Medium Long Quotes

There is absolutely no inevitability as long as there is a willingness to contemplate what is happening.

I’m a modern man, a man for the millennium. Digital and smoke free. A diversified multi-cultural, post-modern deconstruction that is anatomically and ecologically incorrect. I’ve been up linked and downloaded, I’ve been inputted and outsourced, I know the upside of downsizing, I know the downside of upgrading. I’m a high-tech low-life. A cutting edge, state-of-the-art bi-coastal multi-tasker and I can give you a gigabyte in a nanosecond! I’m new wave, but I’m old school and my inner child is outward bound. I’m a hot-wired, heat seeking, warm-hearted cool customer, voice activated and bio-degradable. I interface with my database, my database is in cyberspace, so I’m interactive, I’m hyperactive and from time to time I’m radioactive. Behind the eight ball, ahead of the curve, ridin the wave, dodgin the bullet and pushin the envelope. I’m on-point, on-task, on-message and off drugs. I’ve got no need for coke and speed. I've got no urge to binge and purge. I’m in-the-moment, on-the-edge, over-the-top and under-the-radar. A high-concept, low-profile, medium-range ballistic missionary. A street-wise smart bomb. A top-gun bottom feeder. I wear power ties, I tell power lies, I take power naps and run victory laps. I’m a totally ongoing big-foot, slam-dunk, rainmaker with a pro-active outreach. A raging workaholic. A working rageaholic. Out of rehab and in denial! I’ve got a personal trainer, a personal shopper, a personal assistant and a personal agenda. You can’t shut me up. You can’t dumb me down because I’m tireless and I’m wireless, I’m an alpha male on beta-blockers. I’m a non-believer and an over-achiever, laid-back but fashion-forward. Up-front, down-home, low-rent, high-maintenance. Super-sized, long-lasting, high-definition, fast-acting, oven-ready and built-to-last! I’m a hands-on, foot-loose, knee-jerk head case pretty maturely post-traumatic and I’ve got a love-child that sends me hate mail. But, I’m feeling, I’m caring, I’m healing, I’m sharing-- a supportive, bonding, nurturing primary care-giver. My output is down, but my income is up. I took a short position on the long bond and my revenue stream has its own cash-flow. I read junk mail, I eat junk food, I buy junk bonds and I watch trash sports! I’m gender specific, capital intensive, user-friendly and lactose intolerant. I like rough sex. I like tough love. I use the “F” word in my emails and the software on my hard-drive is hardcore--no soft porn. I bought a microwave at a mini-mall; I bought a mini-van at a mega-store. I eat fast-food in the slow lane. I’m toll-free, bite-sized, ready-to-wear and I come in all sizes. A fully-equipped, factory-authorized, hospital-tested, clinically-proven, scientifically- formulated medical miracle. I’ve been pre-wash, pre-cooked, pre-heated, pre-screened, pre-approved, pre-packaged, post-dated, freeze-dried, double-wrapped, vacuum-packed and, I have an unlimited broadband capacity. I’m a rude dude, but I’m the real deal. Lean and mean! Cocked, locked and ready-to-rock. Rough, tough and hard to bluff. I take it slow, I go with the flow, I ride with the tide. I’ve got glide in my stride. Drivin and movin, sailin and spinin, jiving and groovin, wailin and winnin. I don’t snooze, so I don’t lose. I keep the pedal to the metal and the rubber on the road. I party hearty and lunch time is crunch time. I’m hangin in, there ain’t no doubt and I’m hangin tough, over and out!

When we read, we decide when, where, how long, and about what. One of the few places on earth that it is still possible to experience an instant sense of freedom and privacy is anywhere you open up a good book and begin to read. When we read silently, we are alone with our own thoughts and one other voice. We can take our time, consider, evaluate, and digest what we read—with no commercial interruptions, no emotional music or special effects manipulation. And in spite of the advances in electronic information exchange, the book is still the most important medium for presenting ideas of substance and value, still the only real home of literature.

Every new medium transforms the nature of human thought. In the long run, history is the story of information becoming aware of itself.

An admirable line of Pablo Neruda’s, “My creatures are born of a long denial,” seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge… It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.

For as long as I could remember, other people had either overshadowed me or left me out in the open, alone. But Mac, as Layla had said all those weeks ago, was always somewhere nearby. He left me enough space to stand alone, but stood at the ready for the moment that I didn’t want to. It was the perfect medium, I was learning. Like he was my saint, the one I’d been waiting for.

If you do not know history, you think short term. If you know history, you think medium and long term

you get nothing else from this book, know this: your deceased loved ones are loving, guiding, and protecting you from the Other Side.

I have long believed that it is only right and appropriate that before one sleeps with someone, one should be able—if called upon to do so—to make them a proper omelet in the morning. Surely that kind of civility and selflessness would be both good manners and good for the world. Perhaps omelet skills should be learned at the same time you learn to fuck. Perhaps there should be an unspoken agreement that in the event of loss of virginity, the more experienced of the partners should, afterward, make the other an omelet—passing along the skill at an important and presumably memorable moment.

Something wonderful, if you look the long view, was about to happen. If you took the short or medium view, something horrible was about to happen.

He would not mind hearing Petrus's story one day. But preferably not reduced to English. More and more he is convinced that English is an unfit medium for the truth of South Africa. Stretches of English code whole sentences long have thickened, lost their articulations, their articulateness, their articulatedness. Like a dinosaur expiring and settling in the mud, the language has stiffened. Pressed into the mold of English, Petrus's story would come out arthritic, bygone"(117).

We humans have an impulse to mark our existence in some way that feels permanent. We scribble ‘I was here’ onto our desks at school. We spray paint it on walls. We carve it into bark. I was here. I wanted this sculpture to do to the same, to let it be know that these people lived. A testament to the fact that these humans — with their long strings and medium strings and short strings — they were here.

John knew the best love stories were the ones that were never told. For no medium—no book, no poem, no play or movie—could ever tell a love story in its entirety, its full span and depth, from the exhilarating beginning to the tragic ending of all love stories. He didn’t mind if his life was forgotten—it had never occurred to him to want to be remembered—as long as he had truly lived, and to live life without experiencing one great love story was to not live at all.

But I have one want which I have never yet been able to satisfy; and the absence of the object of which I now feel as a most severe evil. I have no friend, Margaret: when I am glowing with the enthusiasm of success, there will be none to participate my joy; if I am assailed by disappointment, no one will endeavour to sustain me in dejection. I shall commit my thoughts to paper, it is true; but that is a poor medium for the communication of feeling. I desire the company of a man who could sympathise with me; whose eyes would reply to mine. You may deem me romantic, my dear sister, but I bitterly feel the want of a friend. I have no one near me, gentle yet courageous, possessed of a cultivated as well as of a capacious mind, whose tastes are like my own, to approve or amend my plans. How would such a friend repair the faults of your poor brother!

But the very question of whether photography is or is not an art is essentially a misleading one. Although photography generates works that can be called art --it requires subjectivity, it can lie, it gives aesthetic pleasure-- photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made. Out of language, one can make scientific discourse, bureaucratic memoranda, love letters, grocery lists, and Balzac's Paris. Out of photography, one can make passport pictures, weather photographs, pornographic pictures, X-rays, wedding pictures, and Atget's Paris. Photography is not an art like, say, painting and poetry. Although the activities of some photographers conform to the traditional notion of a fine art, the activity of exceptionally talented individuals producing discrete objects that have value in themselves, form the beginning photography has also lent itself to that notion of art which says that art is obsolete. The power of photography --and its centrality in present aesthetic concerns-- is that it confirms both ideas of art. But the way in which photography renders art obsolete is, in the long run, stronger.

Billy was fascinated by the television. At its most basic level, it occupied his time and shut out the demons of isolation. This was another irony because, for so long, he had shunned the tube for a similar purpose—to prevent it from bombarding his brain with demons of banality. However, each time he turned the machine on, he began to discover a world of assorted delights, as well as gain insight into the insidious manner in which this medium was shaping the mass psyche. If nothing else, he learned there was nothing innocuous about it.

