Grid Image Quotes

God and Destiny are not against us, rather they are for us, they are the ones who never forget the things we have long forgotten, the ones who hear the desires of our heart that our own heads can't hear, and they are the ones who never forget who we really are, long after our minds have forgotten the images of who we are. We come from God and we belong to Destiny, yet for some reason of ignorance we think that to be the master of our own fates and the captain of our own souls means to write everything down on a paper and plan everything out on a grid! Such great things to be done, and we think they are accomplished by our primitive ways! No. We must only know what we want. And want what we want. And then fly high enough to see all that which we want that we couldn't yet see.

I love you the way I love nightmare, secrets coming up like smoke through a grid, the way I love mirrors shattered but still whole, reflecting the foolish image in a hundred lit-up fragments. No one else could take me, pay my way with what your skin knows.

Images barraged him. Connections darted electric. Veins. Roots. Forked lightning. Tributaries. Branches. Vines snaked around trees, herds of animals, drops of water running together. I don’t understand. Fingers twined together. Shoulder leaned on shoulder. Fist bumping fist. Hand dragging Adam up from the dirt. Cabeswater rifled madly through Adam’s own memories and flashed them through his mind. It hurled images of Gansey, Ronan, Noah, and Blue so fast that Adam couldn’t keep up with all of them. Then the grid of lightning blasted across the world, an illuminated grid of energy. Adam still did not understand, and then he did. There was more than one Cabeswater. Or more of whatever it was.

His mother the Ice Queen. The only thing he still had of hers was a book: Snow Crystals, by W. A. Bentley. Inside were thousands of carefully prepared micrographs of snowflakes, each image reproduced in a two-inch square, the crystals white against a field of black, arrayed in a grid, four-by-three, twelve per page.

Our current relationship with technology is fraught. We feel overwhelmed and out of control. We dream of declaring “e-mail bankruptcy” or maybe “going off the grid.” But we are also addicted and entranced—constantly logging on to share our every thought, image, and idea. It’s easy to blame the tools, but the real problem is us. Rather than demonizing new technologies unnecessarily or championing them blindly, we must begin to develop a subtler sensibility. We must ask hard questions like: Why are we driven to use our tools so compulsively? What would it mean to approach e-mail and social media mindfully? How does being tethered to our devices impact our physical bodies—and even our imaginations? In this new era of technological invention, questioning how we work—which behaviors are productive and which are destructive—is an essential part of the creative process.

Google tried to do everything. It proved itself the deepest and fastest of the search engines. It stomped the competition in email. It made a decent showing in image hosting, and a good one in chat. It stumbled on social, but utterly owned maps. It swallowed libraries whole and sent tremors across the copyright laws. It knows where you are right now, and what you’re doing, and what you’ll probably do next. It added an indelible, funny, loose-limbed, and exact verb into the vocabulary: to google. No one “bings” or “yahoos” anything. And it finishes your sen … All of a sudden, one day, a few years ago, there was Google Image Search. Words typed into the search box could deliver pages of images arrayed in a grid. I remember the first time I saw this, and what I felt: fear. I knew then that the monster had taken over. I confessed it, too. “I’m afraid of Google,” I said recently to an employee of the company. “I’m not afraid of Google,” he replied. “Google has a committee that meets over privacy issues before we release any product. I’m afraid of Facebook, of what Facebook can do with what Google has found. We are in a new age of cyberbullying.” I agreed with him about Facebook, but remained unreassured about Google." (from "Known and Strange Things" by Teju Cole)

