Fuse Selection Quotes

I have two enemies in all the world, Two twins, inseparably fused: The hunger of the hungry and the fullness of the full.

If the halls of the Hermitage should suddenly go mad, if the paintings of all schools and masters should suddenly break loose from the nails, should fuse, intermingle, and fill the air of the rooms with futuristic howling and colours in violent agitation, the result then would be something like Dante's Comedy." Osip Mandelstam, "Converation with Dante

Nature or Nature’s God” is not a statement, but a name, internally divided by tolerated uncertainty. It has the singularity of a proper name, whilst parenthesizing a suspended decision (Pyrrhonian epoche, of which much more in a future post). It designates rigidly, but obscurely, because it points into epistemological darkness — naming a Reality that not only ‘has’, but epitomizes identity, whilst nevertheless, for ‘the sake of argument’, eluding categorical identification. Patient in the face (or facelessness) of who or what it is, ‘we’ emerge from a pact, with one basic term: a preliminary decision is not to be demanded. It thus synthesizes a select language community, fused by the unknown.

I give you back your heart. I give you permission – for the fuse inside her, throbbing angrily in the dirt, for the bitch in her and the burying of her wound – for the burying of her small red wound alive – for the pale flickering flare under her ribs, for the drunken sailor who waits in her left pulse,

When God wants to drill a man, And thrill a man, And skill a man, When God wants to mold a man To play the noblest part; When He yearns with all His heart To create so great and bold a man That all the world shall be amazed, Watch His methods, watch His ways! How He ruthlessly perfects Whom He royally elects! How He hammers him and hurts him, And with mighty blows converts him Into trial shapes of clay which Only God understands; While his tortured heart is crying And he lifts beseeching hands! How He bends but never breaks When his good He undertakes; How He uses whom He chooses, And with every purpose fuses him; But every act induces him To try His splendor out— God knows what He’s about. SELECTED Life is a quarry, out of which we are to mold and chisel and complete a character. GOETHE

Monod proposed an analogy: Just as the biosphere stands above the world of nonliving matter, so an “abstract kingdom” rises above the biosphere. The denizens of this kingdom? Ideas. Ideas have retained some of the properties of organisms. Like them, they tend to perpetuate their structure and to breed; they too can fuse, recombine, segregate their content; indeed they too can evolve, and in this evolution selection must surely play an important role. Ideas have “spreading power,” he noted—“infectivity, as it were”—and some more than others. An example of an infectious idea might be a religious ideology that gains sway over a large group of people. The American neurophysiologist Roger Sperry had put forward a similar notion several years earlier, arguing that ideas are “just as real” as the neurons they inhabit. Ideas have power, he said.

You may find that yes, your partner tends to shout easily, but the shouting contains no malice and passes quickly. Perhaps your partner's short fuse does not prevent them from being loving and supportive. In that case, you may have found a gem whom others have avoided because they cannot get past the bursts of temper. But if you find that time after time, a partner or close friend disappoints you by being just like a difficult parent, then you would do well to consider whether you are selecting someone who helps you reproduce that difficult relationship.

