—was a place that people might move to when they wanted to separate themselves from the social environments of their home habitats, or indeed of their own races. Mixed-race people were more common there than anywhere else.

Although he always talked about technology and Oracle with passion and intensity, he didn’t have the methodical relentlessness that made Bill Gates so formidable and feared. By his own admission, Ellison was not an obsessive grinder like Gates: “I am a sprinter. I rest, I sprint, I rest, I sprint again.” Ellison had a reputation for being easily bored by the process of running a business and often took time off, leaving the shop to senior colleagues. One of the reasons often trotted out for Oracle’s success in the 1990s was Ellison’s decision to hire Ray Lane, a senior executive credited with bringing order and discipline to the business, allowing Ellison just to do the vision thing and bunk off to sail his boats whenever he felt like it. But Lane had left Oracle nearly eighteen months before after falling out with Ellison. Since then, Ellison had taken full control of the company—how likely was it that he would he stay the course? One reason to be skeptical was that Ellison just seemed to have too many things going on in his life besides Oracle. During the afternoon, we took a break from discussing the future of computing to take a tour of what would be his new home—nearly a decade in the making, and at that time, still nearly three years from completion. In the hills of Woodside, California, framing a five-acre artificial lake, six wooden Japanese houses, perfect replicas of the fifteenth- and sixteenth-century originals in Kyoto, were under construction. The site also contained two full-size ornamental bridges, hundreds of boulders trucked in from the high Sierras and arranged according to Zen principles and an equal number of cherry trees jostling for attention next to towering redwoods. Ellison remarked: “If I’m remembered for anything, it’s more likely to be for this than Oracle.”3 In the evening, I noticed in Ellison’s dining room a scale model of what would become his second home: a graceful-looking 450-foot motor-yacht capable of circumnavigating the globe. Already the owner of two mega-yachts, bought secondhand and extensively modified (the 192-foot Ronin based in Sausalito and the 244-foot Katana, which was kept at Antibes in the South of France), Ellison wanted to create the perfect yacht. The key to achieving this had been his successful courtship of a seventy-two-year-old Englishman, Jon Bannenberg, recognized as the greatest designer of very big, privately-owned yachts. With a budget of $200 million—about the same as that for the Japanese imperial village in Woodside—it would be Bannenberg’s masterpiece. Bannenberg had committed himself to “handing over the keys” to Ellison in time for his summer holiday in 2003.

As a nine-year-old, the circadian rhythm would have the child asleep by around nine p.m., driven in part by the rising tide of melatonin at this time in children. By the time that same individual has reached sixteen years of age, their circadian rhythm has undergone a dramatic shift forward in its cycling phase. The rising tide of melatonin, and the instruction of darkness and sleep, is many hours away. As a consequence, the sixteen-year-old will usually have no interest in sleeping at nine p.m. Instead, peak wakefulness is usually still in play at that hour. By the time the parents are getting tired, as their circadian rhythms take a downturn and melatonin release instructs sleep—perhaps around ten or eleven p.m., their teenager can still be wide awake. A few more hours must pass before the circadian rhythm of a teenage brain begins to shut down alertness and allow for easy, sound sleep to begin. This, of course, leads to much angst and frustration for all parties involved on the back end of sleep. Parents want their teenager to be awake at a “reasonable” hour of the morning. Teenagers, on the other hand, having only been capable of initiating sleep some hours after their parents, can still be in their trough of the circadian downswing. Like an animal prematurely wrenched out of hibernation too early, the adolescent brain still needs more sleep and more time to complete the circadian cycle before it can operate efficiently, without grogginess. If this remains perplexing to parents, a different way to frame and perhaps appreciate the mismatch is this: asking your teenage son or daughter to go to bed and fall asleep at ten p.m. is the circadian equivalent of asking you, their parent, to go to sleep at seven or eight p.m. No matter how loud you enunciate the order, no matter how much that teenager truly wishes to obey your instruction, and no matter what amount of willed effort is applied by either of the two parties, the circadian rhythm of a teenager will not be miraculously coaxed into a change. Furthermore, asking that same teenager to wake up at seven the next morning and function with intellect, grace, and good mood is the equivalent of asking you, their parent, to do the same at four or five a.m. Sadly, neither society nor our parental attitudes are well designed to appreciate or accept that teenagers need more sleep than adults, and that they are biologically wired to obtain that sleep at a different time from their parents. It’s very understandable for parents to feel frustrated in this way, since they believe that their teenager’s sleep patterns reflect a conscious choice and not a biological edict. But non-volitional, non-negotiable, and strongly biological they are. We parents would be wise to accept this fact, and to embrace it, encourage it, and praise it, lest we wish our own children to suffer developmental brain abnormalities or force a raised risk of mental illness upon them.

