Metal Element Quotes

There was no going back now. Rubber and metal could only take so much. The car could shatter and send its passengers into an elemental distillation of rock, flesh, blood, and ash. Alchemy, thought Mary, grimly. Too much bloody alchemy.

I like to use two basic elements for my clothing: rock... you know, metal and chains and stuff - mixed with fairies and drama and Victorian clothing - fantasy.

I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about -- the tiny hole through the roof or the bottom of the box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water. And yet, you haven't drawn on those strengths in living your life, have you?

Metal makes everything techno-magical.

No metal. . .no magic. . .and no technology.

No Metal, No Magic. Metal makes everything techno magical.

Metal makes everything magical. Just ask a unicorn. . .preferably one with a metal horn.

The Metal Horn Unicorns say, “No Metal – No Magic. . .and No Technology”. They are exactly right! Metals and other elements of the periodic table are in every facet of our everyday lives.

The Metal Horn Unicorns and their elemental friends are techno-magical.

Unicorns make science magical.

It might be very hard to believe but with no metal and no magic there’d be no technology.

There’s an inherent limit to the stress that any material can bear. Water has its boiling point, metals their melting points. The elements of the spirit behave the same way. Happiness can reach a pitch so great that any further happiness can’t be felt. Pain, despair, humiliation, disgust, and fear are no different. Once the vessel is full, the world can’t add to it.

Metal makes everything magical. Just ask a unicorn.

Osm – the unicorn with the multi-metal horn tipped with Osmium can do it all! He has the powers of all the metal horn unicorns. Osmium is much rarer than gold, about 1000 times, but it is only worth about ¼ the price because there are so few uses for it.

Water never waits. It changes shape and floes around things, and finds the secret paths no one else thought about __ the tiny hole through the roof or the bottom of a box. There's no doubt it's the most versatile of the five elements. It can wash away earth, it can put out fire; it can wear a piece of metal down and can sweep it away. Even wood, which is its natural complement, can'survive without being nurtured by water.

Ghel the gold horned unicorn is empathic and can sense the emotions of other unicorns. A touch of her horn on another’s heart make them feel better.  Gold has many every day uses but 80% of newly mined or recycled gold is still used in jewelry manufacture.

Hydrogen is used in more compounds (nearly 100) than any other element because it can form bonds with almost all metals, metalloids, and non-metals. Some of the most common hydrogen compounds are water (H2O), Hydrogen Peroxide (H202) and table sugar (C12H220111)

Waiting patiently doesn't suit you.I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things. There's no doubt it's the most versatile of the five elements. It can wash away earth it can put fire it can wear a piece of metal down and sweep it away. And yet, you haven't drawn on those strengths in living your life, Have you?

The metal horn unicorns in the Magical Elements of the Periodic Table Presented Alphabetically by the Metal Horn Unicorns are all based on the metal horn unicorn characters in my Blue Unicorn – Journey To Osm books.  If it weren’t for their magical powers, based on the properties of the metals of their horns and hooves, this book would have never come into being.

24 carat gold is a pure naturally occurring yellow metal. There are 4 basic shades of gold alloys: yellow gold, white gold, rose gold and green gold. A huge range of other colored golds are also possible including red (gold and copper), grey (gold, iron and copper), purple (gold and aluminum), blue (gold and iron) and black (gold and cobalt), depending on the amounts of different metals alloyed together.

In Cantonese, two was a good number because it made a pair. Three was also good because it was a homophone for sang, or life. Four, of course, was bad because it sounded like death. Five was good again because it made a complete set, not just of the Confucian Virtues, but also for the elements of wood, fire, water, metal, and earth.

There are only 3 chemical symbols which spell full words. The words are “Be” for Beryllium, “No” for Nobelium and “I“ for Iodine. Multiple chemical symbols can be mixed together to spell over 100 words, though, like Ac Ce S S I Bi Li Ti Es and YOU.

While not all elements in the Periodic Table are represented by letters of the alphabet, some in this book (Magical Elements of the Periodic Table Presented Alphabetically by the Metal Horn Unicorns), are introduced by alternate designations. For instance, Tungsten is also known as Wolfram so “W” is used as the entry for that alphabetical letter in this book. The letter “W” is also used as the atomic symbol for Tungsten in all periodic tables.

So if big enough droplets fell far enough fast enough, someone floating right near the metallic hydrogen layer inside Jupiter maybe, just maybe, could have looked up into its cream and orange sky and seen the most spectacular show ever--fireworks lighting up the Jovian night with a trillion streaks of brilliant crimson, what scientists call neon rain.

Aluminium’s sixty-year reign as the world’s most precious substance was glorious, but soon an American chemist ruined everything.

I think there is an element of magic in photography — light, chemistry, precious metals — a certain alchemy. You can wield a camera like a magic wand almost. Murmur the right words and you can conjure up proof of a dream. I believe in wonder. I look for it in my life every day; I find it in the most ordinary things.

When the alchemist speaks of Mercurius, on the face of it he means quicksilver (mercury), but inwardly he means the world-creating spirit concealed or imprisoned in matter. The dragon is probably the oldest pictoral symbol in alchemy of which we have documentary evidence. It appears as the Ouroboros, the tail-eater, in the Codex Marcianus, which dates from the tenth or eleventh century, together with the legend ‘the One, the All’. Time and again the alchemists reiterate that the opus proceeds from the one and leads back to the one, that it is a sort of circle like a dragon biting its own tail. For this reason the opus was often called circulare (circular) or else rota (the wheel). Mercurius stands at the beginning and end of the work: he is the prima materia, the caput corvi, the nigredo; as dragon he devours himself and as dragon he dies, to rise again in the lapis. He is the play of colours in the cauda pavonis and the division into the four elements. He is the hermaphrodite that was in the beginning, that splits into the classical brother-sister duality and is reunited in the coniunctio, to appear once again at the end in the radiant form of the lumen novum, the stone. He is metallic yet liquid, matter yet spirit, cold yet fiery, poison and yet healing draught - a symbol uniting all the opposites.

the bodies of others somehow always so different, as if made from rare elements, strange metals.

Radioactive elements in chemistry can be compared to magical knights of old, wielding powerful transformations to release energy, essential in technologies from nuclear power to medical applications.

