Ideal Type Quotes

Each of us is sometimes a cretin, a fool, a moron, or a lunatic. A normal person is just a reasonable mix of these components, these four ideal types.

Police business is a hell of a problem. It’s a good deal like politics. It asks for the highest type of men, and there’s nothing in it to attract the highest type of men. So we have to work with what we get...

But seriously, I believe I'm a sort of Ideal Woman, if you know what I mean. I'm the sort of woman who can take men away from their wives, but I could never keep anybody for long. And that's because I'm the type which every man imagines he wants, until he gets me; and then he finds he doesn't really, after all.

A man's usefulness depends upon his living up to his ideals insofar as he can. It is hard to fail but it is worse never to have tried to succeed. All daring and courage, all iron endurance of misfortune make for a finer, nobler type of manhood. Only those are fit to live who do not fear to die and none are fit to die who have shrunk from the joy of life and the duty of life.

It is sometimes said that the tragedy of an artist's life is that he cannot realize his ideal. But the true tragedy that dogs the steps of most artists is that they realize their ideal too absolutely. For, when the ideal is realized, it is robbed of its wonder and its mystery, and becomes simply a new starting point for an ideal that is other than itself. This is why music is the perfect type of art. Music can never reveal its ultimate secret.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

I would not look good as a splatter on the floor. It's not my ideal body type

See the exquisite contrast of the types of mind! The pragmatist clings to facts and concreteness, observes truth at its work in particular cases, and generalises. Truth, for him, becomes a class-name for all sorts of definite working-values in experience. For the rationalist it remains a pure abstraction, to the bare name of which we must defer. When the pragmatist undertakes to show in detail just why we must defer, the rationalist is unable to recognise the concretes from which his own abstraction is taken. He accuses us of denying truth; whereas we have only sought to trace exactly why people follow it and always ought to follow it. Your typical ultra-abstractions fairly shudders at concreteness: other things equal, he positively prefers the pale and spectral. If the two universes were offered, he would always choose the skinny outline rather than the rich thicket of reality. It is so much purer, clearer, nobler.

What do you see when you think of me, A figure cloaked in mystery With eyes downcast and hair covered, An oppressed woman yet to be discovered? Do you see backward nations and swirling sand, Humpbacked camels and the domineering man? Whirling veils and terrorists Or maybe fanatic fundamentalists? Do you see scorn and hatred locked Within my eyes and soul, Or perhaps a profound ignorance of all the world as a whole? Yet . . . You fail to see The dignified persona Of a woman wrapped in maturity. The scarf on my head Does not cover my brain. I think, I speak, but still you refrain From accepting my ideals, my type of dress, You refuse to believe That I am not oppressed. So the question remains: What do I see when I think of you? I see another human being Who doesn’t have a clue.

Romance novels sell an idealized fantasy that we all want to experience. They may be fiction, but there is a reason why so many people connect to love stories. Because that’s the type of feeling we want to give, and want to receive.

There is a difference between criticizing people and criticizing a people's uninformed ideals. That is, unless one defines himself or others by their ideals, then he is offended, and usually offended secretly. Because oddly enough, this person is the same person quickest to resort to dismissive name-calling, such as 'bigot' or 'zealot'. And oddly enough, he is always the one, the 'open-minded' one, who adamantly protests for, not only himself, but others not to listen to any type of scholarly theological truth inherently for the sake of his own personal, moral beliefs.

Beyond creating unrealistic ideals and distorting our idea of what women actually look like, media images of women do another type of damage as well. They are one of the main sources of the sexual objectification of women, constantly conveying that women's bodies exist for others to evaluate and use at will. When we see women portrayed as objects in media imagery, it's a reminder of how often women are valued only for their bodies. The message of these images is clear: You exist for being looked at.

Progress is the goal, the ideal is the type. What is this ideal? It is God. Ideal, absolute, perfection, infinity: identical words.

Yes, she is in love with him, and yes, in spite of his qualms and inner hesitations, he loves her back, however improbable that might seem to him. Note here for the record that he is not someone with a special fixation on young girls. Until now, all the women in his life have been more or less his own age. Pilar therefore does not represent an embodiment of some ideal female type for him--she is merely herself, a small piece of luck he stumbled across one afternoon in a public park, an exception to every rule.

To me, this type of surveillance and monetization of young teens’ sense of worthlessness feels like a concrete step toward the dystopian future Facebook’s critics had long warned of.

It appears that Venus has Beatrice’s face. Once again, I’m not interested in a historical analysis of the models for the painting. I’m simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli’s La Bella has both faces — one of sacrificial love or agape, and one of sexual love or eros.

Upon my soul!' Tietjens said to himself, 'that girl down there is the only intelligent living soul I've met for years.' A little pronounced in manner sometimes; faulty in reasoning naturally, but quite intelligent, with a touch of wrong accent now and then. But if she was wanted anywhere, there she'd be! Of good stock, of course: on both sides! But positively, she and Sylvia were the only two human beings he had met for years whom he could respect: the one for sheer efficiency in killing; the other for having the constructive desire and knowing how to set about it. Kill or cure! The two functions of man. If you wanted something killed you'd go to Sylvia Tietjens in sure faith that she would kill it: emotion, hope, ideal; kill it quick and sure. If you wanted something kept alive you'd go to Valentine: she's find something to do for it. . . . The two types of mind: remorseless enemy, sure screen, dagger ... sheath! Perhaps the future of the world then was to women? Why not? He hand't in years met a man that he hadn't to talk down to - as you talk down to a child, as he had talked down to General Campion or to Mr. Waterhouse ... as he always talked down to Macmaster. All good fellows in their way ...

As I observed earlier, the greatest evils are, with alarming regularity, done in the name of goodness. When we finally fry this planet in a nuclear holocaust, it will not have been done by a bunch of naughty little boys and girls; it will have been done by grave, respectable types who loved their high ideals too much to lay them down for the mere preservation of life on earth. And lesser evils follow the same rule.

It makes sense that so many introverts hide even from themselves. We live with a value system that I call the Extrovert Ideal—the omnipresent belief that the ideal self is gregarious, alpha, and comfortable in the spotlight. The archetypal extrovert prefers action to contemplation, risk-taking to heed-taking, certainty to doubt. He favors quick decisions, even at the risk of being wrong. She works well in teams and socializes in groups. We like to think that we value individuality, but all too often we admire one type of individual—the kind who’s comfortable “putting himself out there.

When it comes to your career, you want to strive to become the type of person Patrick Lencioni describes in his book The Ideal Team Player: someone who is hungry (a motivated go-getter), humble (knows who they are and what they bring to the table), and smart (expertly manages relationships). Isn’t that the kind of person you want to work with?

the ideal future end looks remarkably aligned: Time, people, purpose, health.

Ideal types of money enable people not merely to turn one thing into another, but to store wealth as well. Many valuables cannot be stored – such as time or beauty.

When we meet someone, we form a first impression (“He seems like a really nice guy”), frequently with no apparent information on which to base it. This is because attributes of the person evoke in us something we’ve previously categorized as familiar and positive. The opposite can happen (“This guy is a complete jerk”) if some attribute taps into a previous negative experience. Our brain catalogs vast amounts of input from our family, community, and culture, along with what is presented to us in the media. As it makes sense of what it’s stored, it begins to form a worldview. If we later meet someone with characteristics unlike what we’ve cataloged, our default response is to be wary, defensive. In turn, if our brains are filled with associations based upon media-driven biases about ideal body type, or racial or cultural stereotypes, for example, we will exhibit implicit biases (and maybe overt bias).

So, maybe we’re the generation of the selfie, but we’re also the generation that grew up in a tainted, Photoshopped world with every impossible beauty standard shoved down our throat through a tube because eating has become a guilty pleasure and condemning beauty ideals won’t go straight to our thighs. And if, by chance, we are able to destroy the demons that you’ve planted inside of us with your constant advertisements and rules that play behind our eyelids and take root in our brains, then let us take our fucking pictures and capture that moment when we felt beautiful because all this world has taught us is that our beauty is the greatest measure of our worth. Scoff at our phones all you like, these delicate extensions of our fingers, but know that through this technology that you couldn’t even begin to understand, we have smudged the entire world with our fingerprints. We are the generation of knowledge, and we are learning more than any that came before us. So, frown at my typing fingers; I am using them to grasp power by the throat. Try to invalidate us, but we’ve heard our parents talking about the world’s crashing and burning since we had sprung from the womb. We know you’ve fucked up, and we’re angry about it- the kind of anger that fuels knowledge, that I feel in my veins every time I read the news from my phone before school, that sticks in my throat like honey in a debate; the kind of anger that simmers, that sharpens teeth into daggers, that makes this generation more dangerous than you could have ever imagined. We are the generation of change, and goddammit, we’re coming.

They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli’s La Bella has both faces—one of sacrificial love or agape, and one of sexual love or eros.

There is a cop who is both prowler and father: he comes from your block, grew up with your brothers, had certain ideals. You hardly know him in his boots and silver badge, on horseback, one hand touching his gun. You hardly know him but you have to get to know him: he has access to machinery that could kill you. He and his stallion clop like warlords among the trash, his ideals stand in the air, a frozen cloud from between his unsmiling lips. And so, when the time comes, you have to turn to him, the maniac’s sperm still greasing your thighs, your mind whirling like crazy. You have to confess to him, you are guilty of the crime of having been forced. And you see his blue eyes, the blue eyes of all the family whom you used to know, grow narrow and glisten, his hand types out the details and he wants them all but the hysteria in your voice pleases him best. You hardly know him but now he thinks he knows you: he has taken down you worst moment on a machine and filed it in a file. He knows, or thinks he knows, how much you imagined; he knows, or thinks he knows, what you secretly wanted. He has access to machinery that could get you put away; and if, in the sickening light of the precinct, and if, in the sickening light of the precinct, your details sound like a portrait of your confessor, will you swallow, will you deny them, will you lie your way home?

Thus, we have the icons of agape, eros, philia, and storge all represented by a single face, a single woman—Simonetta. To put this another way, one could argue that Botticelli sees in his beloved muse all four types of love and all four ideals of womanhood: saint, lover, friend, and spouse.

Now, do you know of any cases where someone has—I mean, other than in the Frankenstein type of picture—do you know where someone has sat down and programmed people to go out, let’s say, and commit armed robberies, burglaries, assaults? Do you know of any such instances?” A.   “Yes. In one sense, that is what we do when we program soldiers in a war … The Army uses a peer group technique and the patriotic ideals that are instilled in citizens of a particular country to bring about this pattern of behavior.” Dr.

Count Andrea Sperelli-Fieschi of Ugenta, the sole heir, continued the family tradition. He was, in truth, the ideal type of young Italian gentleman of the nineteenth century, the legitimate defender of a lineage of gentlemen and elegant artists, the last descendant of an intellectual race. He was, as it were, completely impregnated with art.

