Frame Design For Quotes

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.

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.

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

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.

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.

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

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.

What the map offers is a critical use of elements like scale, orientation, organization, and framing to help us make meaning of abstract data, but also persuade us of a certain truth.

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.

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.

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.

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 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

Google Maps is devised as a crutch to help us navigate the world in an easier way, but by extension the same technology prevents us from understanding the world in a holistic way, or thinking critically about the route that we should take, or even from the route that might be most enjoyable.

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.

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.

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.

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.

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. His 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.

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.

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.

Instead, to deal with complex future conflicts, we’re going to need something more like a unified field theory: an approach that is framed around the common features of all types of threats (rather than optimized for the particular characteristics of any one type of threat) and considers the environment in toto as a single unified system. We’ll need to acknowledge that many security challenges in the future environment will be “threats without enemies,” which, by definition, are just not amenable to military solutions. And we’ll need to recognize that even when there’s an identifiable adversary—usually, but not always, a nonstate armed group—there are still no purely military solutions to many of the challenges we will encounter, meaning that disciplines such as law enforcement, urban planning, city administration, systems design, public health, and international development are likely to play a key part in any future theory of conflict.

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.

Increase of light and increase of labour have always gone hand in hand. If today, when our gaze is no longer able to penetrate the pale reflected glow over the city and its environs, we think back to the eighteenth century, it hardly seems possible that even then, before the Industrial Age, a great number of people, at least in some places, spent their lives with their wretched bodies strapped to looms made of wooden frames and rails, hung with weights, and reminiscent of instruments of torture or cages. It was a peculiar symbiosis which, perhaps because of its relatively primitive character, makes more apparent than any later form of factory work that we are able to maintain ourselves on this earth only by being harnessed to the machines we have invented. That weavers in particular, together with scholars and writers with whom they had much in common, tended to suffer from melancholy and all the evils associated with it, is understandable given the nature of their work, which forced them to sit bent over, day after day, straining to keep their eye on the complex patterns they created. It is difficult to imagine the depths of despair into which those can be driven who, even after the end of the working day, are engrossed in their intricate designs and who are pursued, into their dreams, by the feeling that they have got hold of the wrong thread. On the other hand, when we consider the weavers’ mental illnesses we should also bear in mind that many of the materials produced in the factories of Norwich in the decades before the Industrial Revolution began – silk brocades and watered tabinets, satins and satinettes, camblets and cheveretts, prunelles, callimancoes and florentines, diamantines and grenadines, blondines, bombazines, belle-isles and martiniques – were of a truly fabulous variety, and of an iridescent, quite indescribable beauty as if they had been produced by Nature itself, like the plumage of birds. – That, at any rate, is what I think when I look at the marvellous strips of colour in the pattern books, the edges and gaps filled with mysterious figures and symbols, that are kept in the small museum of Strangers Hall, which was once the town house of just such a family of silk weavers who had been exiled from France.

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.

Every single moment of your life is a multiple frames of events occurring all at once.

Look,” said the Speaker, “the founders purposely designed our government so that passing legislation isn’t easy. Trying to get Congress to pull in one direction is worse than herding cats. It’s herding self-interested, narcissistic, opportunistic cats. Who only care about getting reelected, no matter how much they pretend to care about their constituencies.

You may steal my abstract designed frame but remember that, it is but a copy. I will design another one even better than the one! Because the original is in my mind.

The intention to harm or exclude may guide some technical design decisions. Yet even when they do, these motivations often stand in tension with aims framed more benevolently. Even police robots who can use lethal force while protecting officers from harm are clothed in the rhetoric of public safety.35 This is why we must separate “intentionality” from its strictly negative connotation in the context of racist practices, and examine how aiming to “do good” can very well coexist with forms of malice and neglect.36 In fact a do-gooding ethos often serves as a moral cover for harmful decisions. Still, the view that ill intent is always a feature of racism is common: “No one at Google giggled while intentionally programming its software to mislabel black people.”37 Here McWhorter is referring to photo-tagging software that classified dark-skinned users as “gorillas.” Having discovered no bogeyman behind the screen, he dismisses the idea of “racist technology” because that implies “designers and the people who hire them are therefore ‘racists.’” But this expectation of individual intent to harm as evidence of racism is one that scholars of race have long rejected.38

Our internal frame of reference changes over time. We don’t make absolute judgments.

