Medium Success Quotes

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.

Share and Enjoy' is the company motto of the hugely successful Sirius Cybernetics Corporation Complaints Division, which now covers the major land masses of three medium-sized planets and is the only part of the Corporation to have shown a consistent profit in recent years. The motto stands-- or rather stood-- in three mile high illuminated letters near the Complaints Department spaceport on Eadrax. Unfortunately its weight was such that shortly after it was erected, the ground beneath the letters caved in and they dropped for nearly half their length through the offices of many talented young Complaints executives-- now deceased. The protruding upper halves of the letters now appear, in the local language, to read "Go stick your head in a pig," and are no longer illuminated, except at times of special celebration.

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!

A plan is the transport medium which conveys a person from the station of dreams to the destination of success. Goals are the transport fees.

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 sympathize 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 believe...that to be very poor and very beautiful is most probably a moral failure more than an artistic success. Shakespeare would have done well in any generation because he would have refused to die in a corner; he would have taken the false gods and made them over; he would have taken the current formulae and forced them into something lesser men thought them incapable of. Alive today he would undoubtedly have written and directed motion pictures, plays, and God knows what. Instead of saying, "This medium is not good," he would have used it and made it good. If some people called some his work cheap (which some of it was), he wouldn't have cared a rap, because he would know that without some vulgarity there is no complete man. He would have hated refinement, as such, because it is always a withdrawal, and he was too tough to shrink from anything.

Once you familiarize yourself with your tools, you should forget about them. It will only throw you off-balance. In all these ‘rolling shit into little balls’ types who spend hours of time and reams of paper saying nothing, literary masturbators, they concentrate on the vehicle more than what they want to produce. That impedes the end result and defeats the purpose. You must lose consciousness of the medium or mechanics to do the impossible. Like Nijinsky who explained how he gave the impression of hovering in mid-air – ‘I just pause when I get there.’ In a child-like way, real magicians innocently do the simplest thing. The objective is all they think about. I just want to make music the way I hear it. The ends justify the means, and the means become inconsequential.

For me the real evil of masturbation would be that it takes an appetite which, in lawful use, leads the individual out of himself to complete (and correct) his own personality in that of another (and finally in children and even grandchildren) and turns it back: sends the man back into the prison of himself, there to keep a harem of imaginary brides. And this harem, once admitted, works against his ever getting out and really uniting with a real woman. For the harem is always accessible, always subservient, calls for no sacrifices or adjustments, and can be endowed with erotic and psychological attractions which no real woman can rival. Among those shadowy brides he is always adored, always the perfect lover: no demand is made on his unselfishness, no mortification ever imposed on his vanity. In the end, they become merely the medium through which he increasingly adores himself . . . . And it is not only the faculty of love which is thus sterilized, forced back on itself, but also the faculty of imagination. The true exercise of imagination, in my view, is (a) To help us to understand other people (b) To respond to, and, some of us, to produce, art. But it has also a bad use: to provide for us, in shadowy form, a substitute for virtues, successes, distinctions etc. which ought to be sought outside in the real world—e.g. picturing all I’d do if I were rich instead of earning and saving. Masturbation involves this abuse of imagination in erotic matters (which I think bad in itself) and thereby encourages a similar abuse of it in all spheres. After all, almost the main work of life is to come out of our selves, out of the little, dark prison we are all born in. Masturbation is to be avoided as all things are to be avoided which retard this process. The danger is that of coming to love the prison.

Studies have shown that empathy is a vital life skill that helps determine our success even more than a high IQ does.

Ironically, the tattoo represents the opposite for me today. It reminds me that it's important to let yourself be vulnerable, to lose control and make a mistake. It reminds me that, as Whitman would say, I contain multitudes and I always will. I'm a level-one introvert who headlined Madison Square Garden—and was the first woman comic to do so. I'm the ‘overnight success’ who's worked her ass off every single waking moment for more than a decade. I used to shoplift the kind of clothing that people now request I wear to give them free publicity. I'm the SLUT or SKANK who's only had one one-night stand. I'm a ‘plus-size’ 6 on a good day, and a medium-size 10 on an even better day. I've suffered the identical indignities of slinging rib eyes for a living and hustling laughs for cash. I'm a strong, grown-ass woman who's been physically, sexually, and emotionally abused by men and women I trusted and cared about. I've broken hearts and had mine broken, too. Beautiful, ugly, funny, boring, smart or not, my vulnerability is my ultimate strength. There's nothing anyone can say about me that's more permanent, damaging, or hideous than the statement I have forever tattooed upon myself. I'm proud of this ability to laugh at myself—even if everyone can see my tears, just like they can see my dumb, senseless, whack, lame lower back tattoo.

[C]ourageous film-makers, who take no account of success, prove that cinematography is a medium for realism and lyricism, and that everything depends on the angle from which one observes the spectacle of life ― the angle from which they constrain us to share a singular vision of things and emphasize the everyday miracle that lies within them.

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.

There is an old Chinese Zen saying: "The small [meditation] retreat is in the wilderness, the medium retreat is in the city, and the great retreat is in the emperor's court.

Our body and mind are only the medium of life but the soul operates it, so self-knowledge is the source of ultimate happiness.

Multibagger mantra; find companies which are small in size: Medium in experience Large in aspiration & having an extra large market potential.

Among the things she said: "Women seem to possess all the natural gifts essential to a good portraitist ... such as personality, patience and intuition. The sitter ought to be the predominating factor in a successful portrait. Men portraitist are apt to forget this; they are inclined to lose the sitter in a maze of technique luxuriating in the cleverness and beauty of their own medium.

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.

MESSAGE + MISSION = MOVEMENT Its not that you want to be on TV or the radio or in a magazine. If no one watched or listened or read, you wouldn't care about those mediums. What you want is an audience. You want to be seen and heard. You have a message to share. That said, the world has giving you your own TV channel (YouTube and any other video platform). The world has given you a radio station and even hosts (podcasts). The world has given you your own magazine and newspaper (websites, blogs, etc). YOU ARE SEEN AND HEARD. YOU ARE ALREADY STANDING ON THE STAGE. NOW WHAT? We are watching and listening.

But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

If God were omnipresent and omniscient in any literal sense, he wouldn't have bothered to make the universe at all. There is no success where there is no possibility of failure, no art without the resistance of the medium.

Advice? Fail constantly. Because the word doesn't mean what you think it means, especially when you're an artist. I use the word artist to mean everything from songwriting to writing a novel to even writing video games. Anything that tells a story, which is almost any medium. Gotta take risks, you gotta go through multiple drafts which means you have to FAIL, a lot. So you won't always get the reaction you always want from every single person, so when you lose that fear of failure, when you stop even thinking of it as failure, and you push yourself farther, you'll take bigger risks, and eventually, after about six or seven hundred rejections, you'll find success. And you'll find a way of conveying what you really want to say, in the best manner.

The angel and apostle of the coming revelation must be a woman, indeed, but lofty, pure, and beautiful; and wise, moreover, not through dusky grief, but the ethereal medium of joy; and showing how sacred love should make us happy, by the truest test of a life successful to such an end!

There are four things a person needs for success: a medium amount of intelligence, a bit of imagination, self-confidence and failure. For once you taste failure, you have no fear. You can take risks more easily. Then You don't want to snuggle in your comfort zone anymore-you are ready to fly. And Success is about flying, not snuggling, God said. God sighed before speaking again. I think you need to understand how my system works. You see I have a contract with all human beings. you do your best, and every now and then, I will come behind to give you a bonus push. But it has to begin with you, For otherwise I can't distinguish who needs my help most

Much of the colony’s musical experimenting was, quite consciously, concerned with what might be called “time span.” What was the briefest note that the mind could grasp—or the longest that it could tolerate without boredom? Could the result be varied by conditioning or by the use of appropriate orchestration? Such problems were discussed endlessly, and the arguments were not purely academic. They had resulted in some extremely interesting compositions. But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

Money here on Earth is more than the paper or the metal that you use for money, more than the rows of figures that account for money. Here on Earth you have given money a symbolism such as no medium of exchange has anywhere else I have ever known or heard of. You have made it a power and a virtue and you have made the lack of it despicable and somehow even criminal. You measure men by money and you calibrate success with money and you almost worship money.

