Modern Interior Quotes

Many have noted that the modern world is a virtual conspiracy against the interior life.

De tot ce se întâmplă în lume sunt şi eu vinovat. Pentru că nu sunt un om întreg, nu sunt o unitate armonioasă, sunt un ins dezaxat, fără centru. Probabil că mai sunt şi alţii, zeci de milioane, ca mine. Şi cum pentru societăţile moderne lumea înseamnă tot mai puţin Cosmos şi tot mai multă Istorie, îţi dai seama ce repercusiuni poate avea dezechilibrul acesta interior în afară de noi. Cum am putea fi creatori în Istorie noi, câteva zeci de milioane de dezechilibraţi?

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

By the time we grow up we become masters at dissimulation, at cultivating a self that the world cannot probe. But we pay a price. After years of turning people away, of protecting our inner self, of cultivating it by living in a different world, of furnishing this world with our fantasies and dreams—lo and behold we find that we are hopelessly separated from everyone else. We have become victims of our own art. We touch people on the outsides of their bodies, and they us, but we cannot get at their insides and cannot reveal our insides to them. This is one of the great tragedies of our interiority—it is utterly personal and unrevealable. Often we want to say something unusually intimate to a spouse, a parent, a friend, communicate something of how we are really feeling about a sunset, who we really feel we are—only to fall strangely and miserably flat. Once in a great while we succeed, sometimes more with one person, less or never with others. But the occasional break-through only proves the rule. You reach out with a disclosure, fail, and fall back bitterly into yourself. We emit huge globs of love to our parents and spouses, and the glob slithers away in exchange of words that are somehow beside the point of what we are trying to say. People seem to keep bumping up against each other with their exteriors and falling away from each other. The cartoonist Jules Feiffer is the modern master of this aspect of the human tragedy. Take even the sexual act—the most intimate merger given to organisms. For most people, even for their entire lives, it is simply a joining of exteriors. The insides melt only in the moment of orgasm, but even this is brief, and a melting is not a communication. It is a physical overcoming of separateness, not a symbolic revelation and justification of one’s interior. many people pursue sex precisely because it is a mystique of the overcoming of the separateness of the inner world, and they go from one partner to another because they can never quite achieve “it." So the endless interrogations: “What are you thinking about right now—me? Do you feel what I feel? Do you love me?

Techno-systems Inc. occupies the top thee floors of a building so modern it looks like it must have been finished this morning. Yet compared to the interior of their offices, the rest of the building looks like a prewar colonial. Techno clearly wants to convey the impression that they are on the cutting edge, and for all I know, they may be. I wouldn't recognize the cutting edge if I sliced my finger on it.

The rise of the buffered identity has been accompanied by an interiorization; that is, not only the Inner/Outer distinction, that between Mind and World as separate loci, which is central to the buffer itself; and not only the development of this Inner/Outer distinction in a whole range of epistemological theories of a mediational type from Descartes to Rorty;' but also the growth of a rich vocabulary of interiority, an inner realm of thought and feeling to be explored. This frontier of self-exploration has grown, through various spiritual disciplines of self-examination, through Montaigne, the development of the modern novel, the rise of Romanticism, the ethic of authenticity, to the point where we now conceive of ourselves as having inner depths.

Stanley’s Congo expedition fired the starting gun for the Scramble for Africa. Before his trip, white outsiders had spent hundreds of years nibbling at Africa’s edges, claiming land around the coastline, but rarely venturing inland. Disease, hostile tribes and the lack of any clear commercial potential in Africa meant that hundreds of years after white explorers first circumnavigated its coastline, it was still referred to in mysterious terms as the Dark Continent, a source of slaves, ivory and other goods, but not a place white men thought worthy of colonisation. It was Leopold’s jostling for the Congo that forced other European powers to stake claims to Africa’s interior, and within two decades the entire continent had effectively been carved up by the white man. The modern history of Africa – decades of colonial exploitation and post-independence chaos – was begun by a Telegraph reporter battling down the Congo River.

Heade’s calm is unsteady, storm-stirred; we respond in our era to its hint of the nervous and the fearful. His weather is interior weather, in a sense, and he perhaps was, if far from the first to portray a modern mood, an ambivalent mood tinged with dread and yet imbued with a certain lightness.The mood could even be said to be religious: not an aggressive preachment of God’s grandeur but a kind of Zen poise and acceptance, represented by the small sedentary or plodding foreground figures that appear uncannily at peace as the clouds blacken and the lightning flashes.

The modern world has forgotten the necessity of encouraging men to be better. They speak of sick men or healthy men, of interesting people or uninteresting people; they never, or seldom, indicate that there is and must be an interior and spiritual improvement in man before any of the glowing coals of humanity can be reached. They have cultivated everything but the goodness of man. The result of such shallowness is everywhere apparent.

Modern people hate American Beauty for the same reason people in 1999 loved American Beauty: It examines the interior problems of upper-middle-class white people living in the late twentieth century—the kind of people who voted for Bill Clinton twice and (perhaps) saw fragments of their own lives within the problems he created for himself. And it was, in all probability, the last time in history such problems would be considered worthy of contemplation.

Ronald Rolheiser, my undisputed favorite Catholic writer of all time, with hurricane force: Today, a number of historical circumstances are blindly flowing together and accidentally conspiring to produce a climate within which it is difficult not just to think about God or to pray, but simply to have any interior depth whatsoever…. We, for every kind of reason, good and bad, are distracting ourselves into spiritual oblivion. It is not that we have anything against God, depth, and spirit, we would like these, it is just that we are habitually too preoccupied to have any of these show up on our radar screens. We are more busy than bad, more distracted than nonspiritual, and more interested in the movie theater, the sports stadium, and the shopping mall and the fantasy life they produce in us than we are in church. Pathological busyness, distraction, and restlessness are major blocks today within our spiritual lives.

Still, the ground beneath me felt unsteady, as though at any moment it could shake and easily take me to the ground. I stumbled upon what Zen priest and author Susan Murphy calls the koan of the earth. How do we answer the riddle of our times? How do we sift through the shards of our broken culture, our fragmented psyches, and come once again into “our original undividedness and the freedom it bestows, right there in the suffocating fear itself.”90 This was the question at the heart of my despair, ripening in the vessel of my sorrow. What felt different this time was the interior experience of the grief and despair. It was not centered on personal losses—my history, wounds, losses, failures, and disappointments. It was arising from the greater pulse of the earth itself, winding its way through sidewalks and grocery lists, traffic snarls and utility bills. Somewhere in all the demands of modern life, the intimate link between earth and psyche was being reestablished or, more accurately, remembered. The conditioned fantasy of the segregated self was being dismantled, and I was being reunited, through the unexpected grace of fear, despair, and grief, with the body of the earth.

It is well known that at the coronation of kings and queens, even modern ones, a certain curious process of seasoning them for their functions is gone through. There is a saltcellar of state, so called, and there may be a caster of state. How they use the salt, precisely—who knows? Certain I am, however, that a king's head is solemnly oiled at his coronation, even as a head of salad. Can it be, though, that they anoint it with a view of making its interior run well, as they anoint machinery?

La verdadera felicidad no se encuentra ni en el jardín ni en la cocina, y no viene de los pájaros ni siquiera de este, ni del otro lado de la verja donde parece que la hierba es más verde. Surge del interior de cada uno de nosotros cuando conocemos la verdad de las cosas.

