Infinity Stones Quotes

Tragedy and adversary are the stones we sharpen our swords against so we can fight new battles.

My Akri says that tragedy and adversity are the stones we sharpen our swords against ao that we can fight new battles.- Simi

Why are you talking to the King Loser Dork? You want to talk about ugly? Look at what he’s wearing. (Stone) I like a man who takes fashion chances. It’s the mark of someone who lives by his own code. A rebel. A real lone wolf is a lot sexier than a pack animal who follows orders and can’t have an opinion unless someone else gives it to him. (Nekoda)

Looking at numbers as groups of rocks may seem unusual, but actually it's as old as math itself. The word "calculate" reflects that legacy -- it comes from the Latin word calculus, meaning a pebble used for counting. To enjoy working with numbers you don't have to be Einstein (German for "one stone"), but it might help to have rocks in your head.

You use the word "Infinity" very glibly.... Have you ever been there? Time and space are extensions of the mind, the will. Which means that infinity is a purely local phenomenon. You can turn over a stone and find it crawling there. Or you can make it yourself out of whatever materials are at hand.

Our senses are woefully limited. Our brains are but tiny candles flickering in an infinity of darkness. Our only wisdom is to admit that we cannot understand, and since we cannot understand we must do the best we can with faith. which is our only talent. The greatest act of faith we are capable of is that of loving another more than we love ourselves, and occasionally we can be quite good at it.

Anna was, Livia is, Plurabelle's to be. Northmen's thing made southfolk's place but howmulty plurators made eachone in per-son? Latin me that, my trinity scholard, out of eure sanscreed into oure eryan! Hircus Civis Eblanensis! He had buckgoat paps on him, soft ones for orphans. Ho, Lord! Twins of his bosom. Lord save us! And ho! Hey? What all men. Hot? His tittering daugh-ters of. Whawk? Can't hear with the waters of. The chittering waters of. Flitter-ing bats, fieldmice bawk talk. Ho! Are you not gone ahome? What Thom Malone? Can't hear with bawk of bats, all thim liffey-ing waters of. Ho, talk save us! My foos won't moos. I feel as old as yonder elm. A tale told of Shaun or Shem? All Livia's daughter- sons. Dark hawks hear us. Night! Night! My ho head halls. I feel as heavy as yonder stone. Tell me of John or Shaun? Who wereShem and Shaun the living sons or daughters of? Night now! Tell me, tell me, tell me, elm! Night night! Telmetale of stem or stone. Beside the rivering waters of, hitherandthithering waters of. Night!

Pulsar: a dying star spinning under its own exploding anarchic energy, like a lighthouse on speed. A star the size of a city, a city the size of a star, whirling round and round, its death-song caught by a radio receiver, light years later, like a recorded message nobody heard, back-played now into infinity across time. Love and loss.

But that would mean it was originally a sideways number eight. That makes no sense at all. Unless..." She paused as understanding dawned. "You think it was the symbol for infinity?" "Yes, but not the usual one. A special variant. Do you see how one line doesn't fully connect in the middle? That's Euler's infinity symbol. Absolutus infinitus." "How is it different from the usual one?" "Back in the eighteenth century, there were certain mathematical calculations no one could perform because they involved series of infinite numbers. The problem with infinity, of course, is that you can't come up with a final answer when the numbers keep increasing forever. But a mathematician named Leonhard Euler found a way to treat infinity as if it were a finite number- and that allowed him to do things in mathematical analysis that had never been done before." Tom inclined his head toward the date stone. "My guess is whoever chiseled that symbol was a mathematician or scientist." "If it were my date stone," Cassandra said dryly, "I'd prefer the entwined hearts. At least I would understand what it means." "No, this is much better than hearts," Tom exclaimed, his expression more earnest than any she'd seen from him before. "Linking their names with Euler's infinity symbol means..." He paused, considering how best to explain it. "The two of them formed a complete unit... a togetherness... that contained infinity. Their marriage had a beginning and end, but every day of it was filled with forever. It's a beautiful concept." He paused before adding awkwardly, "Mathematically speaking.

