Framing Materials Quotes

Only the framing material," Lucas demurely, "obvious influences, Neo-Tokyo from Akira, Ghost in the Shell, Metal Gear Solid by Hideo Kojima, or as he's known in my crib, God.

Like a work of art, we exceed our materials. Science needs art to frame the mystery, but art needs science so that not everything is a mystery. Neither truth alone is our solution, for our reality exists in plural

It's quiet in the car, in a good way for once. No words, no music. Silence seems right. I roll down the windows and lean my head against the door frame, listening to the wind rush by and smelling the pine trees. I watch the stars materialize, like someone is dimming the switch on the night sky so each shining dot grows brighter and brighter.

Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.

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.

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.

mass and energy have an equivalence. They are two forms of the same thing: energy is liberated matter; matter is energy waiting to happen. Since c2 (the speed of light times itself) is a truly enormous number, what the equation is saying is that there is a huge amount—a really huge amount—of energy bound up in every material thing.4 You may not feel outstandingly robust, but if you are an average-sized adult you will contain within your modest frame no less than 7 × 1018 joules of potential energy—enough to explode with the force of thirty very large hydrogen bombs, assuming you knew how to liberate it and really wished to make a point.

...the preparations for working put him simultaneously in the right frame of mind for creating... that collectedness and presence of mind...the right frame of mind for the artist is only reached when the preparing and the creating, the technical and the artistic, the material and the spiritual, the project and the object, flow together without a break.

MarketWorld finds certain ideas more acceptable and less threatening than others, he said, and it does its part to help them through its patronage of thought leaders. For example, Giussani observed, ideas framed as being about 'poverty' are more acceptable that ideas framed as being about inequality.' The two ideas are related. But poverty is a material fact of deprivation that does not point fingers, and inequality is something more worrying: It speaks of what some have and others lack; it flirts with the idea of injustice and wrongdoing; it is relational.

Say you could view a time lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by widening lead. Mountains burst up, jutting, and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up- mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash-frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and crumble, like paths of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues whose split second in the light was too brief an exposure to yield any image but the hunched shadowless figures of ghosts. Slow it down more, come closer still. A dot appears, a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

Publicity images often use sculptures or paintings to lend allure or authority to their own message. Framed oil paintings often hang in shop windows as part of their display. Any work of art 'quoted' by publicity serves two purposes. Art is a sign of affluence; it belongs to the good life; it is part of the furnishing which the world gives to the rich and the beautiful. But a work of art also suggests a cultural authority, a form of dignity, even of wisdom, which is superior to any vulgar material interest; an oil painting belongs to the cultural heritage; it is a reminder of what it means to be a cultivated European. And so the quoted work of art (and this is why it is so useful to publicity) says two almost contradictory things at the same time: it denotes wealth and spirituality: it implies that the purchase being proposed is both a luxury and a cultural value. Publicity has in fact understood the tradition of the oil painting more thoroughly than most art historians. It has grasped the implications of the relationship between the work of art and its spectator-owner and with these it tries to persuade and flatter the spectator-buyer. The continuity, however, between oil painting and publicity goes far deeper than the 'quoting' of specific paintings. Publicity relies to a very large extent on the language of oil painting. It speaks in the same voice about the same things. (P. 129)

Common sense and every material reality insisted upon the unification of human life throughout the planet and the socialisation of its elementary needs, and pitted against that was the fact that every authority, every institution, every established way of thinking and living was framed to preserve the advantages of the ruling and possessing minority and the separate sovereignty of the militant states that had been evolved within the vanished circumstances of the past.

You could hate a sofa, of course—that is, if you could hate a sofa. But it didn't matter. You still had to get together $4.80 a month. If you had to pay $4.80 a month for a sofa that started off split, no good, and humiliating—you couldn't take any joy in owning it. And the joylessness stank, pervading everything. The stink of it kept you from painting the beaverboard walls; from getting a matching piece of material for the chair; even from sewing up the split, which became a gash, which became a gaping chasm that exposed the cheap frame and the cheaper upholstery. It withheld the refreshment in a sleep slept on it. It imposed a furtiveness on the loving done on it. Like a sore tooth that is not content to throb in isolation, but must diffuse its own pain to other parts of the body—making breathing difficult, vision limited, nerves unsettled, so a hated piece of furniture produces a fretful malaise that asserts itself throughout the house and limits the delight of things not related to it.

Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth’s surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

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.

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

the knowledge of Christian doctrine grounded only upon arguments is a doubtful and uncertain knowledge.  I conceive that syllogisms and arguments are only for this world, and the things of this world, but not for the things of God and of the other world.  The natural philosopher attains to his natural knowledge by observations and experiments in several particulars, by antecedents and consequences.  Most of his knowledge in those things is very feeble, crazy, questionable, and the like, which made that great Philosopher after his inquiry for knowledge profess, that he only attained to this, that he knew himself to be ignorant, Hoc tantum scio quod bihil scio, “this only do I know, I know nothing.”  But God has ordained a better way to convey His truth into our hearts, and that is by a renovation of our minds and by the communication of a divine nature.  God has not let His people remain in uncertainties in those things which are material and necessary, but has given a certainty of demonstration.  Whatsoever I do receive for truth on the account of argumentative conclusions, that I am bound to lay aside and disown for error upon the same account when a more probable argument comes along.  Truly friends, if all the ground of our entertaining Christ and truth, or Christian doctrine is because such an argument conveyed it to us, what will become of us and the truth when we meet with a subtle philosopher and antichristian head who will frame an argument against the truth, unanswerable by our logic?  Where shall a man ever consist, if he must live on the terms in the world?  Besides, every one to whom the Gospel of Christ is preached is not headstrong enough to grapple with the bigness and depth of some kind of arguments.  They may have their hearts truly mortified to this world, and carried out in love to the person and nature of our Lord Jesus.

The large drawing-room was an immense, long room, with a sort of gallery that ran from one pavilion to the other, taking up the whole of the façade on the garden side. A large French window opened on to the steps. This gallery glittered with gold. The ceiling, gently arched, had fanciful scrolls winding round great gilt medallions, that shone like bucklers. Bosses and dazzling garlands encircled the arch; fillets of gold, resembling threads of molten metal, ran round the walls, framing the panels, which were hung with red silk; festoons of roses, topped with tufts of full-blown blossoms, hung down along the sides of the mirrors. An Aubusson carpet spread its purple flowers over the polished flooring. The furniture of red silk damask, the door-hangings and window-curtains of the same material, the huge ormolu clock on the mantel-piece, the porcelain vases standing on the consoles, the legs of the two long tables

And there was the moon. A warm and visible greeting, a beacon of relief. Full, unshrouded, its edges crisp. It looked like an airy wafer- what were those crackers that came in the big green tin? She stared at the moon and thought about the fact that she was breathing. Fact of breathing, fact of life. This she could control: slow down and speed up her breathing, despite the pain in her throat. She'd never really looked at the moon, never really seen how intricate the etchings on its yellowy silver surface. Bowl of a spoon in candlelight. When she'd looked a long time- I see the moon, and the moon sees me- a glimmering ring like a rainbow materialized at the rim. In the memory she still retained, as clear as a framed snapshot, a portrait worn in a locket, Saga stared at the moon that way for hours, and it kept her company, it kept her sane, it kept her in one piece, it kept her alive. It was proof, fact, patience, faith.

Critics have focused on three Supreme Court opinions decided between 2002 and 2005. All three moved the law in a progressive direction, with the majority opinions citing the views of foreign courts or lawmakers. These foreign sources were clearly not invoked as determinative of the meaning of the U.S. Constitution, nor could they have been. But mere mention of the foreign materials provoked anger by framing the question of how to interpret the Constitution in a global context of evolving views on human dignity.

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.

The normative temporal and spatial frames of historical materialism have ironically forced a congruence between Marxist and bourgeois definitions of civilization, both of which cast racialized nonnormative sexualities as anterior and as signs of disorder and social chaos within an otherwise stable social system. The contingency of queer relations, their uncertainty, irregularity, and even perversity, disregards the so-called natural bonds between memory and futurity, and in the process make an implicit argument for forgetfulness.

In fact, any theory which does not change within sixty years is, by this very fact, no longer the same as the original theory of the master; it is a fossilized repetition, and by being a repetition it is actually a deformation. Freud’s basic discoveries were conceived in a certain philosophical frame of reference, that of the mechanistic materialism current among most natural scientists at the beginning of this century. I believe that the further development of Freud’s thought requires a different philosophical frame of reference, that of dialectic humanism.

Down to the ninetieth year of her life, the spirit of struggle maintained the vitality of this indomitable woman. But there was no longer anyone to fight. At length, therefore, old age, so vainly repudiated, asserted itself irrevocably; death tapped her on the shoulder; the inalterable law of reality prevailed. “The mortal dream of life, substance, feeling, grew weaker in the material frame.” On December 4, 1910, the end came; and late at night, though she had been up and dressed that very day, there lay in the bed at Chestnut Hill the corpse of what had been Mary Baker Eddy, “a bodily shell which faith had forsaken.” Nothing but death had been able to overcome this iron heart.

Narrative and analytical information does not coexist. It cannot; that’s simply impossible. The human brain is unable to be coldly analytical and warmly engaged in a narrative at the same time. This is the secret power of the intrigue frame. When your target drills down into technical material, you break that frame by telling a brief but relevant story that involves you. This is not a story that you make up on the spot; this is a personal story that you have prepared in advance and that you take to every meeting you have. Since all croc brains are pretty similar, you will not need more than one story because the intrigue it will contain will have the same impact on every audience. You need to be at the center of the story, which immediately redirects attention back to you. People will pause, look up, and listen because you are sharing something personal.