The aristocratic interiority is centered on the higher mind, the mens, the ajna chakra, the seat of intellect and intuition that commands the lower soul and the body. To be blunt, that describes the true 'aristocrat if the soul'. The second is the idea of destiny and the spiritual impetus behind it. A people, family, and son, have certain spiritual qualities at their origin. The purpose of rites and worship was to keep those qualities present in order to project them into the future. The modern mind cuts off the past in order to create a future with no relationship to it. But human nature will not be denied. Instead of being guided by past heroes and sages, able to distinguish good and evil, the deracinated contemporaries will latch onto any spiritual influences at random. Devoid of true identity, they will create factitious identities.

Today there is a deep longing in our culture to reconnect to this spiritual world, for we are not whole without it. But our longing cannot be satisfied by embracing religious belief alone, no matter how emotional the embrace, for our longing is at root a hunger and thirst for the experience of interior realities. If, however, we are to forge a new relationship to the invisible world of spirit based on experience, what will distinguish it from the past is the modern necessity that it be based on our own autonomy as free individuals, able to think, decide, and act for ourselves.

this consciousness I’m describing is gendered (and I think it is), it is clearly feminine. The single most damaging and distorting thing that religion has done to faith involves overlooking, undervaluing, and even outright suppressing this interior, ulterior kind of consciousness. So much Western theology has been constructed on a fundamental disfigurement of the mind and reality. In neglecting the voices of women, who are more attuned to the immanent nature of divinity, who feel that eruption in their very bodies, theology has silenced a powerful—perhaps the most powerful—side of God.

It is well known that at the coronation of kings and queens, even modern ones, a certain curious process of seasoning them for their functions is gone through. There is a saltcellar of state, so called, and there may be a caster of state. How they use the salt, precisely--who knows? Certain I am, however, that a king's head is solemnly oiled at his coronation, even as a head of salad. Can it be, though, that they anoint it with a view of making its interior run well, as they anoint machinery? Much might be ruminated here, concerning the essential dignity of this regal process, because in common life we esteem but meanly and contemptibly a fellow who anoints his hair, and palpably smells of that anointing. In truth, a mature man who uses hair-oil, unless medicinally, that man has probably got a quoggy spot in him somewhere. As a general rule, he can't amount to much in his totality.

Our world no longer hears God because it is constantly speaking, at a devastating speed and volume, in order to say nothing. Modern civilization does not know how to be quiet. It holds forth in an unending monologue. Postmodern society rejects the past and looks at the present as a cheap consumer object; it pictures the future in terms of an almost obsessive progress. Its dream, which has become a sad reality, will have been to lock silence away in a damp, dark dungeon. Thus there is a dictatorship of speech, a dictatorship of verbal emphasis. In this theater of shadows, nothing is left but a purulent wound of mechanical words, without perspective, without truth, and without foundation. Quite often “truth” is nothing more than the pure and misleading creation of the media, corroborated by fabricated images and testimonies. When that happens, the word of God fades away, inaccessible and inaudible. Postmodernity is an ongoing offense and aggression against the divine silence. From morning to evening, from evening to morning, silence no longer has any place at all; the noise tries to prevent God himself from speaking. In this hell of noise, man disintegrates and is lost; he is broken up into countless worries, fantasies, and fears. In order to get out of these depressing tunnels, he desperately awaits noise so that it will bring him a few consolations. Noise is a deceptive, addictive, and false tranquilizer. The tragedy of our world is never better summed up than in the fury of senseless noise that stubbornly hates silence. This age detests the things that silence brings us to: encounter, wonder, and kneeling before God. 75. Even in the schools, silence has disappeared. And yet how can anyone study in the midst of noise? How can you read in noise? How can you train your intellect in noise? How can you structure your thought and the contours of your interior being in noise? How can you be open to the mystery of God, to spiritual values, and to our human greatness in continual turmoil? Contemplative silence is a fragile little flame in the middle of a raging ocean. The fire of silence is weak because it is bothersome to a busy world.

We come into contact with people only with our exteriors—physically and externally; yet each of us walks about with a great wealth of interior life, a private and secret self. We are, in reality, somewhat split in two, the self and the body; the one hidden, the other open. The child learns very quickly to cultivate this private self because it puts a barrier between him and the demands of the world. He learns he can keep secrets—at first an excruciating, intolerable burden: it seems that the outer world has every right to penetrate into his self and that the parents could automatically do so if they wished—they always seem to know just what he is thinking and feeling. But then he discovers that he can lie and not be found out: it is a great and liberating moment, this anxious first lie—it represents the staking out of his claim to an integral inner self, free from the prying eyes of the world. By the time we grow up we become masters at dissimulation, at cultivating a self that the world cannot probe. But we pay a price. After years of turning people away, of protecting our inner self, of cultivating it by living in a different world, of furnishing this world with our fantasies and dreams—we find that we are hopelessly separated from everyone else. We have become victims of our own art. We touch people on the outsides of their bodies, and they us, but we cannot get at their insides and cannot reveal our insides to them. This is one of the great tragedies of our interiority—it is utterly personal and unrevealable. Often we want to say something unusually intimate to a spouse, a parent, a friend, communicate something of how we are really feeling about a sunset, who we really feel we are—only to fall strangely and miserably flat. Once in a great while we succeed, sometimes more with one person, less or never with others. But the occasional breakthrough only proves the rule. You reach out with a disclosure, fail, and fall back bitterly into yourself. We emit huge globs of love to our parents and spouses, and the glob slithers away in exchanges of words that are somehow beside the point of what we are trying to say. People seem to keep bumping up against each other with their exteriors and falling away from each other. The cartoonist Jules Feiffer is the modern master of this aspect of the human tragedy. Take even the sexual act—the most intimate merger given to organisms. For most people, even for their entire lives, it is simply a joining of exteriors. The insides melt only in the moment of orgasm, but even this is brief, and a melting is not a communication. It is a physical overcoming of separateness, not a symbolic revelation and justification of one’s interior. Many people pursue sex precisely because it is a mystique of the overcoming of the separateness of the inner world; and they go from one partner to another because they can never quite achieve “it.” So the endless interrogations: “What are you thinking about right now—me? Do you feel what I feel? Do you love me?

Never really either private or public, the modern self establishes its value through processes that are at once psychological and sociological, private and public, emotional and ritualistic. Clearly, then, in modern erotic/romantic relationships what is at stake are the self, its emotions, interiority, and, mostly, the way these are recognized (or fail to be recognized) by others.

The issue is not simply one of needing to save the world, but also of needing to solve the problem of the loss of soul throughout the modern world. Part of what has been lost in the reckless rushing of modernity is the sense that each life has an authentic interior that shelters important emotions as well as inherent purpose, and that the dignity of existence includes a necessary instinct to unfold the unique story woven inside each living soul.