There are nine seducer types in the world. Each type has a particular character trait that comes from deep within and creates a seductive pull. Sirens have an abundance of sexual energy and know how to use it. Rakes insatiably adore the opposite sex, and their desire is infectious. Ideal Lovers have an aesthetic sensibility that they apply to romance. Dandies like to play with their image, creating a striking and androgynous allure. Naturals are spontaneous and open. Coquettes are self-sufficient, with a fascinating cool at their core. Charmers want and know how to please—they are social creatures. Charismatics have an unusual confidence in themselves. Stars are ethereal and envelop themselves in mystery.

I learned that, while rejection is the name of the game, I’m always going to be exactly what someone is looking for, eventually. Whether it is looks or personality, be it in the professional world or the dating world, what others have over me is irrelevant, because there’s always someone out there looking for an exact type of someone – a someone that I can completely fulfill. I’m not going to be everyone’s ideal, so focusing on the times I get passed over – be it the modeling industry or in real life – is a colossal waste of time.

He like both types of conversation with Willem, but he appreciates the mundane ones more than he'd imagined he would. He had always felt bound to Willem by the big things -love, trust- but he likes being bound to him by the small things as well: bills and taxes and dental checkups. He is always reminded of a visit to Harold and Julia's ....(they) had begun talking about the Truro house's kitchen renovation. He half dozed, listening to their quiet talk, which had been so dull that he couldn't follow any of the details but had also filled him with a great sense of peace: it had seemed to him the ideal expression of an adult relationship, to have someone with whom you can discuss the mechanics of a shared experience.

If you like the corporate type of girl, shop conservative at J. Crew or Macy’s. If you like hipster chicks, try vintage shops. Take basic steps to match the vibe your ideal girl has.

[I]magine what would happen if, instead of centering our beliefs about heterosexual sex around the idea that the man “penetrates” the woman, we were to say that the woman’s vagina “consumes” the man’s penis. This would create a very different set of connotations, as the woman would become the active initiator and the man would be the passive and receptive party. One can easily see how this could lead to men and masculinity being seen as dependent on, and existing for the benefit of, femaleness and femininity. Similarly, if we thought about the feminine traits of being verbally effusive and emotive not as signs of insecurity or dependence, but as bold acts of self-expression, then the masculine ideal of the “strong and silent” type might suddenly seem timid and insecure by comparison.

However, the distinction of groups is optional. The group is not an ontological entity like the biological species. The various group concepts intersect one another. The historian chooses, according to the special plan of his studies, the features and attributes that determine the classification of individuals into various groups. The grouping may integrate people speaking the same language or professing the same religion or practicing the same vocation or occupation or descended from the same ancestry. The group concept of Gobineau was different from that of Marx. In short, the group concept is an ideal type and as such is derived from the historian's understanding of the historical forces and events. Only individuals think and act. Each individual's thinking and acting is influenced by his fellows' thinking and acting.

The mysteries of life include the external and the internal conundrums that each person encounters in a world composed of competing ideologies and agents of change. Conflicting ideas include political, social, legal, and ethical concepts. Agents of change include environmental factors, social pressure to conform, aging, and the forces inside us that made us into whom we are as well as the forces compelling us to be a different type of person.

The Hays Code stated: “When right standards are consistently presented, the motion picture exercises the most powerful influences. It builds character, develops right ideals, inculcates correct principles, and all this in attractive story form. If motion pictures consistently hold up for admiration high types of characters and present stories that will affect lives for the better, they can become the most powerful force for the improvement of mankind.

We live with a value system that I call the Extrovert Ideal—the omnipresent belief that the ideal self is gregarious, alpha, and comfortable in the spotlight. The archetypal extrovert prefers action to contemplation, risk-taking to heed-taking, certainty to doubt. He favors quick decisions, even at the risk of being wrong. She works well in teams and socializes in groups. We like to think that we value individuality, but all too often we admire one type of individual—

Krushchev himself is 'revealed' not as an honest communist but instead as a political leader seeking personal advantage while hiding behind an official persona of idealism and probity, a type familiar in capitalist countries. Taking into account his murder of Beria and the men executed as 'Beria's gang' in 1953, he seems worse still - a political thug. Krushchev was guilty IN REALITY of the kinds of crimes he DELIBERATELY AND FALSELY accused Stalin of in the 'Secret Speech'.

The ultimate type A personalities at Davos understand these minute power calibrations and spend their time comparing each and every one, constantly striving for more. So you overhear people saying sniffily that they’re surprised that a certain prime minister is staying in the Hilton Garden Inn rather than the Seehof Hotel, or that a celebrity mistakenly tried to cut in line for a panel, too uneducated to realize they were pushing past a Nobel laureate. The narcissism of small differences.

We live with a value system that I call the Extrovert Ideal—the omnipresent belief that the ideal self is gregarious, alpha, and comfortable in the spotlight. The archetypal extrovert prefers action to contemplation, risk-taking to heed-taking, certainty to doubt. He favors quick decisions, even at the risk of being wrong. She works well in teams and socializes in groups. We like to think that we value individuality, but all too often we admire one type of individual—the kind who’s comfortable “putting himself out there.

Thinking in art and morals and even mathematics is neither the reflection in consciousness of a mechanical order in the brain nor the tracing with the mind’s eye of some empirical order in its object, but an endeavour to realize in thought an ideal order which would satisfy an inner demand. The nearer thought comes to its goal, the more it finds itself under constraint by that goal, and dominated in its creative effort by aesthetic or moral or logical relevance. These relations of relevance are not physical or psychological relations. They are normative relations that can enter into the mental current because that current is . . . teleological. Their operation marks the presence of a different type of law, which supervenes upon physical and psychological laws when purpose takes control.

But even in such works where the author is ideally unobtrusive, he remains diffused through the book so that his very absence becomes a kind of radiant presence. As the French say, il brille par son absence — "he shines by his absence." In connection with Bleak House we are concerned with one of those authors who are so to speak not supreme deities, diffuse and aloof, but puttering, amiable, sympathetic demigods, who descend into their books under various disguises or send therein various middlemen, representatives, agents, minions, spies, and stooges. [...] Roughly speaking, there are three types of such representatives. Let us inspect them. First, the narrator insofar as he speaks in the first person, the capital I of the story, its moving pillar. [...] Second, a type of author's representative, what I call the sifting agent. [...] The third type is the so-called perry, possibly derived from periscope, despite the double r, or perhaps from parry in vague connection with foil as in fencing. But this does not matter much since anyway I invented the term myself many years ago.

On good days, my singledom feels like a hard-won ally. She allows me the space to design my life as I please, to be selfish and embrace a more public role than most women in my country can enjoy. On bad days, my singledom becomes my nemesis, reminding me that I never chose her, that I am alone because love never arrayed itself into my life. She chastises me for failing to settle for a sensible man. At her very worst, she resurrects buried fantasies of finding a partner and love. As the fantasies resurface, so do old doubts. My singledom conjures images from failed romances, asking uncomfortable questions, tearing into past choices. As you’ll soon discover, not very long ago, I spent too much of my time obsessing over some idealized-gentry-type or another. Encouraged by my singledom to wallow in past misery, I excavate the ugly remains of my romantic past. Why didn’t he pick me? Why couldn’t I have been the One? Why is no one madly in love with me? Am I not good enough? Am I too picky? A map replete with signposts of romantic rejection haunts me. I must endeavour to exorcize my ghost.

While ITPs undoubtedly need other people, they may fail to consistently acknowledge this need or invest in their relationships. This can result in a pattern of broken or abandoned relationships, or, at its worst, complete social isolation. Furthermore, the inferior function may beckon ITPs to generalize (Fe) their own Ti views or methods, which may include grandiose dreams of fame or recognition (Fe). It can also engender naïve views of love, manifesting as childlike sentimentalism or romantic idealism. ITPs’ status as inner judgers may at times lead them to mistype as J types, while their inferior Fe may contribute to their mistyping as feelers.

He had always had a passion for life and the idealism he had come across seemed to him for the most part a cowardly shrinking from it. The idealist withdrew himself because he could not suffer the jostling of the human crowd; he had not the strength to fight and so called the battle vulgar; he was vain and since his fellows would not take him at his own estimate, consoled himself with despising his fellows. For Phillip, this type was Hayward, fair, languid, too fat now and rather bald, still cherishing the remains of his good looks and still delicately proposing to do exquisite things in the uncertain future; and at the back of this were whiskey and vulgar amours of the street.

(...) the interaction of Social Democratic ideals with the realities of Russian society lead to the creation of a new social type, the praktik, the activists who actually ran local organizations. This new type was something of a hybrid, made up of both plebeian intellectuals and ‘intelligentnye workers’ (workers who adopted intelligentsia ideals).

First of all, is there such a thing as inward security in relationship, in our affections, in the ways of our thinking? Is there the ultimate reality which every man wants, hopes, pins his faith to? Because the moment you want security, you will invent a god, an idea, an ideal, which will give you the feeling of security; but it may not be real at all—it may be merely an idea, a reaction, a resistance to the obvious fact of uncertainty. So one has to inquire into this question of whether there is security at all at any level of our lives. First, inwardly, because if there is no security outwardly, then our relationship with the world will be entirely different; then we shall not identify ourselves with any group, with any nation, or even with any family. It is the desire to be secure, when there is probably no security at all, that breeds conflict. If psychologically you see the truth that there is no security of any kind, of any type, at any level, there is no conflict. Then, you are creative, volcanic in your action, explosive in your ideas; you are not tethered to anything. Then you are living.