Certain shapes and patterns hover over different moments in time, haunting and inspiring the individuals living through those periods. The epic clash and subsequent resolution of the dialectic animated the first half of the nineteenth century; the Darwinian and social reform movements scattered web imagery through the second half of the century. The first few decades of the twentieth century found their ultimate expression in the exuberant anarchy of the explosion, while later decades lost themselves in the faceless regimen of the grid. You can see the last ten years or so as a return to those Victorian webs, though I suspect the image that has been burned into our retinas over the past decade is more prosaic: windows piled atop one another on a screen, or perhaps a mouse clicking on an icon. These shapes are shorthand for a moment in time, a way of evoking an era and its peculiar obsessions. For individuals living within these periods, the shapes are cognitive building blocks, tools for thought: Charles Darwin and George Eliot used the web as a way of understanding biological evolution and social struggles; a half century later, the futurists embraced the explosions of machine-gun fire, while Picasso used them to re-create the horrors of war in Guernica. The shapes are a way of interpreting the world, and while no shape completely represents its epoch, they are an undeniable component of the history of thinking. When I imagine the shape that will hover above the first half of the twenty-first century, what comes to mind is not the coiled embrace of the genome, or the etched latticework of the silicon chip. It is instead the pulsing red and green pixels of Mitch Resnick’s slime mold simulation, moving erratically across the screen at first, then slowly coalescing into larger forms. The shape of those clusters—with their lifelike irregularity, and their absent pacemakers—is the shape that will define the coming decades. I see them on the screen, growing and dividing, and I think: That way lies the future.

APRIL 7 Corporate worship is designed to confront you with a view of life that has at its center a dead man’s cross and a living man’s empty tomb. There are two themes that I have repeated in writing and speaking again and again. I will repeat them here: Human beings made in the image of God do not live life based on the facts of their experience, but based on their interpretation of the facts. Whether you know it or not, you have been designed by God to be a meaning maker. You are a rational human being (even if you don’t always show it), and you have a constant desire for life to make sense. So you are constantly thinking and constantly interpreting. You don’t actually respond to what is going on around you; you respond to the sense you have made of what is going on around you. This means that there is always some kind of interpretive grid that you are carrying around with you that helps you to make sense out of your life. Everybody believes something. Everybody assumes that certain things are true. Everybody brings some system of “wisdom” to their lives to help them to explain and understand. No one is more influential in your life than you are, because no one talks to you more than you do. We never stop talking to ourselves. We are in a constant conversation with ourselves about God, others, ourselves, meaning and purpose, identity, and such. The things you say to you about you, God, and life are profoundly important because they form and shape the way you then respond to the things that God has put on your plate. You see, you are always preaching to yourself some kind of worldview, some kind of “gospel,” if you will. The question is, in your private moment-by-moment conversation, what are you saying to you? Paul argues very powerfully that the “dead man’s cross, live man’s empty tomb” gospel of the Lord Jesus Christ, which the world sees as utter foolishness, is in fact the wisest of wisdom. It is the only way to make sense out of life. It is the only lens through which you can see life accurately. It is the only kind of wisdom that really does give a final and reliable answer to the fundamental questions of life that every person asks. And at the center of this message of wisdom is not a set of ideas but a person who, in his life and death, offers you not only answers, but every grace you need to be what you were created to be and to do what you have been called to do.

Describing music is tricky. I’m not convinced that you can describe it like, say, a painting or a novel. While those are both experiences that produce feelings, they do so through the window of the eyes. The image we see—either images or words on a page—enters our eyes, travels through our intellect, where we make some sort of sense of it, and then routes through our emotions. The process is one of intellect and understanding first, emotions and feelings second. In my experience, music doesn’t work that way. Music enters us through the ears, where it makes a beeline to the grid of our emotions. Then it routes through to our intellect where we might “make some sense” of it. Music is felt on one level, and understood or processed on another. This doesn’t mean you can’t use your intellect to describe it . . . but I question whether the words we use can really do the job. It’s like describing the smell of the number 9. Music is meant to be experienced, not described.