Because of this false idea, they devised an aesthetic belief in making the exterior of an object a reflection of the practical functions of the interior and of the constructive idea. Yet these analyses of utility and necessity that, according to their beliefs, should be the basis for the construction of any object created by humanity become immediately absurd once we analyze all the object being manufactured today. A fork or a bed cannot come to be considered necessary for humanity's life and health, and yet retain a relative value. They are 'learned necessities.' Modern human beings are suffocating under necessities like televisions, refrigerators, etc. And in the process making it impossible to live their real lives. Obviously we are not against modern technology, but we are against any notion of the absolute necessity of objects, to the point even of doubting their real utility.' Asger Jorn

De tot ce se intampla in lume sunt si eu vinovat. Pentru ca nu sunt un om intreg, nu sunt o unitate armonioasa, sunt un ins dezaxat, fara centru. Probabil ca mai sunt si altii, zeci de milioane, ca mine. Si cum pentru societatile moderne lumea inseamna tot mai putin Cosmos si tot mai multa Istorie, iti dai seama ce repercusiuni poate avea dezechilibrul acesta interior in afara de noi. Cum am putea fi creatori in Istorie noi, cateva zeci de milioane de dezechilibrati?

The single most damaging and distorting thing that religion has done to faith involves overlooking, undervaluing, and even outright suppressing this interior, ulterior kind of consciousness. So much Western theology has been constructed on a fundamental disfigurement of the mind and reality. In neglecting the voices of women, who are more attuned to the immanent nature of divinity, who feel that eruption in their very bodies, theology has silenced a powerful—perhaps the most powerful—side of God.

Sighing, he rose from his desk and walked to the windows to stare out at the Vatican through the rain. What a burden men like Sandoz carried into the field. Over four hundred of Ours to set the standard, he thought, and remembered his days as a novice, studying the lives of sainted, blessed and venerated Jesuits. What was that wonderful line? "Men astutely trained in letters and in fortitude." Enduring hardship, loneliness, exhaustion and sickness with courage and resourcefulness. Meeting torture and death with a joy that defies easy understanding, even by those who share their religion, if not their faith. So many Homeric stories. So many martyrs like Isaac Jogues. Trekking eight hundred miles into the interior of the New World—a land as alien to a European in 1637 as Rakhat is to us now, Giuliani suddenly realized. Feared as a witch, ridiculed, reviled for his mildness by the Indians he'd hoped to gain for Christ. Beaten regularly, his fingers cut off joint by joint with clamshell blades—no wonder Jogues had come to Emilio's mind. Rescued, after years of abuse and deprivation, by Dutch traders who arranged for his return to France, where he recovered, against all odds. Astonishing, really: Jogues went back. He must have known what would happen but he sailed back to work among the Mohawks, as soon as he was able. And in the end, they killed him. Horribly. How are we to understand men like that? Giuliani had once wondered. How could a sane man have returned to such a life, knowing such a fate was likely? Was he psychotic, driven by voices? A masochist who sought degradation and pain? The questions were inescapable for a modern historian, even a Jesuit historian. Jogues was only one of many. Were men like Jogues mad? No, Giuliani had decided at last. Not madness but the mathematics of eternity drove them. To save souls from perpetual torment and estrangement from God, to bring souls to imperishable joy and nearness to God, no burden was too heavy, no price too steep.

The emergence of society—the rise of housekeeping, its activities, problems, and organizational devices—from the shadowy interior of the household into the light of the public sphere, has not only blurred the old borderline between private and political, it has also changed almost beyond recognition the meaning of the two terms and their significance for the life of the individual and the citizen. Not only would we not agree with the Greeks that a life spent in the privacy of “one’s own” (idion), outside the world of the common, is “idiotic” by definition, or with the Romans to whom privacy offered but a temporary refuge from the business of the res publica; we call private today a sphere of intimacy whose beginnings we may be able to trace back to late Roman, though hardly to any period of Greek antiquity, but whose peculiar manifoldness and variety were certainly unknown to any period prior to the modern age. This is not merely a matter of shifted emphasis. In ancient feeling the privative trait of privacy, indicated in the word itself, was all-important; it meant literally a state of being deprived of something, and even of the highest and most human of man’s capacities. A man who lived only a private life, who like the slave was not permitted to enter the public realm, or like the barbarian had chosen not to establish such a realm, was not fully human. We no longer think primarily of deprivation when we use the word “privacy,” and this is partly due to the enormous enrichment of the private sphere through modern individualism. However, it seems even more important that modern privacy is at least as sharply opposed to the social realm—unknown to the ancients who considered its content a private matter—as it is to the political, properly speaking. The decisive historical fact is that modern privacy in its most relevant function, to shelter the intimate, was discovered as the opposite not of the political sphere but of the social, to which it is therefore more closely and authentically related. The

third way to put language in its place is to think about how we use it. Writing and speaking do not consist of transcribing an interior monologue onto paper or playing it into a microphone. Rather, we engage in a constant give-and-take between the thoughts we try to convey and the means our language offers to convey them. We often grope for words, are dissatisfied with what we write because it does not express what we wanted to say, or discover when every combination of words seems wrong that we do not really know what we want to say. And when we get frustrated by a mismatch between our language and our thoughts, we don’t give up, defeated and mum, but change the language.

It is well known that at the coronation of kings and queens, even modern ones, a certain curious process of seasoning them for their functions is gone through. There is a saltcellar of state, so called, and there may be a castor of state. How they use the salt, precisely—who knows? Certain I am, however, that a king’s head is solemnly oiled at his coronation, even as a head of salad. Can it be, though, that they anoint it with a view of making its interior run well, as they anoint machinery? Much might be ruminated here, concerning the essential dignity of this regal process, because in common life we esteem but meanly and contemptibly a fellow who anoints his hair, and palpably smells of that anointing. In

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of those subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time.

The crucial issue of the times, he suggested, was the human person: a unique being, who lived in a material world but had intense spiritual longings, a mystery to himself and to others, a creature whose dignity emerged from an interior life imprinted with the image and likeness of God. The world wanted to hear what the Church had to say about the human person and the human condition, particularly in light of other proposals—“scientific, positivist, dialectical”—that imagined themselves humanistic and presented themselves as roads to liberation. At the end of 2,000 years of Christian history, the world had a question to put to the Church: What was Christian humanism and how was it different from the sundry other humanisms on offer in late modernity? What was the Church’s answer to modernity’s widespread “despair [about] any and all human existence”?

He has a funny look in his eyes as if to say, “Come off it, Shiva, I know what you are up to, I know what you are doing.” And you say, “What, me?” So he looks at you in this funny way until finally you get the feeling that he sees all the way through you; and that all your selfishness and evil, nasty thoughts are transparent to his gaze. Then you have to try and alter them. He suggests that you practice the control of the mind, that you become interiorly silent, and that you give up selfish desires of the skin-encapsulated self. Then you may have some success in quieting your mind and in concentrating. But after that, he will throw a curve at you, which is: Are you not still desiring not to desire? Why are you trying to be unselfish? Well, the answer is, “I want to be on the side of the big battalions. I think it is going to pay off better to be unselfish than to be selfish.

