Horizontal Line Quotes

Is your learning curve a horizontal line?

Oh. Wow.' 'What?' He held my hand up between us. 'Look.' I squinted at my hands. 'I don't see anything.' Sighing, he flipped my hand over, and my jaw hit the ground. A faint blue line marked the center of my palm with a smaller line through it. It would've looked like a cross, except the horizontal line was slanted. 'Oh. My. Gods.' I jerked my hand away, scrambling back. 'I have a rune on my hand. It's an Apollyon rune, isn't it.' Seth rested his hands on his knees. 'I think so. I have one like that.' 'But why is it still there? Why is it there at all?' I flipped my palm over several times, shook it, but the faint blue tattoo was still there. 'You can see it, right? Like right now, you can see it?' 'Yes. It hasn't faded.' Seth leaned forward, catching my hand. 'Stop shaking it like it's a damn Etch-A-Sketch. That doesn't make them disappear.

You've got to face facts and the fact is life is a joke, a fucking bad joke, or, no, a bad fucking joke. There's no point taking it seriously because whatever happens, and I mean whatever the fuck, the punch line is the same: you go out horizontally. You see the point? No fucking point.

Was the line between enemy and friend horizontal or vertical? Was it a great plain to lumber across or was it a high, high wall—either to be scaled or kicked down in one big blow?

But I am I now; and so many other millions are so irretrievably their own special variety of 'I' that I can hardly bear to think of it. I: how firm a letter; how reassuring the three strokes: one vertical, proud and assertive, and then the two short horizontal lines in quick, smug succession. The pen scratching on the paper…I…I…I…I…I…I.

But genius, and even great talent, springs less from seeds of intellect and social refinement superior to those of other people than from the faculty of transforming and transposing them. To heat a liquid with an electric lamp requires not the strongest lamp possible, but one of which the current can cease to illuminate, can be diverted so as to give heat instead of light. To mount the skies it is not necessary to have the most powerful of motors, one must have a motor which, instead of continuing to run along the earth's surface, intersecting with a vertical line the horizontal line which it began by following, is capable of converting its speed into lifting power. Similarly, the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consisting in reflecting power and not int he intrinsic quality of the scene reflected.

And so no force however great can stretch a cord however fine into a horizontal line that shall be absolutely straight.

But when I took up my pen, my hand made big, jerky letters like those of a child, and the lines sloped down the page from left to right horizontally, as if they were loops of string lying on the paper, and someone had come along and blown them askew.

You could see the signs of female aging as diseased, especially if you had a vested interest in making women too see them your way. Or you could see that a woman is healthy if she lives to grow old; as she thrives, she reacts and speaks and shows emotion, and grows into her face. Lines trace her thought and radiate from the corners of her eyes as she smiles. You could call the lines a network of 'serious lesions' or you could see that in a precise calligraphy, thought has etched marks of concentration between her brows, and drawn across her forehead the horizontal creases of surprise, delight, compassion and good talk. A lifetime of kissing, of speaking and weeping, shows expressively around a mouth scored like a leaf in motion. The skin loosens on her face and throat, giving her features a setting of sensual dignity; her features grow stronger as she does. She has looked around in her life and it shows. When gray and white reflect in her hair, you could call it a dirty secret or you could call it silver or moonlight. Her body fills into itself, taking on gravity like a bather breasting water, growing generous with the rest of her. The darkening under her eyes, the weight of her lids, their minute cross-hatching, reveal that what she has been part of has left in her its complexity and richness. She is darker, stronger, looser, tougher, sexier. The maturing of a woman who has continued to grow is a beautiful thing to behold.

Lok was running as fast as he could. His head was down and he carried his thorn bush horizontally for balance and smacked the drifts of vivid buds aside with his free hand.

I swam across the rocks and compared myself favorably with the sars. To swim fishlike, horizontally, was the logical method in a medium eight hundred times denser than air. To halt and hang attached to nothing, no lines or air pipe to the surface, was a dream. At night I had often had visions of flying by extending my arms as wings. Now I flew without wings. (Since that first aqualung flight, I have never had a dream of flying.)

He is only happy when he can maintain himself - mentally and spiritually - at the intersection between a vertical line and horizontal one, in a state of perfect balance. For this, he needs to know where he is located every moment, both in his relationship to the divine and to his family here on earth. If he loses that balance, he loses his power.

I taught how to be sociable with ink on paper. I told my students that when they were writing they should be good dates on blind dates, should show strangers good times. Alternatively, they should run really nice whorehouses, come one, come all, although they were in fact working in perfect solitude. I said I expected them to do this with nothing but idiosyncratic arrangements in horizontal lines of twenty-six phonetic symbols, ten numbers, and maybe eight punctuation marks, because it wasn't anything that hadn't been done before. In 1996, with movies and TV doing such good jobs of holding the attention of literates and illiterates alike, I have to question the value of my very strange, when you think about it, charm school. There is this: Attempted seductions with nothing but words on paper are so cheap for would-be ink-stained Don Juans or Cleopatras!They don't have to get a bankable actor or actress to commit to the project, and then a bankable director, and so on, and then raise millions and millions of buckareenies from manic-depressive experts on what most people want. Still and all, why bother? Here's my answer: Many people need desperately to receive this message: "I feel and think much as you do, care about many of the things you care about, although most people don't care about them. You are not alone.

Early, I indentured myself to the five horizontal lines where black notes were written on a sheet of music. It is a place of world of signs and notations that speaks to me with perfect clarity. It is a place of time signatures, fermatas, ledger lines, grace notes, and demisemiquavers that are the common tongue and heritage of musicians all over the world. . . . It is something I cannot imagine being without. For without music, life is a journey through a desert that has not ever heard the rumor of God. In music’s sweet harmony, I had all the proof I needed of a God who held the earth together between the staffs, where the heavens lay. Here, he marked all the lines and spaces with notes so perfect that they praised all of his creation with their beauty.

I have seen Fuji, the most dainty and graceful of all mountains; and also Kinchinjunga: only Michael Angelo among men could have conceived such grandeur. But give me Erebus for my friend. Whoever made Erebus knew all the charm of horizontal lines, and the lines of Erebus are for the most part nearer the horizontal then the vertical. And so he is the most restful mountain in the world, and I was glad when I knew that our hut would lie at his feet. And always there floated from his crater the lazy banner of his cloud of steam.

Vertical and horizontal lines represented for Mondrian the two opposing life forces: the positive and the negative, the dynamic and the static, the masculine and the feminine. This

For it was the one that I would have chosen above all others, convinced as I was, with a botanist’s satisfaction, that it was not possible to find gathered together rarer specimens than these young flowers that at this moment before my eyes were breaking the line of the sea with their slender heads, like a bower of Pennsylvania roses adorned a Cliffside garden, between whose blooms is contained the whole tract of ocean crossed by some steamer, so slow in gliding along the blue, horizontal line that stretches from one stem to the next that an idle butterfly, dawdling in the cup of a flower which the ship’s hull has long since passed, can wait, before flying off in time to arrive before it, until nothing by the tiniest chink of blue still separates the prow from the first petal of the flower towards which it is steering.

In English, consciousness and unconsciousness are part of a vertical plane, so that we wake up ↑ and we fall ↓ asleep and we sink ↓ into a coma. Chinese uses the horizontal line, so that to wake is to cross a border towards consciousness → and to faint is to go back ← . Meanwhile, time itself is vertical so that last year is “the year above” ↑ and next year is “the year below” ↓. The day before yesterday is the day “in front” ↑ and the day after tomorrow is the day “behind” ↓. This means that future generations are not the generations ahead, but the ones behind. Therefore, to look into the future one must turn around...