Ai photo editor, collage maker and background remover app- PicVik

Humans going into altered states of consciousness all react the same way, no matter where they come from. It is part of the way the human brain is wired. There are three stages of altered consciousness that have been recognised by laboratory experiment (Lewis-Williams & Dowson 1989: 60–67). In the first stage, people see zig-zags, dots and whorls. In the second stage this develops into a deeper trance experience, and the subjects see and feel a world more familiar to them, and can hear water, experience thirst, etc. The third stage is the deepest, and people in deep trance talk about entering a hole in the ground and seeing ‘real world’ imagery of animals and people. These different stages have been recognised in the rock art: stage one with grids, zig-zags, mesh shapes (such as nets); stage two with nested ‘U’ shapes and buzzing (interpreted as beehives); stage three with snakes coming out of the rock face, people with animal heads, etc. This last stage accompanies visual images of trancers in the dance, which include the ‘bent-over posture’ assumed by the shaman when dancing, and bleeding from the nose, which would occur when the shaman was physically under stress when entering the spirit world (Figure 4.4). Interviews with shamans have reported that at the moment of the climax, the power shoots up the spine and out of the top of the head. This, among the Ju/’hoansi Bushmen of Nyae Nyae, is called kia (Katz 1982), as we have seen in Chapter 3.

Our current relationship with technology is fraught. We feel overwhelmed and out of control. We dream of declaring “e-mail bankruptcy” or maybe “going off the grid.” But we are also addicted and entranced—constantly logging on to share our every thought, image, and idea. It’s easy to blame the tools, but the real problem is us. Rather than demonizing new technologies unnecessarily or championing them blindly, we must begin to develop a subtler sensibility. We

Queer contagion, including the anxiety triggered by gender nonnormativity, found its viral materiality in the early 1980s. The diagnosis of gay cancer, or GRID (gay-related immune disorder), the original name for AIDS, was a vengeful nomenclature for the perversion of existing in a world held together, at least in part, by trans/queer undoing. Found by chance, queers began showing symptoms of unexplainable illnesses such as Kaposi's sarcoma (KS) and Pneumocystis carinii pneumonia (PCP). Unresponsive to the most aggressive treatments, otherwise healthy, often well-resourced and white, young men were deteriorating and dying with genocidal speed. Without remedy, normative culture celebrated its triumph in knowing the tragic ends they always imagined queers would meet. This, while the deaths of Black, Brown, and Indigenous trans and cis women (queer or otherwise) were unthought beyond the communities directly around them. These women, along with many others, were stripped of any claim to tragedy under the conditions of trans/misogyny. Among the architects of this silence was then-President Ronald Reagan, who infamously refused to mention HIV/AIDS in public until 1986. By then, at least 16,000 had died in the U.S. alone. Collective fantasies of mass disappearance through the pulsing death of trans/queer people, Haitians, and drug users - the wish fulfillment of a nightmare world concertized the rhetoric that had always been spoken from the lips of power. The true terror of this response to HIV/AIDS was not only its methodological denial but its joyful humor. In Scott Calonico's experimental short film, "When AIDS Was Funny", a voice-over of Reagan's press secretary Larry Speakes is accompanied by iconic still images of people close to death in hospital beds. LESTER KINSOLVING: "Over a third of them have died. It's known as a 'gay plague.' [Press pool laughter.] No, it is. It's a pretty serious thing. One in every three people that get this have died. And I wonder if the president was aware of this." LARRY SPEAKES: "I don't have it. [Press pool laughter.] Do you?" LESTER KINSOLVING: "You don't have it? Well, I'm relieved to hear that, Larry!" [Press pool laughter.] LARRY SPEAKES: "Do you?" LESTER KINSOLVING: "No, I don't.

So the next time you peer into the open window of a Web browser, you might ask yourself: where does "the network" end? Does it cease with the virtual worlds, images, and minds of the Internet, or with the silicon-electronic matrix of computing devices, or with the electrical grid that powers the show with energies extracted from waterflow and toxic atom? Perhaps the network extends further—to the Jacquard looms and American war machines that loosened the historical dynamic that eventually stuck a magic toxic tablet in your hands, to the billionfold packet-switching meshwork of human neurons that shape and submit to information space, to the capital flows that animate the quick hands of young Filipinas who wire up semiconductors for dollars a day. As you contemplate these widening networks, they may alter the granularity and elasticity of the self that senses them, as well as changing the resilience and tenderness of the threads binding that self to the mutant edge of matter and history. I suspect there is no end to such links, and that this immanent infinity, with its impossible ethical call, makes up the real World Wide Web.