Here from Ronald Rolheiser, my undisputed favorite Catholic writer of all time, with hurricane force: Today, a number of historical circumstances are blindly flowing together and accidentally conspiring to produce a climate within which it is difficult not just to think about God or to pray, but simply to have any interior depth whatsoever…. We, for every kind of reason, good and bad, are distracting ourselves into spiritual oblivion. It is not that we have anything against God, depth, and spirit, we would like these, it is just that we are habitually too preoccupied to have any of these show up on our radar screens. We are more busy than bad, more distracted than nonspiritual, and more interested in the movie theater, the sports stadium, and the shopping mall and the fantasy life they produce in us than we are in church. Pathological busyness, distraction, and restlessness are major blocks today within our spiritual lives.12

The solidity of the building, its quite interiors, the monumental presence of its white facade in the middle of the city- in all its deliberate order and calm, the hotel underlined its separateness from its setting. Its effect was felt most keenly by the menial staff, who traveled each day from their homes in the flood-threatened outskirts of Allahabad and approached their place of work with something like awe. They looked very ill at ease in their green uniforms and were obsequiously polite with guests, calling to mind the Indians who had come to serve in the new city of Allahabad built by the British after the rude shock of the Indian Mutiny of 1857, the city whose simple colonial geography was plain from my sixth-floor hostel room, the railway tracks partitioning the congested "black town," with its minarets and temple domes, from the tree-lined grid of "white town," where for a long period no Indians, apart from servants, could appear in native dress.

Moderns are tempted to consider the world as what Heidegger termed “standing reserve,” an undifferentiated set of resources awaiting our use. Rather than having the status of creatures full of God’s weight, things are just there, standing at attention before our desires, waiting to be led around on a leash. Things of the world become objects distanced and alienated from us, problems to overcome with some sort of method or technique. For the medievals, a thing known—a tree or cat, say—was a subject of being, it held its own act of existence, whereas we view things as objects. As subjects, creatures had interiority, a form or nature or essence that we did not create but were nevertheless bound to recognize. Now things are objects under our judgment, waiting to be captured in a sketch and cast aside. If we are not bound by the things, but they by us, what limits our use other than our own will? In what way can our desires be ordered so as to respect the integrity of things when their meaning is determined by the awful lightness of our whims?

There is no psychology in a fairy tale. The characters have little interior life; their motives are clear and obvious. If people are good, they are good, and if bad, they’re bad. Even when the princess in ‘The Three Snake Leaves’…inexplicably and ungratefully turns against her husband, we know about it from the moment it happens. Nothing of that sort is concealed. The tremors and mysteries of human awareness, the whispers of memory, the promptings of half-understood regret or doubt or desire that are so much part of the subject matter of the modern novel are absently entirely. One might almost say that the characters in a fairy tale are not actually conscious. They seldom have names of their own. More often than not they’re known by their occupation or their social position, or by a quirk of their dress: the miller, the princess, the captain, the Bearskin, Little Red Riding Hood. When they do have a name it’s usually Hans, just as Jack is the hero of every British fairy tale. The most fitting pictorial representation of fairy-tale characters seems to me to be found not in any of the beautifully illustrated editions of Grimm that have been published over the years, but in the little cardboard cut-out figures that come with the toy theatre.

Our plastic susceptibility to forces of technocapitalism as well as different explosions in the streets and in our neighbourhoods (if not in our houses) is an opportunity for the revolutionary subject of trauma. If capitalism and terrorism are transplanted within us with such ease that we can no longer see them as threat to the plasticity of our brains, so do the other traumas from which capitalism, state and religion run away. As opposed to capitalism, the state and other grounding systems which preserve their verity by isolating fields of trauma in order to protect themselves against syntheses of the universal absolute, the brain has the ability to reconnect all isolated traumas within its plastic field and expand along the mediating functions of trauma. The obligation of the revolutionary subject with regard to exporting the revolution is not to shun traumas of capitalism and fundamentalism, since this refusal or disavowal contributes to the strategy of capitalism and fundamentalism in isolating traumas, forces and resources in order to govern and monopolize them within this or that world. On the contrary, the obligation of the revolutionary subject is to absorb and interiorize traumas so as to expose ‘isolated traumas’ (this or that regional world), interconnect them to its regional horizon and widen them across the geocosmic continuum and deep into the cosmic exteriority. Modern man is a surgeon who does not amputate himself from the worlds of capitalism and religion. Instead, he transplants himself and these worlds inside each other in order to reconnect his actual regional horizon (cohabited with capitalism and fundamentalism) once again to the freedom of absolute depths. To this end, the revolution on the geocosmic continuum that is the revolution rekindled out of the Copernican commune should not be paved on the politico- philosophical corpus of those who impose on us wanton discrepancies and excesses of the earthly life but those who delude us with the axiomatic verity of ourselves and reform the ground of the terrestrial thought in one way or another.

The modern educational system provides numerous other examples of reality bowing down to written records. When measuring the width of my desk, the yardstick I am using matters little. My desk remains the same width regardless of whether I say it is 200 centimetres or 78.74 inches. However, when bureaucracies measure people, the yardsticks they choose make all the difference. When schools began assessing people according to precise marks, the lives of millions of students and teachers changed dramatically. Marks are a relatively new invention. Hunter-gatherers were never marked for their achievements, and even thousands of years after the Agricultural Revolution, few educational establishments used precise marks. A medieval apprentice cobbler did not receive at the end of the year a piece of paper saying he has got an A on shoelaces but a C minus on buckles. An undergraduate in Shakespeare’s day left Oxford with one of only two possible results – with a degree, or without one. Nobody thought of giving one student a final mark of 74 and another student 88.6 Credit 1.24 24. A European map of Africa from the mid-nineteenth century. The Europeans knew very little about the African interior, which did not prevent them from dividing the continent and drawing its borders. Only the mass educational systems of the industrial age began using precise marks on a regular basis. Since both factories and government ministries became accustomed to thinking in the language of numbers, schools followed suit. They started to gauge the worth of each student according to his or her average mark, whereas the worth of each teacher and principal was judged according to the school’s overall average. Once bureaucrats adopted this yardstick, reality was transformed. Originally, schools were supposed to focus on enlightening and educating students, and marks were merely a means of measuring success. But naturally enough, schools soon began focusing on getting high marks. As every child, teacher and inspector knows, the skills required to get high marks in an exam are not the same as a true understanding of literature, biology or mathematics. Every child, teacher and inspector also knows that when forced to choose between the two, most schools will go for the marks.