The policies are designed to ensure that no one gets more than what the state has designated as their 'need'. What is at stake here is not only that the low-income may not be receiving sufficient support, but that this way of framing support creates indignity for 'recipients' through marking qualification as exceptional & for the most 'needy'.

We don’t think about saving money very often. When we finally do think about it, our thoughts rarely lead us to save more. To test the extent that the design of digital wallets could influence behavior, Dan and his colleagues conducted a large-scale experiment with thousands of customers of a mobile money-saving system in Kenya. Some participants received two text messages every week: one at the start of the week to remind them to save and another one at the end of the week with a summary of their savings. Other participants got slightly different text reminders: It was framed like it came from their kid, asking them to save for “our future.” Four other groups were bribed (formally known as “financially incentivized”) for saving. The first of these groups got a 10 percent bonus for the first 100 shillings that they saved. The second group got a 20 percent bonus for the first 100 shillings that they saved. The third and fourth groups got the same 10 percent and 20 percent bonuses for the first 100 shillings that they saved, but they got it together with loss aversion. (In these conditions, the researchers placed the full amount of the match—10 or 20 shillings—into their account at the beginning of the week. The participants were told that they would get the match based on how much they saved, and that the amount of the match that they did not save would be taken out of their account. Financially, this loss aversion approach was the same as the regular end-of-the-week match, but the idea was that experiencing money leaving their account would be painful and would get the participants to increase their savings.) A final set of participants received those same text messages plus a golden-colored coin with the numbers 1–24 engraved on it, to indicate the 24 weeks that the plan lasted. These participants were asked to place the coin somewhere visible in their home and scratch with a knife the number for that week to indicate if they saved or not.2 At the end of six months, the treatment that performed spectacularly better than every other was—drumroll please!—the coin. Every other treatment increased savings a bit, but those who received the coin saved about twice as much as those who only received text messages. You might think the winner would have been the 20 percent bonus or maybe the 20 percent bonus with loss aversion—and this is in fact what most people predict would be the most effective way to get people to save—but you’d be wrong.

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.

Apple has a consistent and exquisite concept of using the God curve in everything. The God curve is the curvature of the rounded corners that you can see in many places. For example, in the iPhone, you can see the God curve in the metal frame, the physical buttons, the rear bump, the camera, the receiver, the display, the Lighting connector, and even some internal components. In the software, you can see the God curve in the app icon, the dock, the search bar, the settings bar, the control center, the notification bar in notification center, the widget, and the notch (or dynamic island). The God curve is also present in other products, such as the Macbook and its software. And even in Apple's buildings and facilities, such as the Apple Park visitor center and its trash cans and seats. The God curve is a legacy of Mr. Jobs, who made sure that everything Apple does has a high level of consistency and elegance across hardware, software, product, and enterprise.

His frame is lean and tall, skin pale, eyes the most shocking shade of silver-blue above chiseled cheekbones flushed the palest rose. His hair is a silver blond that falls in silken wisps past his pointed ears. He wears a black silk waistcoat and trousers, both patterned with silver threaded designs, but he wears no jacket. His white shirt is unbuttoned at the neck, free of cravat or tie.

about cycling deaths in London written by a woman can be framed through the headline: ‘Roads Designed by Men are Killing Women’.10 Such rhetoric exacerbates any existing divisions and each time creates a number of new ones. And for what purpose? Rather than showing how we can all get along better, the lessons of the last decade appear to be exacerbating a sense that in fact we aren’t very good at living with each other.

