Graphics Sayings And Quotes

We've searched our database for all the quotes and captions related to Graphics Sayings And. Here they are! All 89 of them:

Like O'Rielly, we'll grab the most important word of each sentence... 'The' for example. Also, I'll say, 'I'm angry,' and the graphic will read, 'Colbert angry.
Stephen Colbert
Monster? Monster, you say?” He scratched his chest, blood dripping from what seemed to be an old wound. “No, my friend. I have SEEN real monsters. I have faced real darkness, heart beating out of your chest with death all around you. The stench of piss and shit as men empty themselves in their final moments. I have experienced real terror. Terror, a simple man like you, could never fathom
J.B. Lion (The Seventh Spark: Volume One – Knights of the Trinity)
If there's anything I'm proud of in my work--it's not that I draw better; there's so many better graphic artists than me--or that I write better, no. It's--and I'm not saying I know the truth, because what the hell is that? But what I got from Ruth and Dave, a kind of fierce honesty, to not let the kid down, to not let the kid get punished, to not suffer the child to be dealt with in a boring, simpering, crushing-of-the-spirit kind of way.
Maurice Sendak
My mom says . . . there are bad people who hurt others for fun . . . and there are good people who do it by accident. Like, they make a mistake? I think you're a good person.
Svetlana Chmakova (Awkward (Berrybrook Middle School, #1))
You can say, "I love you," in Helvetica. And you can say it with Helvetica Extra Light if you want to be really fancy. Or you can say it with the Extra Bold if it's really intensive and passionate, you know, and it might work.
Massimo Vignelli
I'd say she's get us both fired, but the I.S. doesn't let anyone go. Alive.
Kim Harrison (Blood Work (The Hollows Graphic Novel, #1))
Or powerful objects, such as statues, amulets, monuments, certain models of cars. But they prefer human form. You see gods have great power, but only humans have creativity, the power to change history rather than simply repeat it. Humans do you moderns say it...think outside the cup.” “The box,” I suggested.
Rick Riordan (The Red Pyramid: The Graphic Novel (The Kane Chronicles: The Graphic Novels, #1))
Where did you go?" "To the end of the driveway," my mother says. "I was nine months pregnant; that was the maximum distance I could waddle without feeling as if my uterus was falling out." I wince. "Do you have to be quite so graphic?" "What would you like me to call it, Zoe? A fetal living room?
Jodi Picoult (Sing You Home)
In this city, we've got a saying: once is coincidence, twice is a booking offense! -Judge Dredd
John Wagner (Judge Dredd: The Complete Case Files 05)
My father wrote beautifully,” Esmé interrupted. “I’m saving a number of his letters for posterity.” I said that sounded like a very good idea. I happened to be looking at her enormous-faced, chrono-graphic-looking wristwatch again. I asked if it had belonged to her father. She looked down at her wrist solemnly. “Yes, it did,” she said. “He gave it to me just before Charles and I were evacuated.” Self-consciously, she took her hand off the table, saying, “Purely as a momento, of course.” She guided the conversation in a different direction. “I’d be extremely flattered if you’d write a story exclusively for me sometime. I’m an avid reader.” I told her I certainly would, if I could. I said that I wasn’t terribly prolific. “It doesn’t have to be terribly prolific! Just so that isn’t childish and silly.” She reflected. “I prefer stories about squalor.” “About what?” I said, leaning forward. “Squalor. I’m extremely interested in squalor.
J.D. Salinger (Nine Stories)
A TV show comprises many departments—Costumes, Props, Talent, Graphics, Set Dressing, Transportation. Everyone in every department wants to show off their skills and contribute creatively to the show, which is a blessing. You’re grateful to work with people who are talented and enthusiastic about their jobs. You would think that as a producer, your job would be to churn up creativity, but mostly your job is to police enthusiasm. You may have an occasion where the script calls for a bran muffin on a white plate and the Props Department shows up with a bran cake in the shape of Santa Claus sitting on a silver platter that says “Welcome to Denmark.” “We just thought it would be funny.” And you have to find a polite way to explain that the character is Jewish, so her eating Santa’s face might have negative connotations, and the silver tray, while beautiful, is giving a weird glare on camera and maybe let’s go with the bran muffin on the white plate. And then sometimes Actors have what they call “ideas.” Usually it involves them talking more, or, in the case of more experienced actors, sitting more. When Actors have ideas it’s very important to get to the core reason behind their idea.
Tina Fey (Bossypants)
Explaining just what I had hoped the story to say is very difficult. I suppose, I hoped, by setting a particularly brutal ancient rite in the present and in my own village to shock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives.
Shirley Jackson
What if . . . What if I am stupid? Like people say?
Svetlana Chmakova (Brave (Berrybrook Middle School, #2))
On the morning of our second day, we were strolling down the Champs-Elysées when a bird shit on his head. ‘Did you know a bird’s shit on your head?’ I asked a block or two later. Instinctively Katz put a hand to his head, looked at it in horror – he was always something of a sissy where excrement was concerned; I once saw him running through Greenwood Park in Des Moines like the figure in Edvard Munch’s ‘The Scream’ just because he had inadvertently probed some dog shit with the tip of his finger – and with only a mumbled ‘Wait here’ walked with ramrod stiffness in the direction of our hotel. When he reappeared twenty minutes later he smelled overpoweringly of Brut aftershave and his hair was plastered down like a third-rate Spanish gigolo’s, but he appeared to have regained his composure. ‘I’m ready now,’ he announced. Almost immediately another bird shit on his head. Only this time it really shit. I don’t want to get too graphic, in case you’re snacking or anything, but if you can imagine a pot of yoghurt upended onto his scalp, I think you’ll get the picture. ‘Gosh, Steve, that was one sick bird,’ I observed helpfully. Katz was literally speechless. Without a word he turned and walked stiffly back to the hotel, ignoring the turning heads of passers-by. He was gone for nearly an hour. When at last he returned, he was wearing a windcheater with the hood up. ‘Just don’t say a word,’ he warned me and strode past. He never really warmed to Paris after that.
Bill Bryson (Neither Here nor There: Travels in Europe)
If I say: “I know that either it is raining or it is not raining,” this is a tautology. It is the opposite of a contradiction, in that it is true whatever the circumstances, but it says nothing as it applies to nothing in particular.
John Heaton (Introducing Wittgenstein: A Graphic Guide)
Say something, Jess. Say anything. And just when I'm about to think of what I should say next, my mouth goes into whacked overdrive like I'm possessed. “The graphic art in Clone Wars is my favorite,” I say. “I love how they drew the characters. You know—how everything looks so angular and—” My words tangle and freeze when my brain finally arrives to shut it down. Say something but NOT THAT, you psycho! “Clone Wars. Love it, do I? Yesss.” He's actually responded in a Yoda voice! I blink. His eyes are kind, sparkling with laughter and still, all too green. Yoda green!
Anne Eliot (Almost)
Dear Jeff, I happened to see the Channel 7 TV program "Hooray for Hollywood" tonight with the segment on Blade Runner. (Well, to be honest, I didn't happen to see it; someone tipped me off that Blade Runner was going to be a part of the show, and to be sure to watch.) Jeff, after looking—and especially after listening to Harrison Ford discuss the film—I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison said: futurism. The impact of Blade Runner is simply going to be overwhelming, both on the public and on creative people—and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches Blade Runner. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day "reality" pallid by comparison. What I am saying is that all of you collectively may have created a unique new form of graphic, artistic expression, never before seen. And, I think, Blade Runner is going to revolutionize our conceptions of what science fiction is and, more, can be. Let me sum it up this way. Science fiction has slowly and ineluctably settled into a monotonous death: it has become inbred, derivative, stale. Suddenly you people have come in, some of the greatest talents currently in existence, and now we have a new life, a new start. As for my own role in the Blade Runner project, I can only say that I did not know that a work of mine or a set of ideas of mine could be escalated into such stunning dimensions. My life and creative work are justified and completed by Blade Runner. Thank you...and it is going to be one hell of a commercial success. It will prove invincible. Cordially, Philip K. Dick
Philip K. Dick
So when I tell you what I think, I am not transferring thoughts to you. I do not lose them when I tell them. I express what I think, and for you to understand, you need not think what I think, or have the same thought as I. You may need to know what I think and to say it, but not to have the thought or think it.
John Heaton (Introducing Wittgenstein: A Graphic Guide)
Helvetica is good for typographers who do not know what to say.
Thomas Bohm
I guess I shouldn’t be surprised,” Carlton said, his nerves triggering an automatic wisecrack. “Never trust a rabbit, I say.
Scott Cawthon (The Silver Eyes (Five Nights at Freddy's Graphic Novel #1))
Beyond that, I learned about visual adaptation - what a picture can say, and what it can't. A picture's worth a thousand words, but its vocabulary is limited. A picture's no sesquipedalian.
Brent Weeks (The Way of Shadows: The Graphic Novel (First Chapter Free Preview) (The Night Angel Trilogy))
There’s a concept in graphic design called negative space. It’s all the spaces where you haven’t put something. If I draw a figure eight, for example, the negative space would be the two holes and the space around the outside of the lines. A good designer can use that to advantage. If you’ve ever looked at the FedEx logo, the negative space between the E and the x forms an arrow pointing forward. It isn’t always your friend. I once did a design where the negative space… well, let’s just say it had a certain male anatomical quality to it. Sometimes when you’ve stared at something for too long, you miss the really obvious.