So, you want to improve your home like you have some knowledge and respect for the endeavor, yes? Very well. First, you need to know the basics associated with it to showcase what type of knowledge you actually have about it. If that is not enough, try reviewing the article listed below to assist you. Home improvement is often a daunting task. This is because of the time and the amounts of money required. However, it doesn't have to be so bad. If you have several projects in your house, divide them up into several smaller DIY projects. For example you may want to redo the entire living room. Start simple, by just replacing the carpet, and before you know it, your living room will be like new. One great way to make the inside of your home sparkle is to put new molding in. New molding helps create a fresh sense in your living space. You can purchase special molding with beautiful carvings on them to add a unique touch of elegance and style to your home. When it comes to home improvement, consider replacing your windows and doors. This not only has a chance of greatly improving the value of the home, but may also severely decrease the amount of money required to keep your house warm and dry. You can also add extra security with new doors and windows. Change your shower curtain once a month. Showering produces excessive humidity in a bathroom that in turn causes shower curtains to develop mold and mildew. To keep your space fresh and healthy, replace your curtains. Don't buy expensive plastic curtains with hard to find designs, and you won't feel bad about replacing it. Sprucing up your walls with art is a great improvement idea, but it doesn't have to be a painting. You can use practically anything for artwork. For instance, a three-dimensional tile works great if you contrast the colors. You can even buy some canvas and a frame and paint colored squares. Anything colorful can work as art. If you are renovating your kitchen but need to spend less money, consider using laminate flooring and countertops. These synthetic options are generally much less expensive than wood, tile, or stone. They are also easier to care for. Many of these products are designed to closely mimic the natural products, so that the difference is only visible on close inspection. New wallpaper can transform a room. Before you add wallpaper, you need to find out what type of wall is under the existing wallpaper. Usually walls are either drywall or plaster smoothed over lath. You can figure out what kind of wall you are dealing with by feeling the wall, plaster is harder, smoother, and colder than drywall. You can also try tapping the wall, drywall sounds hollow while plaster does not. Ah, you have read the aforementioned article, or you wouldn't be down here reading through the conclusion. Well done! That article should have provided you with a proper foundation of what it takes to properly and safely improve your home. If any questions still remain, try reviewing the article again.

SONG VI. True Nobility. All men are of one kindred stock, though scattered far and wide; For one is Father of us all—one doth for all provide. He gave the sun his golden beams, the moon her silver horn; He set mankind upon the earth, as stars the heavens adorn. He shut a soul—a heaven-born soul—within the body's frame; The noble origin he gave each mortal wight may claim. Why boast ye, then, so loud of race and high ancestral line? If ye behold your being's source, and God's supreme design, None is degenerate, none base, unless by taint of sin And cherished vice he foully stain his heavenly origin.

I should add that there’s a subtle but profound difference in how film and digital move at high speed. On linear film machines, like the KEM, you achieve ten times normal speed by reducing the amount of time that any one frame is seen by ninety percent. So a frame is on for V240 of a second, not V24 of a second. It’s very fast, but it’s still there—you can still catch a little something from every single frame. But by the nature of their design, digital systems can’t do that. They achieve ten times normal speed at the cost of suppressing ninety percent of the information. So if you ask a digital machine to go ten times faster than normal, it will do so by showing you only one frame out of every ten. It’s like skipping a rock across the surface of a lake. You are not seeing ninety percent of the film—whereas when you watch sprocketed film at high speed on a KEM or Steenbeck, you see everything. I’m always amazed at how perceptive the human eye is, even at those high speeds, at detecting tiny inflections of looks and expression and action.

[P]assing expresses a form of agency as well as a promise of restoration, which is to say that passing—as a limited durational performance—signals a “return” to a natural-cum-biological mode of being. This narratological strategy shaped how passing would be deployed as an interpretive frame for all manners of trans-identificatory practices—both contemporaneously and reiteratively into the twentieth and twenty-first centuries. No less performative but lacking a clear biologized semiotic referent, fungibility in this chapter expresses how ungendered blackness provided the grounds for (trans) performances for freedom. By describing their acts as performances for rather than of freedom, I am suggesting that the figures under review here illustrate how the inhabitation of the un-gender-specific and fungible also mapped the affective grounds for imagining other qualities of life and being for those marked by and for captivity. Brent/Jacobs referred to this vexed affective geography as “some- thing akin to freedom” that, perhaps paradoxically, required a “deliberate calculation” of one’s fungible status. Rather than regarding Jones, Waters, Jacobs, and the Crafts as recoverable trans figures in the archive, this chapter examines how the ungendering of blackness became a site of fugitive maneuvers wherein the dichotomized and collapsed designations of male-man-masculine and female-woman-feminine remained open—that is fungible—and the black’s figurative capacity to change form as a commoditized being engendered flow.

