Fringe Observer Quotes

Writers are first and foremost observers. We lose ourselves in the watching and then the telling of the world we find. Often we feel on the fringes, in the margins of life. And that's where we belong. What you are a part of, you cannot observe.

To help yourself to cultivate serendipity, you should keep a notebook with you at all times. The moment any idea or observation comes, you note it down. You keep the notebook by your bed, careful to record ideas that come in those moments of fringe awareness—just before falling asleep, or just upon waking.

forced to observe the fringes of unconsciousness and make darkness visible;

When I look at him, I don’t see the cowardly young man who sold me out to Jeanine Matthews, and I don’t hear the excuses he gave afterward. When I look at him, I see the boy who held my hand in the hospital when our mother broke her wrist and told me it would be all right. I see the brother who told me to make my own choices, the night before the Choosing Ceremony. I think of all the remarkable things he is--smart and enthusiastic and observant, quiet and earnest and kind. He is a part of me, always will be, and I am a part of him, too. I don’t belong to Abnegation, or Dauntless, or even the Divergent. I don’t belong to the Bureau or the experiment or the fringe. I belong to the people I love, and they belong to me--they, and the love and loyalty I give them, form my identity far more than any word or group ever could. I love my brother. I love him, and he is quaking with terror at the thought of death. I love him and all I can think, all I can hear in my mind, are the words I said to him a few days ago: I would never deliver you to your own execution. “Caleb,” I say. “Give me the backpack.” “What?” he says. I slip my hand under the back of my shirt and grab my gun. I point it at him. “Give me the backpack.” “Tris, no.” He shakes his head. “No, I won’t let you do that.” “Put down your weapon!” the guard screams at the end of the hallway. “Put down your weapon or we will fire!” “I might survive the death serum,” I say. “I’m good at fighting off serums. There’s a chance I’ll survive. There’s no chance you would survive. Give me the backpack or I’ll shoot you in the leg and take it from you.” Then I raise my voice so the guards can hear me. “He’s my hostage! Come any closer and I’ll kill him!” In that moment he reminds me of our father. His eyes are tired and sad. There’s a shadow of a beard on his chin. His hands shake as he pulls the backpack to the front of his body and offers it to me. I take it and swing it over my shoulder. I keep my gun pointed at him and shift so he’s blocking my view of the soldiers at the end of the hallway. “Caleb,” I say, “I love you.” His eyes gleam with tears as he says, “I love you, too, Beatrice.” “Get down on the floor!” I yell, for the benefit of the guards. Caleb sinks to his knees. “If I don’t survive,” I say, “tell Tobias I didn’t want to leave him.

This twinned twinkle was delightful but not completely satisfying; or rather it only sharpened my appetite for other tidbits of light and shade, and I walked on in a state of raw awareness that seemed to transform the whole of my being into one big eyeball rolling in the world's socket. Through peacocked lashes I saw the dazzling diamond reflection of the low sun on the round back of a parked automobile. To all kinds of things a vivid pictorial sense had been restored by the sponge of the thaw. Water in overlapping festoons flowed down one sloping street and turned gracefully into another. With ever so slight a note of meretricious appeal, narrow passages between buildings revealed treasures of brick and purple. I remarked for the first time the humble fluting - last echoes of grooves on the shafts of columns - ornamenting a garbage can, and I also saw the rippling upon its lid - circles diverging from a fantastically ancient center. Erect, dark-headed shapes of dead snow (left by the blades of a bulldozer last Friday) were lined up like rudimentary penguins along the curbs, above the brilliant vibration of live gutters. I walked up, and I walked down, and I walked straight into a delicately dying sky, and finally the sequence of observed and observant things brought me, at my usual eating time, to a street so distant from my usual eating place that I decided to try a restaurant which stood on the fringe of the town. Night had fallen without sound or ceremony when I came out again. ("The Vane Sisters")