Season late, day late, sun just down, and the sky Cold gunmetal but with a wash of live rose, and she, From water the color of sky except where Her motion has fractured it to shivering splinters of silver, Rises. Stands on the raw grass. Against The new-curdling night of spruces, nakedness Glimmers and, at bosom and flank, drips With fluent silver. The man, Some ten strokes out, but now hanging Motionless in the gunmetal water, feet Cold with the coldness of depth, all History dissolving from him, is Nothing but an eye. Is an eye only. Sees The body that is marked by his use, and Time's, Rise, and in the abrupt and unsustaining element of air, Sway, lean, grapple the pond-bank. Sees How, with that posture of female awkwardness that is, And is the stab of, suddenly perceived grace, breasts bulge down in The pure curve of their weight and buttocks Moon up and, in swelling unity, Are silver and glimmer. Then The body is erect, she is herself, whatever Self she may be, and with an end of the towel grasped in each hand, Slowly draws it back and forth across back and buttocks, but With face lifted toward the high sky, where The over-wash of rose color now fails. Fails, though no star Yet throbs there. The towel, forgotten, Does not move now. The gaze Remains fixed on the sky. The body, Profiled against the darkness of spruces, seems To draw to itself, and condense in its whiteness, what light In the sky yet lingers or, from The metallic and abstract severity of water, lifts. The body, With the towel now trailing loose from one hand, is A white stalk from which the face flowers gravely toward the high sky. This moment is non-sequential and absolute, and admits Of no definition, for it Subsumes all other, and sequential, moments, by which Definition might be possible. The woman, Face yet raised, wraps, With a motion as though standing in sleep, The towel about her body, under her breasts, and, Holding it there hieratic as lost Egypt and erect, Moves up the path that, stair-steep, winds Into the clamber and tangle of growth. Beyond The lattice of dusk-dripping leaves, whiteness Dimly glimmers, goes. Glimmers and is gone, and the man, Suspended in his darkling medium, stares Upward where, though not visible, he knows She moves, and in his heart he cries out that, if only He had such strength, he would put his hand forth And maintain it over her to guard, in all Her out-goings and in-comings, from whatever Inclemency of sky or slur of the world's weather Might ever be. In his heart he cries out. Above Height of the spruce-night and heave of the far mountain, he sees The first star pulse into being. It gleams there. I do not know what promise it makes him.

Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about -- the tiny hole through the roof or the bottom of the box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water.

As we draw connections between magical knights and actinides, we discover the remarkable potential of both, inspiring us to appreciate the bravery of a knight and the power of an element, each playing pivotal roles in their own stories.

The metal "element has to do with our spirituality. It is the place we choose to find our connection with all of life. When we tend to the precious metal within us, it comes forward as inner strength that shines bright for all to witness.

It sits below aluminium on the periodic table and looks a lot like it. If you had a hunk of each metal in front of you, you probably couldn’t tell them apart. Except that gallium has one unusual property: it melts at temperatures just above room temperature. It will even soften in the palm of your hand. So it’s sort of a classic nerdy science prank to make a spoon out of gallium and serve it to somebody with coffee or tea—then watch them recoil as the Earl Grey “eats” their utensil.

The nineteen elements of the astral body are mental, emotional, and lifetronic. The nineteen components are intelligence; ego; feeling; mind (sense-consciousness); five instruments of knowledge, the subtle counterparts of the senses of sight, hearing, smell, taste, touch; five instruments of action, the mental correspondence for the executive abilities to procreate, excrete, talk, walk, and exercise manual skill; and five instruments of life force, those empowered to perform the crystallizing, assimilating, eliminating, metabolizing, and circulating functions of the body. This subtle astral encasement of nineteen elements survives the death of the physical body, which is made of sixteen gross metallic and nonmetallic elements.

Jupiter instead cooled down below the threshold for fusion, but it maintained enough heat and mass and pressure to cram atoms very close together, to the point they stop behaving like the atoms we recognize on earth. Inside Jupiter, they enter a limbo of possibility between chemical and nuclear reactions, where planet-sized diamonds and oily hydrogen metal seem plausible.

even a scientist can’t help thinking of the Periodic Table as a zoo of one-of-a-kind animals conceived by Dr. Seuss. How else could we believe that sodium is a poisonous, reactive metal that you can cut with a butter-knife, while pure chlorine is a smelly, deadly gas, yet when added together make sodium chloride, a harmless, biologically essential compound better known as table salt? Or how about hydrogen and oxygen? One is an explosive gas, and the other promotes violent combustion, yet the two combined make liquid water, which puts out fires.

This is a magical metal: alongside hydrogen and helium it was one of the three primordial elements created in the Big Bang, making it one of the oldest pieces of matter in the universe. No other element has quite the same combination of lightness, conductivity and electrochemical power.

Moral goodness might be more like a precious metal than an abundant element in human nature, and even after the ore has been processed and refined in accordance with the prescriptions of the CEV proposal, who knows whether the principal outcome will be shining virtue, indifferent slag, or toxic sludge?

Waiting patiently doesn't suit you. I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about-the tiny hole through the roof or the bottom of a box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water.

If a metal or ion has a function in the body, it must be provided by the diet, since it is not possible to convert one chemical element into another.

All to the north the rain had dragged black tendrils down from the thunderclouds like tracings of lampblack fallen in a beaker and in the night they could hear the drum of rain miles away on the prairie. They ascended through a rocky pass and lightning shaped out the distant shivering mountains and lightning rang the stones about and tufts of blue fire clung to the horses like incandescent elementals that would not be driven off. Soft smelterlights advanced upon the metal of the harness, lights ran blue and liquid on the barrels of the guns. Mad jack-hares started and checked in the blue glare and high among those clanging crags jokin roehawks crouched in their feathers or cracked a yellow eye at the thunder underfoot.

In the last four days I have got the (results) given by Tantalum, Chromium, Manganese, Iron , Nickel, Cobalt and Copper ... The chief result is that ... the result for any metal (is) quite easy to guess from the results for the others. This shews that the insides of all the atoms are very much alike, and from these results it will be possible to find out something of what the insides are made up of.

Along with osmium and platinum, iridium is one of the three heaviest (densest) elements on the Table—two cubic feet of it weighs as much as a Buick, which makes iridium one of the world’s best paperweights, able to defy all known office fans. Iridium is also the world’s most famous smoking gun. A thin layer of it can be found worldwide at the famous Cretaceous-Paleogene (K-Pg) boundary† in geological strata, dating from sixty-five million years ago. Not so coincidentally, that’s when every land species larger than a carry-on suitcase went extinct, including the legendary dinosaurs. Iridium is rare on Earth’s surface but relatively common in six-mile metallic asteroids, which, upon colliding with Earth, vaporize on impact, scattering their atoms across Earth’s surface. So, whatever might have been your favorite theory for offing the dinosaurs, a killer asteroid the size of Mount Everest from outer space should be at the top of your list.

Every element has sub-elements, but it also has aspects. For water, they are Flow and Change; for fire, Transformation and Destruction. Earth’s aspects are Foundation and Strength, while air’s are Freedom and Spirit. Metal is formed of Gravitation and Power, and nature—your alignment, Morgan—is made of Life and Death. The Domination elements are more aggressive, requiring emotion and drive in order to be utilized. The Discipline elements, however, require calm and willpower.

The immortal remains of Brother Watchtower watched the dragon flap away into the fog, and then looked down at the congealing puddle of stone, metal and miscellaneous trace elements that was all that remained of the secret headquarters. And of its occupants, he realized in the dispassionate way that is part of being dead. You go through your whole life and end up a smear swirling around like cream in a coffee cup. Whatever the gods’ games were, they played them in a damn mysterious way. He looked up at the hooded figure beside him. “We never intended this,” he said weakly. “Honestly. No offense. We just wanted what was due to us.” A skeletal hand patted him on the shoulder, not unkindly. And Death said, CONGRATULATIONS.

