Iconic Anime Quotes

I think of what wild animals are in our imaginations. And how they are disappearing — not just from the wild, but from people’s everyday lives, replaced by images of themselves in print and on screen. The rarer they get, the fewer meanings animals can have. Eventually rarity is all they are made of. The condor is an icon of extinction. There’s little else to it now but being the last of its kind. And in this lies the diminution of the world. How can you love something, how can you fight to protect it, if all it means is loss?

If trained animal professionals with years of dog-handling experience aren’t good at visually identifying breeds, then what does that say about the rest of us?

That is yet another marvel and mystery of the dog: it is the only animal that will place our safety and survival above its own.

I’ll sleep on my questions in a deep intoxication. I’ll worship animals in the night, I’ll lay violent hands on the holiest icons, I’ll clutch at all lies, I’ll grow bestial in my dreams and will allow myself to be slaughtered like a beast.

Donaldson believes that we owe it to our companions to respect their boundaries and to remember that some level of aggression is essential for any animal’s survival.

In nearly every municipality where breed-specific legislation (BSL) has been adopted, it has failed to prevent serious dog bite injuries and hospitalizations. Veterinarians, animal behaviorists, and public health experts, including those at the Centers for Disease Control and Prevention (CDC), are virtually unanimous in their denunciation of BSL on the grounds that it is both cruel and ineffective.

The rarer they get, the fewer meanings animals can have. Eventually rarity is all they are made of. The condor is an icon of extinction. There's little else to it now but being the last of its kind. And in this lies the diminution of the world. How can you love something, how can you fight to protect it, if all it means is loss?

Zeena Schreck is a Berlin-based interdisciplinary artist, author, musician/composer, tantric teacher, mystic, animal rights activist, and counter-culture icon known by her mononymous artist name, ZEENA. Her work stems from her experience within the esoteric, shamanistic and magical traditions of which she's practiced, taught and been initiated. She is a practicing Tibetan Buddhist yogini, teaches at the Buddhistische Gesellschaft Berlin and is the spiritual leader of the Sethian Liberation Movement (SLM).

A few minutes after they left, Harold bought the blanket from his bed, surrounded himself with his stuffed-toy animals, and built a fort out of them. Children project souls into their favorite stuffed animals and commune with them in the way adults commune with religious icons. Years later he would remember a happy childhood, but it was interwoven with painful separations, confusions, misapprehensions, traumas, and mysteries. This is why all biographies are inadequate; they can never capture the inner currents. This is why self knowledge is limited. Only a few remarkable people can sense the way early experience has built models in the brain. Later in life we build fictions and theories to paper over the mystery of what is happening deep inside, but in childhood, the inexplicableness of the world is still vivid and fresh, and sometimes hits with terrifying force.

Smithfield spilled more than 20 million gallons of lagoon waste into the New River in North Carolina. The spill remains the largest environmental disaster of its kind and is twice as big as the iconic Exxon Valdez 6 years earlier... at the time of the spill, Smithfield was the 7th largest pork producer in the US; two years later it was the biggest.

I'll worship animals in the night, I'll lay violent hands on the holiest icons, I'll clutch at all lies, I'll grow bestial in my dreams and will allow myself to be slaughtered like a beast.

The guilt and anxiety induced by hunting, combined with frustration resulting from ritual celibacy, could have been projected onto the image of a powerful woman, who demands endless bloodshed.27 The hunters could see that women were the source of new life; it was they – not the expendable males – who ensured the continuity of the tribe. The female thus became an awe-inspiring icon of life itself – a life that required the ceaseless sacrifice of men and animals.

I used to be endlessly troubled by meat-eating people who were uneasy with hunters and hunting. ... How can someone suggest that paying for the slaughter of animals is more justifiable than taking the responsibility for one's food into one's own hands? ... Civilization is a mechanism that allows us to avoid the necessary but ugly aspects of life; most of us do not euthanize our own pets, we don't unplug the life support on our own ailing grandparents, we don't repair our own cars, and we don't process our own raw sewage. Instead, the delegations of our less-pleasant responsibilities is so widespread that taking these things on is almost like trying to swim upriver. It's easier not to do them, and those who insist on doing so are bound to look a little odd.

Shelters that have abandoned using breed labels for dogs from unknown backgrounds, including Orange County Animal Services in Florida and Fairfax County Animal Shelter in Virginia, have seen the number of dog adoptions at their facilities rise significantly.

kennel cards and medical paperwork—did not match the animals’ DNA results 87.5 percent of the time. Additionally, the people who labeled the dogs could not agree with one another on which breeds were likely present in which dog. There was no interobserver reliability.