This ”joy” which I have selected as the mark of the true fairy-story (or romance), or as the seal upon it, merits more consideration. Probably every writer making a secondary world, a fantasy, every sub-creator, wishes in some measure to be a real maker, or hopes that he is drawing on reality: hopes that the peculiar quality of this secondary world (if not all the details) are derived from Reality, or are flowing into it. If he indeed achieves a quality that can fairly be described by the dictionary definition: “inner consistency of reality,” it is difficult to conceive how this can be, if the work does not in some way partake of reality. The peculiar quality of the ”joy” in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a “consolation” for the sorrow of this world, but a satisfaction, and an answer to that question, “Is it true?” The answer to this question that I gave at first was (quite rightly): “If you have built your little world well, yes: it is true in that world.” That is enough for the artist (or the artist part of the artist). But in the “eucatastrophe” we see in a brief vision that the answer may be greater—it may be a faroff gleam or echo of evangelium in the real world. The use of this word gives a hint of my epilogue. It is a serious and dangerous matter. It is presumptuous of me to touch upon such a theme; but if by grace what I say has in any respect any validity, it is, of course, only one facet of a truth incalculably rich: finite only because the capacity of Man for whom this was done is finite. I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairystory, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels—peculiarly artistic, beautiful, and moving: “mythical” in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation. The Birth of Christ is the eucatastrophe of Man's history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the “inner consistency of reality.” There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. It is not difficult to imagine the peculiar excitement and joy that one would feel, if any specially beautiful fairy-story were found to be “primarily” true, its narrative to be history, without thereby necessarily losing the mythical or allegorical significance that it had possessed. It is not difficult, for one is not called upon to try and conceive anything of a quality unknown. The joy would have exactly the same quality, if not the same degree, as the joy which the “turn” in a fairy-story gives: such joy has the very taste of primary truth. (Otherwise its name would not be joy.) It looks forward (or backward: the direction in this regard is unimportant) to the Great Eucatastrophe. The Christian joy, the Gloria, is of the same kind; but it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men—and of elves. Legend and History have met and fused.

As history pressed on, the governments that ran the world increasingly fused democracy with meritocracy, moving from hereditary power and classes of favour-trading elites towards economic government and popular consent. When meritocracy works – when people understand that they can get ahead by working hard – citizens tend to bless the system. But the fusion of meritocracy and democracy is neither necessary nor automatic. Both autocracies and democracies are at their best when they are most meritocratic, even if democracies are inherently more meritocratic, because in liberal societies everyone can aspire to lead their countries, unlike in autocracies, where that privilege is limited to a small, self-selecting cadre of party officials.

Why Choose SLS 3D Printing Over FDM 3D Printing? Fused Deposition Modeling (FDM) technology offers an accessible entry point into the world of 3D printing, particularly advantageous for individuals with limited budgets. Its affordability stems from the straightforward principle it operates on: melting a plastic filament and precisely positioning it to layer by layer to form objects. This simplicity has made FDM the most popular printing technology, flooding the market with cost-effective desktop printers capable of producing objects quickly. In contrast, Selective Laser Sintering (SLS) technology enables 3D printing by selectively sintering sections of successive layers of powder using a powerful laser beam, without fully liquefying the material. Notably, this process eliminates the need for support materials, as unsintered powder surrounds the printed object, facilitating the creation of intricate and interconnected forms.

More specifically, these families are created by the shame-based people who find and marry each other. Each expects the other to parent the child within him or her. Each is incomplete and insatiable. The insatiability is rooted in each person’s unmet childhood needs. When two adult children meet and fall in love, the child in each looks to the other to fill his or her needs. Since “in love” is a natural state of fusion, the incomplete children fuse together as they had done in the symbiotic stage of infancy. Each feels a sense of oneness and completeness. Since “in love” is always erotic, each feels “oceanic” in the sexual embrace. “Oceanic” love is without boundaries. Being in love is as powerful as any narcotic. One feels whole and ecstatic. Unfortunately this state cannot last. The ecstatic consciousness is highly selective. Lovers focus on sameness and are intrigued by the newness of each other. Soon, however, real differences in socialization begin to emerge. The two families of origin rear their shame-based heads. Now the battle begins! Who will take care of whom? Whose family rules will win out? The more shame-based each person is, the more each other’s differences will be intolerable. “If you loved me, you’d do it my way,” each cajoles the other. The Hatfields and the McCoys go at it again.