The Metal Element represents people who respect, treasure, and conserve precious items, like rare metals, gems, or jars of jam. Let’s calm ourselves down from the frenzy of summer’s exuberance and the sharing of our bountiful harvest. Oh my! This is a time in the seasons of falling back to earth, when all the plants go dormant or die, which brings the cycle back to the essence of things, like when you see the trees without leaves... just the trunk and bare branches. Even the things you’re most attached to must leave in the end. In some traditions the Metal Element is sometimes called the Air Element (also associated with Autumn) because Metal people are like a leaf falling through the Autumn air. The leaf will never be attached to its mother tree again. It must fly free and embrace the free-fall of letting go. What will the letting go bring? It may bring melancholy or longing for the past, and Metal accepts this. But it will also bring new life again in the Spring. As long as you don’t cling too tightly or too long, you can relax into the ebb and flow of death and rebirth.

With only one proton in its nucleus, hydrogen is the lightest and simplest element, made entirely during the big bang. Out of the ninety-four naturally occurring elements, hydrogen lays claim to more than two-thirds of all the atoms in the human body, and more than ninety percent of all atoms in the cosmos, on all scales, right on down to the solar system. Hydrogen in the core of the massive planet Jupiter is under so much pressure that it behaves more like a conductive metal than a gas, creating the strongest magnetic field among the planets.

...the relationships between the five elements. What are the five elements? They are wood, fire, earth, metal, water. These create, and also destroy, each other.... On the side of creation, wood creates fire; fire, as ash, creates earth. In earth there is metal: metal melts to become liquid. Water creates trees, or wood. On the side of destruction, wood consumes water through trees; earth can stop water; water destroys fire; fire destroys metal; but metal in an instrument destroys wood....Within this circle of creation and destruction man must live harmoniously, with ebb and flow, in tune with all that exists.

In most cases the name is unpoetical, although the fact is poetical. In the case of Smith, the name is so poetical that it must be an arduous and heroic matter for the man to live up to it. The name of Smith is the name of the one trade that even kings respected; it could claim half the glory of that arma virumque which all epics acclaimed. The spirit of the smithy is so close to the spirit of song that it has mixed in a million poems, and every blacksmith is a harmonious blacksmith. Even the village children feel that in some dim way the smith is poetic, as the grocer and the cobbler are not poetic, when they feast on the dancing sparks and deafening blows in the cavern of that creative violence. The brute repose of Nature, the passionate cunning of man, the strongest of earthly metals, the weirdest of earthly elements, the unconquerable iron subdued by its only conqueror, the wheel and the ploughshare, the sword and the steam-hammer, the arraying of armies and the whole legend of arms, all these things are written, briefly indeed, but quite legibly, on the visiting-card of Mr. Smith.

Enter tantalum, niobium, and cellular technology. Now, I don’t mean to impute direct blame. Clearly, cell phones didn’t cause the war—hatred and grudges did. But just as clearly, the infusion of cash perpetuated the brawl. Congo has 60 percent of the world’s supply of the two metals, which blend together in the ground in a mineral called coltan. Once cell phones caught on—sales rose from virtually zero in 1991 to more than a billion by 2001—the West’s hunger proved as strong as Tantalus’s, and coltan’s price grew tenfold. People purchasing ore for cell phone makers didn’t ask and didn’t care where the coltan came from, and Congolese miners had no idea what the mineral was used for, knowing only that white people paid for it and that they could use the profits to support their favorite militias. Oddly,

Incarnate ugliness, and yet alive! What would become of them all? Perhaps with the passing of the coal they would disappear again, off the face of the earth. They had appeared out of nowhere in their thousands, when the coal had called for them. Perhaps they were only weird fauna of the coal-seams. Creatures of another reality, they were elementals, serving the elements of coal, as the metal-workers were elementals, serving the element of iron. Men not men, but animas of coal and iron and clay. Fauna of the elements, carbon, iron, silicon: elementals. They had perhaps some of the weird, inhuman beauty of minerals, the lustre of coal, the weight and blueness and resistance of iron, the transparency of glass. Elemental creatures, weird and distorted, of the mineral world! They belonged to the coal, the iron, the clay, as fish belong to the sea and worms to dead wood. The anima of mineral disintegration!

28.  Do not repeat the tactics which have gained you one victory, but let your methods be regulated by the infinite variety of circumstances. [As Wang Hsi sagely remarks: “There is but one root-principle underlying victory, but the tactics which lead up to it are infinite in number.” With this compare Col. Henderson: “The rules of strategy are few and simple. They may be learned in a week. They may be taught by familiar illustrations or a dozen diagrams. But such knowledge will no more teach a man to lead an army like Napoleon than a knowledge of grammar will teach him to write like Gibbon.”] 29.  Military tactics are like unto water; for water in its natural course runs away from high places and hastens downwards. 30.  So in war, the way is to avoid what is strong and to strike at what is weak. [Like water, taking the line of least resistance.] 31.  Water shapes its course according to the nature of the ground over which it flows; the soldier works out his victory in relation to the foe whom he is facing. 32.  Therefore, just as water retains no constant shape, so in warfare there are no constant conditions. 33.  He who can modify his tactics in relation to his opponent and thereby succeed in winning, may be called a heaven-born captain. 34.  The five elements (water, fire, wood, metal, earth) are not always equally predominant; [That is, as Wang Hsi says: “they predominate alternately.”] the four seasons make way for each other in turn. [Literally, “have no invariable seat.”] There are short days and long; the moon has its periods of waning and waxing. [Cf. V. ss. 6. The purport of the passage is simply to illustrate the want of fixity in war by the changes constantly taking place in Nature. The comparison is not very happy, however, because the regularity of the phenomena which Sun Tzu mentions is by no means paralleled in war.]

The universe is an amazing puzzle, I thought as I looked upon this dizzying series of forms—radiant crystals, shining metals, gauzy butterflies, sea shells that seemed carved by a master artisan, the birds, beasts, insects, snakes, fish. All things are united by the same life force. Even rocks are formed from the same elements, sharing a kinship with plants and animals. These diverse expressions of nature seem so different at first glance, yet ultimately they are all connected.

Yes, the geomantic factors. You understand the principle of geomancy, of course—one orients oneself to the natural world on the basis of harmony with the five natural elements, which are fire, water, metal, wood, and earth. None of these three men seems to have been in harmony with the world. In Vietnamese terms, they were all under the influence of the Ma Than Vong.” “Which is?” “A very colorful and malevolent force—the tightening-knot ghost. Ma Than Vong goads men to suicide, or into situations where their violent death is inevitable.

Language as communication has three aspects or elements. There first what Karl Marx once called the language of real life, the element basic to the whole notion of language, its origins and development: that is, the relations people enter into with one another in the labour process, the links they necessarily establish among themselves in the act of a people, a community of human beings, producing wealth or means of life like food, clothing, houses. A human community really starts its historical being as a community of co-operation in production through the division of labour; the simplest is between man, woman and child within a household; the more complex divisions are between branches of production such as those who are sole hunters, sole gatherers of fruits or sole workers in metal. Then there are the most complex divisions such as those in modern factories where a single product, say a shirt or a shoe, is the result of many hands and minds. Production is co-operation, is communication, is language, is expression of a relation between human beings and it is specifically human.