During my first few months of Facebooking, I discovered that my page had fostered a collective nostalgia for specific cultural icons. These started, unsurprisingly, within the realm of science fiction and fantasy. They commonly included a pointy-eared Vulcan from a certain groundbreaking 1960s television show. Just as often, though, I found myself sharing images of a diminutive, ancient, green and disarmingly wise Jedi Master who speaks in flip-side down English. Or, if feeling more sinister, I’d post pictures of his black-cloaked, dark-sided, heavy-breathing nemesis. As an aside, I initially received from Star Trek fans considerable “push-back,” or at least many raised Spock brows, when I began sharing images of Yoda and Darth Vader. To the purists, this bordered on sacrilege.. But as I like to remind fans, I was the only actor to work within both franchises, having also voiced the part of Lok Durd from the animated show Star Wars: The Clone Wars. It was the virality of these early posts, shared by thousands of fans without any prodding from me, that got me thinking. Why do we love Spock, Yoda and Darth Vader so much? And what is it about characters like these that causes fans to click “like” and “share” so readily? One thing was clear: Cultural icons help people define who they are today because they shaped who they were as children. We all “like” Yoda because we all loved The Empire Strikes Back, probably watched it many times, and can recite our favorite lines. Indeed, we all can quote Yoda, and we all have tried out our best impression of him. When someone posts a meme of Yoda, many immediately share it, not just because they think it is funny (though it usually is — it’s hard to go wrong with the Master), but because it says something about the sharer. It’s shorthand for saying, “This little guy made a huge impact on me, not sure what it is, but for certain a huge impact. Did it make one on you, too? I’m clicking ‘share’ to affirm something you may not know about me. I ‘like’ Yoda.” And isn’t that what sharing on Facebook is all about? It’s not simply that the sharer wants you to snortle or “LOL” as it were. That’s part of it, but not the core. At its core is a statement about one’s belief system, one that includes the wisdom of Yoda. Other eminently shareable icons included beloved Tolkien characters, particularly Gandalf (as played by the inimitable Sir Ian McKellan). Gandalf, like Yoda, is somehow always above reproach and unfailingly epic. Like Yoda, Gandalf has his darker counterpart. Gollum is a fan favorite because he is a fallen figure who could reform with the right guidance. It doesn’t hurt that his every meme is invariably read in his distinctive, blood-curdling rasp. Then there’s also Batman, who seems to have survived both Adam West and Christian Bale, but whose questionable relationship to the Boy Wonder left plenty of room for hilarious homoerotic undertones. But seriously, there is something about the brooding, misunderstood and “chaotic-good” nature of this superhero that touches all of our hearts.

A cowboy is someone who loves his work. Since the hours are long—ten to fifteen hours a day—and the pay is $30 he has to. What's required of him is an odd mixture of physical vigor and maternalism. His part of the beef-raising industry is to birth and nurture calves and take care of their mothers. For the most part his work is done on horseback and in a lifetime he sees and comes to know more animals than people. The iconic myth surrounding him is built on American notions of heroism: the index of a man's value as measured in physical courage. Such ideas have perverted manliness into a self-absorbed race for cheap thrills. In a rancher's world, courage has less to do with facing danger than with acting spontaneously—usually on behalf of an animal or another rider. If a cow is stuck in a bog hole he throws a loop around her neck, takes his dally (a half hitch around the saddle horn), and pulls her out with horsepower. If a calf is born sick, he may take her home, warm her in front of the kitchen fire, and massage her legs until dawn. One friend, whose favorite horse was trying to swim a lake with hobbles on, dove under water and cut her legs loose with a knife, then swam her to shore, his arm around her neck lifeguard-style, and saved her from drowning. Because these incidents are usually linked to someone or something outside himself, the westerner's courage is selfless, a form of compassion.

Showing little regard for the animals’ historical working roles, health, temperament, or well-being, Victorian dog breeders raced to mold dramatic new shapes for their pets. Producing dogs in the same way one might produce widgets on an assembly line held tremendous appeal in an age of massive industrialization.

Donaldson believes that we owe it to our companions to respect their boundaries and to remember that some level of aggression is essential for any animal’s survival. Therefore it’s our job to learn their limits, control our expectations, and, if it comes to it, admit when we are in over our heads, seeking help from trained professionals. Every dog has individual quirks and preferences. Donaldson

To tell the history of the Americas is to tell the story of bovine expansion. Settlers may have made the Wild West and the frontier, but they followed in the wake of their bovine brother. No other animal has so shaped a culture. So many American icons are associated with the cow: the cowboy, the western, the rodeo, the hamburger, the steak house, the Marlboro Man, the very notion of the frontier itself. The story began more than five centuries ago.

In 1920, a resident of Navarre, Ohio, reported that the town’s mayor had shot and killed his dachshund “for being German.” The dogs were “completely driven off the streets” in Cincinnati. Londoners feared walking their dachshunds in public, lest the animals be stoned to death. Reports of children beating, kicking, and “siccing” other dogs on dachshunds throughout England and the United States were common, and AKC registrations of dachshunds dropped to the low double digits, even as breeders scrambled to rename them “liberty hounds” and “liberty pups.

This is a story about a tiger named Mohini that was in captivity in a zoo, who was rescued from an animal sanctuary. Mohini had been confined to a 10-by-10-foot cage with a concrete floor for 5 or 10 years. They finally released her into this big pasture: With excitement and anticipation, they released Mohini into her new and expensive environment, but it was too late. The tiger immediately sought refuge in a corner of the compound, where she lived for the remainder of her life. She paced and paced in that corner until an area 10-by-10 feet was worn bare of grass. . . . Perhaps the biggest tragedy in our lives is that freedom is possible, yet we can pass our years trapped in the same old patterns.