William Stafford was describing (though he was talking about writing) when he wrote . . . Just as the swimmer does not have a succession of handholds hidden in the water, but instead simply sweeps that yielding medium and finds it hurrying him along, so the writer passes his attention through what is at hand, and is propelled by a medium too thin and all-pervasive for the perceptions of nonbelievers who try to stay on the bank and fathom his accomplishment.6

I have no friend, Margaret: when I am glowing with 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.

Another misapprehension, shared alike by the followers of "pietism" and "scientism," was that the recognition of the non-unitary origin of the Pentateuch must be destructive of faith and inimical to religion. But is it not to circumscribe the power of God in a most extraordinary manner to assume that the Divine can only work effectively through the medium of a single document, but not through four? Surely God can as well unfold His revelation in successive stages as in a single moment of time.

If you start thinking that only your biggest and shiniest moments count, you’re setting yourself up to feel like a failure most of the time. Personally, I’d rather feel good most of the time, so to me everything counts: the small moments, the medium ones, the successes that make the papers and also the ones that no one knows about but me. The challenge is avoiding being derailed by the big, shiny moments that turn other people’s heads. You have to figure out for yourself how to enjoy and celebrate them, and then move o

The formerly absolute distinction between time and eternity in Christian thought--between nunc movens with its beginning and end, and nunc stans, the perfect possession of endless life--acquired a third intermediate order based on this peculiar betwixt-and-between position of angels. But like the Principle of Complementarity, this concord-fiction soon proved that it had uses outside its immediate context, angelology. Because it served as a means of talking about certain aspects of human experience, it was humanized. It helped one to think about the sense, men sometimes have of participating in some order of duration other than that of the nunc movens--of being able, as it were, to do all that angels can. Such are those moments which Augustine calls the moments of the soul's attentiveness; less grandly, they are moments of what psychologists call 'temporal integration.' When Augustine recited his psalm he found in it a figure for the integration of past, present, and future which defies successive time. He discovered what is now erroneously referred to as 'spatial form.' He was anticipating what we know of the relation between books and St. Thomas's third order of duration--for in the kind of time known by books a moment has endless perspectives of reality. We feel, in Thomas Mann's words, that 'in their beginning exists their middle and their end, their past invades the present, and even the most extreme attention to the present is invaded by concern for the future.' The concept of aevum provides a way of talking about this unusual variety of duration-neither temporal nor eternal, but, as Aquinas said, participating in both the temporal and the eternal. It does not abolish time or spatialize it; it co-exists with time, and is a mode in which things can be perpetual without being eternal. We've seen that the concept of aevum grew out of a need to answer certain specific Averroistic doctrines concerning origins. But it appeared quite soon that this medium inter aeternitatem et tempus had human uses. It contains beings (angels) with freedom of choice and immutable substance, in a creation which is in other respects determined. Although these beings are out of time, their acts have a before and an after. Aevum, you might say, is the time-order of novels. Characters in novels are independent of time and succession, but may and usually do seem to operate in time and succession; the aevum co-exists with temporal events at the moment of occurrence, being, it was said, like a stick in a river. Brabant believed that Bergson inherited the notion through Spinoza's duratio, and if this is so there is an historical link between the aevum and Proust; furthermore this durée réelle is, I think, the real sense of modern 'spatial form,' which is a figure for the aevum.

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, gently 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.

I like to call this the easy money trap: anything used as a store of value will have its supply increased, and anything whose supply can be easily increased will destroy the wealth of those who used it as a store of value. The corollary to this trap is that anything that is successfully used as money will have some natural or artificial mechanism that restricts the new flow of the good into the market, maintaining its value across time. It therefore follows that for something to assume a monetary role, it has to be costly to produce, otherwise the temptation to make money on the cheap will destroy the wealth of the savers, and destroy the incentive anyone has to save in this medium.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.

The whole suggestion is predicated on a damnable fucking lie—the BIG lie, actually—one which Richman himself happily helped create and which he works hard, on a daily basis, to keep alive. See … it makes for a better article when you associate the food with a personality. Richman, along with the best and worst of his peers, built up these names, helped make them celebrities by promoting the illusion that they cook—that if you walk into one of dozens of Jean-Georges’s restaurants, he’s somehow back there on the line, personally sweating over your halibut, measuring freshly chopped herbs between thumb and forefinger. Every time someone writes “Mr. Batali is fond of strong, assertive flavors” (however true that might be) or “Jean Georges has a way with herbs” and implies or suggests that it was Mr. Batali or Mr. Vongerichten who actually cooked the dish, it ignores the reality, if not the whole history, of command and control and the creative process in restaurant kitchens. While helpful to chefs, on the one hand, in that the Big Lie builds interest and helps create an identifiable brand, it also denies the truth of what is great about them: that there are plenty of great cooks in this world—but not that many great chefs. The word “chef” means “chief.” A chef is simply a cook who leads other cooks. That quality—leadership, the ability to successfully command, inspire, and delegate work to others—is the very essence of what chefs are about. As Richman knows. But it makes better reading (and easier writing) to first propagate a lie—then, later, react with entirely feigned outrage at the reality.

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 endeavor 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 sympathize 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!

It seems strange that George Burns and Gracie Allen would be discovered, as radio properties, by the British. They were doing a vaudeville tour in England, playing to packed houses everywhere. The British just loved Gracie; her routines became so well known during the six-month trip that the audience would sometimes shout out the punchline in unison. They were aided in this by radio, using the infant medium to promote their stage shows, doing short bits from their act on various BBC stations as they traveled. From the beginning, Gracie had severe mike fright. She never really lost her fear of the microphone, Burns would say in interviews and in his books, but she always coped with it. Returning home, they auditioned for NBC and Grape Nuts in 1930. But the agency executive thought Gracie would be “too squeaky” on the air, and they lost the job. It was an irony: a few years later, the same product would be carrying their radio show, then one of the most successful in the nation.

What is a novel, anyway? Only a very foolish person would attempt to give a definitive answer to that, beyond stating the more or less obvious facts that it is a literary narrative of some length which purports, on the reverse of the title page, not to be true, but seeks nevertheless to convince its readers that it is. It's typical of the cynicism of our age that, if you write a novel, everyone assumes it's about real people, thinly disguised; but if you write an autobiography everyone assumes you're lying your head off. Part of this is right, because every artist is, among other things, a con-artist. We con-artists do tell the truth, in a way; but, as Emily Dickenson said, we tell it slant. By indirection we find direction out -- so here, for easy reference, is an elimination-dance list of what novels are not. -- Novels are not sociological textbooks, although they may contain social comment and criticism. -- Novels are not political tracts, although "politics" -- in the sense of human power structures -- is inevitably one of their subjects. But if the author's main design on us is to convert us to something -- - whether that something be Christianity, capitalism, a belief in marriage as the only answer to a maiden's prayer, or feminism, we are likely to sniff it out, and to rebel. As Andre Gide once remarked, "It is with noble sentiments that bad literature gets written." -- Novels are not how-to books; they will not show you how to conduct a successful life, although some of them may be read this way. Is Pride and Prejudice about how a sensible middle-class nineteenth-century woman can snare an appropriate man with a good income, which is the best she can hope for out of life, given the limitations of her situation? Partly. But not completely. -- Novels are not, primarily, moral tracts. Their characters are not all models of good behaviour -- or, if they are, we probably won't read them. But they are linked with notions of morality, because they are about human beings and human beings divide behaviour into good and bad. The characters judge each other, and the reader judges the characters. However, the success of a novel does not depend on a Not Guilty verdict from the reader. As Keats said, Shakespeare took as much delight in creating Iago -- that arch-villain -- as he did in creating the virtuous Imogen. I would say probably more, and the proof of it is that I'd bet you're more likely to know which play Iago is in. -- But although a novel is not a political tract, a how-to-book, a sociology textbook or a pattern of correct morality, it is also not merely a piece of Art for Art's Sake, divorced from real life. It cannot do without a conception of form and a structure, true, but its roots are in the mud; its flowers, if any, come out of the rawness of its raw materials. -- In short, novels are ambiguous and multi-faceted, not because they're perverse, but because they attempt to grapple with what was once referred to as the human condition, and they do so using a medium which is notoriously slippery -- namely, language itself.

