Instrument Simple Quotes

Just take the weapon you hold in your hand and drive it through his heart," Valentine's voice was soft. "One simple motion. Nothing you haven't done before." Jace met his father's stare with a level gaze. "I saw Agramon," he said. "It had your face." "You saw Agramon?" The Soul-Sword glittered as Valentine moved toward his son. "And you lived?" "I killed it." "You killed the Demon of Fear, but you won't kill a single vampire, not even at my order?" Jace stood watching Valentine without expression. "He's a vampire, that's true," he said. "But his name is Simon.

She'd rather hoped for something simple, like a lined piece of notebook paper with MY EVIL PLAN written across the top, but no luck.

It was hidden inside another book. One Valentine was unlikely to ever open." Magnus smiled crookedly. "Simple Recipes for Housewives. No one can say your mother didn't have a sense of humor.

Clary: What are you doing here, anyway? Jace: 'Here' as in your bedroom or 'here' as in the great spiritual question of our purpose here on this planet? If you're asking whether it's all just a cosmic coincidence or there's a greater metaethical purpose to life, well, that's a puzzler for the ages. I mean, simple ontological reductionism is clearly a fallacious argument, but- Clary: I'm going to bed.

How strange that something so simple could have been instrumental in my decision to ruin one of my most relationships and friendships, and damage another.

Places, like people, are complex, and loving them isn't simple.

Knowing is not simply a material act, since the object that is known always conceals something beyond the empirical datum. All our knowledge, even the most simple, is always a minor miracle, since it can never be fully explained by the material instruments that we apply to it. In every truth there is something more than we would have expected, in the love that we receive there is always an element that surprises us.

She sang, as requested. There was much about love in the ballad: faithful love that refused to abandon its object; love that disaster could not shake; love that, in calamity, waxed fonder, in poverty clung closer. The words were set to a fine old air -- in themselves they were simple and sweet: perhaps, when read, they wanted force; when well sung, they wanted nothing. Shirley sang them well: she breathed into the feeling, softness, she poured round the passion, force: her voice was fine that evening; its expression dramatic: she impressed all, and charmed one. On leaving the instrument, she went to the fire, and sat down on a seat -- semi-stool, semi-cushion: the ladies were round her -- none of them spoke. The Misses Sympson and the Misses Nunnely looked upon her, as quiet poultry might look on an egret, an ibis, or any other strange fowl. What made her sing so? They never sang so. Was it proper to sing with such expression, with such originality -- so unlike a school girl? Decidedly not: it was strange, it was unusual. What was strange must be wrong; what was unusual must be improper. Shirley was judged.

I had motives for not wanting the world to have a meaning; and consequently assumed that it had none, and was able without any difficulty to find satisfying reasons for this assumption. The philosopher who finds no meaning in the world is not concerned exclusively with a problem in pure metaphysics. He is also concerned to prove that there is no valid reason why he personally should not do as he wants to do. For myself, as no doubt for most of my friends, the philosophy of meaninglessness was essentially an instrument of liberation from a certain system of morality. We objected to the morality because it interfered with our sexual freedom. The supporters of this system claimed that it embodied the meaning - the Christian meaning, they insisted - of the world. There was one admirably simple method of confuting these people and justifying ourselves in our erotic revolt: we would deny that the world had any meaning whatever.

As it is, we are merely bolting our lives—gulping down undigested experiences as fast as we can stuff them in—because awareness of our own existence is so superficial and so narrow that nothing seems to us more boring than simple being. If I ask you what you did, saw, heard, smelled, touched and tasted yesterday, I am likely to get nothing more than the thin, sketchy outline of the few things that you noticed, and of those only what you thought worth remembering. Is it surprising that an existence so experienced seems so empty and bare that its hunger for an infinite future is insatiable? But suppose you could answer, “It would take me forever to tell you, and I am much too interested in what’s happening now.” How is it possible that a being with such sensitive jewels as the eyes, such enchanted musical instruments as the ears, and such a fabulous arabesque of nerves as the brain can experience itself as anything less than a god? And, when you consider that this incalculably subtle organism is inseparable from the still more marvelous patterns of its environment—from the minutest electrical designs to the whole company of the galaxies—how is it conceivable that this incarnation of all eternity can be bored with being?

Sabes -indicó Clary-, la mayoría de psicólogos están de acuerdo en que la hostilidad es en realidad simple atracción sexual subliminada. -Vaya -exclamó Jace con despreocupación-, eso podría explicar por qué me tropiezo tan a menudo con gente a la que parece que le desagrado.

You know what punk is? a bunch of no-talent guys who really, really want to be in a band. Nobody reads music, nobody plays the mandolin, and you're too dumb to write songs about mythology or Middle-earth. So what's your style? Three chords, cranked out fast and loud and distorted because your instruments are crap and you can't play them worth a damn. And you scream your lungs out to cover up the fact that you can't sing. It should suck, but here's the thing - it doesn't. Rock and roll can be so full of itself, but not this. It's simple and angry and raw.

Logic and morality made it impossible to accept an illogical and immoral reality; they engendered a rejection of reality which as a rule led the cultivated man rapidly to despair. But the varieties of the man-animal are innumerable, and I saw and have described men of refined culture, especially if young, throw all this overboard, simplify and barbarize themselves, and survive. A simple man, accustomed not to ask questions of himself, was beyond the reach of the useless torment of asking himself why. The harsher the oppression, the more widespread among the oppressed is the willingness, with all its infinite nuances and motivations, to collaborate: terror, ideological seduction, servile imitation of the victor, myopic desire for any power whatsoever… Certainly, the greatest responsibility lies with the system, the very structure of the totalitarian state; the concurrent guilt on the part of individual big and small collaborators is always difficult to evaluate… they are the vectors and instruments of the system’s guilt… the room for choices (especially moral choices) was reduced to zero

Philosophy, then, is not a doctrine, not some simplistic scheme for orienting oneself in the world, certainly not an instrument or achievement of human Dasein. Rather, it is this Dasein itself insofar as it comes to be, in freedom, from out of its own ground. Whoever, by stint of research, arrives at this self-understanding of philosophy is granted the basic experience of all philosophizing, namely that the more fully and originally research comes into its own, the more surely is it "nothing but" the transformation of the same few simple questions. But those who wish to transform must bear within themselves the power of a fidelity that knows how to preserve. And one cannot feel this power growing within unless one is up in wonder. And no one can be caught up in wonder without travelling to the outermost limits of the possible. But no one will ever become the friend of the possible without remaining open to dialogue with the powers that operate in the whole of human existence. But that is the comportment of the philosopher: to listen attentively to what is already sung forth, which can still be perceived in each essential happening of world. And in such comportment the philosopher enters the core of what is truly at stake in the task he has been given to do. Plato knew of that and spoke of it in his Seventh Letter: 'In no way can it be uttered, as can other things, which one can learn. Rather, from out of a full, co-existential dwelling with the thing itself - as when a spark, leaping from the fire, flares into light - so it happens, suddenly, in the soul, there to grow, alone with itself.

Here’s another. Kill man’s sense of values. Kill his capacity to recognise greatness or to achieve it. Great men can’t be ruled. We don’t want any great men. Don’t deny conception of greatness. Destroy it from within. The great is the rare, the difficult, the exceptional. Set up standards of achievement open to all, to the least, to the most inept – and you stop the impetus to effort in men, great or small. You stop all incentive to improvement, to excellence, to perfection. Laugh at Roark and hold Peter Keating as a great architect. You’ve destroyed architecture. Build Lois Cook and you’ve destroyed literature. Hail Ike and you’ve destroyed the theatre. Glorify Lancelot Clankey and you’ve destroyed the press. Don’t set out to raze all shrines – you’ll frighten men, Enshrine mediocrity - and the shrines are razed. Then there’s another way. Kill by laughter. Laughter is an instrument of human joy. Learn to use it as a weapon of destruction. Turn it into a sneer. It’s simple. Tell them to laugh at everything. Tell them that a sense of humour is an unlimited virtue. Don't let anything remain sacred in a man’s soul – and his soul won’t be sacred to him. Kill reverence and you’ve killed the hero in man. One doesn’t reverence with a giggle. He’ll obey and he’ll set no limits to obedience – anything goes – nothing is too serious.

People who want to write books do so because they feel it to be the easiest thing they can do. They can read and write, they can afford any of the instruments of book writing such as pens, paper, computers, tape recorders, and generally by the time they have reached this decision, they have had a simple education.

From the first note I knew it was different from anything I had ever heard.... It began simply, but with an arresting phrase, so simple, but eloquent as a human voice. It spoke, beckoning gently as it unwound, rising and tensing. It spiraled upward, the tension growing with each repeat of the phrasing, and yet somehow it grew more abandoned, wilder with each note. His eyes remained closed as his fingers flew over the strings, spilling forth surely more notes than were possible from a single violin. For one mad moment I actually thought there were more of them, an entire orchestra of violins spilling out of this one instrument. I had never heard anything like it--it was poetry and seduction and light and shadow and every other contradiction I could think of. It seemed impossible to breathe while listening to that music, and yet all I was doing was breathing, quite heavily. The music itself had become as palpable a presence in that room as another person would have been--and its presence was something out of myth.

the problem of life was as simple as it was classic. Politics offered no difficulties, for there the moral law was a sure guide. Social perfection was also sure, because human nature worked for Good, and three instruments were all she asked — Suffrage, Common Schools, and Press. On these points doubt was forbidden. Education was divine, and man needed only a correct knowledge of facts to reach perfection: "Were half the power that fills the world with terror, Were half the wealth bestowed on camps and courts, Given to redeem the human mind from error, There were no need of arsenals nor forts.

How great indeed is our debt to [Joseph Smith]. His life began in Vermont and ended in Illinois, and marvelous were the things that happened between that simple beginning and that tragic ending. It was he who brought us a true knowledge of God the Eternal Father and His Risen Son, the Lord Jesus Christ. During the short time of his great vision he learned more concerning the nature of Deity than all of those who through centuries had argued that matter in learned councils and scholarly forums. He brought us this marvelous book, the Book of Mormon, as another witness for the living reality of the Son of God. To him, from those who held it anciently, came the priesthood, the power, the gift, the authority, the keys to speak and act in the name of God. He gave us the organization of the Church and its great and sacred mission. Through him were restored the keys of the holy temples, that men and women might enter into eternal covenants with God, and that the great work for the dead might be accomplished. . . . "He was the instrument in the hands of the Almighty.

This book is about how to hold open that place in the sun. It is a field guide to doing nothing as an act of political resistance to the attention economy, with all the stubbornness of a Chinese “nail house” blocking a major highway. I want this not only for artists and writers, but for any person who perceives life to be more than an instrument and therefore something that cannot be optimized. A simple refusal motivates my argument: refusal to believe that the present time and place, and the people who are here with us, are somehow not enough. Platforms such as Facebook and Instagram act like dams that capitalize on our natural interest in others and an ageless need for community, hijacking and frustrating our most innate desires, and profiting from them. Solitude, observation, and simple conviviality should be recognized not only as ends in and of themselves, but inalienable rights belonging to anyone lucky enough to be alive. —

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

What I would like to leave behind is a simple prayer that each of you may find what I have found—God’s special gift to us all: the gift of peace. When we are at peace, we find the freedom to be most fully who we are, even in the worst of times. We let go of what is nonessential and embrace what is essential. We empty ourselves so that God may more fully work within us. And we become instruments in the hands of the Lord.

Semanticist Wendell Johnson pointed out that we create many problems for ourselves by using static language to express or capture a reality that is ever changing: “Our language is an imperfect instrument created by ancient and ignorant men. It is an animistic language that invites us to talk about stability and constants, about similarities and normal and kinds, about magical transformations, quick cures, simple problems, and final solutions. Yet the world we try to symbolize with this language is a world of process, change, differences, dimensions, functions, relationships, growths, interactions, developing, learning, coping, complexity. And the mismatch of our ever-changing world and our relatively static language forms is part of our problem.

There are, however, at least two varieties of imagination in the reader's case. So let us see which one of the two is the right one to use in reading a book. First, there is the comparatively lowly kind which turns for support to the simple emotions and is of a definitely personal nature. ... This lowly variety is not the kind of imagination I would like readers to use. So what is the authentic instrument to be used by the reader? It is impersonal imagination and artistic delight. What should be established, I think, is an artistic harmonious balance between the reader's mind and the author's mind.

The elements of voice and style are braided together like twine, consisting of these attempts to copy other artists, or an instrument, or even the sound of a bird or passing train. Added to these characteristics are emotions and thoughts that register as various vocal quirks, like hiccups, sighs, growls, warbles—a practically limitless assortment of choices. Most of these choices are made at the speed of sound on a subconscious level, or one would be completely overwhelmed by the task.

Someone said that living life is like playing a violin solo in public and learning to play the instrument as we go along. This saying describes the experience very well, but no one should worry about that. We are in this world for exactly that purpose—to learn. While we are learning we do not expect to produce a perfect work. On this plane we are all students, and what matters is that each year we shall find the quality of our workmanship definitely better. People are sometimes depressed because their lives do not present a simple, logical, harmonious unfoldment, because their histories seem to be full of inconsistencies, repetitions, dead ends. This, however, is only to be expected during the learning period. Your life has not been rehearsed. It is an adventure, and a discovery, and a training, and it is the final goal that matters.

[T]here is both an intrinsic and instrumental value to privacy. Intrinsically, privacy is precious to the extent that it is a component of a liberty. Part of citizenship in a free society is the expectation that one's personal affairs and physical person are inviolable so long as one remains within the law. A robust concept of freedom includes the freedom from constant and intrusive government surveillance of one's life. From this perspective, Fourth Amendment violations are objectionable for the simple fact that the government is doing something it has no licence to do–that is, invading the privacy of a law-abiding citizen by monitoring her daily activities and laying hands on her person without any evidence of wrongdoing. Privacy is also instrumental in nature. This aspect of the right highlights the pernicious effects, rather than the inherent illegitimacy, of intrusive, suspicionless surveillance. For example, encroachments on individual privacy undermine democratic institutions by chilling free speech. When citizens–especially those espousing unpopular viewpoints–are aware that the intimate details of their personal lives are pervasively monitored by government, or even that they could be singled out for discriminatory treatment by government officials as a result of their First Amendment expressive activities, they are less likely to freely express their dissident views.

The instruments for the quest of truth are as simple as they are difficult. They may appear quite impossible to an arrogant person, and quite possible to an innocent child.

After all, it is a good thing to laugh…and if a straw can tickle a man, it is an instrument of happiness.

Gardening is an instrument of grace. —May Sarton (1912–1995) American poet, novelist, and memoirist

When healing gifts are exercised, the faith of both the one healed and the one healing is built up and becomes stronger. Faith not only in God, but faith in one’s ability to do the works Jesus did, as He said we would. Many who might otherwise move powerfully in the gifts of the Spirit are not lacking faith in God to want to do them, but in themselves and their own ability to be instrumental in ministering the gifts.

nor do they know how to love their enemies as the instruments used by God’s goodness to train them to self-denial and to help not only in their future salvation, but in a greater sanctification of their daily life.

How many tyrants have tried? How many rulers have sought to reduce their subjects to simple, unthinking instruments of profit and gain? They steal the loves, the religions, of their people; they seek to steal the spirit.

Finally, the work of the minister tended to be judged by his success in a single area - the saving of souls in measurable numbers. The local minister was judged either by his charismatic powers or by his ability to prepare his congregation for the preaching of some itinerant ministerial charmer who would really awaken its members. The 'star' system prevailed in religion before it reached the theater. As the evangelical impulse became more widespread and more dominant, the selection and training of ministers was increasingly shaped by the revivalist criterion of ministerial merit. The Puritan ideal of the minister as an intellectual and educational leader was steadily weakened in the face of the evangelical ideal of the minister as a popular crusader and exhorter. Theological education itself became more instrumental. Simple dogmatic formulations were considered sufficient. In considerable measure the churches withdrew from intellectual encounters with the secular world, gave up the idea that religion is a part of the whole life of intellectual experience, and often abandoned the field of rational studies on the assumption that they were the natural province of science alone. By 1853 an outstanding clergyman complained that there was 'an impression, somewhat general, that an intellectual clergyman is deficient in piety, and that an eminently pious minister is deficient in intellect.

I’ve never seen him arrive or leave, because I always walk past him, drop a dollar bill in his case, and keep moving. Then, covertly from the platform, I look over—as do many of us—to where he sits on his stool near the base of the stairs, his fingers flying up and down the neck of the instrument. His left hand pulls out the notes as if it’s as simple as breathing. Breathing. As an aspiring writer, it’s my least favorite cliché, but it’s the only one that suits. I’ve never seen someone’s fingers move like that, as if he doesn’t even have to think about it. In some ways, it seems like he gives the guitar an actual human voice. He looks up as I drop a bill into his case, squinting at me, and gives me a quiet “Thanks very much.” He’s never done that before—looked up when someone dropped money in his case—and I’m caught completely off guard when our eyes meet. Green, his are green. And he doesn’t immediately look away. The hold of his gaze is mesmerizing.