We tend to be unaware that stars rise and set at all. This is not entirely due to our living in cities ablaze with electric lights which reflect back at us from our fumes, smoke, and artificial haze. When I discussed the stars with a well-known naturalist, I was surprised to learn that even a man such as he, who has spent his entire lifetime observing wildlife and nature, was totally unaware of the movements of the stars. And he is no prisoner of smog-bound cities. He had no inkling, for instance, that the Little Bear could serve as a reliable night clock as it revolves in tight circles around the Pole Star (and acts as a celestial hour-hand at half speed - that is, it takes 24 hours rather than 12 for a single revolution). I wondered what could be wrong. Our modern civilization does not ignore the stars only because most of us can no longer see them. There are definitely deeper reasons. For even if we leave the sulphurous vapours of our Gomorrahs to venture into a natural landscape, the stars do not enter into any of our back-to-nature schemes. They simply have no place in our outlook any more. We look at them, our heads flung back in awe and wonder that they can exist in such profusion. But that is as far as it goes, except for the poets. This is simply a 'gee whiz' reaction. The rise in interest in astrology today does not result in much actual star-gazing. And as for the space programme's impact on our view of the sky, many people will attentively follow the motions of a visible satellite against a backdrop of stars whose positions are absolutely meaningless to them. The ancient mythological figures sketched in the sky were taught us as children to be quaint 'shepherds' fantasies' unworthy of the attention of adult minds. We are interested in the satellite because we made it, but the stars are alien and untouched by human hands - therefore vapid. To such a level has our technological mania, like a bacterial solution in which we have been stewed from birth, reduced us. It is only the integral part of the landscape which can relate to the stars. Man has ceased to be that. He inhabits a world which is more and more his own fantasy. Farmers relate to the skies, as well as sailors, camel caravans, and aerial navigators. For theirs are all integral functions involving the fundamental principle - now all but forgotten - of orientation. But in an almost totally secular and artificial world, orientation is thought to be un- necessary. And the numbers of people in insane asylums or living at home doped on tranquilizers testifies to our aimless, drifting metaphysic. And to our having forgotten orientation either to seasons (except to turn on the air- conditioning if we sweat or the heating system if we shiver) or to direction (our one token acceptance of cosmic direction being the wearing of sun-glasses because the sun is 'over there'). We have debased what was once the integral nature of life channelled by cosmic orientations - a wholeness - to the ennervated tepidity of skin sensations and retinal discomfort. Our interior body clocks, known as circadian rhythms, continue to operate inside us, but find no contact with the outside world. They therefore become ingrown and frustrated cycles which never interlock with our environment. We are causing ourselves to become meaningless body machines programmed to what looks, in its isolation, to be an arbitrary set of cycles. But by tearing ourselves from our context, like the still-beating heart ripped out of the body of an Aztec victim, we inevitably do violence to our psyches. I would call the new disease, with its side effect of 'alienation of the young', dementia temporalis.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

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I tell myself that I have no problem believing in God, if “belief” can be defined as some utter interior I sent to in life that is both beyond and within this one, and if “assent” can be understood as at once active and unconscious, and if “God” is in some mysterious way both this action and its object, and if after all these qualifications this sentence still makes any effing sense.

As nervous systems developed, they acquired an elaborate network of peripheral probes—the peripheral nerves that are distributed to every parcel of the body’s interior and to its entire surface, as well as to specialized sensory devices that enable seeing, hearing, touching, smelling, and tasting. Nervous systems also acquired an elaborate collection of aggregated central processors in the central nervous system, conventionally called the brain.10 The latter includes (1) the spinal cord; (2) the brain stem and the closely related hypothalamus; (3) the cerebellum; (4) a number of large nuclei located above brain-stem level—in the thalamus, basal ganglia, and basal forebrain; and (5) the cerebral cortex, the most modern and sophisticated component of the system. These central processors manage learning and memory storage of signals of every possible sort and also manage the integration of these signals; they coordinate the execution of complex responses to inner states and incoming stimuli—a critical operation that includes drives, motivations, and emotions proper; and they manage the process of image manipulation that we otherwise know as thinking, imagining, reasoning, and decision making. Last, they manage the conversion of images and of their sequences into symbols and eventually into languages—coded sounds and gestures whose combinations can signify any object, quality, or action, and whose linkage is governed by a set of rules called grammar. Equipped with language, organisms can generate continuous translations of nonverbal to verbal items and build dual-track narratives of such items.

With Juno's launch, Dawn's arrival at Vesta, MESSENGER's arrival at Mercury, the Stardust flyby of Tempel l, and the launches of the Mars Science Laboratory, Fobos-Grunt, and the insertion into lunar orbit of the GRAIL (Gravity Recovery and Interior Laboratory) for the Disocvery program, 2011 was another landmark year for solar system exploration. This was even more remarkable for the fact that, except for the loss of Fobos-Grunt, all of these missions were run by NASA, an agency which had been criticized as having "a great future behind it" as a result of the absence of a clear vision by politicians for manned spaceflight after the retirment of the Space Shuttle.

Does the body really transmit information about its condition to the nervous system, or does the body blend in with the nervous system so that the latter can be continuously apprised of its status? We can conclude from what we have discussed thus far that each of these two accounts corresponds to a different age in the evolution of body-brain relationships and to different levels of neural processing. The blending-in account is the only way of describing how the old interior, using old functional arrangements, interweaves body and brain. The transmission account fits well the more modern aspects of brain anatomy and function and how they capture both the old and the not so old interior.

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Character is a superstition, a wretched fetish. Once a year wouldn't be too often to seize upon sinners whose blameless life has placed them above suspicion, and turn them inside out before the community, so as to show people how the smoke of the Pit had been quietly blackening their interior.

The ultimate offense of writing and reading expatriate novels, she posited, was to valorize literary production as the creation of “a work of art” detached from the historical realities of modernity; a work of art preoccupied with the construction of a deeply solipsistic and apolitical interiority at the very moment when literature and its readers needed to look outward, to strengthen their “atrophying power to communicate” with others.

I knew you forever and you were always old, soft white lady of my heart. Surely you would scold me for sitting up late, reading your letters, as if these foreign postmarks were meant for me. You posted them first in London, wearing furs and a new dress in the winter of eighteen-ninety. I read how London is dull on Lord Mayor's Day, where you guided past groups of robbers, the sad holes of Whitechapel, clutching your pocketbook, on the way to Jack the Ripper dissecting his famous bones. This Wednesday in Berlin, you say, you will go to a bazaar at Bismarck's house. And I see you as a young girl in a good world still, writing three generations before mine. I try to reach into your page and breathe it back… but life is a trick, life is a kitten in a sack. This is the sack of time your death vacates. How distant your are on your nickel-plated skates in the skating park in Berlin, gliding past me with your Count, while a military band plays a Strauss waltz. I loved you last, a pleated old lady with a crooked hand. Once you read Lohengrin and every goose hung high while you practiced castle life in Hanover. Tonight your letters reduce history to a guess. The count had a wife. You were the old maid aunt who lived with us. Tonight I read how the winter howled around the towers of Schloss Schwobber, how the tedious language grew in your jaw, how you loved the sound of the music of the rats tapping on the stone floors. When you were mine you wore an earphone. This is Wednesday, May 9th, near Lucerne, Switzerland, sixty-nine years ago. I learn your first climb up Mount San Salvatore; this is the rocky path, the hole in your shoes, the yankee girl, the iron interior of her sweet body. You let the Count choose your next climb. You went together, armed with alpine stocks, with ham sandwiches and seltzer wasser. You were not alarmed by the thick woods of briars and bushes, nor the rugged cliff, nor the first vertigo up over Lake Lucerne. The Count sweated with his coat off as you waded through top snow. He held your hand and kissed you. You rattled down on the train to catch a steam boat for home; or other postmarks: Paris, verona, Rome. This is Italy. You learn its mother tongue. I read how you walked on the Palatine among the ruins of the palace of the Caesars; alone in the Roman autumn, alone since July. When you were mine they wrapped you out of here with your best hat over your face. I cried because I was seventeen. I am older now. I read how your student ticket admitted you into the private chapel of the Vatican and how you cheered with the others, as we used to do on the fourth of July. One Wednesday in November you watched a balloon, painted like a silver abll, float up over the Forum, up over the lost emperors, to shiver its little modern cage in an occasional breeze. You worked your New England conscience out beside artisans, chestnut vendors and the devout. Tonight I will learn to love you twice; learn your first days, your mid-Victorian face. Tonight I will speak up and interrupt your letters, warning you that wars are coming, that the Count will die, that you will accept your America back to live like a prim thing on the farm in Maine. I tell you, you will come here, to the suburbs of Boston, to see the blue-nose world go drunk each night, to see the handsome children jitterbug, to feel your left ear close one Friday at Symphony. And I tell you, you will tip your boot feet out of that hall, rocking from its sour sound, out onto the crowded street, letting your spectacles fall and your hair net tangle as you stop passers-by to mumble your guilty love while your ears die.