Mr Locke...took a long, slender pick from the unrolled bag and, bending over slightly, inserted it into the lock. It was a steel-cased lock with a smooth, brass knob of around three inches wide and a brass plate around the singular keyhole. Mounted into the door frame was another steel fixture, forming the second half of the lock. Recognising the type of lock, Percy knew the key’s function was to throw the lock’s bolt into dead lock, thus securing the door. Such a design would also include an internal, smaller knob sliding back and forth, drawing back the bolt. A snib, jutting out from the case on the internal side of the door, could be compressed to keep the bolt in an open position, thus allowing one to open and close the door freely. “Do be so kind as to keep an eye out for the return of our friend the constable.” Locke pulled his pocket watch out with his other hand to glance upon it. “We have nine minutes.” “This is breaking and entering!” Mr Maxwell cried, hurrying up the steps. “Miss Trent said such was forbidden by the Society.” “Unless there is a sufficiently justifiable reason for doing so,” Mr Locke replied, inserting a second pick into the lower half of the lock. “The welfare of our client is a sufficiently justifiable reason; do you not think so, Mr Maxwell?” “His welfare?” Mr Maxwell enquired, confused. Miss Dexter, wholly fascinated by what the illusionist was doing, stepped closer still. She softly enquired, “Do you suspect some harm may have come to Mr Dorsey, Mr Locke?” “I do not know but Mr Colby was very keen we should not speak with him. Furthermore, Miss Trent’s note stated her telephone conversation with Mr Dorsey was abruptly ended, by him, when another—angry—voice spoke,” Mr Locke explained. There was a sharp click as the bolt sprang back into the lock’s casing. Mr Locke smiled broadly. “Our constable friend is back.” Mr Maxwell looked panic sticken. “It’s only been a minute.” “Ah, that will be the Bow Street police station,” Locke replied as he turned the door knob. “Also, they tend to keep a closer eye upon the more affluent residences; greater targets for thieves, you know,” Mr Locke stated as he pushed the door open and ushered both Mr Maxwell and Miss Dexter inside. He’d just closed the door, after slipping in himself, when the constable reached the bottom of the steps and peered up at the porch. Mr Locke stood to the side of the door and watched as the constable, seemingly satisfied all was well, walked away. A glance down at the internal part of the lock confirmed Mr Locke’s earlier assumptions about it. His slender hand slid the smaller brass knob along to lock the bolt in place once more.

This is hard country. Bad things happen up here. Unless you’ve been wearing blinders, by now you’re beginning to see that. Why don’t you accept my offer, sell this place, and go home where you belong?” Home where you belong. They were fighting words to Charity, right along with be a good little girl. Her lips tightened. “You’d like that, wouldn’t you? For me to sell out and go home. Then you could have your precious privacy back. You wouldn’t have to worry about someone making noise when they worked next door. You wouldn’t have to worry about saving some greenhorn from a bear. You wouldn’t have to think about--” She gasped as he took a threatening step toward her, his eyes snapping as he backed her up against the trunk of the tree. “Yeah, I wouldn’t have to worry about what mischief you might get into next. And whenever I saw you, I wouldn’t have to think about what it might be like to kiss that sassy mouth of yours. I wouldn’t have to drive myself crazy wondering what it would feel like to reach under that silly panda sweatshirt and cup your breasts, to put my mouth there and find out how they taste.” She made a little sound in her throat the instant before his mouth crushed down over hers. Hard lips, fierce and hot as a brand, molded with hers, then began to soften. He started to taste her, to sample instead of demand. Lean, tanned hands framed her face, titled her head back so he could deepen the kiss and she felt the rough shadow of beard along his jaw. Her mouth parted on a moan and his tongue slid inside. It felt slick and hot as it tangled with hers, and ragged need tore through her. Oh, dear God! Heat overwhelmed her and she started to tremble. Her hands came up to his shoulders, clung for a moment, then slid up around his neck. She heard Call groan. He pressed himself more solidly against her, forcing her into the bark of the tree. She could feel his arousal, a big, hard ridge straining beneath the fly of his jeans. His hands found her bottom and he lifted her a little, fit his heavy erection into the soft vee between her legs. An ache started there. She inhaled his scent, like piney woods and smoke, and he tasted all male. He kissed the way a woman dreamed a man should kiss, drinking her in, making her legs turn to butter. As if he would rather have the taste of her mouth than his next breath of air. She tilted her head back and he kissed the side of her neck, trailed hot, wet kisses to the base of her throat, then took her mouth again. Their tongues fenced, mated in perfect rhythm. Their mouths seemed designed to fit exactly together. The kiss went on and on, till her brain felt mushy and she could barely think. Tell him to stop, a voice inside her said, but all she could think was that Jeremy had never kissed her like this. He had never made her feel like this--not once in the two years they had been together. No one had ever made her feel like this. And she didn’t want the moment to end.