Saipem, an Italian-based company founded in 1957, has built some of the world's largest energy and infrastructure projects. It is organized into five business divisions that focus on onshore and offshore drilling, engineering and construction, and conceptual design services. Given its connection to oil and gas contracts, which effectively collapsed in 2014 with a plunge in oil prices, it has had to set a course beyond fossil fuels and rethink everything about its business. This "change or die" scenario sets the tone for its reporting and disclosure. Its 2019 sustainability report acknowledges the scenario it is facing and tackles the issue of the low-carbon transition head-on. At its core is the organziations rallying call, or "the four challenges," which describe the context and frame the opportunities it must capture to remain competitive.

Previous airplane designers based propellers on those used for ships. But water has a million times the density of air. Boat propellers bite into the water to produce momentum. Air, on the other hand, is compressible, and the Wrights realized they needed to rethink how an airplane propeller would work. The aerodynamic frame led them to the answer. As Orville later described their insight: “It was apparent that a propeller was simply an aeroplane [wing] travelling in a spiral course.” The blades would need a camber to produce uplift, like the wings.

Color, the principle: First, you should think about how color affects the psychology of the user. Then, you should think about the role of color in the product. Finally, you should think about the color itself. According to the theory of static and dynamic, usually colors like static world, the new colors like dynamic elements, new colors will instantly become the focus while ordinary colors will not attract too much attention. For product design, you should aim for a continuous and integrated appearance of the elements, or avoid any interruptions or breaks. This includes the colors of the front panel, frame, and rear panel. For color itself, there are different levels of colors based on how often humans see them. The highest level color is the air, which is the most seen color by humans, but humans cannot make it. The closest thing to air is glass, which can create a 3D color effect by superimposing on other colors. This is a miracle that breaks the common sense that the eye can only see 2D colors. The second level color is the sky, which is the second most seen color by humans, especially during the day. The third level color is the human body, which is the most familiar color to humans, such as skin and hair. The fourth level color is nature, which is the second most familiar color to humans. The fifth level color is artificial. Monochrome is the cornerstone, and the color combination (the same color system can reduce the sense of abruptness, the near color secondary) and the gradient aesthetics are stricter. The more the style focuses on minimalism, the more it favors monochrome.

Line and shape, the best principles: Straight lines are the basic and simple form, while curves are more complex and beautiful. Curves can be inward or outward, depending on how they bend. Inward curves are more aggressive, while outward curves are more expansive. Outward curves are easier to handle than inward curves. Curve belongs to God, and is a kind of orderly cognition distilled from chaos, orderly in orderly will reflect each other, but orderly into disorderly in its will return to the basics of chaos or be weakened. Visual of a physical pure curve with a psychological straight line is the best, a curve-based straight line is the second best, a straight-based curve line is the third best, and a pure straight line is the fourth best. This is because a straight line is more harmful than a curve in a product. For example, the iPhone 14 Pro's flat frame is more uncomfortable to hold than the iPhone 15 Pro's round frame.

Apple has a consistent and exquisite concept of using the God curve in everything. The God curve is the curvature of the rounded corners that you can see in many places. For example, in the iPhone, you can see the God curve in the metal frame, the physical buttons, the rear bump, the camera, the receiver, the display, the Lighting connector, and even some internal components. In the software, you can see the God curve in the app icon, the dock, the search bar, the settings bar, the control center, the notification bar in notification center, the widget, and the notch (or dynamic island). The God curve is also present in other products, such as the Macbook and its software. And even in Apple's buildings and facilities, such as the Apple Park visitor center and its trash cans and seats. The God curve is a legacy of Mr. Jobs, who made sure that everything Apple does has a high level of consistency and elegance across hardware, software, product, and enterprise.

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

The thing about framing neurodiversity as a 'superpower' is that it tends to gloss over the hard parts - the fact that so many in our community are literally disabled in a world not designed for them.

What he was doing was upsetting a carefully ordered protocol, one designed to maximize profits and endow those who played by the rules with cultural influence and standing. Award shows, Brando groused, weren’t about honoring the best: “They’re about making more money, and about Hollywood telling itself that it’s important.” He asked why optometrists didn’t have awards for “creating inventive, arresting, admirable eyeglass frames.