The often-agitated question between agriculture and commerce has, from indubitable experience, received a decision which has silenced the rivalship that once subsisted between them, and has proved, to the satisfaction of their friends, that their interests are intimately blended and interwoven. It has been found in various countries that, in proportion as commerce has flourished, land has risen in value. And how could it have happened otherwise? Could that which procures a freer vent for the products of the earth, which furnishes new incitements to the cultivation of land, which is the most powerful instrument in increasing the quantity of money in a state—could that, in fine, which is the faithful handmaid of labor and industry, in every shape, fail to augment that article, which is the prolific parent of far the greatest part of the objects upon which they are exerted? It is astonishing that so simple a truth should ever have had an adversary; and it is one, among a multitude of proofs, how apt a spirit of ill-informed jealousy, or of too great abstraction and refinement, is to lead men astray from the plainest truths of reason and conviction.

He felt her there beside him, just as she had always been on evenings like this when he had called for music, and when her touch on her instrument, or her least word to him, had been so much her own; except that he would have preferred even to this vivid dream her simple reality in the dark.

Our language is an imperfect instrument created by ancient and ignorant men. It is an animistic language that invites us to talk about stability and constants, about similarities and normal and kinds, about magical transformations, quick cures, simple problems, and final solutions. Yet the world we try to symbolize with this language is a world of process, change, differences, dimensions, functions, relationships, growths, interactions, developing, learning, coping, complexity. And the mismatch of our ever-changing world and our relatively static language forms is part of our problem.

OK! Let's get started," Mariela announced brightly. "Now, can anyone tell me the meaning of 'tango'--the actual word?" Helen, of course, knew. "In Latin, it means 'I touch." Mariela nodded emphatically. "'I touch.' Or 'I play.' As in playing an instrument only here our instrument is ourselves," Mariela paused, allowing this insight to sink in. "And it means, 'I touch. I touch my partner in embrace," Dan and Mariela faced each other in an opening stance, "also called an abrazo--" and danced a simple eight step. "And I touch my inner life. I touch the core of my essence. Tango is not just learning or following steps." "It's improvisation," Barry said in a deep baritone. "That's right. There's a saying that tango is a 'sad thought danced.' But that's only part of it. It's touching the sadness in you, the pain, yes--but also the joy, the humor, the everything life has. It's touching everything.

that I played a part in building. We needed a safe way for the Submissives and the Dominants to learn. This club isn’t a free-for-all. Although each Dominant has their own way of doing things, their own preferences and kinks, and we encourage the variety. Dressed in leathers, the trainers are lined up and waiting for the women to choose instruments from the extensive collection. Their sole purpose is to provide a means for the women to explore their limits. One woman, I believe her name is Lisa, is concerned about her positioning. Although she’s dressed in a simple cream chiffon romper, she’s on the waxed floor of the stage, practicing with a trainer offering advice. She’s not very

I want this not only for artists and writers, but for any person who perceives life to be more than an instrument and therefore something that cannot be optimized. A simple refusal motivates my argument: refusal to believe that the present time and place, and the people who are here with us, are somehow not enough. Platforms such as Facebook and Instagram act like dams that capitalize on our natural interest in others and an ageless need for community, hijacking and frustrating our most innate desires, and profiting from them. Solitude, observation, and simple conviviality should be recognized not only as ends in and of themselves, but inalienable rights belonging to anyone lucky enough to be alive.

Comme je l’ai dit, le but unique des efforts de tout bon musulman est l’union intime avec Dieu. Divers procédés mystiques conduisent à cet état parfait, et chaque confédération possède sa méthode d’entraînement. En général, cette méthode mène le simple adepte à un état d’abrutissement absolu, qui en fait un instrument aveugle et docile aux mains du chef.

Yes, and that is what can be done by SIMPLE methods. But nowadays every one is a mechanic, and wants to open that money chest with an instrument instead of simply. For that purpose he hies him to England. Yes, THAT is the thing to do. What folly!” Kostanzhoglo spat and added: “Yet when he returns from abroad he is a hundred times more ignorant than when he went.

The evil of the present system is therefore not that the "surplus-value" of production goes to the capitalist, as Rodbertus and Marx said, thus narrowing the Socialist conception and the general view of the capitalist system; the surplus-value itself is but a consequence of deeper causes. The evil lies in the possibility of a surplus-value existing, instead of a simple surplus not consumed by each generation; for, that a surplus-value should exist, means that men, women and children are compelled by hunger to sell their labour for a small part of what this labour produces, and still more so, of what their labour is capable of producing: But this evil will last as long as the instruments of production belong to the few. As

Je dois dire un mot sur la peur. C'est le seul adversaire réel de la vie. Il n'y a que la peur qui puisse vaincre la vie. C'est une ennemie habile et perfide, et je le sais bien. Elle n'a aucune décence, ne respecte ni lois ni conventions, ne manifeste aucune clémence. Elle attaque votre point le plus faible, qu'elle trouve avec une facilité déconcertante. Elle naît d'abord et invariablement dans votre esprit. Un moment vous vous sentez calme, en plein contrôle, heureux. Puis la peur, déguisée en léger doute, s'immisce dans votre pensée comme un espion. Ce léger doute rencontre l'incrédulité et celle-ci tente de le repousser. Mais l'incrédulité est un simple fantassin. Le doute s'en débarrasse sans se donner de mal. Vous devenez inquiet. La raison vient à votre rescousse. Vous êtes rassuré. La raison dispose de tous les instruments de pointe de la technologie moderne. Mais, à votre surprise et malgré des tactiques supérieures et un nombre impressionnant de victoires, la raison est mise K.- O. Vous sentez que vous vous affaiblissez, que vous hésitez. Votre inquiétude devient frayeur.

As for my own answers to any of this? I have none. I'm far more confused than before I first went. I've had no great epiphanies, no profound realisations, but since returning home I've resigned myself to this one thing: that, putting the economics and politics of it all aside - naive as that may be - what it all boils down to is individuals. It's a simple interaction between just two people: one, a person with opportunities and choices, and who could get a flight out tomorrow should they choose; the other, a person with few options - if any. If nothing else, it's a gesture. An attempt. Food and a tent for Toto. Burns dressing for Jose. A little operating theatre with car batteries and boiled instruments, where Roberto can ply his trade. Free HIV treatment for Elizabeth, who'll never be cured and will always live in a hut anyway, but who'll have a longer, healthier life because of it. And sometimes it's little more than a bed in which to die peacefully, attended to by family and health workers... but hey, that's no small thing in some parts. My head says it's futile. My heart knows differently.

Music escapes ideological characterization. Just as there are some social scientists who believe that what cannot be measured does not truly exist, and some psychologists used to believe that consciousness does not exist because it cannot be observed by instruments, so ideologists find anything that escapes their conceptual framework threatening - because ideologists want a simple principle, or a few simple principles, by which all things may be judged. When I was a student, I lived with a hard-line dialectical materialist who said that Schubert was a typical petit bourgeois pessimist, whose music would die out once objective causes for pessimism ceased to exist. But I suspect that even he was not entirely happy with this formulation.

Split your skull—a hatchet works well enough. Take a more delicate instrument—a scalpel, perhaps—and make a hand-sized slit; it doesn’t matter where. Reach in (no glove needed), plunge down to the very bottom, pinch the inside layer of membrane and yank, hard. If it feels like you’ve just turned your brain inside out, you have. Writing is brain surgery, pure and simple.

With deep theoretical roots (e.g., Bandura 1973; Dollard et al. 1939), there are at least two functions of aggression: aggression that serves to attain some goal of the perpetrator (i.e., instrumental aggression, which can be considered planful and cool-headed) and aggression that is impulsively enacted in response to some provocation, real or imagined (i.e., reactive aggression, which can be considered unplanned and hot-headed). A simple example of instrumental aggression is an attack on the victim for some material reward, such as money or an iPhone. Reactive aggression is exemplified by an outburst to a perceived or actual slight. For child developmentalists, the distinction is important because each is associated with a unique developmental trajectory and consequent socioemotional outcomes. For example, reactively aggressive children are more apt to display poor psychological adjustment because their dysregulation leads to related social difficulties such as peer rejection (Coie and Koeppl 1990). By contrast, instrumentally aggressive children are not necessarily dysregulated. Moreover, their success at goal attainment may even lead to positive peer regard.

All these stories of Janamsakhi were like an artistic instrument that was yielded more to spread Nanak’s spiritual sovereignty as a mystical prophet than as an effective teacher in flesh and blood. In the midst of ignorance and mystical craving, they provided a simple method to guide people, or rather allure them to a newly formed religious path by sermonizing through stories of mystical non-sense.

A soul which listens to self, which is preoccupied with its feelings, which indulges in useless thoughts or desires, scatters its forces. It is not completely under God’s sway. Its lyre is not in tune, so that when the Master strikes it, he cannot draw forth divine harmonies; it is too human and discordant    The soul which reserves anything for self in its interior kingdom, whose powers are not all “enclosed” in God, cannot be a perfect “Praise of Glory,”. . . because it is not in unity. So that, instead of persevering in praise, in simplicity, whatever may happen, it must be continually tuning the strings of its instrument, which are all a little off key. How necessary is this blessed unity for the soul that desires to live here below the life of the blessed—that is, of simple beings, of spirits.

Viewed from Mount Vernon Street, the problem of life was as simple as it was classic. Politics offered no difficulties, for there the moral law was a sure guide. Social perfection was also sure, because human nature worked for Good, and three instruments were all she asked—Suffrage, Common Schools, and Press. On these points doubt was forbidden. Education was divine, and man needed only a correct knowledge of facts to reach perfection:

[T]he complexity of nature is not innate but consequence of the instruments used to handle it. There is nothing complex about walking, breathing, and circulating one's blood. Living organisms have developed these functions without without thinking about them at all. The circulation of the blood becomes complex only when stated in physiological terms, that is, when understood by means of a conceptual model constructed of the kind of simple units which conscious attention requires.

Ma langue maternelle fut une langue infirme. Ce patois judéo-arabe de Tunis, truffé de mots hébreux, italiens, français, mal compris des Musulmans, totalement ignoré des autres, m'abondonnais dès que je quittais les ruelles du ghetto. Au-delà des émotions simples, du boire et du manger, dans cet univers politique, technique et intellectuel que je rêvais de conquérir, il perdait tout efficacité. Par bonheur, l'école primaire me fit don du français. C'était un cadeau intimidant, exigeant et difficile à manier; c'était en outre la langue du Colonisateur. Mais précisément, ce superbe instrument, magnifiquement au point, exprimait tout et ouvrait toutes les portes. Le degré de culture, le prestige intellectuel, la réussite sociale se mesurait à l'assurance dans le maniement de la langue du vainqueur. J'acceptai joyeusement le pari et l'enjeu: avec ma mère, qui ne comprenait pas le français,je parlerais la langue de mon enfance; dans la rue, dans ma profession, je serais un Occidental. C'était affaire d'organisation intérieure. Après tout, je ne serais pas le seul homme sur terre à ne pas connaitre une parfaite unité.

Apple employees had never had much respect for Microsoft’s ability to create anything but ungainly, confusing, and half-baked technologies for consumers. The animus went back decades. Even though Microsoft Word, Excel, and PowerPoint were instrumental in the early success of the Mac, Microsoft’s unforgivable sin, from the vantage point of Cupertino, was its derivative creation of Windows. Steve was being expedient when he offered to abandon Apple’s long-standing lawsuit against Microsoft to seal the deal with Gates upon his return in 1997. But folks at Apple still considered Windows a rip-off of Apple’s ideas, pure and simple.

My mother has always loved piano music and hungered to play. When she was in her early sixties, she retired from her job as a computer programmer so that she could devote herself more fully to the piano. As she had done with her dog obsession, she took her piano education to an extreme. She bought not one, not two, but three pianos. One was the beautiful Steinway B, a small grand piano she purchased with a modest inheritance left by a friend of her parents’. She photocopied all of her music in a larger size so she could see it better and mounted it on manila folders. She practiced for several hours every day. When she wasn’t practicing the piano she was talking about the piano. I love pianos, too, and wrote an entire book about the life of one piano, a Steinway owned by the renowned pianist Glenn Gould. And I shared my mother’s love for her piano. During phone conversations, I listened raptly as she told me about the instrument’s cross-country adventures. Before bringing the Steinway north, my mother had mentioned that she was considering selling it. I was surprised, but instead of reminding her that, last I knew, she was setting it aside for me, I said nothing, unable to utter the simple words, “But, Mom, don’t you remember your promise?” If I did, it would be a way of asking for something, and asking my mother for something was always dangerous because of the risk of disappointment.

Psychology, as I understand it, means knowledge of the soul. Yet, how shall we speak about the souls of others, when we do not even know our own? Is there a single one of us who can say with certainty how he will react to a given event? Nevertheless, as leaders we must have some knowledge of the souls of our soldiers; because the soldier, the living man, is the instrument with which we have to work in war. The great commanders of all times had a real knowledge of the souls of their soldiers. Let us use a more simple phrase and call this knowledge of the soul, “knowledge of men.” Knowledge of men in all wars has proved an important factor to the leader. It is probable that this will be still more true in future wars.

remember to P.R.A.Y.! More than anything else, this simple acronym is the thing that will help you grow in prayer. ‘Pause’. Remember that crazed greyhound pursued by the bistro chair? Try to ‘be still and know’ God (Ps. 46:10). ‘Rejoice … always’ (Phil. 4:4). Remember my son Daniel’s scribbled prayers? Your Father in heaven loves you, knows you, and interprets your heart perfectly. Give him thanks! ‘Ask and it will be given to you’ (Matt. 7:7). Remember George Müller praying for daily bread? Ask the Father for everything from peace in the Middle East to parking spaces. ‘Yield’. Offer every part of yourself to him as an instrument of righteousness’ (Rom. 6:13). Remember those Thai boys trapped in the cave? Wait and trust for the light and hope to come.

Confident pluralism has a very simple premise, namely, that people have the right to be different, to think differently, to live differently, to worship differently, without fear of reprisal. Confident pluralism operates with the idea that politics has instrumental rather than ultimate value. In other words, politics is a means, not an end. No state, no political party, no leader is God-like, or can demand blind devotion. Any attempt by political actors to create social homogeneity by compelling conformity, by bullying minorities or by punishing dissent, whether in religion or in policy, is anti-liberal and undemocratic. As Australian political leader Tim Wilson writes: ‘A free society does not seek to homogenise belief or conscience but instead, affirms diversity and advocates for tolerance and mutual respect.’43

Under his clothes, it is well known, More wears a jerkin of horsehair. He beats himself with a small scourge, of the type used by some religious orders. What lodges in his mind, Thomas Cromwell's, is that somebody makes these instruments of daily torture. Someone combs the horsehair into coarse tufts, knots them and chops the blunt ends, knowing that their purpose is to snap off under the skin and irritate it into weeping sores. Is it monks who make them, knotting and snipping in a fury of righteousness, chuckling at the thought of the pain they will cause to persons unknown? Are simple villagers paid – how, by the dozen? – for making flails with waxed knots? Does it keep farm workers busy during the slow winter months? When the money for their honest labour is put into their hands, do the makers think of the hands that will pick up the product?

For the great eras in the history of the development of all the arts have been eras not of increased feeling or enthusiasm in feeling for art, but of new technical improvements primarily and specially. The discovery of marble quarries in the purple ravines of Pentelicus and on the little low-lying hills of the island of Paros gave to the Greeks the opportunity for that intensified vitality of action, that more sensuous and simple humanism, to which the Egyptian sculptor working laboriously in the hard porphyry and rose-coloured granite of the desert could not attain. The splendour of the Venetian school began with the introduction of the new oil medium for painting. The progress in modern music has been due to the invention of new instruments entirely, and in no way to an increased consciousness on the part of the musician of any wider social aim.

It seems simple but, dear, it means that integrity, loyalty, honor, and courtesy are the safest and surest instruments for your success. In this selfish world you will find many to tell you that a man cannot make his way by sentiments, that too much respect for moral considerations will hinder his advance. It is not so; you will see men ill-trained, ill-taught, incapable of measuring the future, who are rough to a child, rude to an old woman, unwilling to be irked by some worthy old man on the ground that they can do nothing for him; later, you will find the same men caught by the thorns which they might have rendered pointless, and missing their triumph for some trivial reason; whereas the man who is early trained to a sense of duty does not meet the same obstacles; he may attain success less rapidly, but when attained it is solid and does not crumble like that of others.

One of his favorite examples, repeated several times in the thousands of pages of his writings, is of American experiments to bring rain in time of drought by shooting cannons into the air: a simple reorientation of aim from horizontal to vertical, from weapons of destruction to instruments of salvation. And this simple but radical change in orientation, from horizontal to vertical, returns throughout his writings to symbolize the reorientation needed in every field of activity: from a horizontal “zoomorphic” culture of human animals to a vertical, fully human stance of broad rational perspective; from a Ptolemaic, earth-centered worldview to a Copernican, cosmos-centered worldview; from the horizontal position of a body lying in its grave to the vertical position of the monument and mourner standing over that grave; from the horizontality of the railroad track to the verticality of the air balloon now and the spaceship tomorrow.