T. Kingfisher (The Hollow Places)
But prayer and meditation aren't only in the realm of religion. I'd say neither is God, for that matter, brother Matt. What it's about is finding a peaceful center, even when we think that life is totally whack!
Daniel D. Maurer (Sobriety: A Graphic Novel)
We tried to make the prosaic attractive without using the tired clichés of false glamour. You might say we tried to convey the attractiveness of reality, as opposed to the glitter of a never-never land. —Cipe Pineles
John Clifford (Graphic Icons: Visionaries Who Shaped Modern Graphic Design)
Watching Paris is Burning, I began to think that the many yuppie-looking, straight -acting, pushy, predominantly white folks in the audience were there because the film in no way interrogates “whiteness.” These folks left the film saying it was “amazing,” “marvellous,” incredibly funny,” worthy of statements like, “Didn’t you just love it?” And no, I didn’t love it. For in many ways the film was a graphic documentary portrait of the way in which colonized black people (in this case black gay brothers, some of whom were drag queens) worship at the throne of whiteness, even when such worship demands that we live in perpetual self-hate, steal, go hungry, and even die in its pursuit. The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves, that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.
bell hooks (Black Looks: Race and Representation)
Some books about the Holocaust are more difficult to read than others. Some books about the Holocaust are nearly impossible to read. Not because one does not understand the language and concepts in the books, not because they are gory or graphic, but because such books are confrontational. They compel us to “think again,” or to think for the first time, about issues and questions we might rather avoid. Gabriel Wilensky’s book, Six Million Crucifixions: How Christian Antisemitism Paved the Road to the Holocaust is one book I found difficult, almost impossible to read. Why? Because I had to confront the terrible underside of Christian theology, an underside that contributed in no small part to the beliefs and attitudes too many Christians – Catholic, Protestant, and Orthodox – had imbibed throughout centuries of anti-Jewish preaching and teaching that “paved the road to the Holocaust.” I cannot say that I “liked” Gabriel Wilensky’s book, Six Million Crucifixions: How Christian Antisemitism Paved the Road to the Holocaust. I didn’t, but I can say it was instructive and forced me to think again about that Jew from Nazareth, Jesus, and about his message of universal love and service – “What you do for the least of my brothers [and sisters], you do for me” (Matthew 25: 40). As Abraham Joshua Heschel once said, the Holocaust did not begin with Auschwitz. The Holocaust began with words. And too many of those hate-filled words had their origin in the Christian Scriptures and were uttered by Christian preachers and teachers, by Christians generally, for nearly two millennia. Is it any wonder so many Christians stood by, even participated in, the destruction of the European Jews during the Nazi era and World War II? I recommend Six Million Crucifixions: How Christian Antisemitism Paved the Road to the Holocaust because all of us Christians – Catholic, Protestant, and Orthodox – must think again, or think for the first time, about how to teach and preach the Christian Scriptures – the “New Testament” writings – in such a way that the words we utter, the attitudes we encourage, do not demean, disrespect, or disregard our Jewish brothers and sisters, that our words do not demean, disrespect, or disregard Judaism. I hope the challenge is not an impossible one.
Carol Rittner
I wanted the distance so I could figure it all out.” “Your sexuality,” he guesses. “That,” I agree. “And my career, too. I need a better graphic-design job, and some more coursework. I don’t want to hear Dad’s opinions all the time. Not about that, and not about…” “Steamy-hot man-loving?” Roderick offers, and I almost choke on my sandwich. “Sorry,” he says with a grin. “I was born with no filter.
Sarina Bowen (Roommate)
If you try to be everything to everybody, you will end up being nothing to no one. If you write something you think people will want just to be the person who gives them things they want, you will always fail. Let’s say that everyone loves blue this year—blue is all the rage. So you sit down and write something blue. Well, by the time you get your blue out for people to see, people will have moved on to pink and won’t want blue anymore. Now you’re stuck with this blue thing that no one wants, including you.
Brian Michael Bendis (Words for Pictures: The Art and Business of Writing Comics and Graphic Novels)
The graphic photographs of Emmett Till’s brutalized body after it was retrieved three days later, flashed across the screen,” says Baker. “I sprang off the couch and screamed ‘No!’ It was the immediate and universal anguish every mother feels at the sight of such cruelty to a child. My heart was broken wide open, and from that moment, I began reviewing how, decade by decade, I had unconsciously been consuming racism my whole life. I read and wrote and read and wrote. And that was the beginning of my journey.
Carolyn L. Baker
An inquiry which I once made into the psychology of the Indian sign language with a view to discovering a possible relation between it and Greek manual gesture as displayed in ancient graphic art, led to the conclusion that Indian rhythms arise rather in the centre of self-preservation than of self-consciousness. Which is only another way of saying that poetry is valued primarily by the aboriginal for the reaction it produces within himself rather than for any effect he is able to produce on others by means of it.
Carl Sandburg (The Path on the Rainbow: An Anthology of Songs and Chants from the Indians of North America)
The conclusion that the Egyptians of the Old Kingdom were acquainted with both the Fibonacci series and the Golden Section, says Stecchini, is so startling in relation to current assumptions about the level of Egyptian mathematics that it could hardly have been accepted on the basis of Herodotus' statement alone, or on the fact that the phi [golden] proportion happens to be incorporated in the Great Pyramid. But the many measurements made by Professor Jean Philippe Lauer, says Stecchini, definitely prove the occurrence of the Golden Section throughout the architecture of the Old Kingdom.... Schwaller de Lubicz also found graphic evidence that the pharonic Egyptians had worked out a direct relation between pi and phi in that pi = phi^2 x 6/5.
Peter Tompkins (Secrets of the Great Pyramid: Two Thousand Years of Adventures & Discoveries Surrounding the Mysteries of the Great Pyramid of Cheops)
Of all the works by Victor Hugo the poetic generation of 1880 preferred above all the Chansons des Rues et des Bois ('Songs of the Streets and Woods') and the late poems such as Ce que dit Ia Bouche d'Ombre ('What says the mouth of shadow'), written during a period of intense spiritualism. Quite apart from drawings done during seances, for the most part caricatures, hob-goblins and ghouls, the graphic work of Hugo is that of a visionary. Wood engravers beautifully reproduced these visions as illustrations for Le Rhin ('The Rhine') or Les Travailleurs de la Mer ('The Toilers of the Sea'). Drawn beside cursed romantic castles and storm-tossed lighthouses, ink blots become angels or skeletons, accidental stains become souls or flowers, ambiguities and metamorphoses provide prodigious leaven for the imagination: 'The magnificent imagination which flows through the drawings of Victor Hugo like the mystery in the sky' (Baudelaire).
Philippe Jullian (The Symbolists)
On the night of September 13, Bill O’Reilly had an exchange with Sam Husseini, a former spokesperson for the American-Arab Anti-Discrimination Committee, that characterized Fox’s position as it was developing. “Here’s what we’re going to do, and I’ll let you react to it,” O’Reilly said. “We’re going to take out this Osama bin Laden. Now, whether we go in with air power or whether we go in with a Delta force, he’s a dead man walking. He’s through. He should have been through long before this. He’s been wanted for eight years. Now, they’re going to go in and they’re going to get him. If the Taliban government of Afghanistan does not cooperate, then we will damage that government with air power, probably. All right? We will blast them, because …” Husseini told O’Reilly that innocent Afghans would be killed by a protracted air strike. “Doesn’t make any difference,” O’Reilly huffed. “Bill—” “They—it was an act of war.” “No, no. It does make a difference,” Husseini said. “I don’t want more civilians dead. We’ve had civilians dead in New York and now you’re saying maybe it’s okay to have civilians dead in Afghanistan.” “Mr. Husseini, this is war.” “Yeah, exactly. And in war you don’t kill civilians. You don’t kill women and children. Those are your words, Bill.” “Oh, stop it,” O’Reilly said. “You just made the most absurd statement in the world. That means we wouldn’t have bombed the Nazis or the Japanese. We wouldn’t have done any of that, because you don’t want somebody who has declared war on us to be punished. Come on.” “Who declared war on us?” “The terrorist states have declared war, Mr. Husseini!” “Get them. Get the terrorists,” Husseini said. “Cut his mic,” O’Reilly responded, waving his finger across the screen, the lower third of which was covered with Stars and Stripes graphics and a caption that read: “AMERICA UNITES.
Gabriel Sherman (The Loudest Voice in the Room: How Roger Ailes and Fox News Remade American Politics)
If anything- learn from me. Try to do the virtuous things I did and not the mistakes I made. Though it is up to you to decide what was great or immoral, it is what you feel and believe is morally right in your mind.' 'Yes, it would be right in saying- I never really establish any thought into what was going to happen to me someday and the others that are part of my surroundings.' 'However, life goes on, and the existence of what was stands for nothing but- a memory of what you can and cannot have. If you are someone like me, but all I ever wanted to have is someone that appreciates me.' 'Everybody around here would say life is free, yet or is it?' 'Like, do I even want it?' 'No- not anymore!' 'The existence of life…! Is what I mean.' 'This belief is what I do not want, to have anymore.' 'There must be a way out of all this misery, suffering, pain, agony, and distress, that I relish in the day today?' 'They say dying, departing, and falling is easy, as well as lasting, and living is difficult, uncertain, ambiguous, and unpredictable.' 'While with a wild carless heart and reduction of insight I am going to find out!' 'I presume life is all about what you want, need, love, desire, respect, and love.' 'Furthermore, existing in life comes down to what you cannot have in it. All I have to say is don't let anyone or anything pin you down and make you less than who you are. Always be who you were meant to be, regardless of what they say… because who in the hell are, they!' 'This is a warning to my story, I will only say this once, this is my life, and others I have loved and lost, and it is graphic at times.' 'Just like looking into a book of Sh-h, of deep dark girlie secrets, photographs in the mind like black and white still frames of the past developed, or like a painting of time last just at the moment- a picture with my words of how I will be remembered, the story will come to be perceived sharply and with much clarity.