The idea of mining asteroids is not as preposterous as it might seem. We actually know a considerable amount about their makeup, because some of them hit the Earth. They consist of iron, nickel, carbon, and cobalt, and they also contain significant quantities of rare earths and valuable metals such as platinum, palladium, rhodium, ruthenium, iridium, and osmium. These elements are found naturally on Earth, but they are rare and very expensive. As the supply of these resources on Earth is exhausted in the coming decades, it will become economical to mine them in the asteroid belt.

The widespread use of gold in religious artifacts may be of special significance. Gold is a useless metal. It is too soft to be used in tools or cookware. It is also rare and difficult to mine and extract, especially for primitive peoples. But from the earliest times gold was regarded as a sacred metal, and men who encountered gods were ordered to supply it. Over and over again the Bible tells us how men were instructed to create solid gold objects and leave them on mountaintops where the gods could get them. The gods were gold hungry. But why? Gold is an excellent conductor of electricity and is a heavy metal, ranking close to mercury and lead on the atomic scale. We could simplify things by saying that the atoms of gold, element 79, are packed closely together. If the ancient gods were real in some sense, they may have come from a space-time continuum so different from ours that their atomic structure was different. They could walk through walls because their atoms were able to pass through the atoms of stone. Gold was one of the few earthly substances dense enough for them to handle. If they sat in a wooden chair, they would sink through it. They needed gold furniture during their visits.

In a system that required supreme durability and quality, there were, in other words, two crucial elements that had neither: switching relays and vacuum tubes. As we’ve seen, tubes were extremely delicate and difficult to make; they required a lot of electricity and gave off great heat. Switches—the mechanisms by which each customer’s call was passed along the system’s vast grid to the precise party he was calling—were prone to similar problems. They were delicate mechanical devices; they used relays that employed numerous metal contacts; they could easily stop working and would eventually wear out.

Red-checked tablecloths, cheap metal chairs, and all manner of food on the menu, from dim sum to stromboli. Soft lighting did nothing to hide the fact that they were the only patrons in the place. After they were seated at a four top, with sodas in front of them, Nick was desperate for anything to lighten the mood. “Fast service,” he said wryly. “Do you want me to accuse you of dazzling the waitress?” Adam choked on his soda. “Is that a Twilight reference? How is it possible your brothers don’t know you’re g*y?” Every time he said that, Nick wanted to flinch as hard as Adam had on the street. “I said a girlfriend was making me read it.

Mendeleyev dutifully completed his studies and eventually landed a position at the local university. There he was a competent but not terribly outstanding chemist, known more for his wild hair and beard, which he had trimmed just once a year, than for his gifts in the laboratory. However, in 1869, at the age of thirty-five, he began to toy with a way to arrange the elements. At the time, elements were normally grouped in two ways—either by atomic weight (using Avogadro’s Principle) or by common properties (whether they were metals or gases, for instance). Mendeleyev’s breakthrough was to see that the two could be combined in a single table.

The co-presence of mind and object simply is not sufficient for an apprehension or comprehension of any object. Before one can seize an object, one must be equipped with a whole mass of sensitivities, concepts, expectations, background assumptions. A layman looking at a car engine just sees a jumble of metal objects and wires; a person who knows about car engines can immediately identify the parts and see their interconnection. Countless similar examples can be invoked: the capacity to perceive depends on the possession of the appropriate concepts. ... And here’s the rub: the concepts, the anticipatory classifications and interpretations, contain theories which a) had to be discovered and built up by a long process, and b) may yet in the future turn out to be false. So even the purest of hearts, free of inner deception, will not perceive and understand an object unless endowed with proper intellectual equipment. Perception is never, so to speak, the innocent encounter of a pure mind with a naked object, and therefore capable of serving as an untainted foundation for an edifice of knowledge; perception is the encounter with some given element, which cannot be seized or isolated in its purity, but depends on a corpus of knowledge acquired up to that time, but open to revision in the future.

The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

Compared to cotton, synthetic fibers require a lot less water to produce, but that’s not necessarily a good enough argument for using them, since they have other significant impacts: they are still made of oil, and their production can require a lot of energy. MIT calculated that the global impact of producing polyester alone was somewhere between 706 million metric tons of carbon dioxide, or about what 185 coal-fired power plants emit in a year.2 Samit Chevli, the principal investigator for biomaterials at DuPont, the giant chemical company, has said that it will be hundreds of years before regular polyester degrades.3 Plus, while the chemicals used in production typically aren’t released to the environment, if factories don’t have treatment systems in the last phase of production, they can release antimony, an element that can be harmful to human health, as well as other toxins and heavy metals. Despite having just written a good amount about the impacts associated with the production of synthetic fibers, that’s actually not why I wanted to call attention to your yoga pants and dry-fit sweat-wicking T-shirts, which we wear out to dinner. It is hard for me to leave my fashion critique at the door, but what I actually want to say about synthetic fibers is that they are everywhere—not just in all of our clothes, but literally everywhere: rivers, lakes, oceans, agricultural fields, mountaintops, glaciers. Everywhere. Synthetic fibers, actually, may be one of the most abundant, widespread, and stubborn forms of pollution that we have inadvertently created.

This ability to zoom in at very high resolution on a time window just 21 years wide and almost 13,000 years in the past comes to us courtesy of an amazing scientific resource consisting of ice cores from Greenland. Extracted with tubular drills that can reach depths of more than 3 kilometers, these cores preserve an unbroken 100,000-year record of any environmental and climatic events anywhere around the globe that affected the Greenland ice cap. What they show, and what Allen is referring to, is a mysterious spike in the metallic element platinum--'a 21-year interval with elevated platinum,' as he puts it now--'so we know that was the length of the impact event because there's very little way, once platinum falls on the ice sheet, that it can move around. It's pretty well locked in place.

Military tactics are like unto water, for water, in its natural course, runs away from high places, and hastens downwards. So, in war, the way is to avoid what is strong, and to strike at what is weak. Water shapes its course according to the nature of the ground over which it flows. The soldier works out his victory in relation to the foe in which he is facing. Therefore, just as water retains no constant shape, so in warfare, there are no constant conditions. He who can modify his tactics in relation to his opponent, and thereby succeed in winning, may be called a Heaven-born Captain. The Five Elements: Water, Fire, Wood, Metal, Earth, are not always equally predominant. The Four Seasons make way for each other in turn. There are short days, and long. The Moon has its periods of waning, and waxing.

[Pechblende] einer eigenthümlichen, selbstständigen metallischen Substanz bestehe. Es fallen folglich auch deren bisherige Benennungen, als: Ресhblende Eisenpecherz, hinweg, welche nun durch einen neuen ausschliessend bezeichnenden Namen zu ersetzen sind. Ich habe dazu den Namen: Uranerz (Uranium) erwählt; zu einigem Andenken, dass die chemische Ausfindung dieses neuen Metallkörpers in die Epoche der astronomischen. Entdeckung des Planeten Uranus gefallen sei. [Pitchblende] consists of a peculiar, distinct, metallic substance. Therefore its former denominations, pitch-blende, pitch-iron-ore, &c. are no longer applicable, and must be supplied by another more appropriate name.—I have chosen that of uranite, (Uranium), as a kind of memorial, that the chemical discovery of this new metal happened in the period of the astronomical discovery of the new planet Uranus.