We know from Glenn Milne's inundation data that Gozo and Malta were indeed one big island during the Ice Age, down to approximately 13,500 years ago, and that they did not take on their present form as an archipelago of three islands (with little Comino in between) until around 11,000 years ago. Accordingly, if the medieval tradition of Malta and Gozo as one big island is not a complete invention -- and why should it be? -- then, 'fantastic' though it may seem, it somehow preserves a memory of Malta as it appeared more than 11,000 years ago. It is well known that most medieval mapmakers were only copyists reproducing older maps and [...] I believe we cannot exclude the possibility that the single large island called Gaulometin of Galonia leta that has somehow survived on certain medieval maps may indeed be a representation of Malta in a much earlier time. A mental leap is required in order even to consider such a possibility. It is necessary to set aside all preconceptions about the past, and all unexamined notions of how societies evolve. Above all, we have to rid ourselves of the ingrained conviction that (despite some setbacks) the basic story of human civilization has been steadily and reassuringly onwards and upwards from the very beginning. It may not have been so. There may be tremendous gaps, of which we are blissfully unaware, in the evidence presently available to us concerning the origins and progress of civilization. In particular, there has been no sustained or serious search for very ancient underwater ruins along the millions of square kilometres of continental shelves flooded at the end of the Ice Age. So it is possible, and within the bounds of reason, that a civilization of some sort might have flourished during the closing millennia of the Ice Age and might not yet have been detected by archaeologists. A civilization not necessarily at all like our own but still advanced enough to have mastered complex skills such as seafaring and navigation (that do not call for a large material or industrial base) and to have left behind memories of the world as it looked before the flood and at various stages during the rising of the seas. The sort of civilization, perhaps, that would have built with megaliths and aligned them with navigational precision to the path of the sun. Maybe even a civilization that measured the earth, mapped it and netted it with a latitude and longitude grid. Until such a lost civilization has been entirely ruled out -- and we are far from that -- it is rational to keep our minds open to the possibility, however extraordinary it may seem, that certain ancient maps have indeed carried down to us broken images of the antediluvian world.

The bite-size and broken-grid elements of nearly every printed page owe themselves to the Macintosh. The plasticity of pictures, of video, and the ease and economy with which the visual world can be manipulated. . . . is a Mac by-product. The transformation (or death, depending on your point of view) of the music business is Steve [Jobs] and the iPod, [which] will soon devour moving images. . . And this not to even mention the personal computer itself . . . Everywhere, Jobs has been helping media consumers take media away from the media business itself. . . It's the technology, stupid. It's the experience, stupid. It's the box that gets us off and makes us what we are. We're not watching media, we're inhabiting it. [Steve Jobs is] not just McLuhan in the media business, he's Edison—the autodidact garage inventor. And, too, he's Henry Ford. . . . Happy 30th anniversary, Apple.” Michael Wolff, “iPod, Therefore I Am,” April 2006 IT