Marcel Ray Duriez (Walking the Halls (Nevaeh))
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Peter Straub:-
Three-and-a-half-month-old infants already seem to exhibit the other-race effect. In a study at the University of Kentucky, white babies were very good at distinguishing faces with 100 percent Caucasian features from faces that had been graphically morphed to include features that were 70 percent white and 30 percent Asian. They couldn’t do the reverse: They could not tell 100 percent Asian faces from those that were morphed to include 30 percent white features. In other words, they could detect small differences between white and not-quite-white faces, but not the same kinds of differences between Asian and not-quite-Asian faces. Lawrence A. Hirschfeld of the University of Michigan did some of the pioneering work on how early in life children begin to understand race. He showed children of ages three, four, and seven, a picture of “Johnny:” a chubby black boy in a police uniform, complete with whistle and toy gun. He then showed them pictures of adults who shared two of Johnny’s three main traits of race, body build, and uniform. Prof. Hirschfeld prepared all combinations—policemen who were fat but were white, thin black policemen, etc.—and asked the children which was Johnny’s daddy or which was Johnny all grown up. Even the three-year-olds were significantly more likely to choose the black man rather than the fat man or the policeman. They knew that weight and occupation can change but race is permanent. In 1996, after 15 years of studying children and race, Prof. Hirschfeld concluded: “Our minds seem to be organized in a way that makes thinking racially—thinking that the human world can be segmented into discrete racial populations—an almost automatic part of our mental repertoire.” When white preschoolers are shown racially ambiguous faces that look angry, they tend to say they are faces of blacks, but categorize happy faces as white. “These filters through which people see the world are present very early,” explained Andrew Baron of Harvard. Phyllis Katz, then a professor at the University of Colorado, studied young children for their first six years. At age three, she showed them photographs of other children and asked them whom they would like to have as friends. Eighty-six percent of white children chose photographs of white children. At age five and six, she gave children pictures of people and told them to sort them into two piles by any criteria they liked. Sixty-eight percent sorted by race and only 16 by sex. Of her entire six-year study Prof. Katz said, “I think it is fair to say that at no point in the study did the children exhibit the Rousseau type of color-blindness that many adults expect.
Jared Taylor (White Identity: Racial Consciousness in the 21st Century)
The power behind words and voices is substantial to life! I dedicated this book to all of you readers before you even read it, to understand- the book of misunderstandings for the misunderstood. To have a voice, when you were made not have one or told not to have one. Maybe if you are like me, trying to get your voice back this is the story you need. Nonetheless, let us not fail to remember all the voices, which will never speak again, for being rejected and misunderstood.' 'Yes, be that voice with this book, this book is for you, to speak up, and be heard.' 'Why?' 'So, there are no more lost and forgotten voices of life. This book is a stepping stone to abolish bullying altogether, along with your help; we can take that step forward, and forget about the past!' 'At this time, I would like you all to take a moment of silence, to remember someone, that is no longer with us. So, they are not forgotten.' Preface: 'To understand, you must read between the lines of a story just like mine. My wronging if you do not read this book, is you'll find out fast that life is going to suck, and then you make the discovery, that you are going to die alone, and the hex- I have will now be on you.' 'At least that is what I thought; I thought I read, my story before it was written, and this note was the last thing that I was going to write. However, I never realized that there was so much more to life, which I did not appreciate. I came near a stone's throw away from the end. Yet I got additional unplanned lifespans. Yet, was the second chance what I needed?' 'Nevertheless, there were things that I concerned my mind with, which was not substantial to my existence.' 'If anything- learn from me. Try to do the virtuous things I did and not the mistakes I made. Though it is up to you to decide what was good or bad, it is what you feel and believe is morally right in your mind.' 'Yeah- I never really put any thought into what was going to happen to me someday, and the others that are part of my surroundings.' 'However, life goes on, and the existence of what was stands for nothing but- a memory of what you can and cannot have. If you are someone like me, but all I ever wanted was someone that appreciates me. They say life is free or is it. Do I want it- No- not really!' 'The existence of life…!' 'Is what I do not want to have anymore. There must be a way out of all this misery that I live in today? 'They say dying is easy, as well as lasting, and living is difficult and uncertain.' While- I am going to find out!' 'I guess life is all about what you want, need, and love.' 'Likewise, existing in life comes down to what you cannot have in it.' 'All I have to say is don't let anyone or anything pin you down, and make you less than whom you are. Always be whom you were meant to be, regardless of what they say… because who in the hell are they!' 'My story- is somewhat graphic at times, just like looking into a black and white photo of the past in a scrapbook. All the color in it washes away over time, one way or another. Besides all that is left is still frames that keep on fading, and distorting.' 'On the morning I was scheduled to die, I saw my life as if I had lived it to its whole. Oh, the captivating angel beamed lovingly as she roamed forward help me hang myself, a part of me felt death, and other parts of my mind, body, and soul felt as if it would never dye.
Marcel Ray Duriez (Walking the Halls (Nevaeh))
By becoming the aggressor in sharing the good news of Christ with everyone in earshot, I became the one doing the influencing for good rather than the one being influenced for evil. I deduced that my Christianity is not about me but about Christ living through me. Jesus Christ represents everything that is truly good about me. Oddly enough, it started with a prank telephone call when I was seventeen. As I was studying the Bible one night, I had just said a prayer in which I asked God for the strength to be more vocal about my faith. All of a sudden, the phone rang and I answered. “Hello?” I asked. No one answered. “Hello?” I asked again. There was still silence on the other end. I started to hang up the phone, but then it hit me. “I’m glad you called,” I said. “You’re just the person I’m looking for.” Much to my surprise, the person on the other end didn’t hang up. “I want to share something with you that I’m really excited about,” I said. “It’s what I put my faith in. You’re the perfect person to hear it.” So then I started sharing the Gospel, and whoever was on the other end never said a word. Every few minutes, I’d hear a little sound, so I knew the person was still listening. After several minutes, I told the person, “I’m going to ask you a few questions. Why don’t you do one beep for no and two beeps for yes? We can play that game.” The person on the other end didn’t say anything. Undaunted by the person’s silence, I took out my Bible and started reading scripture. After a few minutes, I heard pages rustling on the other end of the phone. I knew the person was reading along with me! After a while, every noise I heard got me more excited! At one point, I heard a baby crying in the background. I guessed that the person on the phone was a mother or perhaps a babysitter. I asked her if she needed to go care for her child. She set the phone down and came back a few minutes later. I figured that once I started preaching, she would hang up the phone. But the fact that she didn’t got my adrenaline flowing. For three consecutive hours, I shared the message of God I’d heard from my little church in Luna, Louisiana, and what I’d learned by studying the Bible and listening to others talk about their faith over the last two years. By the time our telephone call ended, I was out of material! “Hey, will you call back tomorrow night?” I asked her. She didn’t say anything and hung up the phone. I wasn’t sure she would call me back the next night. But I hoped she would, and I prepared for what I was going to share with her next. I came across a medical account of Jesus’ death and decided to use it. It was a very graphic account of Jesus dying on a cross. Around ten o’clock the next night, the phone rang. I answered it and there was silence on the other end. My blood and adrenaline started pumping once again! Our second conversation didn’t last as long because I came out firing bullets! I worried my account of Jesus’ death was too graphic and might offend her. But as I told her the story of Jesus’ crucifixion--how He was sentenced to death by Pontius Pilate, beaten with leather-thonged whips, required to strip naked, forced to wear a crown of thorns on His head, and then crucified with nails staked through His wrists and ankles--I started to hear sobs on the other end of the phone. Then I heard her cry and she hung up the phone. She never called back. Although I never talked to the woman again or learned her identity, my conversations with her empowered me to share the Lord’s message with my friends and even strangers. I came to truly realize it was not about me but about the power in the message of Christ.
