Image Similarity Quotes

Who can listen to a story of loneliness and despair without taking the risk of experiencing similar pains in his own heart and even losing his precious peace of mind? In short: “Who can take away suffering without entering it?

Joseph McCarthy, the Junior Republican Senator from Wisconsin, ruled America like devil king for four years. His purges were an American mirror image of Stalin's purges, an unnoticed similarity.

Studies have found that the same areas in the brain that light up in imaging scans when we break a leg are activated when we split up with our mate. As part of a reaction to a breakup, our brain experiences the departure of an attachment figure in a similar way to that in which it registers physical pain.

When the brain is working to remember something, similar patterns of neurons fire as they did during the perception of the original event. These networks are linked, and each time we revisit them, they become stronger and more associated. But they need the proper retrieval cues--words, smells, images-- for them to be brought back as memories

Zen Buddhism is a way and a view of life which does not belong to any of the formal categories of modern Western thought. It is not religion or philosophy; it is not a psychology or a type of science. It is an example of what is known in India and China as a “way of liberation,” and is similar in this respect to Taoism, Vedanta, and Yoga. As will soon be obvious, a way of liberation can have no positive definition. It has to be suggested by saying what it is not, somewhat as a sculptor reveals an image by the act of removing pieces of stone from a block.

If, then, something like attention deficit hyperactivity disorder is a pathology, it is a pathology of late capitalism – a consequence of being wired into the entertainment-control circuits of hyperme-diated consumer culture. Similarly, what is called dyslexia may in many cases amount to a post-lexia. Teenagers process capital’s image-dense data very effectively without any need to read –slogan-recognition is sufficient to navigate the net-mobile-magazine informational plane. ‘Writing has never been capitalism’s thing. Capitalism is profoundly illiterate’, Deleuze

Inside each one of us there is a mostly hidden, mostly golden, mostly eternal image or aspect of being, similar to the gold that is buried in the earth. We are the earthlings, the children of the earth, and therefore we are a replica, in a sense, of the earth itself. One of the ideas that is important is: As above, so below. As outside, so within.

She had realized there are only fragments, that 'memories' always consist of fragments the mind puts together into a pattern, adapts a picture staked out early without the need for a conenction with anything that really happened. A great deal is misunderstood by small children, then stored as images that attract similar images, confirming and reinforcing.

The clay or putty-like material stays soft and malleable enough to do so many, many times. In his infinite wisdom, God manufactured the self-image of similar material, so it remains malleable throughout our entire lives. No one is ever too old, too jaded, too frightened, or too traumatized to “wet the clay” and begin remaking it as they imagine and desire.

Sometimes, authors' descriptions of unique fictional characters are like mirrors that reflect the readers image back.

A seductive female voice added, “Hello Henry, I’m the deputy director. But you can call me Samantha.” Henry’s response was accusing. “You’re a droid!” “I’m an R9054, one of the most powerful robotic systems devised by Ingermann-Verex, my makers. And I prefer the term humanoid if you don’t mind.” Locking onto her image, Henry noted the strange wrap-round view panel enshrouding the top part of the body shell. Inside, there was a human face seemingly trapped inside an electronic body. Although he’d seen a number of droids with similar face screens, Samantha’s was the most realistic, so he guessed her claims of being top of her range were probably right.

The Protestant theologian Paul Tillich recently drew a similar distinction between the God we imagine when we hear the term, and the “God beyond God,” that is, the “ground of being” that underlies all our concepts and images.

One of my constant preoccupations is trying to understand how it is that other people exist, how it is that there are souls other than mine and consciousnesses not my own, which, because it is a consciousness, seems to me unique. I understand perfectly that the man before me uttering words similar to mine and making the same gestures I make, or could make, is in some way my fellow creature. However, I feel just the same about the people in illustrations I dream up, about the characters I see in novels or the dramatis personae on the stage who speak through the actors representing them. I suppose no one truly admits the existence of another person. One might concede that the other person is alive and feels and thinks like oneself, but there will always be an element of difference, a perceptible discrepancy, that one cannot quite put one's finger on. There are figures from times past, fantasy-images in books that seem more real to us than these specimens of indifference-made-flesh who speak to us across the counters of bars, or catch our eye in trams, or brush past us in the empty randomness of the streets. The others are just part of the landscape for us, usually the invisible landscape of the familiar. I feel closer ties and more intimate bonds with certain characters in books, with certain images I've seen in engravings, that with many supposedly real people, with that metaphysical absurdity known as 'flesh and blood'. In fact 'flesh and blood' describes them very well: they resemble cuts of meat laid on the butcher's marble slab, dead creatures bleeding as though still alive, the sirloin steaks and cutlets of Fate. I'm not ashamed to feel this way because I know it's how everyone feels. The lack of respect between men, the indifference that allows them to kill others without compunction (as murderers do) or without thinking (as soldiers do), comes from the fact that no one pays due attention to the apparently abstruse idea that other people have souls too.

A person with a negative self-image will expect the worst, damage relationships, and find others who are similarly negative.

An enlightened man had but one duty--to seek the way to himself, to reach inner certainty, to grope his way forward, no matter where it led. The realization shook me profoundly, it was the fruit of this experience. I had often speculated with images of the future, dreamed of roles that I might be assigned, perhaps as poet or prophet or painter, or something similar. All that was futile. I did not exist to write poems, to preach or to paint, neither I nor anyone else. All of that was incidental. Each man had only one genuine vocation--to find the way to himself. He might end up as poet or madman, as prophet or criminal--that was not his affair, ultimately it was of no concern. His task was to discover his own destiny--not an arbitrary one--and live it out wholly and resolutely within himself. Everything else was only a would-be existence, an attempt at evasion, a flight back to the ideals of the masses, conformity and fear of one's own inwardness.

I thought that as I had failed in the contemplation of true existence, I ought to be careful that I did not lose the eye of my soul; as people may injure their bodily eye by observing and gazing on the sun during an eclipse, unless they take the precaution of looking at the image reflected in the water, or in some similar medium. ...I was afraid that my soul might be blinded altogether if I looked at things with my eyes or tried by the help of my senses to apprehend them. And I thought that I had better had recourse to ideas, and seek in them truth in existence. I dare to say that the simile is not perfect--for I am far from admitting that he who contemplates existence through the medium of ideas, sees them only "through a glass darkly," any more than he who sees them in their working and effects.

Photojournalism has frequently been lambasted for being the product of circumstance. In fact rarely are any of these images considered in terms of their composition and semantic intent. They are merely news, a happy intersection of event and opportunity. It hardly helps that photographs in general also take only a fraction of a second to acquire. It is incredible how so many people can constantly misread speed to mean ease. This is certainly most common where photography is concerned. However simply because anyone can buy a camera, shutter away, and then with a slightly prejudiced eye justify the product does not validate the achievement. Shooting a target with a rifle is accomplished with similar speed and yet because the results are so objective no one suggests that marksmanship is easy.

Different states of consciousness project different images of God–loving or vengeful or jealous, energetic or terrifying, and different images of God affect the nature and quality of our response to God. . . . The image or idea of God as wrathful and jealous will have a different effect than the image or the idea of God as loving. Similarly, whether God is regarded as male or female will have a significant impact on the culture. (29)

Then there were the negatives. How he missed negatives. They were the actual rays of light, bounced straight off a landscape, an object, a person, and scarred on to the film. Photographic negatives were the hardest evidence you could get of your memories. They were the char left by the fire, the bruise left on your skin. The same light that carried to your eyes, on the day of your photograph, that image of your mother, or your father, or your close friend, had recorded itself on the film. And now, staring at the photo on the wall of Ida's transparent toes against the bed sheets, he thought how similar her feet were to negatives: both subjects of that half-world between memory and the present. These were not real, flexible, treading toes, but a play of light that showed where toes had been.

In dreams the images in the mind, in the subconscious, merge with and obliterate the perceptions from the astral senses, in a similar way that in daily life the subconscious causes the external world to be perceived with the colorations of thoughts, feelings, images, and emotions; in other words, we daydream or get lost in thoughts.

brain imaging studies show that the experience of physical pain and the experience of relational pain, like rejection, look very similar in terms of location of brain activity.

The person next to you is more similar to the person within you than you know.

Words present us with little pictures, clear and familiar, like those that are hung on the walls of schools to give children an example of what a workbench is, a bird, an anthill, things conceived of as similar to all others of the same sort. But names present a confused image of people--and of towns, which they accustom us to believe are individual, unique like people--an image which derives from them, from the brightness or darkness of their tone, the color with which it is painted uniformly, like one of those posters, entirely blue or entirely red, in which, because of the limitations of the process used or by a whim of the designer, not only the sky and the sea are blue or red, but the boats, the church, the people in the streets.

The longstanding effort to "colorize" feminist theory by inserting the experiences of women of color represents at best genuine efforts to reduce bias in Women's Studies. But at its worst, colorization also contains elements of both voyeurism and academic colonialism. As a result of new technologies and perceived profitability, we can now watch black-and-white movie classics in color. While the tinted images we are offered may be more palatable to the modern viewer, we are still watching the same old movie that was offered to us before. Movie colorization adds little of substance-its contributions remain cosmetic. Similarly, women of color allegedly can teach White feminists nothing about feminism, but must confine ourselves to "colorizing" preexisting feminist theory. Rather than seeing women of color as fully human individuals, we are treated as the additive sum of our categories.

When I was in the Everneath, I thought about Jack every day. Every minute. Even after I'd forgotten his name, the image of his face made me feel whole again. Was Jack the reason I'd survived? Were our ties to the Surface what somehow kept us whole? The one problem in the anchor theory was Meredith.She had a connection with her mom,yet she didn't survive. But then the more I thought about it, the more I realized Mrs. Jenkins didn't have a similar connection to Meredith. She forgot about Meredith the second the Feed began. Then it hit me.Orpheus didn't forget about Eurydice.He loved her the entire time she was gone. Maybe the attachment between Forfeit and anchor worked only when it went both ways. The drinking fountain next to me shuddered to life as a flash of intuition hit me. I knew now that Jack never forgot about me.He'd never stopped loving me.He was the anchor that saved me. And now he was gone.

Being idolized and being torn down felt oddly similar. They both made me feel alone. Friendship and trust should be earned, and when you're famous, people seem to want to give them to you whether you've earned them or not, and it felt dishonest to me. Fame was not real. It was all a projection—fame made me a blank canvas that people projected their love, lust, troubles, self-worth, and desire upon. Fame and power do not change us, they amplify us.

Creativity is the ability to form similar connections between disparate images and to create something new and hurl it into the future so it becomes a poem, or a building, or a dance, or a novel. Creativity is, in a sense, future memory.” If the essence of creativity is linking disparate facts and ideas, then the more facility you have making associations, and the more facts and ideas you have at your disposal, the better you’ll be at coming up with new ideas.

Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur. Which is to say that a full-length movie consists of half an hour or an hour of pure darkness that goes unseen. If you could add up all the darkness, you would find the audience in the theater gazing together at a deep imaginative night. It is the terra incognita of film, the dark continent on every map. In a similar way, a runner’s every step is a leap, so that for a moment he or she is entirely off the ground. For those brief instants, shadows no longer spill out from their feet, like leaks, but hover below them like doubles, as they do with birds, whose shadows crawl below them, caressing the surface of the earth, growing and shrinking as their makers move nearer or farther from that surface. For my friends who run long distances, these tiny fragments of levitation add up to something considerable; by their own power they hover above the earth for many minutes, perhaps some significant portion of an hour or perhaps far more for the hundred-mile races. We fly; we dream in darkness; we devour heaven in bites too small to be measured.

Though the tendency to tic is innate in Tourette's, the particular form of tics often has a personal or historical origin. Thus a name, a sound, a visual image, a gesture, perhaps seen years before and forgotten, may first be unconsciously echoed or imitated and then preserved in the stereotypic form of a tic. Such tics are like hieroglyphic, petrified residues of the past and may indeed, with the passage of time, become so hieroglyphic, so abbreviated, as to become unintelligible (as 'God be with you' was condensed, collapsed, after centuries, to the phonetically similar but meaningless 'goodbye').

It is the Spirit of God that actively sustains every form and force in the universe; yet He is transcendental and aloof in the blissful uncreated void beyond the worlds of vibratory phenomena,” Master explained. “Saints who realize their divinity even while in the flesh know a similar twofold existence. Conscientiously engaging in earthly work, they yet remain immersed in an inward beatitude. The Lord has created all men from the limitless joy of His being. Though they are painfully cramped by the body, God nevertheless expects that souls made in His image shall ultimately rise above all sense identifications and reunite with Him.

We live in a similarly shattered Weltanschauung where cultural distractions urgently seek to mask the demise of tribal mythologies, where sex, power, money are offered up as “connections” to replace the linking to the transcendent mythic images once granted.

What struck me, in reading the reports from Sri Lanka, was the mild disgrace of belonging to our imperfectly evolved species in the first place. People who had just seen their neighbors swept away would tell the reporters that they knew a judgment had been coming, because the Christians had used alcohol and meat at Christmas or because ... well, yet again you can fill in the blanks for yourself. It was interesting, though, to notice that the Buddhists were often the worst. Contentedly patting an image of the chubby lord on her fencepost, a woman told the New York Times that those who were not similarly protected had been erased, while her house was still standing. There were enough such comments, almost identically phrased, to make it seem certain that the Buddhist authorities had been promulgating this consoling and insane and nasty view. That would not surprise me.

If a tree falls in a forest and no one is there to hear it, does it make a sound? (The question was first posed by the Irish philosopher George Berkeley.) Simply, no—sound is a mental image created by the brain in response to vibrating molecules. Similarly, there can be no pitch without a human or animal present. A suitable measuring device can register the frequency made by the tree falling, but truly it is not pitch unless and until it is heard.

And it makes no difference how important the provocation may be, but into what kind of soul it penetrates. Similarly with fire; it does not matter how great is the flame, but what it falls upon. For solid timbers have repelled a very great fire; conversely, dry and easily inflammable stuff nourishes the slightest spark into a conflagration.

Writing is just a trick, after all; you turn images into words that you hope will trigger similar images that already exist in the reader’s head.

The Minoans produced the figurines we now know simply as the Minoan Snake Goddesses, images which bear a striking similarity to Hekate.

But what matters is not the similarities your imagination finds, but the similarities that are implicit in the image, and they are not necessarily the same. I have noticed that the more imaginative readers are often the less successful. Their minds leap to what they think is there rather than waiting with patience. And what matters most of all is where the chosen meaning comes in the hierarch of meaning, you see, and for that there is no alternative to the books. That is why the only alethiometers we know about are kept in or by great libraries.

Espinoza experienced something similar, though slightly different in two respects. First, the need to be near Liz Norton struck some time before he got back to his apartment in Madrid. By the time he was on the plane he’d realized that she was the perfect woman, the one he’d always hoped to find, and he began to suffer. Second, among the ideal images of Norton that passed at supersonic speed through his head as the plane flew toward Spain at four hundred miles an hour, there were more sex scenes than Pelletier had imagined. Not many more, but more. (16)

The lynching tree—so strikingly similar to the cross on Golgotha—should have a prominent place in American images of Jesus’ death. But it does not. In fact, the lynching tree has no place in American theological reflections about Jesus’ cross or in the proclamation of Christian churches about his Passion. The conspicuous absence of the lynching tree in American theological discourse and preaching is profoundly revealing, especially since the crucifixion was clearly a first-century lynching. In the “lynching era,” between 1880 to 1940, white Christians lynched nearly five thousand black men and women in a manner with obvious echoes of the Roman crucifixion of Jesus. Yet these “Christians” did not see the irony or contradiction in their actions.

Were we dealing with a spectrum-based system that described male and female sexuality with equal accuracy, data taken from gay males would look similar to data taken from straight females—and yet this is not what we see in practice. Instead, the data associated with gay male sexuality presents a mirror image of data associated with straight males: Most gay men are as likely to find the female form aversive as straight men are likely to find the male form aversive. In gay females we observe a similar phenomenon, in which they mirror straight females instead of appearing in the same position on the spectrum as straight men—in other words, gay women are just as unlikely to find the male form aversive as straight females are to find the female form aversive. Some of the research highlighting these trends has been conducted with technology like laser doppler imaging (LDI), which measures genital blood flow when individuals are presented with pornographic images. The findings can, therefore, not be written off as a product of men lying to hide middling positions on the Kinsey scale due to a higher social stigma against what is thought of in the vernacular as male bisexuality/pansexuality. We should, however, note that laser Doppler imaging systems are hardly perfect, especially when measuring arousal in females. It is difficult to attribute these patterns to socialization, as they are observed across cultures and even within the earliest of gay communities that emerged in America, which had to overcome a huge amount of systemic oppression to exist. It’s a little crazy to argue that the socially oppressed sexuality of the early American gay community was largely a product of socialization given how much they had overcome just to come out. If, however, one works off the assumptions of our model, this pattern makes perfect sense. There must be a stage in male brain development that determines which set of gendered stimuli is dominant, then applies a negative modifier to stimuli associated with other genders. This stage does not apparently take place during female sexual development. 

Hollywood and similar “popular culture” sources of disinformation have assigned largely negative images to programmers. For example, we have all seen the solitary, fat, ugly nerd with no social skills who is obsessed with video games and breaking into other people’s computers. He (almost always a male) is as likely to want to destroy the world as he is to want to save it. Obviously, milder versions of such caricatures exist in real life, but in our experience they are no more frequent among software developers than they are among lawyers, police officers, car salesmen, journalists, artists, or politicians.

One of the great creations of Mexican Catholicism was the appearance of the Virgin of Guadalupe to a Mexican Indian, on the same hill where, before the Conquest, a pre-Hispanic goddess had been worshiped. Catholicism was able to take root in Mexico by transforming the ancient gods into the saints, virgins, and devils of the new religion. Nothing similar could occur in India with Muslim monotheism or Protestant Christianity, both of which saw the cult of images, of saints and virgins, as idolatry. The Christianity imported by the British was poor in rites and ceremonies, but full of moral and sexual rigidity. In other words: the exact opposite of popular Hinduism. Similarly, in Christian asceticism, the central concept is redemption; in India, it is liberation. These two words encompass opposite ideas of this world and the next, of the body and the soul.

Nature had once produced an Englishman whose domed head had been a hive of words; a man who had only to breathe on any particle of his stupendous vocabulary to have that particle live and expand and throw out tremulous tentacles until it became a complex image with a pulsing brain and correlated limbs. Three centuries later, another man, in another country, was trying to render these rhythms and metaphors in a different tongue. This process entailed a prodigious amount of labour, for the necessity of which no real reason could be given. It was as if someone, having seen a certain oak tree (further called Individual T) growing in a certain land and casting its own unique shadow on the green and brown ground, had proceeded to erect in his garden a prodigiously intricate piece of machinery which in itself was as unlike that or any other tree as the translator's inspiration and language were unlike those of the original author, but which, by means of ingenious combination of parts, light effects, breeze-engendering engines, would, when completed, cast a shadow exactly similar to that of Individual T - the same outline, changing in the same manner, with the same double and single spots of sun rippling in the same position, at the same hour of the day. From a practical point of view, such a waste of time and material (those headaches, those midnight triumphs that turn out to be disasters in the sober light of morning!) was almost criminally absurd, since the greatest masterpiece of imitation presupposed a voluntary limitation of thought, in submission to another man's genius.

The modern hallucination in which women are trapped or trap themselves is similarly rigid, cruel, and euphemistically painted. Contemporary culture directs attention to imagery of the Iron Maiden, while censoring real women’s faces and bodies.

You guys could handle this on your own. Why risk getting kicked out of your He-Man-Monster-Haters Club?" "Because we can't handle this on our own. At least I don't think we can." "You said yourself you already have some Prodigium working with you. Why not go to them?" "We have a handful," he said, frustration creeping into his voice. "And most of them suck. Look, just consider it a peace offering, okay? My way of saying I'm sorry for lying to you. And pulling a knife in your presence, even if it was just to open a damn window to get out before you vaporized me." Most girls got flowers. I got a dirt put used for demon raising. Nice. "Thanks," I replied. "But don't you want in on this?" He looked at me, and not for the first time, I wished his eyes weren't so dark. It would have been nice to have some idea of what was going on in his head. "That's up to you," he said. Mom always liked to say that we hardly ever know the decisions we make that change our lives,mostly because they're little ones. You take this bus instead of that one and end up meeting your soul mate, that kind of thing. But there was no doubt in my mind that this was one of those life-changing moments. Tell Archer no,and I'd never see him again. And Dad and Jenna wouldn't be mad at me, and Cal...Tell Archer yes, and everything suddenly got twistier and more complicated than Mrs. Casnoff's hairdo. And even though I'm a twisty and complicated girl, I knew what my answer had to be. "It's too much of a risk, Cross. Maybe one day when I'm head of the Council, and you're...well, whatever you're going to be for L'Occhio di Dio, we could work on some kind of collaboration." That brought up depressig images of me and Archer sittig across a boardroom table, sketching out battle plans on a whiteboard, so my voice was a little shaky when I continued. "But for now, it's too dangerous." And not just because basically everyone in our lives would want to kill us if they found out, I thought. But because I was pretty sure I was still in love with him, and I thought he might feel something similar for me, and there was no way we could work together preventing the Monster Apocalypse/World War III without that becoming an issue. Not that I could say any of that. Archer's face was blank as he said, "Cool. Got it." "Cross," I started to say, but then his eyes slid past me and went wide with horror. At the same time, I became aware of a slithering noice behind me. That just could not be good; in my experience, nothing pleasant slithers. Still, I was not prepared for the nightmares climbing out of the crater.