Start ringing things up then. This won't take long." "Which ones?" "I don't care." I push some at her. "These." "These?" She looked dubious. "Why not these?" She glanced at Ray. "'Cause if that's your man, I'd say you can leave these off." "Oh, no, you didn't." Ray said. "What's this shit?" Ray demanded, looking at the saleclerk. "Honey, truth hurts, but ain't no way you're a Magnum." "Well, I ain't no medium!" The clerk smiled. "Yeah, but I was being generous." "What are you doing?" The clerk demanded as Ray grabbed another box. "I ain't rung those up yet." Ray pulled out a foil package and tossed the box back on the counter. "So ring it up." She arched an eyebrow, but didn't bother, maybe because she was watching him unbutton his fly. I caught his wrist. "What are you doing?" "Proving a point." "Not in the middle of the store, you're not." "Ain't nobody here," the cashier reminded me. "And ain't no way he's filling that thing out.

I am afraid that there is a certain class of race-problem solvers who don’t want the patient to get well, because as long as the disease holds out they have not only an easy means of making a living, but also an easy medium through which to make themselves prominent before the public.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

Even if you are not actively mourning a loved one right now, you bought my book for a reason, and I don’t think there are many accidents in our world. Maybe you were meant to read this today, come back to it another time, or earmark it for a friend. No matter what, I’ll bet it’s just what Spirit ordered.

I understand the fear that by losing contact with books on the printed page, we're somehow surrendering some aspect of our humanity, but that's just not the case…Stories were alive long before pages. Stories were theater. Stories were hieroglyphics…The medium is not the message. The medium is the delivery system. The story is the message.

A loud, egotistical, one-note asshole who’s been cruising on the reputation of one obnoxious, over-testosteroned book for way too long and who should just shut the fuck up.

The Newtonian God—the God who made a clock-like universe, wound it, and withdrew—died a long time ago. This is what Nietzsche meant and this is the God who is being observed.

Unlike those many dead because of him, he had life, and life wasn’t a default state—I am not dead, hence I must be alive—but a medium. For action, for effort. As long as he had life, who deserved it so little, he would use it, wield it, and do whatever he could in its name, even if it was not, was never, enough.

The privilege of creating and issuing money is not only the supreme prerogative of Government, but it is the Government's greatest creative opportunity. By the adoption of these principles, the long-felt want for a uniform medium will be satisfied. The taxpayers will be saved immense sums of interest, discounts and exchanges. The financing of all public enterprises, the maintenance of stable government and ordered progress, and the conduct of the Treasury will become matters of practical administration. The people can and will be furnished with a currency as safe as their own government. Money will cease to be the master and become the servant of humanity. Democracy will rise superior to the money power.

In the long run a medium's content matters less than the medium itself in influencing how we think and act. As our window onto the world, and onto ourselves, a popular medium molds what we see and how we see it-and eventually, if we use it enough, it changes who we are, as individuals and as a society.

Like a small business, a novel cannot afford to carry dead weight, even if it is a close family member. It is likewise unnecessary to introduce a mother and/or father into a narrative—usually through the medium of a long telephone call on the subject of 'How's things?'—to demonstrate that the protagonist does, like all mammals, have parents.

There is so much beauty in different women – thin, big, normal, tall, short, medium, long hair, short hair, etc. Only narrow-mindedness can define it all in one woman.

Everyone who has been beaten as a child is susceptible to fear; everyone who was deprived of love as a child will long for it, sometimes their whole lives. This longing contains a whole bundle of expectations, and those expectations, coupled with the fear we have referred to, form an excellent medium in which the Fourth Commandment can thrive. It represents the power of adults over children, and it’s reflected unmistakably in all the religions of the world.

Male, female, gay, straight, legal, illegal, country of origin—who cares? You can either cook an omelet or you can’t. You can either cook five hundred omelets in three hours—like you said you could, and like the job requires—or you can’t. There’s no lying in the kitchen. The restaurant kitchen may indeed be the last, glorious meritocracy—where anybody with the skills and the heart is welcomed. But if you’re old, or out of shape—or were never really certain about your chosen path in the first place—then you will surely and quickly be removed. Like a large organism’s natural antibodies fighting off an invading strain of bacteria, the life will slowly push you out or kill you off. Thus it is. Thus it shall always be. The ideal progression for a nascent culinary career would be to, first, take a jump straight into the deep end of the pool. Long before student loans and culinary school, take the trouble to find out who you are.

So let’s talk a little about April May’s theory of tiered fame. Tier 1: Popularity You are a big deal in your high school or neighborhood. You have a peculiar vehicle that people around town recognize, you are a pastor at a medium-to-large church, you were once the star of the high school football team. Tier 2: Notoriety You are recognized and/or well-known within certain circles. Maybe you’re a preeminent lepidopterist whom all the other lepidopterists idolize. Or you could be the mayor or meteorologist in a medium-sized city. You might be one of the 1.1 million living people who has a Wikipedia page. Tier 3: Working-Class Fame A lot of people know who you are and they are distributed around the world. There’s a good chance that a stranger will approach you to say hi at the grocery store. You are a professional sports player, musician, author, actor, television host, or internet personality. You might still have to hustle to make a living, but your fame is your job. You’ll probably trend on Twitter if you die. Tier 4: True Fame You get recognized by fans enough that it is a legitimate burden. People take pictures of you without your permission, and no one would scoff if you called yourself a celebrity. When you start dating someone, you wouldn’t be surprised to read about it in magazines. You are a performer, politician, host, or actor whom the majority of people in your country would recognize. Your humanity is so degraded that people are legitimately surprised when they find out that you’re “just like them” because, sometimes, you buy food. You never have to worry about money again, but you do need a gate with an intercom on your driveway. Tier 5: Divinity You are known by every person in your world, and you are such a big deal that they no longer consider you a person. Your story is much larger than can be contained within any human lifetime, and your memory will continue long after your earthly form wastes away. You are a founding father of a nation, a creator of a religion, an emperor, or an idea. You are not currently alive.

Money, it is conventional to argue, is a medium of exchange, which has the advantage of eliminating inefficiencies of barter; a unit of account, which facilitates valuation and calculation; and a store of value, which allows economic transactions to be conducted over long periods as well as geographical distances. To perform all these functions optimally, money has to be available, affordable, durable, fungible, portable and reliable.

In general, we imagine rivers to be subject to a kind of dynamic equilibrium, largely stable geologic features, with processes like regional incision or subtle shifts in mountain building causing short- and medium-term variation around some slowly changing mean condition, but in fact it is far more common to see dramatic change over short periods, with long periods of stability between in what geologists refer to as 'dynamic metastable equilibrium.' It is the same with families, memory, the history of a person's life, what we believe to be true.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ.

I had traveled far, had circled the planet and studied my Torah, and at the very end of my search I was standing, finally, in the place where everything begins: the tree in the garden, the tree of knowledge that, as I learned long ago, is something divided, something that because growth occurs only through the medium of time, brings both pleasure and, finally, sorrow.

How marvellously lie our anxieties, in filmy layers, one over the other! Take away that which has lain on the upper surface for so long—the care of cares—the only one, as it seemed to you, between your soul and the radiance of Heaven—and straight you find a new stratum there. As physical science tells us no fluid is without its skin, so does it seem with this fine medium of the soul, and these successive films of care that form upon its surface on mere contact with the upper air and light.

now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.

People can fall into habitual programmed patterns of thinking, underpinned by long-held beliefs and blind acceptance of conventional wisdom. Lying beneath such surface thoughts are mental cues that operate on the subconscious level, compelling people to act in certain ways, yielding conclusions that fit within their pre-existing biases. Many people are unaware that these processes are even occurring.

New freedoms surface old habits. I haven't left sin behind, only discovered a new medium for my treachery. My real trouble as a writer isn't trying to mean the words that I write. It's living into the words that I mean. Nonfiction writing can feel like the high art of hypocrisy.