Rich Purnell sipped coffee in the silent building. Only his cubicle illuminated the otherwise dark room. Continuing with his computations, he ran a final test on the software he'd written. It passed. With a relieved sigh, he sank back in his chair. Checking the clock on his computer, he shook his head. 3:42am. Being an astrodynamicist, Rich rarely had to work late. His job was the find the exact orbits and course corrections needed for any given mission. Usually, it was one of the first parts of a project; all the other steps being based on the orbit. But this time, things were reversed. Iris needed an orbital path, and nobody knew when it would launch. A non-Hoffman Mars-transfer isn't challenging, but it does require the exact locations of Earth and Mars. Planets move as time goes by. An orbit calculated for a specific launch date will work only for that date. Even a single day's difference would result in missing Mars entirely. So Rich had to calculate many orbits. He had a range of 25 days during which Iris might launch. He calculated one orbital path for each. He began an email to his boss. "Mike", he typed, "Attached are the orbital paths for Iris, in 1-day increments. We should start peer-review and vetting so they can be officially accepted. And you were right, I was here almost all night. It wasn't that bad. Nowhere near the pain of calculating orbits for Hermes. I know you get bored when I go in to the math, so I'll summarize: The small, constant thrust of Hermes's ion drives is much harder to deal with than the large point-thrusts of presupply probes. All 25 of the orbits take 349 days, and vary only slightly in thrust duration and angle. The fuel requirement is nearly identical for the orbits and is well within the capacity of EagleEye's booster. It's too bad. Earth and Mars are really badly positioned. Heck, it's almost easier to-" He stopped typing. Furrowing his brow, he stared in to the distance. "Hmm." he said. Grabbing his coffee cup, he went to the break room for a refill. ... "Rich", said Mike. Rich Purnell concentrated on his computer screen. His cubicle was a landfill of printouts, charts, and reference books. Empty coffee cups rested on every surface; take-out packaging littered the ground. "Rich", Mike said, more forcefully. Rich looked up. "Yeah?" "What the hell are you doing?" "Just a little side project. Something I wanted to check up on." "Well... that's fine, I guess", Mike said, "but you need to do your assigned work first. I asked for those satellite adjustments two weeks ago and you still haven't done them." "I need some supercomputer time." Rich said. "You need supercomputer time to calculate routine satellite adjustments?" "No, it's for this other thing I'm working on", Rich said. "Rich, seriously. You have to do your job." Rich thought for a moment. "Would now be a good time for a vacation?" He asked. Mike sighed. "You know what, Rich? I think now would be an ideal time for you to take a vacation." "Great!" Rich smiled. "I'll start right now." "Sure", Mike said. "Go on home. Get some rest." "Oh, I'm not going home", said Rich, returning to his calculations. Mike rubbed his eyes. "Ok, whatever. About those satellite orbits...?" "I'm on vacation", Rich said without looking up. Mike shrugged and walked away.

Harry, you are dreadful! I don't know why I like you so much." "You will always like me, Dorian," he replied. "Will you have some coffee, you fellows? Waiter, bring coffee, and fine-champagne, and some cigarettes. No, don't mind the cigarettes--I have some. Basil, I can't allow you to smoke cigars. You must have a cigarette. A cigarette is the perfect type of a perfect pleasure. It is exquisite, and it leaves one unsatisfied. What more can one want? Yes, Dorian, you will always be fond of me. I represent to you all the sins you have never had the courage to commit." "What nonsense you talk, Harry!" cried the lad, taking a light from a fire-breathing silver dragon that the waiter had placed on the table. "Let us go down to the theatre. When Sibyl comes on the stage you will have a new ideal of life. She will represent something to you that you have never known." "I have known everything," said Lord Henry, with a tired look in his eyes, "but I am always ready for a new emotion. I am afraid, however, that, for me at any rate, there is no such thing. Still, your wonderful girl may thrill me. I love acting. It is so much more real than life. Let us go. Dorian, you will come with me. I am so sorry, Basil, but there is only room for two in the brougham. You must follow us in a hansom.

Survival of the fittest" in the commonly used animal sense is not a theory or principle for a "time-binding" being. This theory is only for the physical bodies of animals; its effect upon humanity is sinister and degrading. We see the principle at work all about us in criminal exploitation and profiteering. As a matter of fact, the ages-long application of this animal principle to human affairs has degraded the whole human morale in an inconceivably far-reaching way. Personal greed and selfishness are brazenly owned as principles of conduct. We shrug our shoulders in acquiescence and proclaim greed and selfishness to be the very core of human nature, take it all for granted, and let it pass at that. We have gone so far in our degradation that the prophet of capitalistic principles, Adam Smith, in his famous Wealth of Nations, arrives at the laws of wealth, not from the phenomena of wealth nor from statistical statements, but from the phenomena of selfishness-a fact which shows how far-reaching in its dire influence upon all humanity is the theory that human beings are "animals." Of course the effect is very disastrous. The preceding chapters have shown that the theory is false; it is false, not only because of its unhappy effects, but it belies the characteristic nature of man. Human nature, this time-binding power, not only has the peculiar capacity for perpetual progress, but it has, over and above all animal propensities, certain qualities constituting it a distinctive dimension or type of life. Not only our whole collective life proves a love for higher ideals, but even our dead give us the rich heritage, material and spiritual, of all their toils. There is nothing mystical about it; to call SUCH a class a naturally selfish class is not only nonsensical but monstrous.

Around this dull Swiss town, the World Economic Forum has constructed a byzantine social structure where they control the minimal resources available. These are then dished out by their grace and favor according to status. Everything at Davos—every speaking slot, every car pass, every drinks invitation, every meeting room, the distance you sit at dinner from the front table—is distributed according to social status. The ultimate type A personalities at Davos understand these minute power calibrations and spend their time comparing each and every one, constantly striving for more. So you overhear people saying sniffily that they’re surprised that a certain prime minister is staying in the Hilton Garden Inn rather than the Seehof Hotel, or that a celebrity mistakenly tried to cut in line for a panel, too uneducated to realize they were pushing past a Nobel laureate. The narcissism of small differences.

It is they—the "Seven Hosts"—who, having "considered in their Father (divine Thought) the plan of the operator," as says Pyrnander, desired to operate (or build the world with its creatures) likewise; for, having been born "within the sphere of operation"—the manifesting Universe -- such is the Manvantaric LAW. And now comes the second portion of the passage, or rather of two passages merged into one to conceal the full meaning. Those who were born within the sphere of operation were "the brothers who loved him well." The latter—the "him"—were the primordial angels: the Asuras, the Ahriman, the Elohim—or "Sons of God," of whom Satan was one—all those spiritual beings who were called the "Angels of Darkness," because that darkness is absolute light, a fact now neglected if not entirely forgotten in theology. Nevertheless, the spirituality of those much abused "Sons of Light" which is Darkness, must be evidently as great in comparison with that of the Angels next in order, as the ethereality of the latter would be, when contrasted with the density of the human body. The former are the "First-born"; therefore so near to the confines of pure quiescent Spirit as to be merely the "PRIVATIONS" -- in the Aristotelian sense—the ferouers or the ideal types of those who followed. They could not create material, corporeal things; and, therefore, were said in process of time to have refused to create, as commanded by "God" -- otherwise, TO HAVE REBELLED. Perchance, this is justified on that principle of the Scientific theory which teaches us about light and sound and the effect of two waves of equal length meeting. "If the two sounds be of the same intensity, their coincidence produces a sound four times the intensity of either, while their interference produces absolute silence." Explaining some of the "heresies" of his day,

A system of justice does not need to pursue retribution. If the purpose of drug sentencing is to prevent harm, all we need to do is decide what to do with people who pose a genuine risk to society or cause tangible harm. There are perfectly rational ways of doing this; in fact, most societies already pursue such policies with respect to alcohol: we leave people free to drink and get inebriated, but set limits on where and when. In general, we prosecute drunk drivers, not inebriated pedestrians. In this sense, the justice system is in many respects a battleground between moral ideas and evidence concerning how to most effectively promote both individual and societal interests, liberty, health, happiness and wellbeing. Severely compromising this system, insofar as it serves to further these ideals, is our vacillation or obsession with moral responsibility, which is, in the broadest sense, an attempt to isolate the subjective element of human choice, an exercise that all too readily deteriorates into blaming and scapegoating without providing effective solutions to the actual problem. The problem with the question of moral responsibility is that it is inherently subjective and involves conjecture about an individuals’ state of mind, awareness and ability to act that can rarely if ever be proved. Thus it involves precisely the same type of conjecture that characterizes superstitious notions of possession and the influence of the devil and provides no effective means of managing conduct: the individual convicted for an offence or crime considered morally wrong is convicted based on a series of hypotheses and probabilities and not necessarily because he or she is actually morally wrong. The fairness and effectiveness of a system of justice based on such hypotheses is highly questionable particularly as a basis for preventing or reducing drug use related harm. For example, with respect to drugs, the system quite obviously fails as a deterrent and the system is not organised to ‘reform’ the offender much less to ensure that he or she has ‘learned a lesson’; moreover, the offender does not get an opportunity to make amends or even have a conversation with the alleged victim. In the case of retributive justice, the justice system is effectively mopping up after the fact. In other words, as far as deterrence is concerned, the entire exercise of justice becomes an exercise based on faith, rather than one based on evidence.

There are certain men who are sacrosanct in history; you touch on the truth of them at your peril. These are such men as Socrates and Plato, Pericles and Alexander, Caesar and Augustus, Marcus Aurelius and Trajan, Martel and Charlemagne, Edward the Confessor and William of Falaise, St. Louis and Richard and Tancred, Erasmus and Bacon, Galileo and Newton, Voltaire and Rousseau, Harvey and Darwin, Nelson and Wellington. In America, Penn and Franklin, Jefferson and Jackson and Lee. There are men better than these who are not sacrosanct, who may be challenged freely. But these men may not be. Albert Pike has been elevated to this sacrosanct company, though of course to a minor rank. To challenge his rank is to be overwhelmed by a torrent of abuse, and we challenge him completely. Looks are important to these elevated. Albert Pike looked like Michelangelo's Moses in contrived frontier costume. Who could distrust that big man with the great beard and flowing hair and godly glance? If you dislike the man and the type, then he was pompous, empty, provincial and temporal, dishonest, and murderous. But if you like the man and the type, then he was impressive, untrammeled, a man of the right place and moment, flexible or sophisticated, and firm. These are the two sides of the same handful of coins. He stole (diverted) Indian funds and used them to bribe doubtful Indian leaders. He ordered massacres of women and children (exemplary punitive operations). He lied like a trooper (he was a trooper). He effected assassinations (removal of semi-military obstructions). He forged names to treaties (astute frontier politics). He was part of a weird plot by men of both the North and South to extinguish the Indians whoever should win the war (devotion to the ideal of national growth ) . He personally arranged twelve separate civil wars among the Indians (the removal of the unfit) . After all, those were war years; and he did look like Moses, and perhaps he sounded like him.

Hobbes's natural philosophy is of the type classically represented by Democritean-Epicurean physics. Yet he regarded, not Epicurus or Democritus, but Plato, as "the best of the ancient philosophers." What he learned from Plato's natural philosophy was not that the universe cannot be understood if it is not ruled by divine intelligence. Whatever may have been Hobbes's private thoughts, his natural philosophy is as atheistic as Epicurean physics. What he learned from Plato's natural philosophy was that mathematics is "the mother of all natural science." By being both mathematical and materialistic-mechanistic, Hobbes's natural philosophy is a combination of Platonic physics and Epicurean physics. From his point of view, premodern philosophy or science as a whole was "rather a dream than science" precisely because it did not think of that combination. His philosophy as a whole may be said to be the classic example of the typically modern combination of political idealism with a materialistic and atheistic view of the whole.