Frodo indeed 'failed' as a hero, as conceived by simple minds: he did not endure to the end; he gave in, ratted. I do not say 'simple minds' with contempt: they often see with clarity the simple truth and the absolute ideal to which effort must be directed, even if it is unattainable. Their weakness, however, is twofold. They do not perceive the complexity of any given situation in Time, in which an absolute ideal is enmeshed. They tend to forget that strange element in the World that we call Pity or Mercy, which is also an absolute requirement in moral judgement (since it is present in the Divine nature). In its highest exercise it belongs to God. For finite judges of imperfect knowledge it must lead to the use of two different scales of 'morality'. To ourselves we must present the absolute ideal without compromise, for we do not know our own limits of natural strength (+grace), and if we do not aim at the highest we shall certainly fall short of the utmost that we could achieve. To others, in any case of which we know enough to make a judgement, we must apply a scale tempered by 'mercy': that is, since we can with good will do this without the bias inevitable in judgements of ourselves, we must estimate the limits of another's strength and weigh this against the force of particular circumstances. I do not think that Frodo's was a moral failure. At the last moment the pressure of the Ring would reach its maximum – impossible, I should have said, for any one to resist, certainly after long possession, months of increasing torment, and when starved and exhausted. Frodo had done what he could and spent himself completely (as an instrument of Providence) and had produced a situation in which the object of his quest could be achieved. His humility (with which he began) and his sufferings were justly rewarded by the highest honour; and his exercise of patience and mercy towards Gollum gained him Mercy: his failure was redressed. We are finite creatures with absolute limitations upon the powers of our soul-body structure in either action or endurance. Moral failure can only be asserted, I think, when a man's effort or endurance falls short of his limits, and the blame decreases as that limit is closer approached. Nonetheless, I think it can be observed in history and experience that some individuals seem to be placed in 'sacrificial' positions: situations or tasks that for perfection of solution demand powers beyond their utmost limits, even beyond all possible limits for an incarnate creature in a physical world – in which a body may be destroyed, or so maimed that it affects the mind and will. Judgement upon any such case should then depend on the motives and disposition with which he started out, and should weigh his actions against the utmost possibility of his powers, all along the road to whatever proved the breaking-point.

The more important fundamental laws and facts of physical science have all been discovered, and these are now so firmly established that the possibility of their ever being supplanted in consequence of new discoveries is exceedingly remote. Nevertheless, it has been found that there are apparent exceptions to most of these laws, and this is particularly true when the observations are pushed to a limit, i.e., whenever the circumstances of experiment are such that extreme cases can be examined. Such examination almost surely leads, not to the overthrow of the law, but to the discovery of other facts and laws whose action produces the apparent exceptions. As instances of such discoveries, which are in most cases due to the increasing order of accuracy made possible by improvements in measuring instruments, may be mentioned: first, the departure of actual gases from the simple laws of the so-called perfect gas, one of the practical results being the liquefaction of air and all known gases; second, the discovery of the velocity of light by astronomical means, depending on the accuracy of telescopes and of astronomical clocks; third, the determination of distances of stars and the orbits of double stars, which depend on measurements of the order of accuracy of one-tenth of a second-an angle which may be represented as that which a pin's head subtends at a distance of a mile. But perhaps the most striking of such instances are the discovery of a new planet or observations of the small irregularities noticed by Leverrier in the motions of the planet Uranus, and the more recent brilliant discovery by Lord Rayleigh of a new element in the atmosphere through the minute but unexplained anomalies found in weighing a given volume of nitrogen. Many other instances might be cited, but these will suffice to justify the statement that 'our future discoveries must be looked for in the sixth place of decimals.

Medicine once consisted of the knowledge of a few simples, to stop the flow of blood, or to heal wounds; then by degrees it reached its present stage of complicated variety. No wonder that in early days medicine had less to do! Men's bodies were still sound and strong; their food was light and not spoiled by art and luxury, whereas when they began to seek dishes not for the sake of removing, but of rousing, the appetite, and devised countless sauces to whet their gluttony, – then what before was nourishment to a hungry man became a burden to the full stomach. 16. Thence come paleness, and a trembling of wine-sodden muscles, and a repulsive thinness, due rather to indigestion than to hunger. Thence weak tottering steps, and a reeling gait just like that of drunkenness. Thence dropsy, spreading under the entire skin, and the belly growing to a paunch through an ill habit of taking more than it can hold. Thence yellow jaundice, discoloured countenances, and bodies that rot inwardly, and fingers that grow knotty when the joints stiffen, and muscles that are numbed and without power of feeling, and palpitation of the heart with its ceaseless pounding. 17. Why need I mention dizziness? Or speak of pain in the eye and in the ear, itching and aching[11] in the fevered brain, and internal ulcers throughout the digestive system? Besides these, there are countless kinds of fever, some acute in their malignity, others creeping upon us with subtle damage, and still others which approach us with chills and severe ague. 18. Why should I mention the other innumerable diseases, the tortures that result from high living?   Men used to be free from such ills, because they had not yet slackened their strength by indulgence, because they had control over themselves, and supplied their own needs.[12] They toughened their bodies by work and real toil, tiring themselves out by running or hunting or tilling the earth. They were refreshed by food in which only a hungry man could take pleasure. Hence, there was no need for all our mighty medical paraphernalia, for so many instruments and pill-boxes. For plain reasons they enjoyed plain health;

Most people can swim a narrow river. Water is an alien element, but with labor we can force ourselves through it. A good swimmer can cross a wide river, a lake, even the English Channel; no one, as far as we know, has ever swum the Atlantic Ocean, or is likely to do so. Even a champion swimmer, if he had business which required to spend alternate weeks in Paris and London, would not make the trip regularly by swimming the English Channel. Although we can force ourselves through water by skill and main strength, for all practical purposes our ability to traverse water is only as good as our ships or our airplanes. And so with the activities of our brains. Thinking is probably as foreign to human nature as is water; it is an unnatural element into which we throw ourselves with hesitation, and in which we flounder once we are there. We have learned, during the millenniums, to do rather well with thinking, but only if we buoy ourselves up with words. Some thinking of a simple sort we can do without words, but difficult and sustained thinking, presumably, is completely impossible without their aid, as traversing the Atlantic Ocean is presumably impossible without instruments or submarine transportation.

A convivial society should be designed to allow all its members the most autonomous action by means of tools least controlled by others. People feel joy, as opposed to mere pleasure, to the extent that their activities are creative; while the growth of tools beyond a certain point increases regimentation, dependence, exploitation, and impotence. I use the term "tool" broadly enough to include not only simple hardware such as drills, pots, syringes, brooms, building elements, or motors, and not just large machines like cars or power stations; I also include among tools productive institutions such as factories that produce tangible commodities like corn flakes or electric current, and productive systems for intangible commodities such as those which produce "education," "health," "knowledge," or "decisions." I use this term because it allows me to subsume into one category all rationally designed devices, be they artifacts or rules, codes or operators, and to distinguish all these planned and engineered instrumentalities from other things such as basic food or implements, which in a given culture are not deemed to be subject to rationalization. School curricula or marriage laws are no less purposely shaped social devices than road networks. 5

But as for sermons! They are bad, aren’t they! Most of them from any point of view. The answer to the mystery is prob. not simple; but part of it is that ‘rhetoric’ (of which preaching is a dept.) is an art, which requires (a) some native talent and (b) learning and practice. The instrument used is v. much more complex than a piano, yet most performers are in the position of a man who sits down to a piano and expects to move his audience without any knowledge of the notes at all. The art can be learned (granted some modicum of aptitude) and can then be effective, in a way, when wholly unconnected with sincerity, sanctity etc. But preaching is complicated by the fact that we expect in it not only a performance, but truth and sincerity, and also at least no word, tone, or note that suggests the possession of vices (such as hypocrisy, vanity) or defects (such as folly, ignorance) in the preacher. Good sermons require some art, some virtue, some knowledge. Real sermons require some special grace which does not transcend art but arrives at it by instinct or ‘inspiration’; indeed the Holy Spirit seems sometimes to speak through a human mouth providing art, virtue and insight he does not himself possess: but the occasions are rare. In other times I don’t think an educated person is required to suppress the critical faculty, but it should be kept in order by a constant endeavour to apply the truth (if any), even in cliche form, to oneself exclusively! A difficult exercise. . . . .

One of the fundamental conditions of happiness is to know that everything that one does has a meaning in eternity; but who in these days can still conceive of a civilization within which all vital manifestations would be developed "in the likeness of Heaven"? In a theocentric society the humblest activity participates in this heavenly benediction. The words of a street singer heard by the author in Morocco are worth quoting here. The singer was asked why the little Arab guitar which he used to accompany his chanting of legends had only two strings. He gave this answer: "To add a third string to this instrument would be to take the first step towards heresy. When God created the soul of Adam it did not want to enter into his body, and circled like a bird round about its cage. Then God commanded the angels to play on the two strings that are called the male and the female, and the soul, thinking that the melody resided in the instrument- which is the body- entered it and remained within it. For this reason two strings, which are always called the male and the female, are enough to deliver the soul from the body." This legend holds more meaning than appears at first sight, for it summarizes the whole traditional doctrine of sacred art. The ultimate objective of sacred art is not the evocation of feelings nor the communication of impressions; it is a symbol, and as such it finds simple -and primordial means sufficient; it could not in any case be anything more than allusive, its real object being ineffable. It is of angelic origin, because its models reflect supra-formal realities. It recapitulates the creation- the "Divine Art"- in parables, thus demonstrating the symbolical nature of the world, and delivering the human spirit from its attachment to crude and ephemeral "facts

It has been widely said in the recent past that economic freedom can exist without the institution of property, because, under a Communist system, men own though they own corporately: they can dispose of their own lives, though such disposition be indirect and through delegates. This false argument is born of the dying Parliamentary theory of politics; it proceeds from the false statement which deceived three generations of Europe, from the French Revolution to our own day, that corporate action may be identified with individual action. So men speak of their so-called “Representatives” as having been “chosen” by themselves. But in experienced reality there is no such thing as this imagined permanent corporate action through delegation. On some very simple and universal point, which all understand, in which all are interested and on which all feel strongly, the desire of the bulk of people may be expressed for a brief moment by delegation. Men voting under strong emotion on one single clear issue, may instruct others to carry out their wishes; but the innumerable acts of choice and expression which make up human life can never work through a system of delegation. Even in the comparatively simple field of mere political action, delegation destroys freedom. Parliaments have everywhere proved irreconcilable with democracy. They are not the people. They are oligarchies, and those oligarchies are corrupt because they pretend to a false character and to be, or to mirror, the nation. They are in reality, and can only be, cliques of professional politicians; unless, indeed, they are drawn from an aristocratic class which the community reveres. For class government, the product of the aristocratic spirit, is the condition of oligarchies working successfully and therefore of a reasonably efficient Parliament. Such an instrument is not to be found save in the hands of a governing class.

[Magyar] had an intense dislike for terms like 'illiberal,' which focused on traits the regimes did not possess--like free media or fair elections. This he likened to trying to describe an elephant by saying that the elephant cannot fly or cannot swim--it says nothing about what the elephant actually is. Nor did he like the term 'hybrid regime,' which to him seemed like an imitation of a definition, since it failed to define what the regime was ostensibly a hybrid of. Magyar developed his own concept: the 'post-communist mafia state.' Both halves of the designation were significant: 'post-communist' because "the conditions preceding the democratic big bang have a decisive role in the formation of the system. Namely that it came about on the foundations of a communist dictatorship, as a product of the debris left by its decay." (quoting Balint Magyar) The ruling elites of post-communist states most often hail from the old nomenklatura, be it Party or secret service. But to Magyar this was not the countries' most important common feature: what mattered most was that some of these old groups evolved into structures centered around a single man who led them in wielding power. Consolidating power and resources was relatively simple because these countries had just recently had Party monopoly on power and a state monopoly on property. ... A mafia state, in Magyar's definition, was different from other states ruled by one person surrounded by a small elite. In a mafia state, the small powerful group was structured just like a family. The center of the family is the patriarch, who does not govern: "he disposes--of positions, wealth, statuses, persons." The system works like a caricature of the Communist distribution economy. The patriarch and his family have only two goals: accumulating wealth and concentrating power. The family-like structure is strictly hierarchical, and membership in it can be obtained only through birth or adoption. In Putin's case, his inner circle consisted of men with whom he grew up in the streets and judo clubs of Leningrad, the next circle included men with whom he had worked with in the KGB/FSB, and the next circle was made up of men who had worked in the St. Petersburg administration with him. Very rarely, he 'adopted' someone into the family as he did with Kholmanskikh, the head of the assembly shop, who was elevated from obscurity to a sort of third-cousin-hood. One cannot leave the family voluntarily: one can only be kicked out, disowned and disinherited. Violence and ideology, the pillars of the totalitarian state, became, in the hands of the mafia state, mere instruments. The post-communist mafia state, in Magyar's words, is an "ideology-applying regime" (while a totalitarian regime is 'ideology-driven'). A crackdown required both force and ideology. While the instruments of force---the riot police, the interior troops, and even the street-washing machines---were within arm's reach, ready to be used, ideology was less apparently available. Up until spring 2012, Putin's ideological repertoire had consisted of the word 'stability,' a lament for the loss of the Soviet empire, a steady but barely articulated restoration of the Soviet aesthetic and the myth of the Great Patriotic War, and general statements about the United States and NATO, which had cheated Russia and threatened it now. All these components had been employed during the 'preventative counter-revolution,' when the country, and especially its youth, was called upon to battle the American-inspired orange menace, which threatened stability. Putin employed the same set of images when he first responded to the protests in December. But Dugin was now arguing that this was not enough. At the end of December, Dugin published an article in which he predicted the fall of Putin if he continued to ignore the importance of ideas and history.

Good luck. For most of my generation, it would just go to student debt and cocktails. If anything came to me (an impossibility), I would dump it into a poorly managed career in edgy luxury items. You can’t make opera money on perfume that smells like cunts and gasoline. At any rate, I didn’t usually make an appearance beyond the gala. Or, I hadn’t until recently. But Joseph Eisner had promised me a fortune, and now he wouldn’t take my calls. He did, however, like his chamber music. It had been an acquired taste for me. In my distant undergraduate past, when circumstance sat me in front of an ensemble, I spent the first five minutes of each concert deciding which musician I would fuck if I had the chance, and the rest shifting minutely in my seat. I still couldn’t stand Chanel. And while I had learned to appreciate—indeed, enjoy—chamber ensembles, orchestras, and on occasion even the opera, I retained my former habit as a dirty amusement to add some private savor to the proceedings. Tonight, it was the violist, weaving and bobbing his way through Dvořák’s Terzetto in C Major like a sinuous dancer. I prefer the romantics—fewer hair-raising harmonies than modern fare, and certainly more engaging than funereal baroque. The intriguing arrangement of the terzetto kept me engaged, in that slightly detached and floating manner engendered by instrumental performance. Moreover, the woman to my left, one row ahead, was wearing Salome by Papillon. The simple fact of anyone wearing such a scent in public pleased me. So few people dared wear anything at all these days, and when they did, it was inevitably staid: an inoffensive classic or antiseptic citrus-and-powder. But this perfume was one I might have worn myself. Jasmine, yes, but more indolic than your average floral. People sometimes say it smells like dirty panties. As the trio wrapped up for intermission, I took a steadying breath of musk and straightened my lapels. The music was only a means to an end, after all.

the bourgeoisie wanted to insert something more than just the negative law of “this is not yours” between the worker and the production apparatus he had in his hands. A supplementary code was needed that complements this law and gets it to work: the worker himself had to be moralized. When he is told: “You are only your labor-power and I have paid the market price for it,”‡ and when so much wealth is put in his hands, it is necessary to inject into the relationship between the worker and what he is working on a whole series of obligations and constraints that overlay the law of wages, which is apparently the simple law of the market.§ The wage contract must be accompanied by a coercion that is like its validity clause: the working class must be “regenerated,” “moralized.” Thus the transfer of the penitentiary takes place with one social class applying it to another: it is in this class relationship between the bourgeoisie and the proletariat that the condensed and remodeled penitentiary system begins to function; it will be a political instrument of the control and maintenance of relations of production. Fourth, something more is needed for this supplementary code to function effectively and for the delinquent actually to appear as a social enemy: the actual separation of delinquents from non-delinquents within those lower strata practicing illegalism. The great continuous mass of economico-political illegalism, going from common law crime to political revolt, must be broken up and the purely delinquent must be placed on one side, and those free of delinquency, who may be called non-delinquent, on the other. Thus, the bourgeoisie has no great wish to suppress delinquency.18 The main objective of the penal system is breaking this continuum of lower-class illegalism and the organization of a world of delinquency. There are two instruments for this. On the one hand, an ideological instrument: the theory of the delinquent as social enemy. This is no longer someone who struggles against the law, who wishes to evade power, but someone who is at war with every member of society. And the suddenly monstrous face the criminal assumes at the end of the eighteenth century, in literature and in penal theorists, corresponds to this need to break lower-class illegalism

For a moment we just sit there silently, our heads tipped back as we stare at the sky. A minute passes, maybe two. And then Ryder’s hand grazes mine before settling on the ground, our pinkies touching. I suck in a breath, my entire body going rigid. I’m wondering if he realizes it, if he even knows he’s touching me, when just like that, he draws away. Ryder clears his throat. “So…I hear you’re going out with Patrick on Friday.” “And?” I ask. That brief connection that we’d shared is suddenly gone--poof, just like that. “And what?” he answers with a shrug. “Oh, I’m sure you’ve got an opinion on this--one you’re just dying to share.” Because Ryder has an opinion on everything. “Well, it’s just that Patrick…” He shakes his head. “Never mind. Forget I brought it up.” “No, go on. It’s just that Patrick what?” “Seriously, Jemma. It’s none of my business.” “C’mon, Ryder, get it out of your system. What? Patrick is looking to get a piece? Is using me? Is planning on standing me up?” I can’t help myself; the words just tumble out. “I was going to say that I think he really likes you,” he says, his voice flat. I bite back my retort, forcing myself to take a deep, calming breath instead. That was not what I had expected him to say--not at all--and it takes me completely by surprise. Patrick really likes me? I’m not sure how I feel about that--not sure I want it to be true. “What do you mean, he really likes me?” I ask stupidly. “Just what I said. It’s pretty simple stuff, Jemma. He likes you. I think he always has.” “And you know this how?” He levels a stare at me. “Trust me on this, okay? He’s got problems, sure, but he’s a decent guy. Don’t break his heart.” I scramble to my feet. “I agreed to go out with him--once. And I’m probably going to cancel, anyway, because after today’s news, I’m really not in the mood. But the last thing I need is dating advice from you.” “How come every conversation we have ends like this--with you going off on me? You didn’t use to be like this. What happened?” He’s right, and I hate myself for it--hate the way he makes me feel inside, as if I’m not good enough. I mean, let’s face it--I know I’m nothing special. I’m not beauty-pageant perfect like Morgan, or fashion-model gorgeous like Lucy. Unlike Ryder and Nan, I don’t have state-championship trophies lining my walls. My singing voice is only so-so, I can’t draw or play a musical instrument, and if the school plays are any indicator, I can’t act for shit, either.