In time, Cress hoped to lose his fear of poetry, especially the stuff that didn’t rhyme. Cress was a facts man, and facts were stone. Poetry, though, was sand. Ever compared to stars in its granular infinity. Ever shifting.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate. I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship. I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone, and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

And if society cared more about rehabilitation than throwing stones, maybe we'd create an environment that encouraged people to be kinder.

There is something in such laws that takes the breath away. They are not discoveries or inventions of the human mind, but exist independently of us. In a moment of clarity, one can at most discover that they are there and take them into account. Long before there were people on the earth, crystals were already growing in the earth's crust. On one day or another, a human being first came across such a sparkling morsel of regularity lying on the ground or hit one with his stone tool and it broke off and fell at his feet, and he picked it up and regarded it in his open hand, and he was amazed.

My mind, a Venn diagram. You, the overlap and the intersect; a pulsating glimmer—omnipresent, a lighthouse with its glowing breath. You are the stone that skirts the river, that skips along its crystal plane; a surface skimmed by concentric shimmer, and trembles with the touch of rain. You are worlds that spin in orbit, a star who rose and fell; infinity summoned for audit— a penny toss in the wishing well.

You see that stones are worn away by time, Rocks rot, and twoers topple, even the shrines And images of the gods grow very tired, Develop crack or wrinkles, their holy wills Unable to extend their fated term, To litigate against the Laws of Nature. And don't we see the monuments of men Collapse, as if to ask us, "Are not we As frail as those whom we commemorate?"? Boulders come plunging down from the mountain heights, Poor weaklings with no power to resist The thrust that says to them, Your time has come! But they would be rooted in steadfastness Had they endured from time beyond all time, As far back as infinity. Look about you! Whatever it is that holds in its embrace All earth, if it projects, as some men say, All things out of itself, and takes them back When they have perished, must itself consist Of mortal elements. The parts must add Up to the sum. Whatever gives away Must lose in the procedure, and gain again Whenever it takes back.

My little brother's greatest fear was that the one person who meant so much to him would go away. He loved Lindsey and Grandma Lynn and Samuel and Hal, but my father kept him stepping lightly, son gingerly monitoring father every morning and every evening as if, without such vigilance, he would lose him. We stood- the dead child and the living- on either side of my father, both wanting the same thing. To have him to ourselves forver. To please us both was an impossibility. ... 'Please don't let Daddy die, Susie,' he whispered. 'I need him.' When I left my brother, I walked out past the gazebo and under the lights hanging down like berries, and I saw the brick paths branching out as I advanced. I walked until the bricks turned to flat stones and then to small, sharp rocks and then to nothing but churned earth for miles adn miles around me. I stood there. I had been in heaven long enough to know that something would be revealed. And as the light began to fade and the sky to turn a dark, sweet blue as it had on the night of my death, I saw something walking into view, so far away I could not at first make out if it was man or woman, child or adult. But as moonlight reached this figure I could make out a man and, frightened now, my breathing shallow, I raced just far enough to see. Was it my father? Was it what I had wanted all this time so deperately? 'Susie,' the man said as I approached and then stopped a few feet from where he stood. He raised his arms up toward me. 'Remember?' he said. I found myself small again, age six and in a living room in Illinois. Now, as I had done then, I placed my feet on top of his feet. 'Granddaddy,' I said. And because we were all alone and both in heaven, I was light enough to move as I had moved when I was six and in a living room in Illinois. Now, as I had done then, I placed my feet on top of his feet. 'Granddaddy,' I said. And because we were all alone and both in heaven, I was light enough to move as I had moved when I was six and he was fifty-six and my father had taken us to visit. We danced so slowly to a song that on Earth had always made my grandfather cry. 'Do you remember?' he asked. 'Barber!' 'Adagio for Strings,' he said. But as we danced and spun- none of the herky-jerky awkwardness of Earth- what I remembered was how I'd found him crying to this music and asked him why. 'Sometimes you cry,' Susie, even when someone you love has been gone a long time.' He had held me against him then, just briefly, and then I had run outside to play again with Lindsey in what seemed like my grandfather's huge backyard. We didn't speak any more that night, but we danced for hours in that timeless blue light. I knew as we danced that something was happening on Earth and in heaven. A shifting. The sort of slow-to-sudden movement that we'd read about in science class one year. Seismic, impossible, a rending and tearing of time and space. I pressed myself into my grandfather's chest and smelled the old-man smell of him, the mothball version of my own father, the blood on Earth, the sky in heaven. The kumquat, skunk, grade-A tobacco. When the music stopped, it cold have been forever since we'd begun. My grandfateher took a step back, and the light grew yellow at his back. 'I'm going,' he said. 'Where?' I asked. 'Don't worry, sweetheart. You're so close.' He turned and walked away, disappearing rapidly into spots and dust. Infinity.