From time to time, Musk will send out an e-mail to the entire company to enforce a new policy or let them know about something that’s bothering him. One of the more famous e-mails arrived in May 2010 with the subject line: Acronyms Seriously Suck: There is a creeping tendency to use made up acronyms at SpaceX. Excessive use of made up acronyms is a significant impediment to communication and keeping communication good as we grow is incredibly important. Individually, a few acronyms here and there may not seem so bad, but if a thousand people are making these up, over time the result will be a huge glossary that we have to issue to new employees. No one can actually remember all these acronyms and people don’t want to seem dumb in a meeting, so they just sit there in ignorance. This is particularly tough on new employees. That needs to stop immediately or I will take drastic action—I have given enough warnings over the years. Unless an acronym is approved by me, it should not enter the SpaceX glossary. If there is an existing acronym that cannot reasonably be justified, it should be eliminated, as I have requested in the past. For example, there should be no “HTS” [horizontal test stand] or “VTS” [vertical test stand] designations for test stands. Those are particularly dumb, as they contain unnecessary words. A “stand” at our test site is obviously a *test* stand. VTS-3 is four syllables compared with “Tripod,” which is two, so the bloody acronym version actually takes longer to say than the name! The key test for an acronym is to ask whether it helps or hurts communication. An acronym that most engineers outside of SpaceX already know, such as GUI, is fine to use. It is also ok to make up a few acronyms/contractions every now and again, assuming I have approved them, eg MVac and M9 instead of Merlin 1C-Vacuum or Merlin 1C-Sea Level, but those need to be kept to a minimum.

At the seaside all is narrow horizontals, the world reduced to a few long straight lines pressed between earth and sky.

Gently, I caressed along the puckered, angry scar slanting in a long, jagged line across my lower abdomen to where it crossed the smooth, silvered scar running in a horizontal line just above my pelvis, wishing she could somehow find comfort in my touch. Chills shook my body as I ran my fingers over the still sensitive skin, and just like every night, the bitterness and anger I found myself feeling faded away into sadness as I lost myself in this tangible reminder of my child. I loved her, so much. Steam filled the room, and I eased myself into the water, allowing myself to drift back to Daniel. I missed him, almost more than I could bear. This was never supposed to have happened to us. We were supposed to make it…we should have made it.

It was there that I wanted, out there somewhere, when I sat elbow-to-elbow with my giggling friends and let my thoughts swirl up and away from the three-mile radius of our small town lives. In my head, I careened out of town and across state lines, until the landscape became strange and unfamiliar. I wanted to see all of it. Everything. The vast expanses of the flat Midwest, miles of horizontal earth with the curving horizon at its end. Strange, stunted trees and driftwood skeletons on the lonely windswept beaches of the farthest coasts. Towering oaks hung thick with the gray lace of Spanish moss, looming like hovering parents over shaded southern dirt. The California sun, dipping and disappearing into the ocean, tipping the waves with orange light.

If you watch the curve of science and everything we know, it shoots up like a rocket. We’re on this rocket and we’re going perfectly vertical into the stars. But the emotional intelligence of humankind is equally if not more important than our intellectual intelligence. We’re just as emotionally illiterate as we were 5,000 years ago; so emotionally our line is completely horizontal. The problem is the horizontal and the vertical are getting farther and farther apart. And as these things grow apart, there’s going to be some kind of consequence of that.

We checked our bags and got on line with some of our fellow passengers. Judging from the looks of them, it was clear that they were members of a different income bracket from the people I preferred to surround myself with. But since I also wasn't from the income bracket I preferred, I held off on voicing my initial feelings of despair.

As for free will, there is such a narrow crack of it for man to move in, crushed as he is from birth by environment, heredity, time and event and local convention. If I had been born of Italian parents in one of the caves in the hills I would be a prostitute at the age of 12 or so because I had to live (why?) and that was the only way open. If I was born into a wealthy New York family with pseudo-cultural leanings, I would have had my coming-out party along with the rest of them, and be equipped with fur coats, social contacts, and a blase pout. How do I know? I don't; I can only guess. I wouldn't be I. But I am I now; and so many other millions are so irretrievably their own special variety of "I" that I can hardly bear to think of it. I: how firm a letter; how reassuring the three strokes: one vertical, proud and assertive, and then the two short horizontal lines in quick, smug succession. The pen scratches on the paper... I... I... I... I... I... I.

Barnet was a man with a rich capacity for misery, and there is no doubt that he exercised it to its fullest extent now. The events that had, as it were, dashed themselves together into one half-hour of this day showed that curious refinement of cruelty in their arrangement which often proceeds from the bosom of the whimsical god at other times known as blind Circumstance. That his few minutes of hope, between the reading of the first and second letters, had carried him to extraordinary heights of rapture was proved by the immensity of his suffering now. The sun blazing into his face would have shown a close watcher that a horizontal line, which had never been seen before, but which was never to be gone thereafter, was somehow gradually forming itself in the smooth of his forehead. His eyes, of a light hazel, had a curious look which can only be described by the word bruised; the sorrow that looked from them being largely mixed with the surprise of a man taken unawares.

The discovery by Hubel and Wiesel of cells that respond to linear stimuli with specific axes of orientation may partly explain our response to Mondrian’s work, but it does not explain the artist’s focus on horizontal and vertical lines to the exclusion of oblique lines. Vertical

As one stands before its southern façade, one is stricken with the realization that the stringcourses, repeated with deliberate and gracious monotony from the third to the eighteenth story, these long, straight, horizontal lines are the moderating, leveling principle, the lines of equality.

At thee seaside all is narrow horizontals, the world reduced to a few long straight lines pressed between earth and sky.

What is the kingdom solution to divisions in the body of Christ along class, cultural, racial, and denominational lines? Be committed to the truth.

Built-in bookshelves line the walls, spilling with books that are stuffed and stacked into every available space. Vertically, horizontally, on top of each other

The incident made her remember the story she had heard about the girl who was raised in a room with no horizontal lines. She couldn't recall whether the story was true or simply a thought experiment, but the room, as she remembered it, was decorated with a series of black verticle stripes on the walls, and the floor and ceiling were curved to give the illusion that the verticle stripes were continuous. On the child's first birthday, the story went, she was taken out of the room. She had learned how to recognize verticle forms, but not horizontal ones, so that if she was situated on a table, say, or a platform, she would crawl right off the edge, but she would never run into the corner of a wall or the leg of a chair. Her condition lasted for about a month before her visual sense finally corrected itself.

It’s like you were driving from San Francisco to Los Angeles for an important meeting. But along the way, you turned here and there to entertain yourself with the scenery. Somewhere along the line, without realizing it, you’re no longer moving north to south. Instead, you’re now headed east toward Denver! Once you go out horizontally into the intermediate realm, there is no end to the new and interesting stuff you can experience: encounters with angels or entities, psychic abilities, out-of-body experiences, bright lights or colors, past lives, weird internal sounds. The scenery is really cool, but you’re never going to make that important meeting.

You're all fucking dead.' His voice is eerily calm and all the scarier for it. Every head in the room turns. 'Riorson!' Orsen's dagger clatters to the floor. 'You think surrendering will save you?' Xaden's lethally soft tone sends goose bumps up my arms. 'It is against our code to attack another rider in their sleep.' 'But you know he never should have bonded her!' Orsen puts his hands up, his palms facing us. 'You of all people have reason enough to want the weakling dead. We're just correcting a mistake.' 'Dragons don't make mistakes.' Xaden's shadows grab every assailant but Orsen by the throat, then constrict. They struggle, but it doesn't matter. Their faces turn people, the shadows holding tight as they sag to their knees, falling in an arc in front of me like lifeless puppets. I can't find it in my head to pity them. Xaden prowls forward as though he has all the time in the world and holds out his palm as yet another tendril of darkness lifts my discarded dagger from the floor. 'Let me explain.' Orsen eyes the dagger, and his hands tremble. 'I've heard everything I need to hear.' Xaden's fingers curl around the hilt. 'She should have killed you in the field, but she's merciful. That's not a flaw I possess.' He slashes forward so quickly that I barely catch the move, and Oren's throat opens in a horizontal line, blood streaming down his neck and chest in a torrent. He grabs for his throat, but it's useless. He bleeds out in seconds, crumpling to the floor. A crimson puddle grows around him. 'Damn, Xaden,' Garrick walks in, sheathing his sword as his gazes rakes over the room. 'No time for questioning?' His glance sweeps to me as if cataloguing injuries, catching on my throat. 'No need for it,' Xaden counters...