The United States could not win the war if blacks continued as sharecroppers down South. The South was not an important area either politically or economically as far as the internationalists were concerned. (“The white South,” Myrdal wrote, “is itself a minority and a national problem.”) It was important only as a source of much-needed labor, at a time when most white southerners concurred because they no longer needed them to chop or harvest cotton and considered migration a simple solution to their biggest social problem. The foundations which did the thinking for the internationalist ruling class quickly realized that that flow of labor into the factories of the industrial North was impeded less by the system of political segregation in the South than by what they would eventually term the de-facto housing segregation in the North, which meant, in effect, the existence of residential patterns based on ethnic neighborhoods. The logistics problem facing Louis Wirth and his colleagues in the psychological-warfare establishment was not so much how to move the black up from the South — the wage differential and the railroads would accomplish that — but rather where to put him when he got there. Northern cities like Chicago, Detroit, and Philadelphia were essentially an assemblage of neighborhoods arranged as ethnic fiefdoms, dominated at that time by the most recent arrivals from Southern and Eastern Europe as well as the Irish and Germans. As Wirth makes clear in his sociological writings, any group that has this kind of cohesiveness and population density had political power, and the question in his mind was precisely whether this political power was going to be used in the interests of the WASP ruling elite, who needed these people to fight a war that had nothing approaching majority support among ethnics of the sort Wirth viewed with suspicion. This group of “ethnic” Americans posed a problem for the psychological-warfare establishment because it posed a problem to the ethnic group that made up that establishment. This group of people constituted a Gestalt - ethnic, Catholic, unionized, and urban - whose mutual and reinforcing affiliations effectively removed them from the influence of instruments of mass communication which the psychological-warfare establishment saw as critical in controlling them. If one added the demographic increase this group enjoyed — as Catholics they were forbidden to use contraceptives — it is easy enough to see that their increase in political power posed a threat to WASP hegemony over the culture at precisely the moment when the WASP elite was engaged in a life-and-death struggle with fascism. It was Wirth’s job to bring them under control, lest they jeopardize the war effort.

Comme l'impôt est obligatoire pour tous, qu'ils votent ou non, une large proportion de ceux qui votent le font sans aucun doute pour éviter que leur propre argent ne soit utilisé contre eux; alors que, en fait, ils se fussent volontiers abstenus de voter, si par là ils avaient pu échapper ne serait-ce qu'à l'impôt, sans parler de toutes les autres usurpations et tyrannies du gouvernement. Prendre le bien d'un homme sans son accord, puis conclure à son consentement parce qu'il tente, en votant, d'empêcher que son bien ne soit utilisé pour lui faire tort, voilà une preuve bien insuffisante de son consentement à soutenir la Constitution. Ce n'est en réalité aucunement une preuve. Puisque tous les hommes qui soutiennent la Constitution en votant (pour autant qu'il existe de tels hommes) le font secrètement (par scrutin secret), et de manière à éviter toute responsabilité personnelle pour l'action de leurs agents ou représentants, on ne saurait dire en droit ou en raison qu'il existe un seul homme qui soutienne la Constitution en votant. Puisque tout vote est secret (par scrutin secret), et puisque tout gouvernement secret est par nécessité une association secrète de voleurs, tyrans et assassins, le fait général que notre gouvernement, dans la pratique, opère par le moyen d'un tel vote prouve seulement qu'il y a parmi nous une association secrète de voleurs, tyrans et assassins, dont le but est de voler, asservir et -- s'il le faut pour accomplir leurs desseins -- assassiner le reste de la population. Le simple fait qu'une telle association existe ne prouve en rien que "le peuple des Etats-Unis", ni aucun individu parmi ce peuple, soutienne volontairement la Constitution. Les partisans visibles de la Constitution, comme les partisans visibles de la plupart des autres gouvernements, se rangent dans trois catégories, à savoir: 1. Les scélérats, classe nombreuse et active; le gouvernement est pour eux un instrument qu'ils utiliseront pour s'agrandir ou s'enrichir; 2. Les dupes -- vaste catégorie, sans nul doute, dont chaque membre, parce qu'on lui attribue une voix sur des millions pour décider ce qu'il peut faire de sa personne et de ses biens, et parce qu'on l'autorise à avoir, pour voler, asservir et assassiner autrui, cette même voix que d'autres ont pour le voler, l'asservir et l'assassiner, est assez sot pour imaginer qu'il est "un homme libre", un "souverain"; assez sot pour imaginer que ce gouvernement est "un gouvernement libre", "un gouvernement de l'égalité des droits", "le meilleur gouvernement qu'il y ait sur terre", et autres absurdités de ce genre; 3. Une catégorie qui a quelque intelligence des vices du gouvernement, mais qui ou bien ne sait comment s'en débarrasser, ou bien ne choisit pas de sacrifier ses intérêts privés au point de se dévouer sérieusement et gravement à la tâche de promouvoir un changement. Le fait est que le gouvernement, comme un bandit de grand chemin, dit à un individu: "La bourse ou la vie." Quantité de taxes, ou même la plupart, sont payées sous la contrainte d'une telle menace.

And indeed at the hotel where I was to meet Saint-Loup and his friends the beginning of the festive season was attracting a great many people from near and far; as I hastened across the courtyard with its glimpses of glowing kitchens in which chickens were turning on spits, pigs were roasting, and lobsters were being flung alive into what the landlord called the ‘everlasting fire’, I discovered an influx of new arrivals (worthy of some Census of the People at Bethlehem such as the Old Flemish Masters painted), gathering there in groups, asking the landlord or one of his staff (who, if they did not like the look of them; would recommend accommodation elsewhere in the town) for board and lodging, while a kitchen-boy passed by holding a struggling fowl by its neck. Similarly, in the big dining-room, which I had passed through on my first day here on my way to the small room where my friend awaited me, one was again reminded of some Biblical feast, portrayed with the naïvety of former times and with Flemish exaggeration, because of the quantity of fish, chickens, grouse, woodcock, pigeons, brought in garnished and piping hot by breathless waiters who slid along the floor in their haste to set them down on the huge sideboard where they were carved immediately, but where – for many of the diners were finishing their meal as I arrived – they piled up untouched; it was as if their profusion and the haste of those who carried them in were prompted far less by the demands of those eating than by respect for the sacred text, scrupulously followed to the letter but naïvely illustrated by real details taken from local custom, and by a concern, both aesthetic and devotional, to make visible the splendour of the feast through the profusion of its victuals and the bustling attentiveness of those who served it. One of them stood lost in thought by a sideboard at the end of the room; and in order to find out from him, who alone appeared calm enough to give me an answer, where our table had been laid, I made my way forward through the various chafing-dishes that had been lit to keep warm the plates of latecomers (which did not prevent the desserts, in the centre of the room, from being displayed in the hands of a huge mannikin, sometimes supported on the wings of a duck, apparently made of crystal but actually of ice, carved each day with a hot iron by a sculptor-cook, in a truly Flemish manner), and, at the risk of being knocked down by the other waiters, went straight towards the calm one in whom I seemed to recognize a character traditionally present in these sacred subjects, since he reproduced with scrupulous accuracy the snub-nosed features, simple and badly drawn, and the dreamy expression of such a figure, already dimly aware of the miracle of a divine presence which the others have not yet begun to suspect. In addition, and doubtless in view of the approaching festive season, the tableau was reinforced by a celestial element recruited entirely from a personnel of cherubim and seraphim. A young angel musician, his fair hair framing a fourteen-year-old face, was not playing any instrument, it is true, but stood dreaming in front of a gong or a stack of plates, while less infantile angels were dancing attendance through the boundless expanse of the room, beating the air with the ceaseless flutter of the napkins, which hung from their bodies like the wings in primitive paintings, with pointed ends. Taking flight from these ill-defined regions, screened by a curtain of palms, from which the angelic waiters looked, from a distance, as if they had descended from the empyrean, I squeezed my way through to the small dining-room and to Saint-Loup’s table.

Demonstrating for peace to promote war was nothing new. Totalitarianism always requires a tangible enemy. To the ancient Greeks, a holocaust was simply a burnt sacrifice. Khrushchev wanted to go down in history as the Soviet leader who exported communism to the American continent. In 1959 he was able to install the Castro brothers in Havana and soon my foreign intelligence service became involved in helping Cuba's new communist rulers to export revolution throughout South America. At that point it did not work. In the 1950s and 1960s most Latin Americans were poor, religious peasants who had accepted the status quo. A black version of liberation theology began growing in a few radical-leftist black churches in the US where Marxist thought is predicated on a system pf oppressor class ( white ) versus victim class ( black ) and it sees just one solution: the destruction of the enemy. In the 1950s UNESCO was perceived by many as a platform for communists to attack the West and the KGB used it to place agents around the world. Che Guevara's diaries, with an introduction by Fidel Castro, were produced by the Kremlin's dezinformatsiya machine. Changing minds is what Soviet communism was all about. Khrushchev's political necrophagy ( = blaming and condemning one's predecessor in office. It is a dangerous game. It hurts the country's national pride and it usually turns against its own user ) evolved from the Soviet tradition of sanctifying the supreme ruler. Although the communists publicly proclaimed the decisive role of the people in history, the Kremlin and its KGB believed that only the leader counted. Change the public image of the leader and you change history, I heard over and over from Khrushchev's lips. Khrushchev was certainly the most controversial Soviet to reign in the Kremlin. He unmasked Stalin's crimes, but he made political assassination a main instrument of his own foreign policy; he authored a policy of peaceful coexistence with the West but he pushed the world to the brink of nuclear war; he repaired Moscow's relationships with Yugoslavia's Tito, but he destroyed the unity of the communist world. His close association with Stalin's killings made him aware of what political crime could accomplish and gave him a taste for the simple criminal solution. His total ignorance about the civilized world, together with his irrational hatred of the "bourgeoisie" and his propensity to offend people, made him believe that disinformation and threats were the most efficient and dignified way for a Soviet leader to deal with "bourgeois" governments. As that very clever master of deception Yuri Andropov once told me, if a good piece of disinformation is repeated over and over, after a while it will take on a life of its own and will, all by itself, generate a horde or unwitting but passionate advocates. When I was working for Ceausescu, I always tried to find a way to help him reach a decision on his own, rather than telling him directly what I thought he should do about something. That way both of us were happy. From our KGB advisors, I had learned that the best way to ut over a deception was to let the target see something for himself, with his own eyes. By 1999, President Yeltsin's ill-conceived privatization had enabled a small clique of predatory insiders to plunder Russia's most valuable assets. The corruption generated by this widespread looting penetrated every corner of the country and it eventually created a Mafia-style economic system that threatened the stability of Russia itself. During the old Cold War, the KGB was a state within a state. In Putin's time, the KGB now rechristened FSB, is the state. The Soviet Union had one KGB officer for every 428 citizens. In 2004, Putin's Russia had one FSB officer for every 297 citizens.

Not liking to think of him so, and wondering if they had guessed at dinner why he suddenly became irritable when they talked about fame and books lasting, wondering if the children were laughing at that, she twitched the stockings out, and all the fine gravings came drawn with steel instruments about her lips and forehead, and she grew still like a tree which has been tossing and quivering and now, when the breeze falls, settles, leaf by leaf, into quiet. It didn't matter, any of it, she thought. A great man, a great book, fame—who could tell? She knew nothing about it. But it was his way with him, his truthfulness—for instance at dinner she had been thinking quite instinctively, If only he would speak! She had complete trust in him. And dismissing all this, as one passes in diving now a weed, now a straw, now a bubble, she felt again, sinking deeper, as she had felt in the hall when the others were talking, There is something I want—something I have come to get, and she fell deeper and deeper without knowing quite what it was, with her eyes closed. And she waited a little, knitting, wondering, and slowly rose those words they had said at dinner, "the China rose is all abloom and buzzing with the honey bee," began washing from side to side of her mind rhythmically, and as they washed, words, like little shaded lights, one red, one blue, one yellow, lit up in the dark of her mind, and seemed leaving their perches up there to fly across and across, or to cry out and to be echoed; so she turned and felt on the table beside her for a book. And all the lives we ever lived And all the lives to be, Are full of trees and changing leaves, she murmured, sticking her needles into the stocking. And she opened the book and began reading here and there at random, and as she did so, she felt that she was climbing backwards, upwards, shoving her way up under petals that curved over her, so that she only knew this is white, or this is red. She did not know at first what the words meant at all. Steer, hither steer your winged pines, all beaten Mariners she read and turned the page, swinging herself, zigzagging this way and that, from one line to another as from one branch to another, from one red and white flower to another, until a little sound roused her—her husband slapping his thighs. Their eyes met for a second; but they did not want to speak to each other. They had nothing to say, but something seemed, nevertheless, to go from him to her. It was the life, it was the power of it, it was the tremendous humour, she knew, that made him slap his thighs. Don't interrupt me, he seemed to be saying, don't say anything; just sit there. And he went on reading. His lips twitched. It filled him. It fortified him. He clean forgot all the little rubs and digs of the evening, and how it bored him unutterably to sit still while people ate and drank interminably, and his being so irritable with his wife and so touchy and minding when they passed his books over as if they didn't exist at all. But now, he felt, it didn't matter a damn who reached Z (if thought ran like an alphabet from A to Z). Somebody would reach it—if not he, then another. This man's strength and sanity, his feeling for straight forward simple things, these fishermen, the poor old crazed creature in Mucklebackit's cottage made him feel so vigorous, so relieved of something that he felt roused and triumphant and could not choke back his tears. Raising the book a little to hide his face, he let them fall and shook his head from side to side and forgot himself completely (but not one or two reflections about morality and French novels and English novels and Scott's hands being tied but his view perhaps being as true as the other view), forgot his own bothers and failures completely in poor Steenie's drowning and Mucklebackit's sorrow (that was Scott at his best) and the astonishing delight and feeling of vigour that it gave him.

A Republican seizure of power based not on the strength of the party's ideas but on massive disfranchisement denies citizens not only their rights, but also the "talisman" of humanity that voting represents. The lie of voter fraud breaks a World War II veteran down into a simple, horrifying statement: "I wasn't a citizen no more." It forces a man, a retired engineer who was instrumental in building this nation, into facing a bitter truth: "I am not wanted in this state." It eviscerates the key sense of self-worthy in a disabled man who has to pen the painful words "My constitutional rights have been stripped from me." It maligns thousands of African Americans who resiliently weathered the Missouri cold and hours of bureaucratic runarounds as nothing but criminals and frauds. It leaves a woman suffering from lung cancer absolutely "distraught" and convinced that "they prevented us from voting," because none of her IDs could penetrate Wisconsin's law. It shatters the dying wish of a woman who, in her last moments on earth, wanted to cast a vote for possibly the first woman president of the United States. But an expired driver's license meant none of that was to be.

This book is about how to hold open that place in the sun. It is a field guide to doing nothing as an act of political resistance to the attention economy, with all the stubbornness of a Chinese “nail house” blocking a major highway. I want this not only for artists and writers, but for any person who perceives life to be more than an instrument and therefore something that cannot be optimized. A simple refusal motivates my argument: refusal to believe that the present time and place, and the people who are here with us, are somehow not enough. Platforms such as Facebook and Instagram act like dams that capitalize on our natural interest in others and an ageless need for community, hijacking and frustrating our most innate desires, and profiting from them. Solitude, observation, and simple conviviality should be recognized not only as ends in and of themselves, but inalienable rights belonging to anyone lucky enough to be alive.