Being in a relationship doesn’t mean that you never get aroused by anything else ever again. It just means that you don’t act on it. I think it’s healthy to maintain the ability to be aroused in other situations. Relationships shouldn’t be a prison. You’d have gotten hard before, and you should now. As long as you know that the only person you’re going to be sliding your big hard cock in to, we’re fine. There really is a happy medium between the craziness of your parents with their compulsion to continue having sex with anyone they wanted, and couples who expect one another to be perfect at all times with the idea that no feelings of sexuality outside of the relationship are acceptable. Both of those types of relationships would never work for me. What’s perfect for me is that we stay ourselves, and make each other truly happy

Painted feather flower Meaning: Tears Verticordia picta | Southwestern Australia A small to medium-sized shrub with pink, cupped flowers that are sweetly scented. Once established, it will only live for around ten years, with a profuse display of bright flowers over a long season.

He showed the fineness of his nature by being kinder to me after that misunderstanding than before. Nay, the very incident which, by my theory, must in some degree estrange me and him, changed, indeed, somewhat our relations; but not in the sense I painfully anticipated. An invisible, but a cold something, very slight, very transparent, but very chill: a sort of screen of ice had hitherto, all through our two lives, glazed the medium through which we exchanged intercourse. Those few warm words, though only warm with anger, breathed on that frail frost-work of reserve; about this time, it gave note of dissolution. I think from that day, so long as we continued friends, he never in discourse stood on topics of ceremony with me.

In simple straightforward terms Dan, you might say that he structured the material in terms of the ongoing situation to tangibilitate the utilization potential of this one to one instructional medium in such a meaningful learning experience that these kids won’t forget it for a hell of a long time, how's that Whiteback.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

I know he isn't a serious candidate for anything long-term. Or even medium-term. But maybe that's precisely why he's so attractive to me, right now. Unsuitable is good. Temporary is good...

Most e-mails sent in the mid-nineties tended to be long and letter-like: they began and ended with traditional greetings—the ones we’d all previously used on paper—and they were keen to describe the surrounding scene, as if the new medium had made of everybody a writer. (“I’m typing this just by the window, looking out to blue-gray sea, where three gulls are diving into the water.”)

He had come home late with take-out Thai and slammed into the sofa and tried to watch a movie, but kept drifting from it to the screen of his laptop. This was part of Corporation 9592’s strategy; they had hired psychologists, invested millions in a project to sabotage movies—yes, the entire medium of cinema—to get their customers/players/addicts into a state of mind where they simply could not focus on a two-hour-long chunk of filmed entertainment without alarm bells going off in their medullas telling them that they needed to log on to T’Rain and see what they were missing.

Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.

He considered the medium to be secondary: first and foremost was the idea. Only after an artist had settled on and developed a concept would he or she be in a position to choose a medium, and it should be the one with which the idea could most successfully be expressed. And if that meant using a porcelain urinal, so be it. In essence, art could be anything as long as the artist said so. That was a big idea.

They say an elephant never forgets. Well, you are not an elephant. Take notes, constantly. Save interesting thoughts, quotations, films, technologies... the medium doesn't matter, so long as it inspires you.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art

Our essential difficulty is that we are seeking in a mechanism, which is necessary, qualities it simply does not possess. The market does not lead, balance or encourage democracy. However, properly regulated it is the most effective way to conduct business. It cannot give leadership even on straight economic issues. The world-wide depletion of fish stocks is a recent example. The number of fish caught between 1950 and 1989 multiplied by five. The fishing fleet went from 585,000 boats in 1970 to 1.2 million in 1990 and on to 3.5 million today (1995). No one thought about the long- or even medium-term maintenance of stocks; not the fishermen, not the boat builders, not the fish wholesalers who found new uses for their product, including fertilizer and chicken feed; not the financiers. It wasn't their job. Their job was to worry about their own interests. (IV - From Managers and Speculators to Growth)

I’m getting on pretty well with German, though I haven’t arrived at the stage of finding it a reasonable medium for the expression of thought. I think the original couple who spoke it must have died rather soon after the Tower of Babel, leaving a rather pedantically-minded baby, who had learnt all the words of one syllable, and had to make up the long ones with them – at least how else can you account for such words as Handschule and be-ab-sichtigen? I

Who had the bigger boat, wore the better outfit, got the best table seemed all that mattered. There were decade-old feuds over casual cracks long forgotten by everyone but the principals. They circled each other still—waiting to identify a weakness—looking for somewhere and some way to strike. People jockeyed for position, cut each other’s throats over the most petty, nonsensical shit imaginable. This from the people who, it gradually began to dawn on me, actually ran the world.

This background enables us to understand a fact that is symptomatic of the current phase of saturation: there are countless people who want to withdraw from the omnipresence of advertising, who even avoid it like the plague. Here too, it is helpful to distinguish between the states before and after. From the perspective of the burgeoning world of products, advertising could be justified by the argument that spreading the word about the existence of new means of life improvements was indispensable, as the populations of industrial and trading nations would otherwise have been cheated of major knowledge about discreet improvements to the world. As the ambassador of new bringers of advantage, early advertising was the general training medium for contemporary performance collectives thoughtlessly denounced in culture-conservative milieus as 'consumer societies'. The aversion to advertising that pervades the saturated infospheres of the present, however, is based on the correct intuition that, in most of its manifestations, it has long since become a form of downward training. It no longer passes on what people should know in order to access advantageous innovations; it creates illusions of purchasable self-elevations that de facto usually lead to weakenings.

I had divided my to-do list into three categories: short-, medium-, and long-term. Short-term meant “a couple of weeks,” medium-term meant “a couple of years,” and long-term meant “as long as it takes.” It was that far side of the ledger where I wrote down the most intractable problems we were facing—the ones you can’t expect to solve on your own, over a term, perhaps even over a career. That’s where the most important work is. That’s where you take the bigger view—not of the political moment but of the historical one.

To say that the frozen silence contracted itself into a yet higher globe of ice were to under-rate the exquisite tension and to shroud it in words. The atmosphere had become a physical sensation. As when, before a masterpiece, the acid throat contracts, and words are millstones, so when the supernaturally outlandish happens and a masterpiece is launched through the medium of human gesture, then all human volition is withered at the source and the heart of action stops beating. Such a moment was this. Irma, a stalagmite of crimson stone, knew, for all the riot of her veins that a page had turned over. At chapter forty? O no! At chapter one, for she had never lived before save in a pulseless preface. How long did they remain thus? How many times had the earth moved round the sun? How many times had the great blue whales of the northern waters risen to spurt their fountains at the sky? How many reed-bucks had fallen to the claws of how many leopards, while that sublime unit of two-figure statuary remained motionless? It is fruitless to ask. The clocks of the world stood still or should have done.

In addition to tinnitus and hearing loss, the human body responds to noise with stress actions, triggering short-, medium-, and long-term symptoms that include increased blood pressure, accelerated heart rate, contraction of muscles, hardening of arteries, indigestion, and insomnia.

It is my conviction that, with the spread of true scientific culture, whatever may be the medium, historical, philological, philosophical, or physical, through which that culture is conveyed, and with its necessary concomitant, a constant elevation of the standard of veracity, the end of the evolution of theology will be like its beginning—it will cease to have any relation to ethics. I suppose that, so long as the human mind exists, it will not escape its deep-seated instinct to personify its intellectual conceptions. The science of the present day is as full of this particular form of intellectual shadow-worship as is the nescience of ignorant ages. The difference is that the philosopher who is worthy of the name knows that his personified hypotheses, such as law, and force, and ether, and the like, are merely useful symbols, while the ignorant and the careless take them for adequate expressions of reality. So, it may be, that the majority of mankind may find the practice of morality made easier by the use of theological symbols. And unless these are converted from symbols into idols, I do not see that science has anything to say to the practice, except to give an occasional warning of its dangers. But, when such symbols are dealt with as real existences, I think the highest duty which is laid upon men of science is to show that these dogmatic idols have no greater value than the fabrications of men's hands, the stocks and the stones, which they have replaced.