A BATH   Sitting in the bath with her I carefully remove the paint from her shoulders to her elbows, creating the kind of memory that I will never forget. She takes her turn removing as much paint from off me as she can. The entire bar of soap is slowly reduced to a nib successfully loosening all of the paint from our wet bodies. The colors and suds slip through my hands and fingers as I move across the canvas of her slender physique. The vibrant colors eventually become more muddied as they blend together, sliding off of her and down into the drain. Gripping at her body has never felt so natural––almost sculptural like, gliding across the smoothness of the human medium that captivates me so. She too takes the initiative of making sure that I am washed clean as she feels for me and any dirty thing left clinging to me. Her hands slip passed the ridges of my rib as if to remember, the way that moisture catches between the shapes that mark a turtles back. Her eyes now watch me the way that nature studies her curious guest who seeks for himself the origin of his creation.

THOUGHTS WHICH ARE MIXED WITH ANY OF THE FEELINGS OF EMOTIONS, CONSTITUTE A "MAGNETIC" FORCE WHICH ATTRACTS, FROM THE VIBRATIONS OF THE ETHER, OTHER SIMILAR, OR RELATED THOUGHTS. A thought thus "magnetized" with emotion may be compared to a seed which, when planted in fertile soil, germinates, grows, and multiplies itself over and over again, until that which was originally one small seed, becomes countless millions of seeds of the SAME BRAND! The ether is a great cosmic mass of eternal forces of vibration. It is made up of both destructive vibrations and constructive vibrations. It carries, at all times, vibrations of fear, poverty, disease, failure, misery; and vibrations of prosperity, health, success, and happiness, just as surely as it carries the sound of hundreds of orchestrations of music, and hundreds of human voices, all of which maintain their own individuality, and means of identification, through the medium of radio. From the great storehouse of the ether, the human mind is constantly attracting vibrations which harmonize with that which DOMINATES the human mind. Any thought, idea, plan, or purpose which one holds in one's mind attracts, from the vibrations of the ether, a host of its relatives, adds these "relatives" to its own force, and grows until it becomes the dominating, MOTIVATING MASTER of the individual in whose mind it has been housed.

We have learned from Ludwig von Mises how to respond to the socialists’ evasion (immunization) strategy. As long as the defining characteristic— the essence—of socialism, i.e., the absence of the private ownership of the factors of production, remains in place, no reform will be of any help. The idea of a socialist economy is a contradictio in adjecto, and the claim that socialism represents a higher, more efficient mode of social production is absurd. In order to reach one’s own ends efficiently and without waste within the framework of an exchange economy based on division of labor, it is necessary that one engage in monetary calculation (cost-accounting). Everywhere outside the system of a primitive self-sufficient single household economy, monetary calculation is the sole tool of rational and efficient action. Only by being able to compare inputs and outputs arithmetically in terms of a common medium of exchange (money) can a person determine whether his actions are successful or not. In distinct contrast, socialism means to have no economy, no economizing, at all, because under these conditions monetary calculation and cost-accounting is impossible by definition. If no private property in the factors of production exists, then no prices for any production factor exist; hence, it is impossible to determine whether or not they are employed economically. Accordingly, socialism is not a higher mode of production but rather economic chaos and regression to primitivism.

Another way in which religion betrays itself, and attempts to escape mere reliance on faith and instead offer "evidence" in the sense normally understood, is by the argument from revelation. On certain very special occasions, it is asserted, the divine will was made known by direct contact with randomly selected human beings, who were supposedly vouchsafed unalterable laws that could then be passed on to those less favored. There are some very obvious objections to be made to this. In the first place, several such disclosures have been claimed to occur, at different times and places, to hugely discrepant prophets or mediums. In some cases - most notably the Christian - one revelation is apparently not sufficient, and needs to be reinforced by successive apparitions, with the promise of a further but ultimate one to come. In other cases, the opposite difficulty occurs and the divine instruction is delivered, only once, and for the final time, to an obscure personage whose lightest word then becomes law. Since all of these revelations, many of them hopelessly inconsistent, cannot by definition be simultaneously true, it must follow that some of them are false and illusory. It could also follow that only one of them is authentic, but in the first place this seem dubious and in the second place it appears to necessitate religious war in order to decide whose revelation is the true one. A further difficulty is the apparent tendency of the Almighty to reveal himself only to the unlettered dan quasi-historical individuals, in regions of Middle Eastern wasteland that were long the home of idol worship and superstition, and in many instances already littered with existing prophecies.

Television* means ‘to see from a distance’. The desire in man to do so has been there for ages. In the early years of the twentieth century many scientists experimented with the idea of using selenium photosensitive cells for converting light from pictures into electrical signals and transmitting them through wires. The first demonstration of actual television was given by J.L. Baird in UK and C.F. Jenkins in USA around 1927 by using the technique of mechanical scanning employing rotating discs.However, the real breakthrough occurred with the invention of the cathode ray tube and the success of V.K. Zworykin of the USA in perfecting the first camera tube (the iconoscope) based on the storage principle. By 1930 electromagnetic scanning of both camera and picture tubes and other ancillary circuits such as for beam deflection, video amplification, etc. were developed. Though television broadcast started in 1935, world political developments and the second world war slowed down the progress of television. With the end of the war, television rapidly grew into a popular medium for dispersion of news and mass entertainment. Television Systems At the outset, in the absence of any international standards, three monochrome (i.e. black and white) systems grew independently. These are the 525 line American, the 625 line European and the 819 line French systems. This naturally prevents direct exchange of programme between countries using different television standards.Later, efforts by the all world committee on radio and television (CCIR) for changing to a common 625 line system by all concerned proved ineffective and thus all the three systems have apparently come to stay. The inability to change over to a common system is mainly due to the high cost of replacing both the transmitting equipment and the millions of receivers already in use. However the UK, where initially a 415 line monochrome system was in use, has changed to the 625 line system with some modification in the channel bandwidth. In India, where television transmission started in 1959, the 625-B monochrome system has been adopted.

Letter II To Mrs. Saville, England. Archangel, 28th March, 17—. How slowly the time passes here, encompassed as I am by frost and snow! Yet a second step is taken towards my enterprise. I have hired a vessel and am occupied in collecting my sailors; those whom I have already engaged appear to be men on whom I can depend and are certainly possessed of dauntless courage. 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! I am too ardent in execution and too impatient of difficulties. But it is a still greater evil to me that I am self-educated: for the first fourteen years of my life I ran wild on a common and read nothing but our Uncle Thomas' books of voyages. At that age I became acquainted with the celebrated poets of our own country; but it was only when it had ceased to be in my power to derive its most important benefits from such a conviction that I perceived the necessity of becoming acquainted with more languages than that of my native country. Now I am twenty-eight and am in reality more illiterate than many schoolboys of fifteen. It is true that I have thought more and that my daydreams are more extended and magnificent, but they want (as the painters call it) keeping; and I greatly need a friend who would have sense enough not to despise me as romantic, and affection enough for me to endeavour to regulate my mind.