In the woodblock prints of the Genroku period one often finds the features of a pair of lovers to be surprisingly similar, with little to distinguish the man from the woman. The universal ideal of beauty in Greek sculpture likewise approaches a close resemblance between the male and female. Might this not be one of the secrets of love? Might it not be that through the innermost recesses of love there courses an unattainable longing in which both the man and the woman desire to become the exact image of the other? Might not this longing drive them on, leading at last to a tragic reaction in which they seek to attain the impossible by going to the opposite extreme? In short, since their mutual love cannot achieve a perfection of mutual identity, is there not a mental process whereby each of them tries instead to emphasize their points of dissimilarity—the man his manliness and the woman her womanliness—and uses this very revolt as a form of coquetry toward the other? Or if they do achieve a similarity, it unfortunately lasts for only a fleeting moment of illusion. Because, as the girl becomes more bold and the boy more shy, there comes an instant at which they pass each other going in opposite directions, overshooting their mark and passing on beyond to some point where the mark no longer exists.

Shinmon Aoki, a modern undertaker in Japan, described being ridiculed by society for his job washing and casketing the dead. His family disowned him and his wife wouldn't sleep with him because he was "defiled" by corpses. So Aoki purchased a surgical robe, mask, and gloves and began showing up to homes dressed in full medical garb. People began responding differently; they bought the image he was selling and called him "doctor." The American undertaker had done something similar: by making themselves "medical" they became legitimate.

What is personal death? Asking this question and pausing to look inward - isn't personal death a concept? Isn't there a thought-and-picture series going on in the brain? These scenes of personal ending take place solely in the imagination, and yet they trigger great mental ad physical distress - thinking of one's cherished attachments an their sudden, irreversible termination. Similarly, if there is 'pain when I let some of the beauty of life in' - isn't this pain the result of thinking, 'I won't be here any longer to enjoy this beauty?' Or, 'No one will be around and no beauty left to be enjoyed if there is total nuclear devastation.' Apart from the horrendous tragedy of human warfare - why is there this fear of 'me' not continuing? Is it because I don't realize that all my fear and trembling is for an image? Because I really believe that this image is myself? In the midst of this vast, unfathomable, ever-changing, dying, and renewing flow of life, the human brain is ceaselessly engaged in trying to fix for itself a state of permanency and certainty. Having the capacity to think and form pictures of ourselves, to remember them and become deeply attached to them, we take this world of pictures and ideas for real. We thoroughly believe in the reality of the picture story of our personal life. We are totally identified with it and want it to go on forever. The idea of "forever" is itself an invention of the human brain. Forever is a dream. Questioning beyond all thoughts, images, memories, and beliefs, questioning profoundly into the utter darkness of not-knowing, the realization may suddenly dawn that one is nothing at all - nothing - that all one has been holding on to are pictures and dreams. Being nothing is being everything. It is wholeness. Compassion. It is the ending of separation, fear, and sorrow. Is there pain when no one is there to hold on? There is beauty where there is no "me".

...people living in unrecovered trauma often behave in very similar ways to the people who traumatized them. Over and over I have seen traumatized people refuse to hear or engage information that would alter their self-concepts, even in ways that could bring them more happiness and integrity... the undiscovered traumatized persons refusal is rooted in a panic that their fragile self cannot bear interrogation; that whatever is keeping them together is not flexible. Perhaps because Supremacy in some produces Trauma in others, they can become mirror images. And of course, many perpetrators were/are victims themselves.

Our dream life allows us to have a look at these subliminal perceptions and shows us that they have an effect upon us. After having an agreeable dream about somebody, even without interpreting the dream, I shall involuntarily look at that person with more interest. The dream image may have deluded me, because of my projections; or it may have given me objective information. To find out which is the correct interpretation requires an honest, attentive attitude and careful thought. But, as is the case with all inner processes, it is ultimately the Self that orders and regulates one's human relationships, so long as the conscious ego takes the trouble to detect the delusive projections and deals with these inside himself instead of outside. It is in this way that spiritually attuned and similarly oriented people find their way to one another, to create a group that cuts across all the usual social and organizational affiliations of people. Such a group is not in conflict with others; it is merely different and independent. The consciously realized process of individuation thus changes a person's relationships. The familiar bonds such as kinship or common interests are replaced by a different type of unity-a bond through the Self.

But the dream-work knows how to select a condition that will turn even this dreaded event into a wish-fulfilment: the dreamer sees himself in an ancient Etruscan grave, into which he has descended, happy in the satisfaction it has given to his archaeological interests. Similarly man makes the forces of nature not simply in the image of men with whom he can associate as his equals—that would not do justice to the overpowering impression they make on him—but he gives them the characteristics of the father, makes them into gods, thereby following not only an infantile, but also, as I have tried to show, a phylogenetic prototype.    In

An enlightened man had but one duty--to seek the way to himself, to reach inner certainty, to grope his way forward, no matter where it led. The realization shook me profoundly, it was the fruit of this experience. I had often speculated with images of the future, dreamed of roles that I might be assigned, perhaps as poet or prophet or painter, or something similar. All that was futile. I did not exist to write poems, to preach or to paint, neither I nor anyone else. All of that was incidental. Each man had only one genuine vocation--to find the way to himself. He might end up as poet or madman, as prophet or criminal--that was not his affair, ultimately it was of no concern. His task was to discover his own destiny--not an arbitrary one--and live it out wholly and resolutely within himself. Everything else was only a would-be existence, an attempt at evasion, a flight back to the ideals of the masses, conformity and fear of one's own inwardness.

I suspect that self-deception is similar to its cousins, overconfidence and optimism, and as with these other biases, it has both benefits and disadvantages. On the positive side, an unjustifiably elevated belief in ourselves can increase our general well-being by helping us cope with stress; it can increase our persistence while doing difficult or tedious tasks; and it can get us to try new and different experiences. We persist in deceiving ourselves in part to maintain a positive self-image. We gloss over our failures, highlight our successes (even when they’re not entirely our own), and love to blame other people and outside circumstances when our failures are undeniable. Like our friend the crab, we can use self-deception to boost our confidence when we might not otherwise feel bold. Positioning ourselves on the basis of our finer points can help us snag a date, finish a big project, or land a job. (I am not suggesting that you puff up your résumé, of course, but a little extra confidence can often work in our favor.) On the negative side, to the extent that an overly optimistic view of ourselves can form the basis of our actions, we may wrongly assume that things will turn out for the best and as a consequence not actively make the best decisions. Self-deception can also cause us to “enhance” our life stories with, say, a degree from a prestigious university, which can lead us to suffer a great deal when the truth is ultimately revealed. And, of course, there is the general cost of deception. When we and those around us are dishonest, we start suspecting everyone, and without trust our lives become more difficult in almost every way.

The brain interprets the nerve impulses to form an image. It is not until that happens that we really see the piece of cake. This delicious news is then passed on to the systems that control salivation, with mouth-watering results. Similarly, the mere sight of a yummy treat also causes the stomach to produce some digestive juices in anticipation.

The impulse to form group identities and favor in-group members has a neurological basis. Using functional magnetic resonance imaging (fMRI), scientists have scanned people’s brains while conducting experiments similar to the one just described. Their findings, as one writer puts it, suggest that: “group identification is both innate and almost immediate.

It is hard to understand why the modern West has been so much more troubled by sexual images than by violent ones. Murder has always been illegal in the West, but the representation of murder has rarely inspired the kind of hue and cry generated by the depiction of adults having sex. Those who claim that pornography will impel children to engage in sexual conduct seem not the least bit concerned that war stories and Westerns will encourage children to kill their neighbors. For all the talk of "sex and violence" on television, no one seems to blink at the amount of blood spilled in a boxing match, but one can only imagine the outcry that would follow if a similar amount of semen were shown in a bedroom scene of a daytime soap opera.

After this examination there are still gaps of doubt and apparent contradiction. And it is natural that it be so, because the Eternal Return is an experience. There lies its importance: in the fact of being. The Eternal Return is not the reincarnation as it has been spread in our days. Original Buddhism, on the other hand, could be pointing to something similar. Buddha was a shastriya, that is, a prince of the warrior caste, not a brahman, or priest, and his Doctrine was also for heroes and warriors. Then, it has been transformed by the monks. Buddha, like Nietzsche, talks about a reincarnation without mentioning the soul. What is it that reincarnates, then? As in Nietzsche it could be that 'atom-seed', or 'all those conditions that determine its existence and that they come back to give themselves', in the turn of the Energy, or of the Light that finds the old image. The Buddhist would want to be liberated, to leave the Circle; that's why it kills desire, that makes return. The Will to Power, as we have seen, returns to its 'archive', wishes to possess again its 'non-existence'. The difference: Nietzsche wants to return eternally, incorporates the Will and considers Nirvana a dream of decadents, of warriors who have become priests, monks. However, we do not know what Buddha really thought, because he did not talk about these things, nor did he explain Nirvana. Maybe, he just wanted to get out of this Circle to enter to fight in another wider Circle, that is more immense.

Ben developed a similarly Byzantine system for memorizing binary digits, which enables him to convert any ten-digit-long string of ones and zeros into a unique image. That’s 210, or 1,024, images set aside for binaries. When he sees 1101001001, he immediately sees it as a single chunk, an image of a card game. When he sees 0111011010, he instantaneously conjures up an image of a cinema. In international memory competitions, mental athletes are given sheets of 1,200 binary digits, thirty to a row, forty rows to a page. Ben turns each row of thirty digits into a single image. The number 110110100000111011010001011010, for example, is a muscleman putting a fish in a tin. At the time, Ben held the world record for having learned 3,705 random ones and zeroes in half an hour.

This coup de main gave Morgan the means to make himself a Jamaican planter and to secure a knighthood, respectability and the governorship of the colony. It also, like Drake’s similar exploits a hundred years before, made a deep impression on the public imagination and reinforced that popular image of distant lands as places where quick fortunes were waiting for the energetic and ruthless.