We therefore find that the triangles and rectangles herein described, enclose a large majority of the temples and cathedrals of the Greek and Gothic masters, for we have seen that the rectangle of the Egyptian triangle is a perfect generative medium, its ratio of five in width to eight in length 'encouraging impressions of contrast between horizontal and vertical lines' or spaces; and the same practically may be said of the Pythagorean triangle

He talked to her endlessly about his love of horizontals: how they, the great levels of sky and land in Lincolnshire, meant to him the eternality of the will, just as the bowed Norman arches of the church, repeating themselves, meant the dogged leaping forward of the persistent human soul, on and on, nobody knows where; in contradiction to the perpendicular lines and to the Gothic arch, which, he said, leapt up at heaven and touched the ecstasy and lost itself in the divine.

1.  Position one blank sheet of paper to your right and another to your left; then take a pencil in each hand. Simultaneously, draw a vertical line on the right sheet and a circle on the left sheet. Repeat three times, alternating figures on the right and left sheets.  2.  Draw a triangle on one sheet while drawing a square on the other. Then switch: draw the square on the first sheet and the triangle on the other.  3.  Draw a circle on one sheet while drawing a triangle on the other. Switch figures and do it again.  4.  Draw two circles on one sheet while drawing one square on the other. Then switch.  5.  Draw two squares on one sheet while drawing one triangle on the other. Then switch.  6.  Draw a triangle on one sheet while drawing a square on the other and also tracing a circle on the floor with one leg. Then switch hands (and switch to the other leg).  7.  Draw a circle with one hand and a triangle with the other while tracing a square on the floor with one leg. Then switch all.  8.  Draw a triangle with one hand and two squares with the other while tracing a circle on the floor with one leg. Then switch all.  9.  Draw a triangle with one hand and a square with the other while tracing a circle on the floor with one leg and nodding your head twice forward and twice backward. 10.  Draw a triangle with one hand and a square with the other while tracing a vertical line with the leg on the same side as the hand that is drawing the triangle, and a horizontal line with leg on the same side as the hand that is drawing the square. Then switch all.

The one I’m looking at now is Sylvia Plath. The colors are a translucent sort of jade, pale gold, and, in a few places, milky white. Running jagged and clear, horizontally, through the middle of the canvas, is a line I recognize immediately and, after a long second, place as a line from the poem, “Daddy.

If you plot perceived value on a graph, with the horizontal axis as time and the present as zero, then you will see the line representing value curve sharply upward the closer it comes to the zero point, reaching its zenith as it hits the vertical axis. By comparison, value in the far future goes low quickly, changing hardly at all between a year and two years distant. A hyperbola. When humans and most living creatures consider the value of something, they tend to see its future value diminish hyperbolically. In other words, our system of evaluation isn't exponentioally logical, it's hyperbolically illogical.

Knowledge extends in promontories and bays; or to put it vertically rather than horizontally, the strata from remote to recent never lie so unbroken that we cannot find some line of unconformity where the imagination must make a leap. There are so many horizons, geological and human, where the evidence is missing or incomplete.

I pin the laser on the Impala and take another reading. Four hundred thirty yards, line of sight. I push a button on the rangefinder and switch to inclinometer mode. The device calculates the cosine of the angle made between true horizontal and my line of sight. The digital reading is zero-point-eight-seven, equivalent to about thirty degrees. A quick mental calculation gives me the range adjustment. The horizontal range is three hundred and seventy-five yards.

After a few weeks Jobs finally had enough. “Stop!” he shouted at one big product strategy session. “This is crazy.” He grabbed a magic marker, padded to a whiteboard, and drew a horizontal and vertical line to make a four-squared chart. “Here’s what we need,” he continued. Atop the two columns he wrote “Consumer” and “Pro”; he labeled the two rows “Desktop” and “Portable.” Their job, he said, was to make four great products, one for each quadrant. “The room was in dumb silence,” Schiller recalled.

Why did I stay?' Nora asked. 'Why didn't I just come home, after she died?' Mrs. Elm shrugged. 'You got stuck. You were grieving. You were depressed. You know what depression is like.' Nora understood this. She thought of a study she had read about somewhere, about fish. Fish were more like humans than most people think. Fish get depression. They had done tests with zebrafish. They had a fish tank and they drew a horizontal line on the side of it, halfway down, in marker pen. Depressed fish stayed below the line. But give those same fish Prozac and they go above the line, to the top of their tanks, darting about like new. Fish get depressed when they have a lack of stimulation. A lack of everything. When they are just there, floating in a tank that resembles nothing at all. Maybe Australia had been her empty fish tank, once Izzy had gone. Maybe she just had no incentive to swim above the line. And maybe even Prozac — or fluoxetine — wasn't enough to help her rise up. So she was just going to stay there in that flat, with Jojo, and never move until she was made to leave the country.

It was 12:08 a.m. I had just six minutes to get to the top of the lighthouse. I took off running up the rocks, trying to go as fast as I could while maintaining some sort of balance. When I got up to the lighthouse door, a loud explosion echoed through the sky behind me and I spun around. I shielded my eyes with my hand from the cold rain, which was now coming down harder than ever, as I looked at the interruption into the otherwise quiet Scottish night. Giant flames rose up into the air on the beach below the manor and two long lines of fire burst horizontally across the sky. The world was on fire.

Bethany stands in the middle of the enormous, apparently endless beach surrounded by square miles of damp sand, the surf still some hundred yards off, the light pearly and uniform, the horizon a blurry, darker grey line shading into the clouds. Turning, she sees the black-green jagged stripe of the pines behind the dunes and, beyond that, more unchanging grey sky. A kind of dizziness afflicts her – she senses her insignificance, a small two-legged homunculus in the midst of all this space, a mere speck, a tiny crawling gnat in this elemental simplicity of sand, water and sky. She squats on her haunches, worried she might fall over, and to distract herself takes out her camera and frames a shot of the beach, the sea and the packed clouds – it looks like an abstract painting. Click. It looks like an abstract painting by – what was his name? Colour-field paintings they are called, the three layers of colour-fields in this case being broad, horizontal bands of dark taupe, slate grey, nebulous tarnished silver. It is rather beautiful. She stands up, feeling equilibrium return – maybe she was hungry, and felt faint for a second or two or maybe, she wonders, maybe she has experienced an actual existential moment – an epiphany – and has seen clearly the reality of her place in the world and has felt the nothingness, the vast indifference of the universe…

1.  Position one blank sheet of paper to your right and another to your left; then take a pencil in each hand. Simultaneously, draw a vertical line on the right sheet and a circle on the left sheet. Repeat three times, alternating figures on the right and left sheets. 2.  Draw a triangle on one sheet while drawing a square on the other. Then switch: draw the square on the first sheet and the triangle on the other. 3.  Draw a circle on one sheet while drawing a triangle on the other. Switch figures and do it again. 4.  Draw two circles on one sheet while drawing one square on the other. Then switch. 5.  Draw two squares on one sheet while drawing one triangle on the other. Then switch. 6.  Draw a triangle on one sheet while drawing a square on the other and also tracing a circle on the floor with one leg. Then switch hands (and switch to the other leg). 7.  Draw a circle with one hand and a triangle with the other while tracing a square on the floor with one leg. Then switch all. 8.  Draw a triangle with one hand and two squares with the other while tracing a circle on the floor with one leg. Then switch all. 9.  Draw a triangle with one hand and a square with the other while tracing a circle on the floor with one leg and nodding your head twice forward and twice backward. 10.  Draw a triangle with one hand and a square with the other while tracing a vertical line with the leg on the same side as the hand that is drawing the triangle, and a horizontal line with leg on the same side as the hand that is drawing the square. Then switch all.