Erin. “No matter what else has happened, you’re water and your element is welcome in our circle, but we don’t need any negative energy here—this is too important.” I nodded to the spiders. Erin’s gaze followed mine and she gasped. “What the hell is that?” I opened my mouth to evade her question, but my gut stopped me. I met Erin’s blue eyes. “I think it’s what’s left of Neferet. I know it’s evil and it doesn’t belong at our school. Will you help us kick it out?” “Spiders are disgusting,” she began, but her voice faltered as she glanced at Shaunee. She lifted her chin and cleared her throat. “Disgusting things should go.” Resolutely, she walked to Shaunee and paused. “This is my school, too.” I thought Erin’s voice sounded weird and kinda raspy. I hoped that meant that her emotions were unfreezing and that, maybe, she was coming back around to being the kid we used to know. Shaunee held out her hand. Erin took it. “I’m glad you’re here,” I heard Shaunee whisper. Erin said nothing. “Be discreet,” I told her. Erin nodded tightly. “Water, come to me.” I could smell the sea and spring rains. “Make them wet,” she continued. Water beaded the cages and a puddle began to form under them. A fist-sized clump of spiders lost their hold on the metal and splashed into the waiting wetness. “Stevie Rae.” I held my hand out to her. She took mine, then Erin’s, completing the circle. “Earth, come to me,” she said. The scents and sounds of a meadow surrounded us. “Don’t let this pollute our campus.” Ever so slightly, the earth beneath us trembled. More spiders tumbled from the cages and fell into the pooling water, making it churn. Finally, it was my turn. “Spirit, come to me. Support the elements in expelling this Darkness that does not belong at our school.” There was a whooshing sound and all of the spiders dropped from the cages, falling into the waiting pool of water. The water quivered and began to change form, elongating—expanding. I focused, feeling the indwelling of spirit, the element for which I had the greatest affinity, and in my mind I pictured the pool of spiders being thrown out of our campus, like someone had emptied a pot of disgusting toilet water. Keeping that image in mind, I commanded: “Now get out!” “Out!” Damien echoed. “Go!” Shaunee said. “Leave!” Erin said. “Bye-bye now!” Stevie Rae said. Then, just like in my imagination, the pool of spiders lifted up, like they were going to be hurled from the earth. But in the space of a single breath the dark image reformed again into a familiar silhouette—curvaceous, beautiful, deadly. Neferet! Her features weren’t fully formed, but I recognized her and the malicious energy she radiated. “No!” I shouted. “Spirit! Strengthen each of the elements with the power of our love and loyalty! Air! Fire! Water! Earth! I call on thee, so mote it be!” There was a terrible shriek, and the Neferet apparition rushed forward. It surged from our circle, breaking over Erin

Preventing a radioactive release is the highest priority at any nuclear facility, so power stations are built and operated with a safety philosophy of ‘defense in depth’. Defense in depth aims to avoid accidents by embracing a safety culture, but also accepts that mechanical (and human) failures are inevitable. Any possible problem - however unlucky - is then anticipated and factored into the design with multiple redundancies. The goal, therefore, is to provide depth to the safety systems; akin to the way Russian dolls have several layers before reaching the core doll. When one element fails, there is another, and another, and another that still functions. The first barrier are the fuel ceramic pellets themselves, followed by each fuel rod’s zirconium alloy cladding. In an ordinary modern commercial nuclear plant, the nuclear core where the fission reaction takes place would be contained inside a third barrier: an almost unbreakable metal shield enveloping the reactor, called a ‘pressure vessel’.

The houses were left vacant on the land and the land was vacant because of this. Only the tractor sheds of corrugated iron, silver and gleaming were alive, and they were alive with metal and gasoline and oil, discs of the plows shining. The tractors had lights shining, for there is no day and night for a tractor, and the discs turn the earth in the darkness and they glitter in the daylight. And when a horse stops work and goes into the barn, there is a life and vitality left. There is a breathing and a warmth, and the feet shift on the straw, and the jaws champ on the hay, and the ears and the eyes are alive. There is a warmth of life in the barn and the heat and smell of life, but when the motor of a tractor stops it is as dead as the ore it came from. The heat goes out of it like the living heat that leaves a corpse. Then the corrugated iron doors are closed and the tractor man drives home to town, perhaps twenty miles away, and he need not come back for weeks or months, for the tractor is dead. And this is easy and efficient. So easy, that the wonder goes out of work. So efficient, that the wonder goes out of land, the working of it, and with the wonder, the deep understanding and the relation. And in the tractor man the grows the contempt that comes only to a stranger who has little understanding and no relation, for nitrates are not the land, nor phosphates, and the length of fiber in the cotton is not the land. Carbon is not a man, nor salt, water, nor calcium. He is all these, but he is much more, much more. And the land is so much more than its analysis. The man who is more than his chemistry walking on the earth, turning his plow point for a stone, dropping his handles to slide over an outcropping, kneeling in the earth to eat his lunch, that man who is more than his elements knows the land that is more than it's analysis. But the machine man, driving a dead tractor on land he does not know and love understands only chemistry, and he is contemptuous of the land and of himself. When the corrugated iron doors are shut he goes home, and his home is not the land.

Tito looked eagerly toward the dark crest of the mountain, behind which the sky pulsed in the morning light. Now a fragment of the rocky ridge flashed violently like a glowing metal beginning to melt. The crest blurred and seemed suddenly lower, as if it were melting down, and from the fiery gap the dazzling sun appeared. Simultaneously, the ground, the house, and their shore of the lake were illuminated, and the two, standing in the strong radiance, instantly felt the delightful warmth of this light. The boy, filled with the solemn beauty of the moment and the glorious sensation of his youth and strength, stretched his limbs with rhythmic arm movements, which his whole body soon took up, celebrating the break of day in an enthusiastic dance and expressing his deep oneness with the surging, radiant elements. His steps flew in joyous homage toward the victorious sun and reverently retreated from it; his outspread arms embraced mountain, lake, and sky; kneeling, he seemed to pay tribute to the earth mother, and extending his hands, to the waters of the lake; he offered himself, his youth, his freedom, his burning sense of is own life, like a festive sacrifice to the powers. The sunlight gleamed on his tanned shoulders; his eyes were half-closed to the dazzle; his young face stared masklike with an expression of inspired, almost fanatical gravity.

Metal atoms are bound together by metallic bonding. That is not just a tautology. The clue to its nature is the fact that all the metals lie towards the left-hand side of the Periodic Table where, as we have seen, the atoms of the elements have only a few electrons in their outermost cloud layers and which are readily lost. To envisage metallic bonding, think of all these outermost electrons as slipping off the parent atom and congregating in a sea that pervades the whole slab of atoms. The cations that are left behind lie in this sea and interact favourably with it. As a result, all the cations are bound together in a solid mass. That mass is malleable because, like an actual sea, it can respond readily to a shift in the positions of the cations in the mass when they are struck by a hammer. The electrons also allow the metal to be drawn out into a wire, by responding immediately to the relocation of the cations. As the electrons in the sea are not pinned down to particular atoms, they are mobile and can migrate through the solid in response to an electric field. Metals are lustrous because the electrons of the sea can respond to the shaking caused by the electric field of an incident ray of light, and that oscillation of the sea in turn generates light that we perceive as reflection. When we gaze into the metal coating of a mirror, we are watching the waves in the metal’s electron sea.