There’s a way of triumphant accomplishment that comes from lowering dead or unwanted trees. (Not to say the joys of yelling, But that feeling fades pretty quickly once you look down and see unsightly—and very stubborn—Stump milling. If you hire a landscaper or arborist to chop down the trees, they typically leave the stumps behind, unless you pay a further fee. Stump-removal prices vary widely across the country and are supported by the diameter of the stump, but it typically costs between $100 and $200 to get rid of a stump that’s 24 inches in diameter or smaller. And that’s a good price if you’ve only got one stump to get rid of . But, if you've got two or more stumps, you'll save a substantial amount of cash by renting a stump grinder. A gas-powered stump grinder rents for about $100 per day, counting on the dimensions of the machine. And if you share the rental expense with one or two stump-plagued neighbors, renting is certainly the more economical thanks to going. you will need a vehicle with a trailer hitch to tow the machine, which weighs about 1,000 pounds. Or, for a nominal fee, most rental dealers will drop off and devour the grinder. To remove the 30-in.-dia. scarlet maple stump, I rented a Vermeer Model SC252 stump grinder. it's a strong 25-hp engine and 16-in.-dia. cutting wheel that's studded with 16 forged-steel teeth. this is often a loud, powerful machine with a classy mechanism , but it's surprisingly simple to work . But, before you crank up the motor and begin grinding away, it’s important to prep the world for the stumpectomy. Start by ensuring all kids and pets are indoors, or if they’re outdoors, keep them well faraway from the world and under constant adult supervision. Then, use a round-point shovel or garden mattock to get rid of any rocks from round the base of the stump [1]. this is often important because if the spinning cutting wheel hits a rock, it can shoot out sort of a missile and cause serious injury. Plus, rocks can dull or damage the teeth on the cutting wheel, which are expensive to exchange. Next, check the peak of the stump. If it’s protruding out of the bottom quite 6 inches approximately, use a sequence saw to trim it as on the brink of the bottom as possible [2]. While this step isn’t absolutely necessary, it'll prevent quite little bit of time because removing 6 inches of the Stump grinding with a chainsaw is far quicker than using the grinder. After donning the acceptable safety gear, start the grinder and drive it to within 3 feet of the stump. Use the hydraulic lever to boost the cutting wheel until it’s a couple of inches above the stump. Slowly drive the machine forward to position the wheel directly over the stump's front edge [3]. Engage the facility lever to start out the wheel spinning, then slowly lower it about 3 in. in to the stump grinding. Next, use the hydraulic lever to slowly swing the wheel from side to side to filter out all the wood within the cutting range. Then, raise the wheel, advance the machine forward a couple of inches, and repeat the method. While operating the machine, always stand at the instrument panel, which is found near the rear of the machine and well faraway from the cutting wheel. Little by little, continue grinding and advancing your way through to the opposite side of the stump. Raise the cutting wheel, shift into reverse, and return to the starting spot. Repeat the grinding process until the surface of the Stump removal is a minimum of 4 in. below the extent of the encompassing ground. At now, you'll drive the grinder off to at least one side, far away from the excavated hole. Now, discover all the wood chips and fill the crater with screened topsoil [4]. (The wood chips are often used as mulch in flowerbeds and around trees and shrubs.) Lightly rake the soil, opened up a good layer of grass seed, then rake the seeds into the soil [5]. Water the world and canopy the seeds with mulch hay.

Existence is mathematical music, and all of us are the instruments playing the cosmic symphony. Our task is simple - to arrive not at any old music, but the finest music that can possibly be played. The ideal music is reached when every player is in perfect harmony with every other player, and not a single discordant note is played.

two British researchers culled through decades of research, concluding that boredom should “be recognized as a legitimate human emotion that can be central to learning and creativity.”30 Falling into boredom allows our brain to tune out the external world and tune into the internal. This state of mind lets loose the most complex instrument known to us, switching the brain from the focused to the diffused mode of thinking. As the mind begins to wander and daydream, the default mode network in our brain—which, according to some studies, plays a key role in creativity—lights up.31

When Bouchard’s twin-processing operation was in full swing, he amassed a staff of eighteen—psychologists, psychiatrists, ophthalmologists, cardiologists, pathologists, geneticists, even dentists. Several of his collaborators were highly distinguished: David Lykken was a widely recognized expert on personality, and Auke Tellegen, a Dutch psychologist on the Minnesota faculty, was an expert on personality measuring. In scheduling his twin-evaluations, Bouchard tried limiting the testing to one pair of twins at a time so that he and his colleagues could devote the entire week—with a grueling fifty hours of tests—to two genetically identical individuals. Because it is not a simple matter to determine zygosity—that is, whether twins are identical or fraternal—this was always the first item of business. It was done primarily by comparing blood samples, fingerprint ridge counts, electrocardiograms, and brain waves. As much background information as possible was collected from oral histories and, when possible, from interviews with relatives and spouses. I.Q. was tested with three different instruments: the Wechsler Adult Intelligence Scale, a Raven, Mill-Hill composite test, and the first principal components of two multiple abilities batteries. The Minnesota team also administered four personality inventories (lengthy questionnaires aimed at characterizing and measuring personality traits) and three tests of occupational interests. In all the many personality facets so laboriously measured, the Minnesota team was looking for degrees of concordance and degrees of difference between the separated twins. If there was no connection between the mean scores of all twins sets on a series of related tests—I.Q. tests, for instance—the concordance figure would be zero percent. If the scores of every twin matched his or her twin exactly, the concordance figure would be 100 percent. Statistically, any concordance above 30 percent was considered significant, or rather indicated the presence of some degree of genetic influence. As the week of testing progressed, the twins were wired with electrodes, X-rayed, run on treadmills, hooked up for twenty-four hours with monitoring devices. They were videotaped and a series of questionnaires and interviews elicited their family backgrounds, educations, sexual histories, major life events, and they were assessed for psychiatric problems such as phobias and anxieties. An effort was made to avoid adding questions to the tests once the program was under way because that meant tampering with someone else’s test; it also would necessitate returning to the twins already tested with more questions. But the researchers were tempted. In interviews, a few traits not on the tests appeared similar in enough twin pairs to raise suspicions of a genetic component. One of these was religiosity. The twins might follow different faiths, but if one was religious, his or her twin more often than not was religious as well. Conversely, when one was a nonbeliever, the other generally was too. Because this discovery was considered too intriguing to pass by, an entire additional test was added, an existing instrument that included questions relating to spiritual beliefs. Bouchard would later insist that while he and his colleagues had fully expected to find traits with a high degree of heritability, they also expected to find traits that had no genetic component. He was certain, he says, that they would find some traits that proved to be purely environmental. They were astonished when they did not. While the degree of heritability varied widely—from the low thirties to the high seventies— every trait they measured showed at least some degree of genetic influence. Many showed a lot.

By the grace of the Mother, she was paranoid enough about any new allies or companions that she hid the Horn and Harp. She created a pocket of nothingness, she told me, and stashed them there. Only she could access that pocket of nothingness—only she could retrieve the Horn and Harp from its depths. But she remained unaware that Pelias had already told the Daglan of their presence. She had no idea that she was allowed to live, if only for a time, so they might figure out where she’d concealed them. So Pelias, under their command, might squeeze their location out of her. Just as she had no idea that the gate she had left open into our home world … the Daglan had been waiting a long, long time for that, too. But they were patient. Content to let more and more of Theia’s forces come into the new world—thus leaving her own undefended. Content to wait to gain her trust, so she might hand over the Horn and Harp. It was a trap, to be played out over months or years. To get the instruments of power from Theia, to march back into our home world and claim it again … It was a long, elegant trap, to be sprung at the perfect moment. And, distracted by the beauty of our new world, we did not consider that it all might be too easy. Too simple. Midgard was a land of plenty. Of green and light and beauty. Much like our own lands—with one enormous exception. The memory spanned to a view from a cliff of a distant plain full of creatures. Some winged, some not. We were not the only beings to come to this world hoping to claim it. We would learn too late that the other peoples had been lured by the Daglan under similarly friendly guises. And that they, too, had come armed and ready to fight for these lands. But before conflict could erupt between us all, we found that Midgard was already occupied. Theia and Pelias, with Helena and Silene trailing, warriors ten deep behind them, stood atop the cliff, surveying the verdant land and the enormous walled city on the horizon. Bryce’s breath caught. She’d spent years working in the company of the lost books of Parthos, knowing that a great human civilization had once flourished within its walls, but here, before her, was proof of the grandeur, the human skill that had existed on Midgard. And had been entirely wiped away.

If we want to change course, it’s as simple as ABC. We just get Roger Chaffee’s tracking network to send up a state vector and a couple of other things to Dave Scott’s computer, which feeds pointing commands through Dick Gordon’s instrument panel to Donn Eisele’s controls, which cause Walt Cunningham’s electricity to power Gene Cernan’s engines, which fire, to get us out of Bill Anders’s radiation zone into the position called for by Buzz Aldrin’s flight plan. The rest of you guys must be loafing!

Our language is an imperfect instrument created by ancient and ignorant men. It is an animistic language that invites us to talk about stability and constants, about similarities and normal and kinds, about magical transformations, quick cures, simple problems, and final solutions.

Animal awareness is the perfect carrier of propaganda - it is the ideal facilitator of animal conditioning, while human awareness is the only civilized answer. Let me show you how animal conditioning through propaganda works. I'll mention a word, and you'll tell me what's the first thing that comes to your mind. And the word is - "terrorism". Here, the first thing a white american nationalist will think of, is "arabs". Ask an indian hindu nationalist the same question, and their first thought would be "pakistan". In the same way, israeli zionists would automatically associate the word terrorism with palestine. Like it or not, that's animal nature. Every moment you are bombarded with materials that have no relation to truth and humanity, as far as the civilized mind could see. Through cinema, through video games, through news - propaganda is everywhere. And no, I am not talking about some grand conspiracy. Apes, who still cannot look past the color of skin and language of tongue, do not have the brains to orchestrate some grand scheme of manipulation - all they can do is, simply peddle the same old rotten narrative of hate and fanaticism repeatedly, and the rest is taken care of by the primitive survival instinct of the ape brain. So, what's the way out? Simple - start using that grand instrument you carry on your shoulders, which you call a brain - driven by an actual civilized craving for uplift and illumination.

Chunk your music to simplify it. Break it down by phrases and sub-phrases. Do whatever you need to do to keep it simple! Don’t waste your time playing passages you already know well and can play. Focus on the practicing what you can’t play. That is where improvement lies.

The ledger’s double-entry pages and the neat grid of the invoice gave purposeful shape to the story they told. Through their graphic simplicity and economy, invoices and ledgers effaced the personal histories that fueled the slaving economy. Containing only what could fit within the clean lines of their columns and rows, they reduced an enormous system of traffic in human commodities to a concise chronicle of quantitative ‘facts.’ Thus, Mary Poove writes, ‘like the closet, the conventions of double-entry bookkeeping were intended to manage or contain excess.’ Instruments such as these did their work, then, while concealing the messiness of history, erasing from view the politics that underlay the neat account keeping. The slave traders (and much of the modern economic literature on the slave trade) regarded the slave ship’s need for volume as a self-evident ‘fact’ of economic rationalization: the Board of Trade’s reports, the balance pursued in the Royal African Company’s double-entry ledgers, the calculations that determined how many captive bodies a ship could ‘conveniently stow,’ the simple equation by which an agent at the company’s factory at Whydah promised ‘to Complie with delivering in every ten days 100 Negroes.’ But the perceptions of the African captives themselves differed from the slave trader’s economies of scale and rationalized efficiency of production. What appears in the European quantitative account as a seamless expansion in the volume of slave exports—evidence of the natural workings of the market—took the form of violent rifts in the political geography of the Gold Coast. People for whom the Atlantic market had been a distant and hazy presence with little direct consequence for their lives now found themselves swept up in wars and siphoned into a type of captivity without precedent.

Old Bayard held the rapier upon his hands for a while, feeling the balance of it. It was just such an implement as a Sartoris would consider the proper equipment for raising tobacco in a virgin wilderness; it and the scarlet heels and the ruffled wristbands in which he fought his stealthy and simple neighbors. And old Bayard held it upon his two hands, seen in it stained fine blade and shabby elegant sheath the symbol of his race; the two in the tradition: the thing itself fine and clear enough, only the instrument had become a little tarnished in its very aptitude for shaping circumstance to Its arrogant ends.

How do we learn to perform, then? The answer is simple: practice performing.  Once a day, decide to sit down and play straight through some music (simple music is better at first!) ignoring all mistakes and somehow keeping the beat going. No pauses. No "instant replays" of messed up measures. Play from start to end with no breaks. It's hard! The urge to correct is intense. But have you ever heard a professional musician perform, make a mistake, turn to the audience and say, "Wait!" and then replay an early section of music? Nope. Professionals performers (and I know since I am one) get so good at moving right on through their errors that people never even hear them.

The Lusty Month of May” continues to develop Guenevere as a heroine of operetta in a lighthearted song, which is both naïve and highly suggestive. With the abundance of “tra-las” and an up-tempo chorus joining in the fun, Knapp’s parallels to operetta are more than apt. The clarity, wide range, and versatility of Andrews’s voice only enhance the effect. Andrews never sacrifices vocal precision or tone despite the focus on clever wordplay and a bouncy, allegretto tune. This tune is more virtuosic than “Simple Joys” with additional melodic leaps and the possibility for displays in a higher range. Loewe uses a C♯ diminished chord to denote Guenevere’s lustful feelings, often punctuating lyrics such as “lusty” or “libelous,” in the otherwise carefree milieu of C major. The generally light orchestration favors the string section, similar to “Simple Joys,” and also features a harp. When woodwinds enter, clarinets tend to dominate. At this point, this instrumentation characterizes Guenevere’s musical self and augments her connection to operetta as it reinforces the sense of frivolity. The call-and-response with the chorus further heightens the sense of abandon, which increases throughout the song. Guenevere has not lost her youthful taste for ribaldry during her marriage with Arthur.

The Structure SAFEs or Notes For a seed round, I recommend a SAFE (simple agreement for future equity) or Convertible Note. Why? They: - Are flexible instruments that let you raise the price incrementally. A fixed price round locks you into one price and one set of terms. - Let you close money progressively instead of all at once. This is a key point that’s hard to comprehend unless you’ve actually been through the process. Fixed priced rounds require a lead investor, which makes them much more painful. All of the investors who can’t lead will be forced to wait on a lead, thus dampening momentum. You won’t be able to get money in the bank until the lead is secured and everything closes. If you don’t get a lead quickly, there will be concerns about your company. And priced rounds add a ton of legal and governance overhead to your company. - Are easy to close (it’s a simple document!). Fixed price rounds can take weeks or months to close and get through all the paperwork. Make sure you know every term in your documents. Lean on, but don’t fully trust, your attorneys. Tell them you want the most founder-friendly terms possible. Even with this directive, I’ve been shocked at the number of times they'll include terms that are completely unnecessary and a disservice to the company. They’ll tell you it’s “standard.” That’s usually BS.

The more we examine the influence of human agency in the formation of political constitutions, the greater will be our conviction that it enters there only in a manner infinitely subordinate, or as a simple instrument; and I do not believe there remains the least doubt of the incontestable truth of the following propositions:— 1. That the fundamental principles of political constitutions exist before all written law. 2. That a constitutional law is, and can only be, the developement or sanction of an unwritten pre-existing right. 3. That which is most essential, most intrinsically constitutional, and truly fundamental, is never written, and could not be, without endangering the state. 4. That the weakness and fragility of a constitution are actually in direct proportion to the multiplicity of written constitutional articles.

We all reach points where our life takes a particular direction to a destiny we would never know had we not made a simple choice. We are, after all, catalyst for our life, rallying our wits in a drive toward some opportunity with unforeseen consequences. Any direction can change one's existence as it would have been, had they not come to this place. But this place is one direction that could influence the world for a long, long time. Tom Wilson unwittingly will be an instrument of history. His qualities; simple, naïve, sincere, with an inquisitive spirit; will play a significant role in the destiny of a Nation.” (Affourtit, Mỹ Buddha, p. 1)

But the Count and Sofia? They looked forward to it all day long—because it was the moment allotted for Zut. A game of their own invention, Zut’s rules were simple. Player One proposes a category encompassing a specialized subset of phenomena—such as stringed instruments, or famous islands, or winged creatures other than birds. The two players then go back and forth until one of them fails to come up with a fitting example in a suitable interval of time (say, two and a half minutes). Victory goes to the first player who wins two out of three rounds. And why was the game called Zut? Because according to the Count, Zut alors! was the only appropriate exclamation in the face of defeat. Thus, having searched throughout their day for challenging categories and carefully considered the viable responses, when Martyn reclaimed the menus father and daughter faced each other at the ready.

Rhythm is one of the subtlest of all instruments in the delicate work of conveying thought. But there is one general rule that is at once so simple and so near the heart of the whole matter, that I must at least mention it. This rule is to make the emphasez of sense and rhythm coincide. Plain men know by a sort of instinct where to hit hard ; they never say, " There is in my mind a desire which would be gratified if you were to transfer the hammer into my possession " ; they say, " Give me the hammer." This is true style. Someone has said, " All peasants have style," and philosophers cannot afford to get wholly out of touch with the fine economy of natural talk.