Patriotism comes from the same Latin word as father. Blind patriotism is collective transference. In it the state becomes a parent and we citizens submit our loyalty to ensure its protection. We may have been encouraged to make that bargain from our public school education, our family home, religion, or culture in general. We associate safety with obedience to authority, for example, going along with government policies. We then make duty, as it is defined by the nation, our unquestioned course. Our motivation is usually not love of country but fear of being without a country that will defend us and our property. Connection is all-important to us; excommunication is the equivalent of death, the finality we can’t dispute. Healthy adult loyalty is a virtue that does not become blind obedience for fear of losing connection, nor total devotion so that we lose our boundaries. Our civil obedience can be so firm that it may take precedence over our concern for those we love, even our children. Here is an example: A young mother is told by the doctor that her toddler is allergic to peanuts and peanut oil. She lets the school know of her son’s allergy when he goes to kindergarten. Throughout his childhood, she is vigilant and makes sure he is safe from peanuts in any form. Eighteen years later, there is a war and he is drafted. The same mother, who was so scrupulously careful about her child’s safety, now waves goodbye to him with a tear but without protest. Mother’s own training in public school and throughout her life has made her believe that her son’s life is expendable whether or not the war in question is just. “Patriotism” is so deeply ingrained in her that she does not even imagine an alternative, even when her son’s life is at stake. It is of course also true that, biologically, parents are ready to let children go just as the state is ready to draft them. What a cunning synchronic-ity. In addition, old men who decide on war take advantage of the timing too. The warrior archetype is lively in eighteen-year-olds, who are willing to fight. Those in their mid-thirties, whose archetype is being a householder and making a mark in their chosen field, will not show an interest in battlefields of blood. The chiefs count on the fact that young braves will take the warrior myth literally rather than as a metaphor for interior battles. They will be willing to put their lives on the line to live out the collective myth of societies that have not found the path of nonviolence. Our collective nature thus seems geared to making war a workable enterprise. In some people, peacemaking is the archetype most in evidence. Nature seems to have made that population smaller, unfortunately. Our culture has trained us to endure and tolerate, not to protest and rebel. Every cell of our bodies learned that lesson. It may not be virtue; it may be fear. We may believe that showing anger is dangerous, because it opposes the authority we are obliged to appease and placate if we are to survive. This explains why we so admire someone who dares to say no and to stand up or even to die for what he believes. That person did not fall prey to the collective seduction. Watching Jeopardy on television, I notice that the audience applauds with special force when a contestant risks everything on a double-jeopardy question. The healthy part of us ardently admires daring. In our positive shadow, our admiration reflects our own disavowed or hidden potential. We, too, have it in us to dare. We can stand up for our truth, putting every comfort on the line, if only we can calm our long-scared ego and open to the part of us that wants to live free. Joseph Campbell says encouragingly, “The part of us that wants to become is fearless.” Religion and Transference Transference is not simply horizontal, from person to person, but vertical from person to a higher power, usually personified as God. When

To mount the skies it is not necessary to have the most powerful of motors, one must have a motor which, instead of continuing to run along the earth's surface, intersecting with a vertical line the horizontal which it began by following, is capable of converting its speed into lifting power. Similarly, the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consisting in reflecting power and not the intrinsic quality of the scene reflected.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

The walls were lined with books from floor to ceiling. Stacks of books stood neatly arranged on every horizontal surface—tables, windowsills, even the top of an unplugged television. Since Sophie had been forbidden to explore the library at home, her only real experience with books had come at school and from the few children's books that lay on the bottom shelf of a cabinet in the nursery. She sensed immediately that this was something altogether different. It was a library, yes, but she knew these books had been read. They weren't arranged in long lines of matching bindings like the ones in Bayfield House, and almost every volume had slips of paper protruding from the top. she wondered if Uncle Bertram had marked all the best bits. "Shall we have a story?" said her uncle, when he had hung up their coats. "Yes, please," said Sophie. "What would you like?" he asked. "You pick." And so he did. They settled onto the couch, Bertram with a cup of tea and Sophie with a mug of cocoa. He began to read and Sophie's world was transformed—this was not like the insubstantial children's stories her mother read to her at bedtime. This was ever so much more. "The Wind in the Willows," read Uncle Bertram. "Chapter One, The River Bank. The Mole had been working very hard all the morning, spring-cleaning his little home." Sophie closed her eyes and fell into the story.

Whenever you name something in creation as the thing that will satisfy you, you are asking that thing to be your personal savior. This means that, in a very practical, street-level way, you are looking horizontally for what will only ever be yours vertically. In other words, you are asking something in creation to do for you what only God can do. Now, the physical, created world was designed to be glorious, and it is. It is a sight-sound-touch-taste-feel symphony of multifaceted physical glories, but these glories cannot satisfy your heart. If you ask them to, your heart will be empty, and you will be frustrated and discouraged. No, the earthly glories that God created are to be like signposts that point us to the one glory that will ever satisfy our hearts. So here’s the bottom line. If you seek satisfaction, satisfaction will escape your grasp. But if you seek God, rest in his presence and grace, and put your heart in his most capable hands, he will satisfy your heart as nothing else can. You were made for him. Your heart was designed to be controlled by worship of him. Your inner security is meant to come from rest in him. Your sense of well-being is intended to come from a reliance on his wisdom, power, and love. The reality is this—God is the peace that you’re looking for. He is the satisfaction that your heart seeks. He is the rest that you crave, the joy you long for, and the comfort your heart desires. All those things that you and I say we need we don’t really need. All those things that we think will bring us contentment and joy will fail to deliver. What we need in life is him, and by grace, he is with us, in us, and for us. Our hearts can rest because, by grace, we have been given everything we could ever need, in him.

The river’s isolation and secrecy, however, were only part of what made it superlative. There was also its vertical drop. The Colorado’s watershed encompasses a series of high-desert plateaus that stretch across the most austere and hostile quarter of the West, an area encompassing one-twelfth the landmass of the continental United States, whose breadth and average height are surpassed only by the highlands of Tibet. Each winter, storms lumbering across the Great Basin build up a thick snowpack along the crest of the mountains that line the perimeter of this plateau—an immense, sickle-shaped curve of peaks whose summits exceed fourteen thousand feet. As the snowmelt cascades off those summits during the spring and spills toward the Sea of Cortés, the water drops more than two and a half miles. That amounts to eight vertical feet per horizontal mile, an angle that is thirty-two times steeper than that of the Mississippi. The grade is unequaled by any major waterway in the contiguous United States and very few long stretches of river beyond the Himalayas. (The Nile, in contrast, falls only six thousand feet in its entire four-thousand-mile trek to the Mediterranean.) Also unlike the Nile, whose discharge is generated primarily by rain, the engine that drives almost all of this activity is snow. This means that the bulk of the Colorado’s discharge tends to come down in one headlong rush. Throughout the autumn and the winter, the river might trickle through the canyonlands of southern Utah at a mere three thousand cubic feet per second. With the melt-out in late May and early June, however, the river’s flow can undergo spectacular bursts of change. In the space of a week, the level can easily surge to 30,000 cfs, and a few days after that it can once again rocket up, surpassing 100,000 cfs. Few rivers on earth can match such manic swings from benign trickle to insane torrent. But the story doesn’t end there, because these savage transitions are exacerbated by yet another unusual phenomenon, one that is a direct outgrowth of the region’s unusual climate and terrain. On

The trends speak to an unavoidable truth. Society's future will be challenged by zoonotic viruses, a quite natural prediction, not least because humanity is a potent agent of change, which is the essential fuel of evolution. Notwithstanding these assertions, I began with the intention of leaving the reader with a broader appreciation of viruses: they are not simply life's pathogens. They are life's obligate partners and a formidable force in nature on our planet. As you contemplate the ocean under a setting sun, consider the multitude of virus particles in each milliliter of seawater: flying over wilderness forestry, consider the collective viromes of its living inhabitants. The stunnig number and diversity of viruses in our environment should engender in us greater awe that we are safe among these multitudes than fear that they will harm us. Personalized medicine will soon become a reality and medical practice will routinely catalogue and weigh a patient's genome sequence. Not long thereafter one might expect this data to be joined by the patient's viral and bacterial metagenomes: the patient's collective genetic identity will be recorded in one printout. We will doubtless discover some of our viral passengers are harmful to our health, while others are protective. But the appreciation of viruses that I hope you have gained from these pages is not about an exercise in accounting. The balancing of benefit versus threat to humanity is a fruitless task. The viral metagenome will contain new and useful gene functionalities for biomedicine: viruses may become essential biomedical tools and phages will continue to optimize may also accelerate the development of antibiotic drug resistance in the post-antibiotic era and emerging viruses may threaten our complacency and challenge our society economically and socially. Simply comparing these pros and cons, however, does not do justice to viruses and acknowledge their rightful place in nature. Life and viruses are inseparable. Viruses are life's complement, sometimes dangerous but always beautiful in design. All autonomous self-sustaining replicating systems that generate their own energy will foster parasites. Viruses are the inescapable by-products of life's success on the planet. We owe our own evolution to them; the fossils of many are recognizable in ERVs and EVEs that were certainly powerful influences in the evolution of our ancestors. Like viruses and prokaryotes, we are also a patchwork of genes, acquired by inheritance and horizontal gene transfer during our evolution from the primitive RNA-based world. It is a common saying that 'beauty is in the eye of the beholder.' It is a natural response to a visual queue: a sunset, the drape of a designer dress, or the pattern of a silk tie, but it can also be found in a line of poetry, a particularly effective kitchen implement, or even the ruthless efficiency of a firearm. The latter are uniquely human acknowledgments of beauty in design. It is humanity that allows us to recognize the beauty in the evolutionary design of viruses. They are unique products of evolution, the inevitable consequence of life, infectious egotistical genetic information that taps into life and the laws of nature to fuel evolutionary invention.