The essence of cool, after all, is not giving a fuck. And let’s face it: I most definitely give a fuck now. I give a huge fuck. The hugest. Everything else—everything—pales. To pretend otherwise, by word or deed, would be a monstrous lie. There will be no more Dead Boys T-shirts. Whom would I be kidding? Their charmingly nihilistic worldview in no way mirrors my own. If Stiv Bators were still alive and put his filthy hands anywhere near my baby, I’d snap his neck—then thoroughly cleanse the area with baby wipes. There is no hope of hipness. As my friend A. A. Gill points out, after your daughter reaches a certain age—like five—the most excruciating and embarrassing thing she could possibly imagine is seeing her dad in any way threatening to rock. Your record collection may indeed be cooler than your daughter’s will ever be, but this is a meaningless distinction now. She doesn’t care. And nobody else will. If you’re lucky, long after you’re gone, a grandchild will rediscover your old copy of Fun House. But it will be way too late for you to bask in the glory of past coolness. There is nothing cool about “used to be cool.” All of this, I think, is only right and appropriate.

It never ceased to amaze me how much stupid shit people believed in—acupuncture and astrology and crystal healing and homeopathy and naturopathy and ley lines and dowsing and lizard people and black magic and voodoo and ghosts and spirits and angels and demons and mediums and chakras and feng shui and colon cleansing and gods and so on. How come they didn’t realize that all of these things were either misunderstandings or scams that were disproven a long time ago? Although all of us believed in stupid things, such as happiness or hope, some of us really crossed the threshold into pure fucking insanity. And by some, I mean most.

I thought I had lowered my standards pretty much, when I decided that any woman would be good for me as long as she respects me. It didn't took me long to realize that would never happen. I was being naive about the real state of the world. It's not that one shouldn't have low standards, or high, or medium, but that most people are such a disgusting representation of themselves, that they can't stop themselves being like this until they die. And maybe they do appreciate what they had when they lose it, but they quickly forget about it when getting it back. Forgiving people that apologize too often has been another naive behavior of mine.

Pilchard begins his long run in from short stump. He bowls and … oh, he’s out! Yes, he’s got him. Longwilley is caught leg-before in middle slops by Grattan. Well, now what do you make of that, Neville?’ ‘That’s definitely one for the books, Bruce. I don’t think I’ve seen offside medium slow fast pace bowling to match it since Baden-Powell took Rangachangabanga for a maiden ovary at Bangalore in 1948.’ I had stumbled into the surreal and rewarding world of cricket on the radio. After years of patient study (and with cricket there can be no other kind) I have decided that there is nothing wrong with the game that the introduction of golf carts wouldn’t fix in a hurry. It is not true that the English invented cricket as a way of making all other human endeavours look interesting and lively; that was merely an unintended side effect. I don’t wish to denigrate a sport that is enjoyed by millions, some of them awake and facing the right way, but it is an odd game. It is the only sport that incorporates meal breaks. It is the only sport that shares its name with an insect. It is the only sport in which spectators burn as many calories as players (more if they are moderately restless). It is the only competitive activity of any type, other than perhaps baking, in which you can dress in white from head to toe and be as clean at the end of the day as you were at the beginning.

It was a strange figure—like a child: yet not so like a child as like an old man, viewed through some supernatural medium, which gave him the appearance of having receded from the view, and being diminished to a child’s proportions. Its hair, which hung about its neck and down its back, was white as if with age; and yet the face had not a wrinkle in it, and the tenderest bloom was on the skin. The arms were very long and muscular; the hands the same, as if its hold were of uncommon strength. Its legs and feet, most delicately formed, were, like those upper members, bare. It wore a tunic of the purest white; and round its waist was bound a lustrous belt, the sheen of which was beautiful.

Thomas Hobbes, in the seventeenth century, resisted his era’s new-media hype: “The invention of printing, though ingenious, compared with the invention of letters is no great matter.” Up to a point, he was right. Every new medium transforms the nature of human thought. In the long run, history is the story of information becoming aware of itself.

So, when I read of a recent study that found that children are significantly more inclined to eat “difficult” foods like liver, spinach, broccoli—and other such hard-to-sell “but-it’s-good-for-you” classics—when they are wrapped in comfortingly bright packages from McDonald’s, I was at first appalled, and then … inspired. Rather than trying to co-opt Ronald’s all-too-effective credibility among children to short-term positive ends, like getting my daughter to eat the occasional serving of spinach, I could reverse-engineer this! Use the strange and terrible powers of the Golden Arches for good—not evil! I plan to dip something decidedly unpleasant in an enticing chocolate coating and then wrap it carefully in McDonald’s wrapping paper. Nothing dangerous, mind you, but something that a two-and-a-half-year-old will find “yucky!”—even upsetting—in the extreme. Maybe a sponge soaked with vinegar. A tuft of hair. A Barbie head. I will then place it inside the familiar cardboard box and leave it—as if forgotten—somewhere for my daughter to find. I might even warn her, “If you see any of that nasty McDonald’s … make sure you don’t eat it!” I’ll say, before leaving her to it. “Daddy was stupid and got some chocolate … and now he’s lost it…” I might mutter audibly to myself before taking a long stroll to the laundry room. An early, traumatic, Ronald-related experience can only be good for her.

Molar pregnancies like Janet’s are indeed rare, but they do happen. Over the last decade, frustrated and worried women have emailed me, asking why their doctors won’t pay attention to their symptoms, telling them to just “wait it out.” I think this happens because obstetricians see so many situations, and most of the time, it works out the way they expect—the recovery may be short, medium, or long, but will not require intervention. But statistics like one in five hundred are meaningless if you are the one. I always tell women who can’t get through to their doctors to start looking for one whose office responsiveness matches her needs. Not every doctor and every patient are going to be a good fit.

It was the understanding—and burden—that unlike those many dead because of him, he had life, and life wasn’t a default state—I am not dead, hence I must be alive—but a medium. For action, for effort. As long as he had life, who deserved it so little, he would use it, wield it, and do whatever he could in its name, even if it was not, was never, enough.

at Dunkin’ Donuts, how did we move our anchor to Starbucks? This is where it gets really interesting. When Howard Shultz created Starbucks, he was as intuitive a businessman as Salvador Assael. He worked diligently to separate Starbucks from other coffee shops, not through price but through ambience. Accordingly, he designed Starbucks from the very beginning to feel like a continental coffeehouse. The early shops were fragrant with the smell of roasted beans (and better-quality roasted beans than those at Dunkin’ Donuts). They sold fancy French coffee presses. The showcases presented alluring snacks—almond croissants, biscotti, raspberry custard pastries, and others. Whereas Dunkin’ Donuts had small, medium, and large coffees, Starbucks offered Short, Tall, Grande, and Venti, as well as drinks with high-pedigree names like Caffè Americano, Caffè Misto, Macchiato, and Frappuccino. Starbucks did everything in its power, in other words, to make the experience feel different—so different that we would not use the prices at Dunkin’ Donuts as an anchor, but instead would be open to the new anchor that Starbucks was preparing for us. And that, to a great extent, is how Starbucks succeeded. GEORGE, DRAZEN, AND I were so excited with the experiments on coherent arbitrariness that we decided to push the idea one step farther. This time, we had a different twist to explore. Do you remember the famous episode in The Adventures of Tom Sawyer, the one in which Tom turned the whitewashing of Aunt Polly’s fence into an exercise in manipulating his friends? As I’m sure you recall, Tom applied the paint with gusto, pretending to enjoy the job. “Do you call this work?” Tom told his friends. “Does a boy get a chance to whitewash a fence every day?” Armed with this new “information,” his friends discovered the joys of whitewashing a fence. Before long, Tom’s friends were not only paying him for the privilege, but deriving real pleasure from the task—a win-win outcome if there ever was one. From our perspective, Tom transformed a negative experience to a positive one—he transformed a situation in which compensation was required to one in which people (Tom’s friends) would pay to get in on the fun. Could we do the same? We

they had hired psychologists, invested millions in a project to sabotage movies—yes, the entire medium of cinema—to get their customers/players/addicts into a state of mind where they simply could not focus on a two-hour-long chunk of filmed entertainment without alarm bells going off in their medullas telling them that they needed to log on to T’Rain and see what they were missing.