we do not know the physics of climate system responses to warming well enough to blame most of the warming on human activities. Human causation is simply assumed. The models are designed with the assumption that the climate system was in natural balance before the Industrial Revolution, despite historical evidence to the contrary. They only produce human-caused climate change because that is the way they are designed. This is in spite of abundant evidence of past warm episodes, such as 1,000- to 2,000-year-old tree stumps being uncovered by receding glaciers; temperature proxy evidence for the Roman and Medieval Warm Periods covering that same time frame; and Arctic sea ice proxy evidence for a natural decrease in sea ice starting well before humans could be blamed. Natural warming since the Little Ice Age of a few hundred years ago is simply ignored in the design of climate models, since we do not know what caused it. Simply put, the computerized climate models support human causation of climate change because that’s what they assume from the outset. They are an example of circular reasoning. There is little to no evidence of long-term increases in heat waves, droughts, or floods. Wildfire activity has, if anything, decreased, even though poor land management practices are now making some areas more vulnerable to wildfires even without climate change. Contrary to popular perception and new reports, there is little to no evidence of increased storminess resulting from climate change. This includes tornadoes and hurricanes. Long-term increases in monetary storm damages have indeed occurred, but are due to increasing development, not worsening weather. Sea level has been rising naturally since at least the mid-1800s, well before humans could be blamed. Land subsidence in some areas (e.g. Norfolk, Miami, Galveston-Houston, New Orleans) would result in increasing flooding problems even without any sea-level rise, let alone human-induced sea-level rise causing thermal expansion of the oceans. Some evidence for recent acceleration of sea-level rise might support human causation, but the magnitude of the human component since 1950 has been only 1 inch every 30 years. Ocean acidification is now looking like a non-problem, as the evidence builds that sea life prefers somewhat more CO2, just as vegetation on land does. Given that CO2 is necessary for life on Earth, yet had been at dangerously low levels for thousands of years, the scientific community needs to stop accepting the premise that more CO2 in the atmosphere is necessarily a bad thing. Global greening has been observed by satellites over the last few decades, which is during the period of most rapid rises in atmospheric CO2. The benefits of increasing CO2 to agriculture have been calculated to be in the trillions of dollars. Crop yields continue to break records around the world, due to a combination of human ingenuity and the direct effects of CO2 on plant growth and water use efficiency. Much of this evidence is not known by our citizens, who are largely misinformed by a news media that favors alarmist stories. The scientific community is, in general, biased toward alarmism in order to maintain careers and support desired governmental energy policies. Only when the public becomes informed based upon evidence from both sides of the debate can we expect to make rational policy decisions. I hope my brief treatment of these subjects provides a step in that direction. THE END

This question came from Elon Musk near the very end of a long dinner we shared at a high-end seafood restaurant in Silicon Valley. I’d gotten to the restaurant first and settled down with a gin and tonic, knowing Musk would—as ever—be late. After about fifteen minutes, Musk showed up wearing leather shoes, designer jeans, and a plaid dress shirt. Musk stands six foot one but ask anyone who knows him and they’ll confirm that he seems much bigger than that. He’s absurdly broad-shouldered, sturdy, and thick. You’d figure he would use this frame to his advantage and perform an alpha-male strut when entering a room. Instead, he tends to be almost sheepish. It’s head tilted slightly down while walking, a quick handshake hello after reaching the table, and then butt in seat. From there, Musk needs a few minutes before he warms up and looks at ease.

Digital management is responsible for designing, enabling, and mastering collaborative, innovative and intelligent problem-solving.

Do you have a fleeting glimpse that may become a goal? How can you make framing more social? There are more ways than stars in the universe. Most require that we also make framing more tangible. For instance, Jeff Bezos has created a culture at Amazon in which “working backwards” is an assumption. For any new initiative, employees begin by writing a press release and FAQ that explain the finished product to the customer. [65] No product is built without conversations and iterations around these tangible artifacts of a customer-centered frame.

[Historically] display cases with thick wooden frames were the staple of most museum collections, providing security and protection from theft and damage. In conjunction with poor lighting, the glass of these cases meant that many exhibits were difficult to see and also created an important psychological distance between the viewer and the object.

Each individual 150-by-30-foot ward had hardwood floors and walls with rounded corners, “making them easier to clean” and to keep germ free. Ventilation—another crucial element of hospital design and disease control at the time—was “obtained through openings over each window, controlled by moveable glass frames . . . hinged at the bottom.

Through the years I experimented with all different types of materials and frames. Finally, I settled upon one that was so simple, easy, and inexpensive to use that it was almost ridiculous. Then I began growing all different types of plants vertically. I originally thought I would need to design some special way to hold up and accommodate heavier fruits such as winter squash and pumpkins, but as it turned out, these plant vines seemed to understand the situation; the stem supporting the heavy fruit grows thicker and heavier as the fruit becomes larger. If you have a framework and support that will hold the plant, the plant will hold the fruit; it is as simple as that! Mother Nature always seems to know best. Pea and bean netting can be stretched taut across a box frame and held in place by four metal posts. Plants will then grow up through the netting and be supported. Best Material I use the strongest material I can find, which is steel. Fortunately, steel comes in tubular pipe used for electrical conduit. It is very strong and turns out to be very inexpensive. Couplings are also available so you can connect two pieces together. I designed an attractive frame that fits right onto the 4 × 4 box, and it can be attached to the wooden box with clamps that can be bought at any store. Or, steel reinforcing rods driven into the existing ground outside your box provide a very steady and strong base; then the electrical conduit slips snugly over the bars. It’s very simple and inexpensive to assemble. Anyone can do it—even you! To prevent vertically grown plants from shading other parts of the garden, I recommend that tall, vertical frames be constructed on the north side of the garden. To fit it into a 4 × 4 box, I designed a frame that measured 4 feet wide and almost 6 feet tall. Tie It Tight Vertically growing plants need to be tied to their supports. Nylon netting won’t rot in the sun and weather, and I use it exclusively now for both vertical frames and horizontal plant supports. It is very strong—almost unbreakable—and guaranteed for twenty years. It is a wonderful material available at garden stores and in catalogs. The nylon netting is also durable enough to grow the heavier vine crops on vertical frames, including watermelons, pumpkins, cantaloupes, winter and summer squashes, and tomatoes. You will see in Chapter 8 how easy it is to train plants to grow vertically. To hold the plants to the frame, I have found that nylon netting with 7-inch square openings made especially for tomato growing works well because you can reach your hand through. Make sure it is this type so it won’t cut the stem of the plant when it blows against it in the wind. This comes in 4-foot widths and can easily be tied to the metal frame. It’s sometimes hard to find, so call around.