In this enormous flatness, there lived one element—the wind. For it was an element. It was a dimension, a power of darkness. In the human world, the wind comes from somewhere, and goes somewhere, and, as it goes, it passes through somewhere—through trees or streets or hedgerows. This wind came from nowhere. It was going through the flatness of nowhere, to no place. Horizontal, soundless except for a peculiar boom, tangible, infinite, the astounding dimensional weight of it streamed across the mud. You could have ruled it with a straight-edge. The titanic grey line of it was unwavering and solid. You could have hooked the crook of your umbrella over it, and it would have hung there.

Bach merged the horizontal Counterpoint with the vertical Harmony. Before him, Harmony was subjected to Counterpoint. After, him, it was the contrary. Thus, he merged the Line with the Color, the Old time with the New time : his Head was a tinanic Forge.

Bach merged the horizontal Counterpoint with the vertical Harmony. Before him, Harmony was subjected to Counterpoint. After, him, it is the contrary. Thus, he merged the Line with the Color, the Old time with the New time ; his Head was a titanic Forge.

pencil the exact middle of the head’s height. Place a horizontal line there; this should be located below the eyebrows' line.  

It stands across a gentle slope up from the main house, separated by a glade of trees through which the sun rises into our windows every morning; and the sun sets, through those same trees, in the evenings into the windows of the second place. Those windows go from the floor to the ceiling, so that the huge horizontal bar of the marsh and its drama – its sweeping passages of colour and light, the brewing of its distant storms, the great drifts of seabirds that float or settle over its pelt in white flecks, the sea that sometimes lies roaring at the very furthest line of the horizon in a boiling white foam and sometimes advances gleaming and silent until it has covered everything in a glassy sheet of water – seem to be right there in the room with you.

Seurat took to heart the color theorists' notion of a scientific approach to painting. He believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. He theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism.[27] In a letter to the writer Maurice Beaubourg in 1890 he wrote: "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of colour and of line. In tone, lighter against darker. In colour, the complementary, red-green, orange-blue, yellow-violet. In line, those that form a right-angle. The frame is in a harmony that opposes those of the tones, colours and lines of the picture, these aspects are considered according to their dominance and under the influence of light, in gay, calm or sad combinations".[29][30] Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downward

What kind of reader are you?” I asked, notepad in hand. “I liked maths in school. Numbers always made more sense than people. That’s why my favorite books are by the ancient Greeks: Pythagoras and Heraclitus. We’re still using their work, their ideas. “I’m not like Boris and Miss Reeder. I’m not good with the public.” She slid a fourth pencil into her hair. “But I hope that in some small way, my contribution here matters. For over a decade, I’ve filled entire books with tales of generous donors and knowledgeable staff who work long hours, only I write vertical columns instead of horizontal lines.

God perches in a tree chirping and straight lines travel on unfinished, horizontal and cold. That’s what it seems like . . . The moments keep dripping ripe and no sooner has one tumbled than another rises up, somewhat, its face pale and tiny. Suddenly the moments end too. Timelessness trickles through my walls, tortuous and blind. It slowly collects in a dark, quiet pool and I shout: I’ve lived!

Heterogeneous effects might be hidden because PD plots only show the average marginal effects. Suppose that for a feature half your data points have a positive association with the prediction – the larger the feature value the larger the prediction – and the other half has a negative association – the smaller the feature value the larger the prediction. The PD curve could be a horizontal line, since the effects of both halves of the dataset could cancel each other out. You then conclude that the feature has no effect on the prediction. By plotting the individual conditional expectation curves instead of the aggregated line, we can uncover heterogeneous effects.

But finally we were sure the line was free . . . and there was our messenger of good will, love, and faith, 2,000 feet below on the sandbar. In a sense we had delivered the first Gospel-message-by-sign-language to a people who were a quarter of a mile away vertically, fifty miles horizontally, and continents and wide seas away psychologically.

It is true that the reign of his father, Henry VII, had already seen many modifications in medieval costume. The line, instead of being vertical, was now horizontal; the shoes, instead of being excessively pointed, became broad-toed, as if to echo the new style of architecture with its flattened arch. Ladies' headdresses ceased to be replicas of Gothic pinnacles and began to resemble Tudor windows.

The basic principle of Western staff notation is that passing time is represented through a series of marks arranged from left to right on the page. Within the five lines of the staff (or stave), notes are arrayed from high to low. So a score is a kind of two-dimensional plot in which the horizontal axis is time and vertical one is pitch;

She thought she saw a bird. Out of the corner of her eye, she saw something rise past the window, eerie and bird-like but maybe not a bird. She looked and it was a bird, its flight line perfectly vertical, its streaked brown body horizontal, wings calmly stroking, a sparrow not wind-hovering but generating lift and then instantly gone. She saw it mostly in retrospect because she didn't know what she was seeing at first and had to re-create the ghostly moment, write it like a line in a piece of fiction, and maybe it wasn't a sparrow at all but a smaller bird, gray and not brown and spotted and not streaked but not as small as a hummingbird, and how would she ever know for sure unless it happened again, and even then, she thought, and even then again.

By broadening your horizons,” he ventured, “what I meant is that education will give you a sense of the world’s scope, of its wonders, of its many and varied ways of life.” “Wouldn’t travel achieve that more effectively?” “Travel?” “We are talking about horizons, aren’t we? That horizontal line at the limit of sight? Rather than sitting in orderly rows in a schoolhouse, wouldn’t one be better served by working her way toward an actual horizon, so that she could see what lay beyond it? That’s what Marco Polo did when he traveled to China. And what Columbus did when he traveled to America. And what Peter the Great did when he traveled through Europe incognito!

Every cross which has saving power is a cross which I carry not only on account of my own sins, but also on account of the sins of others. I should bend and bow in carrying my neighbour with his cross, and in bowing and bending I spiritually form the horizontal line, the humbling line of the cross, in order that the one whom I carry may form the vertical line as I carry him on my shoulders. Our moral weakness and powerlessness, our insufficient responsibility towards God and our neighbours, these form our cross.

Support and resistance levels are drawn as horizontal lines on the charts and should highlight prices that have been touched numerous times in the past. ​»​ The greater the number of times a price serves as a support or resistance, the greater its significance if that level is eventually broken.

The explosion came with the birth of the skyscraper. When structures began to rise not in tier on ponderous tier of masonry, but as arrows of steel shooting upward without weight or limit, Henry Cameron was among the first to understand this new miracle and to give it form. He was among the first and the few who accepted the truth that a tall building must look tall. While architects cursed, wondering how to make a twenty-story building look like an old brick mansion, while they used every horizontal device available in order to cheat it of its height, shrink it down to tradition, hide the shame of its steel, make it small, safe and ancient—Henry Cameron designed skyscrapers in straight, vertical lines, flaunting their steel and height. While architects drew friezes and pediments, Henry Cameron decided that the skyscraper must not copy the Greeks. Henry Cameron decided that no building must copy any other.

Then place them in a horizontal line starting in the middle of your crafting box.