The Art of Seduction was classic PUA reading material, along with Greene’s other book, The 48 Laws of Power. For the former, Greene studied the greatest seductions of history and literature in search of common themes. His book classified different types of seducers (among them rakes, ideal lovers, and naturals); targets (drama queens, rescuers, crushed stars); and techniques, all of which jibed with community philosophy (approach indirectly, send mixed signals, appear to be an object of desire, isolate the victim). “How

For whole generations, a certain pessimism is associated with the historical failure of revolutions. That pessimism is a thing of pathos. The other less sentimental, fiercer type comes from recognizing how ideal things are, the perfection and exactitude of our freedom and the absolute availability of the simplest solutions. For example, the resolution of the famine problem in Ireland by killing off the young children. You could not do better; there is no more elegant solution. It is a stroke of wit. The stroke of wit also despairs of language, but from that despair it always derives a brilliant solution, drawing a line between two diametrically opposed poles. A diabolical simplification; everything is in the ellipsis. There is no crueller trick you can play on reality than to idealize it just as it is. It never recovers from that (whereas it can easily cope with being denounced). Deify power right where it is and it can't believe its eyes. Take the people who marched through Red Square with placards reading 'We are happy in the Soviet Union! The Soviet Union is the land of happiness.

He came to the spot where his father and he had prayed together, and there kneeling lifted up his face to the stars. Oh mighty, only church! whose roof is a vaulted infinitude! whose lights come burning from the heart of the Maker! church of all churches—where the Son of Man prayed! In the narrow temple of Herod he taught the people, and from it drove the dishonest traders; but here, under the starry roof, was his house of prayer! church where not a mark is to be seen of human hand! church that is all church, and nothing but church, built without hands, despised and desecrated through unbelief! church of God’s building! thou alone in thy grandeur art fitting type of a yet greater, a yet holier church, whose stars are the burning eyes of unutterable, self-forgetting love, whose worship is a ceaseless ministration of self-forgetting deeds—the one real ideal church, the body of the living Christ, built of the hearts and souls of men and women out of every nation and every creed, through all time and over all the world, redeemed alike from Judaism, paganism, and all the false Christianities that darken and dishonor the true.

The thing about Dostoevsky's characters is that they are alive. By which I don't just mean that they're successfully realized or developed or "rounded". The best of them live inside us, forever, once we've met them. Recall the proud and pathetic Raskolnikov, the naive Devushkin, the beautiful and damned Nastasya of The Idiot, the fawning Lebyedev and spiderish Ippolit of the same novel; C&P's ingenious maverick detective Porfiry Petrovich (without whom there would probably be no commercial crime fiction w/ eccentrically brilliant cops); Marmeladov, the hideous and pitiful sot; or the vain and noble roulette addict Aleksey Ivanovich of The Gambler; the gold-hearted prostitutes Sonya and Liza; the cynically innocent Aglaia; or the unbelievably repellent Smerdyakov, that living engine of slimy resentment in whom I personally see parts of myself I can barely stand to look at; or the idealized and all too-human Myshkin and Alyosha, the doomed human Christ and triumphant child-pilgrim, respectively. These and so many other FMD creatures are alive-retain what Frank calls their "immense vitality"-not because they're just skillfully drawn types or facets of human beings but because, acting withing plausible and morally compelling plots, they dramatize the profoundest parts of all humans, the parts most conflicted, most serious-the ones with the most at stake. Plus, without ever ceasing to be 3-D individuals, Dostoevsky's characters manage to embody whole ideologies and philosophies of life: Raskolnikov the rational egoism of the 1860's intelligentsia, Myshkin mystical Christian love, the Underground Man the influence of European positivism on the Russian character, Ippolit the individual will raging against death's inevitability, Aleksey the perversion of Slavophilic pride in the face of European decadence, and so on and so forth....

Men of this type often had strong mother figures in their childhood. They became good, obedient boys, excellent students at school. Consciously they are attracted to well-educated women, to those who seem good and perfect. But unconsciously they are drawn to women who are imperfect, bad, of dubious character. They secretly crave what is the opposite of themselves. It is the classic split of the mother/whore—they want the mother figure for a wife but feel a much stronger physical attraction to the whore, the Fallen Woman, the type who likes to display her body. They have repressed the playful, sensual, and earthy sides of the character they had as boys. They are too rigid and civilized. The only way they can relate to these qualities is through women who appear to be so different from themselves. Like Swann, they find a way to idealize them with some highbrow reference that has no relation to reality. They project onto such women weakness and vulnerability. They tell themselves they want to help and protect them. But what really attracts them is the danger and naughty pleasures these women seem to promise. Underestimating the strength of such women, they often end up as their pawns. Their anima is passive and masochistic.

Even when I thought, with most other well-informed, though unscholarly, people, that Buddhism and Christianity were alike, there was one thing about them that always perplexed me; I mean the startling difference in their type of religious art. I do not mean in its technical style of representation, but in the things that it was manifestly meant to represent. No two ideals could be more opposite than a Christian saint in a Gothic cathedral and a Buddhist saint in a Chinese temple. The opposition exists at every point; but perhaps the shortest statement of it is that the Buddhist saint always has his eyes shut, while the Christian saint always has them very wide open. The Buddhist saint has a sleek and harmonious body, but his eyes are heavy and sealed with sleep. The mediaeval saint's body is wasted to its crazy bones, but his eyes are frightfully alive. There cannot be any real community of spirit between forces that produced symbols so different as that. Granted that both images are extravagances, are perversions of the pure creed, it must be a real divergence which could produce such opposite extravagances. The Buddhist is looking with a peculiar intentness inwards. The Christian is staring with a frantic intentness outwards.

Most intellectuals and most artists belong to the same type. Only the strongest of them force their way through the atmosphere of the bourgeois earth and attain to the cosmic. The others all resign themselves or make compromises. Despising the bourgeoisie, and yet belonging to it, they add to its strength and glory; for in the last resort they have to share their beliefs in order to live. The lives of these infinitely numerous persons make no claim to the tragic; but they live under an evil star in a quite considerable affliction; and in this hell their talents ripen and bear fruit. The few who break free seek their reward in the unconditioned and go down in splendor. They wear the thorn crown and their number is small. The others, however, who remain in the fold and from whose talents the bourgeoisie reaps much gain, have a third kingdom left open to them, an imaginary and yet a sovereign world, humor. The lone wolves who know no peace, these victims of unceasing pain to whom the urge for tragedy has been denied and who can never break through the starry space,who feel themselves summoned thither and yet cannot survive in its atmosphere—for them is reserved, provided suffering has made their spirits tough and elastic enough, a way of reconcilement and an escape into humor. Humor has always something bourgeois in it, although the true bourgeois is incapable of understanding it. In its imaginary realm the intricate and manyfaceted ideal of all Steppenwolves finds its realisation. Here it is possible not only to extol the saint and the profligate in one breath and to make the poles meet, but to include the bourgeois, too, in the same affirmation. Now it is possible to be possessed by God and to affirm the sinner, and vice versa, but it is not possible for either saint or sinner (or for any other of the unconditioned) to affirm as well that lukewarm mean, the bourgeois. Humor alone, that magnificent discovery of those who are cut short in their calling to highest endeavor, those who falling short of tragedy are yet as rich in gifts as in affliction, humor alone (perhaps the most inborn and brilliant achievement of the spirit) attains to the impossible and brings every aspect of human existence within the rays of its prism. To live in the world as though it were not the world, to respect the law and yet to stand above it, to have possessions as though "one possessed nothing," to renounce as though it were no renunciation, all these favorite and often formulated propositions of an exalted worldly wisdom, it is in the power of humor alone to make efficacious.

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Some of these arrangements involve an exhibitionist Narcissist and a partner who is “in the closet.” The closet Narcissist is an unassuming type who has her feelers out for someone she can idealize. She needs to put the love object on a pedestal in order to hold herself together, because if her partner is wonderful and she can have him, then all the insecurities inside her will go away. In the Narcissist-closet Narcissist couple, it is actually the latter who is in control, feeding the grandiosity of the love object in order to inflate herself via osmosis. These relationships can be quite successful, as long as the idealizations and illusions can be sustained. But when unpleasant reality intrudes, love implodes.

The final giveaway is the presence of ordinary criminal types within the leadership of the Communist Party and its revolutionary cadre. Here we find the sadists, the robbers, the killers, and the misfits. Revolution is alluring to them, because it gives them permission to do their thing under cover of an ideal. As Sam Vaknin has pointed out, “The suppression of envy is at the core of the narcissist’s being. If he fails to convince his self that he is the only good object in the universe, he is bound to be exposed to his own murderous envy. If there are others out there who are better than him, he envies them, he lashes out at them ferociously, uncontrollably, madly, hatefully, he tries to eliminate them. J.R.Nyquist

When Marxian socialism came to the United States after the 1848 revolutions, it brought along in its baggage this European suspicion of liberal-democratic procedures. Eventually that was dispelled and socialist organizations began participating in electoral politics. But they continued to think of themselves more as the vanguard of a movement than as voices in a democratic chorus. And their preferred political tactics remained the mass demonstration and the strike -- rather than, say, winning elections for county commissioner. The significance of these groups in American politics peaked during the Great Depression and then faded. But their movement ideal retained its grip on the left, and in the 1960s it captured the imagination of liberals as well. There had been emancipatory movements before, against slavery, for women's rights, for workers' protection. They did not question the legitimacy of the American system; they just wanted it to live up to its principles and respect its procedures. And they worked with parties and through institutions to achieve their ends. But as the 1970s flowed into the 1980s, movement politics began to be seen by many liberals as an alternative rather than a supplement to institutional politics, and by some as being more legitimate. That's when what we now call the social justice warrior was born, a social type with quixotic features whose self-image depends on being unstained by compromise and above trafficking in mere interests.

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The life of the body, reduced to its essentials, paradoxically produces an abstract and gratuitous universe, continuously denied, in its turn, by reality. This type of novel, purged of interior life, in which men seem to be observed behind a pane of glass, logically ends, with its emphasis on the pathological, by giving itself as its unique subject the supposedly average man. In this way it is possible to explain the extraordinary number of "innocents" who appear in this universe. The simpleton is the ideal subject for such an enterprise since he can only be defined—and completely defined—by his behavior. He is the symbol of the despairing world in which wretched automatons live in a machine-ridden universe, which American novelists have presented as a heart-rending but sterile protest.

In ancient times people weren’t simply male or female, but one of three types: male/male, male/female or female/female. In other words each person was made out of the components of two people. Everyone was happy with this arrangement and never really gave it much thought. But then God took a knife and cut everyone in half, right down the middle. So after that the world was divided just into male and female, the upshot being that people spend their time running around trying to locate their missing other half.” “Why did God do that?” “Divide people into two? You’ve got me. God works in mysterious ways. There’s that whole wrath-of-God thing, all that excessive idealism and so on. My guess is it was punishment for something. As in the Bible. Adam and Eve and the Fall and so on.” “Original sin,” I say.

Knowing how you want to use music is extremely important, as is understanding the potential psychological and physiological effects that are inherent in the music. Slow pulsed New Age music is excellent, of course, for relaxation but it’s not ideal for dancing. Yet, if dancing (and the extraordinary energy release found by dancing) is desired, slow New Age music is not ideal. What is your purpose for using a specific piece of music? Is it for meditation, guided imagery, dance, deep recollection, or for emotional release? Realizing that every type of music has the ability to resonate with us on many different levels, it is possible that any type of music can have positive results. We should be open-minded about all music and the possible transformative and therapeutic results that can occur from it.