Burbank's power of love, reported Hall, "greater than any other, was a subtle kind of nourishment that made everything grow better and bear fruit more abundantly. Burbank explained to me that in all his experimentation he took plants into his confidence, asked them to help, and assured them that he held their small lives in deepest regard and affection." Helen Keller, deaf and blind, after a visit to Burbank, wrote in Out­ look for the Blind: "He has the rarest of gifts, the receptive spirit of a child. When plants talk to him, he listens. Only a wise child can understand the language of flowers and trees." Her observation was particularly apt since all his life Burbank loved children. In his essay "Training of the Human Plant," later published as a book, he an­ticipated the more humane attitudes of a later day and shocked authori­tarian parents by saying, "It is more important for a child to have a good nervous system than to try to 'force' it along the line of book knowledge at the expense of its spontaneity, its play. A child should learn through a medium of pleasure, not of pain. Most of the things that are really useful in later life come to the children through play and through association with nature." Burbank, like other geniuses, realized that his successes came from having conserved the exuberance of a small boy and his wonder for everything around him. He told one of his biographers: 'Tm almost seventy-seven, and I can still go over a gate or run a foot race or kick the chandelier. That's because my body is no older than my mind-and my mind is adolescent. It has never grown up and I hope it never will." It was this quality which so puzzled the dour scientists who looked askance at his power of creation and bedeviled audiences who expected him to be explicit as to how he produced so many horticultural wonders. Most of them were as disappointed as the members of the American Pomological Society, gathered to hear Burbank tell "all" during a lecture entitled "How to Produce New Fruits and Flowers," who sat agape as they heard him say: In pursuing the study of any of the universal and everlasting laws of nature, whether relating to the life, growth, structure and movements of a giant planet, the tiniest plant or of the psychological movements of the human brain, some conditions are necessary before we can become one of nature's interpreters or the creator of any valuable work for the world. Preconceived notions, dogmas and all personal prejudice and bias must be laid aside. Listen patiently, quietly and reverently to the lessons, one by one, which Mother Nature has to teach, shedding light on that which was before a mystery, so that all who will, may see and know. She conveys her truths only to those who are passive and receptive. Accepting these truths as suggested, wherever they may lead, then we have the whole universe in harmony with us. At last man has found a solid foundation for science, having discovered that he is part of a universe which is eternally unstable in form, eternally immutable in substance.

BACON, EGG, AND CHEDDAR CHEESE TOAST CUPS Preheat oven to 400 degrees F., rack in the middle position. 6 slices bacon (regular sliced, not thick sliced) 4 Tablespoons (2 ounces, ½ stick) salted butter, softened 6 slices soft white bread ½ cup grated cheddar cheese 6 large eggs Salt and pepper to taste Cook the 6 slices of bacon in a frying pan over medium heat for 6 minutes or until the bacon is firmed up and the edges are slightly brown, but the strips are still pliable. They won’t be completely cooked, but that’s okay. They will finish cooking in the oven. Place the partially-cooked bacon on a plate lined with paper towels to drain it. Generously coat the inside of 6 muffin cups with half of the softened butter. Butter one side of the bread with the rest of the butter but stop slightly short of the crusts. Lay the bread out on a sheet of wax paper or a bread board butter side up. Hannah’s 1st Note: You will be wasting a bit of butter here, but it’s easier than cutting rounds of bread first and trying to butter them after they’re cut. Using a round cookie cutter that’s three and a half inches (3 and ½ inches) in diameter, cut circles out of each slice of bread.   Hannah’s 2nd Note: If you don’t have a 3.5 inch cookie cutter, you can use the top rim of a standard size drinking glass to do this. Place the bread rounds butter side down inside the muffin pans, pressing them down gently being careful not to tear them as they settle into the bottom of the cup. If one does tear, cut a patch from the buttered bread that is left and place it, buttered side down, over the tear. Curl a piece of bacon around the top of each piece of bread, positioning it between the bread and the muffin tin. This will help to keep the bacon in a ring shape. Sprinkle shredded cheese in the bottom of each muffin cup, dividing the cheese as equally as you can between the 6 muffin cups. Crack an egg into a small measuring cup (I use a half-cup measure) with a spout, making sure to keep the yolk intact. Hannah’s 3rd Note: If you break a yolk, don’t throw the whole egg away. Just slip it in a small covered container which you will refrigerate and use for scrambled eggs the next morning, or for that batch of cookies you’ll make in the next day or two. Pour the egg carefully into the bottom of one of the muffin cups. Repeat this procedure for all the eggs, cracking them one at a time and pouring them into the remaining muffin cups. When every muffin cup has bread, bacon, cheese and egg, season with a little salt and pepper. Bake the filled toast cups for 6 to 10 minutes, depending on how firm you want the yolks. (Naturally, a longer baking time yields a harder yolk.) Run the blade of a knife around the edge of each muffin cup, remove the Bacon, Egg, and Cheddar Cheese Toast Cups, and serve immediately. Hannah’s 4th Note: These are a bit tricky the first time you make them. That’s just “beginner nerves”. Once you’ve made them successfully, they’re really quite easy to do and extremely impressive to serve for a brunch. Yield: 6 servings (or 3 servings if you’re fixing them for Mike and Norman).

If I as Pekwa Nicholas Mohlala take my family, my brothers and sisters, myself, and our children, combined, we have all the resources, knowledge, skills, and capacity to run a successful, profitable, and sustainable small business. If I take my extended family both maternal and partenal, my aunts and uncles and my cousins, myself, and our children, combined, we have all the resources, knowledge, skills, and capacity to run a successful, profitable, and sustainable medium business. If I take Ba Ga Mohlala family in general, including aunts, uncles, and grandchildren, combined, we have all the resources, knowledge, skills, and capacity to run a successful, profitable, and sustainable Big Business business. If I take Banareng clan including aunts, uncles, and grandchildren, combined, we have all the resources, knowledge, skills, and capacity to run a successful, profitable, and sustainable multinational business. YET, we are not able to do that because of lack of unity, and the lack of unity is caused by selfishness and lack of trust. At the moment what we have is majority of successful independent individuals running their individual successful, profitable and sustainable small businesses and successful individuals pursuing their own fulfilling careers. If ever we want to succeed as families and one united clan, we need to start by addressing the issue of trust, and selfishness. Other than that, anything that we try to do to unite the family will fail. And to succeed in addressing the issue of trust, and selfishness, we must first start by acknowledging that we are related. We must start by living and helping oneanother as relatives, we must first start by creating platforms that will overtime make us to reestablish our genetic bond, and also to build platforms where we can do that. So, let us grab the opportunity to use existing platforms and build new ones, to participate, contribute positively, and add our brothers and sisters, our cousins, and other extended family members to those platforms as a way towards building unity, unity of purpose, purpose of reclaiming our glory and building a legacy. Unity of empowering ourself and our communities. Unity of building a successful and sustainable socioeconomic livelihood for ourselves and our communities. We will keep on preaching this gospel of being self sustainable as Ba Ga Mohlala and Banareng in general, until people start to stop and take notice, until people start listening and acting, we will keep on preaching this gospel of being self sustainable as Ba Ga Mohlala and Banareng in general, until people take it upon themselves and start organizing themselves around the issue of social and economic development as a family and as a clan, until people realize the importance of self sufficiency as a family and as a clan. In times of election, the media always keep on talking about the election machinery of the ruling parties in refence to branches of the ruling parties which are the power base of those ruling parties. Luckily as Ba Gs Mohlala, we also have Ba Ga Mohlala branches across the country as basic units in addition to family, and extended family units. So, let us use those structures as basic units and building blocks to build up Ba Ga Mohlala and Banareng to become successful forces which will play a role in socioeconomic sphere locally, regionally, provinvially, nationally, and internationally. To build Ba Ga Mohlala and Banareng to be a force to reckon with locally, provinvially, nationally, and internationally. The platforms are there, it is all up to us, the ball is in our court as a collective Ba Ga Mohlala and Banareng. It must become a norn and a duty to serve the family and the clan, it must become a honour to selflessly serve the family and the clan without expecting anything in return. ALUTA !!!!!!!! "Struggle of selfsuffiency must continue

inflexible structure forces characters into a predetermined framework rather than letting them be what they want to be and prevents them from finding their own organic (and often better) ways. Working with flexible beats that can change on the fly can be a very nice happy medium, wherein you have that organic character feel while also having an idea where your story is headed.