No one can take in a building all at once. It's like when we take a photograph – we're looking at only a few things, half a dozen or even a dozen – and yet the photo records everything in our frame of vision. And it's those thousand other details that anchor us far below what we consciously see. It's what we unconsciously see that gives us the feeling of familiarity with the mind behind a building. Sometimes it seems as if the architect had full knowledge of these thousand other details in his design, not just the different kinds of light possible across a stone facade, or across the floor, or filling the crevices of an ornament, but as if he knew just how the curtains would blow into the room through the open window and cause just that particular shadow and turn a certain page of a certain book at just that moment of the story, and that the dimness of the Sunday rain would compel the woman to rise from the table and draw the man's face to the warmth of her.

Asoka World School is a reputed international school in Kochi affiliated with CBSE. We have a student-friendly environment and has a very interesting syllabus. The STEM enriched curriculum helps to provide an in-depth learning experience for the students. We have a wide range of extracurricular activities for nurturing and developing a child’s creativity and imagination. Asoka World School can be an ideal option for your child. Here are some key reasons why Asoka World School is the best for your kid. Individualized attention in classes: Our student-teacher ratio arrangement is standardised in such a way that teachers are able to give individual attention to each child. Our teachers are well educated, experienced and constantly inspires their students. We follow the golden teacher-student ratio of 1:20. This helps students to gain the concepts of each subject easily hence they become more confident. This also enriches their knowledge, and they get more quality time to interact with their teachers. image Child Safe Environment: At Asoka World School, you will find your child is in extremely safe hands. Our classrooms are aesthetically designed and technologically equipped to disseminate learning through very many fun ways. Asoka World School has a world-class building design, infrastructure, fully integrated wireless network, climate-controlled smart classrooms, security features and no compromise hygiene and safeguarding policy that offers everything you have been dreaming for your child. Updated Curriculums: We have 4 levels of programmes prepared for our children. Foundational - KG - IInd Preparatory - IIIrd - Vth Middle School - VIth - VIIIth Senior School - IXth - XIIth These programs are framed by our school to focus on developing various vital skills in the students. Our teachers adopt a customised teaching approach that can help students of every category. Our flexible curriculum enhances the communication between the teachers and students to a great extent. Our school has result-oriented teaching methods, qualified and responsible teaching staff to help facilitate a learning environment that is both safe and nurturing. As the best CBSE school in Kochi, Asoka World School is a leader in its sector and we hope to continue rising and come out as the best school in Kochi.

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.

labs that enrolled in the FluNet Global Influenza Surveillance System—a network of reference labs that sample for flu as a way to track its global spread—recorded 4,623 cases of flu in 2019 but just 53 in 2020. In Chile, there were 5,000 cases in 2019 and 12 in 2020; and in South Africa, the network’s labs detected 1,094 cases in 2019 and just 6 in 2020.53 In New Zealand there was a “near extinction” of influenza.54 With so little flu virus migrating, a similar scenario played out in the US during our fall and winter. By the end of January 2021, the CDC had recorded only 1,316 positive flu cases in its surveillance network, compared to 129,997 they had recorded over the same time frame in 2019.55 The mitigation we put into place was designed to deal with a pandemic flu, not COVID, and it worked much better against its intended viral target.

My mother designed every one of his suits. She selected the silk lining, the thread for the pick stitching, the cut of the jacket, the positioning of the pockets, even the color and material of the buttons. My father hasn’t bought a single suit since she died. He just retailors the ones she chose to fit his shrinking frame.

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. 

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.

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.

Violating the constitution is an open and obvious doctrine of disloyalty that demonstrates and shows the army of termites within the defense of the state. The entire nation remains betrayed if the head of the country cannot independently carry out political, economic, social, and electoral affairs, according to the State Constitution. A constitution defines the mindset of the people and the trend of the state; it also designs the impact on the discipline of its institutions since it is a key to all systems, not the arrangement. Thoughts are the constitution of life, and the mind is the parliament where these take place. The worst crime in this world is victimization, whether it is a person, the system, or the constitution of society. In the Third World, political leaders run political parties in the frame of their factory management.