Micro movements matter too. Manual dexterity is something we don’t necessarily think about unless it becomes a problem. Making sure you mix it up in terms of micro movements—not just typing, but cooking, playing an instrument, gardening, kneading clay, knitting, or doing origami, say

Gardening is an instrument of grace. —MAY SARTON Gardening

Scriptures are instruments, and to know how to use these instruments is itself a science. One has wandered for infinite lives because of not knowing this science!

The knowledge of this world is not considered knowledge, it is worldly knowledge. Scriptural knowledge is considered as instrumental knowledge. Knowledge of the ‘ultimate goal’ (to experience Pure Soul) is the (real) knowledge. Scriptures are instruments and the knowledge within the scriptures is also an instrument. Whereas, the knowledge of the Self is the ultimate goal!

That which removes the egoism and 'my-ness' is the true instrument.

An instrument that does not help to attain the ultimate goal (Self realization) cannot be considered as spirituality at all!

Clary couldn’t think of a thing to say. Why hadn’t it occurred to her that this might happen? Why hadn’t she said they should go to Jace’s room? The answer was as simple as it was awful: She had forgotten about Simon completely. “I’m sorry,” she said, not sure who she was even speaking to. Out of the corner of her eye she thought she saw Jace shoot her a look of white rage—but when she glanced at him, he looked as he always did: easy, confident, slightly bored. “In future, Clarissa,” he said, “it might be wise to mention that you already have a man in your bed, to avoid such tedious situations.” “You invited him into bed?” Simon demanded, looking shaken. “Ridiculous, isn’t it?” said Jace. “We would never have all fit.” “I didn’t invite him into bed,” Clary snapped. “We were just kissing.” “Just kissing?” Jace’s tone mocked her with its false hurt. “How swiftly you dismiss our love.

But why should a flute make a sound which is smoother and less complex than that of a violin or oboe? To answer this question we have to think about musical instruments as machines which produce notes. All these machines are designed to produce repeating ripple patterns of pressure in the air and they all do this in different ways. For example, playing a flute involves a straightforward method of setting up vibrations in a column of air. There are no moving parts inside a flute, just this simple vibrating body of air. Playing a violin, on the other hand, involves a rather complicated

He’d used her body as an implement of self pleasure without bothering to make sure that Olivia was satisfied, a fact that made Baird angry and disgusted. It was like using a fine musical instrument to play a simple, selfish tune when it was capable of producing a much richer, more complex sound if only you took the time to really master it.

Here is why the wellbeing economy comes at the right time. At the international level there have been some openings, which can be exploited to turn the wellbeing economy into a political roadmap. The first was the ratification of the Sustainable Development Goals (SDGs) in 2015. The SDGs are a loose list of 17 goals, ranging from good health and personal wellbeing to sustainable cities and communities as well as responsible production and consumption. They are a bit scattered and inconsistent, like most outcomes of international negotiations, but they at least open up space for policy reforms. For the first time in more than a century, the international community has accepted that the simple pursuit of growth presents serious problems. Even when it comes at high speed, its quality is often debatable, producing social inequalities, lack of decent work, environmental destruction, climate change and conflict. Through the SDGs, the UN is calling for a different approach to progress and prosperity. This was made clear in a 2012 speech by Secretary General Ban Ki-moon, who explicitly connected the three pillars of sustainable development: ‘Social, economic and environmental wellbeing are indivisible.’82 Unlike in the previous century, we now have a host of instruments and indicators that can help politicians devise different policies and monitor results and impacts throughout society. Even in South Africa, a country still plagued by centuries of oppression, colonialism, extractive economic systems and rampant inequality, the debate is shifting. The country’s new National Development Plan has been widely criticised because of the neoliberal character of the main chapters on economic development. Like the SDGs, it was the outcome of negotiations and bargaining, which resulted in inconsistencies and vagueness. Yet, its opening ‘vision statement’ is inspired by a radical approach to transformation. What should South Africa look like in 2030? The language is uplifting: We feel loved, respected and cared for at home, in community and the public institutions we have created. We feel understood. We feel needed. We feel trustful … We learn together. We talk to each other. We share our work … I have a space that I can call my own. This space I share. This space I cherish with others. I maintain it with others. I am not self-sufficient alone. We are self-sufficient in community … We are studious. We are gardeners. We feel a call to serve. We make things. Out of our homes we create objects of value … We are connected by the sounds we hear, the sights we see, the scents we smell, the objects we touch, the food we eat, the liquids we drink, the thoughts we think, the emotions we feel, the dreams we imagine. We are a web of relationships, fashioned in a web of histories, the stories of our lives inescapably shaped by stories of others … The welfare of each of us is the welfare of all … Our land is our home. We sweep and keep clean our yard. We travel through it. We enjoy its varied climate, landscape, and vegetation … We live and work in it, on it with care, preserving it for future generations. We discover it all the time. As it gives life to us, we honour the life in it.83 I could have not found better words to describe the wellbeing economy: caring, sharing, compassion, love for place, human relationships and a profound appreciation of what nature does for us every day. This statement gives us an idea of sufficiency that is not about individualism, but integration; an approach to prosperity that is founded on collaboration rather than competition. Nowhere does the text mention growth. There’s no reference to scale; no pompous images of imposing infrastructure, bridges, stadiums, skyscrapers and multi-lane highways. We make the things we need. We, as people, become producers of our own destiny. The future is not about wealth accumulation, massive

Just as one has encountered a nimit (someone instrumental in a process) to bind him, if he encounters a nimit to set him free, he will set him free without fail. He who is free (from worldly bondage) can free others. One such free man exists once in awhile. Moksha (ultimate liberation) is not rare but a bestower of liberation is very rare indeed.

Instead, they came up with an ingeniously simple approach: they created a pilot’s checklist. Its mere existence indicated how far aeronautics had advanced. In the early years of flight, getting an aircraft into the air might have been nerve-racking but it was hardly complex. Using a checklist for takeoff would no more have occurred to a pilot than to a driver backing a car out of the garage. But flying this new plane was too complicated to be left to the memory of any one person, however expert. The test pilots made their list simple, brief, and to the point—short enough to fit on an index card, with step-by-step checks for takeoff, flight, landing, and taxiing. It had the kind of stuff that all pilots know to do. They check that the brakes are released, that the instruments are set, that the door and windows are closed, that the elevator controls are unlocked—dumb stuff. You wouldn’t think it would make that much difference. But with the checklist in hand, the pilots went on to fly the Model 299 a total of 1.8 million miles without one accident. The army ultimately ordered almost thirteen thousand of the aircraft, which it dubbed the B-17. And, because flying the behemoth was now possible, the army gained a decisive air advantage in the Second World War, enabling its devastating bombing

The maintenance of this equilibrium is reserved to the Warriors who will always make war an instrument of peace and not of pure and simple conquest. The unity of the empire avoids the unproductive diffusions of the active life concentrating its energies toward a single end where all disparities and partial imbalances are evened out, therefore if in the Warriors, as was said, inner asceticism is the necessary base for the development of their activity, this is even more strict in the Leader who must annul in himself any individuality whatsoever in order to make justice triumph and the rule secure the empire.

Not having the slightest abhorrence towards any nimit (instrumental doer) is dharmadhyan (auspicious contemplation).

Who is doing this? Who am I? What is all this? Who is the doer? Who is the nimit (instrumental doer) of this? If all these remain present ‘at a time’ exactly the way it is, then that is considered shuddha upayog (pure applied awareness as the Self).

Do your worldly life things through the instruments of the worldly life. And You are to ‘see’ and ‘know’ all that.

Spyglasses, as Lipperhey called telescopes, whether they're in the form of spotting scopes, spyplanes, or reconnaissance satellites, are more than simple instruments or tools. They beget infrastructures and geographies.

The adept is only adept, because such an instrument she crafted and bowed her soul to be.

Rather than offering an antidote to problems, the military system centered on the all-volunteer force bred and exacerbated them. It underwrote recklessness in the formulation of policy and thereby resulted in needless, costly, and ill-managed wars. At home, the perpetuation of this system violated simple standards of fairness and undermined authentic democratic practice. The way a nation wages war—the role allotted to the people in defending the country and the purposes for which it fights—testifies to the actual character of its political system. Designed to serve as an instrument of global interventionism (or imperial policing), America’s professional army has proven to be astonishingly durable, if also astonishingly expensive. Yet when dispatched to Iraq and Afghanistan, it has proven incapable of winning. With victory beyond reach, the ostensible imperatives of U.S. security have consigned the nation’s warrior elite to something akin to perpetual war.

Nevertheless, it strikes me more and more that America’s reputation for materialism is unfounded—that is, if a materialist is a person who thoroughly enjoys the physical world and loves material things. In this sense, we are superb materialists when it comes to the construction of jet aircraft, but when we decorate the inside of these magnificent monsters for the comfort of passengers it is nothing but frippery. High-heeled, narrow-hipped, doll-type girls serving imitation, warmed-over meals. For our pleasures are not material pleasures but symbols of pleasure—attractively packaged but inferior in content. The explanation is simple: most of our products are being made by people who do not enjoy making them, whether as owners or workers. Their aim in the enterprise is not the product but money, and therefore every trick is used to cut the cost of production and hoodwink the buyer, by coloring and packaging chicanery, into the belief that the product is well and truly made. The only exceptions are those products which simply must be excellent for reasons of safety or high cost of purchase—aircraft, computers, space-rockets, scientific instruments, and so forth. But the whole scheme is a vicious circle, for when you have made the money what will you buy with it? Other pretentious fakes made by other money-mad manufacturers. The

3. The object of the gifts, as stated by Paul, was “for the perfecting of the saints, for the work of the ministry, for the edifying of the body of Christ, till we all come in the unity of the faith.” But they have been superseded in the popular churches by human creeds, which have failed to secure scriptural unity. It has been truly said, “The American people are a nation of lords.” In a land of boasted freedom of thought and of conscience, like ours, church force cannot produce unity; but has caused divisions, and has given rise to religious sects and parties almost innumerable. Creed and church force have been called to the rescue in vain.  The remedy, however, for this deplorable evil is found in the proper use of the simple organization and church order set forth in the New-Testament Scriptures, and in the means Christ has ordained for the unity and perfection of the church. We affirm that there is not a single apology in all the book of God for disharmony of sentiment or spirit in the church. The means are ample to secure the high standard of unity expressed in the New Testament. Christ prayed that his people might be one, as he was one with his Father. John 17. And Paul appeals to the church at Corinth in these emphatic words: “Now I beseech you, brethren, by the name of our Lord Jesus Christ, that ye all speak the same thing, and that there be no divisions among you; but that ye be perfectly joined together in the same mind and in the same judgment.” 1Cor.1:10. “Now the God of patience and consolation grant you to be like-minded one toward another according to Christ Jesus, that ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ.” Rom.15:5,6. The gifts were given to secure this state of unity.  But the popular churches have introduced another {345} means of preserving unity, namely, human creeds. These creeds secure a sort of unity to each denomination; but they have all proved inefficient, as appears from the New Schools and Reformed of almost every creed-bound denomination under heaven. Hence the many kinds of Baptists, of Presbyterians, of Methodists, and of others. There is not an excuse for this state of things anywhere to be found in the book of God. These sects are not on the foundation of unity laid by Jesus Christ, and taught by Paul, the wise master-builder. And the smaller sects who reject human creeds, professing to take the Bible as their rule of faith and practice, yet rejecting the gifts, are not a whit better off. In these perilous times they shake to fragments, yet cry, The Bible! the Bible! We, too, would exalt the Bible, and would say to those who would represent us as taking the gifts instead of the Bible, that we are not satisfied with a part of the sacred volume, but claim as ours the Bible, the whole Bible, the gifts and all.  All the denominations cannot be right, and it may not be wrong to suppose that no one of them is right on all points of faith. To show that they cannot have their creeds and the gifts too, that creeds shut out the gifts, we will suppose that God, through chosen instruments taken from each sect, begins to show up the errors in the creeds of these different denominations. If they received the testimony as from Heaven, it would spoil their creeds. But would they throw them away and come out on the platform of unity taught by Christ, Paul, and Peter? Never! They would a thousand times sooner reject the humble instruments of God’s choice. It is evident that if the gifts were received, they would destroy {346} human creeds; and that if creeds be received, they shut out the gifts. 

Our world seems to be addicted to the easy way of things. Unfortunately, what seems easy at first almost always ends up causing pain, suffering, and loss. Why do I get fat and sick when I eat tasty junk food? Why must I perform painful exercise to stay healthy and in shape? How come I have to sacrifice so much of my time and money studying in order to get a good paying job? These are the types of questions that no school teaches us. The answer is simple; it doesn’t matter why. That’s just the way it is. If you want to breathe air, then you can’t lay on the bottom of a pond. If you desire wealth, you can’t sit in front of your television screen and expect it to find you. If you want to learn how to play a musical instrument, you must pick it up and spend thousands of hours practicing with it. Entitlement is a problem both inside and outside of the Game… all of our lives would be better if we stopped expecting the world to hand us it’s treasures simply because we asked for them…” Promotional message from “We Can Be Better” featuring Brandon Strayne

Cardinal Bergoglio also believes that same-sex marriage is a serious step in the wrong direction. Bergoglio told Rabbi Skorka that same-sex marriage is an “‘anthropologic regression,’ a weakening of the institution that is thousands of years old and that was forged according to nature and anthropology.” Cardinal Bergoglio also insisted that same-sex marriage be disallowed since children deserve a male father and a female mother. He preached from the cathedral pulpit, “Let us not be naive: it is not a simple political struggle; it is an intention [which is] destructive of the plan of God. It is not a mere legislative project (this is a mere instrument), but rather a ‘move’ of the Father of Lies who wishes to confuse and deceive the children of God” (as quoted in Ch. 8 of Pope Francis by Matthew Bunson). To Bergoglio’s point, Christina de Kirchner responded with a full-page newspaper ad accusing the Cardinal of staying in the Dark Ages.

The ‘Oberge des Mailletz’ is by far the oldest tavern of which any record can found in the City archives. In 1292, Adam des Mailletz, inn-keeper, paid a tithe of 18 sous and 6 deniers.This we learn from the Tax Register of the period. At the time it was founded, the Trois-Mailletz was the meeting place of masons, who under the supervision of Jehan de Chelles, carved out of white stone the biblical characters destined to grace the north and south choirs of Notre-Dame. Underneath the building, there are two floors of superimposed cellars: the deeper ones date from the Gallo-Roman period. What remains of the instruments of torture found in the cellars of the Petit-Châtelet have been housed here, along with some other restored objects. A modest bar counter, a long-haired patron who bizarrely manages never to be freshly shaven or downright bearded. A stove in the middle of the shabby room; simple straightforward folk, less drunk than at Rue de Bièvre, and less dirty. Just what we needed.

The brain acts like a muscle: The more activity you do, the larger and more complex it can become. Whether that equates to more intelligence is another issue, but one fact is indisputable; What you do in life physically changes what your brain looks like. You can wire and rewire your brain with the simple choice of which musical instrument---or professional sport---you play

I see our scientific theories as human inventions–nets designed by us to catch the world. [...] What we aim at is truth: we test our theories in the hope of eliminating those which are not true. In this way we may succeed in improving our theories–even as instruments: in making nets which are better and better adapted to catch our fish, the real world. Yet they will never be perfect instruments for this purpose. They are rational nets of our own making, and should not be mistaken for a complete representation of the real world in all its aspects; not even if they are highly successful ; not even if they appear to yield excellent approximations to reality. If we keep clearly before our minds that our theories are our own work; that we are fallible; and that our theories reflect our fallibility, then we shall doubt whether general features of our theories, such as their simplicity, or their prima facie deterministic character, correspond to features of the real world. [...] The world, as we know it, is highly complex; and although it may possess structural aspects which are simple in some sense or other, the simplicity of some of our theories–which is of our own making–does not entail the intrinsic simplicity of the world. The situation with regard to determinism is similar. Newton’s theory, consisting of the law of inertia, the law of gravity, etc., may be true, or very approximately true, i.e., the world may be as the theory asserts it is. But there is no statement of determinism in this theory; the theory nowhere asserts that the world is determined; rather it is the theory itself which as that character which I called ‘prima facie deterministic’. Now the prima facie deterministic character of a theory is closely related to its simplicity; prima facie deterministic theories are comparatively easily testable, and the tests may be made more and more precise and severe. [...] At the same time, it seems no more justifiable to infer from their success that the world has an intrinsically deterministic character than to infer that the world is intrinsically simple.

Olivia hadn’t eaten much—just a few bites—but he thought he was probably to blame for that. He’d made her nervous, talking about taking her to bed. He knew she wasn’t an untried virgin from the dreams they’d shared but she acted like one when he attempted to discuss sex or bonding with her. Baird thought he knew why. From what he’d seen in his dreams of her, the few former lovers she’d taken to her bed had no real concept of what it meant to please a woman. Her last lover especially, the one she’d almost made a lifetime commitment to, preferred to please himself and then go to sleep. He’d used her body as an implement of self pleasure without bothering to make sure that Olivia was satisfied, a fact that made Baird angry and disgusted. It was like using a fine musical instrument to play a simple, selfish tune when it was capable of producing a much richer, more complex sound if only you took the time to really master it. At

we buy not for their instrumental value but for their symbolic value. That is, we buy things not because we actually need them but because the object raises our status or say something about our identity.