Pages are the students of the suit, suggestive of a person who has yet to master its special powers but who is earnestly engaged in figuring it all out. Knights are super action-oriented, ready to GO, on the double, like, yesterday! Queens are self-assured and generous, a bit interior, strong and meditative. Kings are likewise so but more extroverted and action-oriented.

used to take many long and uncomfortable hours in a bus, car, or train to journey between the deep interior of Croatia and the coast. But the building of several massive, graded, and multi-laned superhighways from Zagreb down the mountains to Rijeka, to Senj, to Zadar, and to Split along the Adriatic coast has cut the distance dramatically

The interior structure of modern Africa was built on greed rather than an informed reality. It's the same strategy my eleven year old nephew uses in negotiations: ignore the well-established rules and parameters, and demand a fairy-tale outcome that brings short-term joy, with the long-term consequences relegated to a problem for a future version of yourself to deal with.

The internal slave trade became the largest enterprise in the South outside of the plantation itself, and probably the most advanced in its employment of modern transportation, finance, and publicity. It developed its own language: prime hands, bucks, breeding wenches, and fancy girls. Its routes, running counter to the freedom trails that fugitive slaves followed north, were similarly dotted by safe houses - pens, jails, and yards that provided resting places for slave traders as well as temporary warehouses for slaves. In all, the slave trade, with its hubs and regional centers, its spurs and circuits, reached into every cranny of southern society. Few southerners, white or black, were untouched. In the half century following the War of 1812, planters and traders expanded and rationalized the transcontinental transfer of slaves. During the second decade of the nineteenth century, traders and owners sent an estimated 120,000 slaves from the seaboard to the west, with the states and territories of Georgia, Tennessee, Alabama, and Louisiana being the largest recipients. That number increased substantially during the following decade and yet again during the 1830s, when slave traders and migrating planters uprooted almost 300,000 black men, women, and children. By this time, though most of the slaves still derived from the Upper South - particularly Maryland and Virginia - their destination had moved further west. Alabama and Mississippi had become the largest recipients, with each receiving nearly 100,000 slaves during the 1830s. The Panic of 1837 and the subsequent decline in cotton and sugar production deflated the price of slaves and the trade slackened for a few years. But prices soon revived and with them the demand for slaves. Nearly one quarter of a million slaves left the seaboard for the interior during the 1850s, with more than half being taken west of the Mississippi River. The 'mania for buying negroes' easily overwhelmed periodic bans against slave importation and did not cease until the arrival of Union troops.

For modern man, to be free often means throwing off all constraint and all authority—“Neither God nor master.

Beirut port, confirmed as the principal port of the Syrian interior, was enlarged and modernized, a second dock was constructed and the city, provided with an airport, progressed to become a center for international communication. According to a new urban plan, the city was re-centered around Place de l’Étoile, designed on the model of that of the French capital, and the Parliament and a new business quarter were inaugurated there on the occasion of the French Colonial Exposition of 1921. These projects contributed to the development of a tertiary sector dominated by a merchant/financial bourgeoisie, which was becoming more and more embedded into the mandate system. This was supplemented by the expansion of education, another mandate policy, which helped create a middle class destined for liberal professions and the bureaucracy.

Through the “eye of the heart,” we’re led inward by the Spirit, and in this interiority see and hear, taste and experience a “light higher than the mind”— that is to say, wisdom, revelation, and Divine encounter. Origen is a pillar of allegorical biblical interpretation in service of psychological and spiritual transformation in Christ. There are many others, including the modern examples of the two Thomases—Merton and Keating—both of whom have provided extensive models in their writings of spiritual interpretation that nurtures the contemplative Christian dimension.3

Father and son had watched him disappear into the musty interior of that old airport, leaving behind him, as easily as he left behind the smell of wet cement, of urine and yellowing paper – the smells of the modern state – his past in India. It was hard not to be moved. Hard not to see it for what it was: the reprisal, cold and unfeeling, of the individual against the society that had tried to break him. He had a great wish in that moment to let India hang, to leave India to the Indians, as it were. And as the inky stamp came onto his passport – 2 NOV 1984 – his only regret was the decorum of it all. He wished he could have let that oily official at Immigration, boredom and sloth and greed etched into his face, know that he was not just another traveller, not just a man leaving on a short trip, but a man leaving for good. A man going voluntarily into exile, with nothing but hatred for his country, and who, if given the opportunity, would gladly have put a stake in her heart.

The animating principle of mana, the effect of magic, the magical efficacy of spirits, and the reality of collective ideas, dreams, and ordeals are all governed by the laws of this interior reality which modern depth psychology is trying to bring to the surface.

Brain scans have shown that high-end brands evoke the same neural response as religious images; that, shocking and lamentable though it may be, an iPod has the same effect as Mother Teresa. Also, the windows displaying these material icons extend from floor to ceiling, completely exposing the bright interiors, and the entrances are wide and doorless, so the instinctive fear of entering an unfamiliar enclosed space is overcome. Inside, young, attractive sales staff approach, seeking eye contact with friendly encouraging smiles, creating the illusion of youth and attractiveness in the shopper. The loud soul music suggests a bar or club where mutual attraction can blossom but, unlike the brutally competitive bars and clubs, here there is no possibility of rejection. Spending money is the easiest orgasm. Open the wallet and flash the bright card.

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You see, the Regency conduct book tended to judge a woman by how she conducts herself-that is, by how she acts, by how she seems. The novel, by contrast, was concerned with what women are really like, admitting- perhaps for the very first time- that women too have a fulsome interior life, with thoughts and feelings that are as crucial to get right as the actions that follow from them. In the novel it was much more important that a woman cultivate herself than that she learn how to appear to do so, much more crucial that she be truly worthy than that she learn how to maker herself seem so. In the novel, in other words, women are allowed to be real, and nor merely the cardboard cut-outs to whom the conduct books directed its advice.

One of the first initiatives of the Hindu banyas who founded modern Karachi at the beginning of the eighteenth century was to protect the settlement—and more prosaically their shipments—against incursions from pirates. Seth Bhojoomal, the founder of modern Karachi and himself a prosperous merchant from the interior of Sindh, proceeded to fortify the city. The surrounding mangrove trees were cut down, and foreign workers were recruited to assist local labourers in the construction of mud and wood ramparts, while six cannons were brought from Masqat, according to Bhojoomal’s great grandson, Seth Naomul Hotchand.

Without artificial light, humans were scared animals that scurried into their nests at sunset. Darkness brought out the monsters that existed in our primal collective imaginations, the creatures from under the bed, all of which disappeared with the flick of a switch and the warm glow of an incandescent bulb. Modern cities were filled with massive and awe-inspiring structures, but without artificial light, who would want to inhabit their dark interiors?

As the activity culture of modernity constitutes itself against heteronomy, however, it will seek and find methods to place the commanding authority inside the hearer of the command themselves, so that they seem only to be obeying their inner voice when they submit. In this way, the fact of ‘subjectivity’ is demanded, created and fulfilled. What is meant, then, is the individual's co-determination of the authority that can give them commands.