Instead, as the crystal splinters entered Hornwrack's brain, he experienced two curious dreams of the Low City, coming so quickly one after the other that they seemed simultaneous. In the first, long shadows moved across the ceiling frescoes of the Bistro Californium, beneath which Lord Mooncarrot's clique awaited his return to make a fourth at dice. Footsteps sounded on the threshold. The women hooded their eyes and smiled, or else stifled a yawn, raising dove-grey gloves to their blue, phthisic lips. Viriconium, with all her narcissistic intimacies and equivocal invitations welcomed him again. He had hated that city, yet now it was his past and it was he had to regret...The second of these visions was of the Rue Sepile. It was dawn, in summer. Horse-chestnut flowers bobbed like white wax candles above the deserted pavements. An oblique light struck into the street - so that its long and normally profitless perspective seemed to lead straight into the heart of a younger, more ingenuous city - and fell across the fronts of the houses where he had once lived, warming up the rotten brick and imparting to it a not unpleasant pinkish colour. Up at the second-floor casement window a boy was busy with the bright red geraniums arranged along the outer still in lumpen terra-cotta pots. He looked down at Hornwrack and smiled. Before Hornwrack could speak he drew down the lower casement and turned away. The glass which no separated them reflected the morning sunlight in a silent explosion; and Hornwrack, dazzled mistaking the light for the smile, suddenly imagined an incandescence which would melt all those old streets! Rue Sepile; the Avenue of Children; Margery Fry Court: all melted down! All the shabby dependencies of the Plaza of Unrealized Time! All slumped, sank into themselves, eroded away until nothing was left in his field of vision but an unbearable white sky above and the bright clustered points of the chestnut leaves below - and then only a depthless opacity, behind which he could detect the beat of his own blood, the vitreous humour of the eye. He imagined the old encrusted brick flowing, the glass cracking and melting from its frames even as they shrivelled awake, the sheds of paints flaring green and gold, the geraniums toppling in flames to nothing, not even white ash, under this weight of light! All had winked away like reflections in a jar of water glass, and only the medium remained, bright, viscid, vacant. He had a sense of the intolerable briefness of matter, its desperate signalling and touching, its fall; and simultaneously one of its unendurable durability He thought, Something lies behind all the realities of the universe and is replacing them here, something less solid and more permanent. Then the world stopped haunting him forever.

All men of talent, whether they be men of feeling or not; whether they be zealots, or aspirants, or despots--provided only they be sincere--have their sublime moments, when they subdue and rule. I felt veneration for St. John--veneration so strong that its impetus thrust me at once to the point I had so long shunned. I was tempted to cease struggling with him--to rush down the torrent of his will into the gulf of his existence, and there lose my own. I was almost as hard beset by him now as I had been once before, in a different way, by another. I was a fool both times. To have yielded then would have been an error of principle; to have yielded now would have been an error of judgment. So I think at this hour, when I look back to the crisis through the quiet medium of time: I was unconscious of folly at the instant

There were exactly states of the air, conditions of sound and of stillness, unspeakable impressions of the KIND of ministering moment, that brought back to me, long enough to catch it, the feeling of the medium in which, that June evening out of doors, I had had my first sight of Quint, and in which, too, at those other instants, I had, after seeing him through the window, looked for him in vain in the circle of shrubbery.

What disturbs and compels about pornography is not the sex, which is always a snooze, but that the medium addresses every social issue in the absolute wrong way. Not long after any social event or trend, a pornographic response emerges. It will be incredibly creepy and wrong headed, an underbelly view of public life via the worst excesses of capitalism in which the answer to every social problem is the commodification of desire.

Even smaller pieces are engulfed by inch-long krill; ant-size copepods; and filter-feeding salps, clams, oysters, and mussels. Large plankton feeders such as whale sharks and manta rays swallow gallons of water at a time, plastic and all. Whether at the large, medium, small, or ultra-small scale, ingested plastic lumps, clumps, pellets, or microscopic mites kill by physically obstructing, choking, clogging, or otherwise stopping up the passage of food.

Critical thinking is not as reflexive as you may first believe. Think of how effective social media misinformation has been. So effective that it has been easily weaponized by nation states. The battlefield has moved from landmines to the minds of citizens. It is not the medium that is at fault it is the consumer. Our human nature makes us sitting ducks. We are prepared to believe most things as long as they align with our preconceptions or predispositions.

In the medium term, AI may automate our jobs, to bring both great prosperity and equality. Looking further ahead, there are no fundamental limits to what can be achieved. There is no physical law precluding particles from being organised in ways that perform even more advanced computations than the arrangements of particles in human brains. An explosive transition is possible, although it may play out differently than in the movies. As mathematician Irving Good realised in 1965, machines with superhuman intelligence could repeatedly improve their design even further, in what science-fiction writer Vernor Vinge called a technological singularity. One can imagine such technology outsmarting financial markets, out-inventing human researchers, out-manipulating human leaders and potentially subduing us with weapons we cannot even understand. Whereas the short-term impact of AI depends on who controls it, the long-term impact depends on whether it can be controlled at all.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an im- perfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an un- pardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the Type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really Mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

For some reason Canon Fenneau made me feel a little uneasy. His voice might be soft, it was also coercive. He had small eyes, a large loose mouth, the lips thick, a somewhat receding chin. The eyes were the main feature. They were unusual eyes, not only almost unnaturally small, but vague, moist, dreamy, the eyes of a medium. His cherubic side, increased by a long slightly uptilted nose, was a little too good to be true, with eyes like that. In the manner in which he gave you all his attention there was a taste for mastery.

Does this popcorn taste burnt to you?" Miles asked, chewing loudly. "Don't eat that," Roland said, plucking the popcorn from Miles's palm. "Arriane got it out of the trash after Luce set the dorm room kitchen on fire." Miles began spitting frantically, leaning over the edge of Roland's wings. "It was my way of connecting with Luce." Arriane shrugged. "But here, if you must, have some Milk Duds." "Is it weird that we're watching the two of them like a movie?" Shelby asked. "We should imagine them like a novel, or a poem, or a song. Sometimes I feel oppressed by how reductive the filmic medium is." "Hey. Roland didn't have to fly you out here, Nephilim. So don't act smart, just watch. Look." Arriane clapped. "He's totally staring at her hair. I bet he goes home and sketches it tonight. How cuuute!" "Arriane, you got way too good at being a teenager," Roland said. "How long are we going to watch for? I mean, don't you think they've earned a little privacy?" "He's right," Arriane said. "We have other things on our celestial plates. Like..." Her smirk faded when she couldn't seem to think of anything.

It’s critical to know that our bodies don’t attack themselves. Here is the truth: the inflammation in the joints is there to protect you from attack by a particularly common virus. Your body is working hard to stop pathogens from digging deeper into the joints and the tissue around them. When the inflammation becomes long-term and chronic, that’s when it becomes the problem known as RA—but it is still your body working to ward off viral damage. Doctors also believe that there’s no way to heal from rheumatoid arthritis. They’re mistaken about that, too.

At every turn, while he was investigating the background for his study of Thomas Nashe, he would encounter the Church — what Chesterton called (another book title) The Thing. It was everywhere. At one point, he later told me (and he was never very specific just when that point occurred), he decided that the thing had to be sorted out or he couldn't rest. Either it ws true, or it wasn't. Either the entire matter was true, all of it, exactly as the Church claimed, or it was the biggest hoax ever perpetrated on a gullible mankind. With that choice clearly delineated, he set out to find which was the case. What came next was not more study, but testing. The matter had to be tested — on its own terms: that is, by prayer. He told me that the principal prayer that he used was not some long or complex formula, but simply, "Lord, please, send me a sign." He reported that, almost immediately, not one but a deluge of signs arrived. And they continued to arrive unabated for a long time. As to just what the signs consisted in and what happened next, well, some things must remain private. The reader may deduce the rest from the fact of his conversion. ... -- Eric McLuhan, introduction

Imagine, if you will, that the sum of all human thoughts could be represented on a measuring scale. The thoughts of a powerful maston, one enabled by the Medium to his fullest potential, could each be represented by a gold coin on one side. Imagine then, that all of the evil, uncontrolled, vengeful thoughts have the weight of chaff and try to tip the scales. The world is a granary of ill-bred thoughts. There is enough to weigh down the world, to bury each one of us alive. Yet if we have enough of the good, it balances it out or keeps it firmly in the cause of right. Imagine, then, scales the size of a kingdom. How many gold coins are there compared with chaff? Enough—just enough. There is enough weight and enough strength to keep the scales balanced. But if you begin to remove the gold coins, one by one? Then every seed of evil matters. Every little seed begins to tip the scales. As long as the scales are balanced to the side of the mastons, the Medium blesses everyone—both the evil and the good. But if the balance is altered, if the weight of the wrong begins to exceed the weight of the right, it triggers the Blight to purge the chaff. It is a warning from the Medium. There are curses that follow.