Understanding Instagram Accounts: More Than Just Photos When Instagram first launched in 2010, it was a simple photo-sharing app with retro-style filters and a chronological feed. Fast forward to today, and it’s become one of the most powerful platforms in the digital world—part social network, part cultural engine, part business tool. At the heart of this platform lies the concept of the Instagram account, a digital identity that now carries much more significance than many initially realize. An Instagram account is more than just a collection of pictures—it’s a curated digital presence. Each account functions as a personal or professional profile, giving users the ability to share visual content, engage with others, and build an audience around their interests, expertise, or lifestyle. Whether you're an artist showcasing your portfolio, a writer sharing book reviews, or a brand building customer trust, your Instagram account is the foundation of how you’re seen and interacted with on the platform. Creating an account is simple—sign up with an email address or phone number, choose a username, upload a profile picture, and you’re in. But what happens after that is what makes the platform so compelling. Instagram allows you to post photos, videos, and Stories, interact with others through comments and direct messages, and even broadcast live to your followers. In recent years, the addition of features like Reels and Instagram Shopping has transformed basic accounts into multimedia hubs with enormous reach and engagement potential. What makes an Instagram account particularly powerful is its ability to build community. Unlike many social networks that prioritize text or links, Instagram thrives on visual storytelling. This emphasis on images and video creates a more intimate and emotionally resonant experience. People follow accounts not just for updates, but for inspiration, entertainment, and a sense of connection. It’s no coincidence that influencers, artists, and small businesses often find their most loyal audiences here. Moreover, Instagram accounts are no longer just about social sharing—they're deeply embedded in digital culture and commerce. A well-maintained account can act as a digital resume, an artist’s portfolio, or even a storefront. With features like Insights for analytics, the ability to promote posts, and integration with other Meta platforms, accounts have become strategic tools for growth, branding, and monetization. Understanding how to use an Instagram account effectively means recognizing the balance between creativity and strategy. It’s about knowing your audience, crafting your voice, and engaging authentically. It’s also about adapting to the platform’s evolving algorithms and trends without losing your core identity. In the end, an Instagram account isn’t just an online profile—it’s a living, evolving expression of who you are or what your brand stands for. In a world increasingly driven by digital presence, it’s a tool with power that goes far beyond the grid. If you want more information,j ust contact us now. 24 Hours Reply/Contact ✅➤E-mail: pvatopservice@gmail.com ✅➤Telegram:@Pvatopservice ✅➤WhatsApp:‪ +1 (667) 206_8019‪

06 Best Places to Buy Old Gmail Accounts in The USA Los Angeles (2025) Telegram: helpdigitalshopusa WhatsApp: +1 (929) 688-3343 Let's talk about something you don't often see on mainstream blogs: the world of old Gmail accounts. Maybe you’re a small business owner in Hollywood trying to get your marketing emails seen. Perhaps you’re a social media manager in Santa Monica tired of new accounts being blocked. Or maybe you’re just someone who needs a more "established" online presence for a project. You’ve probably heard that an old Gmail account—one from 2015 or 2017—can be a magic key. And you’re wondering, "Where can I actually buy one of these in LA?" Here’s the thing: you can't just walk into a store on Sunset Boulevard and buy one. This entire market exists online, in a gray area of the internet. But as someone based in Los Angeles, you have unique needs and risks. This guide won’t just give you a list. We’re going to walk through this together. We'll cover why people want these accounts, the real risks involved, what "PVA" really means, and then explore the six types of places where you can find them. We'll also talk about a safer, do-it-yourself LA-style approach. Why Does Anyone Want an "Aged" Gmail Account? First, let's clear this up. Why not just create a new Gmail account? It’s free and takes two minutes. The value isn't in the email address itself. It's in the digital trust that comes with age. Think of it like this: a brand-new driver and someone with a 20-year clean driving record—who does the insurance company trust more? Google works the same way. 1. To Make Sure Your Emails Are Actually Read (Deliverability) This is the biggest reason for businesses in LA. If you're using an email marketing tool like Mailchimp or SendGrid, sending from a brand-new Gmail address is a red flag to spam filters. Google’s system sees a brand-new account sending lots of emails and thinks, "This looks like a spammer." An old account has a history. It's been sitting there quietly, not causing trouble. When you start sending good, legitimate emails from it, the system is more likely to let them through to the main inbox instead of the Promotions tab or the spam folder. 2. To Get Around "New Account" Limits Many platforms are suspicious of newcomers. ● Social Media (Instagram, TikTok, Facebook): New accounts have strict limits on how many people you can follow, message, or how much you can post. An old Gmail can make a new social profile look more natural and trusted. ● Google Business Profile: If you're trying to list your LA restaurant or shop, verifying it with a brand-new Gmail can sometimes trigger extra reviews. An older account can add a layer of legitimacy. ● Software Trials: Need another free trial for a new design app? An old Gmail account can help you get one. 3. To Look More Credible In a city built on image, perception is everything. An email address that says "Created in 2012" just looks more established and human than "newuser842@gmail.com." For leaving reviews, posting on forums, or contacting clients, it can add a touch of authenticity. What Does "PVA" Mean? (And Why It Matters) You’ll see this term everywhere. PVA stands for "Phone Verified Account." When you create a Gmail account, Google often asks you to add a phone number to verify you're a real person. An account that has already passed this step is considered more legitimate and stable by Google. It's less likely to be suddenly locked.