It moves a child from depending upon adults and unlocks the desire to venture forth, discover, or make sense of their experiences. Play is where the spirit that underlies growth is revealed and vitality is expressed. In short, play is the act of self-creation. The type of play young children need is characterized by freedom, enjoyment, and a leap into settings to explore. They need bounded spaces in which to freely move, with perimeters formed by the adults who care for them. Play is a spontaneous act that arises from a particular state of mind—you can’t teach or command a child to play. There are three essential characteristics to play: it is (1) not work, (2) not for real, and (3) expressive and exploratory. This definition can be used to evaluate what activities truly foster ideal conditions for play.

There is a lingering pain that comes with some people’s LGBT identity, especially in a society that has shamed their desires and forced them to fight for an opportunity to declare pride. Some of this shame can be deeply internalized, even if it’s overcome in practice (and mostly so in attitude). LGBT people may believe the asexual people who want their support have never fought this type of shame and may not accept that “your orientation doesn’t exist” can be as damaging as “your orientation means you’re bad.” Asexual people are usually perceived as sexually conservative or sexually abstinent, and LGBT people may have been attacked for the sex they may desire, so it could be very difficult for them to accept that someone who embodies a supposedly “ideal state” they’ve been pressured to emulate could possibly have comparable problems in Western society.

His notion of knighthood, and that entertained by the society around him, was also profoundly shaped by the archetype of the preudhomme – the ideal warrior, literally the ‘best kind of a man’. By the mid-twelfth century, worthy knights were increasingly expected to display the ‘right stuff’, to conform to an evolving code of behaviour. An admirable and respected warrior – a preudhomme – was skilled in combat and courageous, faithful, wise and able to give good counsel, but also canny, even wily, in war when necessary. He was the exact opposite of the type of serpent-tongued deceivers (or losengiers) who had tried to persuade King Stephen to execute young William back in 1152 – men of dubious loyalty and questionable judgement. William arrived at Tancarville hoping to become a preudhomme. Indeed, in many respects his life served to define that archetype.

If time and money were no object and I did not have to seek anyone’s permission, what kinds of experiences would my soul crave? Let’s apply this to the first four items in the Twelve Areas of Balance. Each of these four items relates to experiences: 1.​YOUR LOVE RELATIONSHIP. What does your ideal love relationship look like? Imagine it in all its facets: how you communicate, what you have in common, the activities you do together, what a day in your life together looks like, what holidays are like, what moral and ethical beliefs you share, what type of wild passionate sex you are having. 2.​YOUR FRIENDSHIPS. What experiences would you like to share with friends? Who are the friends you’d share these experiences with? What are your ideal friends like? Picture your social life in a perfect world—the people, the places, the conversation, the activities. What does the perfect weekend with your friends look like? 3.​YOUR ADVENTURES. Spend a few minutes thinking about people who’ve had what you consider to be amazing adventures. What did they do? Where did they go? How do you define adventure? What places have you always wanted to see? What adventurous things have you always wanted to do? What kinds of adventures would make your soul sing? 4.​YOUR ENVIRONMENT. In this amazing life of yours, what would your home look like? What would it feel like to come back to this place? Describe your favorite room—what would be in this wonderful space? What would be the most heavenly bed you can imagine sleeping in? What kind of car would you drive if you could have any car you wanted? Now imagine the perfect workspace: Describe where you could do your best work. When you go out, what kinds of restaurants and hotels would you love to visit?

If we shuffle three colored quarks and the equations remain the same, then we say that the equations possess something called SU(3) symmetry. The 3 represents the fact that we have three types of colors, and the SU stands for a specific mathematical property of the symmetry. We say that there are three quarks in a multiplet. The quarks in a multiplet can be shuffled among one another without changing the physics of the theory. Similarly, the weak force governs the properties of two particles, the electron and the neutrino. The symmetry that interchanges these particles, yet leaves the equation the same, is called SU(2). This means that a multiplet of the weak force contains an electron and a neutrino, which can be rotated into each other. Finally, the electromagnetic force has U(1) symmetry, which rotates the components of the Maxwell field into itself. Each of these symmetries is simple and elegant. However, the most controversial aspect of the Standard Model is that it "unifies" the three fundamental forces by simply splicing all three theories into one large symmetry. SU(3) X SU(2) X U(1), which is just the product of the symmetries of the individual forces. (This can be compared to assembling a jigsaw puzzle. If we have three jigsaw pieces that don't quite fit, we can always take Scotch tape and splice them together by hand. This is how the Standard Model is formed, by taping three distinct multiplets together. This may not be aesthetically pleasing, but at least the three jigsaw puzzles now hang together by tape.) Ideally, one might have expected that "the ultimate theory" would have all the particles inside just a single multiplet. Unfortunately, the Standard Model has three distinct multiplets, which cannot be rotated among one another.

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Situated in the center of family values debates is an imagined traditional family ideal. Formed through a combination of marital and blood ties, "normal" families should consist of heterosexual, racially homogeneous couples who produce their own biological children. Such families should have a specific authority structure, namely, a father-head earning an adequate family wage, a stay-at-home wife and mother, and children. Idealizing the traditional family as a private haven from a public world, family is seen as being held together through primary emotional bonds of love and caring. assuming a relatively fixed sexual division of labor, wherein women's roles are defined as primarily in the home with men's in the public world of work, the traditional family ideal also assumes the separation of work and family. Defined as a natural or biological arrangement based on heterosexual attraction, instead this monolithic family type is actually supported by government policy. It is organized not around a biological core, but a state-sanctioned, heterosexual marriage that confers legitimacy not only on the family structure itself but on children born in this family. In general, everything the imagined traditional family ideal is thought to be, African-American families are not. Two elements of the traditional family ideal are especially problematic for African-American women. First, the assumed split between the "public" sphere of paid employment and the "private" sphere of unpaid family responsibilities has never worked for U.S. Black women. Under slavery, U.S. Black women worked without pay in the allegedly public sphere of Southern agriculture and had their family privacy routinely violated. Second, the public/private binary separating the family households from the paid labor market is fundamental in explaining U.S. gender ideology. If one assumes that real men work and real women take care of families, then African-Americans suffer from deficient ideas concerning gender. in particular, Black women become less "feminine," because they work outside the home, work for pay and thus compete with men, and their work takes them away from their children. Framed through this prism of an imagined traditional family ideal, U.S. Black women's experiences and those of other women of color are typically deemed deficient. Rather than trying to explain why Black women's work and family patterns deviate from the seeming normality of the traditional family ideal, a more fruitful approach lies in challenging the very constructs of work and family themselves. Understandings of work, like understandings of family, vary greatly depending on who controls the definitions.

what if a better material for breathability comes along? You would have to junk the entire garment and get a new one to take advantage of it: costly. It takes more time, energy, and resources to maintain a unified system; that is, even though it may be more efficient, the trade-off is that it is more costly and not as robust. Because each layer can provide a wide range of diverse functions, the system has greater flexibility as a whole, giving it a great advantage when facing a changing environment. This type of layout is ideal in an evolutionary sense because the number of vulnerabilities in the system is limited, while the opportunities for diversification are abundant. As an environment changes over time, such systems can adapt more readily. Overall, a layered architecture is ideal for complex systems because it is easily fixable, less costly, more flexible, and evolvable. However, layered complex

The thing about Dostoevsky's characters is that they are alive. By which I don't just mean that they're successfully realized or developed or "rounded". The best of them live inside us, forever, once we've met them. Recall the proud and pathetic Raskolnikov, the naive Devushkin, the beautiful and damned Nastasya of The Idiot, the fawning Lebyedev and spiderish Ippolit of the same novel; C&P's ingenious maverick detective Porfiry Petrovich (without whom there would probably be no commercial crime fiction w/ eccentrically brilliant cops); Marmeladov, the hideous and pitiful sot; or the vain and noble roulette addict Aleksey Ivanovich of The Gambler; the gold-hearted prostitutes Sonya and Liza; the cynically innocent Aglaia; or the unbelievably repellent Smerdyakov, that living engine of slimy resentment in whom I personally see parts of myself I can barely stand to look at; or the idealized and all too-human Myshkin and Alyosha, the doomed human Christ and triumphant child-pilgrim, respectively. These and so many other FMD creatures are alive-retain what Frank calls their "immense vitality"-not because they're just skillfully drawn types or facets of human beings but because, acting within plausible and morally compelling plots, they dramatize the profoundest parts of all humans, the parts most conflicted, most serious-the ones with the most at stake. Plus, without ever ceasing to be 3-D individuals, Dostoevsky's characters manage to embody whole ideologies and philosophies of life: Raskolnikov the rational egoism of the 1860's intelligentsia, Myshkin mystical Christian love, the Underground Man the influence of European positivism on the Russian character, Ippolit the individual will raging against death's inevitability, Aleksey the perversion of Slavophilic pride in the face of European decadence, and so on and so forth....

In April 2004, Google had one of its countless minicrises, over an anti-Semitic website called Jew Watch. When someone typed “Jew” into Google’s search box, the first result was often a link to that hate site. Critics urged Google to exclude it in its search results. Brin publicly grappled with the dilemma. His view on what Google should do—maintain the sanctity of search—was rational, but a tremor in his voice betrayed how much he was troubled that his search engine was sending people to a cesspool of bigotry. “My reaction was to be really upset about it,” he admitted at the time. “It was certainly not something I want to see.” Then he launched into an analysis of why Google’s algorithms yielded that result, mainly because the signals triggered by the keyword “Jew” reflected the frequent use of that abbreviation as a pejorative. The algorithms had spoken, and Brin’s ideals, no matter how heartfelt, could not justify intervention. “I feel like I shouldn’t impose my beliefs on the world,” he said. “It’s a bad technology practice.