You should look at certain walls stained with damp, or at stones of uneven colour. If you have to invent some backgrounds you will be able to see in these the likeness of divine landscapes, adorned with mountains, ruins, rocks, woods, great plains, hills and valleys in great variety; and then again you will see there battles and strange figures in violent action, expressions of faces and clothes and an infinity of things which you will be able to reduce to their complete and proper forms. In such walls the same thing happens as in the sound of bells, in whose stroke you may find every named word which you can imagine.

Why, then, do you go there at such a season?" my editor asked me once, sitting in a Chinese restaurant in New York, with his gay English charges. "Yes, why do you ?" they echoed their prospective benefactor. "What is it like there in winter ?" I thought of telling them about acqua alta; about the various shades of gray in the window as one sits for breakfast in one's hotel, enveloped by silence and the mealy morning pall of newlyweds' faces; about pigeons accentuating every curve and cornice of the local Baroque in their dormant affinity for architecture; about a lonely monument to Francesco Querini and his two huskies carved out of Istrian stone, similar, I think, in its hue, to what he saw last, dying, on his ill-fated journey to the North Pole, now listening to the Giardini's rustle of evergreens in the company of Wagner and Carducci; about a brave sparrow perching on the bobbing blade of a gondola against the backdrop of a sirocco-roiled damp infinity. No, I thought, looking at their effete but eager faces; no, they won't do. "Well, I said, "it's like Greta Garbo swimming.

When human life lay foul for all to see Upon the earth, crushed by the burden of religion, Religion which from heaven’s firmament Displayed its face, its ghastly countenance, Lowering above mankind, the first who dared Raise mortal eyes against it, first to take His stand against it, was a man of Greece. He was not cowed by fables of the gods Or thunderbolts or heaven’s threatening roar, But they the more spurred on his ardent soul Yearning to be the first to break apart The bolts of nature’s gates and throw them open. Therefore his lively intellect prevailed And forth he marched, advancing onwards far Beyond the flaming ramparts of the world, And voyaged in mind throughout infinity, Whence he victorious back in triumph brings Report of what can be and what cannot And in what manner each thing has a power That’s limited, and deep-set boundary stone. Wherefore religion in its turn is cast Beneath the feet of men and trampled down, And us his victory has made peers of heaven.

And when we grow to be men and live under other laws, what remains of that park filled with the shadows of childhood, magical, freezing, burning? What do we learn when we return to it and stroll with a sort of despair along the outside of its little wall of gray stone, marveling that within a space so small we should have founded a kingdom that had seemed to us infinite - what do we learn except that in this infinity we shall never again set foot, and that it is into the game and not the park that we have lost the power to enter?

The striving for infinity, the wingbeat of longing, that accompanies the supreme delight of clearly perceived reality, reminds us that both states are aspects of a Dionysiac phenomenon: over and over again it shows us the spirit that playfully builds and destroys the world of individuals as the product of a primal pleasure: similarly, dark Heraclitus compares the force that builds worlds to a child placing stones here and there, and building sandcastles and knocking them down again.

He is hearing the uncertain passage of a broken heart, bruising itself again and again on the unjust stones. Such a heart might stumble to either bank of the stream to escape the rush of time. To the side of light, or to the infinity of dark. To virtue, or to evil. Right here, in the river of his life, curves a pool of experience where the heart baptises itself. Either it rises, dark and closed and formidable, or it thrusts forward like an opening hibiscus, its five extravagant petals still dripping tinctures of blood.