Economics are as simple as they are not obscured. And as confused as they are made to serve a selfish purpose. Any child can understand—and practice—the basic principles of economics. But grown men, huge with the stature of Government or Chain Banks, find it very useful to obscure the subject beyond all comprehension. The things that are done in the name of 'economic necessity' would shame Satan. For they are done by the selfish few to deny the many. Economics easily evolve into the science of making people miserable. Nine-tenths of life are economic. The remaining one-tenth is social-political. If there is this fruitful source of suppression loose upon the world and if it makes people unhappy, then it is a legitimate field for comment in Scientology as it must form a large 'misunderstood' in our daily lives. Let us see how involved it can be made. If Mankind increases in number and if property and goods increase, then money must also increase unless we are to arrive at a point where none can buy. Yet money is pegged to a metal of which there is just so much and no more—gold. So if Man's expansion is to be checked, it will be checked simply by running out of this metal. And aside from art uses and superstition, the metal, gold, has almost no practical value. Iron is far more useful, but as it is one of the most common elements about, it would not serve the purpose of suppression of Man's growth. MONEY IS SIMPLY A SYMBOL THAT PEOPLE ARE CONFIDENT CAN BE CONVERTED INTO GOODS.

Pure? What does it mean? The tongues of hell Are dull, dull as the triple Tongues of dull, fat Cerberus Who wheezes at the gate. Incapable Of licking clean The aguey tendon, the sin, the sin. The tinder cries. The indelible smell Of a snuffed candle! Love, love, the low smokes roll From me like Isadora’s scarves, I’m in a fright One scarf will catch and anchor in the wheel, Such yellow sullen smokes Make their own element. They will not rise, But trundle round the globe Choking the aged and the meek, The weak Hothouse baby in its crib, The ghastly orchid Hanging its hanging garden in the air, Devilish leopard! Radiation turned it white And killed it in an hour. Greasing the bodies of adulterers Like Hiroshima ash and eating in. The sin. The sin. Darling, all night I have been flickering, off, on, off, on. The sheets grow heavy as a lecher’s kiss. Three days. Three nights. Lemon water, chicken Water, water make me retch. I am too pure for you or anyone. Your body Hurts me as the world hurts God. I am a lantern—— My head a moon Of Japanese paper, my gold beaten skin Infinitely delicate and infinitely expensive. Does not my heat astound you! And my light! All by myself I am a huge camellia Glowing and coming and going, flush on flush. I think I am going up, I think I may rise—— The beads of hot metal fly, and I love, I Am a pure acetylene Virgin Attended by roses, By kisses, by cherubim, By whatever these pink things mean! Not you, nor him Nor him, nor him (My selves dissolving, old whore petticoats)—— To Paradise.

Of all the metals there is none more essential to life than iron. It is the accumulation of iron in the center of a star which triggers a supernova explosion and the subsequent scattering of the vital atoms of life throughout the cosmos. It was the drawing by gravity of iron atoms to the center of the primeval earth that generated the heat which caused the initial chemical differentiation of the earth, the outgassing of the early atmosphere, and ultimately the formation of the hydrosphere. It is molten iron in the center of the earth which, acting like a gigantic dynamo, generates the earth's magnetic field, which in turn creates the Van Allen radiation belts that shield the earth's surface from destructive high-energypenetrating cosmic radiation and preserve the crucial ozone layer from cosmic ray destruction… Without the iron atom, there would be no carbon-based life in the cosmos; no supernovae, no heating of the primitive earth, no atmosphere or hydrosphere. There would be no protective magnetic field, no Van Allen radiation belts, no ozone layer, no metal to make hemoglobin [in human blood], no metal to tame the reactivity of oxygen, and no oxidative metabolism. The intriguing and intimate relationship between life and iron, between the red color of blood and the dying of some distant star, not only indicates the relevance of metals to biology but also the biocentricity of the cosmos… This account clearly indicates the importance of the iron atom. The fact that particular attention is drawn to iron in the Qur'an also emphasises the importance of the element.

Mirrors I have been horrified before all mirrors not just before the impenetrable glass, the end and the beginning of that space, inhabited by nothing but reflections, but faced with specular water, mirroring the other blue within its bottomless sky, incised at times by the illusory flight of inverted birds, or troubled by a ripple, or face to face with the unspeaking surface of ghostly ebony whose very hardness reflects, as if within a dream, the whiteness of spectral marble or a spectral rose. Now, after so many troubling years of wandering beneath the wavering moon, I ask myself what accident of fortune handed to me this terror of all mirrors– mirrors of metal and the shrouded mirror of sheer mahogany which in the twilight of its uncertain red softens the face that watches and in turn is watched by it. I look on them as infinite, elemental fulfillers of a very ancient pact to multiply the world, as in the act of generation, sleepless and dangerous. They extenuate this vain and dubious world within the web of their own vertigo. Sometimes at evening they are clouded over by someone's breath, someone who is not dead. The glass is watching us. And if a mirror hangs somewhere on the four walls of my room, I am not alone. There's an other, a reflection which in the dawn enacts its own dumb show. Everything happens, nothing is remembered in those dimensioned cabinets of glass in which, like rabbits in fantastic stories, we read the lines of text from right to left. Claudius, king for an evening, king in a dream, did not know he was a dream until the day on which an actor mimed his felony with silent artifice, in a tableau. Strange, that there are dreams, that there are mirrors. Strange that the ordinary, worn-out ways of every day encompass the imagined and endless universe woven by reflections. God (I've begun to think) implants a promise in all that insubstantial architecture that makes light out of the impervious surface of glass, and makes the shadow out of dreams. God has created nights well-populated with dreams, crowded with mirror images, so that man may feel that he is nothing more than vain reflection. That's what frightens us.