A civilization makes progress by leveraging the achievements and observations of past generations. We compress history into words, stories, and symbols that allow living people to learn and benefit from the experiences of the dead. In the space of one childhood, we can learn what it took humanity many centuries to figure out. While animals may have some capacity to instruct their young, humans are unlimited in their capacity to learn from one another. Thanks to stories, books, and our symbol systems, we can learn from people we have never met. We create symbols, or what Korzybski calls abstractions, in order to represent things to one another and our descendants more efficiently. They can be icons, brands, religious symbols, familiar tropes, or anything that compresses information bigger than itself.

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.

But as soon as you enter a university, we witness a radical and communal face of Communism. Here, they propagate the weaknesses and evils of Hindu culture. They manipulate and twist ancient books to misrepresent them and provoke students. For example, they use Tulsidas’ chaupai, without mentioning the rest of the Ramcharitmanas, which is the real context. “ढोल गंवार शूद्र पशु नारी, सकल ताडना के अधिकारी.” Dhol ganvar shudra pashu nari, sakal tadana ke adhikari. ‘The above lines are spoken by the Sea Deity Samudra to Ram. When Lord Ram got angry and took out his weapon in order to evaporate the whole sea, the deity appeared and said the above lines in the context of boundaries that are created by God himself in order to hold his creations.  ‘What Leftists do is that they very cleverly translate it literally in Hindi, ignoring the fact that Ramcharitmanas is written in Awadhi and the same word means one thing in Hindi and another in Awadhi. While the literal meaning of the line in Hindi is ‘Drums, the illiterate, lower caste, animals and women deserve a beating to straighten up and get the acts together’, its real meaning in Awadhi is different. In Awadhi, tadna means to take care, to protect. Whereas, in Hindi, the same word means punishment, torture, oppression. Samudra meant that like drums, the illiterate, Shudra, animals and women need special care and need to be protected in the boundary of a social safety net. In the same way, the sea also needs to reside within the boundaries created by God. And hence, Samudra gave the suggestion to create the iconic Ram Setu. ‘Here, Shudra doesn’t mean lower caste or today’s Dalit. It meant people employed in cottage industries.’ I remember there is a book by R.C. Dutta, Economic Interpretation of History, in which he has said that when the Indian economy was based on the principles of Varna, handicrafts accounted for over twenty-five percent of the economy. Artisans and labour who were involved in the handicraft business were called ‘Shudra’. If there was so much caste-based discrimination, why would Brahmins use their produce? Both Dutta and Dadabhai Naoroji have written that the terminology of ‘caste discrimination’ was used by the British to divide Indian society on those lines.

me to be honest about his failings as well as his strengths. She is one of the smartest and most grounded people I have ever met. “There are parts of his life and personality that are extremely messy, and that’s the truth,” she told me early on. “You shouldn’t whitewash it. He’s good at spin, but he also has a remarkable story, and I’d like to see that it’s all told truthfully.” I leave it to the reader to assess whether I have succeeded in this mission. I’m sure there are players in this drama who will remember some of the events differently or think that I sometimes got trapped in Jobs’s distortion field. As happened when I wrote a book about Henry Kissinger, which in some ways was good preparation for this project, I found that people had such strong positive and negative emotions about Jobs that the Rashomon effect was often evident. But I’ve done the best I can to balance conflicting accounts fairly and be transparent about the sources I used. This is a book about the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. You might even add a seventh, retail stores, which Jobs did not quite revolutionize but did reimagine. In addition, he opened the way for a new market for digital content based on apps rather than just websites. Along the way he produced not only transforming products but also, on his second try, a lasting company, endowed with his DNA, that is filled with creative designers and daredevil engineers who could carry forward his vision. In August 2011, right before he stepped down as CEO, the enterprise he started in his parents’ garage became the world’s most valuable company. This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation. He knew that the best way to create value in the twenty-first century was to connect creativity with technology, so he built a company where leaps of the imagination were combined with remarkable feats of engineering. He and his colleagues at Apple were able to think differently: They developed not merely modest product advances based on focus groups, but whole new devices and services that consumers did not yet know they needed. He was not a model boss or human being, tidily packaged for emulation. Driven by demons, he could drive those around him to fury and despair. But his personality and passions and products were all interrelated, just as Apple’s hardware and software tended to be, as if part of an integrated system. His tale is thus both instructive and cautionary, filled with lessons about innovation, character, leadership, and values.