He demonstrated by gently drawing her hand over to the piano keys and placing his hand over hers. He pressed the top of her fingers so that they came down, and a few notes echoed through the instrument. Soon they were playing a simple yet haunting melody together. ‘In many ways that actually makes it a superior way of communicating.’ He let her hand go but a tingle remained, the sensation so pleasant she held her palm to her chest. Lottie found herself completely entranced as Jamie began working his fingers over the keys. His light mocha skin delicately complemented the ivories, as though they were meant to be together. His eyes slowly closed, gripped by the melody, and Lottie couldn’t help being drawn in by the delicate music. ‘You really love music, don’t you?

Aside from that, the instrument of death makes no sense for a cop. Why would he need a grenade? He carries a gun; use it, simple . . .” 

Natural language terms that express likelihoods, like “very likely” and “unlikely,” are useful but blunt instruments. The drive to improve on your initial estimates is what motivates you to check your information and learn more. If you hide behind the safety of a general term, there’s no reason to improve on it or calibrate

You are called to be an instrument of peace, but an instrument doesn’t play itself. It allows itself to be played, and this is what you are calling forth now.

The Rockefeller Rule ‘If your only goal is to become rich, you’ll never achieve it,’ said John Rockefeller, America’s first billionaire. His point was simple: when the only thing you care about is making money, no amount of money is ever enough. Adjusting for inflation, his fortune upon his death in 1937 stood at $336 billion, accounting for more than 1.5% of the American economy, making him the richest person in US history. His foundations pioneered the development of medical research and were instrumental in the eradication of hookworm and yellow fever. Rockefeller was also the founder of the University of Chicago. Today, multiple plazas, buildings, awards and foundations are named after him. A little-known fact: a meeting with Swami Vivekananda inspired him to use his wealth to help the poor and needy. All of this is to say that wealth is multi-dimensional. How you earn it, how you spend it, and what you make of it are unique. Just like your personality.

call and put options, credit-default obligations (CDOs), and a whole host of exotic financial instruments available to traders these days. If you build up a lot of wealth, you may want to have your fiduciary look into some of these vehicles. But just realize that if you’re playing this game, you’re most likely no longer just an investor, you’ve become a speculator as well.

As the Vietnamese Buddhist monk, poet, and writer Thich Nhat Hanh reminds us, “Our own life is the instrument with which we experiment with truth.

There are two major types that you need to identify: players and pawns. The simple distinction between the two types is that players want something out of the meeting. This is their incentive to participate. They’ll be leaning forward, actively nodding, barely able to hold themselves back from spilling their agenda all over the table. Pawns are either silent or instruments of running the meeting. In either case, they’re adding very little to the meeting and can be removed from strategic consideration. The term pawns is not intended to be derogatory, of course. Pawns very well might be running your company, but in meetings, they don’t contribute . . . it’s just not their key skill.

Ask Questions "Ask questions, show interest in the response you receive, and then attempt to link those responses to your own knowledge and experience" - Conversationally Speaking, page 58 Ask questions. Lots of them! Actually, don’t ask too many questions. Questions are simply a means to enter conversation. You should ask questions that promote conversation. Don’t ask just any type of question if your goal is to encourage conversation. Yes/No questions are typically starter questions that should quickly dissolve. Open-ended questions are normally the way to go! Instead of starting sentences with “Who” or “When”, try “How” or “Why”. If conversation stops, either leave or ask an open-ended question. Try to stay away from cliché questions because they generally elicit cliché answers. There is such a thing as an open-ended question that is too open and cliché. For example, Americans like to respond “Pretty good” or “Not bad” to the question “How’d it go today?” Also, stay away from initially asking difficult questions. In an effort to make your conversation partner comfortable, ask a simple question that they should obviously know. Questions are a crucial instrument to equip a person for a good conversation. The right question will help you maneuver through any conversational cross-point and is a genuine way to connect with others. Once you ask a question, listen actively! When it’s your turn to respond, try to express their reality using your own words. Asking questions ought to benefit your conversation partner as you intend to give them an opportunity to speak. Use questions liberally and wisely. Take the dual perspective, be specific and direct, and ask good questions. Seek every opportunity to benefit your conversation partner as you express genuine interest in them. Conversational speaking is a skill. You must practice every day. Try focusing on one element of communication at a time. Perhaps this week, do all possible to handle criticism constructively by asking for details and agreeing with the truth. Next week, intentionally practice another aspect of communication. Opportunity awaits us every day. We just need to engage and enjoy every occasion.

This has given rise to a misconception known as ‘Occam’s razor’ (named after the fourteenth-century philosopher William of Occam, but dating back to antiquity), namely that one should always seek the ‘simplest explanation’. One statement of it is ‘Do not multiply assumptions beyond necessity.’ However, there are plenty of very simple explanations that are nevertheless easily variable (such as ‘Demeter did it’). And, while assumptions ‘beyond necessity’ make a theory bad by definition, there have been many mistaken ideas of what is ‘necessary’ in a theory. Instrumentalism, for instance, considers explanation itself unnecessary, and so do many other bad philosophies of science, as I shall discuss in Chapter 12

Being a therapist is a bit like being a singer—the instrument is ourselves. We are responsible for the sound, the tenor, the timbre, the vibrato, and the tone. And because of that, we need to keep our instrument, our presence, well cared for.

Consider this simple parallelism: a husband and wife come to a marriage counselor seeking help. He tells one story about their problems. She tells quite a different story. The counselor, if well-trained and sophisticated, does not believe either party completely. Elsewhere in the same city, two physics students repeat two famous experiments. The first experiment seems to indicate that light travels in waves. The second seems to indicate that light travels in discrete particles. The students, if well-trained and sophisticated, do not believe either result. The psychologist, you see, knows that each nervous system creates its own model of the world, and the physics students of today know that each instrument also creates its own model of the world. Both in psychology and in physics we have outgrown medieval Aristotelian notions of "objective reality" and entered a non-Aristotelian realm, although in both fields we still remain unsure (and quick to quarrel with each other) about what new paradigm will replace the Aristotelian true/false paradigm of past centuries.

One deep reality" also implies the idea of the universe as a simple two-decker affair made up of "appearances" and one "underlying reality," like a mask with a face behind it. Modern research, however, indicates an indefinite series of appearances on different levels of instrumental magnification and finds no one "substance" or "thing" or "deep reality" that underlies all the different appearances reported by different classes of instruments. E.g., traditional philosophy and common sense assume that the hero and the villain have different "essences," as in melodrama (the villain may wear the mask of virtue, but we know he "is really" a villain); but modern science pictures things in flux, and flux in things, so solid becomes gas and gas becomes solid again, just as hero and villain become blurred and ambiguous in modern literature or Shakespeare.

Similar to the Rodrigo in form, “La Catedral” has a slow, atmospheric introduction, followed by an episodic, rhythmic dance. It is constructed around a simple figure, an arpeggio that Barrios pushes through a series of chord changes: a small gesture, undistinguished in itself, yet full of musical possibilities. I set the music stand aside and play it from memory. The first finger of my left hand holds a bass note while above the theme sways with a tentative rise and fall. My left hand feels secure and steady, the ground on which the music builds. My fingers make swift, pulsing motions that gain weight and mass when the sound is larger, louder. The arpeggio grows increasingly insistent and agitated. I feel every note, not just in my fingers but along my arms to the elbows, where the fingers’ motions begin, and into my shoulders, neck, chest, and back. Everything is connected. My ear, my muscles, my flesh, these notes, and this wood and string—all are parts of a single vibrating structure, communicating their movement to each other. Playing feels different now. For the first time this cathedral is really dancing. It's built on a questioning anxiety. But the structure develops a kind of reassurance, like pleading that becomes a prayer. This feeling is not notated on the page. It is something that takes place within the notes, or between them, and within my body, within the guitar's body. I first played this piece in my third year at the Conservatory, just about the time I bought my church door guitar. With so fine an instrument in my hands, I suddenly heard an unexplored dimension latent in everything I played, as if the guitar knew things I had never dreamed of. It was a moment of great promise for me. The guitar offered a quality of vibration beyond anything I had imagined before, bringing greater forces into motion than just the strings. But in those days I couldn't play it. I was braced too tightly. Playing now feels somehow simpler. I'm not practicing a fantasy of the guitar or of myself, but this instrument, this wood, these strings; I'm playing this music, letting these notes dance. It's easy to forget how simple music is. I'm like a soundboard, whose job is to communicate excitement, to balance tension. Building the instrument and learning to play it involve complicated physics. But music is about vibration, about allowing myself to be moved.

Human beings are not built in silence, but in word, in work, in action-reflection. Saying that word is not the privilege of some few persons, but the right of everyone. Dialogue is the encounter in which the united reflection and action of the dialoguers are addressed to the world which is to be transformed and humanized, this dialogue cannot be reduced to the act of one person’s “depositing” ideas in another, nor can it become a simple exchange of ideas to be “consumed” by the discussants. It is an act of creation; it must not serve as a crafty instrument for the domination of one person by another. Men and women who lack humility (or have lost it) cannot come to the people, cannot be their partners in naming the world. For the truly humanist educator and the authentic revolutionary, the object of action is the reality to be transformed by them together with other people. —PAOLO FREIRE1

Time, meanwhile, seems a simple instrument for the measurement of tiny changes, a school ruler with a simplified scale – it’s just three points: was, is and will be.

The word holistic combines whole and holy, not in a specifically religious sense but in a way that deeply respects the perfection of each human soul and sees the body as an instrument that assists the soul in its tasks. Diseases and symptoms—from simple aches and pains to metastatic cancer—are also part of that perfect design. By showing us where the body is hurt, they show us precisely where the soul needs to work next.

I HAVE WRITTEN LARGELY with reference to students spending an unreasonably long time in gaining an education; but I hope I shall not be misunderstood in regard to what is essential education. I do not mean that a superficial work should be done, that may be illustrated by the way in which some portions of the land are worked in Australia. The plow was put into the soil to the depth of only a few inches, the ground was not prepared for the seed, and the harvest was meager, corresponding to the superficial preparation that was given to the land. God has given inquiring minds to youth and children. Their reasoning powers are entrusted to them as precious talents. It is the duty of parents to keep the matter of their education before them in its true meaning: for it comprehends many lines. They should be used in the service of Christ for the uplifting of fallen humanity. Our schools are the Lord’s special instrumentality to fit up the children and the youth for missionary work. Parents should understand their responsibility, and help their children to appreciate the great blessings and privileges that God has provided for them in educational advantages. But their domestic education should keep pace with their education in literary lines. In childhood and youth, practical and literary training should be combined, and the mind stored with knowledge. Parents should feel that they have solemn work to do, and should take hold of it earnestly. They are to train and mold the characters of their children. They should not be satisfied with doing a surface work. Before every child is opened up a life involved with highest interests; for they are to be made complete in Christ through the instrumentalities which God has furnished. The soil in the heart should be preoccupied, the seeds of truth should be sown there in the earliest years. If parents are careless in this matter, they will be called to account for their unfaithful stewardship. Children should be dealt with tenderly and lovingly, and taught that Christ is {10} their personal Saviour, and that by the simple process of giving their hearts and minds to Him, they become His disciples.

Not only this, but through television and telephony we shall see and hear one another as perfectly as though we were face to face, despite intervening distances of thousands of miles; and the instruments through which we shall be able to do this will be amazingly simple compared with our present telephone. A man will be able to carry one in his vest pocket. We shall be able to witness and hear events—the inauguration of a President, the playing of a World Series game, the havoc of an earthquake or the terror of a battle—just as though we were present.” Gernsback, who was twenty-eight years younger, became Tesla’s most prominent advocate. The first theme issue of Modern Electrics was wholly devoted to his work.

It’s a wonderful phrase. Gandhi’s meaning was simple: Only the human being who acts in a way that is empty of self can be the instrument of Soul Force. And it is only Soul Force that can establish a harmonious world. Human beings alone are helpless to resolve conflicts without it.

The man of faith judges active works by quite a different light from the man who lives in outward things. What he looks at is not so much the outward appearance of things, as their place in the divine plan and their supernatural results. And so, considering himself as a simple instrument, his soul is all the more filled with horror at any self-satisfaction in his own endowments, because he places his sole hope of success in the conviction of his own helplessness and confidence in God alone. Thus he is confirmed in a state of abandonment. And as he passes through his various difficulties, how different is his attitude from that of the apostle who knows nothing of intimacy with Christ! Furthermore,

The evil of the present system is therefore not that the “surplus-value” of production goes to the capitalist, as Rodbertus and Marx said, thus narrowing the Socialist conception and the general view of the capitalist system; the surplus-value itself is but a consequence of deeper causes. The evil lies in the possibility of a surplus-value existing, instead of a simple surplus not consumed by each generation; for, that a surplus-value should exist, means that men, women, and children are compelled by hunger to sell their labour for a small part of what this labour produces, and, above all, of what their labour is capable of producing. But this evil will last as long as the instruments of production belong to a few. As long as men are compelled to pay tribute to property holders for the right of cultivating land or putting machinery into action, and the property holder is free to produce what bids fair to bring him in the greatest profits, rather than the greatest amount of useful commodities — well-being can only be temporarily guaranteed to a very few, and is only to be bought by the poverty of a section of society. It is not sufficient to distribute the profits realized by a trade in equal parts, if at the same time thousands of other workers are exploited. It is a case of PRODUCING THE GREATEST AMOUNT OF GOODS NECESSARY TO THE WELL-BEING OF ALL, WITH THE LEAST POSSIBLE WASTE OF HUMAN ENERGY. This cannot be the aim of a private owner; and this is why society as a whole, taking this view of production as its ideal, will be compelled to expropriate all that enhances well-being while producing wealth. It will have to take possession of land, factories, mines, means of communication, etc., and besides, it will have to study what products will promote general well-being, as well as the ways and means of production.

Must this be seen as a sign of the times? Whatever the case and without venturing the least prediction, it is quite difficult in the presence of all these things not to recall the words of the Gospel: "For false Christs and false prophets will arise and show great signs and wonders, so as to lead astray, if possible, even the elect .’ [7] Assuredly, we are not yet there; the false Messiahs we have seen until now have offered wonders of a very inferior quality, and those who have followed them were probably not very difficult to seduce, but who knows what the future holds in store? If one reflects that these false Messiahs have never been anything but more or less unconscious instruments in the hands of those who have raised them up, and if one looks at the series of attempts made by the Theosophists, one is led to think that these are no more than trials, experiments which will be renewed in various forms until success is achieved . [8] In the meantime, these efforts always have the result of troubling some minds. We do not believe moreover that the Theosophists, any more than the occultists and the spiritists, have the strength to succeed in such an enterprise by themselves. But behind all these movements is there not something more fearsome, of which their leaders perhaps do not themselves know, and of which they are in their own turn merely the instruments? We merely raise this last question without seeking to resolve it here, for to do so, we would have to raise extremely complex considerations that would lead us far beyond the limits we have set ourselves for the present study. 7 . Matt. 24:24. 8. Krishnamurti’s vain efforts to escape his role as Messiah (see P190, 023) clearly show that he is only an instrument— and we would readily say a victim— of undertakings in which his personal will counts for nothing. The present development of Theosophist messianism, which moreover does not seem to make as much noise in the ‘outer world’ as it would like, therefore does not modify what we wrote before the latest events. It must be added that even if the leaders of Theosophy now consider that there is more than a simple attempt, it might very well be that for others their movement is itself only one of multiple elements which must converge to prepare for the realization of a plan which is much more vast and complex.

Furthermore, this submission is no more than a simple 'pedagogic’ method, one could say, of entirely transitory necessity; not only would a true spiritual teacher never abuse it, but he would use it only to enable his disciple to free himself from it as soon as possible, [...] Initiation ought precisely to lead to the fully realized and effective consciousness of the ‘Self, which can obviously be the case neither with children in the nursery nor with psychic automata. The initiatic ‘chain’ is not meant to bind the being, but on the contrary to furnish a support that allows it to raise itself indefinitely and to go beyond its limits as an individual and conditioned being. Even when there are contingent applications that can coexist secondarily with its essential goal, an initiatic organization has no use for blind and passive instruments, whose normal place could in any case only be in the profane world, since they lack all qualification. What must exist among all its members at all levels and in all functions is a conscious and voluntary collaboration that implies all the effective understanding of which each is capable; and no true hierarchy can be realized or maintained on any other basis than this.

You can begin doing simple and small things that are what you want to do and what excites you, rather than doing what you feel you must do in order to please others. You can begin writing that book you've always wanted to write. You can take up playing an instrument you always wish to play. You can start drawing and painting. You can start a garden; you can study a subject you always wanted to study.

Essentially that which is only matter, and the sciences that can, through verifiable methods, explore that which we know exists, through the means of...you know, touching, tasting, seeing, and so on...as well as using other instrumentation and so on...is very useful. The question winds up being: ultimately one of: 'Is that all there is?' And going and saying there wasn't even an understanding of matter as we understand it today prior to [...] about the time of Descartes...um, I don't know if the historical argument's the best one to make in that case. But one thing I can say is that thinking that all that exists is that which we can perceive with the five senses is in no way provable –and then if we talk about, 'Well, what is the essence of something?', then we run into a whole other mess. But if we're talking in the context of modernism, where people have gone and become wholly materialistic, the answers become incredibly simple. Incredibly simplistic. And ultimately, I'm not convinced of their accuracy; not only am I not convinced of their accuracy, but I'm not convinced that it's good for humankind in general: because ultimately we're going to wind up killing ourselves off, if all we believe in is that which is material.