In this world, anything is possible. The United States might win a future war relying solely on air power for the first time in history, with no American or local ground forces involved and no meaningful threat of their deployment. That possibility cannot be excluded. The Rumsfeld vision of military transformation, however, does not pursue that as a possibility: it relies on it as a certainty. By focusing all of America's defense resources on the single medium of air power, Rumsfeld is betting America's future security on the conviction that the U.S. armed forces will be able to do every time what no military to date has ever been able to do. In doing so, he is greatly simplifying the task of those preparing to fight the United States by presenting them with only one threat to defeat. A sound program of military transformation would proceed in exactly the opposite way. It would recognize the value of America's technological advantage in the area of PGMs. It would continue to enlarge and enhance them, much as Rumsfeld currently proposes. But it would not do so at the expense of the unique capabilities that ground forces bring to bear. It would focus, instead, on developing the capabilities provided by air power. Ground forces can seize and hold terrain, separate hostile groups, and comb through urban with infinitely greater precision and distinction between combatant and non-combatant that can air power. They can present the enemy with unacceptable situations simply by occupying a given piece of land, forcing the enemy to take actions that reveal intentions and expose the enemy to destruction. And it goes without saying that only ground forces can execute the peacemaking, peacekeeping, and reconstruction activities that have been essential to success in most of the wars America has fought in the past hundred years. Above all, the United States must avoid the search for "efficiency" in military affairs. Redundancy is inherently a virtue in war. America's leaders should intentionally design systems with overlapping capabilities, spread across the services, and should intentionally support weapons that do not directly contribute to the overarching vision of war that they are pursuing. America should continue to try to build armed forces that are the best in every category and have the latent capabilities to meet challenges that cannot now even be imagined.

Television’s emergence as the dominant medium of communication gave birth to the slickly marketed health-wealth-and-success gospel rampant in today’s church.

The low-trust, family-oriented societies with weak intermediate organizations we have observed have all been characterized by a similar saddle-shaped distribution of enterprises. Taiwan, Hong Kong, Italy, and France have a host of smaller private firms that constitute the entrepreneurial core of their economies and a small number of very large, state-owned firms at the other end of the scale. In such societies, the state plays an important role in promoting large-scale enterprises that might not be spontaneously created by the private sector, albeit at some cost in efficiency. We might postulate then that as a general rule, any society with weak intermediate institutions and low trust outside the family will tend to have a similar distribution of firms in its economy. The Republic of Korea, however, presents an apparent anomaly that needs to be explained in order to preserve the validity of the larger argument. Korea is similar to Japan, Germany, and the United States insofar as it has very large corporations and a highly concentrated industrial structure. On the other hand, Korea is much closer to China than to Japan in terms of family structure. Families occupy a similarly important place in Korea as in China, and there are no Japanese-style mechanisms in Korean culture for bringing outsiders into family groups. Following the Chinese pattern, this should lead to small family businesses and difficulties in institutionalizing the corporate form of organization. The answer to this apparent paradox is the role of the Korean state, which deliberately promoted gigantic conglomerates as a development strategy in the 1960s and 1970s and overcame what would otherwise have been a cultural proclivity for the small- and medium-size enterprises typical of Taiwan. While the Koreans succeeded in creating large companies and zaibatsu in the manner of Japan, they have nonetheless encountered many Chinese-style difficulties in the nature of corporate governance, from management succession to relations on the shop floor. The Korean case shows, however, how a resolute and competent state can shape industrial structure and

part of what we do when the police speak is that we question. The thing about people like Iggy is that we also question. We question what it means to have your success be on a medium and a platform that was born of black struggle, like hip-hop or rap, and what does it mean that you identify with everything but the struggle part? Which is the Iggy issue.

Discussions of entrepreneurship tend to focus on the personalities and attitudes of top management people, and especially of the chief executive. 4 Of course, any top management can damage and stifle entrepreneurship within its company. It’s easy enough. All it takes is to say ‘No’ to every new idea and to keep on saying it for a few years – and then make sure that those who came up with the new ideas never get a reward or a promotion and become ex-employees fairly swiftly. It is far less certain, however, that top management personalities and attitudes can by themselves – without the proper policies and practices – create an entrepreneurial business, which is what most of the books on entrepreneurship assert, at least by implication. In the few short-lived cases I know of, the companies were built and still run by the founder. Even then, when it gets to be successful the company soon ceases to be entrepreneurial unless it adopts the policies and practices of entrepreneurial management. The reason why top management personalities and attitudes do not suffice in any but the very young or very small business is, of course, that even a medium-sized enterprise is a pretty large organization. It requires a good many people who know what they are supposed to do, want to do it, are motivated towards doing it, and are supplied with both the tools and continuous reaffirmation. Otherwise there is only lip service; entrepreneurship soon becomes confined to the CEO’s speeches.

In just two short years, the Chicago-based startup Belly Card (commonly known as Belly) has helped thousands of small and medium sized businesses overcome customer retention problems through their novel and easy-to-use customer loyalty platform. Their solution is now used by over 5,000 merchants across 46 states, helping them reach well over a million customers.

Minneapolis is so successful at turning medium-size companies into giants because its most important resource never leaves the city: educated managers of every level, who can work at just about any company.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

Twitter Is Twitter the ultimate Mythos medium? Writing too hard for you? Analysis too hard for you? No need to worry. Now you can say it all in 140 characters, roughly reflecting the size of your vocabulary, knowledge and brain. Twitter is successful because 140 characters corresponds to the typical size of a meme: a single idea that can shoot off into the Darwinian meme pool and be naturally selected by all the jostling Mythos meme machines (Twitterati, or Twits, to you and me). Don’t you just love it? This is dumbing down with go-faster stripes and turbo engines. Maybe we can reach the ultimate Tweet: zero characters and a complete flatline of human mental activity.

Money is the medium by which earthly success is measured. Money makes possible the enjoyment of the best the earth affords.

Cross-stitch, as with all embroidery, is also bound into a socio-political debate about gender, as it is traditionally considered a pastime for women, particularly from older generations. This gender bias adds to the success of cross-stitch as a political medium; one cannot help but feel kindness toward cross-stitched pieces, as though they had been created by a senior matriarch.

Money is a tool and a medium of exchange, your chances of becoming successful critically depends on your understanding of employing it effectively and efficiently.

I believe in the power of DESIRE backed by FAITH, because I have seen this power lift men from lowly beginnings to places of power and wealth; I have seen it rob the grave of its victims; I have seen it serve as the medium by which men staged a comeback after having been defeated in a hundred different ways; I have seen it provide my own son with a normal, happy, successful life, despite Nature's having sent him into the world without ears.