Jase Robertson (Good Call: Reflections on Faith, Family, and Fowl)
a serious contender for my book of year. I can't believe I only discovered Chris Carter a year ago and I now consider him to be one of my favourite crime authors of all time. For that reason this is a difficult review to write because I really want to show just how fantastic this book is. It's a huge departure from what we are used to from Chris, this book is very different from the books that came before. That said it could not have been more successful in my opinion. After five books of Hunter trying to capture a serial killer it makes sense to shake things up a bit and Chris has done that in best possible way. By allowing us to get inside the head of one of the most evil characters I've ever read about. It is also the first book based on real facts and events from Chris's criminal psychology days and that makes it all the more shocking and fascinating. Chris Carter's imagination knows no bounds and I love it. The scenes, the characters, whatever he comes up with is both original and mind blowing and that has never been more so than with this book. I feel like I can't even mention the plot even just a little bit. This is a book that should be read in the same way that I read it: with my heart in my mouth, my eyes unblinking and in a state of complete obliviousness to the world around me while I was well and truly hooked on this book. This is addictive reading at its absolute best and I was devastated when I turned the very last page. Robert Hunter, after the events of the last few books is looking forward to a much needed break in Hawaii. Before he can escape however his Captain calls him to her office. Arriving, Hunter recognises someone - one of the most senior members of the FBI who needs his help. They have in custody one of the strangest individuals they have ever come across, a man who is more machine than human and who for days has uttered not a single word. Until one morning he utters seven: 'I will only speak to Robert Hunter'. The man is Hunter's roommate and best friend from college, Lucien Folter, and found in the boot of his car are two severed and mutilated heads. Lucien cries innocence and Hunter, a man incredibly difficult to read or surprise is played just as much as the reader is by Lucien. There are a million and one things I want to say but I just can't. You really have to discover how this story unfolds for yourself. In this book we learn so much more about Hunter and get inside his head even further than we have before. There's a chapter that almost brought me to tears such is the talent of Chris to connect the reader with Hunter. This is a character like no other and he is now one of my favourite detectives of all time. We go back in time and learn more about Hunter when he was younger, and also when he was in college with Lucien. Lucien is evil. The scenes depicted in this book are some of the most graphic I've ever read and you know what, I loved it. After five books of some of the scariest and goriest scenes I've ever read I wondered whether Chris could come up with something even worse (in a good way), but trust me, he does. This book is horrifying, terrifying and near impossible to put down until you reach its conclusion. I spent my days like a zombie and my nights practically giving myself paper cuts turning the pages. If when reading this book you think you have an idea of where it will go, prepare to be wrong. I've learnt never to underestimate Chris, keeping readers on their toes he takes them on an absolute rollercoaster of a ride with the twistiest of turns and the biggest of drops you will finish this book reeling. I am on a serious book hangover, what book can I read next that can even compare to this? I have no idea but if you are planning on reading An Evil Mind I cannot reccommend it enough. Not only is this probably my book of the year it is probably the best crime fiction book I have ever read. An exaggeration you might say but my opinion is my own and this real
Ayaz mallah
I have a really vivid imagination and I find it difficult to read scenes of complete graphic violence. That's not to say that graphic violence does not exist. It's just that I find it quite harrowing and I much prefer if it isn't completely outlined for me because my imagination can do that.
Sara Sheridan
useful, or believe to be beautiful." Thus said the godfather of the Arts & Crafts movement, William Morris. Anyone who has ever spent time (hours, days, weeks, months) creating and (more importantly, refining) a graphic or physical form knows how difficult it can be. It takes practice and training, experience, and taste. A poor font, a button slightly off, the wrong material choice, a garish shade of color can ruin a perfectly fine design. Too many products are made as though aesthetic design decisions are items to be ordered off a Chinese menu. The CEO will say, "I'll take that font, that color, and that material." These arbitrary decisions, made without regard to the effect or the whole, can quickly make a product ugly. The real problem with ugly products is that they not only coarsen the world, they are (seemingly) more difficult to use. As Don Norman rightly pointed out, attractive things work better. "We now have evidence that pleasing things work better, are easier to learn, and produce a more harmonious result," he writes. Creating beautiful things, especially for products with seemingly
Dan Saffer (Designing Devices)
The creation of new souls is a fascinating procedure, one that Judy was able to explain in graphic detail. She showed Val an image of a light being shattered into many fragments, with a solid part remaining intact at the core. This very dense core of energy embodies old souls, and those fragments exploding to the outside represent newer souls. We are all part of the same original spirit and the spirit fragments spread outward with the newest souls on the outer fringes. Judy explained further, “When this shattering takes place, part of our soul heals and stays in spirit and another part moves on, so we go into different areas. The new souls are the less dense parts of that spirit energy.” This means there is a part of every soul in each new one created, as we are all growing, all evolving, at all times. At this stage, as my head was spinning with thoughts and images of all these fragments, M came to my rescue, saying that this explains the oneness of all life. The original energy that fragmented, creating the first souls, is what most people refer to as “God” (also the Creator, the Divine, the Source, Spirit). Each fragment then becomes its own spirit entity, before eventually fragmenting again, and so on. M also explained that new souls come from only the more advanced spirits; I found it comforting to know that spirits in the dark side are not given this capability. It also explains, for me, why so many gifted children are being born in recent years—their deep soul wisdom and advanced intelligence are sorely needed in the future to help us in these turbulent times.
Barry Eaton (No Goodbyes: Life-Changing Insights from the Other Side)
Class, take 15 seconds to think of your answers. I will go around the room starting at Lindsay and everyone will have a chance to respond. When it is your time to answer, if you want to, you can say, "Pass." If you do so, that's OK. I will come back to you, and you can either give an idea you thought of or say an idea you heard from someone else that you agree with. Or a part of an idea you agree with. So in this way we will hear from everyone. Class, take 2 minutes to develop an answer to this question. You may write down some ideas in a list, in sentences, in images. I want you to go beyond the first ideas in your head. I will then call on you, one at a time. Class, this is a great question for everyone to consider. I think you need about 37 seconds on this one. I will tell you when that time is up, and then you should share your answer with the person sitting next to you. Then I am going to go around the room—this time, let's start with Andrew and go counterclockwise—and you have to tell us what your partner gave for an answer. So listen carefully. Class, here's the deal with answering this question. Everyone will have 20 seconds to consider. Then I am going to ask Eric and Liz their ideas. Then I will ask Jess and Matt to say if they agree or disagree with Eric and Liz. Then I will ask Jenny and Max to add any ideas or reactions. We will regularly do this: one group gives a first response, one group says if they agree, and the third group adds comments. Class, I am not asking you "Why did the Industrial Revolution begin?" but instead, "What are some of the reasons it began?" You can write a list or sentences. I will start this time with Danielle and have her say one reason. I'll write it on the board. Then Casey will give one reason. Then Eric. And we'll go around the room, collecting ideas, until we run out of them. That way, no one person gives all the answers for the group—everyone contributes. When we collect all the ideas, then I am going to have you work on your own to organize them into …. Class, JP just gave an answer to the question I asked before I could give you all time to think, so now I want you to consider his answer for 10 seconds. Then thumbs up if you agree with JP, thumbs down if you disagree, and thumbs sideways if you are not sure. Oh no, class, it happened again—this time Jeffrey answered the question before I gave you all time to think. So, it's "Fist to Five" time. Hold up a fist if you disagree, five fingers if you completely agree, and one to four fingers depending how much you agree. Let's see what we all really think, after 10 seconds. Class, this is a time I want to let the conversation flow more quickly than usual. There is only one thing you have to do before you give your ideas—you have to summarize as best you can what the person who spoke before you said. That way we know we are listening. Class, I have a question to ask that you will need a bunch of time to think about and organize your answers, and then we'll share them in some fashion. I put together this graphic organizer, which might help you get all the parts of the answer organized. You don't have to use it. You can sketch an answer, or write a list, or sentences. I am not playing "Guess what the teacher is thinking" here. The only right answer is what you are thinking, if it is organized enough for the rest of us to understand. Here goes….
Jeffrey Benson (Hanging In: Strategies for Teaching the Students Who Challenge Us Most)
David Wheeler, a former actor and a graphic artist, was often among the most eloquent of the parents. In our first interview, five years before, he threw down a challenge that I believe should be hand delivered to every home in America. Wheeler said: I would like every parent in this country—that’s a 150 million people—I would like them to look in the mirror. And that’s not a figure of speech, Scott. I mean, literally, find a mirror in your house, and look in it, and look in your eyes and say, ‘This will never happen to me. This will never happen in my school. This will never happen in my community.’ And see if you actually believe that. And if there is a shadow, the slightest shadow, of doubt about what you’ve said, think about what you can do to change that in your house, in your community, in your school, in your country, because we have an obligation to our children to do this for them. It’s going to happen again. It is going to happen again. And every time, it’s somebody else’s school, it’s somebody else’s town. It’s somebody else’s community, until one day, you wake up and it’s not.
Scott Pelley (Truth Worth Telling: A Reporter's Search for Meaning in the Stories of Our Times)
It was not long after Sorcha came to receive Andromeda that this tree was born. She found herself traveling through this very isle—not much older than you, Miss Grey. The Isles of St. Caliean were in a dark place. Some have said that it was during these Dark Ages that the Gatherer came. And I suspect he did, indeed, though not as they would’ve thought. He never seems to do anything the way you’d think he should. Nonetheless, Sorcha was said to have come upon the Gatherer himself. He was severely wounded, dying even, lying on the ground right around where that tree is now. His limbs were broken; it was a dreadful scene. I’ll not go into the graphic detail. Suffice it to say, there was a great deal of blood lost. And Sorcha was afraid, something she did not find herself feeling all too often. She ran and knelt at his side, not knowing who he was. As he died there—and he did die there on the ground, alone with her. The story goes that Sorcha took the sword from her belt and thrust it angrily into the bloody and cracked ground next to his body.
Megan Beam (Bring (The Last Beholder, #1))
Someone I deeply love was committed to a hospital mental ward and almost the bigtime cuckoo's nest last year; I went barging out there like some halfassed Sir Lancelot, she eventually got herself out, but when I walked into that place I saw the most graphic evidence of what society can do to people, and just how totalitarian this supposedly free society can get when some administrator arbitrarily decides that you're not quite fit to mingle with the rest of the herd. What I saw in there was a whole bunch of people who as far as I was concerned were not crazy at all. Well, there was one guy who though George Benson was sending him telepathic messages, but then that guy used to get raped by his uncles every day when he was about four years old while his father just sat there and cried. What I'm saying is that what I saw in there was a whole bunch of people who were just frightened literally out of their wits, and with good reason. There are some people who are like dogs who have just been beaten and beaten and beaten until it really seems kind of awesome that there's anything left at all. ¶ Meanwhile the staff treated them with a mixture of contempt, condescension, and bored patience.