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Gothic is the genre of fear. Our fascination with it is almost always revived during times of instability and panic. In the wake of the French Revolution, the Marquis de Sade described the rise of the genre as 'the inevitable product of the revolutionary shock with which the whole of Europe resounded,' and literary critics in the late eighteenth century mocked the work of early gothic writers Anne Radcliffe and Matthew Lewis by referring to it as 'the terrorist school' of writing. As Fred Botting writes in Gothic, his lucid introduction to the genre, it expresses our unresolved feelings about 'the nature of power, law, society, family and sexuality' and yet is extremely concerned with issues of social disintegration and collapse. It's preoccupied with all that is immoral, fantastic, suspenseful, and sensational and yet prone to promoting middle-class values. It's interested in transgression, but it's ultimately more interested in restitution; it alludes to the past yet is carefully attuned to the present; it's designed to evoke excessive emotion, yet it's thoroughly ambivalent; it's the product of revolution and upheaval, yet it endeavors to contain their forces; it's terrifying, but pretty funny. And, importantly, the gothic always reflects the anxieties of its age in an appropriate package, so that by the nineteenth century, familiar tropes representing external threats like crumbling castles, aristocratic villains, and pesky ghosts had been swallowed and interiorized. In the nineteenth century, gothic horrors were more concerned with madness, disease, moral depravity, and decay than with evil aristocrats and depraved monks. Darwin's theories, the changing roles of women in society, and ethical issues raised by advances in science and technology haunted the Victorian gothic, and the repression of these fears returned again and again in the form of guilt, anxiety, and despair. 'Doubles, alter egos, mirrors, and animated representations of the disturbing parts of human identity became the stock devices,' Botting writes, 'signifying the alienation of the human subject from the culture and language in which s/he is located.' In the transition from modernity to post-modernity, the very idea of culture as something stable and real is challenged, and so postmodern gothic freaks itself out by dismantling modernist grand narratives and playing games. In the twentieth century, 'Gothic [was] everywhere and nowhere,' and 'narrative forms and devices spill[ed] over from worlds of fantasy and fiction into real and social spheres.

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But it seems to me that Hedy, her history, and her creation may have even greater symbolic importance. The manner in which her contribution to this world-changing device was largely lost—or ignored—for decades reflects the pervasive marginalization of women’s contributions, a problem that is both historical and modern. Whether Hedy’s work in spread-spectrum technology was purposefully disregarded or unconsciously forgotten, it appears that imbedded in that oversight were misconceptions about her abilities—about all women, really. Faulty assumptions about women’s capabilities, stemming in part from the conscripted roles into which they’d been slotted, has caused many to think more narrowly about the manner in which the past has been shaped. But unless we begin to view historical women through a broader, more inclusive lens—and rewrite them back into the narrative—we will continue to view the past more restrictively than it likely was, and we risk carrying those perspectives over into the present. Perhaps if Hedy’s society had viewed her not simply as a blindingly beautiful creature, but as a human being with a sharp mind capable of significant contributions, they might have learned that her interior life was more interesting and fruitful than her exterior. Her invention might have been accepted by the navy when she offered it, and who knows what impact that might have had on the war? If only people had been willing to look behind “the only woman in the room” to examine the person she was beneath, they might have seen a woman capable of greatness, and not only on the screen.

Las facciones de su rostro resplandecen con la luz que irradia el interior de su alma

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Many gnostics, then, would have agreed in principle with Ludwig Feuerbach, the nineteenth-century psychologist, that “theology is really anthropology” (the term derives, of course, from anthropos, and means “study of humanity”). For gnostics, exploring the psyche became explicitly what it is for many people today implicitly—a religious quest. Some who seek their own interior direction, like the radical gnostics, reject religious institutions as a hindrance to their progress. Others, like the Valentinians, willingly participate in them, although they regard the church more as an instrument of their own self-discovery than as the necessary “ark of salvation.

book Wild Hunger: The Primal Roots of Modern Addiction,16 the rejection of beauty, one of the ageless sources of regeneration, is at the root of much of the addiction which characterizes modern society. The wiser person seeks beauty in all things. He or she seeks to live a life that nourishes the soul, and “the depth of interiority and quality in which it flourishes”, as Thomas Moore writes. He or she discovers epiphanies in the contemplation of timeless realities, and seeks to move through the deep imagination, the royal road to the sacred.

... This style of interior design that developed during the 1940s and 1950s has been understood as a specifically Swedish form of modernism, later called ‘Swedish Modern’, and clearly associated with the broader concept of ‘Scandinavian Design

You understand absolutely nothing about modern civilization unless you first admit that it is a universal conspiracy against all interior life.

a very modern and American type of ambivalence, a sort of interior war between your deep need to believe and your deep belief that the need to believe is bullshit, that there’s nothing left anywhere but sales and salesmen.

We offer a full range of residential architectural services. Our services are planning permission, construction drawings and interior design services. When you choose a team from architects in London, you get a team who can assist you and create a space that fits your lifestyle. Our architects have completed numerous projects, from simple family homes to something more modern. Hampstead Architects are both an architectural and interior design practice so that we can assist you from start to end.

The stone over which certain modern Christians anxious for renewal stumble, is Marian doctrine. For twenty years but especially since the end of Vatican II, we have been watching a real campaign to squelch the Holy Virgin, or at least to put her under a bushel. It is all done with great, good intentions and not without reverence. As was often the case in the Church's past, this doctrinal and spiritual ostracism justifies itself by claiming Christ will be harmed by the worship given His Mother. Its practitioners start by condemning pious exaggerations no sensible person would think of defending, then proceed to throw the baby out with the bath. I mean they throw out recognized doctrines and practices which both the Catholic Church and all eastern Churches have proclaimed and recommended from the dawn of salvation. In the name of a narrow and "wild" ecumenism they thus undermine the most venerable bonds which unite us to our Orthodox brothers, and let's say it bluntly: they scandalize them. The tree is known by its fruits. Let us put to our readers a simple question: the methodical and progressive elimination of the Virgin Mary from the piety and the attention of the People of God - has it made them more open and more sensitive to Christ? If Marian doctrines and practices were curbs and obstacles, shouldn't we be seeing now a great soaring of Christ-centered theology and spirituality? Right here is where the saddle pinches. The doctrinal clouding we now witness, the progressive draining of the very notions of 'mystery' and 'the sacred' of their meaning, the mini-theologies on "the death of God" that find their way into would-be Catholic magazines, the growing confusion of the People of God, especially the little ones and the poor - all this says little in favor of those updated people who believe they build up Christ by pulling down His mother. For those who know how to observe it, the drying up of priestly and religious vocations, as also the crisis in the interior life - the famous "horizontalism" that plagues the Church - seems to coincide in certain countries of Europe with the slow but progressive elimination of Marian observances from the official prayer of the Church. (From the Epilogue, written in 1971)

In this instance we see that the bodily union involved in the kiss or the embrace is the result of soul union. Modern or temporary [sic] propaganda may suggest the dangerous reverse of these two. The doctrine that physical intimacy will lead to mental intimacy is dangerous, not only morally but psychologically, because bodily intimacy can create barriers to mental intimacy…. The extrinsic, the exterior joint activities, such as finances, recreation, children, house, occupations, depend in very large measure on the successful joint activity of the interior and intrinsic joining of the bodies and souls of you two.51

man alike, lies in the last re-sort in the dumb willingnesses and unwillingnesses of their interior characters, and nowhere else.”28