Steven Odzer is a successful American entrepreneur. Since the age of 18, Stephen has developed and led businesses in the distribution industry. In 2000 he was named the Ernst & Young Entrepreneur. Now, with 30 years of experience, he serves as CEO of YBT Industries, a new company looking to transform the distribution landscape. Steven Odzer New York, Steven Odzer Linkedin, Steven Odzer Facebook, Steven Odzer Youtube, Steven Odzer Scholarship, Steven Odzer Buy LifeGuard, Steven Odzer Las Vegas, Steven Odzer Medium, Steven Odzer Nevada, Steven Odzer Blog, Steven Odzer Charity

Triple-Chocolate Parfait This recipe comes from Michael Lewis-Anderson, the brilliant chocolate stylist from Wittamer in Brussels, who swears he cannot make his parfaits fast enough for chocolate lovers who come from all around the world for his superlative creations. When melting the chocolates, be sure that the bowls are thoroughly dry first. Just a drop of liquid can cause chocolate to become stiff and unmanageable. Since you are making three distinct mousse layers, whip all the cream in one bowl and then separate it into thirds, and do the same with the egg whites. For a change of pace, instead of serving the three mousses as a cake, divide the recipe in half and layer the three mousses in 8 tall wine goblets. They’re especially elegant when topped with shavings of dark, milk, and white chocolate, or perfect berries during the summer. ONE TALL 9-INCH (23-CM) CAKE, 8 TO 10 SERVINGS, OR 8 GOBLETS 9 ounces [255 grams] bittersweet or semisweet chocolate, chopped 9 ounces [255 grams] white chocolate, chopped 9 ounces [255 grams] milk chocolate, chopped 2¼ cups [560 ml] heavy cream 9 large egg whites Chocolate shavings Lightly oil a 9 × 3-inch (23 × 7.5-cm) springform pan and set it on a serving platter. • In three separate medium-sized heatproof bowls, melt each chocolate successively over a saucepan of simmering water (you can use the same saucepan, just melt one after the other). Remove each chocolate from the heat and set aside to cool to lukewarm. • Whip the cream until it holds soft, droopy peaks. It should be relatively stiff but not dry and curdled. You should have about 6 cups (1½ liters) of whipped cream. • Making sure your chocolate is not hot, fold one-third of the whipped cream (about 2 cups [500 ml]) into the dark chocolate in two separate additions. • Divide the remaining whipped cream between the bowls of milk and white chocolate, then fold the cream into each. • In a clean bowl, beat the egg whites until they are thick and hold their shape, but not dry. • Fold one-third of the egg whites (about 2½ cups [625 ml]) into each chocolate mousse filling, folding until smooth. • Pour the dark chocolate mousse into the prepared cake pan and level the top. Add the milk chocolate mousse, spreading it over the dark chocolate mousse and leveling the top. (If the milk chocolate mousse seems thin, freeze the cake for about 30 minutes before adding the white chocolate mousse.) • Finally add the white chocolate mousse to the top. (It will seem thin, but that is fine.) • Chill the parfait cake for at least 6 hours, or freeze, before removing the sides of the cake pan. The cake should be sliced and served either chilled or frozen. Serve it with the chocolate shavings. • If you are concerned about serving uncooked egg whites, pasteurized egg whites are available in most grocery stores.

At the end of your life you want to arrive at a well-designed destination rather than an unexpected destination, and you do this by setting life goals, not short-term, not medium, not long-term, but life goals.

All modern manufacturing disciplines have roots in preindustry except software, whose unique medium appeared well after industrialization was a fait accompli. Only programming comes directly from academia, where there are no time limits on research, student power is dirt cheap, profit is against the rules, and a failing program can be considered a very successful experiment. It's not a coincidence that Microsoft, IBM, Oracle, and other leading software companies reside in "campuses." Universities never have to make money, hit deadlines, or build desirable, useful products.

MAMIE JACQUELINE’S CHOCOLATE CAKE G ÂTEAU AU CHOCOLAT DE MAMIE JACQUELINE One of Joe’s friends, Florian, accompanies us on vacation from time to time and his grandmother often sends along a little treat for us all. This cake was an offering once and we tucked into it the minute we arrived at our destination. It was tender and delicious. When we returned, I asked Mamy Jacqueline for her recipe and she scoffed, “Oh, that simple little cake?” When I pressed she rattled off the ingredients by heart. A surefire success whenever I make it, you need only serve it simply sprinkled with confectioners’ sugar. 3/4 cup/100g cake flour Sea salt 7 ounces/200g bitter chocolate, such as Lindt 70% 8 tablespoons/125g unsalted butter, softened 1 cup/200g sugar 4 large eggs, separated Confectioners’ sugar 1. Butter and flour a 91/2-inch/24-cm round cake pan. Preheat the oven to 375° F/190° C/gas 5. 2. Sift the flour and a generous pinch of salt onto a piece of parchment paper. 3. Melt the chocolate in the top of a double boiler over medium-high heat. Transfer the chocolate to a medium-size bowl and whisk in the butter until the mixture is smooth. Vigorously whisk in all but 1 tablespoon of the sugar, then add the egg yolks and whisk until the mixture is smooth. Using a wooden spoon, stir in the flour mixture 1 tablespoon at a time until combined. 4. In a large bowl whisk the egg whites with a pinch of salt until they are foamy and begin to thicken. Add the remaining tablespoon of sugar and continue whisking until they form soft peaks. Fold the egg whites into the chocolate mixture, then turn it into the prepared baking pan and bake in the center of the oven until the cake springs back, 20 to 25 minutes. 5. Remove the cake from the oven and let it cool to lukewarm in the pan, then turn it out onto a rack to cool thoroughly. To serve, sprinkle it with confectioners’ sugar. 6 TO 8 SERVINGS SIX                 Mornings in Louviers LOUVIERS IS MAGIC in the mornings.

The Linux world behaves in many respects like a free market or an ecology, a collection of selfish agents attempting to maximize utility which in the process produces a self-correcting spontaneous order more elaborate and efficient than any amount of central planning could have achieved. Here, then, is the place to seek the “principle of understanding”. The “utility function” Linux hackers are maximizing is not classically economic, but is the intangible of their own ego satisfaction and reputation among other hackers. (One may call their motivation “altruistic”, but this ignores the fact that altruism is itself a form of ego satisfaction for the altruist). Voluntary cultures that work this way are not actually uncommon; one other in which I have long participated is science fiction fandom, which unlike hackerdom has long explicitly recognized “egoboo” (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity. Linus, by successfully positioning himself as the gatekeeper of a project in which the development is mostly done by others, and nurturing interest in the project until it became self-sustaining, has shown an acute grasp of Kropotkin’s “principle of shared understanding”. This quasi-economic view of the Linux world enables us to see how that understanding is applied. We may view Linus’s method as a way to create an efficient market in “egoboo” — to connect the selfishness of individual hackers as firmly as possible to difficult ends that can only be achieved by sustained cooperation. With the fetchmail project I have shown (albeit on a smaller scale) that his methods can be duplicated with good results. Perhaps I have even done it a bit more consciously and systematically than he. Many people (especially those who politically distrust free markets) would expect a culture of self-directed egoists to be fragmented, territorial, wasteful, secretive, and hostile. But this expectation is clearly falsified by (to give just one example) the stunning variety, quality, and depth of Linux documentation. It is a hallowed given that programmers hate documenting; how is it, then, that Linux hackers generate so much documentation? Evidently Linux’s free market in egoboo works better to produce virtuous, other-directed behavior than the massively-funded documentation shops of commercial software producers. Both the fetchmail and Linux kernel projects show that by properly rewarding the egos of many other hackers, a strong developer/coordinator can use the Internet to capture the benefits of having lots of co-developers without having a project collapse into a chaotic mess. So to Brooks’s Law I counter-propose the following: Provided the development coordinator has a communications medium at least as good as the Internet, and knows how to lead without coercion, many heads are inevitably better than one.