Lester Bangs (Main Lines, Blood Feasts, and Bad Taste: A Lester Bangs Reader)
Only twice did he try color lithography, then in its heyday in France. He felt that color “cheapened” the essential character of the medium. In his Journals and in his letters are many references to this art form, of which one will serve as example:  "Black is the most essential of all colors. Above all, if I may say so, it draws its excitement and vitality from deep and secret sources of health.... One must admire black. Nothing can debauch it. It does not please the eye and awakens no sensuality. It is an agent of the spirit far more than the fine color of the palette or the prism. Thus a good lithograph is more likely to be appreciated in a serious country, where inclement nature compels man to remain confined to his home, cultivating his own thoughts, that is to say in the countries of the north rather than those of the south, where the sun draws us outside ourselves and delights us. Lithography enjoys little esteem in France, except when it has been cheapened by the addition of color, which produces a different result, destroying its specific qualities so that it comes to resemble a cheap colored print....
Odilon Redon (The Graphic Works of Odilon Redon)
if the Now moves, it must move with respect to time. But the Now is time. So is it moving with respect to itself? No, says Williams, that doesn’t make sense. If it’s moving, it must be moving with respect to a second time – the second one being the time with respect to which the first one moves. Tensers
Craig Callender (Introducing Time: A Graphic Guide (Introducing...))
It’s clear that writing is a useful skill for any designer. Yet apart from a final-year dissertation or research paper, graphic designers are not encouraged to write at design school. This is odd, since words are the designer’s raw materials, much as coal is the raw material of the coal miner. Designers often say they can’t write. This is also odd, since many designers have a verbal facility for sharp phrases and economical expression. Most designers are better with words than they realize. This shyness with written language is partly caused by designers believing that they need to do everything visually. There’s a fear that they are betraying their design skills if they exhibit language skills. Yet the ability to handle text is a priceless attribute. Just think how often we struggle to make coherent typographic statements when forced to work with clumsy language: think of all those tortuous line breaks and bad configurations of type that could be eliminated with a few text edits. The ability to suggest and make text changes can often rescue work from second-rate status.
Adrian Shaughnessy (How to Be a Graphic Designer Without Losing Your Soul)
I’ll wear a graphic tee that says: ‘AIDS Walk,’ when I’m on the AIDS Walk. But generally graphic tees are for the young – and I’m not talking about the young at heart.
Tim Gunn (Tim Gunn's Fashion Bible: The Fascinating History of Everything in Your Closet)
In English, “thank you” derives from “think.” It originally meant, “I will remember what you did for me”—which is usually not true either—but in other languages (the Portuguese obrigado is a good example) the standard term follows the form of the English “much obliged”—it actually does mean, “I am in your debt.” The French merci is even more graphic: it derives from “mercy,” as in begging for mercy; by saying it you are symbolically placing yourself in your benefactor’s power—since a debtor is, after all, a criminal.63 Saying “you’re welcome” or “it’s nothing” (French de rien, Spanish de nada)—the latter has at least the advantage of often being literally true—is a way of reassuring the one to whom one has passed the salt that you are not actually inscribing a debit in your imaginary moral account book. So is saying “my pleasure”—you are saying, “No, actually, it’s a credit, not a debit—you did me a favor because in asking me to pass the salt, you gave me the opportunity to do something I found rewarding in itself!”64
David Graeber (Debt: The First 5,000 Years)
This morning, as I did every morning, I woke up and went straight to Peter's attic. I sat silently on my usual spot on the floor. Peter came to sit beside me. We didn't have to say a single word, it was so perfect: just us and nature. The world didn't exist.
Ari Folman (Anne Frank's Diary: The Graphic Adaptation)
Tips To Make SEO Work For You Your site should be optimized as well as possible so you can generate a high ranking with search engines that are most used today. However, there are many times when your strategies will seem to fail and your measures won't add up right, so use these tips to get the right process together. Make sure your keywords are both relevant and specific to site content. A tag containing a more generic keyword phrase (i.e.: Classic Rock Music) will face very heavy competition in the SERP, where as something more specific (i.e.: Rolling Stones Music) will likely get your higher up the list. A higher ranking is one way to increase traffic to your site. Providing content that can be linked to and referenced by other websites, bloggers, etc., is the simplest way to optimize your standing in search engines. Say for example you are a graphic designer and have a site that operates as your portfolio. If you were to provide unique tutorials on your website, others can discover these, appreciate them and share them on their own site, which in turn increases the amount of times your page is referenced on the whole of the Internet as well as increasing the traffic coming from those pages where your tutorials were referenced. When creating URLs (Uniform Resource Locator), you should use keywords whenever it is possible. Keywords that are found in the URL, hold weight and prove a much needed search engine boost. Be sure to use a content management system to place keywords and hyphens in your URL's, that will attract visitors. Link to pages offering similar or related goods and services. Target your marketing to likely customers by providing a link to your website from pages offering goods or services related to what you offer. For example, if a consumer needs a mattress, they will likely need sheets and blankets as well. If you post an image on your site, tag it with the word "image." Image searching is one of the most popular forms of searches on any search engine. Many a person has found an interesting image on a search engine, and found that it was attached to a site they came to love. You should always use your keyword phrases in your HTML title tag. The title tag is the main weight during a search using a search engine. If you were the reader, what words would you be likely to search for? Once those words have been identified, they should be added to your page title. With the massive flood of internet marketers over recent years, search engines are now becoming more selective than ever. If you flood your content with links or even if you post a link that doesn't blend with the context of the content, the search engine may refuse to pull it up. You could even be punished as a result. If you are entering those times when strategies just aren't proving powerful, these great tips could provide great inspiration to insure that you are getting the best possible results that are out there for you. You want your audience to find you as easily as possible, so make sure you are always formulating strategies for success.
marketing agency
Derrida has argued that communication is always subject to iterability, citation and grafting. If so, it can’t be taken as a guaranteed, masterable passage of meanings. Language, Derrida says, is a “non-masterable dissemination”. If that’s the case, we lose absolute assurance that we can “say what we mean” or “know what someone is thinking”.
Jeff Collins (Introducing Derrida: A Graphic Guide (Introducing...))
Calling students on the first day of school and praying for them. Sending students photos taken of them at youth group events. (Always get double prints.) Dropping by their workplaces just to say hi. Attending the last quarter, inning, or set of their games. (Although you can drop by earlier, coming at the end affords the opportunity to interact with your students after-ward.) Mailing favorite snacks to arrive on their birthdays. Calling students' parents just to brag on them. (e.g.,“Mrs. Gates, your son Billy is doing some amazing things with computer graphics for our small groups!”) Taping notes of encouragement to the front door during exams or other stressful periods. (Ring the doorbell and disappear.) Actually taping notes of encouragement directly on students. Inviting students over for dinner. Letting a group of (same-sex) students spend the night. Following up a few days after a student shares a prayer request. Using your students as positive illustrations in your message or Bible study. (It's always a good idea to get permission first.) Mailing goofy postcards for no reason. Dropping off brain food (a double cheeseburger) the night before a big test. Asking students—on a one-to-one basis—to pray for you. Remembering students’ names
Doug Fields (Your First Two Years in Youth Ministry: A Personal and Practical Guide to Starting Right)
The Divine Dance Christianity, alone among the world faiths, teaches that God is triune. The doctrine of the Trinity is that God is one being who exists eternally in three persons: Father, Son and Holy Spirit. The Trinity means that God is, in essence, relational. The Gospel writer John describes the Son as living from all eternity in the ‘bosom of the Father’ (John 1:18), an ancient metaphor for love and intimacy. Later in John’s Gospel, Jesus, the Son, describes the Spirit as living to ‘glorify’ him (John 16:14). In turn, the Son glorifies the Father (17:4) and the Father, the Son (17:5). This has been going on for all eternity (17:5b). What does the term ‘glorify’ mean? To glorify something or someone is to praise, enjoy and delight in them. When something is useful you are attracted to it for what it can bring you or do for you. But if it is beautiful, then you enjoy it simply for what it is. Just being in its presence is its own reward. To glorify someone is also to serve or defer to him or her. Instead of sacrificing their interests to make yourself happy, you sacrifice your interests to make them happy. Why? Your ultimate joy is to see them in joy. What does it mean, then, that the Father, Son and Holy Spirit glorify one another? If we think of it graphically, we could say that self-centredness is to be stationary, static. In self-centredness we demand that others orbit around us. We will do things and give affection to others, as long as it helps us meet our personal goals and fulfils us. The inner life of the triune God, however, is utterly different. The life of the Trinity is characterised not by self-centredness but by mutually self-giving love. When we delight and serve someone else, we enter into a dynamic orbit around him or her, we centre on the interests and desires of the other. That creates a dance, particularly if there are three persons, each of whom moves around the other two. So it is, the Bible tells us. Each of the divine persons centres upon the others. None demands that the others revolve around him. Each voluntarily circles the other two, pouring love, delight and adoration into them. Each person of the Trinity loves, adores, defers to and rejoices in the others. That creates a dynamic, pulsating dance of joy and love. The early leaders of the Greek church had a word for this – perichoresis. Notice the root of our word ‘choreography’ within it. It means literally to ‘dance or flow around’.1 The Father. . . Son . . . and Holy Spirit glorify each other. . . . At the center of the universe, self-giving love is the dynamic currency of the Trinitarian life of God. The persons within God exalt, commune with, and defer to one another. . . . When early Greek Christians spoke of perichoresis in God they meant that each divine person harbors the others at the center of his being. In constant movement of overture and acceptance each person envelops and encircles the others.2 In Christianity God is not an impersonal thing nor a static thing – not even just one person – but a dynamic pulsating activity, a life, a kind of drama, almost, if you will not think me irreverent, a kind of dance. . . . [The] pattern of this three-personal life is . . . the great fountain of energy and beauty spurting up at the very centre of reality.3 The doctrine of the Trinity overloads our mental circuits. Despite its cognitive difficulty, however, this astonishing, dynamic conception of the triune God is bristling with profound, wonderful, life-shaping, world-changing implications.4
Timothy J. Keller (The Reason for God: Belief in an Age of Skepticism)
Web Design - Give Your Brand Global Recognition Running a small business seems easy but actually, it is not. Surprised? Well, there’s a lot to look after and accomplish without violating the budget and resources. If you own a small business and planning to take it to new heights, you must begin with a professional web design company. Why? Because to let your audience know about your products and services, you got to make your online presence. To make a visible impact online, you need to give your organization a face, which is possible only with a well-designed website that’s professional yet user-friendly. When a website has to be designed, a number of factors are meant to be considered. Font, images, content, alignment, graphics, loading time and interface are the major factors to be careful about. What else? You need to ensure that your brand’s message is displayed the right way and at the right place. Call-to-action has to be there and the design must be in a way that attracts the audience. Want to know more? Length and number of pages also matter, as they play a great role in the presentation and are responsible to hold the audience. All this must be sounding like a lot of stuff and complicated but it is all easy with the right small business web design company by your side. It will understand your business, its needs, and goals for long-term and come with a website which is liked by the audience the moment they click it. All you need to be careful is finding the company that’s worth time and money you invest. The market is flooded with a number of web designers who boast a lot but are not worth what they say. Hiring the wrong designers may cause serious consequences for your website and eventually business. To stay away from coming across such ugly experiences, take enough time and settle for the best professionals. Check their previous work, feedback, price plan and expertise before finalizing anything. Keep this brief piece of information in mind and gift your small business the website it deserves. Good Luck!