Gossip, even malicious rumors, are worth more than the most expensive publicity campaign in the world. What alarmed me most in the course of my stay in the United States was the habit of spending enormous sums of money in order to achieve so little real luxury. America represents the triumph of quantity over quality. Mass production triumphs; men and women both prefer to buy a multitude of mediocre things rather than a smaller number, carefully chosen. The American woman, faithful to the ideal of optimism with the United States seems to have made its rule of life, spends money entirely in order to gratify the collective need to buy. She prefers three new dresses to one beautiful one and does not linger over a choice, knowing perfectly well that her fancy will be of short duration and the dress which she is in the process of buying will be discarded very soon. The prime need of fashion is to please and attract. Consequently this attraction cannot be born of uniformity, the mother of boredom. Contemporary elegance is at once simple and natural. Since there is no patience where vanity is concerned, any client who is kept waiting considers it a personal insult. The best bargain in the world is a successful dress. It brings happiness to the woman who wears it and it is never too dear for the man who pays for it. The most expensive dress in the world is a dress which is a failure. It infuriates the woman who wears it and it is a burden to the man who pays for it. In addition, it practically always involves him in the purchase of a second dress much more expensive - the only thing that can blot out the memory of the first failure. Living in a house which does not suit you is like wearing someone else's clothes. There will always be women who cling to a particular style of dress because they wore it during the time of their greatest happiness, but white hair is the only excuse for this type of eccentricity. The need for display, which is dormant in all of us, can express itself nowadays in fashion and nowhere else. The dresses of this collection may be worn by only a few of the thousands of women who read and dream about them, but high fashion need not be directly accessible to everyone: it need only exist in the world for its influence to be felt.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

The greatest advantage of polytheism. — For an individual to posit his own ideal and to derive from it his own law, joys, and rights — that may well have been considered hitherto as the most outrageous human aberration and as idolatry itself; indeed, the few who dared as much always felt the need to apologize to themselves, usually by saying: 'Not I! Not I! But a god through me.' The wonderful art and power of creating gods — polytheism — was that through which this drive could discharge itself, purify, perfect, and ennoble itself; for originally it was a base and undistinguished drive, related to stubbornness, disobedience, and envy. To be hostile to this drive to have one’s own ideal: that was formerly the law of every morality. There was only one norm: ‘the human being’— and every people believed itself to have this one and ultimate norm. But above and outside oneself, in some distant overworld, one was permitted to behold a plurality of norms; one god was not considered the denial or anathema to another god! Here for the first time one allowed oneself individuals; here one first honored the rights of individuals. The invention of gods, heroes, and overmen (Übermenschen) of all kinds, as well as deviant or inferior forms of humanoid life, undermen, dwarfs, fairies, centaurs, satyrs, demons, and devils, was the invaluable preliminary exercise for the justification of the egoism and sovereignty of the individual: the freedom that one conceded to a god in his relation to other gods one finally gave to oneself in relation to laws, customs, and neighbors. Monotheism, in contrast, this rigid consequence of the doctrine of one normal human type — that is, the belief in one normal god beside whom there are only pseudo-gods — was perhaps the greatest danger that has yet confronted humanity. It threatened us with the premature stagnation that, as far as we can see, most other species have long reached; for all of them believe in one normal type and ideal for their species, and they have translated the morality of custom definitively into their own flesh and blood. In polytheism the free-spiritedness and many-spiritedness of humanity received preliminary form — the power to create for ourselves our own new eyes and ever again new eyes that are ever more our own — so that for humans alone among the animals there are no eternal horizons and perspectives.

Our exploration into advertising and media is at its root a critique of the exploitative nature of capitalism and consumerism. Our economic systems shape how we see our bodies and the bodies of others, and they ultimately inform what we are compelled to do and buy based on that reflection. Profit-greedy industries work with media outlets to offer us a distorted perception of ourselves and then use that distorted self-image to sell us remedies for the distortion. Consider that the female body type portrayed in advertising as the “ideal” is possessed naturally by only 5 percent of American women. Whereas the average U.S. woman is five feet four inches tall and weighs 140 pounds, the average U.S. model is five feet eleven and weighs 117. Now consider a People magazine survey which reported that 80 percent of women respondents said images of women on television and in the movies made them feel insecure. Together, those statistics and those survey results illustrate a regenerative market of people who feel deficient based on the images they encounter every day, seemingly perfectly matched with advertisers and manufacturers who have just the products to sell them (us) to fix those imagined deficiencies.18

Here it is necessary to bring to the fore a major and highly revealing difference, at least in the common sense pervading our historical conjuncture, between the idea of communism and that of democracy. It is sometimes said of communism that it was, in fact, a good idea on paper, but that the reality was a veritable catastrophe. One thereby highlights a discrepancy between political theory and historical reality by insisting on the fact that the idea of communism is perhaps quite simply not realizable. One sometimes adds for good measure that it was precisely faith in the communist idea—a faith that lies beyond the reach of the manifest evidence of concrete experience—that led to the totalitarian turn of actually existing communism. Yet on the other hand, when one speaks of democracy, this type of criticism is no longer operative. One frequently admits that contemporary institutions are not perfect, that actually existing democracy has insufficiencies, that there is still progress to be made, that there is a democratic deficit, or that democracy quite simply remains to come. But despite all the setbacks and all the limitations of contemporary practices, people shout themselves hoarse proclaiming that it is a good idea, or even that it is the sole and unique Idea. In one instance, reality takes precedence over the idea; in the other, the idea gains the upper hand over reality. At base, the same operation is at work, which is a comparison between an ideal system and its historical institution. Yet a revealing discrepancy manifests itself in the criteria of evaluation. In the case of communism, history is capable of refuting the idea, whereas for democracy the idea transcends historical reality and orients it toward something that is perhaps always to come. Whatever the case may be, it is impossible to call into question the democratic idea, for it hovers well above concrete practices. Towering over the real, democratic discourse thereby functions as a pseudo-science, which is to say a discourse that is beyond the reach of material refutations. Illustrating another surreptitious recuperation of vulgar Marxism, faith in the idea—this time democratic—can never be refuted by experience. If this sort of belief was what sustained the misdeeds of Soviet bureaucracy, should not one expect that the liberal recuperation would come full circle and that the icon of democracy would come to allow innumerable “anti-democratic abuses,” and even the development of what Sheldon Wolin has called “inverted totalitarianism”?

The classic host personality, which usually (over 50% of the time) presents for treatment, nearly always bears the legal name and is depressed, anxious, somewhat neurasthenic, compulsively good, masochistic, conscience-stricken, constricted hedonically, and suffers both psychophysioiogical symptoms and time loss and/or time distortion. While no personality types are invariably present, many are encountered quite frequently: childlike personalities (fearful. recalling traumata, or love-seeking), protectors, helpers-advisors, inner self-helpers (serene, rational, and objective helpers and advisors first described by Allison in 1974), personalities with distinct affective states, guardians of memories and secrets (and of family boundaries), memory traces (holding continuity of memory), inner persecutors (often based on identification with the aggressor), anesthetic personalities (created to block out pain), expressers of forbidden impulses (pleasurable and otherwise, such as defiant, aggressive, or antisocial), avengers (which express anger over abuses endured and may wish to redress their grievances), defenders or apologists for the abusers, those based on lost love objects and other introjections and identifications, specialized encapsulators of traumatic experiences and powerful affects, very specialized personalities, and those (often youthful) that preserve the idealized potential for happiness, growth, and the healthy expression of feelings (distorted by traumata) in others (Kluft, 1984b).

Men who pursue a multitude of women fit neatly into two categories. Some seek their own subjective and unchanging dream of a woman in all women. Others are prompted by a desire to possess the endless variety of the objective female world. The obsession of the former is lyrical: what they seek in women is themselves, their ideal, and since an ideal is by definition something that can never be found, they are disappointed again and again. The disappointment that propels them from woman to woman gives their inconstancy a kind of romantic excuse, so that many sentimental women are touched by their unbridled philandering. The obsession of the latter is epic, and women see nothing the least bit touching in it: the man projects no subjective ideal on women, and since everything interests him, nothing can disappoint him. This inability to be disappointed has something scandalous about it. The obsession of the epic womanizer strikes people as lacking in redemption (redemption by disappointment). Because the lyrical womanizer always runs after the same type of woman, we even fail to notice when he exchanges one mistress for another. His friends perpetually cause misunderstandings by mixing up his lovers and calling them by the same name. In pursuit of knowledge, epic womanizers (and of course Tomas belonged in their ranks) turn away from conventional feminine beauty, of which they quickly tire, and inevitably end up as curiosity collectors. They are aware of this and a little ashamed of it, and to avoid causing their friends embarrassment, they refrain from appearing in public with their mistresses.

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a reproductive vessel. The reduction of the head and the diminution of the extremities seem to stress the female form as potentially reproductive, but to what extent this condition was seen as sexual, erotic or matriarchal is unclear. ....Despite the correct rejection of the 'Mother Goddess' and utopian matriarchy myths by recent scholarship, we should not loose track of the overwhelming evidence that the image of female nudity was indeed one of power in ancient Mesopotamia. The goddess Ishtar/Inanna was but one of several goddesses whose erotic allure was represented as a powerful attribute in the literature of the ancient Near East. In contact to the naked male body which was the focus of a variety of meanings in the visual arts, female nudity was always associated with sexuality, and in particular with powerful sexual attraction, Akkadian *kuzbu*. This sexuality was not limited to Ishtar and her cult. As a literary topos, sensuousness is a defining quality for both mortal women and goddesses. In representational art, the nude woman is portrayed in a provocative pose, as the essence of the feminine. For femininity, sexual allure, *kuzbu*, the ideal of the feminine, was thus expressed as nudity in both visual and verbal imagery. While several iconographic types of unclothed females appear in Mesopotamian representations of the historical period - nursing mothers, women in acts of sexual intercourse, entertainers such as dancers and musicians, and isolated frontally represented nudes with or without other attributes - and while these nude female images may have different iconographic functions, the ideal of femininity and female sexuality portrayed in them is similar. -Zainab Bahrani, Women of Babylon: Gender and Representation in Mesopotamia

More and more it seems to me that the philosopher, being of necessity a man of tomorrow and the day after tomorrow, has always found himself, and had to find himself, in contradiction to his today: his enemy was ever the ideal of today. So far all these extraordinary furtherers of man whom one calls philosophers, though they themselves have rarely felt like friends of wisdom but rather like disagreeable fools and dangerous question marks, have found their task, their hard, unwanted, inescapable task, but eventually also the greatness of their task in being the bad conscience of their time. They exposed how much hypocrisy, comfortableness, letting oneself go and letting oneself drop, how many lies lay hidden under the best honored type of their contemporary morality, how much virtue was outlived. Every time they said: "We must get there, that way, where you today are least at home." Facing a world of "modem ideas" that would banish everybody into a corner and specialty, a philosopher —if today there could be philosophers— would be compelled to find the greatness of man, the concept of "greatness," precisely in his range and multiplicity, in his wholeness in manifoldness. Today the taste of the time and the virtue of the time weakens and thins down the will; nothing is as timely as weakness of the will. In the philosophers’ ideal, therefore, precisely strength of the will, hardness, and the capacity for long-range decisions must belong to the concept of "greatness", with as much justification as the opposite doctrine and the ideal of a dumb, renunciatory, humble, selfless humanity was suitable for an opposite age.