But gradually through the tumultuous talk of the days and the nightlong wonderings when I sat groping for hope through the darkness, there began to form in me one deep belief, that if there were no God there was no meaning in life. Like a child with a foot rule trying to measure a mountain, I demanded of this Mystery what its attributes were, asking assurance, trying to frame a pattern for the Ultimate. Every time I turned back baffled from that hidden face I was brought up again by the beautiful symmetry of the world or by the strangeness of some everyday organism. The delicate beauty of leaves and of bare branches, the perfection with which the tiniest creatures were designed, the constant recurrence of the seasons were phenomena which tugged at my senses, saying, “Somewhere there is a Cause for us.” I grew thin with tension, straining beyond my strength. The more I tried to probe this Mystery the greater it became; the closer I attempted to approach Him to test Him the vaster and more impenetrable He appeared, until I saw I had no measure huge enough to encompass Him and began to sense why faith must accept Him without questioning.

The armchairs, with their flat, sedentary cushions, were designed for society, but the bed was made for solitude. It had a straitened and measured narrowness, an austere frame made to contain the curves of a single body, to circumscribe it, carry it, give it a place, and when I slept at night, I possessed it entirely.

Conway felt again, as he gazed up at the stupendous mountain wall, that there was a superb and exquisite peril in the scene; but for some chance-placed barrier, the whole valley would clearly have been a lake, nourished continually from the glacial heights around it. Instead of which, a few streams dribbled through to fill reservoirs and irrigate fields and plantations with a disciplined conscientiousness worthy of a sanitary engineer. The whole design was almost uncannily fortunate, so long as the structure of the frame remained unmoved by earthquake or landslide

Through the years I experimented with all different types of materials and frames. Finally, I settled upon one that was so simple, easy, and inexpensive to use that it was almost ridiculous. Then I began growing all different types of plants vertically. I originally thought I would need to design some special way to hold up and accommodate heavier fruits such as winter squash and pumpkins, but as it turned out, these plant vines seemed to understand the situation; the stem supporting the heavy fruit grows thicker and heavier as the fruit becomes larger. If you have a framework and support that will hold the plant, the plant will hold the fruit; it is as simple as that! Mother Nature always seems to know best.

The Enlightenment emphasized ways of learning that weren’t subservient to human power hierarchies. Instead, Enlightenment thinking celebrates evidence-based scientific method and reasoning. The cultures of sciences and engineering used to embrace Enlightenment epistemology, but now they have been overridden by horribly regressive BUMMER epistemology. You probably know the word “meme” as meaning a BUMMER posting that can go viral. But originally, “meme” suggested a philosophy of thought and meaning. The term was coined by the evolutionary biologist Richard Dawkins. Dawkins proposed memes as units of culture that compete and are either passed along or not, according to a pseudo-Darwinian selection process. Thus some fashions, ideas, and habits take hold, while others become extinct. The concept of memes provides a way of framing everything non-nerds do—the whole of humanities, culture, arts, and politics—as similar instances of meme competition, mere subroutines of a higher-level algorithm that nerds can master. When the internet took of, Dawkins’s ideas were in vogue, because they flattered techies. There was a ubiquitous genre of internet appreciation from the very beginning in which someone would point out the viral spread of a meme and admire how cute that was. The genre exists to this day. Memes started out as a way of expressing solidarity with a philosophy I used to call cybernetic totalism that still underlies BUMMER. Memes might seem to amplify what you are saying, but that is always an illusion. You might launch an infectious meme about a political figure, and you might be making a great point, but in the larger picture, you are reinforcing the idea that virality is truth. Your point will be undone by whatever other point is more viral. That is by design. The architects of BUMMER were meme believers.

Here are the Top 9 Paradoxes I believe will rule the next two decades: Do little large. Move up by bending down. Learn to fail so you can succeed—success requires the sacrament of failure. Your only control is learning how to be out of control. Creativity needs constraints—the more you break the mold, blow up the box, and rip up the templates, the more you need to create new tools (or better, dynamic frames) to design your thinking.33 The more global we become, the more local we need to live—only locavores can globalize. Go slowly with the Holy—the faster the world gets, the more we will need to walk softly, go slowly, and rediscover the “off” button. Cultivate both/and mentalities, as well as and/also modalities. It’s more important to know what you don’t know than what you know.

We have seen that humans have an inherent attraction to timber, and we find its presence comforting and calming. It seems that investing in a wooden bed frame may well contribute to getting a good night's sleep.

A major exception was President Obama, whose Affordable Care Act was a milestone in U.S. social policy. The ACA’s opponents tried to frame it as an identity issue, suggesting sotto voce that the policy was designed by a black president to help his black constituents. But it was in fact a national policy designed to help less well-off Americans, regardless of their race or identity. Many of the law’s beneficiaries include rural whites in the South who have nonetheless been persuaded to vote for Republican politicians vowing to repeal the ACA.