For abolitionists, who advocated the immediate emancipation of all slaves, and free-soilers, who simply opposed the spread of slavery into the western territories, the existence of such a group proved the destructive effect of slavery on social morals and human industry and the inordinate economic power of the planter elite. It also served as an implicit warning of the disastrous consequences of the spread of slavery into nonslaveholding regions and its debilitating effect on the work ethic of otherwise stalwart white farmers. For slave-holders, particularly those at the apex of southern society, the idleness of rural working-class whites justified the “peculiar institution” and made clear the need for a planter-led economic and social hierarchy. Planter D. R. Hundley wrote, for example, that “poor whites” were “the laziest two-legged animals that walk erect on the face of the earth . . . [and exhibited] a natural stupidity or dullness of intellect that almost surpasses belief.” To abolitionists and proslavery ideologues alike, therefore, southern poor whites utterly lacked industry, intelligence, social propriety, and honor, the essential ingredients for political and social equality and thus should not be trusted with political decision-making.7 Northern and southern middle- to upper-class commentators perceived this class of people as so utterly degraded that they challenged their assertion of “whiteness,” the one claim southern working-class whites had to political equality, “normative” status, and social superiority to free and enslaved blacks. Like Byrd and the author of “The Carolina Sand-Hillers,” journalists and travel writers repeatedly compared “poor whites” unfavorably to other supposedly inferior people of color, be they enslaved blacks, Indians, or even Mexican peasants. Through a variety of arguments, including genetic inferiority, excessive interbreeding with “nonwhites,” and environmental factors, such as the destructive influences of the southern climate, rampant disease, and a woefully inadequate diet, these writers asserted that “poor whites” were neither truly “white” nor clearly “nonwhite” but instead, a separate “‘Cracker’ race” in all ways so debased that they had no capacity for social advancement. This attitude is clear in an 1866 article from the Boston Daily Advertiser that proclaimed that this social class had reached depths of “[s]uch filthy poverty, such foul ignorance, such idiotic imbecility” that they could never be truly civilized. “[T]ime and effort will lead the negro up to intelligent manhood,” the author concluded, “but I almost doubt if it will be possible to ever lift this ‘white trash’ into respectability.”8 Contempt for working-class whites was almost as strong among African Americans as among middle-class and elite whites. Enslaved African Americans invented derogatory terms containing explicit versions of “whiteness” such as “(poor) white trash” and “poor buckra” (a derivative form of the West African word for “white man”). Although relations between slaves and non-elite southern whites were complex, many slaves deeply resented the role of poor whites as overseers and patrol riders and adopted their owners’ view that elite southern planters were socially and morally superior. Many also believed that blacks, enslaved and free, formed a middle layer of social respectability between the planter aristocracy at the top of the social system and the “poor whites” at the bottom. The construction of a “poor white” and “white trash” social and cultural category thus allowed black slaves to carve out a space of social superiority, as well as permitted the white planter elite to justify enormous economic and social inequality among whites in a supposedly democratic society.9

The first of these that we know of is the Löwenmensch. It is an extraordinary piece of work, around twelve inches tall, the figure of a man with a lion’s head, and an important piece in understanding our evolution. Of the artist, it shows profound skill, fine motor control and foresight in selecting the right bone and having a plan to carve this figure. It shows an understanding of nature, and reverence of the animals in the ecosystem that impact upon the lives of those people. Crucially it shows a willingness to imagine a thing that does not exist. The figure is a man, as determined by the genitals, and has seven stripes cut into the left arm, almost like tattoos. It was found deep inside the cave at Hohlenstein-Stadel in 1939, in an almost secret vault, a kind of cubbyhole that also held other objects – carved antlers, pendants and beads. The inference is that these objects were precious, possibly things with totemic significance. Nearby in the Vogelherd Cave, figures of a mammoth and a wild horse have been found, and the ornately carved head of a cave lion. Perhaps cave lions at this time were iconic of a ceremonial cult, and the cut marks on the arm meant something important on this mythical creature. Perhaps.

One time, PETA compared their fight for animal rights to Martin Luther King Jr.’s fight for civil rights. Adopt don’t shop, fur is murder, blah blah blah, all that stuff . . . I love animals, do not get me wrong, but there is no way that Hello Kitty has done anything as iconic as writing “Letters from a Birmingham Jail.” Far

Animal Farm Foundation

Let me give you an example. Cute is usually kids and dogs, and bizarre is just anything that’s out of place. If you know your cartoon history, you will know that The Far Side used primarily the dimension of putting something out of place. So you’d have an animal talking.

What is the ultimate quantification of success? For me, it’s not how much time you spend doing what you love. It’s how little time you spend doing what you hate. And this woman spent all day, every day doing what she loved.” Spirit animal: Rhino Morgan Spurlock Morgan Spurlock (TW: @MorganSpurlock, morganspurlock.com) is an Oscar-nominated documentary filmmaker based in New York.

To be a successful creator, you don’t need millions. You don’t need millions of dollars or millions of customers, clients, or fans. To make a living as a craftsperson, photographer, musician, designer, author, animator, app maker, entrepreneur, or inventor you need only 1,000 true fans.