More and more it seems to me that the philosopher, being of necessity a man of tomorrow and the day after tomorrow, has always found himself, and had to find himself, in contradiction to his today: his enemy was ever the ideal of today. So far all these extraordinary furtherers of man whom one calls philosophers, though they themselves have rarely felt like friends of wisdom but rather like disagreeable fools and dangerous question marks, have found their task, their hard, unwanted, inescapable task, but eventually also the greatness of their task in being the bad con- science of their time. They exposed how much hypocrisy, comfortableness, letting oneself go and letting oneself drop, how many lies lay hidden under the best honored type of their contemporary morality, how much virtue was outlived. Every time they said: "We must get there, that way, where you today are least at home." Facing a world of "modem ideas" that would banish everybody into a corner and specialty," a philosopher - if today there could be philosophers - would be compelled to find the greatness of man, the concept of "greatness," precisely in his range and multiplicity, in his wholeness in manifoldness. Today the taste of the time and the virtue of the time weakens and thins down the will; nothing is as timely as weakness of the will. In the philosophers’ ideal, therefore, precisely strength of the will, hardness, and the capacity for long-range decisions must belong to the concept of "greatness", with as much justification as the opposite doctrine and the ideal of a dumb, renunciatory, humble, selfless humanity was suitable for an opposite age.

I shall now give my notion of what is modern. According to the measure of energy of every age, there is also a standard that determines which virtues shall be allowed and which forbidden. The age either has the virtues of ascending life, in which case it resists the virtues of degeneration with all its deepest instincts. Or it is in itself an age of degeneration, in which case it requires the virtues of declining life, — in which case it hates everything that justifies itself, solely as being the outcome of a plenitude, or a superabundance of strength. Aesthetic is inextricably bound up with these biological principles: there is decadent aesthetic, and classical aesthetic, — “beauty in itself” is just as much a chimera as any other kind of idealism. — Within the narrow sphere of the so-called moral values, no greater antithesis could be found than that of master-morality and the morality of Christian valuations: the latter having grown out of a thoroughly morbid soil. (—The gospels present us with the same physiological types, as do the novels of Dostoiewsky), the master-morality (“Roman,” “pagan,” “classical,” “Renaissance”), on the other hand, being the symbolic speech of well-constitutedness, of ascending life, and of the Will to Power as a vital principle. Master-morality affirms just as instinctively as Christian morality denies (“God,” “Beyond,” “self-denial,” — all of them negations). The first reflects its plenitude upon things, — it transfigures, it embellishes, it rationalises the world, — the latter impoverishes, bleaches, mars the value of things; it suppresses the world. “World” is a Christian term of abuse.

The definition of morality; Morality is the idiosyncrasy of decadents, actuated by a desire to avenge themselves with success upon life. I attach great value to this definition. 8 [Pg 141] Have you understood me? I have not uttered a single word which I had not already said five years ago through my mouthpiece Zarathustra. The unmasking of Christian morality is an event which unequalled in history, it is a real catastrophe. The man who throws light upon it is a force majeure, a fatality; he breaks the history of man into two. Time is reckoned up before him and after him. The lightning flash of truth struck precisely that which theretofore had stood highest: he who understands what was destroyed by that flash should look to see whether he still holds anything in his hands. Everything which until then was called truth, has been revealed as the most detrimental, most spiteful, and most subterranean form of life; the holy pretext, which was the "improvement" of man, has been recognised as a ruse for draining life of its energy and of its blood. Morality conceived as Vampirism.... The man who unmasks morality has also unmasked the worthlessness of the values in which men either believe or have believed; he no longer sees anything to be revered in the most venerable man—even in the types of men that have been pronounced holy; all he can see in them is the most fatal kind of abortions, fatal, because they fascinate. The concept "God" was invented as the opposite of the concept life—everything detrimental, poisonous, and slanderous, and all deadly hostility to life, wad bound together in one horrible unit in Him. The concepts "beyond" and "true world" were invented in order to depreciate the only world that exists—in order that no goal or aim, no sense or task, might be left to earthly reality. The concepts "soul," "spirit," and last of all the concept "immortal soul," were invented in order to throw contempt on the body, in order to make it sick and "holy," in order to cultivate an attitude of appalling levity towards all things in life which deserve to be treated seriously, i.e. the questions of nutrition and habitation, of intellectual diet, the treatment of the sick, cleanliness, and weather. Instead of health, we find the "salvation of the soul"—that is to say, a folie circulate fluctuating between convulsions and penitence and the hysteria of redemption. The concept "sin," together with the torture instrument appertaining to it, which is the concept "free will," was invented in order to confuse and muddle our instincts, and to render the mistrust of them man's second nature! In the concepts "disinterestedness" and "self-denial," the actual signs of decadence are to be found. The allurement of that which is [Pg 142] [Pg 143] The Project Gutenberg eBook of Ecce Homo, by Friedrich Nietzsche. detrimental, the inability to discover one's own advantage and self-destruction, are made into absolute qualities, into the "duty," the "holiness," and the "divinity" of man. Finally—to keep the worst to the last—by the notion of the good man, all that is favoured which is weak, ill, botched, and sick-in-itself, which ought to be wiped out. The law of selection is thwarted, an ideal is made out of opposition to the proud, well-constituted man, to him who says yea to life, to him who is certain of the future, and who guarantees the future—this man is henceforth called the evil one. And all this was believed in as morality!

The pacifist-humanitarian idea may indeed become an excellent one when the most superior type of manhood will have succeeded in subjugating the world to such an extent that this type is then sole master of the earth. This idea could have an injurious effect only in the measure in which its application became difficult and finally impossible. So, first of all, the fight, and then pacifism. If it were otherwise, it would mean that mankind has already passed the zenith of its development, and accordingly, the end would not be the supremacy of some moral ideal, but degeneration into barbarism and consequent chaos. People may laugh at this statement, but our planet moved through space for millions of years, uninhabited by men, and at some future date may easily begin to do so again, if men should forget that wherever they have reached a superior level of existence, it was not as a result of following the ideas of crazy visionaries but by acknowledging and rigorously observing the iron laws of Nature. What reduces one race to starvation stimulates another to harder work. All the great civilisations of the past became decadent because the originally creative race died out, as a result of contamination of the blood. The most profound cause of such a decline is to be found in the fact that the people ignored the principle that all culture depends on men, and not the reverse. In other words, in order to preserve a certain culture, the type of manhood that creates such a culture must be preserved, but such a preservation goes hand in hand with the inexorable law that it is the strongest and the best who must triumph and that they have the right to endure. He who would live must fight. He who does not wish to fight in this world, where permanent struggle is the law of life, has not the right to exist. Such a saying may sound hard, but, after all, that is how the matter really stands. Yet far harder is the lot of him who believes that he can overcome Nature, and thus in reality insults her. Distress, misery, and disease, are her rejoinders. Whoever ignores or despises the laws of race really deprives himself of the happiness to which he believes he can attain, for he places an obstacle in the victorious path of the superior race and, by so doing, he interferes with a prerequisite condition of, all human progress. Loaded with the burden of human sentiment, he falls back to the level of a helpless animal. It would be futile to attempt to discuss the question as to what race or races were the original champions of human culture and were thereby the real founders of all that we understand by the word ‘humanity.’ It is much simpler to deal with this question in so far as it relates to the present time. Here the answer is simple and clear. Every manifestation of human culture, every product of art, science and technical skill, which we see before our eyes to-day, is almost, exclusively the product of the Aryan creative power. All that we admire in the world to-day, its science and its art, its technical developments and discoveries, are the products of the creative activities of a few peoples, and it may be true that their first beginnings must be attributed to one race. The existence of civilisation is wholly dependent on such peoples. Should they perish, all that makes this earth beautiful will descend with them into the grave. He is the Prometheus of mankind, from whose shining brow the divine spark of genius has at all times flashed forth, always kindling anew that fire which, in the form of knowledge, illuminated the dark night by drawing aside the veil of mystery and thus showing man how to rise and become master over all the other beings on the earth. Should he be forced to disappear, a profound darkness will descend on the earth; within a few thousand years human culture will vanish and the world will become a desert.

Out of 1,016 study subjects who’d been involved with the Moonies, 90 percent of those who’d been interested enough to attend one of the workshops where this so-called brainwashing occurred decided that the whole thing wasn’t really their cup of tea and quickly ended their Moonie careers. They couldn’t be converted. Of the remaining 10 percent who joined, half left on their own steam within a couple of years. So what made the other 5 percent stay? Prevailing wisdom would tell you that only the intellectually deficient or psychologically unstable would stick by a “cult” that long. But scholars have disproven this, too. In Barker’s studies, she compared the most committed Moonie converts with a control group—the latter had gone through life experiences that might make them very “suggestive” (“Like having an unhappy childhood or being rather low-intelligence,” she said). But in the end, the control group either didn’t join at all or left after a week or two. A common belief is that cult indoctrinators look for individuals who have “psychological problems” because they are easier to deceive. But former cult recruiters say their ideal candidates were actually good-natured, service-minded, and sharp. Steven Hassan, an ex-Moonie himself, used to recruit people to the Unification Church, so he knows a little something about the type of individual cults go for. “When I was a leader in the Moonies we selectively recruited . . . those who were strong, caring, and motivated,” he wrote in his 1998 book Combatting Cult Mind Control. Because it took so much time and money to enlist a new member, they avoided wasting resources on someone who seemed liable to break down right away. (Similarly, multilevel marketing higher-ups agree that their most profitable recruits aren’t those in urgent need of cash but instead folks determined and upbeat enough to play the long game. More on that in part 4.) Eileen Barker’s studies of the Moonies confirmed that their most obedient members were intelligent, chin-up folks. They were the children of activists, educators, and public servants (as opposed to wary scientists, like my parents). They were raised to see the good in people, even to their own detriment. In this way, it’s not desperation or mental illness that consistently suckers people into exploitative groups—instead, it’s an overabundance of optimism.

And, even more important for our purposes, these facts are sturdy enough that we can build a sensible diet upon them. Here they are: FACT 1. Populations that eat a so-called Western diet—generally defined as a diet consisting of lots of processed foods and meat, lots of added fat and sugar, lots of refined grains, lots of everything except vegetables, fruits, and whole grains—invariably suffer from high rates of the so-called Western diseases: obesity, type 2 diabetes, cardiovascular disease, and cancer. Virtually all of the obesity and type 2 diabetes, 80 percent of the cardiovascular disease, and more than a third of all cancers can be linked to this diet. Four of the top ten killers in America are chronic diseases linked to this diet. The arguments in nutritional science are not about this well-established link; rather, they are all about identifying the culprit nutrient in the Western diet that might be responsible for chronic diseases. Is it the saturated fat or the refined carbohydrates or the lack of fiber or the transfats or omega-6 fatty acids—or what? The point is that, as eaters (if not as scientists), we know all we need to know to act: This diet, for whatever reason, is the problem. FACT 2. Populations eating a remarkably wide range of traditional diets generally don’t suffer from these chronic diseases. These diets run the gamut from ones very high in fat (the Inuit in Greenland subsist largely on seal blubber) to ones high in carbohydrate (Central American Indians subsist largely on maize and beans) to ones very high in protein (Masai tribesmen in Africa subsist chiefly on cattle blood, meat, and milk), to cite three rather extreme examples. But much the same holds true for more mixed traditional diets. What this suggests is that there is no single ideal human diet but that the human omnivore is exquisitely adapted to a wide range of different foods and a variety of different diets. Except, that is, for one: the relatively new (in evolutionary terms) Western diet that most of us now are eating. What an extraordinary achievement for a civilization: to have developed the one diet that reliably makes its people sick! (While it is true that we generally live longer than people used to, or than people in some traditional cultures do, most of our added years owe to gains in infant mortality and child health, not diet.) There is actually a third, very hopeful fact that flows from these two: People who get off the Western diet see dramatic improvements in their health. We have good research to suggest that the effects of the Western diet can be rolled back, and relatively quickly.