FDM (Fused Deposition Modeling) printers There is no hard and fast classification of the FDM 3D printers Cartesian 3D Printers: These are the most common type, operating on a straightforward Cartesian coordinate system with linear rails guiding movement along the X, Y, and Z axes. They are recognized for their simplicity and reliability. Delta 3D Printers: Delta printers employ a triangular configuration of three arms attached to moving carriages at the printer's apex. The print head hangs from these carriages, executing precise movements to craft the intended object. Delta printers excel in speed and consistency, particularly in producing tall items. CoreXY 3D Printers: CoreXY printers utilize a distinctive belt-driven mechanism to maneuver the print head across the X and Y axes. This design separates the print head's motion from that of the build platform, resulting in swifter and more accurate prints. Enthusiasts favor CoreXY printers for their speed and precision. Polar 3D Printers: Polar printers feature a circular build platform and a print head that moves both radially and vertically. This configuration facilitates continuous rotation of the print bed, enabling the creation of objects with intricate geometric shapes. Polar printers are commonly employed for crafting artistic and sculptural pieces. SCARA 3D Printers: SCARA (Selective Compliance Articulated Robot Arm) printers utilize a robotic arm mechanism to navigate the print head in a two-dimensional plane. This design offers rapid and precise movement, making SCARA printers ideal for producing small, intricate objects with exceptional accuracy. Each variant of FDM 3D printer has its own strengths and is tailored to diverse applications, spanning from hobbyist endeavors to industrial-scale manufacturing.

The Process of SLS in 3D Printing The Selective Laser Sintering process resembles that of other powder bed fusion technologies in the following ways: A designer produces a 3D model using a Computer-Aided Design (CAD) program. The design is split into thin (2D) layers. The split design is sent to the SLS printer. A leveling roller spreads a thin layer of powdered material across the printer’s build platform. A CO2 laser traces a cross-section of the material, heating and fusing it. Once a layer is complete, the build platform is lowered to allow space for the next layer of powder. Unused material is recycled after each layer is finished. The SLS process is repeated, building layer-on-layer until the part is completed. During the printing process, SLS parts are encompassed by unsintered powder. This extra powder supports the part during printing, removing the need for support structures.

From what you have seen so far it should be obvious that a major source of toxic shame is the family system and its multigenerational patterns of unresolved secrets. More specifically these families are created by the shame-based people who find and marry each other. Each looks to and expects the other to take care of and parent the child within him or her. Each is incomplete and insatiable. The insatiability is rooted in each person's unmet childhood needs. When two adult children meet and fall in love, the child in each looks to the other to fill his or her needs. Since "in love" is a natural state of fusion, the incomplete children fuse together as they had done in the symbiotic stage of infancy. Each feels a sense of oneness and completeness. Since “in-love” is always erotic, each feels "oceanic" in the sexual embrace. “Oceanic” love is without boundaries. Being in love is as powerful as any narcotic. One feels whole and ecstatic. Unfortunately this state cannot last. The ecstatic consciousness is highly selective. Lovers focus on sameness and are intrigued by the newness of each other. Soon, however, real differences in socialization begin to emerge. The two families of origin rear their shame-based heads. Now the battle begins! Who will take care of whom? Whose family rules will win out? The more shame-based each person is, the more each other's differences will be intolerable. “If you loved me, you'd do it my way,” each cajoles the other. The Hatfields and the Mccoys go at it again.

The outcome of this longing is that the word is never fresh, the line has fused vertebrae, and the poem does not convey thinking, but instead contains portraits of ideas, like those “Wanted” posters issued by police departments.

But who runs like the rest past these arrives At a cage where the crowd stands, stares, mesmerized, As a child at a dream, at a jaguar hurrying enraged Through prison darkness after the drills of his eyes On a short fierce fuse. Not in boredom – The eye satisfied to be blind in fire, By the bang of blood in the brain deaf the ear – He spins from the bars, but there’s no cage to him More than to the visionary his cell: His stride is wildernesses of freedom: The world rolls under the long thrust of his heel.

The Expanding Universe of Poetry Often I lose myself in such distances and numbers that I fear I shall never find myself again. But unexpectedly the opposites fuse in a poem. From the century’s amorphous nebulae in the Self a new star was born, now shining in convincing unity. And the expanding universe of poetry continues to baffle the astrologers.