I spent most of the afternoon tempering the new batch of couverture and working on the window display. A thick covering of green tissue paper for the grass. Paper flowers- daffodils and daisies, Anouk's contribution- pinned to the window frame. Green-covered tins that had once contained cocoa powder, stacked up against each other to make a craggy mountainside. Crinkly cellophane paper wraps it like a covering of ice. Running past and winding into the valley, a river of blue silk ribbon, upon which a cluster of houseboats sits quiet and unreflecting. And below, a procession of chocolate figures, cats, dogs, rabbits, some with raisin eyes, pink marzipan ears, tails made of licorice-whips, with sugar flowers between their teeth... And mice. On every available surface, mice. Running up the sides of the hill, nestling in corners, even on the riverboats. Pink and white sugar coconut mice, chocolate mice of all colors, variegated mice marbled through with truffle and maraschino cream, delicately tinted mice, sugar-dappled frosted mice. And standing above them, the Pied Piper resplendent in his red and yellow, a barley-sugar flute in one hand, his hat in the other. I have hundreds of molds in my kitchen, thin plastic ones for the eggs and the figures, ceramic ones for the cameos and liqueur chocolates. With them I can re-create any facial expression and superimpose it upon a hollow shell, adding hair and detail with a narrow-gauge pipe, building up torso and limbs in separate pieces and fixing them in place with wires and melted chocolate.... A little camouflage- a red cloak, rolled from marzipan. A tunic, a hat of the same material, a long feather brushing the ground at his booted feet. My Pied Piper looks a little like Roux, with his red hair and motley garb.

I, like most scientific types, came to believe in the possibility of a material conception of reality, an ultimately scientific worldview that would grant a complete metaphysics, minus outmoded concepts like souls, God, and bearded white men in robes. I spent a good chunk of my twenties trying to build a frame for such an endeavor. The problem, however, eventually became evident: to make science the arbiter of metaphysics is to banish not only God from the world but also love, hate, meaning - to consider a world that is self-evidently not the world we live in. That's not to say that if you believe in meaning, you must also believe in God. It is to say, though, thay if you believe that science provides no basis for God, then you are almost obligated to conclude that science provides no basis for meaning and, therefore, life itself doesn't have any. In other words, existential claims have no weight; all knowledge is scientific knowledge.

Paint in several colors was squeezed out of tubes and mixed and applied to woven fabric stretched on a wooden frame so artfully we say we see a woman hanging out a sheet rather than oil on canvas. Ana Teresa Fernandez’s image on that canvas is six feet tall, five feet wide, the figure almost life-size. Though it is untitled, the series it’s in has a title: Telaraña. Spiderweb. The spiderweb of gender and history in which the painted woman is caught; the spiderweb of her own power that she is weaving in this painting dominated by a sheet that was woven. Woven now by a machine, but before the industrial revolution by women whose spinning and weaving linked them to spiders and made spiders feminine in the old stories. In this part of the world, in the creation stories of the Hopi, Pueblo, Navajo, Choctaw, and Cherokee peoples, Spider Grandmother is the principal creator of the universe. Ancient Greek stories included an unfortunate spinning woman who was famously turned into a spider as well as the more powerful Greek fates, who spun, wove, and cut each person’s lifeline, who ensured that those lives would be linear narratives that end. Spiderwebs are images of the nonlinear, of the many directions in which something might go, the many sources for it; of the grandmothers as well as the strings of begats. There’s a German painting from the nineteenth century of women processing the flax from which linen is made. They wear wooden shoes, dark dresses, demure white caps, and stand at various distances from a wall, where the hanks of raw material are being wound up as thread. From each of them, a single thread extends across the room, as though they were spiders, as though it came right out of their bellies. Or as though they were tethered to the wall by the fine, slim threads that are invisible in other kinds of light. They are spinning, they are caught in the web. To spin the web and not be caught in it, to create the world, to create your own life, to rule your fate, to name the grandmothers as well as the fathers, to draw nets and not just straight lines, to be a maker as well as a cleaner, to be able to sing and not be silenced, to take down the veil and appear: all these are the banners on the laundry line I hang out.

And she loved you with all her heart." He sprang to his feet and walked up and down the small room. "I don't want love. I haven't time for it. It's weakness. I am a man, and sometimes I want a woman. When I’ve satisfied my passion I'm ready for other things.I can't overcome my desire, but I hate it; it imprisons my spirit; I look forward to the time when I shall be free from all desire and can give myself without hindrance to my work. Because women can do nothing except love, they've given it a ridiculous importance. They want to persuade us that it's the whole of life. It's an insignificant part. I know lust. That's normal and healthy. Love is a disease. Women are the instruments of my pleasure; I have no patience with their claim to be helpmates, partners, companions. “ I had never heard Strickland speak so much at one time. He spoke with a passion of indignation. But neither here nor elsewhere do I pretend to give his exact words; his vocabulary was small, and he had no gift for framing sentences, so that one had to piece his meaning together out of interjections, the expression of his face, gestures and hackneyed phrases. "You should have lived at a time when women were chattels and men the masters of slaves, “ I said. "It just happens that I am a completely normal man." I could not help laughing at this remark, made in all seriousness; but he went on, walking up and down the room like a caged beast, intent on expressing what he felt, but found such difficulty in putting coherently. "When a woman loves you she's not satisfied until she possesses your soul. Because she's weak, she has a rage for domination, and nothing less will satisfy her.She has a small mind and she resents the abstract which she is unable to grasp. She is occupied with material things, and she is jealous of the ideal. The soul of man wanders through the uttermost regions of the universe, and she seeks to imprison it in the circle of her account-book. Do you remember my wife? I saw Blanche little by little trying all her tricks. With infinite patience she prepared to snare me and bind me. She wanted to bring me down to her level; she cared nothing for me, she only wanted me to be hers. She was willing to do everything in the world for me except the one thing I wanted: to leave me alone.

There thus arises, among those who direct affairs or are in touch with those who do so, a new belief in power: first, the power of man in his conflicts with nature, and then the power of rulers as against the human beings whose beliefs and aspirations they seek to control by scientific propaganda, especially education. The result is a diminution of fixity; no change seems impossible. Nature is raw material; so is that part of the human race which does not effectively participate in government. There are certain old conceptions which represent men's belief in the limits of human power; of these the two chief are God and truth. (I do not mean that these two are logically connected.) Such conceptions tend to melt away; even if not explicitly negated, they lose importance, and are retained only superficially. This whole outlook is new, and it is impossible to say how mankind will adapt itself to it. It has already produced immense cataclysms, and will no doubt produce others in the future. To frame a philosophy capable of coping with men intoxicated with the prospect of almost unlimited power and also with the apathy of the powerless is the most pressing task of our time.

The framers were wise in their generation and wanted to do the very best possible to secure their own liberty and independence, and that also of their descendants to the latest days. It is preposterous to suppose that the people of one generation can lay down the best and only rules of government for all who are to come after them, and under unforeseen contingencies. At the time of the framing of our constitution the only physical forces that had been subdued and made to serve man and do his labor, were the currents in the streams and in the air we breathe. Rude machinery, propelled by water power, had been invested sails to propel ships upon the waters and been set to catch the passing breeze – but the application of steam to propel vessels against both wind and current, and machinery to do all manner of work had not been thought of. The instantaneous transmission of messages around the world by means of electricity would probably that day have been attribute to witchcraft or a league with the Devil. Immaterial circumstances had changed as greatly as material ones. We could not and ought not to be rigidly bound by the rules laid down under circumstances so different for emergencies so utterly unanticipated. The fathers themselves would have been the first to declare that their prerogatives were not irrevocable.

They basically suggest that specificity allows for a handful of neurons, whose activity is too faint to be measurable, to hypothetically explain lifetimes of complex and coherent experiences. Resuscitation specialist Dr. Sam Parnia’s candid rebuttal of this suggestion seems to frame it best: ‘When you die, there’s no blood flow going into your brain. If it goes below a certain level, you can’t have electric activity. It takes a lot of imagination to think there’s somehow a hidden area of your brain that comes into action when everything else isn’t working.’38 But even if we grant that there is hidden neural activity somewhere, the materialist position immediately raises the question of why we are born with such large brains if only a handful of neurons were sufficient to confabulate unfathomable dreams. After all, as a species, we pay a high price for our large brains in terms of metabolism and in terms of having to be born basically premature, since a more developed head cannot pass through a woman’s birth canal. Moreover, under ordinary conditions, it has been scientifically demonstrated that we generate measurable neocortical activity even when we dream of the mere clenching of a hand!39 It is, thus, incoherent to postulate that undetectable neural firings – the extreme of specificity – are sufficient to explain complex experiences.