Philip had cultivated a certain disdain for idealism. He had always had a passion for life, and the idealism he had come across seemed to him for the most part a cowardly shrinking from it. The idealist withdrew himself, because he could not suffer the jostling of the human crowd; he had not the strength to fight and so called the battle vulgar; he was vain, and since his fellows would not take him at his own estimate, consoled himself with despising his fellows. For Philip his type was Hayward, fair, languid, too fat now and rather bald, still cherishing the remains of his good looks and still delicately proposing to do exquisite things in the uncertain future; and at the back of this were whiskey and vulgar amours of the street. It was in reaction from what Hayward represented that Philip clamoured for life as it stood; sordidness, vice, deformity, did not offend him; he declared that he wanted man in his nakedness; and he rubbed his hands when an instance came before him of meanness, cruelty, selfishness, or lust: that was the real thing. In Paris he had learned that there was neither ugliness nor beauty, but only truth: the search after beauty was sentimental. Had he not painted an advertisement of chocolat Menier in a landscape in order to escape from the tyranny of prettiness? But here he seemed to divine something new. He had been coming to it, all hesitating, for some time, but only now was conscious of the fact; he felt himself on the brink of a discovery. He felt vaguely that here was something better than the realism which he had adored; but certainly it was not the bloodless idealism which stepped aside from life in weakness; it was too strong; it was virile; it accepted life in all its vivacity, ugliness and beauty, squalor and heroism; it was realism still; but it was realism carried to some higher pitch, in which facts were transformed by the more vivid light in which they were seen. He seemed to see things more profoundly through the grave eyes of those dead noblemen of Castile; and the gestures of the saints, which at first had seemed wild and distorted, appeared to have some mysterious significance. But he could not tell what that significance was. It was like a message which it was very important for him to receive, but it was given him in an unknown tongue, and he could not understand. He was always seeking for a meaning in life, and here it seemed to him that a meaning was offered; but it was obscure and vague. He was profoundly troubled. He saw what looked like the truth as by flashes of lightning on a dark, stormy night you might see a mountain range. He seemed to see that a man need not leave his life to chance, but that his will was powerful; he seemed to see that self-control might be as passionate and as active as the surrender to passion; he seemed to see that the inward life might be as manifold, as varied, as rich with experience, as the life of one who conquered realms and explored unknown lands.

YOU FIRST When entering into relationships, we have a tendency to bend. We bend closer to one another, because regardless of what type of relationship it might be — romantic, business, friendship — there’s a reason you’re bringing that other person into your life, and that means the load is easier to carry if you carry it together, both bending toward the center. I picture people in relationships as two trees, leaning toward one another. Over time, as the relationship solidifies, you both become more comfortable bending, and as such bend farther, eventually resting trunk to trunk. You support each other and are stronger because of the shared strength of your root system and entwined branches. Double-tree power! But there’s a flaw in this mode of operation. Once you’ve spent some time leaning on someone else, if they disappear — because of a breakup, a business upset, a death, a move, an argument — you’re all that’s left, and far weaker than when you started. You’re a tree leaning sideways; the second foundation that once supported you is…gone. This is a big part of why the ending of particularly strong relationships can be so disruptive. When your support system presupposes two trunks — two people bearing the load, and divvying up the responsibilities; coping with the strong winds and hailstorms of life — it can be shocking and uncomfortable and incredibly difficult to function as an individual again; to be just a solitary tree, alone in the world, dealing with it all on your own. A lone tree needn’t be lonely, though. It’s most ideal, in fact, to grow tall and strong, straight up, with many branches. The strength of your trunk — your character, your professional life, your health, your sense of self — will help you cope with anything the world can throw at you, while your branches — your myriad interests, relationships, and experiences — will allow you to reach out to other trees who are likewise growing up toward the sky, rather than leaning and becoming co-dependent. Relationships of this sort, between two equally strong, independent people, tend to outlast even the most intertwined co-dependencies. Why? Because neither person worries that their world will collapse if the other disappears. It’s a relationship based on the connections between two people, not co-dependence. Being a strong individual first alleviates a great deal of jealousy, suspicion, and our innate desire to capture or cage someone else for our own benefit. Rather than worrying that our lives will end if that other person disappears, we know that they’re in our lives because they want to be; their lives won’t end if we’re not there, either. Two trees growing tall and strong, their branches intertwined, is a far sturdier image than two trees bent and twisted, tying themselves into uncomfortable knots to wrap around one another, desperately trying to prevent the other from leaving. You can choose which type of tree to be, and there’s nothing inherently wrong with either model; we all have different wants, needs, and priorities. But if you’re aiming for sturdier, more resilient relationships, it’s a safe bet that you’ll have better options and less drama if you focus on yourself and your own growth, first. Then reach out and connect with others who are doing the same.

There are many types of teachers out there from many traditions. Some are very ordinary and some seem to radiate spirituality from every pore. Some are nice, some are indifferent, and some may seem like sergeants in boot camp. Some stress reliance on one’s own efforts, others stress reliance on the grace of the guru. Some are very available and accessible, and some may live far away, grant few interviews, or have so many students vying for their time that you may rarely get a chance to talk with them. Some seem to embody the highest ideals of the perfected spiritual life in their every waking moment, while others may have many noticeable quirks, faults and failings. Some live by rigid moral codes, while others may push the boundaries of social conventions and mores. Some may be very old, and some may be very young. Some may require strict commitments and obedience, while others may hardly seem to care what we do at all. Some may advocate very specific practices, stating that their way is the only way or the best way, while others may draw from many traditions or be open to your doing so. Some may point out our successes, while others may dwell on our failures. Some may stress renunciation or even ordination into a monastic order, while others seem relentlessly engaged with “the world.” Some charge a bundle for their teachings, while others give theirs freely. Some like scholarship and the lingo of meditation, while others may never use or even openly despise these formal terms and conceptual frameworks. Some teachers may be more like friends or equals that just want to help us learn something they happened to be good at, while others may be all into the hierarchy, status and role of being a teacher. Some teachers will speak openly about attainments, and some may not. Some teachers are remarkably predictable in their manner and teaching style, while others swing wide in strange and unpredictable ways. Some may seem very tranquil and mild mannered, while others may seem outrageous or rambunctious. Some may seem extremely humble and unimposing, while others may seem particularly arrogant and presumptuous. Some are charismatic, while others may be distinctly lacking in social skills. Some may readily give us extensive advice, and some just listen and nod. Some seem the living embodiment of love, and others may piss us off on a regular basis. Some teachers may instantly click with us, while others just leave us cold. Some teachers may be willing to teach us, and some may not. So far as I can tell, none of these are related in any way to their meditation ability or the depths of their understanding. That is, don’t judge a meditation teacher by their cover. What is important is that their style and personality inspire us to practice well, to live the life we want to live, to find what it is we wish to find, to understand what we wish to understand. Some of us may wander for a long time before we find a good fit. Some of us will turn to books for guidance, reading and practicing without the advantages or hassles of teachers. Some of us may seem to click with a practice or teacher, try to follow it for years and yet get nowhere. Others seem to fly regardless. One of the most interesting things about reality is that we get to test it out. One way or another, we will get to see what works for us and what doesn’t, what happens when we do certain practices or follow the advice of certain teachers, as well as what happens when we don’t.

In Leibniz we can already find the striking observation that *cogitatur ergo est* is no less evident than *cogito ergo sum*. Naturally, *est* here does not mean existence or reality but being of whatever kind and form, including even ideal being, fictive being, conscious-being [*Bewusst-Sein*], etc. However, we must go even beyond this thesis of Leibniz. The correlate of the act of *cogitatio* is not, as Leibniz said, being simply, but only that type of being we call "objectifiable being." Objectifiable being must be sharply distinguished from the non-objectifiable being of an act, that is, from a kind of entity which possesses its mode of being only in performance [*Vollzug*], namely, in the performance of the act. "Being," in the widest sense of the word, belongs indeed to the being-of-an-act [*Akt-Sein*], to *cogitare*, which does not in turn require another *cogitare*. Similarly, we are only vaguely "aware" of our drives [*Triebleben*] without having them as objects as we do those elements of consciousness which lend themselves to imagery. For this reason the first order of evidence is expressed in the principle, "There is something," or, better, "There is not nothing." Here we understand by the word "nothing" the negative state of affairs of not-being in general rather than "not being something" or "not being actual." A second principle of evidence is that everything which "is" in any sense of the possible kinds of being can be analyzed in terms of its character or essence (not yet separating its contingent characteristics from its genuine essence) and its existence in some mode. With these two principles we are in a position to define precisely the concept of knowledge, a concept which is prior even to that of consciousness. Knowledge is an ultimate, unique, and underivable ontological relationship between two beings. I mean by this that any being A "knows" any being B whenever A participates in the essence or nature of B, without B's suffering any alteration in its nature or essence because of A's participation in it. Such participation is possible both in the case of objectifiable being and in that of active [*akthaften*] being, for instance, when we repeat the performance of the act; or in feelings, when we relive the feelings, etc. The concept of participation is, therefore, wider than that of objective knowledge, that is, knowledge of objectifiable being. The participation which is in question here can never be dissolved into a causal relation, or one of sameness and similarity, or one of sign and signification; it is an ultimate and essential relation of a peculiar type. We say further of B that, when A participates in B and B belongs to the order of objectifiable being, B becomes an "objective being" ["*Gegenstand"-sein*]. Confusing the being of an object [*Sein des Gegenstandes*] with the fact that an entity is an object [*Gegenstandssein eines Seienden*] is one of the fundamental errors of idealism. On the contrary, the being of B, in the sense of a mode of reality, never enters into the knowledge-relation. The being of B can never stand to the real bearer of knowledge in any but a causal relation. The *ens reale* remains, therefore, outside of every possible knowledge-relation, not only the human but also the divine, if such exists. Both the concept of the "intentional act" and that of the "subject" of this act, an "I" which performs acts, are logically posterior. The intentional act is to be defined as the process of becoming [*Werdesein*] in A through which A participates in the nature or essence of B, or that through which this participation is produced. To this extent the Scholastics were right to begin with the distinction between an *ens intentionale* and an *ens reale*, and then, on the basis of this distinction, to distinguish between an intentional act and a real relation between the knower and the being of the thing known." ―from_Idealism and Realism_