A locomotive whistle was a matter of some personal importance to a railroad engineer. It was tuned and worked (even "played") according to his own personal choosing. The whistle was part of the make-up of the man; he was known for it as much as he was known for the engine he drove. And aside from its utilitarian functions, it could also be an instrument of no little amusement. Many an engineer could get a simple tune out of his whistle, and for those less musical it could be used to aggravate a cranky preacher in the middle of his Sunday sermon or to signal hello through the night to a wife or lady friend. But there was no horseplay about tying down the cord. A locomotive whistle going without letup meant one thing on the railroad, and to everyone who lived near the railroad. It meant there was something very wrong. The whistle of John Hess' engine had been going now for maybe five minutes at most. It was not on long, but it was the only warning anyone was to hear, and nearly everyone in East Conemaugh heard it and understood almost instantly what it meant.

Quoi qu’il en soit, et sans prétendre risquer la moindre prédiction, il est bien difficile, en présence de toutes ces choses, de s’empêcher de penser à ces paroles de l’Évangile : « Il s’élèvera de faux Christs et de faux prophètes, qui feront de grands prodiges et des choses étonnantes, jusqu’à séduire, s’il était possible, les élus eux-mêmes ». Assurément, nous n’en sommes pas encore là ; les faux Messies que nous avons vus jusqu’ici n’ont fait que des prodiges d’une qualité fort inférieure, et ceux qui les ont suivis n’étaient probablement pas bien difficiles à séduire ; mais qui sait ce que nous réserve l’avenir ? Si l’on réfléchit que ces faux Messies n’ont jamais été que des instruments plus ou moins inconscients entre les mains de ceux qui les ont suscités, et si l’on se reporte en particulier à la série de tentatives faites successivement par les théosophistes, on est amené à penser que ce ne sont là que des essais, des expériences en quelque sorte, qui se renouvelleront sous des formes diverses jusqu’à ce que la réussite soit obtenue, et qui, en attendant, ont toujours pour résultat de jeter un certain trouble dans les esprits. Nous ne croyons pas, d’ailleurs, que les théosophistes, non plus que les occultistes et les spirites, soient de force à réussir pleinement par eux-mêmes une telle entreprise ; mais n’y aurait-il pas, derrière tous ces mouvements, quelque chose d’autrement redoutable, que leurs chefs mêmes ne connaissent peut-être pas, et dont ils ne sont pourtant à leur tour que de simples instruments ? Nous nous contenterons de poser cette dernière question sans chercher à la résoudre ici ; il faudrait, pour cela, faire intervenir des considérations extrêmement complexes, et qui nous entraîneraient bien au delà des limites que nous nous sommes fixées pour la présente étude. Les efforts faits, vainement d’ailleurs, par Krishnamurti pour se soustraire à son rôle de Messie (voir chapitre XXI, note additionnelle F) montrent bien qu’il n’est qu’un simple instrument, et nous dirions volontiers une victime d’entreprises où sa volonté personnelle n’est pour rien. Le développement présent du messianisme théosophiste, qui ne semble d’ailleurs pas faire dans le « monde extérieur » autant de bruit qu’on l’espérait, n’apporte donc aucune modification à ce que nous écrivions avant les derniers événements ; et il faut ajouter que, même si les chefs du théosophisme considèrent maintenant qu’il y a là plus qu’une simple tentative, il se peut fort bien que, pour d’autres, leur mouvement même ne soit qu’un des multiples éléments qui doivent concourir à préparer la réalisation d’un plan beaucoup plus vaste et plus complexe. [Note additionnelle de la seconde édition.]

Dialogue is thus an existential necessity. And since dialogue is the encounter in which the united reflection and action of the dialoguers are addressed to the world which is to be transformed and humanized, this dialogue cannot be reduced to the act of one person’s “depositing” ideas in another, nor can it become a simple exchange of ideas to be “consumed” by the discussants. Nor yet is it a hostile, polemical argument between those who are committed neither to the naming of the world, nor to the search for truth, but rather to the imposition of their own truth. Because dialogue is an encounter among women and men who name the world, it must not be a situation where some name on behalf of others. It is an act of creation; it must not serve as a crafty instrument for the domination of one person by another. The domination implicit in dialogue is that of the world by the dialoguers; it is conquest of the world for the liberation of humankind.

Historical events never have simple or obvious implications. Some people thrived by using the very instruments intended to dispossess them.

Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...

[T]he complexity of nature is not innate but a consequence of the instruments used to handle it. There is nothing complex about walking, breathing, and circulating one's blood. Living organisms have developed these functions without without thinking about them at all. The circulation of the blood becomes complex only when stated in physiological terms, that is, when understood by means of a conceptual model constructed of the kind of simple units which conscious attention requires.

The next archetype, the Empress, is the Catalyst of the Mind, that which acts upon the conscious mind to change it. The fourth being the Emperor, which is the Experience of the Mind, which is that material stored in the unconscious which creates its continuing bias. Am I correct with those statements? Ra I am Ra. Though far too rigid in your statements, you perceive correct relationships. There is a great deal of dynamic interrelationship in these first four archetypes. (79.36) Questioner Would the Hierophant then be somewhat of a governor or sorter of these effects so as to create the proper assimilation by the unconscious of that which comes through the conscious? Ra I am Ra. Although thoughtful, the supposition is incorrect in its heart. (79.37) Questioner What would be the Hierophant? Ra I am Ra. The Hierophant is the Significator of the Body[57] complex, its very nature. We may note that the characteristics of which you speak do have bearing upon the Significator of the Mind complex but are not the heart. The heart of the mind complex is that dynamic entity which absorbs, seeks, and attempts to learn. (79.38) Questioner Then is the Hierophant the link, you might say, between the mind and the body? Ra I am Ra. There is a strong relationship between the Significators of the mind, the body, and the spirit. Your statement is too broad. (79.39) Questioner Let me skip over the Hierophant for a minute because I’m really not understanding that at all, and just ask you if the Lovers represent the merging of the conscious and the unconscious, or a communication between conscious and unconscious? Ra I am Ra. Again, without being at all unperceptive, you miss the heart of this particular archetype which may be more properly called the Transformation of the Mind. (79.40) Questioner Transformation of the mind into what? Ra I am Ra. As you observe Archetype Six you may see the student of the mysteries being transformed by the need to choose betwixt the light and the dark in mind. (79.41) Questioner Would the Conqueror, or Chariot, then, represent the culmination of the action of the first six archetypes into a conquering of the mental processes, even possibly removing the veil? Ra I am Ra. This is most perceptive. The Archetype Seven is one difficult to enunciate. We may call it the Path, the Way, or the Great Way of the Mind. Its foundation is a reflection and substantial summary of Archetypes One through Six. One may also see the Way of the Mind as showing the kingdom or fruits of appropriate travel through the mind in that the mind continues to move as majestically through the material it conceives of as a chariot drawn by royal lions or steeds. At this time we would suggest one more full query, for this instrument is experiencing some distortions towards pain. (79.42) Questioner Then I will just ask for the one of the archetypes which I am least understanding at this point, if I can use that word at all. I am still very much in the dark, so to speak, with respect to the Hierophant and precisely what it is. Could you give me some other indication of what that is, please? Ra I am Ra. You have been most interested in the Significator which must needs become complex. The Hierophant is the original archetype of mind which has been made complex through the subtile movements of the conscious and unconscious.[58] The complexities of mind were evolved rather than the simple melding of experience from Potentiator to Matrix. The mind itself became an actor possessed of free will and, more especially, will. As the Significator of the mind, the Hierophant has the will to know, but what shall it do with its knowledge, and for what reasons does it seek? The potential[s] of a complex significator are manifold.

Newton's law of motion unlocked the secrets of vibration and resonance from which, through the Fourier idea, we can both understand and construct complex waveforms from simple ones. As we will soon see, the Fourier idea applies to all the four forces and will serve as a key to understanding the structure of the universe. I leave you with a hint: if the structure of the universe is a result of a pattern of vibration, what causes the vibration? Is the universe behaving like an instrument?

Know that love has chosen you to live his crucial purposes. Know that love has chosen you. And will not pamper you nor spare; demands obedience to all the rigorous laws of risk, does not pamper, will not spare. Oh, master now love's instruments— complex and not for the fearful, simple and not for the foolish. Master now love's instruments. I who love you tell you this, even as the pitiful killer waits for me, I who love you tell you this.

Perhaps the explanation for this is a simple one, anchored in a basic developmental reality: early childhood is when we first gain control of our bodies and develop our motor skills. But in some ways, that’s the point. Toddlers and preschoolers acquire knowledge in ways that are inseparable from their physical experiences. This is the time when it’s easiest to see what we human beings may truly be—“ inherently instrumental, or pragmatically oriented, all the way down,” as Crawford suggests. By spending time with young children—building forts and baking cakes, whacking baseballs and making sand castles—we’re afforded, in some respects, the opportunity to be our most human. This is who we are. Creatures who use tools, creatures who create, creatures who build.

pirit. It cannot be broken and it cannot be stolen away. A victim in the throes of despair might feel otherwise, and certainly the victim’s “master” would like to believe it so. But in truth, the spirit remains, sometimes buried but never fully removed. That is the false assumption of Zin-carla and the danger of such sentient animation. The priestesses, I have come to learn, claim it as the highest gift of the Spider Queen deity who rules the drow. I think not. Better to call Zin-carla Lolth’s greatest lie. The physical powers of the body cannot be separated from the rationale of the mind and the emotions of the heart. They are one and the same, a compilation of a singular being. It is in the harmony of these three—body, mind, and heart—that we find spirit. How many tyrants have tried? How many rulers have sought to reduce their subjects to simple, unthinking instruments of profit and gain? They steal the loves, the religions, of their people; they seek to steal the spirit. Ultimately and inevitably, they fail. This I must believe. If the flame of the spirit’s candle is extinguished, there is only death, and the tyrant finds no gain in a kingdom littered with corpses. But it is a resilient thing, this flame of spirit, indomitable and ever-striving. In some, at least, it will survive, to the tyrant’s demise. Where, then, was Zaknafein, my father, when he set out purposefully to destroy me? Where was I in my years alone in the wilds, when this hunter that I had become blinded my heart and guided my sword hand often against my conscious wishes? We both were there all along, I came to know, buried but never stolen. Spirit. In every language in all the Realms, surface and Underdark, in every time and every place, the word has a ring of strength and determination. It is the hero’s strength, the mother’s resilience, and the poor man’s armor. It cannot be broken, and it cannot be taken away. This I must believe. —Drizzt Do’Urden

Since scientists have no answer to dark matter (except dark matter filament), the most logical explanation is that it is invisible. Some questions remain: 1. Can matter be invisible (or imperceptible by our senses and instruments)? 2. Even if matter could be theoretically invisible, is it possible that such a vast amount of matter, like dark matter, would escape all our knowledge and existing laws of physics and be unidentified until recently but wholly invisible and beyond our reach? 3. If dark matter is imperceptible, what makes it imperceptible? 4. Is it potentially perceptible but not perceptible to us as human beings? 5. Is there anything that would still avoid perception even if we possessed the absolute perceptive ability or technology with these abilities? 6. Or, is dark matter our way of explaining the unexplainable and offering a linguistic form to unknown phenomena? 7. Or, is it our inability to go beyond the spectrum, outside the existing frames, and try to decipher the unknown beyond the known frame of reality or what we see and understand as reality and the Universe? The answer to the first question is known; even atoms are invisible not only to the eyes but to microscopes. It is, therefore, theoretically possible that matter can be hidden and imperceptible. Still, it is hard to imagine that vast amounts of the mass of the Universe would stay unaccounted for within the realm of already advanced understanding of the laws of physics, instruments, and experiments. It would be possible to prove mathematically, based on what we already know about the Universe, the mass, the dispersion of energy and mass, and by these comparisons to conclude, without the CERN accelerator, that this is, most likely, impossible. This was a short answer to the second question. The third question is important because it would lead scientists in the right direction by avoiding the possible net of perplexed ideas. If we have already established that something exists, it would be better to define it as precisely as possible to avoid guessing only. In addition, how do we guess? We do not know anything about its nature, origin, or how it came into existence except that we came to this discovery almost accidentally by pure and relatively simple measurements and experiments. But what about us? How do we think? What methods do we use in experiments and the way we think? The answer to these questions could lead to better discoveries than only focusing on something we do not know and, even worse if we do not know where to look for it. Based on an accidental discovery, it is a good start to conclude that there is more mass in the Universe than can be detected. Still, it would be better and more productive to go beyond the Universe as we see it, beyond our existing knowledge and perception, not toward the stars we already know but toward another bottomless sky of darkness and the unknown. Although light is the source of life, darkness is also the source of light and life. Maybe the brightest “star” sleeps in the darkness and feeds the world from darkness. Is there only one Universe? If we start from the premise of the Big Bang theory, it would be logical to ask why there is only one Big Bang. It is easy to conclude that if there is a Big Bang at one point in “space” (nothingness), there can be another one at another “point,” past or future, although this may sound strange.

this story also highlights the iterative nature of discovery and delivery. Many teams ask, “When are we done with discovery? When do we get to send our ideas to delivery?” The answer to the first question is simple. You are never done with discovery. Remember, this book is about continuous discovery. There is always more to learn and to discover. The second question is harder to answer. In the AfterCollege story, we had already started the delivery work. Our prototype had a working interface that real customers could use. We were collecting real data. Our discovery required that we start delivery. Measuring the impact of that delivery resulted in us needing to do more discovery. This is why we say discovery feeds delivery and delivery feeds discovery. They aren’t two distinct phases. You can’t have one without the other. In Chapter 10, you learned to iteratively invest in experiments, to start small, and to grow your investment over time. Inevitably, as your experiments grow, you are going to need to test with a real audience, in a real context, with real data. Testing in your production environment is a natural progression for your discovery work. It’s also where your delivery work begins. If you instrument your delivery work, discovery will not only feed delivery, but delivery will feed discovery.

How to Play Sigma Boy: Musical Clicker – A Complete Beginner’s Guide Sigma Boy: Musical Clicker is more than just another idle tapping game. It’s a creative and rewarding journey that lets you guide an ambitious artist from unknown street performer to global music icon. Whether you’re new to clicker games or a longtime fan of idle titles, this guide will walk you through how to play, progress, and enjoy the game to the fullest. Starting Out: The Basics When you first enter the game, you’ll be introduced to Sigma Boy—a young musician with big dreams but no resources. Your job is to help him rise to fame by tapping the screen. Each tap earns coins, which serve as the main currency in the game. Coins are used to improve Sigma Boy’s singing skills, unlock auto-clicking features, and purchase a wide range of upgrades. The more you click, the faster you earn, and the faster you can level up your character. The Role of Clicking and Auto-Clickers In the early game, tapping manually is the main way to earn coins. However, Sigma Boy: Musical Clicker doesn’t stop there. As you progress, you can unlock auto-clickers that generate income automatically, even when you’re not actively playing. These features make the game more enjoyable by allowing you to grow your empire without constant tapping. Auto-clickers can also be upgraded to increase their speed and output, making them essential for long-term progress. Upgrades and Progression Upgrading is the heart of Sigma Boy: Musical Clicker. With the coins you earn, you can purchase various upgrades, such as: Vocal improvements to make Sigma Boy sing better and earn more per click Visual upgrades like costumes, stage lights, and instruments Lifestyle items including luxury phones, cars, houses, and brand franchises Each upgrade not only boosts your income but also changes how your character and performance space look. These visual transformations make the game feel dynamic and rewarding. Unlocking New Locations As Sigma Boy’s fame grows, new performance locations become available. These range from local street corners to large stadiums, and even futuristic or space-themed stages. Each location offers higher income potential and brings a new atmosphere to your musical journey. To unlock these stages, you’ll need to meet specific coin or upgrade milestones. Reaching new stages gives a strong sense of progression and keeps the gameplay experience fresh. Offline Earnings One of the game’s most attractive features is the ability to earn coins even when you’re offline. Once you’ve unlocked and upgraded your auto-clickers, Sigma Boy will continue performing and making money while you’re away. This idle mechanic makes it easy to check in for a few minutes, collect rewards, upgrade, and return later without losing progress. Final Tips for New Players Focus on upgrading auto-clickers early to maximize passive income Prioritize voice upgrades to increase income per click Save for key items like phones and cars, as they provide big boosts Reinvest your earnings smartly to unlock new stages faster Sigma Boy: Musical Clicker is simple to pick up, but with strategic upgrades and long-term goals, it offers satisfying depth for anyone looking to build a virtual music empire. Whether you’re playing for five minutes or an hour, there’s always progress to be made.

When babies babble, they are testing out their vocal apparatus to see what sounds they can make. They're also testing out their brains' language faculties—seeing whether people around them respond more to one sound or another. Imagine learning an instrument before you even have an idea what music is. You play a note or two, hear it, see if you like it, see if your audience likes it, and then you play more. Except that the instrument is located in your own chest, throat, and head. Meanwhile, your brain is rewiring itself with simple sorts of rules for communication by paying careful attention while your main caregiver talks to you.

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