Every culture has its own creation myth, its own cosmology. And in some respects every cosmology is true, even if I might flatter myself in assuming mine is somehow truer because it is scientific. But it seems to me that no culture, including scientific culture, has cornered the market on definitive answers when it comes to the ultimate questions. Science may couch its models in the language of mathematics and observational astronomy, while other cultures use poetry and sacrificial propitiations to defend theirs. But in the end, no one knows, at least not yet. The current flux in the state of scientific cosmology attests to this, as we watch physicists and astronomers argue over string theory and multiverses and the cosmic inflation hypothesis. Many of the postulates of modern cosmology lie beyond, or at least at the outer fringes, of what can be verified through observation. As a result, aesthetics—as reflected by the “elegance” of the mathematical models—has become as important as observation in assessing the validity of a cosmological theory. There is the assumption, sometimes explicit and sometimes not, that the universe is rationally constructed, that it has an inherent quality of beauty, and that any mathematical model that does not exemplify an underlying, unifying simplicity is to be considered dubious if not invalid on such criteria alone. This is really nothing more than an article of faith; and it is one of the few instances where science is faith-based, at least in its insistence that the universe can be understood, that it “makes sense.” It is not entirely a faith-based position, in that we can invoke the history of science to support the proposition that, so far, science has been able to make sense, in a limited way, of much of what it has scrutinized. (The psychedelic experience may prove to be an exception.)

On that particular evening there stood in the portico of the temple of Melmoth two remarkable figures who were the centre of observation for a considerable fringe of Phœnician idlers. One of these men was clearly by his face and demeanour a great chieftain. His strongly-marked features were those of a man who had led an adventurous life, and were suggestive of every virile quality from brave resolve to desperate execution. His broad, high brow and contemplative eyes showed that he was a man of wisdom as well as of valour. He was clad, as became a Greek nobleman of the period, with a pure white linen tunic, a gold-studded belt supporting a short sword, and a purple cloak.

When I look at him, I see the boy who held my hand in the hospital when our mother broke her wrist and told me it would be all right. I see the brother who told me to make my own choices, the night before the Choosing Ceremony. I think of all the remarkable things he is—smart and enthusiastic and observant, quiet and earnest and kind. He is a part of me, always will be, and I am a part of him, too. I don’t belong to Abnegation, or Dauntless, or even the Divergent. I don’t belong to the Bureau or the experiment or the fringe. I belong to the people I love, and they belong to me—they, and the love and loyalty I give them, form my identity far more than any word or group ever could. I

He had long since observed that Elizabeth had superfluous IQ for her line of work, and inside all that free space in her brain she was completing a philosophy of the world wove together out of all the smells she had ever smelled. Maybe her memory was not the longest. Every day she had to go over every line of it again from top to bottom, just like the day before. She was history-minded: she wanted a piece of ever dog who had come before her to every landmark, the whole roll call, every tuft of grass at the foot of the loading platform by the old natrium plant, every pile of boards or lost truck part in the fringe of weeds along the shore at the four-car ferry, every corner stump or clump of pee-bleached iris on the shaggy line where front yards ended in pavement. The one-time ice house. The Wheeling & Lake Erie water tower. Every boundary stone still standing, however crookedly, in front of the town cemetery. Where putting her own bit into this olfactory model of the world was concerned, Elizabeth was not demure but lifted her leg like any male dog, a little decrepitly now that she was old. Come outa there, Elizabeth. He didn’t want her pissing on the gravestones.

Beneath the window, set between gravel walkways, a few woody lavenders, etiolated rosemary bushes, and ornamental thyme made up the aromatherapy garden that he had seen described in the brochure. Beyond this, however, running a long arc down the gentle slope of lawn, camellias in unrestrained bloom provided an alternative tonic. The lawn gave way to a flower garden, itself fringed by a wood, so that the incarcerated had at least the consolation of a pleasant enough outlook. Gabe stood in front of the fireplace and examined the painting that hung above the mantelpiece. It was a still life. It showed two apples and a brown and white feather laid on a velvet cloth on a table placed by a window. Although the picture was not, Gabriel assumed, of the highest artistic value, and was cheap enough to reside at Greenglades, and though it could not be said to have a photographic reality, and though he suspected it of not being "good," he was drawn to look at it and could see the ripeness of the velvet, reckon the bursting crispness of the apples, and the feather had a certain quality that he had never before observed, just as the painted window offered something that he had failed to notice at all when looking through the real one: the texture, the tone, the way the light fell, the very glassness of the glass.