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

Niobe earned the ire of the gods by bragging about her seven lovely daughters and seven “handsome sons—whom the easily offended Olympians soon slaughtered for her impertinence. Tantalus, Niobe’s father, killed his own son and served him at a royal banquet. As punishment, Tantalus had to stand for all eternity up to his neck in a river, with a branch loaded with apples dangling above his nose. Whenever he tried to eat or drink, however, the fruit would be blown away beyond his grasp or the water would recede. Still, while elusiveness and loss tortured Tantalus and Niobe, it is actually a surfeit of their namesake elements that has decimated central Africa. There’s a good chance you have tantalum or niobium in your pocket right now. Like their periodic table neighbors, both are dense, heat-resistant, noncorrosive metals that hold a charge well—qualities that make them vital for compact cell phones. In the mid-1990s cell phone designers started demanding both metals, especially tantalum, from the world’s largest supplier, the Democratic Republic of Congo, then called Zaire. Congo sits next to Rwanda in central Africa, and most of us probably remember the Rwandan butchery of the 1990s. But none of us likely remembers the day in 1996 when the ousted Rwandan government of ethnic Hutus spilled into Congo seeking “refuge. At the time it seemed just to extend the Rwandan conflict a few miles west, but in retrospect it was a brush fire blown right into a decade of accumulated racial kindling. Eventually, nine countries and two hundred ethnic tribes, each with its own ancient alliances and unsettled grudges, were warring in the dense jungles. Nonetheless, if only major armies had been involved, the Congo conflict likely would have petered out. Larger than Alaska and dense as Brazil, Congo is even less accessible than either by roads, meaning it’s not ideal for waging a protracted war. Plus, poor villagers can’t afford to go off and fight unless there’s money at stake. Enter tantalum, niobium, and cellular technology. Now, I don’t mean to impute direct blame. Clearly, cell phones didn’t cause the war—hatred and grudges did. But just as clearly, the infusion of cash perpetuated the brawl. Congo has 60 percent of the world’s supply of the two metals, which blend together in the ground in a mineral called coltan. Once cell phones caught on—sales rose from virtually zero in 1991 to more than a billion by 2001—the West’s hunger proved as strong as Tantalus’s, and coltan’s price grew tenfold. People purchasing ore for cell phone makers didn’t ask and didn’t care where the coltan came from, and Congolese miners had no idea what the mineral was used for, knowing only that white people paid for it and that they could use the profits to support their favorite militias. Oddly, tantalum and niobium proved so noxious because coltan was so democratic. Unlike the days when crooked Belgians ran Congo’s diamond and gold mines, no conglomerates controlled coltan, and no backhoes and dump trucks were necessary to mine it. Any commoner with a shovel and a good back could dig up whole pounds of the stuff in creek beds (it looks like thick mud). In just hours, a farmer could earn twenty times what his neighbor did all year, and as profits swelled, men abandoned their farms for prospecting. This upset Congo’s already shaky food supply, and people began hunting gorillas for meat, virtually wiping them out, as if they were so many buffalo. But gorilla deaths were nothing compared to the human atrocities. It’s not a good thing when money pours into a country with no government.

The contrivance was quite fantastic, and presented the appearance of some new, highly complicated musical instrument. I remember that there were many wires of varying thickness, stretched on a series of concave sounding-boards of some dark, unlustrous metal; and above these, there depended from three horizontal bars a number of square, circular and triangular gongs. Each of these appeared to be made of a different material; some were bright as gold, or translucent as jade; others were black and opaque as jet. A small hammer-like instrument hung opposite each gong, at the end of a silver wire. Averaud proceeded to expound the scientific basis of his mechanism. The vibrational properties of the gongs, he said, were designed to neutralize with their sound-pitch all other cosmic vibrations than those of evil. He dwelt at much length on this extravagant theorem, developing it in a fashion oddly lucid. He ended his peroration: “I need one more gong to complete the instrument; and this I hope to invent very soon. The triangular room, draped in black, and without windows, forms the ideal setting for my experiment. Apart from this room, I have not ventured to make any change in the house or its grounds, for fear of deranging some propitious element or collocation of elements.” More than ever, I thought that he was mad. And, though he had professed on many occasions to abhor the evil which he planned

For though Europe has no deserts and no Nile, Champollion and Ramesses both lived in small-scale wheat-based economies founded on the technologies of the Middle Eastern Bronze Age. Broadly speaking, the material elements of those two economies – stone-cutting and metal-smelting, animal husbandry and farming and the everyday technologies of house and home – weaving, potting, baking, brewing, cheese-making and the rest – were much the same.

Spring is a wood element; summer, a fire element; long summer, an earth element; autumn, a metal element; and winter, a water element. Yes, there are five seasons in the year, according to the ancient Chinese way of understanding nature.

6. Material gloss, the principle: A non-mirror surface looks the same in any environment, but a mirror surface changes with the light and the surroundings. The same material can have different visual effects by using different processes and special materials. But it is hard to change the quality of the material by using the same process on different grades of the same material. Some materials have a charm that is not only based on their features, but also on how they interact with the environment. For example, precious metals can reflect light and show a unique visual effect, even if they are very similar to other elements. The best visual effect is when some of the light is reflected and some of it shows the gloss of the material. The second best is when there is no reflection at all. The third best is when there is a mirror-like reflection that creates complex scenes that are hard to control.

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The creature crept. It whimpered from fear and pain, a thing, slobbering sound horrible to hear. Shapeless, formless thing yet changing shape and form with every jerky movement. It crept along the corridor of the space freighter, fighting the terrible urge of its elements to take the shape of its surroundings. A gray blob of disintegrating stuff, it crept, it cascaded, it rolled, flowed, dissolved, every movement an agony of struggle against the abnormal need to become a stable shape. Any shape! The hard, chilled-blue metal wall of the Earth-bound freighter, the thick, rubbery floor. The floor was easy to fight. It wasn’t like the metal that pulled and pulled. It would be easy to become metal for all eternity. But something prevented it. An implanted purpose. A purpose that drummed from electron to electron, vibrated from atom to atom with an unvarying intensity that was like a special pain: Find the greatest mathematical mind in the Solar System, and bring it to the vault of the Martian ultimate metal. The Great One must be freed! The prime number time lock must be opened!

Chomsky’s theory of language origins is based on the principle of emergence. The word simply means the whole is greater—sometimes vastly so—than the mere sum of the parts. A good example would be the production of salt—an edible white crystal—by combining the pungent, greenish, poisonous gas chlorine with the shiny, light metal sodium. Neither of these elements has anything saltlike about it, yet they combine into salt. Now if such a complex, wholly unpredictable new property can emerge from a simple interaction between two elementary substances, then who can predict what novel unforeseen properties might emerge when you pack 100 billion nerve cells into the tiny space of the human cranial cavity? Maybe language is one such property.

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Kai’s black smoke poured from him and clouded the room in a mist so dark that I knew it would make it hard for them to see us. I reached inside myself, embracing my own powers, and I coaxed them forward. I felt for the elements around me, tasting the ash on my tongue from the lanterns burning near the guards, and drew it in.  My lungs filled with their smoke, and I let it consume me until I could hardly breathe. Only then did I draw back my arm, and the air around me hummed with energy. One of the guard’s swords whirred past my ear as he lunged at me, but I didn’t falter. The air around me crackled, and I grabbed his blade in my hand, the metal beginning to turn to liquid in my hold before I jerked it from his grasp and slammed the hilt into his stomach. The guard fell to the ground, his dazed eyes looking up at me, but I was already moving on to the next.

And the meanings of those stories will change based on the time and circumstances in which they are read. Then, left to each individual recipient, certain elements will be imitated, and others expanded. Through that repeated behavior, new memes are born.