The area housed many successful medium-sized businesses, such as the Whitechapel Bell Foundry, founded in 1570 (and Britain’s oldest continual manufacturer). By the eighteenth century, the foundry was exporting bells to the Americas, including the Liberty Bell, in 1752. The Liberty Bell left England bearing a biblical inscription which would have been familiar to both the French Protestants who had sought refuge only a stone’s throw away, and also the Jews who worshipped close by. It came from the book of Leviticus 25: 10: ‘Proclaim LIBERTY throughout all the land unto all the inhabitants thereof.

Some artists say they don’t want a niche, because they like creating in a variety of themes and mediums and markets. They don’t want to feel constricted. If this is you, know this: It’s okay to work on a variety of themes and mediums. Never stop experimenting with a lot of different things. But if you want to sell your work in high volume, you have to choose a niche to focus on when marketing your art. Focus is necessary if you want to make a living selling your work. You’ll have a tough time creating financial success by trying to be known as “the artist who does everything.” If you are one who is resisting selling within a niche, don’t give up on this strategy just yet. Read on, and maybe we can help you carve out a niche that feels good to you.

Today, as light pollution envelops our planet, the stars are almost gone. Instead of thousands being visible on a dark night, in today’s cities we see only a few dozen (and astronomers fear these will soon be vastly outnumbered by artificial satellites). Most people in the United States and Europe can no longer see the Milky Way at all. It is a catastrophic erosion of natural heritage: the obliteration of our connection with our galaxy and the wider universe. There has been no major outcry. Most people shrug their shoulders, glued to their phones, unconcerned by the loss of a view treated as fundamental by every other human culture in history. Yet we’re still trying to work out our place in the cosmos. Science has been wildly successful: today’s five-year-olds know more about the history, composition and nature of the physical universe than early cultures managed to glean in thousands of years. But it has also dissolved much of the meaning that those cultures found in life. Personal experience has been swept from our understanding of reality, replaced by the abstract, mathematical grid of space-time. Earth has been knocked from the center of existence to the suburbs; life reframed as a random accident; and God dismissed altogether, now that everything can be explained by physical laws. Far from having a meaningful role in the cosmic order, we’re “chemical scum,” as physicist Stephen Hawking put it, on the surface of a medium-sized planet orbiting an unremarkable star. Critics have fought this mechanistic view of humanity for centuries, often rejecting science wholesale in the process. But now even some high-profile scientists are voicing concerns that until very recently were taboo. They are suggesting that perhaps physical matter isn’t all that the universe is, all that we are. Perhaps science is only seeing half of the picture. We can explain stars and galaxies, but what about minds? What about consciousness itself? It’s shaping up to be an epic fight that just might transform the entire Western worldview.

I believe in the power of DESIRE backed by FAITH, because I have seen this power lift men from lowly beginnings to places of power and wealth; I have seen it rob the grave of its victims; I have seen it serve as the medium by which men staged a comeback after having been defeated in a hundred different ways; I have seen it provide my own son with a normal, happy, successful life, despite Nature’s having sent him into the world without ears.

Lauren Moon talks about the frustrating occurrence of teammates “swooping” in like seagulls giving negative, way-too-late feedback on projects nearing completion.37 (Medium.com offers a fuller definition: “Seagulling: when someone comes into your work, shits all over it, then flies away.”38)

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Money is the medium by which earthly success is measured. Money makes possible the enjoyment of the best the earth affords. Money is plentiful for those who understand the simple laws which govern its acquisition.

The expectations conversation. Your goal in this conversation is to understand and negotiate expectations. What does your new boss need you to do in the short term and in the medium term? What will constitute success? Critically, how will your performance be measured? When?

Miles stood next to me to make sense of his notes for me. He pointed to the board. “It is separated into chapters, as you can see. The first grid under each chapter states the object, conflict, and emotion. After that are the characters and their connections. Then there are plot points, locations, phrases and conversation prompts. Or at least there should be.” He sounded discouraged. Just seeing all the remnants of the words he had erased had me feelings sucker punched for him. “How long does it usually take you to outline?” “Normally a few weeks, but this took months, and it was all for naught,” he sighed. “What happened?” He longingly looked over the mostly empty board while he ran his hand over his head. “I’ve felt a bit paralyzed. The raging success of silent stones caught me off guard, as did Isabella. I think I’ve been so afraid to finish the next book for fear it won’t live up to the first one, or to Isabella’s expectations, that I’ve been playing it safe.” “Aren’t you in charge of Isabella?” “No, darling.” He let the darling stand instead of correcting himself and changing it to Aspen. “She is very much in charge of her story. I am only her medium. And she let me know that she wasn’t exactly happy with eh direction I was going.

Myrt and Marge was one of the first important dramatic serials of radio. As a nighttime drama it was an immediate success, leaping to a CAB rating in the mid-20s by 1932, its second year. In 1937, it became a soap opera in fact as well as by nature, moving to daytime for Super Suds. It was created by Myrtle Vail, a 43–year-old vaudevillian whose own life was the inspiration and background. Like her fictitious Myrt, Vail had run away from home at 15 to go onstage. She was a back-row chorus girl in a road show, fell in love with the tenor, and married him the following year. With George Damerel she had two children, Donna and George, and they traveled as a show business family throughout the 1910s and 1920s. They retired in the late ‘20s, putting their money into real estate, and were financially devastated by the market crash of 1929. Reduced again to counting pennies, Vail decided to return to show business, in the new medium of radio.

the Scary Women had fully realized ambition. She envied them so much she had actually convinced herself that she didn’t want to be one of them, because they never seemed to have any fun. Which was true, except Jane never really had any fun, either. The Scary Women had long- and medium- and short-term goals. They were trying to eat more but they just kept forgetting to eat! Their trainers were going to kill them, but nothing else would kill them. All their hobbies were passions, and all their passions became start-ups successful enough to earn back the seed money from their father-husbands within a year. The Scary Women were the subjects of profiles that remarked on their surprising sweetness. But they were not sweet. They were ruthlessly effective. They were the way forward.

Ether fills the boundless space of the universe. It is the medium of conveyance for all known forms of vibration such as sound, light and heat.

In his 1964 book, Understanding Media, Marshall McLuhan famously said that “the medium is the message.

And so it is when we professionally self-objectify: Our work is our medium, which is our message. We love the image of ourselves as successful, not ourselves in true life. But you are not your job, and I (as I have to remind myself) am not mine.

One of the top questions I get from managers is: “How can I carve out time to focus on long-term work when there’s so much to do right now to keep the trains running?” In the framing of this question, there is an assumption that popping your head up to plan for the months or years ahead comes at the expense of successful near-term execution. It doesn’t have to be this way. One of my colleagues runs her team with a strategy that is similar to that of an investor’s. Just as no financial advisor would recommend putting all your money into one kind of asset, neither should you tackle projects with one kind of time horizon. My colleague makes sure that a third of her team works on projects that can be completed on the order of weeks, another third works on medium-term projects that may take months, and finally, the last third works on innovative, early-stage ideas whose impact won’t be known for years. By taking this portfolio approach, her team balances making constant improvements to their core features while casting an eye toward the horizon. Over the past decade, they’ve shown that this strategy works: her team has an amazing track record of identifying new opportunities and scaling them to huge businesses over the course of three years.