Although Jung's concept of a collective unconscious has had an enormous impact on psychology and is now embraced by untold thousands of psychologists and psychiatrists, our current understanding of the universe provides no mechanism for explaining its existence. The interconnectedness of all things predicted by the holographic model, however, does offer an explanation. In a universe in which all things are infinitely interconnected, all consciousnesses are also interconnected. Despite appearances, we are beings without borders. Or as Bohm puts it, "Deep down the consciousness of mankind is one. "1 If each of us has access to the unconscious knowledge of the entire human race, why aren't we all walking encyclopedias? Psychologist Robert M. Anderson, Jr., of the Rensselaer Polytechnic Institute in Troy, New York, believes it is because we are only able to tap into information in the implicate order that is directly relevant to our memories. Anderson calls this selective process personal resonance and likens it to the fact that a vibrating tuning fork will resonate with (or set up a vibration in) another tuning fork only if the second tuning fork possesses a similar structure, shape, and size. "Due to personal resonance, relatively few of the almost infinite variety of 'images' in the implicate holographic structure of the universe are available to an individual's personal consciousness, " says Anderson. "Thus, when enlightened persons glimpsed this unitive consciousness centuries ago, they did not write out relativity theory because they were not studying physics in a context similar to that in which Einstein studied physics.

Psychodynamic theorists and psychologists of various traditions theorise that the sense of having fallen originates in our experience of birth. We are created in the body of woman and grow in the womb where all our needs are automatically met. Then we fall, in birth, into the human world, separated from our maternal Eden, but always remembering a heavenly place where all our needs were met. It should not be a surprise, but we now know that the baby in the womb can see and hear and remember. Any parent who has seen a placenta will know that it is made in the image of a tree, a wondrous tree of life that fed us until we were ready for birth. Is it any surprise that in so many traditions the symbolism of trees is so important? The tree of life is the first thing we see in the womb, we never forget this and psychodynamic theorists argue we yearn for this, all our lives, hoping to escape life’s frustrations by returning to a blissful womb like state. If this is true, is it any wonder that legends of fallen angels so fascinate and entice us? In these legends perhaps we see echoes of our own fall. Psychologically we identify with those with whom we share similar experiences; and the fallen angels can easily become mirrors in which to see ourselves.

White feminists did not challenge the racist-sexist tendency to use the word "woman" to refer solely to white women; they supported it. For them it serves two purposes. First, it allowed them to proclaim white men world oppressors while making it appear linguistically that no alliance existed between white women and white men based on shared racial imperialism. Second, it made it possible for white women to act as if alliances did exist between themselves and non-white women in our society, and by so doing they could deflect attention away from their classism and racism. Had feminists chosen to make explicit comparisons between the status of white women and that of black people, or more specifically the status of black women and white women, it would have been more than obvious that the two groups do not share an identical oppression. It would have been obvious that similarities between the women under patriarchy and that of any slave or colonized person do not necessarily exist in a society that is both racially and sexually imperialistic. In such a society, the woman who is seen as inferior because of her sex, can also be seen as superior because of her race, even in relationship to men of another race. Because feminists tended to evoke an image of women as a collective group, their comparisons between "women" and "blacks" were accepted without question. This constant comparison of the plight of "women" and "blacks" deflected attention away from the fact that black women were extremely victimized by both racism and sexism - a fact which, had it been emphasized, might have diverted public attention away from the complaints of middle and upper class white feminists.

The figure, made by the woman standing in front of him, had not been manufactured by modifying—carving or shaping or polishing—a material that occurred naturally. It was made of ceramic, fired clay, and it was the first material ever created by human hand and human intelligence. The heating chamber was not a cooking oven, it was a kiln. And the first kiln ever devised was not invented for the purpose of making useful waterproof containers. Long before pottery, small ceramic sculptures were fired into impermeable hardness. The figures they had seen on the shelves resembled animals and humans, but the images of women—no men were made, only women—and other living creatures were not considered actual portrayals. They were symbols, metaphors, meant to represent more than they showed, to suggest an analogy, a spiritual similarity. They were art; art came before utility.

Because all such things are aspects of the holomovement, he feels it has no meaning to speak of consciousness and matter as interacting. In a sense, the observer is the observed. The observer is also the measuring device, the experimental results, the laboratory, and the breeze that blows outside the laboratory. In fact, Bohm believes that consciousness is a more subtle form of matter, and the basis for any relationship between the two lies not in our own level of reality, but deep in the implicate order. Consciousness is present in various degrees of enfoldment and unfoldment in all matter, which is perhaps why plasmas possess some of the traits of living things. As Bohm puts it, "The ability of form to be active is the most characteristic feature of mind, and we have something that is mindlike already with the electron. "11 Similarly, he believes that dividing the universe up into living and nonliving things also has no meaning. Animate and inanimate matter are inseparably interwoven, and life, too, is enfolded throughout the totality of the universe. Even a rock is in some way alive, says Bohm, for life and intelligence are present not only in all of matter, but in "energy, " "space, " "time, " "the fabric of the entire universe, " and everything else we abstract out of the holomovement and mistakenly view as separate things. The idea that consciousness and life (and indeed all things) are ensembles enfolded throughout the universe has an equally dazzling flip side. Just as every portion of a hologram contains the image of the whole, every portion of the universe enfolds the whole. This means that if we knew how to access it we could find the Andromeda galaxy in the thumbnail of our left hand. We could also find Cleopatra meeting Caesar for the first time, for in principle the whole past and implications for the whole future are also enfolded in each small region of space and time. Every cell in our body enfolds the entire cosmos. So does every leaf, every raindrop, and every dust mote, which gives new meaning to William Blake's famous poem: To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour.

The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused. For separate them, and you lose much of the greatness; and join them, and you infallibly lose the clearness. [...] But painting, when we have allowed for the pleasure of imitation, can only affect simply by the images it presents; and even in painting, a judicious obscurity in some things contributes to the effect of the picture; because the images in painting are exactly similar to those in nature; and in nature, dark, confused, uncertain images have a greater power on the fancy to form the grander passions, than those have which are more clear and determinate. But where and when this observation may be applied to practice, and how far it shall be extended, will be better deduced from the nature of the subject, and from the occasion, than from any rules that can be given.

Despite a seemingly pervasive belief that only people of colour ‘play the race card’, it does not take anything as dramatic as a slave revolution or Japanese imperialism to evoke white racial anxieties, something as trivial as the casting of non-white people in films or plays in which a character was ‘supposed’ to be white will do the trick. For example, the casting of Olivier award-winning actress Noma Dumezweni to play the role of Hermione in the debut West End production of Harry Potter and the Cursed Child got bigots so riled up that J. K. Rowling felt the need to respond and give her blessing for a black actress to play the role. A similar but much larger controversy occurred when the character Rue in the film The Hunger Games was played by a black girl, Amandla Stenberg. Even though Rue is described as having brown skin in the original novel, ‘fans’ of the book were shocked and dismayed that the movie version cast a brown girl to play the role, and a Twitter storm of abuse about the ethnic casting of the role ensued. You have to read the responses to truly appreciate how angry and abusive they are.- As blogger Dodai Stewart pointed out at the time: All these . . . people . . . read The Hunger Games. Clearly, they all fell in love with and cared about Rue. Though what they really fell in love with was an image of Rue that they’d created in their minds. A girl that they knew they could love and adore and mourn at the thought of knowing that she’s been brutally killed. And then the casting is revealed (or they go see the movie) and they’re shocked to see that Rue is black. Now . . . this is so much more than, 'Oh, she’s bigger than I thought.’ The reactions are all based on feelings of disgust. These people are MAD that the girl that they cried over while reading the book was ‘some black girl’ all along. So now they’re angry. Wasted tears, wasted emotions. It’s sad to think that had they known that she was black all along, there would have been [no] sorrow or sadness over her death.

The differences between religions are reflected very clearly in the different forms of sacred art: compared with Gothic art, above all in its “flamboyant” style, Islamic art is contemplative rather than volitive: it is “intellectual” and not “dramatic”, and it opposes the cold beauty of geometrical design to the mystical heroism of cathedrals. Islam is the perspective of “omnipresence” (“God is everywhere”), which coincides with that of “simultaneity” (“Truth has always been”); it aims at avoiding any “particularization” or “condensation”, any “unique fact” in time and space, although as a religion it necessarily includes an aspect of “unique fact”, without which it would be ineffective or even absurd. In other words Islam aims at what is “everywhere center”, and this is why, symbolically speaking, it replaces the cross with the cube or the woven fabric: it “decentralizes” and “universalizes” to the greatest possible extent, in the realm of art as in that of doctrine; it is opposed to any individualist mode and hence to any “personalist” mysticism. To express ourselves in geometrical terms, we could say that a point which seeks to be unique, and which thus becomes an absolute center, appears to Islam—in art as in theology—as a usurpation of the divine absoluteness and therefore as an “association” (shirk); there is only one single center, God, whence the prohibition against “centralizing” images, especially statues; even the Prophet, the human center of the tradition, has no right to a “Christic uniqueness” and is “decentralized” by the series of other Prophets; the same is true of Islam—or the Koran—which is similarly integrated in a universal “fabric” and a cosmic “rhythm”, having been preceded by other religions—or other “Books”—which it merely restores. The Kaaba, center of the Muslim world, becomes space as soon as one is inside the building: the ritual direction of prayer is then projected toward the four cardinal points. If Christianity is like a central fire, Islam on the contrary resembles a blanket of snow, at once unifying and leveling and having its center everywhere.

Creativity is the ability to form similar connections between disparate images and to create something new and hurl it into the future so it becomes a poem, or a building, or a dance, or a novel. Creativity is, in a sense, future memory.” If the essence of creativity is linking disparate facts and ideas, then the more facility you have making associations, and the more facts and ideas you have at your disposal, the better you’ll be at coming up with new ideas. As Buzan likes to point out, Mnemosyne, the goddess of memory, was the mother of the Muses.

Finding a situation that catches the key competitor or competitors with conflicting goals is at the heart of many company success stories. The slow Swiss reaction to the Timex watch provides an example. Timex sold its watches through drugstores, rather than through the traditional jewelry store outlets for watches, and emphasized very low cost, the need for no repair, and the fact that a watch was not a status item but a functional part of the wardrobe. The strong sales of the Timex watch eventually threatened the financial and growth goals of the Swiss, but it also raised an important dilemma for them were they to retaliate against it directly. The Swiss had a big stake in the jewelry store as a channel and a large investment in the Swiss image of the watch as a piece of fine precision jewelry. Aggressive retaliation against Timex would have helped legitimize the Timex concept, threatened the needed cooperation of jewelers in selling Swiss watches, and blurred the Swiss product image. Thus the Swiss retaliation to Timex never really came. There are many other examples of this principle at work. Volkswagen’s and American Motor’s early strategies of producing a stripped-down basic transportation vehicle with few style changes created a similar dilemma for the Big Three auto producers. They had a strategy built on trade-up and frequent model changes. Bic’s recent introduction of the disposable razor has put Gillette in a difficult position: if it reacts it may cut into the sales of another product in its broad line of razors, a dilemma Bic does not face.4 Finally, IBM has been reluctant to jump into minicomputers because the move will jeopardize its sales of larger mainframe computers.