Two general questions are of vital importance here. They are inter-linked and to a large extent interdependent. The first is, what are the boundaries of legitimate disagreement among historians? The second is, how far do historians' interpretations depend on a selective reading of the evidence and where does selectivity end and bias begin? The answers to both are fundamental to the business of being a historian. Historians bring a whole variety of ideas, theories, even preconceptions to the evidence to help them frame the questions they want to ask of it and guide their selection of what they want to consult. But once they get to work on the documents, they have a duty to read the evidence as fully and fairly as they can. If it contradicts some of the assumptions they have brought to it, they have to jettison those assumptions...What a professional historian does is to take the whole of the source in question into account, and check it against other relevant sources to reach a reasoned conclusion that will withstand critical scrutiny by other historians who look at the same material... Reputable and professional historians do not suppress parts of quotations from documents that go against their own case, but take them into account and if necessary amend their own case accordingly. From _Lying About Hitler: History, Holocaust and the David Irving Trial_, 250-251

Harvard pointed. “You know, right there is when the stuntman catches the sword out of frame.” “I know.” Aiden did know. Harvard always told him this fact at this precise moment. Aiden had watched this movie without Harvard once—on a date. Seeing the sword fly without the familiar murmur had upset Aiden enough to turn off the movie. Tonight, Harvard was here with him. They were both lying on their stomachs with their legs kicked up and their hands cupped in their chins, as though they were six years old. They weren’t. Aiden tangled their legs together slightly, deliberately. It felt far more dangerous than crossing swords. Aiden couldn’t imagine a match with so much at stake. “During a date when you stay in,” Aiden said, teaching, “you should try to see if the other person is receptive to you getting closer.” Harvard gave Aiden a look out of the corner of his eye, and let their legs stay tangled, resting with light pressure against one another. Love was a delusion, nothing but an electrical impulse in the brain, but there were many impulses running electric under Aiden’s skin right now. The man in black smiled beneath his mask and switched his sword to his right hand. The clash of swords rang over the sound of the sea. Aiden sneaked another look at Harvard, the shine of his dark eyes and white teeth in the silvery glow from the screen. Harvard caught him looking, but he returned Aiden’s look with a look of his own, warmly affectionate and never suspicious at all. Harvard never suspected a thing. Because Aiden was his best friend, and Harvard trusted him. And Harvard could trust him. Aiden would never do anything to hurt Harvard, not anything at all. Aiden moved in still closer, his arm set against Harvard’s, solid muscle under the thin material of his shirtsleeve. He could put his arm around Harvard’s shoulders or slip an arm around his waist or lean in. He was allowed, just for tonight.

The brain is wired to minimize loss . . . [and] to keep you alive. [It] makes the assumption that because you were alive yesterday, what you did previously is safe. Therefore, repeating the past is good for survival. As a result, doing things differently, even if it seems like an improvement, is risky. Perpetuating past behaviors, from the brain’s reptilian perspective, is the safest way. This is why innovation is difficult for most individuals and organizations. Put another way, the brain wants its problems and predicaments solved first because it can’t deal with anything new or different until they are addressed. The brain has no incentive to come up with new ideas if it doesn’t have to. As long as your brain knows you have another out, it will always be content with keeping you alive by coming up with the same ideas that it used before. This suggests that when you decide to get scrappy, a shift occurs and seems to unlock a door. Once that new door opens, you are more capable than ever of getting innovative because your brain has been activated to manage discomfort or challenges first. You’re able to work on a new, perhaps more advanced, level with heightened energy and focus. It’s that initial commitment, that literal act of saying, “I’m going for it!” that stimulates your mind in new and clever ways and ultimately leads to the generation of fresh ideas. Let’s go back to the Greg Hague story. 1. He had a huge goal, which was to pass the Arizona state bar exam. 2. There was a limited time frame as he had only four and a half months to study. 3. He was all in: “I flat out made up my mind I was going to pass.” He decided to go despite the odds. 4. He had to figure out a way to learn a ton of information in a short period of time. His brain adapted, shifted, and developed an entirely new learning system in order to absorb more material, which helped him to pass the Arizona bar and get the top score in the state. It’s weird, right? But it happened.

I'm sorry this trip has been so difficult." "It could be worse.We could be enduring Father Morrell's celebration of the Eucharist." Bronwyn's jaw dropped and she turned in his arms to see if Ranulf was serious. He was. Ranulf framed her face in his hands and placed a soft kiss on her lips. He then stepped aside and pulled his tunic over his head. Seeing her still stunned, sea blue eyes follow his movements, he said, "Don't look at me that way. The aggravating priest confronted me when you were packing, telling me that I was damning all of our souls by taking you away on such an auspicious day." Bronwyn bit her bottom lip to keep from laughing. "Father Morrell's just concerned. He believes that all should be given Holy Communion at least once a year and-" "He has chosen the last Sunday of the Twelfthtide to be that day. I understand. But just as I told him, I've missed so many of what he considers critical celebrations in my lifetime, another won't matter. And since you've attended almost every one, forgoing one or two this year is just as trivial." Bronwyn took a deep breath, exhaled, and followed his lead, freeing the restraints of her bliaut. "I've married a heathen." Helping her pull the thick material over her head, Ranulf agreed, "I think that is exactly what Father Morrell concluded as well." Free from the bulky winter garment, Bronwyn felt a surge of arousal and twisted around to kiss him full on the lips. "Then maybe I'll just have to reform you." "Sounds tempting," Ranulf murmured against her lips, "but what if it is I who corrupt you?" he asked as he slowly edged her shift up over her hips, breast, and then head. Bronwyn smiled and twined her arms around his neck.She felt no awkwardness for her lack of clothing.She had nothing to hide from this man.He thought her perfect. "You've already tried." "And it's working.Just who is seducing whom, angel?" "Oh,I am definitely seducing you, my lord." Tomorrow she would ask him about his reasons for their impromptu journey south. She suddenly had other plans.

I once saw a striking contrast in the use made of material in Florence. I saw first in the Boboli gardens the two wonderful figures of the barbarians-you remember perhaps those antique stone statues. They are made of stone, consist of stone, represent the spirit of stone: you feel that stone has had the word! Then I went to the tombs of the Medici and saw what Michelangelo did to stone; there the stone has been brought to a super-life. It makes gestures which stone never would make; it is hysterical and exaggerated. The difference was amazing. Or go further to a man like Houdon and you see that the stone becomes absolutely acrobatic. There is the same difference between the Norman and Gothic styles. In the Gothic frame of mind stone behaves like a plant, not like a normal stone, while the Norman style is completely suggested by the stone. The stone speaks. Also an antique Egyptian temple is a most marvelous example of what stone can say; the Greek temple already plays tricks with stone, but the Egyptian temple is made of stone. It grows out of stone — the temple of Abu Simbel, for example, is amazing in that respect. Then in those cave temples in India one sees again the thing man brings into stone. He takes it into his hands and makes it jump, fills it with an uncanny sort of life which destroys the peculiar spirit of the stone. And in my opinion it is always to the detriment of art when matter has no say in the game of the artist. The quality of the matter is exceedingly important — it is all-important. For instance, I think it makes a tremendous difference whether one paints with chemical colors or with so-called natural colors. All that fuss medieval painters made about the preparation of their backgrounds or the making and mixing of their colors had a great advantage. No modern artist has ever brought out anything like the colors which those old masters produced. If one studies an old picture, one feels directly that the color speaks, the color has its own life, but with a modern artist it is most questionable whether the color has a life of its own. It is all made by man, made in Germany or anywhere else, and one feels it. So the projection into matter is not only a very important but an indispensable quality of art. Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 948-949)

The urban isolated individual An individual can be influenced by forces such as propaganda only when he is cut off from membership in local groups because such groups are organic and have a well-structured material, spirltual and emotional life; they are not easily penetrated by propaganda. For example, it is much more difficult today for outside propaganda to influence a soldier integrated into a military group, or a militant member of a monolithic party, than to influence the same man when he is a mere citizen. Nor is the organic group sensitive to psychological contagion, which is so important to the success of Nazi propaganda. One can say generally, that 19th century individualist society came about through the disintegration of such small groups as the family or the church. Once these groups lost their importance, the individual was substantially isolated. He was plunged into a new environment generally urban and thereby "uprooted." He no longer had a traditional place in which to live. He was no longer geographically attached to a fixed place, or historically to his ancestry. An individual thus uprooted can only be part of a mass- He is on his own, and individualist thinking asks of him something he has never been required to do before: that he, the individual, become the measure of all things. Thus he begins to judge everything for himself. In fact he must make his own judgments. He is thrown entirely on his own resources; he can find criteria only in himself. He is clearly responsible for his own decisions, both personal and social. He becomes the beginning and the end of everything. Before him there was nothing; after him there will be nothing. His own life becomes the only criterion of justice and injustice, of Good and Evil. The individual is placed in a minority position and burdened at the same time with a total crushing responsibility. Such conditions make an individualist society fertile ground for modern propaganda. The permanent uncertainty, the social mobility, the absence of sociological protection and of traditional frames of reference — all these inevitably provide propaganda with a malleable environment that can be fed information from the outside and conditioned at will. The individual left to himself is defenseless the more so because he may be caught up in a social current thus becoming easy prey for propaganda. As a member of a small group he was fairly well protected from collective influences, customs, and suggestions. He was relatively unaffected by changes in the society at large.