Why, then, do you go there at such a season?" my editor asked me once, sitting in a Chinese restaurant in New York, with his gay English charges. "Yes, why do you ?" they echoed their prospective benefactor. "What is it like there in winter ?" I thought of telling them about acqua alta; about the various shades of gray in the window as one sits for breakfast in one's hotel, enveloped by silence and the mealy morning pall of newlyweds' faces; about pigeons accentuating every curve and cornice of the local Baroque in their dormant affinity for architecture; about a lonely monument to Francesco Querini and his two huskies carved out of Istrian stone, similar, I think, in its hue, to what he saw last, dying, on his ill-fated journey to the North Pole, now listening to the Giardini's rustle of evergreens in the company of Wagner and Carducci; about a brave sparrow perching on the bobbing blade of a gondola against the backdrop of a sirocco-roiled damp infinity. No, I thought, looking at their effete but eager faces; no, they won't do. "We;;, I said, "it's like Greta Garbo swimming.

It was like I was talking to a man with a gun to his head. It was like he was already dead. Like his fate was set in stone. Like the trigger was already pulled. And he was the pause that came right before 'it's too late'. The pause that takes a small infinity, looked down upon dead stars, floating around in the dead unforgiving sky. The pause that was written in stars a million years ago. Could the shot echo in space? Did this moment find it's way into a vortex? Were the stars looking down on a field of the dead? A graveyard? Are we not significant? Did anything we do matter?

You should look at certain walls stained with damp, or at stones of uneven colour. If you have to invent some backgrounds you will be able to see in these the likeness of divine landscapes, adorned with mountains, ruins, rocks, woods, great plains, hills and valleys in great variety; and then again you will see there battles and strange figures in violent action, expressions of faces and clothes and an infinity of things which you will be able to reduce to their complete and proper forms. In such walls the same thing happens as in the sound of bells, in whose stroke you may find every named word which you can imagine.

Jam jamming,” Meghan chanted in a sing song voice. “I like the idea, the feel. I KNOW what you are getting at. Where does a sound end? Has the Earth been pumping billions upon billions of horrendous noises into the depths of space since the time primates began walking? Can you imagine all the noisy concerts, explosions of war, and thundering of bombs, all drifting endlessly into empty darkness? Can you imagine? For infinity? Frozen glaciers, devoid rocks, suddenly illuminated to be crushed by all that deafening din, waking the inhabitants of other planets. Jamming alien satellite signals. If there is life out there, it wants to destroy us....I must be really stoned to see this so clearly

Years ago, he shaved off his beard, without telling her, just appeared at the breakfast table one morning with half his face missing, or so it seemed to her in the first, shocked moment of seeing him. If she had met him in the street she would not have recognised him, except for his eyes. How strange he looked, grotesque, almost, with those indecently naked cheeks and the chin flat and square like the blunt edge of a stone axe. It was as if the top part of his head had been taken off and carved and trimmed and jammed down into the scooped-out jaws of a stranger. She almost wept, but he went on eating his toast as if nothing had happened. He had bought a cut-throat razor with an ivory handle, an antique thing from the last century; he showed it to her in its black velvet box lined with scarlet satin. She could not look at it without a shiver. He liked to show off his skill with it, and would leave the bathroom door open so she could admire the deft way he wielded the dangerous, gleaming thing, holding it at an elegant angle between fingertips and thumb, his little finger fastidiously crooked, and sweeping the blade raspingly through the snow-like foam. Harsh light above the bath and the steely shine of the mirror and one dark, humorously cocked eye glancing at her sideways from the glass. Where is it now, she wonders, that razor? In a week or two he got tired of using it and let his beard grow back.

When Francie brought a ticket and a dime back and pushed them across the counter, he gave her the wrapped shirt and two lichee nuts in exchange. Francie loved these lichee nuts. There was a crisp easily broken shell and the soft sweet meat inside. Inside the meat was a hard stone that no child had ever been able to break open. It was said that this stone contained a smaller stone and that the smaller stone contained a smaller stone which contained a yet smaller stone and so on. It was said that soon the stones got so small you could only see them with a magnifying glass and those smaller ones got still smaller until you couldn't see them with anything but they were always there and would never stop coming. It was Francie’s first experience with infinity.