You may well ask: when the bubble finally burst, why did we not let the bankers crash and burn? Why weren't they held accountable for their absurd debts? For two reasons. First because the payment system - the simple means of transferring money from one account to another and on which every transaction relies - is monopolised by the very same bankers who were making the bets. Imagine having gifted your arteries and veins to a gambler. The moment he loses big at the casino, he can blackmail you for anything you have simply by threatening to cut off your circulation. Second, because the financiers' gambles contained deep inside the title deeds to the houses of the majority. A full-scale financial market collapse could therefore lead to mass homelessness and a complete breakdown in the social contract. Don't be surprised that the high and mighty financiers of Wall Street would bother financialising the modest homes of poor people. Having borrowed as much as they could off banks and rich clients in order to place their crazy bets, they craved more since the more they bet, the more they made. So they created more debt from scratch to use as raw materials for more bets. How? By lending to impecunious blue collar worker who dreamed of the security of one day owning their own home. What if these little people could not actually afford their mortgage in the medium term? In contrast to bankers of old, the Jills and the Jacks who actually leant them the money did not care if the repayments were made because they never intended to collect. Instead, having granted the mortgage, they put it into their computerised grinder, chopped it up literally into tiny pieces of debt and repackaged them into one of their labyrinthine derivatives which they would then sell at a profit. By the time the poor homeowner had defaulted and their home was repossessed, the financier who granted the loan in the first place had long since moved on.

As long as they are carnivorous and/or humanoid, the monster's form matters little. Whether it is Tyrannosaurus rex, saber toothed tiger, grizzly bear, werewolf, bogeyman, vampire, Wendigo, Rangda, Grendel, Moby-Dick, Joseph Stalin, the Devil, or any other manifestation of the Beast, all are objects of dark fascination, in large part because of their capacity to consciously, willfully destroy us. What unites these creatures--ancient or modern, real or imagined, beautiful or repulsive, animal, human, or god--is their superhuman strength, malevolent cunning, and, above all, their capricious, often vengeful appetite--for us. This, in fact, is our expectation of them; it's a kind of contract we have. In this capacity, the seemingly inexhaustible power of predators to fascinate us--to "capture attention"--fulfills a need far beyond morbid titillation. It has a practical application. Over time, these creatures or, more specifically, the dangers they represent, have found their way into our consciousness and taken up permanent residence there. In return, we have shown extraordinary loyalty to them--to the point that we re-create them over and over in every medium, through every era and culture, tuning and adapting them to suit changing times and needs. It seems they are a key ingredient in the glue that binds us to ourselves and to each other.

RAMPICANTE (ITALIAN VINING ZUCCHINI) This is one of my all-time most-loved garden vegetables because it does double duty as both a summer zucchini and a winter butternut-type squash. This Italian heirloom is a vining summer squash rather than a bush plant. The fruit is long and trumpet-shaped, curls gently, and features medium to light-green striped skin. The flesh looks like other zucchini but tastes sweeter, another reason this squash should be more popular. All the seeds are contained in a small bulb at the end of the long fruit, so this zucchini is easy to use and does not need to be picked within days of appearing on the vine to be tender and tasty, as other summer squash does.

Yet, in my estimation, a middle path exists between abject gullibility and mocking cynicism regarding the “Elder ways.” Yes, much of contemporary Paganism, whether of the North, South, East, or West, has been recovered in recent times, albeit in many cases from genuinely ancient remnants. But, then, what belief system is not an amalgamation of ideas from across time and space? What we know of Christianity today bears little resemblance to its early or even medieval manifestations. Taoism had many forms and interpretations. Likewise Buddhism. Belief systems always do. Modern Paganism in all its varieties harks back to the most ancient times, but its form is in reality the product of a long accumulation of influences. What modern Paganism really does is provide a medium, in the common form of the ceremonial circle, within which threads and traces of ancient ways can be reclaimed. It is about a set of philosophies or practices—such as animism, animal totemism, seasonal celebration, chanting, and spellcraft—that share a common ancestry in shamanism and have surfaced far and wide and in many cultural guises across the centuries. If the ways have been broken, it is because their practitioners were persecuted. My own opinion is that rather than having to mount everything in an antique frame, we should recognize that Pagan tradition consists of a variety of subtle and subversive threads woven through history.

So get up, pretty woman! And from your beautifully shaped body don’t be ashamed For we are meant to be different, Rounded shapes and squared We come in a small, medium and a large size And to each there is still a wide range This is to create a beautiful portrait for the eyes And we are not supposed to please the “media-thinking” and change! So woman up! Whether your size is infinity-X large or infinity-X Small In love with “you” you should fall Don’t let them and their meaningless words or shallow looks Make you lose it all As to this nature you belong, The beach, the mountains, the oceans And the colorful life this mother earth has to give So embrace this with your body and soul No matter how they evolve… For as long as you live!

Why two (or whole groups) of people can come up with the same story or idea at the same time, even when across the world from each-other: "A field is a region of influence, where a force will influence objects at a distance with nothing in between. We and our universe live in a Quantum sea of light. Scientists have found that the real currency of the universe is an exchange of energy. Life radiates light, even when grown in the dark. Creation takes place amidst a background sea of energy, which metaphysics might call the Force, and scientists call the "Field." (Officially the Zero Point Field) There is no empty space, even the darkest empty space is actually a cauldron of energies. Matter is simply concentrations of this energy (particles are just little knots of energy.) All life is energy (light) interacting. The universe is self-regenreating and eternal, constantly refreshing itself and in touch with every other part of itself instantaneously. Everything in it is giving, exchanging and interacting with energy, coming in and out of existence at every level. The self has a field of influence on the world and visa versa based on this energy. Biology has more and more been determined a quantum process, and consciousness as well, functions at the quantum level (connected to a universe of energy that underlies and connects everything). Scientist Walter Schempp's showed that long and short term memory is stored not in our brain but in this "Field" of energy or light that pervades and creates the universe and world we live in. A number of scientists since him would go on to argue that the brain is simply the retrieval and read-out mechanism of the ultimate storage medium - the Field. Associates from Japan would hypothesize that what we think of as memory is simply a coherent emission of signals from the "Field," and that longer memories are a structured grouping of this wave information. If this were true, it would explain why one tiny association often triggers a riot of sights, sounds and smells. It would also explain why, with long-term memory in particular, recall is instantaneous and doesn't require any scanning mechanism to sift through years and years of memory. If they are correct, our brain is not a storage medium but a receiving mechanism in every sense, and memory is simply a distant cousin of perception. Some scientists went as far as to suggest that all of our higher cognitive processes result from an interaction with the Field. This kind of constant interaction might account for intuition or creativity - and how ideas come to us in bursts of insight, sometimes in fragments but often as a miraculous whole. An intuitive leap might simply be a sudden coalescence of coherence in the Field. The fact that the human body was exchanging information with a mutable field of quantum fluctuation suggested something profound about the world. It hinted at human capabilities for knowledge and communication far deeper and more extended than we presently understand. It also blurred the boundary lines of our individuality - our very sense of separateness. If living things boil down to charged particles interacting with a Field and sending out and receiving quantum information, where did we end and the rest of the world began? Where was consciousness-encased inside our bodies or out there in the Field? Indeed, there was no more 'out there' if we and the rest of the world were so intrinsically interconnected. In ignoring the effect of the "Field" modern physicists set mankind back, by eliminating the possibility of interconnectedness and obscuring a scientific explanation for many kinds of miracles. In re-normalizing their equations (to leave this part out) what they'd been doing was a little like subtracting God.