It was passages like these, where there is a clear mocking of literalist readings of Scripture, that had brought me back around to Christianity after a long stretch, following college, when my notion of God and Jesus had grown, to put it gently, tenuous. During my sojourn in ironclad atheism, the primary arsenal leveled against Christianity had been its failure on empirical grounds. Surely enlightened reason offered a more co­herent cosmos. Surely Occam’s razor cut the faithful free from blind faith. There is no proof of God; therefore, it is unreasonable to believe in God. Although I had been raised in a devout Christian family, where prayer and Scripture readings were a nightly ritual, I, like most scientific types, came to believe in the possibility of a material conception of reality, an ultimately scientific worldview that would grant a complete metaphysics, minus outmoded concepts like souls, God, and bearded white men in robes. I spent a good chunk of my twenties trying to build a frame for such an endeavor. The problem, however, eventually became evident: to make science the arbiter of metaphysics is to banish not only God from the world but also love, hate, meaning — to consider a world that is self-evidently not the world we live in. That’s not to say that if you believe in meaning, you must also believe in God. It is to say, though, that if you believe that science provides no basis for God, then you are almost obligated to conclude that science provides no basis for meaning and, therefore, life itself doesn’t have any. In other words, existential claims have no weight; all knowledge is scientific knowledge. Yet the paradox is that scientific methodology is the product of human hands and thus cannot reach some permanent truth. We build scientific theories to organize and manipulate the world, to reduce phenomena into manageable units. Science is based on reproducibility and manufactured objectivity. As strong as that makes its ability to generate claims about matter and energy, it also makes scientific knowledge inapplicable to the existential, visceral nature of human life, which is unique and subjective and unpredictable. Science may provide the most useful way to organize empirical, reproducible data, but its power to do so is predicated on its inability to grasp the most central aspects of human life: hope, fear, love, hate, beauty, envy, honor, weakness, striving, suffering, virtue. Between these core passions and scientific theory, there will always be a gap. No system of thought can contain the fullness of human experience. The realm of metaphysics remains the province of revelation (this, not atheism, is what Occam argued, after all). And atheism can be justified only on these grounds. The prototypical atheist, then, is Graham Greene’s commandant from The Power and the Glory, whose atheism comes from a revelation of the absence of God. The only real atheism must be grounded in a world-making vision. The favorite quote of many an atheist, from the Nobel Prize–winning French biologist Jacques Monod, belies this revelatory aspect: “The ancient covenant is in pieces; man at last knows that he is alone in the unfeeling immensity of the universe, out of which he emerged only by chance.” Yet I returned to the central values of Christianity -- sacrifice, redemption, forgiveness -- because I found them so compelling. There is a tension in the Bible between justice and mercy, between the Old Testament and the New Testament. And the New Testament says you can never be good enough: goodness is the thing, and you can never live up to it. The main message of Jesus, I believed, is that mercy trumps justice every time.

Resonating the first half of the highest quality material known to man. Previously worked out, I embraced the back story never told but retold as practical reality. All I ask and bleed, there's nothing more to be felt as a man anymore. Most rebuild to be included, invoking the awakening stages of beautiful death; resonating with frozen lakes, dirty films we made and seven million pounds of sorrow disguised as drifting smoke that showed me the path out the final frame of reference.

power is not a frame of mind but a material condition. People sitting in positions of authority are powerful not because they feel empowered but because they have power.

Something sharp slashed at Cass’s left arm and she cried out. Snapping her head around, she searched for her assailant, but the crowded alleyway blurred into a sea of arms and hands all reaching out toward her. She gasped, beginning to panic, struggling against the current of faceless flesh. “What? What is it?” Falco pulled her from the tangle of sweaty bodies and pressed her up against the side of a small bakery shop. Cass looked down at the sleeve of her teal chemise. Someone or something had sliced right through the silky fabric. Falco separated the torn material to examine Cass’s skin beneath. He lifted her arm to show her the swollen pink line just below her elbow. “Look, no blood,” he said. “You probably just got your sleeve caught on a sword hilt or belt buckle.” Or a knife. Cass searched the crowd again, but no one was paying her any attention. Falco’s hand felt hot on her flesh, almost burning. She pulled her arm away, turning to look back at the entrance to the alleyway. It seemed impossibly far away. Unreachable. Falco traced his finger along one of the delicate fishbone braids that framed her face. “It was just an accident,” he said. Cass felt the blood return to her face. She glanced down at her torn sleeve. The scratch on her arm was already starting to fade. “Sorry,” she murmured. “I’m being silly. It just scared me, that’s all.” “It’s all right,” Falco said. His voice was surprisingly gentle. Cass had been certain he would mock her for being a child, a spoiled little aristocrat afraid of her own shadow.

This issue of Stvar we dedicate to the anniversaries. Each effort that commences from historical years and epochal dates, however, is not only supposed to cope with the legacy and lessons of evoked events and figures, but also to question a certain (dominant) relation to the past and history. In other words, the task is not a commemorative one, that is, a fetishist relation to the epoch of decisive dates and big events, but rather the radical grasping of the materiality of history following its work where social contradictions require that fight for emancipation and progress is to be taken up. What is at stake here is not an academic requiem or a leftist memorial service to the era of revolutions and great revolutionaries; it is all about casting our gaze toward the past in order to better examine those moments where the past opens itself toward the future. The relation toward past, therefore, should contain perspectives of different future. Amputation of the future is nowadays one of the features of many current academic, scientific and ideological discourses. Once this perspective of different future has been eliminated, the resignification of Marx, Luxemburg, Kollontai, Lenin and others becomes possible, because their doctrines and results have been quite depoliticized. On the contrary, it is the memory that calls for struggle that is the main cognitive attitude toward the events remembered in the collected texts in this issue. Not nostalgic or collectionist remembrance but critical memory filled with hope. The main question, thus, is that of radical social transformations, i.e. theory and practice of revolution. In this sense, Marx, Kollontai, Lenin and other Bolsheviks, and Gramsci as well, constitute the coordinates in which every theoretical practice that wants to offer resistance to capitalist expansion and its ideological forms is moving. The year 1867, when the first Volume of Marx’s Capital is brought out in Hamburg, then October 1917 in Russia, when all power went to the hands of Soviets, and 1937, when Gramsci dies after 11 years of fascist prison: these are three events that we are rethinking, highlighting and interpreting so that perspective of the change of the current social relations can be further developed and carried on. Publishing of the book after which nothing was the same anymore, a revolutionary uprising and conquest of the power, and then a death in jail are the coordinates of historical outcomes as well: these events can be seen as symptomatic dialectical-historical sequence. Firstly, in Capital Marx laid down foundations for the critique of political economy, indispensable frame for every understanding of production and social relations in capitalism, and then in 1917, in the greatest attempt of the organization of working masses, Bolsheviks undermined seriously the system of capitalist production and created the first worker’s state of that kind; and at the end, Gramsci’s death in 1937 somehow symbolizes a tragical outcome and defeat of all aspirations toward revolutionizing of social relations in the Western Europe. Instead of that, Europe got fascism and the years of destruction and sufferings. Although the 1937 is the symbolic year of defeat, it is also a testimony of hope and survival of a living idea that inspires thinkers and revolutionaries since Marx. Gramsci also handed down the huge material of his prison notebooks, as one of the most original attempts to critically elaborate Marx’s and Lenin’s doctrine in new conditions. Isn’t this task the same today?

...at root, what unites us are our unproven irrational beliefs of one kind or another in non-material dimensions of reality, inhabited by incorporeal beings that interact with us and frame our destiny in mysterious ways.

...at root, what unites us are our unproven irrational beliefs of one kind or another of non-material dimensions of reality, inhabited by incorporeal beings that interact with us and frame our destiny in mysterious ways

Mingling frames from the broodnest with frames from honey supers also causes problems. The material in the cells and the bees walking on this darkened wax will darken the honey stored in the combs and add bits and flavors of what was there before, reducing the pristine quality of the honey you want to harvest. The bottom line: Don’t mix frames used for honey with frames used for brood.

Settler colonialism is a primary condition of the history of sexuality in the United States. Settler colonialism is present precisely when it appears not to be, given that its normative function is to appear inevitable and final. Its naturalization follows both the seeming material finality of settler society and discourses that frame settlers as “those who come after” rather than as living in relationship to Native peoples in a colonial situation. The denaturalization of settler colonialism thus must address social relationships and tales of Native disappearance.

Installing a Vertical Frame MATERIALS To construct a vertical frame, you need: two 5-foot electrical conduit pipes (1/2-inch diameter); one 4-foot conduit pipe (1/2-inch diameter); two 18-inch long rebar supports of 1/2-inch diameter; screwdriver; hammer; two elbow connectors; and trellis netting. ASSEMBLY Once you’ve attached the elbow connectors to your 4-foot conduit pipe, lay it against the north-facing board of your SFG. Next, hammer the rebar where the elbows are located. You’ll want to drive the rebar in about half its height. Slide the 5-foot conduit pipes over the rebar for a standard strength vertical frame. Or use a short steel fence post instead of the rebar for an extra-strong frame. Attach the top conduit to the legs and tighten the screws in the elbows.