I once stood at a shrine and gazed at a wonder-working icon of the Mother of God, thinking of the childlike faith of the people praying before it; some women and infirm old men knelt, crossing themselves and bowing down to the earth. With ardent hope I gazed at the holy features, and little by little the secret of their marvellous power began to grow clear to me. Yes, this was not just a painted board – for centuries it had absorbed these passions and these hopes, the prayers of the afflicted and unhappy; it was filled with the energy of all these prayers. It had become a living organism, a meeting place between the Lord and men. Thinking of this, I looked once more at the old men, at the women and the children prostrate in the dust, and at the holy icon – and then I too saw the animated features of the Mother of God,

From its establishment in the mid-nineteenth century until today, animal welfare has been an almost exclusively white middle- and upper-class social movement. As of 2005, African-Americans made up only 4 percent of animal welfare employees, according to one survey. Sixty-two percent of animal welfare organizations had no African-American employees at all. That

I think of what wild animals are in our imaginations. And how they are disappearing – not just from the wild, but from people’s everyday lives, replaced by images of themselves in print and on screen. The rarer they get, the fewer meanings animals can have. Eventually rarity is all they are made of. The condor is an icon of extinction. There’s little else to it now but being the last of its kind. And in this lies the diminution of the world. How can you love something, how can you fight to protect it, if all it means is loss? There is a vast difference between my visceral, bloody life with Mabel and the reserved, distanced view of modern nature-appreciation. I know that some of my friends see my keeping a hawk as morally suspect, but I couldn’t love or understand hawks as much as I do if I’d only ever seen them on screens. I’ve made a hawk part of a human life, and a human life part of a hawk’s, and it has made the hawk a million times more complicated and full of wonder to me. I think of my chastened surprise when Mabel played with a paper telescope. She is real. She can resist the meanings humans give her. But the condor? The condor has no resistance to us at all. I stare at the attenuated, drifting image on the gallery screen. It is a shadow, a figure of loss and hope; it is hardly a bird at all.

Africans especially Ghanaians are allowing ignorance to seduce them to remaining BROKE forever and end up allowing their fellow powerless human to kill their dreams ,while sickness due to Bad climate change or deadly and poisonous virus which Malaria and the Cholera is the fastest killing animals . Chief-Icons can assist Ghana RID it SELF of this sickness for us to enjoy better And prosperous Ghana in his UNITED GHANA agenda. THANK YOU THE WORLD AND THANK YOU MY MOTHERLAND GHANA

I read about it in Buck Up, Suck Up . . . and Come Back When You Foul Up: 12 Winning Secrets from the War Room, written by James Carville and Paul Begala, the political strategists behind Bill Clinton’s presidential campaign “war room.” Here’s the excerpt that stuck with me: Newt Gingrich is one of the most successful political leaders of our time. Yes, we disagreed with virtually everything he did, but this is a book about strategy, not ideology. And we’ve got to give Newt his due. His strategic ability—his relentless focus on capturing the House of Representatives for the Republicans—led to one of the biggest political landslides in American history. Now that he’s in the private sector, Newt uses a brilliant illustration to explain the need to focus on the big things and let the little stuff slide: the analogy of the field mice and the antelope. A lion is fully capable of capturing, killing, and eating a field mouse. But it turns out that the energy required to do so exceeds the caloric content of the mouse itself. So a lion that spent its day hunting and eating field mice would slowly starve to death. A lion can’t live on field mice. A lion needs antelope. Antelope are big animals. They take more speed and strength to capture and kill, and once killed, they provide a feast for the lion and her pride. A lion can live a long and happy life on a diet of antelope. The distinction is important. Are you spending all your time and exhausting all your energy catching field mice? In the short term it might give you a nice, rewarding feeling. But in the long run you’re going to die. So ask yourself at the end of the day, “Did I spend today chasing mice or hunting antelope?” Another way I often approach this is to look at my to-do list and ask: “Which one of these, if done, would render all the rest either easier or completely irrelevant?

Life is too short to be busy. Spirit animal: Sponge Cal Fussman Cal Fussman (TW: @calfussman, calfussman.com) is a New York Times best-selling author and a writer-at-large for Esquire magazine, where he is best known for being a primary writer of the What I’ve Learned feature. The Austin Chronicle has described Cal’s interviewing skills as “peerless.” He has transformed oral history into an art form, conducting probing interviews with icons who have shaped the last 50 years of world history: Mikhail

Newt Gingrich is one of the most successful political leaders of our time. Yes, we disagreed with virtually everything he did, but this is a book about strategy, not ideology. And we’ve got to give Newt his due. His strategic ability—his relentless focus on capturing the House of Representatives for the Republicans—led to one of the biggest political landslides in American history. Now that he’s in the private sector, Newt uses a brilliant illustration to explain the need to focus on the big things and let the little stuff slide: the analogy of the field mice and the antelope. A lion is fully capable of capturing, killing, and eating a field mouse. But it turns out that the energy required to do so exceeds the caloric content of the mouse itself. So a lion that spent its day hunting and eating field mice would slowly starve to death. A lion can’t live on field mice. A lion needs antelope. Antelope are big animals. They take more speed and strength to capture and kill, and once killed, they provide a feast for the lion and her pride. A lion can live a long and happy life on a diet of antelope. The distinction is important. Are you spending all your time and exhausting all your energy catching field mice? In the short term it might give you a nice, rewarding feeling. But in the long run you’re going to die. So ask yourself at the end of the day, “Did I spend today chasing mice or hunting antelope?” Another way I often approach this is to look at my to-do list and ask: “Which one of these, if done, would render all the rest either easier or completely irrelevant?