Pope Benedict was “framed” in a media set-up that no longer permitted serious reporting.’ The result: ‘Pope Benedict’s papacy, which had begun so brilliantly in 2005, increasingly developed into a “serial breakdown papacy”.’ Every appearance by the pope promised the media new negative headlines.’ The reporting on the pope and the church also showed a trend towards ‘tabloidization’, a way of presenting news ‘with a striking style in both design and content that does not just seek to inform, but also specifically aims at forming’ opinion. There was the ‘expectation of failure’, a mechanism that survived by satisfying those expectations. Journalists themselves did not now ‘expect to consider what the pope had said of interest about the relation between faith and reason or on the global economy, but to look out for mistakes’. That lack of ethics had had ‘a decisive influence on the media images of Pope Benedict’. Now it was often just a matter of ‘exposing the pope’:

Examples of projects could include: Projects at work: Complete web-page design; Create slide deck for conference; Develop project schedule; Plan recruitment drive. Personal projects: Finish Spanish language course; Plan vacation; Buy new living room furniture; Find local volunteer opportunity. Side projects: Publish blog post; Launch crowdfunding campaign; Research best podcast microphone; Complete online course. If you are not already framing your work in terms of specific, concrete projects, making this shift will give you a powerful jump start to your productivity.

During a temporary absence of General Harney, Captain Lyon, commanding United States forces at St. Louis, initiated hostilities against the State of Missouri under the following circumstances: In obedience to the militia law of the State, an annual encampment was directed by the Governor for instruction in tactics. Camp Jackson, near St. Louis, was designated for the encampment of the militia of the county in 1861. Here for some days companies of State militia, amounting to about eight hundred men, under command of Brigadier-General D. M. Frost, were being exercised, as is usual upon such occasions. They presented no appearance of a hostile camp. There were no sentinels to guard against surprise; visitors were freely admitted; it was the picnic-ground for the ladies of the city, and everything wore the aspect of merry-making rather than that of grim-visaged war. Suddenly, Captain (afterward General) Nathaniel Lyon appeared with an overwhelming force of Federal troops, surrounded this holiday encampment, and demanded an unconditional surrender. Resistance was impracticable, and none was attempted; the militia surrendered, and were confined as prisoners; but prisoners of what? There was no war, and no warrant for their arrest as offenders against the law. It is left for the usurpers to frame a vocabulary suited to their act.

An Indirect quote - Some visitors came to a planet to see its resources and available benefits for them. They knew the universal secrets, but when they visited this planet, only primitive humans were living and there were dark in nature. So they tried to utilize them and to rule them, but as days and minutes passed these visitors started loving those dark people, and then they started teaching them about morality, perseverance, how to talk, how to walk and everything about utopian or high life style but some of these dark people misused it and some love stories became harassing stories and these visitors got tensed as they were teachers, they wanted to be respectful. But their main motive was to use the resources on this planet, because their planet already dead. And guy from those dark people asked a serious question after getting taught from them, you people came to utilize us and now you guys are enslaving us, just like you people we are also organisms of universe, and that sentence was a damn shocking for them then there was rain, a heavy rain or Indra. These dark people prayed a lot to preserve their culture with the knowledge they got from these visitors which in turn gave births of visitors souls to their children. Some of these dark people were used to build a plan against enemies as it was their psychology against thrests, and then there was manu smiriti or psychology given by visitors to not to give high positions to to these dark skinned people as they build a plan to destroy threats, they may turn violent people against universe. And then there was a girl in these dark people who said that, destruction is also another creation , and she was shakthi. Finally these visitors lost with their intention because these dark people started speaking truths, and still they had bad motives to kill these visitors those were called asuras, and this indra made his clans to protect humanity from these asuras. And people those who were interested in love and too much love to utilize these situations were given business opportunities on daily needs, people that were interested in extreme love I e - harassing people from these visitors were given protection duties. souls turned into another sex called trans, other than man and women to find out divergent i e mixed people. languages evolves, teaching evolved, business evolved, education evolved, there was silent guy who seems to be creator of these visitors, were given no duties at all other than science. But he himself was not a creator because for creating something new , he needs destruction or shiv and for protecting he needed another visitor called krishna, but what he forgot was this creator himself was a visitor from another planet were diamonds harvested and so called fairy tales and beautiful life was there but that planet was destroyed because of greediness. Because these visitors destroyed lots of planets already and with greedy, too much sex there were completely tired on this beautiful planet. and so finally they had no other planets to visit and whomever been sent did not return. So they finally found this is the final planet to survive. The unmentioned people are from west, and completely north and they were given important tasks to protect the planet which is the only available right now. These manu smiriti or visitors psychology did not enclose the details of creator but only said about who designed it - Bram. The god was born on west, north, south and down earth to find out what is the actual problem and when to end it for recreation. He found that there is no need of re creation as far as now because he loves all. But the problem is these visitors are from another planet or heaven or hell , and so they were greedy to enough to utilise all they had and sent their clans to search more but they did not return at all. And in between time frame, some visited but couldnt enter properly and those entered were affected much because of completely dynamic atmosphere.