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

Now that the vertical frame has been constructed, it is time to add something for the plants to grow on. I used to use either special wide-opening fencing or good strong synthetic twine or cord, but then along came this beautiful, soft, indestructible nylon netting with large openings you can reach through. This nylon garden netting is now the only material I use for vertical gardening. It’s white, keeps its color, can’t be broken, will last forever, and is easy to work with. The netting is tied tightly and securely to the top and sides of the vertical frame, and the plants can then be gently woven in and out of the netting as they grow. The netting comes in 4- and 5-foot widths and various lengths and is available at most garden centers and catalogs. When

Generation after generation of short-spanned living creatures has ripened and rotted, they looking calmly on, superior in their unwithering amaranthine bloom—generation after generation has gaped open-mouthed, awed by their solemn presence—generation after generation will so gaze and stare until the world is overrun with a new deluge of barbarians from the far West, or till it comes to its final ending. That happy man, to whose deathless glory it was granted to fashion the Laocoon, must have had in his mind to excite the envy and shame of puny, feeble after-ages, long after he and his chisel should be dust together; showing them what manner of men there were in the old time, in blue-skied templed Hellas.[390] But then, again, one feels inclined—perhaps from aversion to acknowledge that we have degenerated—to doubt whether those god-faces and Titan-frames[391] could have been copied from any mere flesh-and-blood creature that, while in life, drudged away on the earth and had material blood flowing in his veins. Could such stainless triumphant beauty and might have been ever found in our world, where perfection in anything is proverbially unattainable? Rather must it have been some divine afflatus[392] breathed into the fashioner’s soul, speaking to him of a flawlessness of outward build such as had never

The rabbit wine opener does complete integrity to its name in rapports of both, looks and performance. It looks like a bunny with 2 parallel handles serving as the trademark bunny ears and can open stubborn corks with utmost neatness. Manufacturers boast that the whole process of opening your precious bottle of wine will be over in 3 seconds to be precise. Because of the advanced in wine accessories, most people nowadays enjoy a rabbit wine opener set - especially the wine lovers as it offers the best time frame for the money. One of the most important features of the rabbit wine opener is that it can turn the bottle opening experience into a breeze for anyone. With it you don't require to use any type of force. In fact, if you do attempt to open a bottle by force with this accessory you might end up breaking it. Its two handles will softly remove the cork, relieving you of all the efforts. This way, there will be no more accidents when opening a bottle and the wine tasting process converts a lot more pleasant. Basic anatomy of this device consists of two handles which allow you to grip the opener tightly around the neck of the bottle, a worm or spiral which slices into the cork and removes it and a lever which pushes the worm in and out of the cork. With Rabbit Wine Openers you can handle traditional corks made of wood and also, synthetic corks. Though the synthetic ones can be trickier to remove, they are best dealt with rabbit wine opener. You can use this instrument on bottles of any size too. When using a new rabbit wine opener, or one that has not been abused, you will not experience situations in which the cork is broken into pieces inside the bottle, as when using other types of openers. This device makes the cork come out without damaging it in any way, even if the cork material is soft in nature or even if you are not accustomed to opening bottles.

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

FOREWORD When Commander Perry opened up to the occidental world that shut-tight little island Kingdom, Japan, he did more than merely contact for our manufacturers a people who bought "Nifty Clothes," with two pair of pants. He gave us an insight into a world that was thoroughly organized and civilized long before Columbus discovered West where the East should have been. The Japanese learned much from the so-called civilized world, -but they taught us something we could never have learned from intercourse with any other nation. They gave our governmental forces of law and order a weapon that aided materially in the suppression of disorderly elements throughout our great cities. It took time, of course, to break down the prejudices that our early enforcement officers, in common with our then wild and wooly population, had against anything that was foreign. But when the great police forces of our largest metropolises realized that guns and billies alone would not be proof against big, burly lawbreakers, and that to instil respect in the hearts of "bruisers" they needed something other than armaments—pistols that could not be drawn fast enough,—they then discovered the wonder of Jiu-jitsu. They found that the wily little brown man depended on brain instead of brawn and that he had developed a Science and an Art that utilized another's strength to his own undoing. Strangely enough it was the layman who first appreciated the potential value of Jiu-jitsu. For many years before the Police Forces of our cities put a study of this Science into the training of every rookie policeman, there were physical culture experts in America who advocated the use of it by everyone who had any respect for physical prowess but who found the spirit more willing than the flesh. They showed that it needed no possession of unusual strength to overcome an opponent that depended entirely on his bulk and ferocious appearance to cow the meeker ones of the earth into submission. The Japanese, by the very fact of their small stature, are compelled to place more emphasis on strategy than on force. Thus they have thoroughly developed Jiu-jitsu and there is barely a saffron-hued tot in Japan that doesn't know something about the "Gentle-Art" as it is known. President Masaryk of Czechoslovakia, one of the world's greatest educators, who, together with millions of his enlightened and progressive countrymen, is a firm believer in "a strong mind in a strong body," sought to teach every schoolboy in his country some knowledge of the wisest of all physical sciences. While it does not itself develop and build muscle, it is an invaluable aid to the sensible use of the body. It is a form of wrestling that combines the cunning of the fox with the lithe grace and agility of the panther. It sharpens the brain and quickens the nerve centers. The man or woman who has self-respect must not sit by and permit our people to become a nation of spectators watching athletic specialists perform, while we become obese and ungainly applauders. Jiu-jitsu gives the man, woman and child, denied by nature a great frame, the opportunity to walk without fear, to resist successfully the bullies of their particular world, and the self-confidence which only a "well-armed" athlete can have. By its use, differences in weight, height and reach are practically wiped out, so that he who knows, may smilingly face superior odds and conquer.

Video Marketing Strategy for Promoting Business Any marketing strategy should have a clear result. Video marketing is no different. Simply saying you want more views or impressions is fine, but it doesn't really measure how successful a video is or how you're going to get it. The first thing you need to consider when setting goals for your video marketing strategy is whether your video idea is on-brand. If you've established a brand of being calm and meditative, you don't want to make a video that's suddenly quirky and quirky. This will immediately drive people away from your brand and cause them to not trust what you say, even if your next video is back in form. Any goal that you set for yourself should be specific and attainable within a given time frame. You don't want to set a vague goal and then burn out within a week. Another thing to consider is who your target audience will be. If you're already creating written content, such as blogs, newsletters, and so on, you should have a pretty good idea of ​​who that is already. If you're just starting out, take some time and see who you want to consume your content. If you're still not sure what type of video marketing material you want to create, or if you're not sure whether you want to create your own video, we're at a marketing agency in Utah to help you. Contact us here to schedule a consultation so we can help you create a video marketing plan that will appeal to your target audience.

Revelation has been within us since the origin of the World. Let us not, indeed, be mistaken: since the origin of the world, all possibilities and all future ideas have been in existence, as seeds of potential. It is, therefore, not to the future that it is necessary to look for revelation but the power of our memory. The poet of the enlightened land who conceived in very ancient times the symbol of the Earthly Paradise: God saying, after Adam had touched the Tree of Science, “He has become like one of us, knowing good and evil”—which is to say, the for and the against, the androgynous idea—“now we must make sure that he does not touch the Tree of Life and live forever”, thus condemning man to material labor; was several thousand years ahead, not only of his own time, but of ours. Humankind, as a whole, cannot follow the fulgurant course of an Idea; its progress is slower and “forward thinkers”—precursors—have to have the patience to wait until everyone else’s ideas have caught up with theirs: a patience often difficult for the thinker who, after being madly elevated, must return to his point of departure and, estranged by what he has seen, feels like a foreigner visiting his own world. The usefulness of precursors. Is it necessary to conclude that these forward thinkers, these bold recognitions, are useless? Quite the contrary, for it is in bringing superhuman heroes to life, imagining the reality of facts whose prototypes remain latent in the world of ideas, that poets and researchers construct the frame of the world. Their exceptional follies of today will become the banality of tomorrow, and the crowd will eventually hasten to take the presently-accessible steps which they are carving out in the clouds—and that crowd, in its blind course, will have been upraised without knowing it. Without changing position, the opposition of yesterday becomes the reaction of tomorrow, the exception becomes the law in its turn; only the Idea is immutable through its successive incarnations, its changes of material form: the relativities, in a word, that we call Life. It is for us to extract the substance from the shadow and seize the eternal element of things.

The definition of energy found in school books of science is framed; based on the experiments done with materials. It is the materialistic approach to science. It never gives the idea about the energy stored in the 'Self,' which is at the root of all inventions.

Until today. What it meant was that I couldn’t stop glancing at his strong frame, his arched brows, his glossy hair. I was so fucked. I don’t run,” I scoffed. “Just because, what, I’m not climbing all over you?” His gaze turned hungry and my stomach tightened. I do want to climb him, but there’s no way I would ever tell him that.

Until today. What it meant was that I couldn’t stop glancing at his strong frame, his arched brows, his glossy hair. I was so fucked. "I don’t run,” I scoffed. “Just because, what, I’m not climbing all over you?” His gaze turned hungry and my stomach tightened. I do want to climb him, but there’s no way I would ever tell him that.

Damn. Who pissed you off?” Scotty materialized in the doorway, his shoulder propped against the frame, arms folded. I sent him a sidelong glance, hardly faltering as the bag pendulated in front of me. “Today?” I answered through a hard exhale. “Bob Ross.” “Impossible.” “It is possible. His trees are way too happy. It’s unrealistic and offensive to the sad trees.