For here is the philosophy which sharpeneth the senses, satisfieth the soul, enlargeth the intellect and leadeth man to that true bliss to which he may attain, which consisteth in a certain balance, for it liberateth him alike from the eager quest of pleasure and from the blind feeling of grief; it causeth him to rejoice in the present and neither to fear nor to hope for the future. For that Providence or Fate or Lot which determineth the vicissitudes of our individual life doth neither desire nor permit our knowledge of the one to exceed our ignorance of the other, so that at first sight we are dubious and perplexed. But when we consider more profoundly the being and substance of that universe in which we are immutably set, we shall discover that neither we ourselves nor any substance doth suffer death; for nothing is in fact diminished in its substance, but all things wandering through infinite space undergo change of aspect. And since we are all subject to a perfect Power, we should not believe, suppose or hope otherwise, than that even as all issueth from good, so too all is good, through good, toward good; from good, by good means, toward a good end. For a contrary view can be held only by one who considereth merely the present moment, even as the beauty of a building is not manifest to one who seeth but one small detail, as a stone, a cement affixed to it or half a partition wall, but is revealed to him who can view the whole and hath understanding to appraise the proportions. We do not fear that by the violence of some erring spirit or by the wrath of a thundering Jove, that which is accumulated in our world could become dispersed beyond this hollow sepulchre or cupola of the heavens, be shaken or scattered as dust beyond this starry mantle. In no other way could the nature of things be brought to naught as to its substance save in appearance, as when the air which was compressed within the concavity of a bubble seemeth to one's own eyes to go forth into the void. For in the world as known to us, object succeedeth ever to object, nor is there an ultimate depth from which as from the artificer's hand things flow to an inevitable nullity. There are no ends, boundaries, limits or walls which can defraud or deprive us of the infinite multitude of things. Therefore the earth and the ocean thereof are fecund; therefore the sun's blaze is everlasting, so that eternally fuel is provided for the voracious fires, and moisture replenisheth the attenuated seas. For from infinity is born an ever fresh abundance of matter.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

Even if I ultimately do not know this stone absolutely, even if knowledge about the stone gradually approaches infinity but is never completed, it is still the case that the perceived stone is there, that I recognized it, that I named it, and that we agree upon a certain number of claims regarding it. So it seems we are led into a contradiction: the belief in the thing and in the world can only signify the presumption of a completed synthesis--and yet this completion is rendered impossible by the very nature of the perspectives to be tied together, since each of them refers indefinitely to other perspectives through its horizon. There is indeed a contradiction, so long as we are operating within being, but the contradiction ceases...if we operate within time, and if we succeed in understanding time as the measure of being. The synthesis of horizons is essentially temporal, that is...it does not suffer time, and it does not have to overcome time; but rather, it merges with the very movement by which time goes by. Through my perceptual field with its spatial horizons, I am present to my surroundings, I coexist with all the other landscapes that extend beyond, and all of these perspectives together form a single temporal wave, an instant of the world. Through my perceptual field with its temporal horizons, I am present to my present, to the entire past that has preceded it, and to a future. And at the same time, this ubiquity is not actual, it is clearly only intentional. The landscape that I have before my eyes can certainly announce to me the shape of the landscape hidden behind the hill, but it only does so with a certain degree of indetermination, for here there are fields, while over there might be a forest, and, in any case, beyond the next horizon I know only that there will be either land or sea, and beyond again, either open sea or frozen sea, and beyond again, either earth or sky, and, within the confines of the earth's atmosphere, I know only that there will be something to see in general. I possess no more than the abstract style of these distant landscapes. Likewise, even though each past is gradually enclosed entirely in the more recent past that it had immediately succeeded--thanks to the interlocking of intentionalities--the past degrades, and my first years are lost in the general existence of my body of which I know merely that it was already confronted with colors, sounds, and a similar nature to the one I presently see. My possession of the distant landscape and of the past, like my possession of the future, is thus only a possession in principle; my life slips away from me on all sides and it is circumscribed by impersonal zones. The contradiction that we find between the reality of the world and its incompleteness is the contradiction between the ubiquity of consciousness and its engagement in a field of presence...If the synthesis could be actual, if my experience formed a closed system, if the thing and the world could be defined once and for all, if spatio-temporal horizons could (even ideally) be made explicit and if the world could be conceived from nowhere, then nothing would exist. I would survey the world from above, and far from all the places and times suddenly becoming real, they would in fact cease to be real because I would not inhabit any of them and I would be nowhere engaged. If I am always and everywhere, then I am never and nowhere. Thus, there is no choice between the incompleteness of the world and its existence, between the engagement and the ubiquity of consciousness, or between transcendence and immanence, since each of these terms, when it is affirmed by itself, makes its contradiction appear. What must be understood is that for the same reason I am present here and now, and present everywhere and always, or absent from here and now and absent from every place and from every time. This ambiguity is not an imperfection of consciousness or of existence, it is their very definition.