Calf-deep in the soothing water I indulge myself in the wishful vision. I am not unaware of what such daydreams signify, dreams of becoming an unthinking savage, of taking the cold road back to the capital, of groping my way out to the ruins in the desert, of returning to the confinement of my cell, of seeking out the barbarians and offering myself to them to use as they wish. Without exception they are dreams of ends: dreams not of how to live but of how to die. And everyone, I know, in that walled town sinking now into darkness (I hear the two thin trumpet calls that announce the closing of the gates) is similarly preoccupied. What has made it impossible for us to live in time like fish in the water, like birds in air, like children? It is the fault of Empire! Empire has created the time of history. Empire has located its existence not in the smooth recurrent spinning time of the cycle of the seasons but in the jagged time of rise and fall, of beginning and end, of catastrophe. Empire dooms itself to live in history and plot against history. One thought alone preoccupies the submerged mind of Empire: how not to end, how not to die, how to prolong its era. By day it pursues its enemies. It is cunning and ruthless, it sends its bloodhounds everywhere. By night it feeds on images of disaster: the sack of cities, the rape of populations, pyramids of bones, acres of desolation. A mad vision yet a virulent one: I, wading in the ooze, am no less infected with it than the faithful Colonel Joll as he tracks the enemies of Empire through the boundless desert, sword unsheathed to cut down barbarian after barbarian until at last he finds and slays the one whose destiny it should be (or if not his then his son's or unborn grandson's) to climb the bronze gateway to the Summer Palace and topple the globe surmounted by the tiger rampant that symbolizes eternal domination, while his comrades below cheer and fire their muskets in the air.

There is something else I must confess about Tata Boanda: he's a sinner. Right in the plain sight of God he has two wives, a young and an old one. Why, they all come to church! Father says we're to pray for all three of them, but when you get down to the particulars it's hard to know exactly what outcome to pray for. He should drop one wife, I guess, but for sure he'd drop the older one, and she already looks sad enough as it is. The younger one has all the kids, and you can't just pray for a daddy to flat-out dump his babies, can you? I always believed any sin was easily rectified if only you let Jesus Christ into your heart, but here it gets complicated. Mama Boanda Number Two doesn't seem fazed by her situation. In fact, she looks like she's fixing to explode with satisfaction. She and her little girls all wear their hair in short spikes bursting out all over their heads, giving an effect similar to a pincushion (Rachel calls it the "haywire hairdo.") And Mama Boanda always wraps her pagne just so, with a huge pink starburst radiating across her wide rump. The women's long cloth skirts are printed so gaily with the oddest things: there is no telling when a raft of yellow umbrellas, or the calico cat and gingham dog, or an upside-down image of the Catholic Pope might just go sauntering across our yard.

The moment American bankers stop lending dollars to Argentina, the country is unable to refinance its mountain of dollar debt. Again, Greece is similar. Even though it has the same currency as Germany, the euro, the chronic Greek trade deficit with Germany translates into a constant flow of loaned euros from Germany to Greece so that the Greeks can keep buying more and more German goods. The slightest interruption in the flow of new loans from the surplus country to the deficit country causes the whole house of cards to collapse. This is when the IMF steps in. Its personnel fly into Buenos Aires or Athens, take black limousines to the finance minister’s office and state their terms: we shall lend you the missing dollars or euros on condition that you impoverish your people and sell the family silver to our mates, the oligarchs of this country and the world. Or words to that effect. That’s when TV screens fill with images of angry, and often hungry, demonstrators in Buenos Aires or Athens. Time and again history has shown that the periodic economic recessions that result from trade imbalances poison the deficit country’s democracy, incite contempt for its people in the surplus country, which then prompts xenophobia in the deficit country. Simply put, sustained trade deficits – and surpluses, their mirror image – never end well.

Philosopher Jean Baudrillard made a similar observation about the use of material goods as symbols of immaterial values. He noted that any given material object has two kinds of value: it has use value (the amount of utility which can be derived from the good), and it has sign value (a value based on what the object means to the person who owns it.) Advertisers constantly attempt to increase the amount that people will pay for products by infusing them with artificial sign value. Emotional branding, for example, is the practice of using images to link a product with a positive emotional state, so that people will unthinkingly purchase the product when they crave the emotion.

Try the experiment of taking a few deep breaths, holding the mental image that you are absorbing a large amount of Prana with each inward breath, and you will feel an influx of new strength. This is worth trying when you feel tired and exhausted. Likewise, drink slowly a cupful of water, forming the mental image that you are extracting from the water a great supply of Prana which is stored up in it, and you will experience a similar result. Likewise, in eating, if you will masticate your food slowly, holding the mental image that you are extracting the strength of the Prana in the food, you will receive a much greater per cent of nourishment and strength from the food than you would

We see that it is not the alleged profligacy of the male world that necessarily causes immorality and delinquency in boys and girls. Women are not oppressed and morally led astray because of males, but by their own distorted conception of masculinity, a condition originally caused by their malignant mother's attitudes. In today's world many women prefer raising children without a male influence being present. This is because the "male" is rejected in a similar way as the woman (or mother) is rejected. Neither the father nor the mother have contributed to the creation of a positive superego or ego-ideal (Self-image). Consequently, both parents are demoted in the eyes of a malignant daughter.

So here we find that the animals, and the plants, the vegetation, became living souls, and were created spiritually before they were naturally upon the earth. These are very significant expressions, and I am stressing them as evidence that contradicts and confutes the organic theory of evolution. . . . Evolution teaches production and development of all things by chance, development of the smallest germ to a man created in the image of God, requiring several billions of years for that development. Moreover, this process would, if true, produce on other earths, passing through similar conditions, beings of a most hideous and dreadful nature imaginable. As they teach it has produced some very hideous beings on this earth. There could be no intelligence in a Supreme Being who had each time an earth is formed to leave everything to chance hoping that in some great period of time from an amoeba, creatures would be developed, fit to possess an eternal spirit in his image. I want you to get that! The idea, for us, sons and daughters of God, to be led astray by these theories of men into thinking that things began way back in that far distant time by some chance, suddenly appearing. Why, conditions today are far more favorable to spontaneous life than they were according to the teachings of science, millions of years ago, and have not men struggled and done everything that they knew how to do to find spontaneous life, and in searching for it they have always been defeated. So I state, and have the evidence in this book. They have never found life coming only from antecedent life. God is the author of life, and that is one secret he has not revealed to man. . . . We are transplanted beings. Adam was transplanted. I do not want to get a misunderstanding when I say that. He did not come here a resurrected being. He did not die on some other earth and then come here to die again, to be changed to mortality again, for the resurrected being cannot die. . . . So, Adam was the first man upon the earth, according to the Lord's statement, and the first flesh also. That needs a little explanation. Adam did not come to this earth until it was prepared for him. The animals were here. Plants were here. The Lord did not bring him to a desolate world, and then bring other creatures. It was all prepared for him, just according to the order that is written in our scriptures, and when it was all ready for Adam he was placed upon the earth. Then what is meant by the "first flesh"? It is simple when you understand it. Adam was the first of all creatures to fall and become flesh, and flesh in this sense means mortality, and all through our scriptures the Lord speaks of this life as flesh, while we are here in the flesh, so Adam became the first flesh. There was no other mortal creature before him, and there was no mortal death until he brought it, and the scriptures tell you that. It is here written, and that is the gospel of Jesus Christ. . . . Here the Lord says to Adam that through the fall came death, and other statements of that kind are given in these scriptures. . . . Now, evolution leads men away from God. Men who have had faith in God, when they have become converted to that theory, forsake him. Charles Darwin was a religious man when he started out. I have told in this book something about what happened to him, and how his feelings changed, and what was beautiful to him in the beginning ceased to be beautiful to him thereafter. [Seek Ye Earnestly, 277-283]

counterfactual emotions,” or the feelings that spurred people’s minds to spin alternative realities in order to avoid the pain of the emotion. Regret was the most obvious counterfactual emotion, but frustration and envy shared regret’s essential trait. “The emotions of unrealized possibility,” Danny called them, in a letter to Amos. These emotions could be described using simple math. Their intensity, Danny wrote, was a product of two variables: “the desirability of the alternative” and “the possibility of the alternative.” Experiences that led to regret and frustration were not always easy to undo. Frustrated people needed to undo some feature of their environment, while regretful people needed to undo their own actions. “The basic rules of undoing, however, apply alike to frustration and regret,” he wrote. “They require a more or less plausible path leading to the alternative state.” Envy was different. Envy did not require a person to exert the slightest effort to imagine a path to the alternative state. “The availability of the alternative appears to be controlled by a relation of similarity between oneself and the target of envy. To experience envy, it is sufficient to have a vivid image of oneself in another person’s shoes; it is not necessary to have a plausible scenario of how one came to occupy those shoes.” Envy, in some strange way, required no imagination. Danny spent the

Sacrifice is a notoriously hard concept to understand. Indeed, it is not a univocal concept, but is a name used for a variety of actions that attempt communication between the human and the divine or transcendent spheres.7 Contemplation of the abyss reveals the enormity and complexity of the evil that has been perpetrated upon a society. What would it take to overcome it? The images of cross and blood figure prominently in the Pauline language of reconciliation (cf. Rom 5:9; Col 1:20; Eph 2:13-16). Both cross and blood have paradoxical meanings that allow them to bridge the distance between the divine and human worlds, between life and death. The cross was the ultimate sign of Roman power over a conquered and colonized people. To be crucified was the most dishonorable and humiliating of ways to die. The cross stood as a sign of reassertion of Roman power and the capacity to reject and exclude utterly. Yet it was through the crucified Christ that God chose to reconcile the world. The apparent triumph of worldly power is turned against itself and becomes “Christ the power of God and the wisdom of God” (1 Cor 1:24). For John, the cross is at once instrument of humiliation and Christ's throne of glory (Jn 12:32). Similarly, blood is a sign of the divine life that God has breathed into every living being, and its shedding is a sign of death. The blood of the cross (Col 1:20) becomes the means of reconciling all things to God. In its being shed, the symbol of violence and death becomes the symbol of reconciliation and peace. To understand sacrifice, one must be prepared to inhabit the space within these paradoxes. Sacrifice understood in this way is not about the abuse of power, but about a transformation of power. A spirituality of reconciliation can be deepened by a meditation on the stories of the women and the tomb. These stories invite us to place inside them our experience of marginalization, of being incapable of imagining a way out of a traumatic past, of dealing with the kinds of absence that traumas create. They invite us to let the light of the resurrection—a light that even the abyss cannot extinguish—penetrate those absences.