Lifting the heavy curtain of the flesh He stood upon a threshold serpent-watched, And peered into gleaming endless corridors, Silent and listening in the silent heart For the coming of the new and the unknown. He gazed across the empty stillnesses And heard the footsteps of the undreamed Idea In the far avenues of the Beyond. He heard the secret Voice, the Word that knows, And saw the secret face that is our own. The inner planes uncovered their crystal doors; Strange powers and influences touched his life. A vision came of higher realms than ours, A consciousness of brighter fields and skies, Of beings less circumscribed than brief-lived men And subtler bodies than these passing frames, Objects too fine for our material grasp, Acts vibrant with a superhuman light And movements pushed by a superconscient force, And joys that never flowed through mortal limbs, And lovelier scenes than earth’s and happier lives. A consciousness of beauty and of bliss, A knowledge which became what it perceived, Replaced the separated sense and heart And drew all Nature into its embrace. 01.03_006:018-023

The world is determined by its essence (the Universal Mind's “immaterial substance”) and by its universal laws, which are the same everywhere and are determined. If they are determined, that implies no uncertainty, but this conclusion is incorrect. Regardless of the essence from which everything comes to be (or is transformed), its manifestation, or its material substance, the world (Universe) will constantly evolve differently in any particular manifestation. The starting point, if nothing else, will always be different and form different universes in every specific manifestation. Both the Being and Nonbeing are limitless, which makes them “infinite,” and infinity is zero. Their frame is the Absolute itself, simultaneously providing the absolute limit and potential (infinity). The purpose of the world and the Absolute is not one particular existence and one particular world (Universe) or one life but a continuation of existence (universes) ad infinitum. Without infinity, there would be no real life because, at one point, existence would cease to exist forever, and it would be as if it had never existed. But infinity (although never reachable) secures continuation. Any manifestation of the Absolute, in the form of the World, follows the uncertainty principle, preserving the youth of the Absolute and originality (uniqueness) of any or all universes existing simultaneously or at any past or future time. The “Dimensions” we can never explore are not some exotic dimensions of the string theory but rather the “dimensions” of the micro-micro and macro-macro-level that humans will probably never reach. We can bypass the laws of physics only if we bypass the consequences of physical transformation. If we could operate on the level of pure information and return to the material form, not only would time travel be possible, but more valuable and fundamental endeavors would also be possible. When we say time travel, we do not mean traveling to the past or future using a time machine. That would be something similar to alchemy. Perhaps humankind, or any other species, can never achieve this level of science and technology except God. But we can imagine Beings transcending their physical existence and becoming immaterial. We can also imagine such beings on other levels beyond the “physical” world and existence known to us. The Ultimate Source, the Universal Mind, is the Ultimate Alchemist of Reality and the Universe.

For the purposes of this book, however, the relevant question is much narrower: the issue is not whether, in general, a national securities regulator is preferable to Canada's fragmented provincial securities regulatory system. The key question, for our purposes, is this: Would a national securities regulator have made a material difference in this specific case? Framed this way, the question is much more challenging and the answer far less certain.

There was no element of true worship in the propitiatory offerings of primitive man; in the beginning he was essentially a materialist—he became a spiritualist later on. Man’s first religion must have been, necessarily, a material one; he worshiped (propitiated) only that which he could see, or feel, or hear, or touch; his undeveloped psychical being could grasp nothing higher; his limited understanding could not frame an idea involving a spiritual element such as animism undoubtedly presents.

Make a deliberate effort to feed your conscious and subconscious mind to achieve a well programmed mind frame, ready to succeed. Read the right material, watch the right material and listen to the right material. Practice and expose yourself to the right material so that you can form positive attitudes, positive feelings and positive habits. For each person, the right material is defined from their unique vision, mission, beliefs and values.

The primary material conditions for the making of beauty have not changed. But the frame of attention, and the context of mattering—these have.

done to show that this is not so (which is not to say that there are no points of difference between Thomistic and Aristotelian metaphysics). The dominant form of neo-Platonism in medieval Christian thought was Augustinianism. It is little wonder that the Platonic tradition should have seemed agreeable to the early Church Fathers, for it is not difficult to map Christian beliefs and practices into central elements of neo-Platonism. Most fundamentally, just as the Christian distinguishes between the physical cosmos and the eternal kingdom of God, so Plato and his followers distinguish between the material world and the timeless and unchanging realm of immaterial forms. Similarly, Christians commonly distinguish between body and soul and look forward to life after death in which the blessed will enjoy forever the sight of God; while Platonists contrast the mortal frame and the immortal mind that will ascend to eternal vision of the forms. Supreme among these forms is that of the One whose principal aspects are those of truth, beauty and goodness; a trinity-in-unity ready-made to assist Christians struggling with the idea that God is three persons in one divinity. The lesser Platonic forms, including those corresponding to natures experienced in the empirical world, became the ideas out of which God created the world. Even Christian mysticism found its rational warrant in the idea that the most noble experiences consist in inexpressible encounters with transcendental realities. Aristotle came into his own as a philosopher through his rejection of the fundamental tenets of Platonism and through his provision of a more naturalistic and less dualistic worldview. It is hardly surprising, therefore, that the enthusiasm for Aristotelianism shown by Aquinas and by his teachers Peter of Ireland and Albert the Great was viewed with suspicion by the Augustinian masters of the thirteenth century. Even so, it is a serious mistake, still perpetrated today, to represent Aristotle as if he were some sort of scientific materialist. In one of the classics of analytical philosophy, Individuals: An Essay in Descriptive Metaphysics, Peter Strawson explains his subtitle by distinguishing between two types of philosophy, writing that ‘descriptive metaphysics is content to describe the actual structure of our thought about the world, [while] revisionary metaphysics is concerned to produce a better structure’.7 He goes on to point out that few if any actual metaphysicians have been wholly of one or other sort, but that broadly speaking Leibniz and Berkeley are revisionary while Aristotle and Kant are descriptive. In these terms Aquinas’s thought and thomist metaphysics are fundamentally ‘descriptive’, notwithstanding that they are at odds with the materialism and scientism which some contemporary philosophers proclaim as enlightened common sense. The words of G.K. Chesterton quoted at the outset of this chapter

Even though all of the material is there for the taking, the possibility of ignoring some of it, knowingly or not, is real. Memory is highly imperfect, and highly subject to change and influence. Even our observations themselves, while accurate enough to begin with, may end up affecting our recall and, hence, our deductive reasoning more than we think. We must be careful lest we let something that caught our attention, whether because it is out of all proportion (salience) or because it just happened (recency) or because we’ve been thinking about something totally unrelated (priming or framing), weigh too heavily in our reasoning and make us forget other details that are crucial for proper deduction

The philosopher R. G. Collingwood once observed that the past as past was wholly unknowable. What was knowable was something different: the elements of the past which had been residually preserved in the present. In other words, what we take to be knowledge of past reality derives in fact from those texts, artefacts, buildings, belief systems, memories and traditions which have somehow survived and are amenable to investigation—and interpretation. History can only be written from the standpoint of present reality and can never encompass either the totality of events or the fullness of meaning. The historical consciousness inevitably selects and orders its material in accordance with contemporary concerns which consciously or unconsciously determine the frame of reference of its operations. However, while the being of the past may be unknowable in an absolute sense its effects remain relentlessly present; its traces surround us and form the theatre of our actions; it is through our relation to history (personal, family, collective) that we acquire an individual identity within culture.

affluent Americans typically became quickly bored with their material things. So the rates of alcoholism and suicide in America were among the highest in the world, and escapist entertainments were everywhere. Modern societies promoted short-term “happiness,” but they did not cultivate truly humanistic lives characterized by relatedness, creativity, individuality, loving relationships, reason, and “a frame of orientation and devotion.

foundational attitude for which we pray is that we might desire what gives God glory more deeply than we desire any other created reality. This spiritual freedom is so radical and so beyond our power to create in ourselves that it brings us face to face with our own poverty and our need for continual prayer. Sometimes all we can muster is the desire to desire what God desires! But any degree of hunger, any desire for God, any seeking of God’s call already happens through God’s Spirit, and God accepts it as enough. Over time, through repeated discernments and through daily living of one’s Christian life, this desire can become an increasingly natural and habitual orientation. As that transformation occurs, we experience deeper and deeper spiritual freedom. 2. Discover and name the issue or choice you face. What is really at stake is not always self-evident. An ambiguous or sprawling issue can obscure or even prevent subsequent discernment. Carefully framing the issue not only helps to clarify the matter for discernment, but it also actually begins the process of sifting and discriminating that is at the heart of discernment. 3. Gather and evaluate appropriate data about the issue. Discernment is not magic. We have to do our homework. The efficacy of the subsequent decision can rise or fall on obtaining accurate and relevant information about various options and their implications. However, since decision making is not identical to discernment, it is possible to botch a decision while still advancing in discernment. Fortunately, through grace, it is quite possible to grow in discipleship, manifest greater spiritual freedom, and hunger more strongly for what God desires in the midst of a failed decision. But prudence demands that we do the homework necessary. 4. Reflect and pray. Actually we have been praying from the outset. We pray for spiritual freedom. We select and frame the issue for discernment in prayer. We prayerfully select and consider the relevant data. But as we begin the process of discrimination in a more focused way, it is important to renew our attention to prayer. 5. Formulate a tentative decision. Many different methods can help us come to a decision, and therefore aid our discernment. We will explore seven methods in the entry points in this book, but many options exist in the tradition. Discerned decision making can employ any decision-making process, whether traditional or newly created, that fits the material being

i used to classify my books in two categories: architecture books and other books. then i realized that my first category mostly dealt with architecture as an aestheticized formalism, whereas the second category posed cities, buildings and settings as integrated with life and human character. During the past thirty years, i have come to view all books as architecture books, because all human situations, histories, fictions, actions and thoughts are framed by human constructions and artifacts; our spatial, material and mental constructions provide essential horizons of understanding. i read poems, listen to music, look at paintings, and watch films as potential architectural propositions.18