Thwacke!,

Enlightened beings, they become one with the Cosmos, that is the ultimate experience, but not final, because Ultimate itself is constantly alive, not carved in stone! Ultimate is not carved in stone, it is a powerful happening. It is a constant happening! Every time I fall into Samadhi, I just know I am pregnant with billions of planets. I am just pregnant with billions of planets. Understand, when I say I am pregnant with billions of planets, means, I am constantly delivering, delivering, delivering. Swallowing billions and delivering billions. Infinity! Cosmos, is a happening. It is not a dead state. It is a alive, living, happening! ~Ishavasya Upanishad

Raccoons have a track record of solving problems and adapting to new environments. In studies carried out in the early 1900s, raccoons proved to be talented escape artists with an excellent memory. In these experiments, raccoons were confined in a box with a combination of different latches and buttons that needed to be pressed to be unlocked. The animals solved most of these puzzle boxes in fewer than ten tries and, after a whole year, still remembered their solutions.

«Ma i branchi di lupi della Foresta Selvaggia attaccano le nostre greggi ogni inverno!» «Lupi e pecore appartengono a due specie diverse, amico mio. La vera guerra è quella che scoppia tra due gruppi della stessa specie. Tra le centinaia di migliaia di specie, ne trovo solo sette che la fanno. Perfino nell’uomo vi sono alcune varietà, come gli eschimesi, gli zingari, i lapponi e certi nomadi dell’Arabia, che non conoscono la guerra, perché non rivendicano frontiere. In natura, la guerra vera e propria è più rara del cannibalismo. Non la trovi anche tu, in un certo senso, una calamità?» «Personalmente» rispose Wart «mi sarebbe piaciuto andare alla guerra, se mi avessero fatto cavaliere. Mi sarebbero piaciute le bandiere e le trombe, le armature sfavillanti e le cariche gloriose. E mi sarebbe piaciuto compiere gesta famose, vincere le mie paure. Nella guerra non esistono anche il coraggio, Tasso, e la forza di sopportare le avversità e la presenza dei compagni che ami?» Il colto animale rifletté a lungo, fissando il fuoco. Infine sembrò voler cambiare argomento.

I still could see the figure of the mathematician only as a servant of natural sciences or as a collector of truths:—truths fascinating by their immovability, but horrifying by their lifelessness, like stones from barren mountains of disconsolate infinity.

God is Sisyphus, and existence (life) is the stone. The accomplishment of purpose is the saddest point. Sisyphus is happiest without the total accomplishment of the purpose, while he persistently works and aims at the top. The accomplishment of the purpose is Sisyphus’ fall, so he forgets his achievement quickly. Voyage contains his whole hope and beauty; the voyage is the purpose of the stone—purpose to itself alone. He always arrives in the same place but chooses voyage instead of the target. The purpose and target were always there. Voyage is always new because it is fed from oblivion by unaware memory, with infinite possibilities stemming from the nature of the absolute through “free” will and unincidental accidents or errors. Voyage is the ultimate goal or purpose because it hides an infinite multitude within itself; the infinity of the finite through endless possibilities. The beauty of infinity is always new; the voyage is the sum of happenings on the scale. Every experience or adventure is new. Beauty shines from experience.

#294."...Tragedy and adversity are the stones we sharpen our swards against so that we can fight new battles." ~

There are many spiritual groups. In addition to the Christian churches, there are metaphysical churches, such as Religious Science and Unity. There is the Self-Realization Fellowship, M.S.I.A., Transcendental Meditation, the Siddha Foundation, and so on. I want you to know that there are many, many avenues you can explore. If one way doesn’t work for you, try another. All these suggestions have proved to be beneficial. I cannot say which one is right for you. That is something you will have to discover for yourself. No one method or one person or one group has all the answers for everyone. I don’t have all the answers for everyone. I am just one more stepping stone on the pathway to holistic health. In the infinity of life where I am, all is perfect, whole, and complete. My life is ever new.