Maximize Natural Light If you are undertaking a larger design or refurbishment project, consider: Adding more windows if building permits allow. Enlarging your windows by (most cost effectively) dropping the sills. Replacing existing windows and choosing windows with smaller frames. Replacing the glass so that it is one solid piece rather than broken up by fenestration bars or leaded light strips. Adding a sun tube, a small reflective tube that lets light into windowless spaces that are near the roof, such as an upstairs hallway. Adding a skylight to allow light to flood in and aid ventilation.

BEAUTIFUL, INTUITIVE BROW DESIGN - Brows are the first thing people will notice about your face, even if it's subconsciously. The Brow Studio staff understand the importance of the eyebrow. No matter how perfect the makeup is, it's not done until the brows compliment the face. We design brows to flatter you perfectly. Having a well groomed brow brings the attention to your eyes, serving to frame the entire face.

The girls took their suitcases from the car and followed Mrs. Hayes inside. Although the furnishings looked rather worn, they were still very beautiful. The high-ceilinged rooms opened off a center hall and in a quick glance Nancy saw lovely damask draperies, satin-covered sofas and chairs, and on the walls, family portraits in large gilt frames of scrollwork design.

The twin towers were to be 110 stories and built from light steel frames. The architect, Minoru Yamasaki, who had a fear of heights, had never designed any building higher than twenty-eight stories. The owner, New York Port Authority, planned to charge higher rents for the upper floors, and wanted the engineer, Les Robertson, to ensure that the high-paying tenants on the upper floors never sensed that the buildings moved with the wind. Realizing that this was not so much an engineering problem as a psychological one—how much could a building move before a person sitting at a desk on the ninety-ninth floor felt it?—Robertson turned to Paul Hoffman and the Oregon Research Institute.

suggested to the city planning department that we instead identify segments of the city population as heroes. Many team members seemed surprised by the use of the word hero. Why wouldn’t they balk? After all, if you’ve ever attended a city council or local planning board meeting, it’s hard to imagine the people yelling at city representatives as “heroes.” But this framing would be private among the department, designed to help us gain a new appreciation for the concerns, frustrations, and challenges that even these more privileged populations face. This way we would be in a much healthier position for the department to listen to and engage their participation.

A great perfume can express the intangible, but essential, intentions of a designer and convey the constant, enduring, and driving identity of the fashion house. It was through Marc Rosen's advocacy that I came to realize that the greatest modern perfume bottles were an art reflecting art. They exist as design objects in their own right, but are directly responsive to the composition of the scents they hold. A perfume, based on a series of layers and combinations of scent and composed of "notes" in a system that is at once science and subjectivity, is dependent on the sensory and the intuitive. With evocative qualities that are an amalgam of references framing it conceptually, a perfume can inspire possibilities of representation through graphics and the form of its flacon. Perfume bottles reside at the intersection of aesthetics and technology. They are, at their most artful, the sculptural manifestations of the ideas, emotions, and poetry elicited by a fragrance.

For years I found it annoying to walk my dog. All she ever wanted to do was sniff the grass and trees upon which other dogs had left their scent. Neither of us got much exercise. It was like tug-of-war to get Snickers to move at all. One day, I saw an Instagram video in which a self-designated dog expert explained that dogs might need the sniffing more than the walking. Their brains light up when they sniff, and it can tire them out when they engage in vigorous sniffing. I had noticed how happy Snickers looked when sniffing, but my brain couldn’t connect the dots because sniffing dog urine sounds inherently unpleasant to my human brain. But to the dog, it was the equivalent of checking her social media. I started naming the trees and shrubs in the park accordingly: Muta (formerly known as Facebark), Twigger, LeafedIn, Instabush, and Treemail. Obviously, the garbage receptacle into which people flung their dog poop bags was TikTok.  Once I understood the importance of sniffing, I reframed my experience this way. Usual Frame: Taking the dog for a walk and failing. Reframe: Taking the dog for a sniff and succeeding. That reframe completely changed my subjective experience. Instead of failing at walking, I was succeeding at being a sniff-assistant. Snickers loved the new arrangement, and sure enough, twenty minutes of outdoor sniffing set her attitude right for the rest of the day.  But then I had a new problem. Standing around holding a leash is boring compared to walking. It’s boring compared to most things. But then I reframed my boredom this way. Usual Frame: I have nothing to do. I am just standing here. Reframe: Perfect time to practice proper breathing and posture. Now I spend twenty minutes a day enjoying the outdoors while breathing properly and practicing my posture. It feels good, which is enough to lock in the new habit. Now I am delighted to take my dog to the park. The only thing that changed was how I thought about the point of it all. If you’re like most people, you spend a lot of time standing in line or waiting for one thing or another. It feels like a gigantic waste of time. Maybe you check your phone, but that probably isn’t as useful as it is anxiety-making. As you can tell from the Snickers story, I found a way to turn all mindless waiting time into one of the most productive parts of my day using the good-time-to-breathe reframe.