It might be useful here to say a word about Beckett, as a link between the two stages, and as illustrating the shift towards schism. He wrote for transition, an apocalyptic magazine (renovation out of decadence, a Joachite indication in the title), and has often shown a flair for apocalyptic variations, the funniest of which is the frustrated millennialism of the Lynch family in Watt, and the most telling, perhaps, the conclusion of Comment c'est. He is the perverse theologian of a world which has suffered a Fall, experienced an Incarnation which changes all relations of past, present, and future, but which will not be redeemed. Time is an endless transition from one condition of misery to another, 'a passion without form or stations,' to be ended by no parousia. It is a world crying out for forms and stations, and for apocalypse; all it gets is vain temporality, mad, multiform antithetical influx. It would be wrong to think that the negatives of Beckett are a denial of the paradigm in favour of reality in all its poverty. In Proust, whom Beckett so admires, the order, the forms of the passion, all derive from the last book; they are positive. In Beckett, the signs of order and form are more or less continuously presented, but always with a sign of cancellation; they are resources not to be believed in, cheques which will bounce. Order, the Christian paradigm, he suggests, is no longer usable except as an irony; that is why the Rooneys collapse in laughter when they read on the Wayside Pulpit that the Lord will uphold all that fall. But of course it is this order, however ironized, this continuously transmitted idea of order, that makes Beckett's point, and provides his books with the structural and linguistic features which enable us to make sense of them. In his progress he has presumed upon our familiarity with his habits of language and structure to make the relation between the occulted forms and the narrative surface more and more tenuous; in Comment c'est he mimes a virtually schismatic breakdown of this relation, and of his language. This is perfectly possible to reach a point along this line where nothing whatever is communicated, but of course Beckett has not reached it by a long way; and whatever preserves intelligibility is what prevents schism. This is, I think, a point to be remembered whenever one considers extremely novel, avant-garde writing. Schism is meaningless without reference to some prior condition; the absolutely New is simply unintelligible, even as novelty. It may, of course, be asked: unintelligible to whom? --the inference being that a minority public, perhaps very small--members of a circle in a square world--do understand the terms in which the new thing speaks. And certainly the minority public is a recognized feature of modern literature, and certainly conditions are such that there may be many small minorities instead of one large one; and certainly this is in itself schismatic. The history of European literature, from the time the imagination's Latin first made an accommodation with the lingua franca, is in part the history of the education of a public--cultivated but not necessarily learned, as Auerbach says, made up of what he calls la cour et la ville. That this public should break up into specialized schools, and their language grow scholastic, would only be surprising if one thought that the existence of excellent mechanical means of communication implied excellent communications, and we know it does not, McLuhan's 'the medium is the message' notwithstanding. But it is still true that novelty of itself implies the existence of what is not novel, a past. The smaller the circle, and the more ambitious its schemes of renovation, the less useful, on the whole, its past will be. And the shorter. I will return to these points in a moment.

Life, in short, just wants to be. But—and here’s an interesting point—for the most part it doesn’t want to be much. This is perhaps a little odd because life has had plenty of time to develop ambitions. If you imagine the 4.5 billion odd years of Earth’s history compressed into a normal earthly day, then life begins very early, about 4 A.M., with the rise of the first simple, single-celled organisms, but then advances no further for the next sixteen hours. Not until almost 8:30 in the evening, with the day five-sixths over, has Earth anything to show the universe but a restless skin of microbes. Then, finally, the first sea plants appear, followed twenty minutes later by the first jellyfish and the enigmatic Ediacaran fauna first seen by Reginald Sprigg in Australia. At 9:04 P.M. trilobites swim onto the scene, followed more or less immediately by the shapely creatures of the Burgess Shale. Just before 10 P.M. plants begin to pop up on the land. Soon after, with less than two hours left in the day, the first land creatures follow. Thanks to ten minutes or so of balmy weather, by 10:24 the Earth is covered in the great carboniferous forests whose residues give us all our coal, and the first winged insects are evident. Dinosaurs plod onto the scene just before 11 P.M. and hold sway for about three-quarters of an hour. At twenty-one minutes to midnight they vanish and the age of mammals begins. Humans emerge one minute and seventeen seconds before midnight. The whole of our recorded history, on this scale, would be no more than a few seconds, a single human lifetime barely an instant. Throughout this greatly speeded-up day continents slide about and bang together at a clip that seems positively reckless. Mountains rise and melt away, ocean basins come and go, ice sheets advance and withdraw. And throughout the whole, about three times every minute, somewhere on the planet there is a flashbulb pop of light marking the impact of a Manson-sized meteor or one even larger. It’s a wonder that anything at all can survive in such a pummeled and unsettled environment. In fact, not many things do for long. Perhaps an even more effective way of grasping our extreme recentness as a part of this 4.5-billion-year-old picture is to stretch your arms to their fullest extent and imagine that width as the entire history of the Earth. On this scale, according to John McPhee in Basin and Range, the distance from the fingertips of one hand to the wrist of the other is Precambrian. All of complex life is in one hand, “and in a single stroke with a medium-grained nail file you could eradicate human history.” Fortunately, that moment hasn’t happened, but the chances are good that it will. I don’t wish to interject a note of gloom just at this point, but the fact is that there is one other extremely pertinent quality about life on Earth: it goes extinct. Quite regularly. For all the trouble they take to assemble and preserve themselves, species crumple and die remarkably routinely. And the more complex they get, the more quickly they appear to go extinct. Which is perhaps one reason why so much of life isn’t terribly ambitious.

When you were born, you could have been anybody. So quick and malleable, your parents could look at your face and see a future president. They tried to mold you as you grew, but they could only work with what they had. And when their tools stopped working, they gradually handed them off to you, asking, “What do you want to be when you grow up?” There’s a certain art to becoming who you are. There’s no standard kit you can use to assemble yourself, swapping out parts as needed. Instead, it feels more like a kind of stretching, a teasing out at the edges, like a glassblower standing at the furnace. A teenage personality is a delicate medium, its emotions almost too heavy to handle. You had to figure out a way to keep yourself together and tease out the good parts without falling out of balance or stretching yourself too thin. You couldn’t stop everything to try to fix your flaws, but you couldn’t just ignore them either. Luckily, you were nothing if not flexible, softened by the heat of youth, which kept you warm on a dingy couch or a night in the wilderness. You knew that you weren’t just you, you were also the person you would one day become. So even when you failed, you could still be whatever you wanted to be. As long as you kept moving. Inevitably you got hit, and you got hurt. You prided yourself on how well you absorbed the blow, bouncing back as if nothing had happened. But the pain changed you, in little chips and cracks that might take you years to notice. Over time you learned how to position yourself in very specific ways, protecting the most vulnerable parts of your psyche, even as you knew they were still a crucial part of the real you. Gradually you became more and more reluctant to move from that position. Growing a little harder, a little more brittle.

The US was forced to withdraw troops from Iraq after an extremely costly decade-long military occupation, leaving in place a regime more closely allied to Iran, the US’ regional adversary. The Iraq war depleted the economy, deprived American corporations of oil wealth, greatly enlarged Washington’s budget and trade deficits, and reduced the living standards of US citizens. The Afghanistan war had a similar outcome, with high external costs, military retreat, fragile clients, domestic disaffection, and no short or medium term transfers of wealth (imperial pillage) to the US Treasury or private corporations. The Libyan war led to the total destruction of a modern, oil-rich economy in North Africa, the total dissolution of state and civil society, and the emergence of armed tribal, fundamentalist militias opposed to US and EU client regimes in North and sub-Sahara Africa and beyond. Instead

Why is programming fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his first mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God’s delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake. Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child’s first clay pencil holder “for Daddy’s office.” Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate. Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something; sometimes practical, sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. (As we shall see later, this very tractability has its own problems.) Yet the program construct, unlike the poet’s words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard and a display screen comes to life, showing things that never were nor could be. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