dramatically, but helium gas was 10 times as expensive. Under these conditions, Dr. Eckener, a pilot whose primary concern was safety and as Director of a Company attempting to make a profit, he was forced to make a difficult decision. His discussions with American businessmen and political officials had not resulted in the helium gas he so badly wanted. On the other hand he realized, an airship without lifting gas could not fly. His own company officials believed hydrogen to be safe and they did not share the American concern nor that of Eckener. During many of the flights in 1936, U.S. Naval officials were onboard the LZ-129, to study German operating methods of using hydrogen gas. Their resulting reports concluded that hydrogen properly used, was safe and should be considered used in any new or future American airships. The building of a dream The LZ-129 was a typical design for a Zeppelin airship, only it’s size was so remarkable. The structure was primarily built of triangular girders made of Duralumin, the interior was divided by a wire braced main frame, into 16 bays, in which each held a gas cell.2 Duralumin was an alloy of aluminum and copper with traces of magnesium, manganese, iron and silicon. It had been discovered by Dr. Alfred Wilm and his assistant Ing. Jablonsky, in September 1906. Late one Saturday evening, Jablonsky had completed testing numerous pieces and was ready to go home, when Dr. Wilm entered the lab, with just one more test. To everyone’s astonishment, the test piece was harder, with only ½% more Magnesium having been added. The last train for Berlin had departed and the two men worked the through the weekend, to perfect their Duralumin. Although Dr. Wilm wanted to obtain a patent on this new metal, that so many industries so badly required, he failed to take action. By not obtaining a patent, he gave German industry the opportunity to copy. Count von Zeppelin was amongst the first to realize the value of this new material. Dr. Alfred Wilm did not achieve the wealth he so rightfully desired and passed away on a small farm in the Riesengebirge, on August 6, 1937. Dr. Wilm placed an important mark on not only Zeppelin history, but in the design of countless airplanes ever since.3 The first Zeppelin airships had been constructed of simple aluminum, which is considerably weaker, so that strength was a major problem. It was not until LZ-26, which was the only Zeppelin assembled in Frankfurt-Rebstock, that Duralumin was practically used. Designed as a passenger airship, production of it’s parts had begun, when World War One started. Suddenly, this airship was no longer needed for civilian purposes and would fulfill military requirements only marginally. In order to provide space in the Friedrichshafen Zeppelin Sheds, for newer and larger designs; the completed girders and materials were transported to Frankfurt for assembly. The ship, approx. only 1/8 the

Dancing transforms her. The girl who blushes and can’t meet my eye is not the same one who lets go of herself under the influence of music. It’s like watching a possession. As soon as I take her in my arms, her stiff and fragile body becomes as loose and liquid as the material of her dress. The music surges through her, until she’s thrumming with too much energy for one tiny frame. She’s vibrating under my hands. Her eyes glaze over and she doesn’t seem to notice me at all anymore, other than as an apparatus to move her across the room.

In the attempt to penetrate into the nature of the higher, to grasp within our ken that which transcends all analogies, because what we know are merely partial views of it, the purely material and physical path affords a means of approach pursuing which we are in less likelihood of error than if we use the more frequently trodden path of framing conceptions which in their elevation and beauty seem to us ideally perfect.

Marxian Communism, this notion of a society of pure unleashed productivity outside the frame of Capital, was a fantasy inherent to capitalism itself, the capitalist inherent transgression at its purest, a strictly ideological fantasy of maintaining the thrust to productivity generated by capitalism, while getting rid of the “obstacles” and antagonisms that were—as the sad experience of the “really existing capitalism” demonstrates—the only possible framework of the effective material existence of a society of permanent self-enhancing productivity.

Your carving frames up, for you have material activities, and you repousse your energy in addition to you repounce your dubious deeds while paragraphing with new versions. Organically, you dispose of your peccadilloes and amend their counterwork to be championship strategies. This is admissible bandaging your comely decorousness towards creative and unrenounceble actions tirelessly buster of your endlong patchwork. You may not avoid and slam your response consciousness because you are not responding in a wordless way.

The respective worldviews of tradition and science frame the nature of reality in starkly contrasting ways, and in this divided house of our time, it is clear which of the two views has gained the greater share of our attention and respect. The rational, material, and secular worldview of modern science threatens to overwhelm the traditional human quest for the metaphysical and spiritual realities that underlie the grand design of the natural world.

As the next page loaded with another set of 25 emails, his eyes were drawn to the bottom of the screen, where for the first time previously-read messages stood out beneath the bold-type unread ones.  There was something powerfully sentimental, almost tangible, about the realization that his dad had sat before a computer somewhere ten years earlier and had clicked on these same messages.  The most recent one, received just hours before his parents’ death, was from his mom with the subject line, “re: Li’l Ryan’s Bday”. With a lump developing in his throat, he clicked on the message.  His mom had written: “That’s something dads should talk to their sons about ;)”  Hmm.  Didn’t make sense without context. Below the end of the message he found the option to “show quoted text,”  which he clicked on to reveal the entire exchange in reverse chronological order.  She had been responding to his dad’s message: “I’m sure he’ll get it.  I like the idea, but you better be prepared to have a discussion about the birds and bees.  You know how his mind works.  He’ll want to know how that baby got in there.” Ryan’s palms grew sweaty as he began to infer what was coming next.  Not entirely sure he wanted to continue, but certain he couldn’t stop, he scrolled to the end. The thread had started with his mother’s message, “I’m already showing big-time.  Sweaters only get so baggy, and it’s going to be warming up soon.  I think tonight would be the perfect time to tell Ryan.  I wrapped up a T-shirt for him in one of his presents that says ‘Big Brother’ on it.  A birthday surprise!  You think he’ll get it?” Having trouble taking in a deep breath, he rose to a stand and slowly backed away from his computer.  It wasn’t his nature to ask fate “Why?” or to dwell on whether or not something was “fair.”  But this was utterly overwhelming – a knife wound on top of an old scar that had never sufficiently healed. ~~~ Corbett Hermanson peered around the edge of Bradford’s half-open door and knocked gently on the frame.  Bradford was sitting at his desk, leafing through a thick binder.  He had to have heard the knock, Corbett thought, peeking in, but his attention to the material in the binder remained unbroken. Now regretting his timid first knock, Corbett anxiously debated whether he should knock again, which could be perceived as rude, or try something else to get Bradford’s attention.  Ultimately he decided to clear his throat loudly, while standing more prominently in the doorway. Still, Bradford kept his nose buried in the files in front of him. Finally, Corbett knocked more confidently on the door itself. “What!” Bradford demanded.  “If you’ve got something to say, just say it!” “Sorry, sir.  Wasn’t sure you heard me,” Corbett said, with a nervous chuckle. “Do you think I’m deaf and blind?” Bradford sneered.  “Just get on with it already.” “Well sir, I’m sure you recall our conversation a few days back about the potential unauthorized user in our system?  It turns out...” “Close the door!” Bradford whispered emphatically, waving his arms wildly for Corbett to stop talking and come all the way into his office. “Sorry, sir,” Corbett said, his cheeks glowing an orange-red hue to match his hair.  After self-consciously closing the door behind him, he picked up where he’d left off.  “It turns out, he’s quite good at keeping himself hidden.  I was right about his not being in Indiana, but behind that location, his IP address bounces

Light is not something different from thought and mind. It is thought and mind. Light – thought/mind – is exactly that which stands outside the material order and causes and conditions the material order. Einstein’s special theory of relativity, when properly understood means that mind provides the absolute conditionality for all material frames of reference, i.e. all such frames of reference depend on an absolute non-spacetime reference frame of frequency (which is stationary relative to spacetime, thus providing the true “ether” and meaning that we live in an absolute, objective world and not a relative, subjective world as Einstein’s ether-less theory would have it).

Keto VIP blem. They include many different simply herbal materials that modify your frame. Assisting your weight loss adventure is handiest one of the many advantages of those keto tablets. A well-toned frame is of no need if the insides aren't wholesome, and keto tablets goal to enhance you each fr

I feel like a clown in these oversized clothes. I’m wearing someone else’s T-shirt. Someone else’s pajama pants. Someone else’s slippers. Kenji says they had to destroy the clothes in my duffel bag, too, so I have no idea whose outfit is currently hanging on my frame. I’m practically swimming in the material.

He believed, you know, that it takes a material body, a spiritual body, and a soul, to make a man. Death is simply the slipping off of the outer body, as a husk slips off from its kernel. The deathless frame stands ready then for the soul's untrammeled occupation.

The struggle of Islam, as Qutb had framed it, and as Azzam deeply believed, was against jahiliya -- the world of unbelief that had existed before Islam, which was still corrupting and undermining the faithful with the lures of materialism, secularism, and sexual equality.