Those who master the art know that it requires special habits of attention, tricks such as slightly defocusing the eyes to permit one somehow to suppress the contribution of what one knows (the penny is circular, the table top is rectangular) so that one can observe the actual angles subtended by the lines in the drawing (the penny shape is elliptical, the table top trapezoidal). It often helps to superimpose an imaginary vertical and horizontal grid or pair of cross hairs, to help judge the actual angles of the lines seen. Learning to draw is largely a matter of learning to override the normal processes of vision in order to make one’s experience of the item in the world more like looking at a picture. It can never be just like looking at a picture, but once it has been adulterated in that direction, one can, with further tricks of the trade, more or less “copy” what one experiences onto the paper.

Emotions are living energetic currents with life cycles of their own. They tend to survive down the vertical and horizontal lines of human relationships—through generations, through communities—until they arrive to the place where they can be fully experienced and expressed.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

Admittedly, the sciences so created were masterly symbolic fabrications: unfortunately those who utilized these symbols implicitly believed that they represented a higher order of reality, when in fact they expressed only a higher order of abstraction. Human experience itself remained, necessarily, multi-dimensional: one axis extends horizontally through the world open to external observation, the so-called objective world, and the other axis, at right angles, passes vertically through the depths and heights of the subjective world; while reality itself can only be represented by a figure composed of an indefinite number of lines drawn through both planes and intersecting at the center, in the mind of a living person.

carefully pulled himself up to look into the horizontal ventilation

categorical and the dependent variable is continuous. The logic of this approach is shown graphically in Figure 13.1. The overall group mean is (the mean of means). The boxplots represent the scores of observations within each group. (As before, the horizontal lines indicate means, rather than medians.) Recall that variance is a measure of dispersion. In both parts of the figure, w is the within-group variance, and b is the between-group variance. Each graph has three within-group variances and three between-group variances, although only one of each is shown. Note in part A that the between-group variances are larger than the within-group variances, which results in a large F-test statistic using the above formula, making it easier to reject the null hypothesis. Conversely, in part B the within-group variances are larger than the between-group variances, causing a smaller F-test statistic and making it more difficult to reject the null hypothesis. The hypotheses are written as follows: H0: No differences between any of the group means exist in the population. HA: At least one difference between group means exists in the population. Note how the alternate hypothesis is phrased, because the logical opposite of “no differences between any of the group means” is that at least one pair of means differs. H0 is also called the global F-test because it tests for differences among any means. The formulas for calculating the between-group variances and within-group variances are quite cumbersome for all but the simplest of designs.1 In any event, statistical software calculates the F-test statistic and reports the level at which it is significant.2 When the preceding null hypothesis is rejected, analysts will also want to know which differences are significant. For example, analysts will want to know which pairs of differences in watershed pollution are significant across regions. Although one approach might be to use the t-test to sequentially test each pair of differences, this should not be done. It would not only be a most tedious undertaking but would also inadvertently and adversely affect the level of significance: the chance of finding a significant pair by chance alone increases as more pairs are examined. Specifically, the probability of rejecting the null hypothesis in one of two tests is [1 – 0.952 =] .098, the probability of rejecting it in one of three tests is [1 – 0.953 =] .143, and so forth. Thus, sequential testing of differences does not reflect the true level of significance for such tests and should not be used. Post-hoc tests test all possible group differences and yet maintain the true level of significance. Post-hoc tests vary in their methods of calculating test statistics and holding experiment-wide error rates constant. Three popular post-hoc tests are the Tukey, Bonferroni, and Scheffe tests.

There are many rates of vibration it seems, many degrees of density, classes and sub planes. If you draw horizontal lines to indicate some, there are others which also must be perpendicular. This assures that every thought produces a double, that at least two separate vibrations always appear. This means the majority of human thoughts are not simple. Things like absolute pure affection probably do exist but more often we find them tinged with pride, jealousy, or animal passion. In the age of chaos water equals oil and everything is simultaneous.

knowledge of cardiovascular disease and whether such knowledge reduces behaviors that put people at risk for cardiovascular disease. Simple regression is used to analyze the relationship between two continuous variables. Continuous variables assume that the distances between ordered categories are determinable.1 In simple regression, one variable is defined as the dependent variable and the other as the independent variable (see Chapter 2 for the definitions). In the current example, the level of knowledge obtained from workshops and other sources might be measured on a continuous scale and treated as an independent variable, and behaviors that put people at risk for cardiovascular disease might also be measured on a continuous scale and treated as a dependent variable. Scatterplot The relationship between two continuous variables can be portrayed in a scatterplot. A scatterplot is merely a plot of the data points for two continuous variables, as shown in Figure 14.1 (without the straight line). By convention, the dependent variable is shown on the vertical (or Y-) axis, and the independent variable on the horizontal (or X-) axis. The relationship between the two variables is estimated as a straight line relationship. The line is defined by the equation y = a + bx, where a is the intercept (or constant), and b is the slope. The slope, b, is defined as Figure 14.1 Scatterplot or (y2 – y1)/(x2 – x1). The line is calculated mathematically such that the sum of distances from each observation to the line is minimized.2 By definition, the slope indicates the change in y as a result of a unit change in x. The straight line, defined by y = a + bx, is also called the regression line, and the slope (b) is called the regression coefficient. A positive regression coefficient indicates a positive relationship between the variables, shown by the upward slope in Figure 14.1. A negative regression coefficient indicates a negative relationship between the variables and is indicated by a downward-sloping line. Test of Significance The test of significance of the regression coefficient is a key test that tells us whether the slope (b) is statistically different from zero. The slope is calculated from a sample, and we wish to know whether it is significant. When the regression line is horizontal (b = 0), no relationship exists between the two variables. Then, changes in the independent variable have no effect on the dependent variable. The following hypotheses are thus stated: H0: b = 0, or the two variables are unrelated. HA: b ≠ 0, or the two variables are (positively or negatively) related. To determine whether the slope equals zero, a t-test is performed. The test statistic is defined as the slope, b, divided by the standard error of the slope, se(b). The standard error of the slope is a measure of the distribution of the observations around the regression slope, which is based on the standard deviation of those observations to the regression line: Thus, a regression line with a small slope is more likely to be statistically significant when observations lie closely around it (that is, the standard error of the observations around the line is also small, resulting in a larger test statistic). By contrast, the same regression line might be statistically insignificant when observations are scattered widely around it. Observations that lie farther from the

(e). Hence the expressions are equivalent, as is y = ŷ + e. Certain assumptions about e are important, such as that it is normally distributed. When error term assumptions are violated, incorrect conclusions may be made about the statistical significance of relationships. This important issue is discussed in greater detail in Chapter 15 and, for time series data, in Chapter 17. Hence, the above is a pertinent but incomplete list of assumptions. Getting Started Conduct a simple regression, and practice writing up your results. PEARSON’S CORRELATION COEFFICIENT Pearson’s correlation coefficient, r, measures the association (significance, direction, and strength) between two continuous variables; it is a measure of association for two continuous variables. Also called the Pearson’s product-moment correlation coefficient, it does not assume a causal relationship, as does simple regression. The correlation coefficient indicates the extent to which the observations lie closely or loosely clustered around the regression line. The coefficient r ranges from –1 to +1. The sign indicates the direction of the relationship, which, in simple regression, is always the same as the slope coefficient. A “–1” indicates a perfect negative relationship, that is, that all observations lie exactly on a downward-sloping regression line; a “+1” indicates a perfect positive relationship, whereby all observations lie exactly on an upward-sloping regression line. Of course, such values are rarely obtained in practice because observations seldom lie exactly on a line. An r value of zero indicates that observations are so widely scattered that it is impossible to draw any well-fitting line. Figure 14.2 illustrates some values of r. Key Point Pearson’s correlation coefficient, r, ranges from –1 to +1. It is important to avoid confusion between Pearson’s correlation coefficient and the coefficient of determination. For the two-variable, simple regression model, r2 = R2, but whereas 0 ≤ R ≤ 1, r ranges from –1 to +1. Hence, the sign of r tells us whether a relationship is positive or negative, but the sign of R, in regression output tables such as Table 14.1, is always positive and cannot inform us about the direction of the relationship. In simple regression, the regression coefficient, b, informs us about the direction of the relationship. Statistical software programs usually show r rather than r2. Note also that the Pearson’s correlation coefficient can be used only to assess the association between two continuous variables, whereas regression can be extended to deal with more than two variables, as discussed in Chapter 15. Pearson’s correlation coefficient assumes that both variables are normally distributed. When Pearson’s correlation coefficients are calculated, a standard error of r can be determined, which then allows us to test the statistical significance of the bivariate correlation. For bivariate relationships, this is the same level of significance as shown for the slope of the regression coefficient. For the variables given earlier in this chapter, the value of r is .272 and the statistical significance of r is p ≤ .01. Use of the Pearson’s correlation coefficient assumes that the variables are normally distributed and that there are no significant departures from linearity.7 It is important not to confuse the correlation coefficient, r, with the regression coefficient, b. Comparing the measures r and b (the slope) sometimes causes confusion. The key point is that r does not indicate the regression slope but rather the extent to which observations lie close to it. A steep regression line (large b) can have observations scattered loosely or closely around it, as can a shallow (more horizontal) regression line. The purposes of these two statistics are very different.8 SPEARMAN’S RANK CORRELATION