The powerful influence of filmed examples in changing the behavior of children can be used as therapy for various problems. Some striking evidence is available in the research of psychologist Robert O’Connor on socially withdrawn preschool children. We have all seen children of this sort, terribly shy, standing alone at the fringes of the games and groupings of their peers. O’Connor worried that a long-term pattern of isolation was forming, even at an early age, that would create persistent difficulties in social comfort and adjustment through adulthood. In an attempt to reverse the pattern, O’Connor made a film containing eleven different scenes in a nursery-school setting. Each scene began by showing a different solitary child watching some ongoing social activity and then actively joining the activity, to everyone’s enjoyment. O’Connor selected a group of the most severely withdrawn children from four preschools and showed them his film. The impact was impressive. The isolates immediately began to interact with their peers at a level equal to that of the normal children in the schools. Even more astonishing was what O’Connor found when he returned to observe six weeks later. While the withdrawn children who had not seen O’Connor’s film remained as isolated as ever, those who had viewed it were now leading their schools in amount of social activity. It seems that this twenty-three-minute movie, viewed just once, was enough to reverse a potential pattern of lifelong maladaptive behavior. Such is the potency of the principle of social proof.50   When

St Mary Magdalene church was on the left-hand side of the road, set back behind a low brick wall, well-trimmed topiary and a narrow fringe of grass studded with lichen-covered gravestones from a hundred years ago. A sign had been tied to the railings: two capital As set inside a blue triangle that was itself set within a blue circle. An arrow pointed towards the church. Milton felt a disconcerting moment of doubt and paused by the gate to adjust the lace of his shoe. He looked up and down the street, satisfying himself that he was not observed. He knew the consequences for being seen in a place like this would be draconian and swift; suspension would be immediate, the termination of his employment would follow soon after, and there was the likelihood of prosecution. He was ready to leave the service, but on his own terms and not like that.

The same phenomenon can be observed when young adults with underformed personalities who join cults and fringe groups. These groups attract hordes of “adults” who never had the type of early care that resulted in a solid identity, and they eagerly give up what little personality structure they have and allow the cult to dominate their life.

The main problem, when an organization wants to map the future of x, is that it too often defines x far too narrowly, using the old market research paradigm. To identify emerging trends, you must gather information and observations from the fringe. But you must also broaden your definition of x.

the steps are governed by the following rules: 1. The future is not predetermined, but rather woven together by numerous threads that are themselves being woven in the present. 2. We can observe probable future threads in the present, as they are being woven. 3. We can impact our possible and probable futures in the present.

it’s important not to focus on just one thing—the Kanizsa’s Pac-Man-like circles, Seurat’s dots, the Google car itself—but to simultaneously observe the motion between objects. Zooming out to observe not just the fringe, but the other sources of change, reveals a pattern you would otherwise miss.

We have all seen children of this sort, terribly shy, standing alone at the fringes of the games and groupings of their peers. O’Connor worried that a long-term pattern of isolation was forming, even at an early age, that would create persistent difficulties in social comfort and adjustment through adulthood. In an attempt to reverse the pattern, O’Connor made a film containing eleven different scenes in a nursery-school setting. Each scene began by showing a different solitary child watching some ongoing social activity and then actively joining the activity, to everyone’s enjoyment. O’Connor selected a group of the most severely withdrawn children from four preschools and showed them his film. The impact was impressive. The isolates immediately began to interact with their peers at a level equal to that of the normal children in the schools. Even more astonishing was what O’Connor found when he returned to observe six weeks later. While the withdrawn children who had not seen O’Connor’s film remained as isolated as ever, those who had viewed it were now leading their schools in amount of social activity. It seems that this twenty-three-minute movie, viewed just once, was enough to reverse a potential pattern of lifelong maladaptive behavior.