The situational diagnosis conversation. In this conversation, you seek to understand how your new boss sees the STARS portfolio you have inherited. Are there elements of start-up, turnaround, accelerated growth, realignment, and sustaining success? How did the organization reach this point? What factors—both soft and hard—make this situation a challenge? What resources within the organization can you draw on? Your view may differ from your boss’s, but it is essential to grasp how she sees the situation. The expectations conversation. Your goal in this conversation is to understand and negotiate expectations. What does your new boss need you to do in the short term and in the medium term? What will constitute success? Critically, how will your performance be measured? When? You might conclude that your boss’s expectations are unrealistic and that you need to work to reset them. Also, as part of your broader campaign to secure early wins, discussed in the next chapter, keep in mind that it’s better to underpromise and overdeliver. The resource conversation. This conversation is essentially a negotiation for critical resources. What do you need to be successful? What do you need your boss to do? The resources need not be limited to funding or personnel. In a realignment, for example, you may need help from your boss to persuade the organization to confront the need for change. Key here is to focus your boss on the benefits and costs of what you can accomplish with different amounts of resources. The style conversation. This conversation is about how you and your new boss can best interact on an ongoing basis. What forms of communication does he prefer, and for what? Face-to-face? Voice, electronic? How often? What kinds of decisions does he want to be consulted on, and when can you make the call on your own? How do your styles differ, and what are the implications for the ways you should interact? The personal development conversation. Once you’re a few months into your new role, you can begin to discuss how you’re doing and what your developmental priorities should be. Where are you doing well? In what areas do you need to improve or do things differently? Are there projects or special assignments you could undertake (without sacrificing focus)? In practice, your

For every serious injury or death that is saved by switching from a medium car to a large SUV, two more result.

One of the best countries of the world where one can expect best MBBS education is none other than China. After successful completion of English medium MBBS in China from any of the Recognized Medical Universities approved by WHO (World Health Organization) will offer a successful career in Medical field across the globe.

Social success in primitive society, therefore, is achieved by those who are perceived to help the group, not by those who cheat and sponge from it, and cheating as a successful strategy can only work when a number of basic social changes have taken place. These are: much larger societies with a high percentage of people who are strangers; the growth of trade and commerce, particularly through the medium of money; the accumulation of material wealth; and the growth of complex bureaucratic systems of redistribution. So it should be obvious that it is not the hunter-gatherer band but modern industrial society that provides by far the most advantageous environment for freeloaders to flourish, such as bogus welfare claimants, tax evaders, and confidence-tricksters of every kind, but evolution has sadly neglected to provide us with any “cheater-detection” module to cope with this.

Okay, a couple more: I happen to believe that economic success lies in the hands of SMEs, small and medium-sized enterprises. Four books I give away on SMEs are: George Whalin’s Retail Superstars: Inside the Twenty-five Best Independent Stores in America (Favorite line: “Be the best, it’s the only market that’s not crowded.”), Bo Burlingham’s Small Giants: Companies That Choose to Be Great Instead of Big, Bill Taylor’s Simply Brilliant: How Great Organizations Do Ordinary Things in Extraordinary Ways, and Hermann Simon’s Hidden Champions of the Twenty-first Century: The Success Strategies of Unknown World Market Leaders. I love giving books away! I bet,

While the research and applications are in its early days, many experts see probabilistic programming as an alternative approach in areas where deep learning performs poorly, such as concept formulation using sparse or medium-sized data. Probabilistic programs have been used successfully in applications such as medical imaging, machine perception, financial predictions, and econometric and atmospheric forecasting.

The reasons for cooperatives’ success should be obvious by now, but they are worth reiterating: “The major basis for cooperative success…has been superior labor productivity. Studies comparing square-foot output have repeatedly shown higher physical volume of output per hour, and others…show higher quality of product and also economy of material use.”118 Hendrik Thomas concludes from an analysis of Mondragon that “Productivity and profitability are higher for cooperatives than for capitalist firms. It makes little difference whether the Mondragon group is compared with the largest 500 companies, or with small- or medium-scale industries; in both comparisons the Mondragon group is more productive and more profitable.”119 As we have seen, recent research has arrived at the same conclusions. It is a truism by now that worker participation tends to increase productivity and profitability. Research conducted by Henk Thomas and Chris Logan corroborates these conclusions. “A frequent but unfounded criticism,” they observe, “of self-managed firms is that workers prefer to enjoy a high take-home pay rather than to invest in their own enterprises. This has been proven invalid…in the Mondragon case… A comparison of gross investment figures shows that the cooperatives invest on average four times as much as private enterprises.” After a detailed analysis they also conclude that “there can be no doubt that the [Mondragon] cooperatives have been more profitable than capitalist enterprises.”120 Recent data indicate the same thing.121 One particularly successful company, Irizar, which was mentioned earlier, has been awarded prizes for being the most efficient company in its sector; in Spain it has ten competitors, but its market share is 40 percent. The same level of achievement is true of its subsidiaries, for instance in Mexico, where it had a 45 percent market share in 2005, six years after entering the market. An author comments that “the basis for this increased efficiency appears to be linked directly to the organization’s unique participatory and democratic management structure.”122 A major reason for all these successes is Mondragon’s federated structure: the group of cooperatives has its own supply of banking, education, and technical support services. The enormous funds of the central credit union, the Caja Laboral Popular, have likewise been crucial to Mondragon’s expansion. It proves that if cooperatives have access to credit they are perfectly capable of being far more successful than private enterprises.

Structure is all around us and available to us through the poet’s medium of metaphor.

Countries like Finland, Norway, Italy and Austria-which were relatively backward at the end of the Second World War and saw the need for rapid industrial development-also used strategies similar to those used by France and Japan to promote their industrie. All of them had relatively high tariffs until the 1960s. They all actively used SOEs to upgrade their industries. This was particularly successful in Finland and Norway. In Finland, Norway and Austria, the government was very much involved in directing the flow of bank credit to strategic industries. Finland heavily controlled foreign investment. In many parts of Italy, local government provided support for marketing and R&D to small and medium-sized firms in the locality.

But it was still a poor man’s version of what radio once was, an echo of its unfulfilled promise. CBS gave the time but precious little money, and the affiliates felt free to tape-delay or drop it from the schedule at will. At KOA in Denver, it was often a casualty of the station’s sports docket. A complaining listener was told that, in effect, he was lucky they were carrying it at all. Sports pays, drama doesn’t: that was the bottom line in the ’70s and continued to be in the ’90s. To have any chance of success, radio drama would have to be approached as it is on the BBC in England, where it has never been allowed to die. As radio actress Virginia Gregg once put it, “The British know a good medium when they hear it.

Stewart Brand: In any community, new people show up, and they want to participate, and the old hands typically close ranks and sneer at the newbies. I should have known that would happen at The Well. We should have made it the case where part of your job as a member of The Well was to make new people feel welcome. We never did that. It was a part of what kept The Well from growing. Kevin Kelly: After Stewart left, everything started to kind of get really big. This was the era of ISPs, and you had Pipeline and Echo and AOL, and it was clear that this was going to stick around. Some of them were growing fast. And so why can’t we grow fast? The problem was we were a nonprofit. Who’s going to invest into this nonprofit? And so that was the issue. I looked at it in different ways. Do we want to sell it? Do we want to turn commercial? What’s the point of that? So in the end it was like, No, I think we can be more useful being who we are. We could grow and we could make a lot of money, but a lot of people are going to do that. And that might have been the wrong decision or the right decision to make, but it was my decision to keep it sort of experimental. Stewart Brand: It was never a commercial success. It may have paid its own way, just barely. What could be tried with this medium? That was the thing. Kevin Kelly: Eventually it was sold to Salon, but it was really too late at that point.

Artistic "style" that does not evolve as a result of a natural process is the embodiment of "fake it till you make it," referring to the way something APPEARS, not the way that it IS. It's a veneer, a hollow afterthought technique hung on the artwork to dress it up... I prefer to think in terms of the artist's VOICE. Voice is deeper, manifested from the very core of your being. You earn it through research, experimentation, and discovery. It is a synthesis of the experiences, intellectual concepts, and aesthetic interests you possess, executed in your distinctive way, in the formal, emotional and intellectual language of your chosen medium. When successful, the realization of your voice follows the gestalt principle. The combination of your ideas and the work's physical embodiment is greater than the sum of its parts and distinguishes your outcome from everyone else's.