Only in the eleventh century was the staff of parallel horizontal lines invented to indicate pitch. At the same time the notes were named ut, re, mi, fa, so, la, from the opening syllables of the successive lines of a familiar hymn: Ut queant laxis / Resonare fibris. . .

From time to time, Musk will send out an e-mail to the entire company to enforce a new policy or let them know about something that’s bothering him. One of the more famous e-mails arrived in May 2010 with the subject line: Acronyms Seriously Suck: There is a creeping tendency to use made up acronyms at SpaceX. Excessive use of made up acronyms is a significant impediment to communication and keeping communication good as we grow is incredibly important. Individually, a few acronyms here and there may not seem so bad, but if a thousand people are making these up, over time the result will be a huge glossary that we have to issue to new employees. No one can actually remember all these acronyms and people don’t want to seem dumb in a meeting, so they just sit there in ignorance. This is particularly tough on new employees. That needs to stop immediately or I will take drastic action—I have given enough warnings over the years. Unless an acronym is approved by me, it should not enter the SpaceX glossary. If there is an existing acronym that cannot reasonably be justified, it should be eliminated, as I have requested in the past. For example, there should be no “HTS” [horizontal test stand] or “VTS” [vertical test stand] designations for test stands. Those are particularly dumb, as they contain unnecessary words. A “stand” at our test site is obviously a *test* stand. VTS-3 is four syllables compared with “Tripod,” which is two, so the bloody acronym version actually takes longer to say than the name! The key test for an acronym is to ask whether it helps or hurts communication. An acronym that most engineers outside of SpaceX already know, such as GUI, is fine to use. It is also ok to make up a few acronyms/contractions every now and again, assuming I have approved them, eg MVac and M9 instead of Merlin 1C-Vacuum or Merlin 1C-Sea Level, but those need to be kept to a minimum. This

Reacher and Neagley carried their copy to the door, where the wired-glass window let in some natural light. The American looked exactly like Klopp had described. The artist had done a fine job capturing his words. The wave of blond hair. The skin stretched tight over the skull beneath. The brow and the cheek bones, horizontal and parallel and close together, like two bars on an old-style football helmet, with the eyes flashing out from way behind. The mouth, like a gash. Plus two vertical lines, the nose like a blade, and a crease down the right cheek, as if the most the mouth ever moved was in a lopsided and sardonic smile. The guy was shown in a jacket like Reacher’s. Pale tan denim, authentic in every respect. Under it was a white T-shirt. His collar bones stood out, like his cheek bones. His neck was shown corded with sinew. A hardscrabble guy, no longer young. Neagley

In phase space the complete state of knowledge about a dynamical system at a single instant in time collapses to a point. That point is the dynamical system-at that instant. At the next instant, though, the system will have changed, ever so slightly and so the point moves. The history of the system time can be charted by the moving point, tracing its orbit through phase space with the passage of time. How can all the information about a complicated system be stored in a point? If the system has only two variables, the answer is simple. It is straight from the Cartesian geometry taught in high school-one variable on the horizontal axis, the other on the vertical. If the system is a swinging, frictionless pendulum, one variable is position and the other velocity, and they change continuously, making a line of points that traces a loop, repeating itself forever, around and around. The same system with a higher energy level-swinging faster and farther-forms a loop in phase space similar to the first, but larger. A little realism, in the form of friction, changes the picture. We do not need the equations of motion to know the density of a pendulum subject to friction. Every orbit must eventually end up at the same place, the center: position 0, velocity 0. This central fixed point "attracts" the orbits. Instead of looping around forever, they spiral inward. The friction dissipates the system's energy, and in phase space the dissipation shows itself as a pull toward the center, from the outer regions of high energy to the inner regions of low energy. The attractor-the simplest kind possible-is like a pinpoint magnet embedded in a rubber sheet.

There are other problems more closely related to the question of culture. The poor fit between large scale and Korea’s familistic tendencies has probably been a net drag on efficiency. The culture has slowed the introduction of professional managers in situations where, in contrast to small-scale Chinese businesses, they are desperately needed. Further, the relatively low-trust character of Korean culture does not allow Korean chaebol to exploit the same economies of scale and scope in their network organization as do the Japanese keiretsu. That is, the chaebol resembles a traditional American conglomerate more than a keiretsu network: it is burdened with a headquarters staff and a centralized decision-making apparatus for the chaebol as a whole. In the early days of Korean industrialization, there may have been some economic rationale to horizontal expansion of the chaebol into unfamiliar lines of business, since this was a means of bringing modern management techniques to a traditional economy. But as the economy matured, the logic behind linking companies in unrelated businesses with no obvious synergies became increasingly questionable. The chaebol’s scale may have given them certain advantages in raising capital and in cross-subsidizing businesses, but one would have to ask whether this represented a net advantage to the Korean economy once the agency and other costs of a centralized organization were deducted from the balance. (In any event, the bulk of chaebol financing has come from the government at administered interest rates.) Chaebol linkages may actually serve to hold back the more competitive member companies by embroiling them in the affairs of slow-growing partners. For example, of all the varied members of the Samsung conglomerate, only Samsung Electronics is a truly powerful global player. Yet that company has been caught up for several years in the group-wide management reorganization that began with the passing of the conglomerate’s leadership from Samsung’s founder to his son in the late 1980s.72 A different class of problems lies in the political and social realms. Wealth is considerably more concentrated in Korea than in Taiwan, and the tensions caused by disparities in wealth are evident in the uneasy history of Korean labor relations. While aggregate growth in the two countries has been similar over the past four decades, the average Taiwanese worker has a higher standard of living than his Korean counterpart. Government officials were not oblivious to the Taiwanese example, and beginning in about 1981 they began to reverse somewhat their previous emphasis on large-scale companies by reducing their subsidies and redirecting them to small- and medium-sized businesses. By this time, however, large corporations had become so entrenched in their market sectors that they became very difficult to dislodge. The culture itself, which might have preferred small family businesses if left to its own devices, had begun to change in subtle ways; as in Japan, a glamour now attached to working in the large business sector, guaranteed it a continuing inflow of Korea’s best and brightest young people.73

The characteristic wedge feature is a direct consequence of impressing the signs with a straight-edged writing tool in contrast to drawing with a point, and it is this that led the nineteenth-century decipherers to name the script cuneiform, derived from the Latin cuneus, ‘wedge’. Each application of the edge of the stylus-tip left a line ending in a wedge-head, be it the top of a vertical, the left end of a horizontal wedge, or a diagonal produced by impressing the corner of the stylus.

the man who passes from a distinguished University career to a distinguished public life may do more for the poor by his pen, by his power of awakening sympathy, by the opportunity that may be his to obtain the reversal of unjust laws or the establishment of good laws, than he ever could have done by living in a slum as the friend and helper of a small group of needy men and women. Decisive victories are won more often by lateral movements than by frontal attacks. The wave of force which travels on a circle may arrive with more thrilling impact on a point of contact than that which travels on a horizontal line. Society is best served after all by the fullest development of our best faculties; and whether we check this development from pious or selfish motives, the result is still the same; we have robbed society of its profit by us, which is the worst kind of evil which we can inflict on the community.