Webdesignagency usa
When wise old rat Nicodemus is talking to Mrs Frisby about how they live compared to humans, he says: ‘A rat civilisation would probably never have built skyscrapers, since rats prefer to live underground. But think of the endless subways-below-subways-below-subways they would have had.’ I read that huddled in the story corner of Mrs Pugh’s class, and it felt like fireworks going off in my head. It wasn’t just watermelons but the whole world that could be different. It wasn’t preordained, or immutable or, indeed, even anything special. Just ours. Built and organised for us, by us, developed to serve our needs. I closed the book gently, almost reverently, almost as awed by its power to provide me with such new, previously unthinkable thoughts as I was by the thought itself. Nicodemus, his subways and his skyscrapers are the reason this is still the book I hold up during the periodic rows that break out among adults of a certain stripe about the worthlessness of certain children’s books (and I write this in the full knowledge that I will be coming out, and coming out hard, against Gossip Girl and Stephenie Meyer, but, believe me, I would be going a lot further were it not for Mrs Frisby’s gently restraining paw on my psyche) and assure them that you simply never know what a child is going to find in a book (or a graphic novel, or a comic, or whatever) – what tiny, throwaway line might be the spark that lights the fuse that sets off an explosion in understanding whose force echoes down years. And it enables me to keep, at bottom, the faith that children should be allowed to read anything at any time. They will take out of it whatever they are ready for. And just occasionally, it will ready them for something else.
Lucy Mangan (Bookworm: A Memoir of Childhood Reading)
But here I come back to Deleuze’s “right to say nothing,” and just because this right is denied to many people doesn’t make it any less of a right or any less important. As far back as 1886, decades before it would finally be guaranteed, workers in the United States pushed for an eight-hour workday: “eight hours of work, eight hours of rest, and eight hours of what we will.” The famous graphic by the Federation of Organized Trades and Labor Unions shows this motto corresponding to three sections of the day: a textile worker at her station, a sleeping person’s feet sticking out of a blanket, and a couple sitting in a boat on a lake, reading a union newspaper. The movement also had its own song: We mean to make things over; we’re tired of toil for naught but bare enough to live on: never an hour for thought. We want to feel the sunshine; we want to smell the flowers; We’re sure that God has willed it, and we mean to have eight hours. We’re summoning our forces from shipyard, shop and mill: Eight hours for work, eight hours for rest, eight hours for what we will!11
Jenny Odell (How to Do Nothing: Resisting the Attention Economy)
The lowest common denominator of brand identity is something I call the ‘Generic Meaningless Swoosh Thing,’” says Amanda Collier, a graphic design veteran. According to Collier, “The GMST is what happens when any corporation tries to develop a new look. The managers will talk about wanting something that shows their company is ‘forward thinking’ and ‘in motion,’ and no fewer than three of them will reference Nike, inventors of the original Swoosh. The creative types smile, nod, secretly stab themselves with their X-Acto knives.
Patrick Smith (Cockpit Confidential)
In the Bible, Jesus says more than anyone else about Hell. He refers to it as a literal place and describes it in graphic terms. Jesus taught that in Hell the wicked suffer terribly, are fully conscious, retain their desires and memories and reasoning, long for relief, cannot be comforted, cannot leave their torment, and are bereft of hope. The Savior could not have painted a bleaker picture.
Randy Alcorn (Everything You Always Wanted to Know about Heaven)
WHAT IS IT, exactly, that people are really afraid of when they say they don’t like change? There is the discomfort of being confused or the extra work or stress the change may require. For many people, changing course is also a sign of weakness, tantamount to admitting that you don’t know what you are doing. This strikes me as particularly bizarre—personally, I think the person who can’t change his or her mind is dangerous. Steve Jobs was known for changing his mind instantly in the light of new facts, and I don’t know anyone who thought he was weak. Managers often see change as a threat to their existing business model—and, of course, it is. In the course of my life, the computer industry has moved from mainframes to minicomputers to workstations to desktop computers and now to iPads. Each machine had a sales, marketing, and engineering organization built around it, and thus the shift from one to the next required radical changes to the organization. In Silicon Valley, I have seen the sales forces of many computer manufacturers fight to maintain the status quo, even as their resistance to change caused their market share to be gobbled up by rivals—a short-term view that sank many companies. One good example is Silicon Graphics, whose sales force was so accustomed to selling large, expensive machines that they fiercely resisted the transition to more economical models. Silicon Graphics still exists, but I rarely hear about them anymore.
Ed Catmull (Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration)
game. A Kentucky entrepreneur hooked up a version of Wolfenstein to virtual reality goggles and brought in five hundred dollars a day at the Kentucky State Fair. But players didn’t need virtual reality goggles to feel immersed. In fact, the sense of immersion was so real that many began complaining of motion sickness. Calls were coming in even at the Apogee office saying that people were throwing up while playing the game. Wolfenstein vomit stories became items of fascination online. Theories abounded. Some players thought the game’s animation was so smooth that it tricked the brain into thinking it was moving in a real space. Other gamers thought it had something to do with the “jerkiness” of the graphics, which induced the feeling of seasickness. Some felt it was simply disorienting because there was no acceleration involved; it was like going from zero to sixty at light speed. Gamers even exchanged tips for how to play without losing one’s Doritos.
David Kushner (Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture)
North Shore is about this guy who's a graphic design student in Arizona and can only surf in a wave tank, but he's good enough to win a trip to Hawaii to surf the North Shore. When he gets there everybody makes fun of the kid from Arizona, like, why are you here? The kid asks this surfer, “What kind of board is that?” and the guy says, “A longboard. You'll never be able to ride one because you don't understand the history of surfing.” The kid from Arizona looks at it and says, “Well, that logo could use some work.” That was Dave's favorite line in the movie.
Dan LeRoy (For Whom the Cowbell Tolls: 25 Years of Paul's Boutique (66 & 2/3))
shedding of blood for sacrificial purposes,— the one real and physical, the other sacramental and mystical. The former took place in the bloody sacrifices of the Old Testament, and also in the Crucifixion, when the Precious Blood of our Saviour actually flowed from His veins and was separated from the Body. When we speak of the sacramental shedding of blood (effusio sanguinis sacra-mentalis s. mystica) we mean that Christ offers His Blood for us in so far as it is represented as mystically separated from His Body. This mystic slaying of the Eucharistic Lamb is an imitation and sacramental representation of the physical killing on the Cross. It is in this sense that we must understand the famous saying that the double Consecration is a mystic sword which separates the Blood of Christ from His Body and thereby graphically repre sents His death on the Cross.
Joseph Pohle (The sacraments: A Dogmatic Treatise, Vol. 2)
truly I tell you. Lit. “Amen, I tell you”; “amen” normally concluded a prayer, and most scholars believe that beginning a saying this way implied distinctive authority. smallest letter. The smallest Hebrew letter was a yod, formed by a single stroke of the pen. One Jewish story recounted that the yod removed from Sarai’s name (when it was changed to Sarah, Ge 17:15) protested to God from one generation to another, lamenting its removal from Scripture, until finally God put the yod back in the Bible. When Hoshea’s name was changed to Joshua (Nu 13:16), a yod was reinserted in Scripture. “So you see,” remarked Jewish teachers, “not a single yod can pass from God’s Word.” In a similar Jewish story, a yod protested that King Solomon was trying to remove it from Scripture; “A thousand Solomons shall be uprooted,” God declared, “but not a single yod will pass from my Word.” Such illustrations were merely graphic ways of emphasizing that all of God’s Word must be respected; no part was too small to matter.