HERE ARE MY TEN BEEF NOODLE SOUP COMMANDMENTS: 1. Throw out the first: always flash-boil your bones and beef to get the “musk” out. I’ve gone back and forth on this a lot. I would sometimes brown the meat as opposed to boil, but decided in the end that for this soup, you gotta boil. If you brown, it’s overpowering. The lesson that beef noodle soup teaches you is restraint. Sometimes less is more if you want all the flavors in the dish to speak to you. 2. Make sure the oil is medium-high when the aromatics go down and get a slight caramelization. It’s a fine line. Too much caramelization and it becomes too heavy, but no caramelization and your stock is weak. 3. Rice wine can be tricky. Most people like to vaporize it so that all the alcohol is cooked off. I like to leave a little of the alcohol flavor ’cause it tends to cut through the grease a bit. 4. Absolutely no butter, lard, or duck fat. I’ve seen people in America try to “kick it up a notch” with animal fats and it ruins the soup. Peanut oil or die. 5. Don’t burn the chilis and peppercorns, not even a little bit. You want the spice and the numbness, but not the smokiness. 6. After sautéing the chilis/peppercorns, turn off the heat and let them sit in the oil to steep. This is another reason you want to turn the heat off early. 7. Strain your chilis/peppercorns out of the oil, put them in a muslin bag, and set them aside. Then add ginger/garlic/scallions to the oil in that order. Stage them. 8. I use tomatoes in my beef noodle soup, but I add them after the soup is finished and everything is strained. I let them hang out in the soup as it sits on the stove over the course of the day. I cut the tomatoes thin so they give off flavor without having to cook too long and so you can serve them still intact. 9. Always use either shank or chuck flap. Brisket is too tough. If you want to make it interesting, add pig’s foot or oxtail. 10. Do you. I don’t give you measurements with this because I gave you all the ingredients and the technique. The best part about beef noodle soup is that there are no rules. It just has to have beef, noodle, and soup. There are people that do clear broth beef noodle soup. Beef noodle soup with dairy. Beef noodle soup with pig’s blood. It would suck if you looked at my recipe and never made your own, ’cause everyone has a beef noodle soup in them. Show it to me.

Photography is our exorcism. Primitive society had its masks, bourgeois society its mirrors, and we have our images. We believe that we bend the world to our will by means of technology. In fact it is the world that imposes its will upon us with the aid of technology, and the surprise occasioned by this turning of the tables is considerable. You think you are photographing a scene for the pleasure of it, but in fact it is the scene that demands to be photographed, and you are merely part of the decor in the pictorial order it dictates. The subject is no more than the funnel through which things in their irony make their appearance. The image is the ideal medium for the vast self-promotion campaign undertaken by the world and by objects - forcing our imagination into self-effacement, our passions into extraversion, and shattering the mirror which we hold out (hypocritically, moreover) in order to capture them. The miraculous thing about the present period is that appearances, so long reduced to a voluntary servitude, have now become sovereign, and turned back towards (and against) us by means of the very technology from which we had earlier evicted them. Today they come from elsewhere, from their own place, from the heart of their banality, of their objectality: they surge forth on all sides, multiplying of their own accord, and joyfully. (The joy of taking photographs is an objective joy, and anyone who has never felt the objective transports of the image, some morning, in some town or desert, will never understand the pataphysical delicacy of the world.)

On the face of it, most people do not think of Jesus as a depressive realist. Yet the Biblical Jesus was clearly anything but a facilely happy consumerist, bureautype or bovine citizen. Rather, he espoused an ascetic lifestyle, nomadic, without possessions, possibly without sex, without career anxieties (‘consider the lilies’) and at best paying lip service to civic authorities and traditional religious institutions. Along with Diogenes, many anarchists, and latter day hip-pies, Jesus has been regarded as a model of the be-here-now philosophy, and hardly a champion of a work ethic and investment portfolio agenda. Jesus and others did not expect to find fulfilment in this world (meaning this civilisation) but looked forward to another world, or another kind of existence. Since that fantasised world has never materialised, we can only wonder about the likeness between early Christian communities and theoretical DR communities. There are certainly some overlaps but one distinctive dissimilarity: the DR has no illusory better world to look forward to, whereas the Christian had (and many Christians still have) illusions of rapture and heaven to look forward to. The key problematic here, however, for Jesus, the early Christians, anarchists, beats, hippies and DRs hoping for a DR-friendly society, is that intentional communities require some sense of overcoming adversity, having purpose, a means of functioning and maintaining morale in the medium to long-term. It is always one thing to gain identity from opposing society at large, and quite another to sustain ongoing commitment.

In this impossibility of reapprehending the world through images and of moving from information to a collective action and will, in this absence of sensibility and mobilization, it isn't apathy or general indifference that's at issue; it is quite simply that the umbilical cord of representation is severed. The screen reflects nothing. It is as though you are behind a two-way mirror: you see the world, but it doesn't see you, it doesn't look at you. Now, you only see things if they are looking at you. The screen screens out any dual relation (any possibility of 'response'). It is this failure of representation which, together with a failure of action, underlies the impossibility of developing an ethics of information, an ethics of images, an ethics of the Virtual and the networks. All attempts in that direction inevitably fail. All that remains is the mental diaspora of images and the extravagant performance of the medium. Susan Sontag tells a good story about this pre-eminence of the medium and of images: as she is sitting in front of the television watching the moon landing, the people she is watching with tell her they don't believe it at all. 'But what are you watching, then?' she asks. 'Oh, we're watching television!' Fantastic: they do not see the moon; they see only the screen showing the moon. They do not see the message; they see only the image. Ultimately, contrary to what Susan Sontag thinks, only intellectuals believe in the ascendancy of meaning; 'people' believe only in the ascendancy of signs. They long ago said goodbye to reality. They have gone over, body and soul, to the spectacular.

Fifty miles out of Prague, the halved carcass of a freshly killed hog hangs, still steaming in the cold, from what looks like a child’s swing set. It’s a wet, drizzling morning and your feet are sopping and you’ve been warming yourself against the chill by huddling around the small fire over which a pot of pig parts boils. The butcher’s family and friends are drinking slivovitz and beer, and though noon is still a few hours off, you’ve had quite a few of both. Someone calls you inside to the tiled workspace, where the butcher has mixed the pig’s blood with cooked onions and spices and crumbs of country bread, and he’s ready to fill the casings. Usually, they slip the casing over a metal tube, turn on the grinding machine, cram in the forcemeat or filling, and the sausages fill like magic. This guy does it differently. He chops everything by hand. A wet mesa of black filling covers his cutting board, barely retaining its shape—yet he grabs the casing in one hand, puts two fingers in one open end, makes the “V” sign, stretching it disturbingly, and reaches with the other—then buries both his hands in the mix. A whirlwind of movement as he squeezes with his right hand, using his palm like a funnel, somehow squirting the bloody, barely containable stuff straight into the opening. He does this again and again with breathtaking speed, mowing his way across the wooden table, like a thresher cutting a row through a cornfield, a long, plump, rapidly growing, glistening, fully filled length of sausage engorging to his left as he moves. It’s a dark, purplish color through the translucent membrane. An assistant pinches off links, pins them with broken bits of wooden skewer. In moments, they are done.

And spend they did. Money circulated faster and spread wider through its communities of use than at any other time in economic history.8 Workers labored fewer days and at higher wages than before or since; people ate four meals a day; women were taller in Europe than at any time until the 1970s; and the highest percentage on record of business profits went to preventative maintenance on equipment. It was a period of tremendous growth and wealth. Meanwhile, with no way of storing or growing value with this form of money over the long term, people made massive investments in architecture, particularly cathedrals, which they knew would attract pilgrims and tourists for years to come. This was their way of investing in the future, and the pre-Renaissance era of affluence became known as the Age of Cathedrals. The beauty of a flow-based economy is that it favors those who actively create value. The problem is that it disfavors those who are used to reaping passive rewards. Aristocratic landowning families had stayed rich for centuries simply by being rich in the first place. Peasants all worked the land in return for enough of their own harvest on which to subsist. Feudal lords did not participate in the peer-to-peer economy facilitated by local currencies, and by 1100 or so, most or the aristocracy’s wealth and power was receding. They were threatened by the rise of the merchant middle class and the growing bourgeois population, and had little way of participating in all the sideways trade. The wealthy needed a way to make money simply by having money. So, one by one, each of the early monarchies of Europe outlawed the kingdom’s local currencies and replaced them with a single central currency. Instead of growing their money in the fields, people would have to borrow money from the king’s treasury—at interest. If they wanted a medium through which to transact at the local marketplace, it meant becoming indebted to the aristocracy.