The organs and elements either generate or destroy each other in a particular pattern. This idea is a reflection of the Chinese principle of restoring equilibrium through balancing opposites (yin-yang) or of wuxing, which refers to the interlocking nature of the five elements. The idea of wuxing explains that each element exerts a generative and subjugative influence on one another. Wood will generate (or feed) fire and fire will generate new earth. Elements also subjugate or destroy each other. A practitioner diagnoses which elements might need to be generated or decreased and will figure treatment accordingly. Understanding this cycle is the key to creating balance within the system. GENERATIVE INTERACTIONS wood feeds fire fire creates earth earth bears metal metal collects water water nourishes wood DESTRUCTIVE INTERACTIONS These are often called “overcoming” interactions, as they involve one element being destroyed or changed by another: wood parts earth earth takes in water water quenches fire fire melts metal metal chops wood The ancient Chinese had a different idea of anatomy than Western physicians. Instead of being characterized by their position in the body, the organs were understood by the role they played within the overall system. They were therefore described by their interdependent relationships and connection to the skin via the blood (xue), fluids, meridians, and the three vital treasures described below. Just as organs flow in five phases, so do the seasons and points on the compass. There are four directions, with China representing the fifth (at the center). Unlike the Western compass, the Chinese compass emphasizes the south. This is summer, the hottest time of the year. It is appropriately linked to fire. West is the setting of the sun and is associated with autumn and metal, while north is winter and water (the opposite of the south). East, the rising sun, is linked with spring and wood. Earth is related to the center of the compass and late summer. If any of these phases are out of balance, the entire system is unbalanced. Blocks or stagnation anywhere can result in problems, as can excess or lack. A proper diagnosis will integrate all of these factors. FIGURE 4.20 THE FIVE CHINESE ELEMENTS THE THREE VITAL TREASURES The Three Treasures, sometimes called the Three Jewels, are keystones in traditional Chinese medicine. From the Taoist perspective, these three treasures constitute the essential forces of life, which are considered to be three forms of the same substance. These three treasures are: •​Jing, basic or nutritive essence, seen as represented in sperm, among other substances. •​Chi, life force connected with air, vapor, breath, and spirit. •​Shen, spiritual essence linked with the soul and supernaturalism. Most often, jing is related to body energy, chi to mind energy, and shen to spiritual energy. These three energies cycle, with jing serving as the foundation for life and procreation, chi animating the body’s performance, and shen mirroring the state of the soul.

And iron is indeed everywhere. It courses through our bodies in our red blood cells. It is the main element in the planet’s core and the second most abundant metal in the earth’s crust (at 5 per cent, after aluminium which is 8 per cent).

Was it so fantastic, after all? Every chemist knew that element No. 97 was one of the most malleable of all metals.

Chill a large, deep metal bowl (or the bowl of your standing mixer) and the whisk (or whisk attachment) in the freezer for at least 20 minutes before you begin. When the bowl is chilled, prepare the cream with your chosen flavoring as directed below, then add the sugar. I prefer to whip cream by hand because it gives me more control, so I’m less likely to overwhip it and end up with butter. If you’d like to use a mixer, run it at a low speed. Whisk until the first soft peaks appear.

For instance: if contemporary trends in architecture, even in this period of accelerating carbon emissions, favor shiny, glass-and-metal-plated towers, do we not have to ask, What are the patterns of desire that are fed by these gestures? If I, as a novelist, choose to use brand names as elements in the depiction of character, do I not need to ask myself about the degree to which this makes me complicit in the manipulations of the marketplace?

In 1924, when iodine deficiency was a common health problem, Morton Salt began iodising salt to help prevent goitres, leading to great strides in public health. These days, we can get sufficient amounts of iodine from natural sources. As long as your diet is diverse and full of iodine-rich foods such as seafood and dairy, there’s no need to suffer through metallic-tasting food.

We were disappointed that we had not been able to find any survivors on the sunken ships, but after six days of sounding, we were sure no one was alive within them. While our diving crews were occupied sounding the ships and freeing the USS Tennessee, the shipyard constructed two diving barges, each one twenty feet wide and thirty feet long. Buoyancy was provided by three cylindrical pontoons. Wooden planks formed the deck, while corrugated sheet metal on the roof provided protection from the elements. A long pipe spanned the upright stanchions along the side of one barge, which provided an area to hang the divers’ rubberized canvas dresses. Along the opposite side were hangers for the four sets of lifelines and air hoses. A large workbench was situated in the middle of the barge. Installed at one end was a wooden diving ladder that led down to the water four feet below. Next to the ladder was a table that held the diving telephone equipment. Four dressing stools were neatly stacked near the table.

Crude vegetable oil contains hydratable and non-hydratable gums, free fatty acids, [partly oxidized] coloring pigments like carotenoids, moisture, [toxic] oxidative components like aldehydes and peroxides, metallic elements, waxes and other impurities.”10 That’s a lot to clean up.

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

All along that beach I saw what looked like the abandoned remnants of an outdoor training gym—bench presses, a manual elliptical, pull-up bars. Time and the elements seemed to have gotten the best of the equipment, and in the blur of our passing I saw yellow paint peeling from the machines to reveal the rusting metal beneath. I assumed that these pieces were the remains of some public works project gone wrong, and the sight of this ostensible failure immediately became a sign of our collective dysfunction, of the “Negro race’s” irredeemably savage state. And hearing that voice in my mind, I came to a terrible realization: After all the work of my parents, all the Ashanti to Zulu and Bringing the Rain to Kapiti Plain, after all the drums and dance classes, after all the African names, after the entire arsenal of vindication, I was still afraid that the Niggerologists were right about us.

When Hahn and Strassman conducted their experiment, they launched a neutron into an atom of uranium, a metal that was made up of the largest and heaviest atoms known at the time. Because a neutron has no electrical charge, it can slip through the powerful wall of electrons that surrounds every atom. This extra neutron is absorbed into the already bloated uranium nucleus, upsetting the careful balance of forces that holds the atom together. And in a flash the whole atom fractures. Its protons and electrons and neutrons rearrange themselves into different elements. The reaction also releases stray neutrons, which fly off on their own. But the most significant by-product of this collision is energy. Lots of it… Just how much energy comes from a nuclear reaction? About seventy million times more energy than from a chemical reaction. So if, for example, you fissioned one kilogram of uranium, it would make the same size explosion as 20,000 tons of TNT. One little chunk of uranium has more potential explosive energy than a pile of TNT stacked ten stories high. If fission could work on a large enough scale (instead of just one atom at a time), mankind stood to gain more than merely the ability to make explosions. In fact, fission promised to reveal some of the deepest mysteries of the universe. The secret behind fission’s awesome power lies in the type of reaction that is taking place. For practically all of human history, the most energetic reactions that humans were aware of were chemical reactions. Fire is a good example. If you ignite a lump of coal and make sure there is enough oxygen around, the result is fire (energy) and smoke. On a molecular level, the heat from the flame disrupts the electrons in the coal, causing each carbon atom to bond with two atoms of oxygen. The result is a new molecule made from the old atoms: CO2. We put in carbon and oxygen, and we get out carbon and oxygen, though in slightly different arrangements. But in a nuclear reaction, such as fission, the original atom of uranium disappears. It actually becomes two new atoms. Instead of changing merely the arrangement of the atoms, fission changes their very identity. In fission, scientists had finally discovered the philosopher’s stone that had captivated the minds of medieval alchemists. With fission, we could finally turn lead into gold.