Our particular states of mind colour and frame the whole of our experiences. We live under the illusion that we all share the exact same world because *our language has evolved to pick out precisely the few aspects of our experiences that are common and shared, while ignoring those that are completely personal and idiosyncratic.*

Essentially, life is a game. There are natural and manmade laws that serve as rules. There is a beginning and an end. There is a game board we play on that we call planet Earth. And there are decisions and moves that we make that determine where and how we move on the board. Of course, we all want to win. Some of us do, and some of us don’t. But that begs the question, how DOES one win? Unlike a normal game, there is no time afterlife for us to bask in and enjoy a victory. And so, if we wish to truly experience winning the game of life, we must frame our definition of how we win accordingly so that we win while the game is still in play. Winning the game of life is not predicated merely by the quantity of material successes that we have accumulated by the end of it. Sure, it is enjoyable and important to acquire things within the game of life, but the accumulation of things like wealth, material excess, fame, or status tends to easily be confused as the ultimate endgame. But they are not. They are just parts of the game. And furthermore. Each win of this kind is generally short-lived. It is just like how winning a board game, video game, or sports game might feel good when it occurs and for a little while after, but the feeling soon fades and you return to your normal state. And so it is important that the state that you return to is a victory in it of itself. In the case of the game of life, not only is the sense of fulfillment from material wins short-lived, but the accumulation of material points does not matter much at the end of it. These points don’t go anywhere with you when you are dead and gone. Instead, it is about how much you enjoyed the game of pursuing the points in the first place. Ironically, you truly win the game of life when you realize and embrace that it IS a game. When you become aware that against all odds, you were somehow rendered into this existence and are now able to play and enjoy the most enthralling, sophisticated, and entertaining game ever to exist. A game that is so complex and uncertain that you can never completely predict what’s going to happen next. A game that is always updating. A game that you can come up with rules for, change existing ones, unlock new levels, and uncover hidden settings. And the quality of your life experience truly maximizes when you realize that you have already won by being able to do any of this.

The next of kin stand ambivalent about the project of militarism and the use of their blood to serve a construct that they may not believe in or want to sacrifice for. Yet they accept this violence inflicted on them and on the bodies of those they love. They say “Khena parta hai” (“You have to say it”) and behave as though they do believe. They say it because they know the military is watching. They say it because without this frame the son’s death would be futile and the grief too great to make sense of. They say it because they need to say it to avoid the guilt and the realization that maybe the risk taken was too great and because they must accept the money and benefits offered, as it was for material needs that the tribute to the nation was risked in the first place. 204/378

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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.

Tiller’s research has led him to state the following about subtle energies: •​They are manifested by people, as revealed in experiments that show subtle energies can increase electron sizes and numbers. •​A person can direct the flow of this energy through intention. •​This mind-electron interaction is effective even over great distances. Subtle energies follow a different set of laws than do physical energies, and radiate their energy with unique characteristics. There is not just one type of subtle energy, however. Tiller postulates several subtle substances, each of which occupies a different time-space domain. These domains are different levels of reality. Subtle energy flows downward from the highest, which Tiller calls “the Divine.” Each level provides a template for the level below. As the subtle energy enters the next domain, it adapts—but also instructs. The laws differ on each of these levels because the energy gets denser. Tiller’s levels of subtle reality range from the most to the least dense: •​Physical •​Etheric (also called bioplasmic, prephysical, or energy body) •​Astral •​Three levels of the mind: ​Instinctive ​Intellectual ​Spiritual •​Spirit •​The Divine The etheric level is just above the physical level. According to Tiller, etheric subtle energy penetrates all levels of material existence, and through the polarity principle forms atoms and molecules that make matter. Our mind interacts with the etheric energy (and above) to create patterns in the physical dimension. These patterns act like a force field that links us to the adjacent energy level. Tiller’s explanation of the physical level versus the etheric is similar to that proposed by the experts featured in “The Structure of the Subtle Anatomy”. He suggests that the physical realm occupies a positive time-space frame that is mainly electrical, in which opposites attract; over time, potential decreases, and entropy (chaos) increases. The etheric realm, conversely, is a negative time-space domain that is highly magnetic: like attracts like. As time passes in this realm, potential increases and entropy decreases; therefore, more order is established. We might suggest that communication in the physical realm is accomplished through the five senses; to reach into the etheric level (and above), we must use our intuition—the sixth sense. Within Tiller’s model, the meridians and chakras operate like antennae that detect and send signals from the physical into the upper domains. These subtle structures interact between the physical body and the etheric (and other) realms, illuminating higher orders so that we can perceive them from the physical plane.

In the summer of 1961, Segal taught an adult painting class in New Brunswick. The class was encouraged to make use of odd and unlikely materials in assemblages, and one woman brought to class a box of surgeon's bandages. Segal took some home, with the intention of wrapping them around one of his chicken wire framworks. Then a thought occurred to him: why not dip the cloth bandages in plaster, and apply them directly to the body? Segal sat on a chair and instructed his wife to cover him in soaked bandages. The new technique led to a few anxious moments when the plaster began to harden, heat up, and contract, and the artist lost a good portion of his body hair in the course of frantically removing the casts. With great difficulty, he was able to reassemble the pieces into a complete figure which he then placed on a chair. Next Segal provided an environment for his plaster effigy. The chair was moved up to a table, to which was nailed an old window frame. The result, entitled Man Sitting at a Table, marked the discovery of a new sculptural technique and a turning point in the artist's career. Segal has never looked back.

Life is more precious than any material thing you can mention. Death is what can take you out of existence. And you have both under your command yet you are worried about things that are less significant.

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Comparison -He continued: Comparison exists in everything material and immaterial, when you stand in front of the library shelf to buy a book on a subject, you look at the author’s name first, to compare the quality of his presentation with the fame of his writer. When you enter a café, you look at the people in it, associating its importance with the importance of the customers, their looks, their clothing brand, and their watches. I know a café in Vienna, that you are not allowed to enter unless you wear specific clothing brands, and its prices are very high, although the coffee in it tastes bad, yet everyone sees it as an excellent coffee. These two papers are of the same color, you will not see them, not because they do not reflect light, or because they are colorless, but because there is no frame of reference on which the mind can rely to distinguish between them. He bent the little one to stick out its tip: but now, you have another frame of reference, this bend exposed it. Just because you see something when you do not have a proper frame of reference to base it on does not mean it does not exist. He smiled and looked him straight in the eye: just as you did not see that Roman worker on the bridge, it does not mean he does not exist.

An excellent illustration of this notion comes from another intriguing experiment conducted on psychology students. In this case students were given, in advance of class, either a complete set of notes on the lecture for the day or a partial set of notes—one that consisted of “headings and titles of definitions and concepts, which required students to add information to complete the notes” (Cornelius & Owen-DeSchryver 2008, p. 8). So the students who received the full notes had the knowledge network for the day handed to them prior to class (through the course learning management system); the students who received the partial notes received only the frame of that knowledge network, and had to fill in the rest on their own. The students in both conditions performed comparably on the first two examinations for the course. On the third and final examinations, however, as the amount of course material increased and required deeper understanding, the students in the partial-notes condition outperformed their full-note peers. Especially relevant for the argument that connections improve comprehension, the students in the partial-notes condition outperformed their peers on conceptual questions on the final exam. As the authors explained, “On a [final] test that required knowledge of a large number of concepts, rote memorization was not feasible, so students who encoded the information by actively taking notes throughout the semester may have performed better because they had experienced better conceptual understanding” (p. 10). This experiment has obvious implications for classroom teaching, or even the creation of reading guides or lecture notes for an online courses. However, the important point for now is that the partial notes gave students an organized framework that enabled and encouraged them to see and make new connections on their own.

The heroine's journey, or her lack of one, serves as a reminder that whatever is dictated is not eternal, not predestined, not necessarily "true." The trajectory of literary women from brave to blank to bitter is a product of material social conditions. The fact that the heroine's journey is framed as a default one for women is proof of our failure to see, for so long, that other paths were possible, and that many other ones exist.

They worry that I am assigning too much blame to the system and not granting "agency" to the low-income. They want me to say more about this group and they want me to suggest the right "nudges" that would push people to behave in certain ways. They want to know: what can we do to help "empower" the low-income so that they can help themselves? The problem with this mindset - not of those who are powerless but those who are relatively powerful - is that power is not a frame of mind but a material condition. People sitting in positions of authority are powerful not because they feel empowered bu because they have power. Their feelings of empowerment are an outcome of their actual ownership of power, not the cause. One can think - and indeed many of the low-income people I speak with do this - "I can do this. I must try". But if one is in fact lacking in power - lacking in control over time; lacking in leverage in the labour market; lacking in bargaining power with managers, teachers, social workers, landlords, creditors - no amount of merely changing how they think about themselves will change these realities.

If one workman should tell you your house is rotten, and must be pulled down, and all new materials prepared; and another should say, No such matter; such a beam is good, and such a spar may stand —a little cost will serve the turn: it were no wonder that you should listen to him that would put you to least cost and trouble.  The faithful servants of Christ tell sinners from the Word, that man in his natural state is corrupt and rotten, that nothing of the old frame will serve, and there must needs be all new; but in comes an Arminian, and blows up the sinner's pride, and tells him he is not so weak or wicked as the other represents him.  If thou wilt, thou mayest repent and believe; or, at least, by exerting thy natural abilities, oblige God to superadd what thou hast not. This is the workman that will please proud man best.

but as Jennifer Harvey notes, The problem of racism—the actual racial situation in our faith communities—is not separateness itself. And togetherness is certainly no solution. Separateness is merely a symptom. The real problem is what our differences represent, how they came to be historically, and what they mean materially and structurally still. Racial separateness is evidence of the extent to which our differences embody legacies of unjust material structures. Racial separateness is a to-be-expected outcome of the reality that our differences literally contain still painful and violent histories that remain unrepressed and unrepaired. Racial separateness reveals that our differences are the very manifestation of ongoing forms of racial injustice and white supremacy. A paradigm that cannot meaningfully incorporate this understanding within its very framing of the problem cannot begin to realize its own hoped-for ends. 16