All finite things reveal infinitude: The mountain with its singular bright shade Like the blue shine on freshly frozen snow, The after-light upon ice-burdened pines; Odor of basswood on a mountain-slope, A scent beloved of bees; Silence of water above a sunken tree: The pure serene of memory in one man, – A ripple widening from a single stone Winding around the waters of the world.

And then they half-ran, half-skipped the last eight blocks to her apartment, their bodies connected by their crossed arms. Half a block away, their combined shadow looked like the wings of a single sea bird, wheeling in a bright sky. Two blocks further, and they looked like two boats, alone on an endless ocean. One block from that, and their joined bodies merged into a symbol of infinity.

In all the history of the world there was never anyone else exactly like you, and in all the infinity of time to come, there will never be another.

Who voiced the robot Ultron? At the party in Stark's place, which Avenger ends an argument by stating that his girlfriend is better than another Avenger's girlfriend? Who is in possession of the Time Stone in 2012 during the Battle of New York? During the fight on Sokovia, Captain America gives a pep talk.  Finish his final statement: "You get hurt, hurt them back. You get killed _______." Which Infinity Stone was left with Taneleer Tivan on the planet of Knowhere? When Thor tells the Avengers that Loki is his brother, and must be treated fairly, Natasha Romanoff tells him that Loki killed 80 people in two days.  What is Thor's response (exact quote)? After the credits roll at the end of most Marvel movies, it states that someone will return in a future movie.  Which character does it say will return at the end of "Avengers: Infinity War"? Who has the idea to go back in time and kill baby Thanos? Where is Captain America when he is first shown in the film? Who, according to Steve Rogers, might have the ability to properly remove Vision's Infinity Stone?

Elphame then is the occultist's promise of immortality, the result of the great work, the philosopher's stone.

With Witches or faerie magicians this concept of an energy exchange takes on a different manifestation, one that empowers the human partner. Here you start to see the results of human pacts, marriages or agreements with faeries. Like True Thomas who had a powerful faerie patron, the returns on engaging with faeries are only there for the initiate, everyone else is potentially damaged by the experience, or even lost. This fact remains exactly the same whether the spirit is called a demon and worked with in a Goetic circle, or a faerie worked with at crossroads or standing stones,

Two main narratives emerge. One, seemingly very popular story is that the faeries are fallen angels, the second most popular theory seems to be they are souls of the human dead, and later in history still, the remnants of a pigmy race. It is interesting to note that the elite preference is for the two later theories. This may indicate a reluctance to consider that faerie mythology might have in it something so elevated as a theology relating to angels, heaven, and the creation of the world. Also, because the elite testimony is more often the educated Christian perspective it may not so readily embrace a folk interpretation of biblical themes. Other theories are that faeries are the memory of a Neolithic ancestor people, but this is a comparatively later idea. Though no one specifically says they are nature spirits they say things like “turn your cloaks because faerie spirits live in old oaks.” And whilst the early ancestors never say they are the ghosts of our Neolithic selves they continually connect them with Neolithic stone circles and burial mounds.

Rusalka are female spirits of the forest or waterways. Their faces are pale like the Moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green or brown, decorated with flowers. In the middle of the night, they would walk out to the bank and comb their long hair or dance in meadows. If they saw handsome men, they would fascinate them with songs and try to take them away. Or they would simply come out of the water to comb their hair or climb trees. Their underwater home is a place of vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones. When summer approaches and the waters are warmed by the rays of the life-giving light, they have to return to the trees, the so called “houses of the dead.” Like the Vila, which they are sometimes conflated with, they are also known for being great spinners. They hang the results of their labors from the trees and lay it on the banks, where anyone passing should be wary of stepping lest they be caught in it like a net. The Rusalki are also explicitly known for being spinners of fate, who possess a powerful ability to affect the lives of local inhabitants. The Rusalki “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.