Religious intolerance is an idea that found its earliest expression in the Old Testament, where the Hebrew tribe depicts itself waging a campaign of genocide on the Palestinian peoples to steal their land. They justified this heinous behavior on the grounds that people not chosen by their god were wicked and therefore did not deserve to live or keep their land. In effect, the wholesale slaughter of the Palestinian peoples, eradicating their race with the Jew's own Final Solution, was the direct result of a policy of religious superiority and divine right. Joshua 6-11 tells the sad tale, and one needs only read it and consider the point of view of the Palestinians who were simply defending their wives and children and the homes they had built and the fields they had labored for. The actions of the Hebrews can easily be compared with the American genocide of its native peoples - or even, ironically, the Nazi Holocaust. With the radical advent of Christianity, this self-righteous intolerance was borrowed from the Jews, and a new twist was added. The conversion of infidels by any means possible became the newfound calling card of religious fervor, and this new experiment in human culture spread like wildfire. By its very nature, how could it not have? Islam followed suit, conquering half the world in brutal warfare and, much like its Christian counterpart, it developed a new and convenient survival characteristic: the destruction of all images and practices attributed to other religions. Muslims destroyed millions of statues and paintings in India and Africa, and forced conversion under pain of death (or by more subtle tricks: like taxing only non-Muslims), while the Catholic Church busily burned books along with pagans, shattering statues and defacing or destroying pagan art - or converting it to Christian use. Laws against pagan practices and heretics were in full force throughrout Europe by the sixth century, and as long as those laws were in place it was impossible for anyone to refuse the tenets of Christianity and expect to keep their property or their life. Similar persecution and harassment continues in Islamic countries even to this day, officially and unofficially.

One of the more successful attempts—commercially at least—was The ABC of Relativity by the mathematician and philosopher Bertrand Russell. In it, Russell employed an image that has been used many times since. He asked the reader to envision a train one hundred yards long moving at 60 percent of the speed of light. To someone standing on a platform watching it pass, the train would appear to be only eighty yards long and everything on it would be similarly compressed. If we could hear the passengers on the train speak, their voices would sound slurred and sluggish, like a record played at too slow a speed, and their movements would appear similarly ponderous. Even the clocks on the train would seem to be running at only four-fifths of their normal speed.

The antithetical or perhaps mirror image to sadness is the experience, similarly unique to one's late years, of a swift, mysterious wave of happiness, also causeless, but of much shorter duration. I cannot remember a time, before my sixties, when the consciousness of happiness would sweep over me and, like a shower of cold water when one is desperately overheated, offer me a passing sensation very close to glee. Both sadness and fleeting happiness relate, I think, to mortality, to the consciousness of being old and of nearing the end of life. . . these sensations . . . surge up from the unconscious, to be a gift of long life or fortunate old age. Both sadness and happiness, but sadness more, are related to the fact that nothing of all this will endure for long. [p. 179]

To the Realists. Ye sober beings, who feel yourselves armed against passion and fantasy, and would gladly make a pride and an ornament out of your emptiness, ye call yourselves realists, and give to understand that the world is actually constituted as it appears to you; before you alone reality stands unveiled, and ye yourselves would perhaps be the best part of it, oh, ye dear images of Sais! But are not ye also in your unveiled condition still extremely passionate and dusky beings compared with the fish, and still all too like an enamoured artist? and what is "reality" to an enamoured artist! Ye still carry about with you the valuations of things which had their origin in the passions and infatuations of earlier centuries! There is still a secret and ineffaceable drunkenness embodied in your sobriety! Your love of "reality," for example oh, that is an old, primitive "love"! In every feeling, in every sense-impression, there is a portion of this old love: and similarly also some kind of fantasy, prejudice, irrationality, ignorance, fear, and whatever else has become mingled and woven into it. There is that mountain! There is that cloud! What is "real" in them? Remove the phantasm and the whole human element therefrom, ye sober ones! Yes, if ye could do that! If ye could forget your origin, your past, your preparatory schooling, your whole history as man and beast! There is no "reality" for us nor for you either, ye sober ones, we are far from being so alien to one another as ye suppose; and perhaps our good-will to get beyond drunkenness is just as respectable as your belief that ye are altogether incapable of drunkenness.

For what people of color quickly come to see—in a sense the primary epistemic principle of the racialized social epistemology of which they are the object—is that they are not seen at all. Correspondingly, the “central metaphor” of W. E. B. Du Bois’s The Souls of Black Folk is the image of the “veil,”20 and the black American cognitive equivalent of the shocking moment of Cartesian realization of the uncertainty of everything one had taken to be knowledge is the moment when for Du Bois, as a child in New England, “it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their [white] world by a vast veil.”21 Similarly, Ralph Ellison’s classic Invisible Man, generally regarded as the most important twentieth-century novel of the black experience, is arguably in key respects—while a multi-dimensional and multi-layered work of great depth and complexity, not to be reduced to a single theme—an epistemological novel.22 For what it recounts is the protagonist’s quest to determine what norms of belief are the right ones in a crazy looking-glass world where he is an invisible man “simply because [white] people refuse to see me… . When they approach me they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me.” And this systematic misperception is not, of course, due to biology, the intrinsic properties of his epidermis, or physical deficiencies in the white eye, but rather to “the construction of their inner eyes, those eyes with which they look through their physical eyes upon reality.”23

The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")

It is for this reason that Jung may be right in assuming that energy is a universal concept applicable to psychic functioning as well as the physical universe. Jung then describes how energy has two attributes, intensity and extensity. Extensity of energy is not transferable from one structure to another without changing the structure; intensity of energy is. By extensity, Jung is referring to the quality of the energy. In other words, he is pointing out that there is "something" that travels from one place to another when an energy transformation occurs. For example, a ball that is hit straight up carries with it energy continually undergoing transformation. It has kinetic energy and gravitational potential energy. The quantity of kinetic energy is continually transferring into potential energy as the ball rises. Thus at the top of its trajectory, the ball is momentarily at rest, i.e., with no kinetic energy, but with full potential energy. The evaluation of its quantities of energy is intensive but the qualities of kinetic and potential are extensive. The ball cannot transfer its kinetic quality into potential quality without changing its form by breaking up, for example, into parts. Similarly there is a psychic extensive factor that is not transferable. Jung's concept of extensity and intensity are forerunners of David Bohm's concept of implicate and explicate order, about which I shall have more to say later. They are also forerunners of the conceptual division of the world into objects and actions of objects: subjects and verbs. They comprise a complementarity, a dual way of dealing with experience. They are hints of the division between mind and matter, physical and psychical, words and images.

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

...imagine that you hold in one hand an oddly shaped stone. You keep this hand closed into a fist, but still you can feel the stone’s curvature and the pointed edges, the roughness—of course, you know the relative size and weight and might even have a mental image of the color of this stone, even if you have not yet laid eyes upon it. Imagine that stone in your hand. Imagine what it is like to know everything about the way it feels, but nothing of how it looks. Hold that in mind for a moment. Now, imagine that there is a person standing next to you who tells you that she also holds a stone in her hand. You look down and see the clenched fist and she sees yours and you confess the same. Neither of you, it seems, has yet opened the hand and seen the stone. Still, you can only trust each other’s proclamations. Standing together with your stones in hand, the two of you theorize about whether or not your respective stones are similar to one another. You discuss mundane details about your stones (not the special ones—you hesitate to make mention of the sharp point in the northern hemisphere or the flat area on the bottom). Your neighbor finally notes similarities between her stone and yours and you nod with relief and acknowledge that your stones indeed share reasonable commonalities. Over the course of your discussion, you and your neighbor finally conclude, without bothering to open your hands, that the stones you hold must indeed be quite similar. Are they? It is only suitable to say that they are. At the same time, and in spite of your desire not to offend, there is no doubt in your mind that the stone you hold bespeaks a greater prominence than that of your neighbor. You are not sure how you know this to be true, but it must be so! And I do not mean that this stone simply holds a greater subjective prominence. It has something of the universal, for it is, indeed, an auspicious stone! Silently, you hypothesize in what ways it must be special. It is possibly different in shape, color, weight, size and texture from the other, but you cannot confirm this. Perhaps, it is special by substance? Still, you are unsure. The very fact of your uncertainty begins to bother you and unleashes within you a deep insecurity. What if you are wrong and your stone is actually inferior to the other…or inferior even to some third stone not yet encountered? Meanwhile, your neighbor is silently suffering in the same agony. Both of you tacitly understand that, without comparing the two visually, it is absurd to proclaim the two stones similar. Yet, your fist remains clenched, as does your neighbor’s and so you find yourselves unable to hold out the stones before you and compare them side-by-side. Of course, this is possible, but the mutual curiosity is outstripped by an inveterate pride, and so you both become afraid of showing (and even seeing) what you have, for fear that your respective stones will be different in appearance from the model that you have each conceptualized in mind. Meekly your eyes meet and you smile to one another at your new comradeship, but, all the while, remain paralyzed by a simultaneous shame and vanity.

