Like Arrows Movie Quotes

Time if the inner form of animal sense that animates events-the still frames-of the spatial world. The mind animates the world like the motor and gears of a projector. Each weaves a series of still pictures-a series of spatial states-into an order, into the 'current' of life. Motion is created in our minds by running "film cells" together. Remember that everything you perceive-even this page-is actively, repeatedly, being constructed inside your head. It's happening to you right now. Your eyes cannot see through the wall of the cranium; all experience including visual experience is an organized whirl of information in your brain. If your mind could stop its "motor" for a moment, you'd get a freeze frame, just as the movie projector isolated the arrow in one position with no momentum. In fact, time can be defined as the inner summation of spatial states.

That night in my apartment, and other nights, too, burrowed under the covers, I watch the shadows on the wall and think of meeting men, meeting men like in movies, and meeting men like Alice and her mysterious friends seem to - seem to at least in Alice’s stories - men met on buses between stops, in the frozen foods aisle, at Woolworth’s when buying a spool of thread, at the newsstand, perusing Look, in hotel lobbies, at supper clubs, while hailing cabs or looking in shop windows. Men with smooth felt hats and pencil mustaches, men with Arrow shirts and shiny hair, men eager to rush ahead for the doors and to steady your arm as you step over a wet patch on the road, men with umbrellas just when you need them, men who hold you up with a firm grip as the bus lurches before you can reach a seat, men with flickering eyes who seem to know just which coat you are trying to reach off the rack in the coffee shop, men with smooth cheeks smelling of tangy lime aftershave who would order you a gin and soda before you even knew you wanted one.

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

A cavalry of sweaty but righteous blond gods chased pesky, unkempt people across an annoyingly leaky Mexican border. A grimy cowboy with a headdress of scrawny vultures lay facedown in fiery sands at the end of a trail of his own groveling claw marks, body flattened like a roadkill, his back a pincushion of Apache arrows. He rose and shook his head as if he had merely walked into a doorknob. Never mind John Wayne and his vultures and an “Oregon Trail” lined with the Mesozoic buttes of the Southwest, where the movies were filmed, or the Indians who were supposed to be northern plains Cheyenne but actually were Navajo extras in costume department Sioux war bonnets saying mischievous, naughty things in Navajo, a language neither filmmaker nor audience understood anyway, but which the interpreter onscreen translated as soberly as his forked tongue could manage, “Well give you three cents an acre.” Never mind the ecologically incorrect arctic loon cries on the soundtrack. I loved that desert.

Take for instance a phenomenon called frustrated spontaneous emission. It sounds like an embarrassing sexual complaint that psychotherapy might help with. In fact, it involves the decay of radioactive particles, which ordinarily takes place at a predictably random rate. The exception, however, is when radioactive material is placed in an environment that cannot absorb the photons that are emitted by decay. In that case, decay ceases—the atoms become “frustrated.” How do these atoms “know” to stop decaying until conditions are suitable? According to Wharton, the unpredictable decay of radioactive particles may be determined in part by whatever receives their emitted photons in the future.20 Decay may not really be random at all, in other words. Another quantum mystery that arguably becomes less mysterious in a retrocausal world is the quantum Zeno effect. Usually, the results of measurements are unpredictable—again according to the famous uncertainty believed to govern the quantum kingdom—but there is a loophole. Persistent, rapid probing of reality by repeating the same measurement over and over produces repetition of the same “answer” from the physical world, almost as if it is “stopping time” in some sense (hence the name of the effect, which refers to Zeno’s paradoxes like an arrow that must first get halfway to its target, and then halfway from there, and so on, and thus is never able to reach the target at all).21 If the measurement itself is somehow influencing a particle retrocausally, then repeating the same measurement in the same conditions may effectively be influencing the measured particles the same way in their past, thereby producing the consistent behavior. Retrocausation may also be at the basis of a long-known but, again, hitherto unsatisfyingly explained quirk of light’s behavior: Fermat’s principle of least time. Light always takes the fastest possible path to its destination, which means taking the shortest available path through different media like water or glass. It is the rule that accounts for the refraction of light through lenses, and the reason why an object underwater appears displaced from its true location.22 It is yet another example of a creature in the quantum bestiary that makes little sense unless photons somehow “know” where they are going in order to take the most efficient possible route to get there. If the photon’s angle of deflection when entering a refractive medium is somehow determined by its destination, Fermat’s principle would make much more sense. (We will return to Fermat’s principle later in this book; it plays an important role in Ted Chiang’s short story, “Story of Your Life,” the basis for the wonderful precognition movie Arrival.) And retrocausation could also offer new ways of looking at the double-slit experiment and its myriad variants.

Next, comparing children to arrows in the hands of a warrior, Psalm 127:4-5 talks about how parents are to handle their offspring. Wise and skillful parents are to know their children, understand them, and carefully point them in the right direction before shooting them into the world. And, as you may have learned in an archery class, shooting an arrow straight and hitting a target is a lot harder in real life than it looks like in the movies or on TV. Likewise, godly and skillful parenting isn’t easy. The last section of today’s selection teaches the importance of the Lord’s presence in the home. • The Lord blesses a home that follows His ways (Psalm 128:1-2). • A wife who knows the Lord will be a source of beauty and life in the home (Psalm 128:3a). • With the Lord’s blessing, children will flourish like olive trees, which generously provide food, oil, and shelter (Psalm 128:3b). Ask yourself, What can I do to make the Lord’s presence more recognizable in our home? Or a more pointed question, What kind of steward am I being in my home? God has entrusted to you some very special people—your children. You will be held accountable for how you take care of them. But you’re not in it alone. God offers to walk with you today and always. He provides you with guidelines like those we looked at today, plus His wisdom and His love, to help you do the job and do it well.9 Prayer: Father God, forgive me for the ways I shortchange my children. Help me know how to slow down the pace of life. Help me stay very aware that my children will be with me for just a short time, and that how I treat them will affect them and their children’s lives too. Continue to teach me how to be the parent You want me to be. Amen.   Action: Give your child/children the gift of time—today and every day.   Today’s Wisdom: The Christian home is the Master’s workshop where the processes of character-molding are silently, lovingly, faithfully, and successfully carried on. —RICHARD M. MILNES

Time’s arrow is irreversible, because entropy cannot decrease of its own accord without violating the second law of thermodynamics. A reversible arrow would be like a movie run backward. The scenes in the movie are not impossible by the laws of classical mechanics, but they are patently absurd.

Fifteen feet. The unspoken irrevocable distance like an old Western movie where the mountain man meets the braves in some meadow. Or the homesteader confronts the landgrabbing rancher and his hired guns, the horses always pulling up to stand in a nearly taut line as if at a precipice. Always that bit of mutually respected demilitarized zone across which words can be flung followed maybe by bullets and arrows and death. That’s what we called it, the DMZ. Awkward at first but not now. In this case we had decided without discussion or even any medical evidence that there was no way the sickness could infect from that far off. Probably not even from five feet, probably not even in a casual touch, but everybody, mostly me, felt better about this gap. If we needed to, we placed objects in the middle of it to be retrieved and that was okay

Time’s arrow is simply a reflection of the inexorable march from statistically unlikely ordered arrangements to more likely disordered ones. There’s a subtle point here: a movie showing heat flowing back into an oven isn’t showing something that couldn’t happen; it’s showing something that’s extremely unlikely to happen.