In the legend of St. Armentaire, composed about 1800 by Raymond, we read of the Fée Esterelle, and of the sacrifices to her, who used to give barren women beverages to drink for fertility and of a stone called La Lauza de la Fuda; that is the Fairy-stone on which they used to sacrifice to her. On the night of the 31st of December the fées enter the dwellings of their worshipers much like the Donas Fuera. They bear good luck in their right hand, ill luck in their left, so it is clear they are neither fully benevolent nor fully malevolent.

Finally we find our way to the primordial caves of the laminak. They are the only type of “faerie” from a non-Indo-European language group that we have explored here. If the laminak are an entirely different type of entity with different characteristics we might safely guess that faeries are a shared Indo-European belief-figure like the mora/mare. The Basque laminak is said to be very beautiful and more of their females make an appearance than males. They are known for spending a lot of time combing their long hair, often with golden combs. It is the laminak who built the Dolmens and all standing stones, according to the Basque tales. Their women are excellent spinners with a spindle and distaff.

They mostly congregate at crossroads, caves, bridges and of course dolmen stones. They enjoy coming to human dances, but when they appear disguised as a mortals they will always have their feet covered. Laminak often have some kind of abnormality about their feet, such as webbed feet, a cloven foot or paws. Generally speaking the laminak only come out at night and will disappear around cock's crow.

Along with having “fallen” into mountains and rivers and guarding those places serpent spirits were also known to create magical stones. The Welsh said that serpents came together on Midsummers Eve to mysteriously blow into being the Glain Neidr (“serpents' stone”). Joining their heads together and hissing, they form a bubble around the head of one. They blow it down until it comes off at the tail and hardens like glass.

Another Welsh tradition held that this snake-congress took place on May Eve. The serpent-stones were round, pastel-colored pebbles believed to confer second-sight and healing, especially of the eyes. The Welsh had many tales about the healing powers of snakes9 so it appears serpent stones and their makers were as multifaceted as faeries, providing martial prowess with one hand and dispensing healing manna with the other.

The cosmos went on for ever, but not in its wildest constellation could there be anything really interesting; anything, for instance, such as forgiveness or free will. The grandeur or infinity of the secret of its cosmos added nothing to it. It was like telling a prisoner in Reading gaol that he would be glad to hear that the gaol now covered half the country. The warder would have nothing to show the man except more and more long corridors of stone lit by ghastly lights and empty of all that is human. So these expanders of the universe had nothing to show us except more and more infinite corridors of space lit by ghastly suns and empty of all that is divine.

In the infinity of life where I am, all is perfect, whole, and complete. I am one with the Power that created me. I have within me all the ingredients for success. I now allow the success formula to flow through me and manifest in my world. Whatever I am guided to do will be a success. I learn from every experience. I go from success to success and from glory to glory. My pathway is a series of stepping stones to ever greater successes. All is well in my world.

Atlas said that while working on the S3 project, he frequently had difficulty grasping just how big Bezos was thinking. “He had this vision of literally tens of thousands of cheap, two-hundred-dollar machines piling up in racks, exploding. And it had to be able to expand forever,” Atlas says. Bezos told him, “This has to scale to infinity with no planned downtime. Infinity!

Asar stood before them, silhouetted against the infinity of death, a one-man shield. His long jacket flew out behind him, swept up in the force of his spellcasting. He called to the shadows from every corner of the room, and they surrounded him like outstretched wings. His sword burned through the darkness, the broken blade glowing white.

For a moment,’ she admits, ‘I felt… part of something.’ She drains her glass. ‘I felt connected.’ ‘And not just to Withered Hill,’ says Catherine, pouring Sophie another whisky. ‘To everything.’ She sits back and watches Sophie for a while. ‘Nothing really dies. Not really. Everything is linked. Connected. There is a… force that moves through all of us. It is the wind through the trees and the heat of a sun-warmed stone and the beating of our hearts. It is within us and everywhere around us. And that is the essence of life in Withered Hill. That nothing ends, that there is a continuous cycle of life and death and rebirth. It used to be the way of things the world over, but gradually people forgot this. Out there, they live in the moment, forgetting the past and ignoring the future. They have forgotten that they are part of a much broader canvas, that spools out in front of them and behind them into infinity.