Normally, Bentner would have beamed approvingly at the pretty portrait the girls made, but this morning, as he put out butter and jam, he had grim news to impart and a confession to make. As he swept the cover off the scones he gave his news and made his confession. “We had a guest last night,” he told Elizabeth. “I slammed the door on him.” “Who was it?” “A Mr. Ian Thornton.” Elizabeth stifled a horrified chuckle at the image that called to mind, but before she could comment Bentner said fiercely, “I regretted my actions afterward! I should have invited him inside, offered him refreshment, and slipped some of that purgative powder into his drink. He’d have had a bellyache that lasted a month!” “Bentner,” Alex sputtered, “you are a treasure!” “Do not encourage him in these fantasies,” Elizabeth warned wryly. “Bentner is so addicted to mystery novels that he occasionally forgets that what one does in a novel cannot always be done in real life. He actually did a similar thing to my uncle last year.” “Yes, and he didn’t return for six months,” Bentner told Alex proudly. “And when he does come,” Elizabeth reminded him with a frown to sound severe, “he refuses to eat or drink anything.” “Which is why he never stays long,” Bentner countered, undaunted. As was his habit whenever his mistress’s future was being discussed, as it was now, Bentner hung about to make suggestions as they occurred to him. Since Elizabeth had always seemed to appreciate his advice and assistance, he found nothing odd about a butler sitting down at the table and contributing to the conversation when the only guest was someone he’d known since she was a girl. “It’s that odious Belhaven we have to rid you of first,” Alexandra said, returning to their earlier conversation. “He hung about last night, glowering at anyone who might have approached you.” She shuddered. “And the way he ogles you. It’s revolting. It’s worse than that; he’s almost frightening.” Bentner heard that, and his elderly eyes grew thoughtful as he recalled something he’d read about in one of his novels. “As a solution it is a trifle extreme,” he said, “but as a last resort it could work.” Two pairs of eyes turned to him with interest, and he continued, “I read it in The Nefarious Gentleman. We would have Aaron abduct this Belhaven in our carriage and bring him straightaway to the docks, where we’ll sell him to the press gangs.” Shaking her head in amused affection, Elizabeth said, “I daresay he wouldn’t just meekly go along with Aaron.” “And I don’t think,” Alex added, her smiling gaze meeting Elizabeth’s, “a press gang would take him. They’re not that desperate.” “There’s always black magic,” Bentner continued. “In Deathly Endeavors there was a perpetrator of ancient rites who cast an evil spell. We would require some rats’ tails, as I recall, and tongues of-“ “No,” Elizabeth said with finality. “-lizards,” Bentner finished determinedly. “Absolutely not,” his mistress returned. “And fresh toad old, but procuring that might be tricky. The novel didn’t say how to tell fresh from-“ “Bentner!” Elizabeth exclaimed, laughing. “You’ll cast us all into a swoon if you don’t desist at once.” When Bentner had padded away to seek privacy for further contemplation of solutions, Elizabeth looked at Alex. “Rats’ tails and lizards’ tongues,” she said, chuckling. “No wonder Bentner insists on having a lighted candle in his room all night.” “He must be afraid to close his eyes after reading such things,” Alex agreed.

Theophilo. Well said. But you do not answer the pith of the argument. For I do not insist on infinite space, nor is Nature endowed with infinite space for the exaltation of size or of corporeal extent, but rather for the exaltation of corporeal natures and species, because infinite perfection is far better presented in innumerable individuals than in those which are numbered and finite. Needs must indeed that there should be an infinite image of the inaccessible divine countenance and that there should be in this image as infinite members thereof, innumerable worlds, namely, these others that I postulate. But since innumerable grades of perfection must, through corporeal mode, unfold the divine incorporeal perfection, therefore there must be innumerable individuals, those great animals, whereof one is our earth, the divine mother who hath given birth to us, doth nourish us and moreover will receive us back; [19] and to contain these innumerable bodies there is needed an infinite space. Nevertheless it is well that there should be since there can be innumerable worlds similar to our own, even as our world hath achieved and doth achieve existence and it is well that it should exist.

[L]et us imagine a mirror image of what is happening today. What if millions of white Americans were pouring across the border into Mexico, taking over parts of cities, speaking English rather than Spanish, celebrating the Fourth of July rather than Cinco de Mayo, sleeping 20 to a house, demanding bilingual instruction and welfare for immigrants, opposing border control, and demanding ballots in English? What if, besides this, they had high rates of crime, poverty, and illegitimacy? Can we imagine the Mexicans rejoicing in their newfound diversity? And yet, that is what Americans are asked to do. For whites to celebrate diversity is to celebrate their own declining numbers and influence, and the transformation of their society. For every other group, to celebrate diversity is to celebrate increasing numbers and influence. Which is a real celebration and which is self-deception? Whites—but only whites—must never take pride in their own people. Only whites must pretend they do not prefer to associate with people like themselves. Only whites must pretend to be happy to give up their neighborhoods, their institutions, and their country to people unlike themselves. Only whites must always act as individuals and never as members of a group that promotes shared interests. Racial identity comes naturally to all non-white groups. It comes naturally because it is good, normal, and healthy to feel kinship for people like oneself. Despite the fashionable view that race is a socially created illusion, race is a biological reality. All people of the same race are more closely related genetically than they are to anyone of a different race, and this helps explain racial solidarity. Families are close for the same reason. Parents love their children, not because they are the smartest, best-looking, most talented children on earth. They love them because they are genetically close to them. They love them because they are a family. Most people have similar feelings about race. Their race is the largest extended family to which they feel an instinctive kinship. Like members of a family, members of a race do not need objective reasons to prefer their own group; they prefer it because it is theirs (though they may well imagine themselves as having many fine, partly imaginary qualities). These mystic preferences need not imply hostility towards others. Parents may have great affection for the children of others, but their own children come first. Likewise, affection often crosses racial lines, but the deeper loyalties of most people are to their own group—their extended family.

The psychological objection is more serious, at least in connection with Hume. The whole theory of ideas as copies of impressions, as he sets it forth, suffers from ignoring vagueness. When, for example, I have seen a flower of a certain colour, and I afterwards call up an image of it, the image is lacking in precision, in this sense, that there are several closely similar shades of colour of which it might be an image, or 'idea,' in Hume's terminology. It is not true that 'the mind cannot form any notion of quantity or quality without forming a precise notion of degrees of each.' Suppose you have seen a man whose height is six feet one inch. You retain an image of him, but it probably would fit a man half an inch taller or shorter. Vagueness is different from generality, but has some of the same characteristics. By not noticing it, Hume runs into unnecessary difficulties, for instance, as to the possibility of imagining a shade of colour you have never seen, which is intermediate between two closely similar shades that you have seen. If these two are sufficiently similar, any image you can form will be equally applicable to both of them and to the intermediate shade. When Hume says that ideas are derived from impressions which they exactly represent he goes beyond what is psychologically true.

We are all poor; but there is a difference between what Mrs. Spark intends by speaking of 'slender means', and what Stevens called our poverty or Sartre our need, besoin. The poet finds his brief, fortuitous concords, it is true: not merely 'what will suffice,' but 'the freshness of transformation,' the 'reality of decreation,' the 'gaiety of language.' The novelist accepts need, the difficulty of relating one's fictions to what one knows about the nature of reality, as his donnée. It is because no one has said more about this situation, or given such an idea of its complexity, that I want to devote most of this talk to Sartre and the most relevant of his novels, La Nausée. As things go now it isn't of course very modern; Robbe-Grillet treats it with amused reverence as a valuable antique. But it will still serve for my purposes. This book is doubtless very well known to you; I can't undertake to tell you much about it, especially as it has often been regarded as standing in an unusually close relation to a body of philosophy which I am incompetent to expound. Perhaps you will be charitable if I explain that I shall be using it and other works of Sartre merely as examples. What I have to do is simply to show that La Nausée represents, in the work of one extremely important and representative figure, a kind of crisis in the relation between fiction and reality, the tension or dissonance between paradigmatic form and contingent reality. That the mood of Sartre has sometimes been appropriate to the modern demythologized apocalypse is something I shall take for granted; his is a philosophy of crisis, but his world has no beginning and no end. The absurd dishonesty of all prefabricated patterns is cardinal to his beliefs; to cover reality over with eidetic images--illusions persisting from past acts of perception, as some abnormal children 'see' the page or object that is no longer before them --to do this is to sink into mauvaise foi. This expression covers all comfortable denials of the undeniable--freedom --by myths of necessity, nature, or things as they are. Are all the paradigms of fiction eidetic? Is the unavoidable, insidious, comfortable enemy of all novelists mauvaise foi? Sartre has recently, in his first instalment of autobiography, talked with extraordinary vivacity about the roleplaying of his youth, of the falsities imposed upon him by the fictive power of words. At the beginning of the Great War he began a novel about a French private who captured the Kaiser, defeated him in single combat, and so ended the war and recovered Alsace. But everything went wrong. The Kaiser, hissed by the poilus, no match for the superbly fit Private Perrin, spat upon and insulted, became 'somehow heroic.' Worse still, the peace, which should instantly have followed in the real world if this fiction had a genuine correspondence with reality, failed to occur. 'I very nearly renounced literature,' says Sartre. Roquentin, in a subtler but basically similar situation, has the same reaction. Later Sartre would find again that the hero, however assiduously you use the pitchfork, will recur, and that gaps, less gross perhaps, between fiction and reality will open in the most close-knit pattern of words. Again, the young Sartre would sometimes, when most identified with his friends at the lycée, feel himself to be 'freed at last from the sin of existing'--this is also an expression of Roquentin's, but Roquentin says it feels like being a character in a novel. How can novels, by telling lies, convert existence into being? We see Roquentin waver between the horror of contingency and the fiction of aventures. In Les Mots Sartre very engagingly tells us that he was Roquentin, certainly, but that he was Sartre also, 'the elect, the chronicler of hells' to whom the whole novel of which he now speaks so derisively was a sort of aventure, though what was represented within it was 'the unjustified, brackish existence of my fellow-creatures.

Similarly, when the dreadful depths of sickness and death open up inside us and we have nothing left to defy the havoc into which the world and our own bodies hurl us, then to sustain even the weight of our muscles, even the shudder that strikes us to the very marrow, and even to keep still, in what we would normally regard as no more than a strained posture, all this demands, if we want our head to remain erect and our expression to keep its composure, a good deal of vital energy, and so turns into an exhausting struggle. And if Legrandin had looked at us with astonishment on his face, it was because to him, as to others who passed us at the time, in the cab in which my grandmother was apparently sitting back, she had seemed to be sinking down, slithering into the abyss, desperately clinging to the cushions which could scarcely hold back the impetus of her falling body, her hair dishevelled, a distraught look in her eyes, which were no longer capable of focusing on the onrush of images their pupils could bear no more. She had seemed, even with me sitting beside her, to be plunged into that unknown world in which she had already received the blows whose marks I had noticed earlier in the Champs-Élysées when I saw her hat, her face, her coat thrown into disarray by the hand of the invisible angel with whom she had wrestled.