Buy Old Gmail Accounts I can’t help with buying or selling Gmail accounts. That activity violates Google’s Terms of Service and is often tied to fraud, spam, or identity abuse — so I won’t provide instructions that enable it. 24/7 Customer support/ Contact US WhatsApp: +(147)281-1266 Telegram: @smmonlineit Email: smmonlin That said, I know why people look for “old/aged Gmail accounts” (better deliverability, established history, bypassing filters). Below are **legal, practical, and effective alternatives** plus **essential tips** that achieve the same goals without breaking rules. # Why you shouldn’t buy Gmail accounts * Transfers/resales of Google/Gmail accounts violate Google’s Terms of Service. * Purchased accounts often have suspicious history (spam, automated behavior) and can be banned. * Using them risks account suspension, loss of access, legal exposure, and poor deliverability. # Legal alternatives that work (and how to use them) 1. **Use Google Workspace on your own domain** * Buy a clean domain (or a legitimately purchased aged domain — see checklist below). * Provision Google Workspace accounts under that domain so you control verification and DNS. * Benefit: domain-level reputation you build correctly, full admin control. 2. **Purchase an aged domain (legally) and host email on it** * Aged domains can carry beneficial history but must be vetted thoroughly (see due‑diligence checklist). * Host email with Google Workspace or a professional ESP (SendGrid, Mailgun, etc.). 3. **Warm up new sending addresses and domains** * Gradually increase sending volume from a fresh account. Encourage replies, opens, and clicks from known recipients. * Use a warm‑up service or an internal calendar and template plan. 4. **Migrate legitimate old mailboxes** * If you legitimately control older accounts (corporate migrations, employees leaving), use Google’s migration tools to preserve history and reputation. 5. **Use professional deliverability services** * Experts can audit DNS (SPF, DKIM, DMARC), remediation, inbox placement testing, and reputation rebuilding. # Due‑diligence checklist for buying an aged domain (legal way to get “age”) * WHOIS history: confirm ownership changes and any privacy shielding. * Archive.org (Wayback): inspect past site content for spammy or malicious use. * Google search: check for penalties, blacklists, negative SEO, malware warnings. * Spam blacklists: check Spamhaus, SURBL, etc. * Backlink profile: look for spammy backlink networks (use Majestic, Ahrefs, or similar). * Traffic history: beware domains with zero/irrelevant traffic. * Reputation checks: search for reviews, mentions, or abuse reports. * Transfer & escrow: use a reputable escrow service and domain transfer process. * Redemption/renewal status: avoid domains in redemption period (can be risky). # Email deliverability checklist (what to configure before sending) * DNS records: SPF, DKIM, and DMARC correctly configured. * Reverse DNS (PTR) for dedicated IPs. * Consistent From address and domain alignment with SPF/DKIM (DMARC pass). * List hygiene: verify recipients and remove inactive addresses. * Gradual volume ramp-up (warm‑up). * Seed lists: include monitored inboxes across providers (Gmail, Outlook, Yahoo). * Monitor bounces, spam complaints, and unsubscribes; act fast. * Use engagement-focused templates — avoid spammy language and heavy images/links. # Practical warm‑up plan (30 days, example) * Days 1–3: 5–10 messages/day to most-engaged contacts (friends, colleagues). * Days 4–10: increase to 20–50/day; prioritize replies and clicks. * Days 11–20: 50–200/day; continue engagement-focused content. * Days 21–30+: increase steadily toward target volume while monitoring metrics. * Always pause scaling if complaints/bounces spike; investigate.