At the same time as suggesting the language game we clearly do not have a change in the name of God as our only way to think in New Testament terms of an earth at peace. There is Jesus! It is very hard to attribute violence to the originator of the gospel, of the good news of God’s forgiveness and love, of divine healing and welcome. Despite the fact that people refer to his action in the temple in the last days of his life as an exceptional yet conclusive ‘proof’ of Jesus’ use of violence no serious bible scholar would look on these actions divorced from his whole ministry. And because of that we have to see them as a conscious and deliberate prophetic sign-action, taking control of the temple for a brief period to show how it stood in contrast to the direct relationship with God which he proclaimed, and to make the point with a definitive emphasis. The whip he plaits in John is used to drive the animals, probably with the sound of the crack alone. No one is attacked. No one gets hurt. And very soon the situation reverts to the status quo: the authorities take back control of the temple and decide on Jesus’ suffering and death in order to control him. Overall the event is to be seen as Jesus placing himself purposely and calculatedly in the cross-hairs for the sake of the truth, much rather than doing harm to anyone else. The consequences of his actions were indeed ‘the cross’, and supremely in the situation of crucifixion Jesus does not invoke retaliation on his enemies, or threaten those who reject redemption; rather he prays for their forgiveness. No, Jesus’ whole life-story makes him unmistakably a figure of transcendent nonviolence. The problem lies elsewhere, with the way the cross is interpreted within the framework of a violent God. It is unfathomably ironic that the icon of human non-retaliation, Jesus’ cross, gets turned in the tradition into a supreme piece of vengeance—God’s ‘just’ punishment of Jesus in our place. My book, Cross Purposes, is about the way this tradition got formed and it represents just one of a constant stream of writing, gathering force at the end of the last century and continuing into this, questioning how this could be the meaning of the central symbol of Christianity.2 I think the vigor of that question can only continue to grow, while the nonviolence of Jesus’ response must at the same time stand out in greater and greater relief, in its own right and for its own sake. And for that same reason the argument at hand, of ‘No-name’ for a nonviolent God, can only be strengthened when we highlight the nonviolence of Jesus against the traditional violent concept of ‘God’. Now

The emotion of sex is an ‘irresistible force,’ against which there can be no such opposition as an ‘immovable body.’ When driven by this emotion, men become gifted with a super power for action. Understand this truth, and you will catch the significance of the statement that sex transmutation will lift one to the status of a genius. Destroy the sex glands, whether in man or beast, and you have removed the major source of action. For proof of this, observe what happens to any animal after it has been castrated. A bull becomes as docile as a cow after it has been altered sexually. Sex alteration takes out of the male, whether man or beast, all the FIGHT that was in him.

Founded in 2011, ToyTalk already produces popular animated conversational apps — among them the Winston Show and SpeakaZoo — that encourage young children to engage in complex dialogue with a menagerie of make-believe characters. Now the company’s technology, originally designed for two-dimensional characters on-screen, is poised to power tangible playthings that children hold in their hands. This fall, Mattel plans to introduce Hello Barbie, a Wi-Fi enabled version of the iconic doll, which uses ToyTalk’s system to analyze a child’s speech and produce relevant responses. “She’s a huge character with an enormous back story,” Mr. Jacob says of Barbie. “We hope that when she’s ready, she will have thousands and thousands of things to say and you can speak to her for hours and hours.” [Video: Hello Barbie is World's First Interactive Barbie Doll Watch on YouTube.] It was probably inevitable that the so-called Internet of Things — those Web-connected thermostats and bathroom scales and coffee makers and whatnot — would beget the Internet of Toys. And just like Web-connected consumer gizmos that can amass details about their owners and transmit that data for remote analysis, Internet-connected toys hold out the tantalizing promise of personalized services and the risk of privacy perils.

For the past two hundred years the arts in Russia have served as an arena for political, philosophical and religious debate in the absence of a parliament or a free press. As Tolstoy wrote in ‘A Few Words on War and Peace’ (1868), the great artistic prose works of the Russian tradition were not novels in the European sense.3 They were huge poetic structures for symbolic contemplation, not unlike icons, laboratories in which to test ideas; and, like a science or religion, they were animated by the search for truth.

Pit bulls are not dangerous or safe. Pit bulls aren’t saints or sinners. They are no more or less deserving than others dogs of love and compassion, no more of less deserving of good homes. They didn’t cause society’s ills, nor can their redemption...solve them. There is nothing that needs to be redeemed, anyway; they were never to blame on the first place...there never was a “pit bull problem”. What happened to these animals was a byproduct of human fears, and what humans feared most was one another. After all we have put them through, maybe it is time to let pit bulls show us who they are, to let them have a part in writing their own stories. Pit bulls are not dogs with an asterisk. Pit bulls are just...dogs.