Subject of Thought Number of Times Thought Occurred per Year (in descending order) L. 580.0 Family 400.0 Brushing tongue 150.0 Earplugs 100.0 Bill-paying 52.0 Panasonic three-wheeled vacuum cleaner, greatness of 45.0 Sunlight makes you cheerful 40.0 Traffic frustration 38.0 Penguin books, all 35.0 Job, should I quit? 34.0 Friends, don't have any 33.0 Marriage, a possibility? 32.0 Vending machines 31.0 Straws don't unsheath well 28.0 Shine on moving objects 25.0 McCartney more talented than Lennon? 23.0 Friends smarter, more capable than I am 19.0 Paper-towel dispensers 19.0 "What oft was thought, but ne'er" etc. 18.0 People are very dissimilar 16.0 Trees, beauty of 15.0 Sidewalks 15.0 Friends are unworthy of me 15.0 Indentical twins separated at birth, studies of traits 14.0 Intelligence, going fast 14.0 Wheelchair ramps, their insane danger 14.0 Urge to kill 13.0 Escalator invention 12.0 People are very similar 12.0 "Not in my backyard" 11.0 Straws float now 10.0 DJ, would I be happy as one? 9.0 "If you can't get out of it, get into it" 9.0 Pen, felt-tip 9.0 Gasoline, nice smell of 8.0 Pen, ballpoint 8.0 Stereo systems 8.0 Fear of getting mugged again 7.0 Staplers 7.0 "Roaches check in, but they don't check out" 6.0 Dinner roll, image of 6.0 Shoes 6.0 Bags 5.0 Butz, Earl 4.0 Sweeping, brooms 4.0 Whistling, yodel trick 4.0 "You can taste it with your eyes" 4.0 Dry-cleaning fluid, smell of 3.0 Zip-lock tops 2.0 Popcorn 1.0 Birds regurgitate food and feed young with it 0.5 Kant, Immanuel 0.5

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

A shudder went through me at the thought of what I should still learn in this hour. How awry, altered and distorted everything and everyone was in these mirrors, how mockingly and unattainably did the face of truth hide itself behind all these reports, counter-reports and legends! What was still truth? What was still credible? And what would remain when I also learned about myself, about my own character and history from the knowledge stored in these archives? I must be prepared for anything. Suddenly I could bear the uncertainty and suspense no longer. I hastened to the section Chattorum res gestas, looked for my sub-division and number and stood in front of the part marked with my name. This was a niche, and when I drew the thin curtains aside I saw that it contained nothing written. It contained nothing but a figure, an old and worn-looking model made from wood or wax, in pale colours. It appeared to be a kind of deity or barbaric idol. At first glance it was entirely incomprehensible to me. It was a figure that really consisted of two; it had a common back. I stared at it for a while, disappointed and surprised. Then I noticed a candle in a metal candlestick fixed to the wall of the niche. A match-box lay there. I lit the candle and the strange double figure was now brightly illuminated. Only slowly did it dawn upon me. Only slowly and gradually did I begin to suspect and then perceive what it was intended to represent. It represented a figure which was myself, and this likeness of myself was unpleasantly weak and half-real; it had blurred features, and in its whole expression there was something unstable, weak, dying or wishing to die, and looked rather like a piece of sculpture which could be called "Transitoriness" or "Decay," or something similar. On the other hand, the other figure which was joined to mine to make one, was strong in colour and form, and just as I began to realise whom it resembled, namely, the servant and President Leo, I discovered a second candle in the wall and lit this also. I now saw the double figure representing Leo and myself, not only becoming clearer and each image more alike, but I also saw that the surface of the figures was transparent and that one could look inside as one can look through the glass of a bottle or vase. Inside the figures I saw something moving, slowly, extremely slowly, in the same way that a snake moves which has fallen asleep. Something was taking place there, something like a very slow, smooth but continuous flowing or melting; indeed, something melted or poured across from my image to that of Leo's. I perceived that my image was in the process of adding to and flowing into Leo's, nourishing and strengthening it. It seemed that, in time, all the substance from one image would flow into the other and only one would remain: Leo. He must grow, I must disappear. As I stood there and looked and tried to understand what I saw, I recalled a short conversation that I had once had with Leo during the festive days at Bremgarten. We had talked about the creations of poetry being more vivid and real than the poets themselves. The candles burned low and went out. I was overcome by an infinite weariness and desire to sleep, and I turned away to find a place where I could lie down and sleep.

Ultimately, what does it mean to be ignoble? — Words are sound signals for ideas, but ideas are more or less firm image signs for sensations which return frequently and occur together, for groups of sensations. To understand each other, it is not yet sufficient that people use the same words; they must also use the same words for the same form of inner experiences; in the end they must hold their experience in common with each other. That’s why human beings belonging to a single people understand each other better among themselves than associations of different peoples, even when they use the same language; or rather, when human beings have lived together for a long time under similar conditions (climate, soil, danger, needs, work), then something arises out of that which “understands itself” — a people ... The assessments of value in a man reveal something about the structure of his soul and where it looks for its conditions of life, its essential needs. Now, assume that need has always brought together only such people as could indicate with similar signs similar requirements and similar experiences, then it generally turns out that the easy ability to communicate need, that is, in the last analysis, familiarity with only average and common experiences, must have been the most powerful of all the forces which have so far determined things among human beings. People who are more similar and more ordinary have been and always are at an advantage; the more exceptional, more refined, rarer, and more difficult to understand easily remain isolated; in their isolation they are subject to accidents and rarely propagate themselves. People have to summon up huge counter-forces to check this natural, all-too-natural progressus in simile [advance into similarity], the further development of human beings into what’s similar, ordinary, average, herd-like — into what’s common.

Finding the right mentor is not always easy. But we can locate role models in a more accessible place: the stories of great originals throughout history. Human rights advocate Malala Yousafzai was moved by reading biographies of Meena, an activist for equality in Afghanistan, and of Martin Luther King, Jr. King was inspired by Gandhi as was Nelson Mandela. In some cases, fictional characters can be even better role models. Growing up, many originals find their first heroes in their most beloved novels where protagonists exercise their creativity in pursuit of unique accomplishments. When asked to name their favorite books, Elon Musk and Peter Thiel each chose “Lord of the Rings“, the epic tale of a hobbit’s adventures to destroy a dangerous ring of power. Sheryl Sandberg and Jeff Bezos both pointed to “A Wrinkle in Time“ in which a young girl learns to bend the laws of physics and travels through time. Mark Zuckerberg was partial to “Enders Game“ where it’s up to a group of kids to save the planet from an alien attack. Jack Ma named his favorite childhood book as “Ali Baba and the Forty Thieves“, about a woodcutter who takes the initiative to change his own fate. … There are studies showing that when children’s stories emphasize original achievements, the next generation innovates more.… Unlike biographies, in fictional stories characters can perform actions that have never been accomplished before, making the impossible seem possible. The inventors of the modern submarine and helicopters were transfixed by Jules Vern’s visions in “20,000 Leagues Under the Sea” and “The Clippership of the Clouds”. One of the earliest rockets was built by a scientist who drew his motivation from an H.G. Wells novel. Some of the earliest mobile phones, tablets, GPS navigators, portable digital storage desks, and multimedia players were designed by people who watched “Star Trek” characters using similar devices. As we encounter these images of originality in history and fiction, the logic of consequence fades away we no longer worry as much about what will happen if we fail… Instead of causing us to rebel because traditional avenues are closed, the protagonist in our favorite stories may inspire originality by opening our minds to unconventional paths.

FREEING YOURSELF FROM YOUR MIND What exactly do you mean by “watching the thinker”? When someone goes to the doctor and says, “I hear a voice in my head,” he or she will most likely be sent to a psychiatrist. The fact is that, in a very similar way, virtually everyone hears a voice, or several voices, in their head all the time: the involuntary thought processes that you don’t realize you have the power to stop. Continuous monologues or dialogues. You have probably come across “mad” people in the street incessantly talking or muttering to themselves. Well, that’s not much different from what you and all other “normal” people do, except that you don’t do it out loud. The voice comments, speculates, judges, compares, complains, likes, dislikes, and so on. The voice isn’t necessarily relevant to the situation you find yourself in at the time; it may be reviving the recent or distant past or rehearsing or imagining possible future situations. Here it often imagines things going wrong and negative outcomes; this is called worry. Sometimes this soundtrack is accompanied by visual images or “mental movies.” Even if the voice is relevant to the situation at hand, it will interpret it in terms of the past. This is because the voice belongs to your conditioned mind, which is the result of all your past history as well as of the collective cultural mind-set you inherited. So you see and judge the present through the eyes of the past and get a totally distorted view of it. It is not uncommon for the voice to be a person’s own worst enemy. Many people live with a tormentor in their head that continuously attacks and punishes them and drains them of vital energy. It is the cause of untold misery and unhappiness, as well as of disease. The good news is that you can free yourself from your mind. This is the only true liberation. You can take the first step right now. Start listening to the voice in your head as often as you can. Pay particular attention to any repetitive thought patterns, those old gramophone records that have been playing in your head perhaps for many years. This is what I mean by “watching the thinker,” which is another way of saying: listen to the voice in your head, be there as the witnessing presence. When you listen to that voice, listen to it impartially. That is to say, do not judge. Do not judge or condemn what you hear, for doing so would mean that the same voice has come in again through the back door. You’ll soon realize: there is the voice, and here I am listening to it, watching it. This I am realization, this sense of your own presence, is not a thought. It arises from beyond the mind.

Page 25: …Maimonides was also an anti-Black racist. Towards the end of the [Guide to the Perplexed], in a crucial chapter (book III, chapter 51) he discusses how various sections of humanity can attain the supreme religious value, the true worship of God. Among those who are incapable of even approaching this are: "Some of the Turks [i.e., the Mongol race] and the nomads in the North, and the Blacks and the nomads in the South, and those who resemble them in our climates. And their nature is like the nature of mute animals, and according to my opinion they are not on the level of human beings, and their level among existing things is below that of a man and above that of a monkey, because they have the image and the resemblance of a man more than a monkey does." Now, what does one do with such a passage in a most important and necessary work of Judaism? Face the truth and its consequences? God forbid! Admit (as so many Christian scholars, for example, have done in similar circumstances) that a very important Jewish authority held also rabid anti-Black views, and by this admission make an attempt at self-education in real humanity? Perish the thought. I can almost imagine Jewish scholars in the USA consulting among themselves, ‘What is to be done?’ – for the book had to be translated, due to the decline in the knowledge of Hebrew among American Jews. Whether by consultation or by individual inspiration, a happy ‘solution’ was found: in the popular American translation of the Guide by one Friedlander, first published as far back as 1925 and since then reprinted in many editions, including several in paperback, the Hebrew word Kushim, which means Blacks, was simply transliterated and appears as ‘Kushites’, a word which means nothing to those who have no knowledge of Hebrew, or to whom an obliging rabbi will not give an oral explanation. During all these years, not a word has been said to point out the initial deception or the social facts underlying its continuation – and this throughout the excitement of Martin Luther King’s campaigns, which were supported by so many rabbis, not to mention other Jewish figures, some of whom must have been aware of the anti-Black racist attitude which forms part of their Jewish heritage. Surely one is driven to the hypothesis that quite a few of Martin Luther King’s rabbinical supporters were either anti-Black racists who supported him for tactical reasons of ‘Jewish interest’ (wishing to win Black support for American Jewry and for Israel’s policies) or were accomplished hypocrites, to the point of schizophrenia, capable of passing very rapidly from a hidden enjoyment of rabid racism to a proclaimed attachment to an anti-racist struggle – and back – and back again.