Please allow me to wax philosophical. The purpose of eyesight, as well as insight for that matter, is for you and I to be in awe of not just creation itself but of the very One who created it. I will confidently propose that this is the purpose behind creation. Consider this: Evolution cannot explain purpose. It can only explain function. Science can explain how and why you and I function. It might even suggest your function within society. However, science alone will never give you the answer to your ultimate purpose for being on this Earth. “Let’s suppose you go to an art museum. While pursuing the halls of art, your eyes are directed to a certain painting. You become fixated on that painting. It is beautiful. The painting is so mesmerizing and beautiful that you are taken with the image it conveys. You begin to speculate on the story behind the painting. You become emotional and even shed a tear as you stare at it in wonder. For a brief moment in time you become immersed in the essence of this work of art. What is happening here? The one who designed and created the painting did so in order to perhaps bring about an emotional response from the viewer. You didn’t look at the painting and wonder about the chemical makeup of paint or the composition of the canvas mat or what type of device was used to apply those chemical compounds to the mat. You didn’t measure the dimensions of the frame. No. The painter gave that painting a purpose. While the painting itself is remarkable and beautiful, the ultimate purpose of it is to direct you to the one who created it. We give honor to Rembrandt, Monet, Goya, Van Gogh, and Picasso. Why does evolution deny that we give honor to the One who designed, created, and gave beauty to you and me, or to any other created thing? For sure, some evolutionists will try to say that the method the grand Creator used in His creation was evolution but will continue to ignore any mention of His creative hand and minimize other accounts such as the evidence for the origin of life in Scripture. They suppress the truth as they give high honor to their evolutionary theories that they guard with defiance. “The appearance of design isn’t just a common sense factor; it comes from a scientific explanation to which I have spoken here tonight. “Each one of you has the ability to hear, read, study, and think on everything that goes into your mind. While we do well to consider objective theory, we still must then decide for ourselves what it is we are going to believe. We are not just lab rats responding to stimuli. We have the ability to reason, love, express emotions, think deeply on matters, and create things—not just as an evolutionary function but from our innate giftedness and developed talents. “Give much consideration to what is true. Consider what is splendid and beautiful and magnificent. Think on things that are right or lovely or worthy of your admiration. Reflect on those things, not just as some facts of science but on the effect these things have on your very heart and soul. There is a word for those thoughts and feelings that penetrate deep within the depths of your soul. The word is visceral. No other creature on this privileged terrestrial ball has this ability. Visceral feelings are not merely a product of our DNA or the chemical and electrical impulses within our brain. Evolution offers no explanation for these deeply rooted expressions of artistic and creative thoughts and ideas. These things come from our Creator. May we not merely skim the surface of wisdom and knowledge without ever going deep. These things are meant to propel you to a deeper awareness of the world around you. They are even meant to propel us to the eternal realm.

No, what makes abortion difficult is not some fancy lawyering from the right, but the near refusal to defend it from the left. The hard sell is almost always left to women and “abortion activists,” while men scramble around trying not to piss off a diner in Ohio. I can turn over a rock on Twitter and find some person with no legal training able to passionately explain why segregation is wrong, or why the death penalty is immoral, or how “love is love.” But ask people about abortion and it’s all, “Well… I think the important thing is that women get to choose for themselves! Retweet if you agree!” Don’t get me wrong, “choice” is great. It’s a fine frame. It’s a language designed to appeal to people who have a genuinely held religious belief about when life begins, and even the word choice should remind those adherents that not everybody shares their choice of God either, and yet we co-exist. But the better legal frame is “Forced birth is some evil shit that can never be compelled by a legitimate government. The end.” Hell, if you don’t like my Eighth or Fourteenth Amendment arguments in defense of abortion rights, I could give some Thirteenth Amendment arguments. Because the same amendment that prohibited slavery surely prohibits the state from renting out women’s bodies, for free, for nine months, to further its interests. Forced labor is already unconstitutional. 

After all, imagine we framed the problem differently, the way it might have been fifty or 100 years ago: as the concentration of capital, or oligopoly, or class power. Compared to any of these, a word like ‘inequality’ sounds like it’s practically designed to encourage half-measures and compromise. It’s possible to imagine overthrowing capitalism or breaking the power of the state, but it’s not clear what eliminating inequality would even mean. (Which kind of inequality? Wealth? Opportunity? Exactly how equal would people have to be in order for us to be able to say we’ve ‘eliminated inequality’?) The term ‘inequality’ is a way of framing social problems appropriate to an age of technocratic reformers, who assume from the outset that no real vision of social transformation is even on the table. Debating inequality allows one to tinker with the numbers, argue about Gini coefficients and thresholds of dysfunction, readjust tax regimes or social welfare mechanisms, even shock the public with figures showing just how bad things have become (‘Can you imagine? The richest 1 per cent of the world’s population own 44 per cent of the world’s wealth!’) – but it also allows one to do all this without addressing any of the factors that people actually object to about such ‘unequal’ social arrangements: for instance, that some manage to turn their wealth into power over others; or that other people end up being told their needs are not important, and their lives have no intrinsic worth. The last, we are supposed to believe, is just the inevitable effect of inequality; and inequality, the inevitable result of living in any large, complex, urban, technologically sophisticated society. Presumably it will always be with us. It’s just a matter of degree. Today, there is a veritable boom of thinking about inequality: since 2011, ‘global inequality

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them. Yet, just as the dance was about to begin, Princess Mehjabeen's eyes fluttered open, the enchanting dream slipping away like mist beneath the twilight.