Genesis, the animals do not speak their own names to Adam; rather, they are given their names by this first man. Language, for the Hebrews, was becoming a purely human gift, a human power. — IT WAS ONLY, HOWEVER, WITH THE TRANSFER OF PHONETIC writing to Greece, and the consequent transformation of the Semitic aleph-beth into the Greek “alphabet,” that the progressive abstraction of linguistic meaning from the enveloping life-world reached a type of completion. The Greek scribes took on, with slight modifications, both the shapes of the Semitic letters and their Semitic names. Thus aleph—the name of the first letter, and the Hebrew word for “ox”—became alpha; beth—the name of the second letter, as well as the word for “house”—became beta; gimel—the third letter, and the word for “camel,” became gamma, etc. But while the Semitic names had older, nongrammatological meanings for those who spoke a Semitic tongue, the Greek versions of those names had no nongrammatological meaning whatsoever for the Greeks. That is, while the Semitic name for the letter was also the name of the sensorial entity commonly imaged by or associated with the letter, the Greek name had no sensorial reference at all.15 While the Semitic name had served as a reminder of the worldy origin of the letter, the Greek name served only to designate the human-made letter itself. The pictorial (or iconic) significance of many of the Semitic letters, which was memorialized in their spoken names, was now readily lost. The indebtedness of human language to the more-than-human perceptual field, an indebtedness preserved in the names and shapes of the Semitic letters, could now be entirely forgotten.

The result is that today, text is the cornerstone of our global digital, fast-paced world. Indeed, requirements concerning accessibility and media management are not the only reasons for the use of text. Interestingly, text is also the response to the growing complexity and range of application of information communication technologies. Interface design is rapidly progressing toward a full conversion from flashy buttons, animations, icons, images, audio and video to plain text. This process, combined with the systematic process of digitisation and hybridization of daily life objects with digital technology, results in a progressive translation of identity, objects, activities, places and material and conceptual artefact in a text-based form.

When it comes to iconic mobile games, few titles are as instantly recognizable as Doodle Jump. First released in 2009, this seemingly simple vertical platformer quickly became a global sensation. Over a decade later, it still holds a special place on millions of smartphones—and for good reason. At its core, Doodle Jump is about guiding a small, green alien-like creature (the Doodler) as it jumps from platform to platform, climbing endlessly into the sky. The concept is straightforward, but the execution is what made the game legendary. Its addictive gameplay, hand-drawn aesthetic, and quick restarts created the perfect loop: play, fall, repeat. Unlike many modern games with steep learning curves, Doodle Jump is instantly accessible. You tilt your device to move left or right and the Doodler jumps automatically. What starts off easy soon becomes a test of reflexes and concentration. As you ascend, moving platforms, disappearing platforms, monsters, black holes, and UFOs appear to make things interesting—and increasingly challenging. One of the key reasons Doodle Jump remains relevant today is its timeless design. The visuals are charming, with a notebook-style background and cartoonish animations that feel playful and familiar. The simplicity is part of its charm—it doesn't try to overwhelm players with flashy effects or unnecessary complexity. In terms of gameplay, the mechanics are tight and responsive. The Doodler reacts quickly to your inputs, and each mistake feels like something you can learn from and improve upon. That’s part of the reason people often come back for “just one more try”—it always feels like you’re only seconds away from beating your high score. Over the years, Doodle Jump has evolved. New themes, characters, and power-ups have been added to keep things fresh. From jungle environments to space adventures, the game has managed to expand while staying true to its original identity. These updates have helped it appeal to both longtime fans and new players discovering it for the first time. Doodle Jump is available on both Android and iOS, and despite the flood of mobile games released every year, it still holds up as one of the best pick-up-and-play experiences on the market. Whether you have five minutes to spare or an hour to kill, it’s the perfect game to reach for. In a mobile gaming world that often prioritizes complexity and monetization, Doodle Jump is a reminder that simplicity, when done well, can be powerful—and endlessly fun.

Inspired by Mitra and the other animals, I got my own little dog—a beagle whom I named Jane Austen because she had the same brow line. It was a rash, ill-advised pet-shop purchase. I bought her for her adorable little face and sad pleading beagle eyes without a thought for breed behavioural characteristics. I didn’t care. I adored her. I found her naughtiness trying but hilarious, especially when she was a puppy. When she was nearly two she followed her nose off the edge of a forty-metre cliff and broke her leg in six places.

        Godzilla’s famous roar is from a wild animal. Most movie monsters sounds are from animals. King Kong’s roar is an edited lion roar and Jurassic Park’s T-Rex roar is from the ferocious….walrus… huh… Godzilla has the most iconic roar. Strangely, it isn’t from an animal. Akira Ifukube came up with the idea for the sound by stroking a violin chord with a leather glove. I don’t know if Akira has waaaaay too much time on his hands or if he is a genius.

Hunting is an integral part of Africa's conservation history and its approach to wildlife management. To disentangle hunting from modern African conservation will require a realignment of conservation policy, entrenched since colonial times and embraced and supported by African elites and political interests. But as civilization that has the ingenuity to put people and machines into space, split the atom, and routinely send unimaginable amounts of information through the ether, surely we can think of a better way to save the wild animals we love besides killing them.