Anonymous (NIV, Cultural Backgrounds Study Bible: Bringing to Life the Ancient World of Scripture)
the negative coverage of Bannon and Trump and their relationship to the alt-right carried on for weeks. It was a subject any ordinary campaign would be toxically afraid of. But it didn’t produce the political dynamic Clinton expected: her lead actually narrowed in the month after her speech, from six points to two points in the RealClearPolitics average of polls. Bannon thought he knew why. “We polled the race stuff and it doesn’t matter,” he said in late September. “It doesn’t move anyone who isn’t already in her camp.” — What became much more worrisome for the Trump campaign was sex—and sexual assault. On October 7, David Fahrenthold, a reporter at The Washington Post, was leaked outtake footage from a 2005 Trump appearance on the NBC show Access Hollywood. In the tape, the recently married Trump is heard bragging in lewd and graphic detail to the show’s host, Billy Bush, about kissing, groping, and trying to bed women. “When you’re a star, they let you do it,” Trump says. “You can do anything. Grab them by the pussy.” From the moment it posted at four
Joshua Green (Devil's Bargain: Steve Bannon, Donald Trump, and the Storming of the Presidency)
He wrapped his arms around Emmie and curled her up against his chest. “That is the most lovely experience of not lying with somebody I have ever had.” He kissed her nose and then her mouth, lingering over it. “Talk to me, Emmie.” He rolled to his back and wrestled her to straddle him. “Tell me what’s going on here.” He tapped her temple. “You didn’t hear the echo?” she said, feeling his genitals, cool, damp, and soft against her sex. “There is nothing in there at the moment. Nothing but a long, undignified sigh of contentment.” “Your expression is not one of contentment, Emmie.” His thumb stroked across her forehead. “I would say, rather, you are having the proverbial second thoughts.” His hands on her shoulders urged her down so her chest was against his. “I am not inclined to allow it.” “You are not at your most rational.” She sighed as his arms came around her. “I will not attempt a discussion of the many reasons why this is foolishness until at least one of us has some clothing on.” “Wise of you.” His exuberant smile became a trifle hesitant. “Are you shy, Emmie, because a woman’s pleasure has never befallen you before?” She tilted her head up to assess his eyes, but they were giving away nothing. How much could a man tell from the kind of encounter they’d had? She laid her cheek against his chest to escape that searching green-eyed gaze. “Or I am shy because I am naked in bed with the man who employs me, a fellow I’ve known of for about a month, give or take.” “But a decent fellow,” the earl replied, his hand stroking over her hair. “I would not hurt you, Emmie.” “You are all that is considerate,” she said, with a terse lack of warmth—but she tightened her hold on him nonetheless. “We are going to talk about this, Emmie.” His fingers found her nape and began to massage in slow, easy circles. “There are aspects of the situation you don’t understand.” “I understand,” she said without shifting to meet his eyes. “We are not married, and you seek certain liberties I intended to share with only a husband, or the very near equivalent. You have brought me pleasure—unbelievable pleasure—but being with you like this is not wise, and we both know it.” “You are letting the Lady Tostens of the world dictate to you,” he replied, frustration evident. “The Lady Tostens of the world run the world, my lord, for those of us who must make our own way.” She kept her tone patient, not the least accusatory. “You will not stoop to angering me with formal address, Emmie, not when I could be inside you in the next two minutes.” He arched up against her, demonstrating graphically that while they’d talked, her proximity had begun to stir his arousal again. She rose up on her elbows to meet his eyes. “You are not a rapist, and I am not a cock-tease nor a whore.” She moved to shift away from him, but he caught her by the arms and shook his head slightly. His hold was careful, and the look in his eyes was guarded. “Please do not take away from me the good that happened here with you,” he said, matching her level tone. “I can understand your virtue is precious to you, and you are… upset, but I did not come here seeking this outcome either, Emmie.” He held her gaze, a hint of pleading behind his sternness, and she nodded then subsided onto his chest. He had a point: She could have insisted on meeting him in the library, could have grabbed him by the ear and tossed him into the corridor. In no way had he forced her; she couldn’t be angry at him. “I am upset with myself,” she said, closing her eyes. She felt him nod then felt his hands sifting through her hair again. His touch was slow, gentle, and comforting, even as it reminded her she must not—once this encounter was behind them—permit him to touch her in that same manner ever again. “We will talk.” He kissed the top of her hair. “For now, just let me hold you.” A
Grace Burrowes (The Soldier (Duke's Obsession, #2; Windham, #2))
Robin caught the door before it closed on the dingy stairwell. An old-fashioned metal staircase spiraled up around an equally antiquated birdcage lift. Concentrating on keeping her high heels from catching in the metalwork stairs, she proceeded to the first landing, passing a door carrying a laminated and framed poster saying Crowdy Graphics, and continued climbing. It was only when she reached the glass door on the floor above that Robin realized, for the first time, what kind of business she had been sent to assist. Nobody at the agency had said. The name on the paper beside the outside buzzer was engraved on the glass panel: C. B. Strike, and, underneath it, the words Private Detective.
Robert Galbraith (The Cuckoo's Calling (Cormoran Strike, #1))
Next time you run across an unusually good designer, landscaper, mechanic, electrician, carpenter, plumber, radiologist, surgeon, orthodontist, small business owner, computer software or graphics designer, computer networker, photographer, artist, boat captain, airplane pilot, or skilled member of any of the dozens of “dyslexia-rich” fields we’ll discuss in this book, ask if that person or anyone in his or her immediate family is dyslexic or had trouble learning to read, write, or spell. We’ll bet you dollars for dimes that person will say yes—the connection is just that strong. In fact, many of the most important and perceptive experts in the field of dyslexia have remarked on the link they’ve seen between dyslexia and talent.
Brock L. Eide (The Dyslexic Advantage: Unlocking the Hidden Potential of the Dyslexic Brain)
When approximately 80% of the environmental impact is predetermined at the concept and design stage there is clearly action to take. As Kate Krebbs, executive director of the National Recycling Coalition (NRC) in the USA says, “Waste is a design flaw.
Adrian Shaughnessy (How to Be a Graphic Designer Without Losing Your Soul)
Now, ordinarily, when we say we know something, we can give compelling reasons for it. But when a philosopher says he knows he is holding his hand in front of him, he can give no reason that is as certain as the very thing it is meant to be a reason for. My having two hands is not less certain before I have looked at them than afterwards.
John Heaton (Introducing Wittgenstein: A Graphic Guide)
I wouldn’t say ‘Hello’ to a paskudnyak like that!” “Did you ever hear of such a paskudnyak?” “That whole family is a collection of paskudnyaks.” This word is one of the most greasily graphic, I think, in Yiddish. It offers the connoisseur three nice, long syllables, starting with a sibilant of reprehension and ending with a nasality of scorn. It adds cadence to contempt.
Leo Rosten (The New Joys of Yiddish: Completely Updated)
seven tips for gaining the response rate you want with direct mail. 1. The headline of your brochure should ask for the order. 2. The copy should always tell the person what to do next. 3. Blue is a dandy second color, but red with black is generally the best-pulling direct-mail combination. 4. Red can be overused; use it primarily for highlights. 5. Experts say that the four most important elements in direct mail are the list, the offer, the copy, and the graphics. Guerrillas pay close attention to each. 6. The fastest-growing segment of the direct-mail industry is nontraditional mailers—those who haven't used direct mail in the past. 7. Direct-mail success comes with the cumulative effect of repeat mailings. Make them repetitive yet different from one another.
Jay Conrad Levinson (Guerrilla Marketing, 4th edition: Easy and Inexpensive Strategies for Making Big Profits from Your SmallBusiness)
Maintain your speed no matter what happens! For the tikbalang shall chase you --- I regret to the ends of the earth!
Arnold Arre (The Mythology Class: A Graphic Novel)
Did you say "Ends of the Earth?!!" I don't think I've enough gas for that!!
Arnold Arre (The Mythology Class: A Graphic Novel)
Don't say I'm lucky. Ever.
Faith Erin Hicks (The Nameless City (The Nameless City, #1))
The Mysterious Brain One thing we can say with certainty about the brain is that it is a very fractal piece of kit! It has an obvious fractal structure. You have only to look at it to see that. It is very crinkled and wrinkled and highly convoluted, as it folds back and back on itself. It is deeply ironic that this remarkable organ, which is the seat of the mind, and which either created or discovered (we don’t know which) the mathematical rules on which it and the entire universe turns, cannot explain or understand its own functioning. If we understood how our brains worked, would we not have achieved those dizzying heights conjured up by Stephen Hawking in A Brief History of Time – would we not, then, “know the mind of God”? Understanding how our brains function is probably the greatest challenge facing the scientific community at this time. Fractal geometry is at the leading edge of research in this area.
Nigel Lesmoir-Gordon (Introducing Fractals: A Graphic Guide (Introducing...))
Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The
Jimmy Maher (The Future Was Here: The Commodore Amiga (Platform Studies))
A stronger analogy to Eisenstein's analysis of the rising pattern in the music and the visuals can be found in the contrapuntal practice in music whereby a theme is juxtaposed against either an augmented (the note values are doubled) or diminished (the note values are halved) version of itself. The listener can thus simultaneously experience two different temporal elaborations of the same melodic line across a single block of chronological time, just as the viewer/listener in Alexander Nevsky can experience two different temporal elaborations of the rising motion across a single block of chronological time. (Needless to say, an oppositional "counterpoint" could also be set up by creating, for instance, an upward movement in the music and a downward one in the visuals.) But the experience here is doubly enriched, since the simultaneity also includes two different modes of perception, visual and aural, which is, one suspects, one of the underlying raisons d'être of the gesamtkunstwerk. Even on the simplest of levels, then, Eisenstein's "vertical montage" involves the simultaneous, layered presentation of a number of different elements. For the first shot, these layers would stack up as follows: 1. Graphic perception (photography) 2. Musical perception (score) 3. Upward movement 1 (graphic) 4. Upward movement 2 (musical) 5. Synchronicity 1 (graphic) 6. Synchronicity 2 (musical)
Royal S. Brown (Overtones and Undertones: Reading Film Music)
At the end of nothing the Universe was created, or perhaps it was all that was left when the end of nothing, ended. And thus the possible end of the Universe too was created in the same way that the Universe made the creation of something else, something hopefully even better, perhaps a Universe with less pesky librarians possible. However that is not news. Though it supposedly happened recently. Just around 13.8 billions years ago. But since nothing is something that is not anything, and not simply "nothing" it would be more accurate to say: At the end of something that was probably nothing and hopefully nothing special. The Universe replaced it with itself, something that is probably more worthwhile but in worst case perhaps even less special. Anyway, nobody will never know and any living thing will just have to make do with whatever universe they happen to be born in. Since that happened, and the printing press was invented around 13,799,999,700 years after the birth of the current Universe. Humans may now instead of spending the evening looking at all the boring stars, look at repeating patterns of black ink printed on egg white paper forming a combination of any of around a couple of just a hundred thousands words called pages. Put in collections known as books. In reality it was probably just a conspiracy to create work for graphic artists, librarians and book reviewers. Backed by the PIC paper industrial complex. But you did not read that here.
Advertising's ultimate triumph of background over content may have been recently achieved in New Zealand, where graphic designer Fiona Jack conducted a peculiar billboard campaign to market her new product, Nothing.6 "I was thinking about advertising and all its strangeness, its coercive ability to sell the most completely bizarre things to people who usually don't need them," Jack observed. "I realized that the ultimate nonexistent product would be nothing." New Zealand's Outdoor Advertising Association became interested in her idea and agreed to feature the slogan "Nothing-What you've been looking for" on twenty-seven billboards around the Auckland area. The billboard company soon began receiving calls from potential customers wanting to know where they could buy some of that Nothing. "The majority of the population," Jack says, "seem to be convinced that it is either a teaser for a campaign, or a new cosmetic product of a similar nature to the `Simple' cosmetic range.
Robert V. Levine (The Power of Persuasion: How We're Bought and Sold)
Ryan chuckles. “Peenie is gonna show his peen? Wow, how meta.” “Meh, it’s just skin,” Keane says. “Yeah, foreskin,” Ryan says, and everyone laughs. “Do me a favor and show your balls, too,” I say to Keane. “You do that, and Mom would thank me for only showing my bare ass and simulating graphic fucking on a beach.” “I’ll tell my agent to put it in my contract,” Keane says. “Just for you.” “Thanks.
Lauren Rowe (Rockstar (Morgan Brothers, #5))
Chaos has become not just theory but also method, not just a canon of beliefs but also a way of doing science. Chaos has created its own technique of using computers, a technique that does not require the vast speed of Crays and Cybers but instead favors modest terminals that allow flexible interaction. To chaos researchers, mathematics has become an experimental science, with the computer replacing laboratories full of test tubes and microscopes. Graphic images are the key. “It’s masochism for a mathematician to do without pictures,” one chaos specialist would say. “How can they see the relationship between that motion and this? How can they develop intuition?
James Gleick (Chaos: Making a New Science)
There is a real correspondence between biological and psychological masculinity and femininity on the one hand, and spiritual masculinity and femininity on the other. What one must bear in mind is that the Bodhisattva combines both. This may seem strange, but the Bodhisattva can be described as being psychologically and spiritually bisexual, integrating the masculine and the feminine at every level of his or her psychological and spiritual experience. This is reflected in Buddhist iconography. With some representations of Buddhas and Bodhisattvas it is hard to discern whether the figure is masculine or feminine. This iconographical convention reflects the psychological and spiritual bisexuality of the Bodhisattva, and indeed of any spiritually developed person. The idea, or even ideal, of psychological and spiritual bisexuality is unfamiliar to us in the West today, but it was known to the ancient Gnostics, one of the heretical sects of early Christianity. The teaching was quickly stamped out by the Church, but an interesting passage has been preserved in a work known as the Gospel of Thomas, which was discovered in Egypt as recently as 1945. It isn’t an orthodox Christian work, but it consists of 112 sayings attributed to Jesus after his resurrection. In the twenty-third of these sayings, Jesus is represented as saying: 'When you make the two one, and make the inside like the outside, and the outside like the inside, and the upperside like the underside, and (in such a way) that you make the man (with) the woman a single one, in order that the man is not the man and the woman is not the woman; when you make eyes in place of an eye, and a hand in place of a hand, and a foot in place of a foot, an image in place of an image; then you will go into the Kingdom.' This is not the sort of teaching one normally encounters in church, but it is obviously of profound significance. In the context of Buddhism the idea or concept, and even the practice, of spiritual bisexuality features most graphically in the Tantra, where it is represented not just by the androgynous appearance of the Bodhisattva, but by the symbol of sexual union. Here, ksanti, the feminine aspect of the spiritual life, becomes transcendental wisdom, while energy, the masculine aspect, becomes fully realized as compassion. Thus in Tantric Buddhist art one encounters representations of a mythical form of the Buddha in sexual union with a figure who is sometimes described as the female counterpart to his own masculine form. These images are called yab-yum, yab meaning ‘father’ and yum meaning ‘mother’. They are sometimes regarded in the West as being obscene or even blasphemous, but in Tibet such symbolism is regarded as extremely sacred. It has nothing to do with sexuality in the ordinary sense; it is a representation of the highest consummation, the perfect balance, of ‘femininity’ and ‘masculinity’, wisdom and compassion. Although there are two figures, there are not two persons. There is only one person, one Enlightened person, within whom are united reason and emotion, wisdom and compassion.
Sangharakshita (Bodhisattva Ideal: Wisdom and Compassion in Buddhism)
WE ARE THE ARTISTS AS WELL AS THE ART As far-fetched as this idea may sound to many people, it is precisely at the crux of some of the greatest controversies among some of the most brilliant minds in recent history. In a quote from his autobiographical notes, for example, Albert Einstein shared his belief that we’re essentially passive observers living in a universe already in place, one in which we seem to have little influence: “Out yonder there was this huge world,” he said, “which exists independently of us human beings and which stands before us like a great, eternal riddle, at least partially accessible to our inspection and thinking.”2 In contrast to Einstein’s perspective, which is still widely held by many scientists today, John Wheeler, a Princeton physicist and colleague of Einstein, offers a radically different view of our role in creation. In terms that are bold, clear, and graphic, Wheeler says, “We had this old idea, that there was a universe out there, [author’s emphasis] and here is man, the observer, safely protected from the universe by a six-inch slab of plate glass.” Referring to the late-20th-century experiments that show us how simply looking at something changes that something, Wheeler continues, “Now we learn from the quantum world that even to observe so minuscule an object as an electron we have to shatter that plate glass: we have to reach in there…. So the old word observer simply has to be crossed off the books, and we must put in the new word participator.”3 What a shift! In a radically different interpretation of our relationship to the world we live in, Wheeler states that it’s impossible for us to simply watch the universe happen around us. Experiments in quantum physics, in fact, do show that simply looking at something as tiny as an electron—just focusing our awareness upon what it’s doing for even an instant in time—changes its properties while we’re watching it. The experiments suggest that the very act of observation is an act of creation, and that consciousness is doing the creating. These findings seem to support Wheeler’s proposition that we can no longer consider ourselves merely onlookers who have no effect on the world that we’re observing.
Gregg Braden (The Divine Matrix: Bridging Time, Space, Miracles, and Belief)
She should say no. She was a freelance graphic designer now, and she didn’t even take marketing jobs anymore, no matter how much some of her current clients hinted that they’d be happy to pay for those services.
Alexis Daria (A Lot Like Adiós (Primas of Power, #2))
Logic enables us to make true and false statements but does not say anything about what is in the world. It is the great mirror which shows something essential about the world, but cannot say what it is. Common sense and science, on the other hand, tell us what is in the world. Two extreme forms of logical proposition are instructive. These are logical contradictions and tautologies. If I say: “I know that either it is raining or it is not raining,” this is a tautology. It is the opposite of a contradiction, in that it is true whatever the circumstances, but it says nothing as it applies to nothing in particular. It is like the Bellman’s map in Lewis Carroll’s Hunting of the Snark: “A perfect and absolute blank”. Tautology and contradiction are not really propositions at all, although they appear to be so. They lack sense because they say nothing. They give no information, but are of great importance as they show the nature of logic. Wittgenstein argued that all logical propositions can be reduced to tautologies.
John Heaton (Introducing Wittgenstein: A Graphic Guide)
In its conclusion, the report argued, "The wholesale condemnation of all comics magazines is one of the worst mistakes of some of the critics. The fact is both sides are right. The books are not all bad, as the more extreme critics say; nor are all good, as some of their publishers and defenders content. Like all other creative products, they must be judged individually. And that is what most critics, parents, and public officials have failed to do." Still, the city council found a third of published comics to be "offensive, objectionable, and undesirable," and, on February 2, 1949, it appointed a board to monitor news dealers' compliance with a blacklist of titles.
David Hajdu (The Ten-Cent Plague: The Great Comic-Book Scare and How it Changed America)