axis, all of those straight-ish lines would look like the first graph above of Andy’s tribble family—horizontal most of the way, then suddenly close to vertical at the end. And there would really be no way to graph them all together—the numbers involved are just too different. Logarithmic scaling takes care of these issues and allows us to get a clear overall picture of improvement in digital gear. It’s clear that many of the critical building blocks of computing—microchip density, processing speed, storage capacity, energy efficiency, download speed, and so on—have been improving at exponential rates for a long time. To understand the real-world impacts of Moore’s Law, let’s compare the capabilities of computers separated by only a few doubling periods. The ASCI Red, the first product of the U.S. government’s Accelerated Strategic Computing Initiative, was the world’s fastest supercomputer when it was introduced in 1996. It cost $55 million to develop and its one hundred cabinets occupied nearly 1,600 square feet of floor space (80 percent of a tennis court) at Sandia National Laboratories in New Mexico.10 Designed for calculation-intensive tasks like simulating nuclear tests, ASCI Red was the first computer to score above one teraflop—one trillion floating point operations* per second—on the standard benchmark test for computer speed. To reach this speed it used eight hundred kilowatts per hour, about as much as eight hundred homes would. By 1997, it had reached 1.8 teraflops.

Proneness to forget God causes our memory to be as if immersed in time, whose relation to eternity, to the benefits and promises of God, it no longer sees. This defect inclines our memory to see all things horizontally on the line of time that flees, of which the present alone is real, between the past that is gone and the future that is not yet. Forgetfulness of God prevents us from seeing that the present moment is also on a vertical line which attaches it to the single instant of immobile eternity, and that there is a divine manner of living the present moment in order that by merit it may enter into eternity. Whereas forgetfulness of God leaves us in this banal and horizontal view of things on the line of time which passes, the contemplation of God is like a vertical view of things which pass and of their bond with God who does not pass. To be immersed in time, is to forget the value of time, that is to say, its relation to eternity.

The truth, he knew, was that both were statist, subverting individualism to the state, and that the line was not horizontal but a circle, with U.S. democracy on one pole and the extremes of the Left and the Right joined together in communist and fascist totalitarianism at the opposite. Maran

There's something about Algebra, I just can't figure it out Polynomials, derivatives, quadratic equations, I see no absolute value in them A bunch of irrational numbers With square roots and exponential functions I'm still trying to see through the horizontal and vertical blurred lines This all reminds me Y I left my X-

Additional Bonus: “Share the Love” Game! “Share the Love” is a special Valentine’s Day, “hearts” dot-to-dot game included in the FREE printables download (see the back of the book for details)! Share the love by drawing lines between the hearts to make squares. The player who shares the most love—by having the most squares—wins the game!   Directions: The first player connects any two of the hearts with a vertical or horizontal line (no diagonals). Then the second player connects any two of the hearts. The players keep taking turns until a square is formed. The player who completes the square puts his or her initial in it, and gets to go again. The player’s turn ends when no other squares can be completed. Keep taking turns until all the hearts on the grid are connected. Count up each player’s initials on the grid. The one with the most squares wins!

Because of the mineral salts they contain, bones last long after death and provide an enduring “monument.” In fact, skeletal remains many centuries old can still reveal the shapes and sizes of ancient peoples, the kinds of work they did, and many of the ailments they suffered, such as arthritis. Growth arrest lines, horizontal lines on long bones, provide visible proof of illness when the body uses nutrients to fight disease and the bones stop growing.

Wright is an interesting study of a superstar architect having both right and wrong influence. “All Architecture, worthy the name,” he decreed in 1910, “will, henceforward, more and more be organic.”12 So inspired by Viollet-le-Duc and Louis Sullivan, he inspired countless others (including young me) toward an organic approach to architecture. At the same time, the very pomposity of his decrees helped inflame a fatal egotism in generations of architects, and his most famous buildings belie his organic ideal. They were so totally designed—down to the screwheads all being aligned horizontally to match his prairie line—that they cannot be changed. To live in one of his houses is to be the curator of a Frank Lloyd Wright museum;

Generally, diagonal elements such as lines and text should be avoided. They look messy and, in the case of text, are harder to read than their horizontal counterparts. When it comes to the orientation of text, one study (Wigdor & Balakrishnan, 2005) found that the reading of rotated text 45 degrees in either direction was, on average, 52% slower than reading normally oriented text (text rotated 90 degrees in either direction was 205% slower on average). It is best to avoid diagonal elements on the page.

She managed to smile without smiling, her serious face a-shine with pleasure- real pleasure, which was something he recognized only because he'd never seen it before, not on any of the hundreds of faces which had smirked vainly or proudly or coyly at him as he played out his hero farce. It was Sheridan who looked away, feeling unexpectedly awkward. She was outlandish and yet curiously lovely in her sparrowish, humble way. It made him uncomfortable. He was partial to beautiful women; he liked prettiness as well as the next man. But this was something different. Something that touched him in obscure and half-forgotten places. In his soul, he might have said, if he'd thought he still had one to stir. Which he didn't, as he proved to himself by lowering his eyelids and enjoying the deliberate and easy kindling of more familiar sensations. Her dress, cut in a modish horizontal line across her bosom, revealed quite enough to assure him that nothing artificial amplified the swell of her breasts. The straight neckline made an inviting path, starting low on her shoulders and crossing the opulent expanse of skin at a point that on most females would have been perfectly modest, but which on Miss St Leger clearly showed the shadowy prelude to a luxurious cleavage.

Perhaps he can avoid being stretched by falling in a horizontal position, legs and head at the same altitude. Yet when the giant tries it, he finds a new discomfort; the stretching sensation is replaced by an equal feeling of compression. He feels as if his head is being pressed toward his feet. To understand why this is so, let’s temporarily imagine that the Earth is flat. Here is what it would look like. The vertical lines, together with the arrows, indicate the direction of the gravitational force—not surprisingly, straight down. But more than that, the strength of the gravitational pull is entirely uniform. The 2,000-Mile Man would have no trouble in this environment, whether he fell vertically or horizontally—not until he hit the ground anyway. But the Earth is not flat. Both the strength and the direction of gravity vary. Instead of pulling in a single direction, gravity pulls directly toward the center of the planet, like this: This creates a new problem for the giant if he falls horizontally. The force on his head and feet will not be the same because gravity, as it pulls toward the center of the Earth, will push his head toward his feet, leading to the strange sensation of being compressed. Let’s return

Humiliation spread through my body where shock had just been. How had I not seen it? “You’re not embarrassing me like this.” He snapped the lapels of his tux jacket. “I’ll buy some extra time while you get presentable.” A shard of steel lined my spine. “I’m in a wedding dress with pretty ringlets cascading from my head like an icy waterfall. Isn’t that presentable enough for you?” He shoved my shoulders and the back of my head thunked against the wall. “I’ll deal with that mouth tonight.” “I don’t want what you have planned for it.” He pulled his arm back and too late I saw the fist aiming for my gut. My lungs turned to ice. I couldn’t breathe. Then, he was yanked away from me and slammed into the wall across from me. A pair of wide, familiar shoulders blocked my vision, longish dark brown hair with a slight curl touching the collar. The curved wooden handle of a cane stuck out from between the men, horizontal to the floor. Boyd was pinned to the wall by a cane.

Here’s my train of thought,” she went on. “The word eye sounds the same as the capital letter I. And if you were to remove the horizontal lines from the top and bottom of a capital I, it would be just a single vertical line, which—” “Looks just like the digit for number 1!” Peter exclaimed. “You’re as brilliant as your brother,” Mr. Winchester smiled. “But let’s consider other options first,” Sophia continued, sounding like a born leader.

What this means is that there is no shared common space between the two sexes or classes—what they share, what holds the social space or the space of sexuality together, is ultimately antagonism itself. The image of the cross-cap (reproduced above) renders this key feature in a nice imaginative way: the overall first impression is that of an organic rounded Whole (like a harmonious social body), but upon a closer look we perceive cracks and disharmonies in this Whole: the horizontal lines of the two halves do not fit (which means we are dealing with a patched-up composite), so that the rounded body looks more like a freakish montage.