How long should it take for an app icon to animate up from its place on the home screen to fill the entire display? How far should you have to drag your finger on the screen for it to be possible to interpret the touch as a swipe gesture? How much should a two-finger pinch gesture allow you to zoom in on an image in the Photos app? The answers to all of these questions were numbers, and might be 0.35 seconds for the app animation, or 30 pixels for the swipe gesture, or 4x for photo zooming, but the number was never the point. The values themselves weren’t provably better in any engineering sense. Rather, the numbers represented sensible defaults, or pleasing effects, or a way to give people what they meant rather than what they did. It takes effort to find what these things are, which is appropriate, since the etymological root of “heuristic” is eureka, which (of course) comes from the Greek and means “to find.” This is where that word, “eureka,” actually figured into our development process, since good heuristics don’t come in brilliant flashes, but only after patient searches, and it wasn’t always clear to us that we had found the right heuristic even when we had. We arrived at our final decisions only with judgment and time. Heuristics are like this. They’re subjective.

But a very different hypothesis emerges from a careful examination of the evidence for the biological and cultural evolution of our species, namely the sign progression theory of language origin. This phrase means simply that language emerges gradually from indexes (items that represent things they are physically connected to, such as a footprint to an animal) to icons (things that physically resemble the things they are used to represent, such as a portrait for the real person) and finally by creating symbols (conventional ways of representing meaning that are largely arbitrary).

Larry King electrified interviews by lending them the credence of pure and brilliant animation required to awaken that desire in viewers to do nothing else but give their attentions to their TV sets. His guttural voice was pleasantly stentorian. With it, he chatted warmly. And chattered reasonably. And charted a course for himself that made him an icon of the screen. I'd borrow his voice for an hour and return it on Resurrection day.

Pilgrims and Nazis (Sonnet 2220) The terrorists you call pilgrims, did not immigrate, they invaded, pillaged and plundered a continent, they even plagiarized its name into a symbol of atrocity and violation, just like the nazis heisted a holy symbol from the east, and turned the sacred Swastika into the global icon of hate. History books are all messed up, none teaches the history of humans - world history was written by animals, to maintain their narrative unchallenged. The West broke the world, now the human race gotta resurrect the world, offspring of the terrorists and terrorized alike - but we can do nothing at all, till we decolonize our mind.

Betty’s gains in dimension on behalf of Macy’s were astounding. From her usual petite feminine figure, she expanded to a height of seventy-two feet, voluptuous vital statistics of thirty-four by twenty-four by thirty-six feet, and a weight of 425 pounds. Betty underwent this major transformation by ingesting a good deal of noxious gas so she could float slowly from upper Manhattan to Macy’s flagship store at Herald Square while millions of fans watched in person or on TV on Thanksgiving Day. It must be noted that Betty had achieved her enormous gain in height, bulk, and weight without sacrificing one ounce of her beauty.

Theriocephalic images believed to date to as early as 30 000 BCE have been found, with the earliest being the lion-headed Löwenmensch (lion-person) figurine found in Germany. This icon shows a human body with the head of a European cave lion. The Egyptian pantheon had several animal-headed deities, including the lion-headed Sekhmet who resembles the Löwenmensch figurine as being a female with the head of a lion.

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Where do living things come from? This was an old question, usually framed as the issue of spontaneous generation: Could new organisms emerge out of inert matter, the mere stuff of the earth? Aristotle, that intellectual omnivore, had thought so. He divided the living world into those animals and plants with offspring that come from seed or sexual reproduction, and those in whom the next of their kind emerged from inert matter—most often rotting waste, putrefying matter, or, simply, shit. Among those, perhaps the iconic example of the spontaneous generation of life were those sinuous fish, the eels, which, Aristotle wrote, “originate in what are called the entrails of the earth, which are found spontaneously in mud and moist earth.” — Eels would be evoked as a clear example of spontaneous generation for the next two millennia—in popular accounts as well as learned ones.

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【V信83113305】：Tama Art University, located in Tokyo, Japan, is a prestigious institution renowned for its innovative approach to art and design education. Established in 1935, the university has cultivated a reputation for fostering creativity and individuality among its students. Its campuses, including the iconic Hachioji campus designed by architect Toyo Ito, reflect a commitment to blending aesthetics with functionality. The university offers a diverse range of programs, from fine arts and graphic design to film and animation, encouraging interdisciplinary collaboration. Emphasizing hands-on learning and critical thinking, Tama Art University prepares students to excel in the global art scene. Its alumni include influential artists and designers, underscoring its impact on contemporary culture. With a vibrant community and cutting-edge facilities, the university remains a hub for artistic exploration and innovation.，原版复刻日本多摩美术大学毕业证办理成绩单修改, 如何获取多摩美术大学-多摩美術大学-毕业证本科学位证书, 多摩美术大学成绩单购买, 多摩美術大学文凭制作, 办日本多摩美术大学文凭学历证书, 学历证书!多摩美術大学学历证书多摩美术大学学历证书多摩美術大学假文凭, 多摩美术大学本科毕业证

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