Labeling the biological and/or emotional urges of a human baby as Narcissistic is despicable and flawed reasoning -yet expected- coming from Dennis Prager, the Jew. The child as being 'preoccupied with her-/himself' and being a factor in 'ruining life' are the kind of signals this rotten soul perceives taking into consideration that it also asserts -based on conviction and pedagogical endeavors which it preaches to its audience- that [money is not worshipable, while nature is]. This Jew even concluded with its demonic inspiration that the human baby is intrinsically 'not good' based on its wicked and disturbed observation that babies cannot even articulate gratitude in return! It (this Jew Rotten Soul) summed up the seminar by linking man (based on this so-called evidence) to evil and by pointing out the necessity for taking action and controlling such behavior. No wonder The Lord ever cursed the Jews and banished them to the fringes of all other nations; to punish them on Earth for their persistent Polytheism and civilized Child Sacrifice using such a theological mischief.

What made travel possible was that he knew how neither self nor wealth can be measured in terms of what you consume or own. Even the downtrodden souls on the fringes of society, he observed, had something the rich didn’t: time. This notion—the notion that “riches” don’t necessarily make you wealthy—is as old as society itself. The ancient Hindu Upanishads refer disdainfully to “that chain of possessions wherewith men bind themselves, and beneath which they sink”; ancient Hebrew scriptures declare that “whoever loves money never has money enough.” Jesus noted that it’s pointless for a man to “gain the whole world, yet lose his very self,” and the Buddha whimsically pointed out that seeking happiness in one’s material desires is as absurd as “suffering because a banana tree will not bear mangoes.

The world is full of obvious things which nobody by any chance ever observes. —Sherlock Holmes,

Many ancient cultures and philosophies observed life and focused on balance, which stemmed from the desire to extend use to its maximum potential. Ai suggests a return to such balance design, seeking to extend the use of something to its full potential. This desire to extend usage is the foundation of what Ai calls #glassbeadplay.

For approximately the first six months, I was somewhat uncomfortable talking with non-human intelligence. You question yourself; you question your sanity; you ask what it is I'm talking with? You don't share what you are doing. You are already known as being eccentric. While you don't care what people think, you tend not to go out of your way to make them laugh at you. So, you keep to yourself. You also stick close to the source. You watch, you OBSERVE, you evaluate. You are evaluating. Them, friend or foe? Me, sane or crazy?

what’s beyond the horizon. The fringe sketch is an outline of what and why, not how. Which is to say that now is not the time for process thinking, ruminating over procedures, or questioning whether something can actually be done. At this point in the forecasting process, our job is to expand our field of vision to include all of the unusual suspects and their work. Before starting a fringe sketch, it’s important to observe a few rules: 1. Include theoretical or even poor information. 2. Assume that a present-day obstacle might be overcome in the future. 3. Assume that if something can be hacked (or adapted for a slightly different use), it will.

Are good mediums hard to find? They are! That is why I spend a considerable portion of my efforts in this field in search for good new mediums. These are people with the extrasensory gift, whose interest is scientific, not financial. Natural talents in this field, just as in any other, can be trained. There are strict methods and conditions, and when you work in a field that is still on the fringes of recognized science, the more stringent your conditions are, the better. Today, my methods are well thought out. When I hear of a likely case or prospect, I call the owners or tenants of the building, or if an open area, the nearest neighbor or potential witness, and introduce myself. I get as much information as I can on witnesses and type of phenomena observed, then call the witnesses and interview them. Only after this preliminary work has been done do I call in one of my sensitive-collaborators. I tell them only that a case has come up, and when I will need them. I discuss everything but the case with them on our way to the location, and when we get there, the hosts have been informed not to volunteer any information, either.

Who am I? You are not the name on your birth certificate. You are not even your thoughts. You are the one observing. You are the one behind your thoughts. Your mind is not you; you are the one who is OBSERVING behind your mind.

Shortly before Corbyn became head of the party in 2015, Scottish columnist Stephen Daisley, who does not think Corbyn is an antisemite, observed, “How much easier it would make things” if he were. One could then simply attribute political developments in the Labour Party to the prejudices of one man. But, he continued, “this isn’t about Jeremy Corbyn; he’s just a symptom and a symbol. The Left, and not just the fringes, has an antisemitism problem.