Dozens of shiny brass wall sconces created the sort of dim and atmospheric lighting I'd only ever seen in old movies and haunted houses. And the room wasn't just darkly lit. It was also just... dark. The walls were painted a dark chocolate brown that I vaguely remembered from art history classes had been fashionable in the Victorian era. A pair of tall, dark wooden bookshelves that must have weighed a thousand pounds each stood like silent sentinels on either end of the room. Atop each of them sat an ornate brass, malachite candelabra that would have seemed right at home in a sixteenth-century European cathedral. They clashed in style and in every other imaginable way with the two very modern-looking black leather sofas facing each other in the center of the room and the austere, glass-topped coffee table in the living room's center. The latter had a stack of what looked like Regency romance novels piled high at one end, further adding to the incongruity of the scene. Besides the pale green of the candelabras, the only other color to be found in the living room was in the large, garish, floral Oriental rug covering most of the floor; the bright red, glowing eyes of a deeply creepy stuffed wolf's head hanging over the mantel; and the deep-red velvet drapes hanging on either side of the floor-to-ceiling windows.

Today, a number of historical circumstances are blindly flowing together and accidentally conspiring to produce a climate within which it is difficult not just to think about God or to pray, but simply to have any interior depth whatsoever…. We, for every kind of reason, good and bad, are distracting ourselves into spiritual oblivion. It is not that we have anything against God, depth, and spirit, we would like these, it is just that we are habitually too preoccupied to have any of these show up on our radar screens. We are more busy than bad, more distracted than nonspiritual, and more interested in the movie theater, the sports stadium, and the shopping mall and the fantasy life they produce in us than we are in church. Pathological busyness, distraction, and restlessness are major blocks today within our spiritual lives.12

In order to feel less lonely, most of us don’t need to be pushed into going out or given yet more encouragement to track down perfect lovers; we need society to change its stories about what solitude can mean. We need to shift the associations we have been given, away from failure and freakishness and towards depth and discernment. Feeling that one doesn’t want to stand in a loud room chatting with people, that one wants to have a simple meal on one’s own, that one wants to be left with a pad of paper, that one wants to walk in nature; these are not signs of madness but evidence of a complex and rewarding interior.

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When I speak of a labor, then, I intend to refer to something dictated by the course of life rather than by society, something that is often urgent but that nevertheless has its own interior rhythm, something more bound up with feeling, more interior, than work.

What I admire about Austen (among hundreds of other commendable qualities) is her traditional rather than modern conception of morality. She sees it, as did Aristotle, Aquinas, and Marx, as a matter of public conduct, not as the inner light, interior emotions, what you happen to be feeling, what you find aesthetically alluring, and the like. She’s an extremely tough-minded ethical realist in an increasingly corrupt, sentimentalist culture.

What is the process of discernment of God's will? Interior, personal discernment depends absolutely on those objective first principles, but in our relationship with God, discernment definitely takes a very subjective turn. We move from knowing those extremely important things about God to a personal level of knowing and loving God.

In his impatience, the fact that the colonized subject brandishes the threat of violence proves that he is aware of the exceptional nature of the current situation and that he intends to make the most of it. But also on a more immediate personal level, as he sees the modern world penetrate the remotest corners of the interior, he becomes acutely aware of everything he does not possess. The masses, by a kind of (infantile) reasoning, are convinced they have been robbed. In certain developing countries, therefore, they are quick to catch on and realize two or three years after independence their hopes have been dashed: "What was the point of fighting" if nothing was really destined to change? In 1789, after the bourgeois French Revolution, the humblest French peasant gained substantially from the upheaval. But it is common knowledge that for 95 percent of the population in developing countries, independence has not brought any immediate change.

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

At the Einsatzgruppen stage, the rounded-up victims were brought in front of machine guns and killed at point-blank range. Though efforts were made to keep the weapons at the longest possible distance from the ditches into which the murdered were to fall, it was exceedingly difficult for the shooters to overlook the connection between shooting and killing. This is why the administrators of genocide found the method primitive and inefficient, as well as dangerous to the morale of the perpetrators. Other murder techniques were therefore sought — such as would optically separate the killers from their victims. The search was successful, and led to the invention of first the mobile, then the stationary gas chambers; the latter —the most perfect the Nazis had time to invent— reduced the role of the killer to that of the 'sanitation officer' asked to empty a sackful of 'disinfecting chemicals' through an aperture in the roof of a building the interior of which he was not prompted to visit.

What does faith mean, finally, at this late date? I often feel that it means no more than, and no less than, faith in life- in the ongoingness of it, the indestructibility, some atom-by-atom intelligence that is and isn't us, some day-by-day and death-by-death persistence insisting on a more-than-human hope, some tender and terrible energy that is, for those with eyes to see it, love.... and I feel that to be faithful to her, faithful to this person that I loved as much as I have ever loved anyone, I must believe in the scope and momentum of her life, not the awful and anomalous instant if her death. In truth, it is not difficult at all. Nor is the other belief- or instinct, really- that occurs simultaneously: that her every tear was wiped away, that God looked her out of pain, that in the book of an eye the world opened its tenderest interiors, and let her in.

For some years now there has been a constant onslaught of images, lights, and colors that blind man. His interior dwelling is violated by ... unhealthy, provocative images ... that assault purity of heart and infiltrate through the door of sight. / The faculty of sight, which ought to see and contemplate the essential things, is turned aside to what is artificial. ... Our eyelids remain open incessantly, and our eyes are forced to look at a sort of ongoing spectacle. The dictatorship of the image, which plunges our attention into a perpetual whirlpool, detests silence. Man feels obliged to seek ever new realities that give him an appetite to own things; but his eyes are red, haggard, and sick. The artificial spectacles and the screens glowing uninterruptedly try to bewitch the mind and the soul. In the brightly lit prisons of the modern world, man is separated from himself and from God. He is riveted to ephemeral things, farther and farther away from what is essential.

We could express this power in the following way: Most of the time we live in an interior world of dreams, desires, and obsessive thoughts. But in this period of exceptional creativity, we are impelled by the need to get something done that has a practical effect. We force ourselves to step outside our inner chamber of habitual thoughts and connect to the world. At these moments, suddenly exposed to new details and ideas, we become more inspired and creative. Once the deadline has passed or the crisis is over, this feeling of power and heightened creativity generally fades away. We return to our distracted state and the sense of control is gone. The problem we face is that this form of power and intelligence is either ignored as a subject of study or is surrounded by all kinds of myths and misconceptions, all of which only add to the mystery. We imagine that creativity and brilliance just appear out of nowhere, the fruit of natural talent, or perhaps of a good mood, or an alignment of the stars. It would be an immense help to clear up the mystery—to name this feeling of power, and to understand how it can be manufactured and maintained. Let us call this sensation mastery—the feeling that we have a greater command of reality, other people, and ourselves. Although it might be something we experience for only a short while, for others—Masters of their field—it becomes their way of life, their way of seeing the world. And at the root of this power is a simple process that leads to mastery—one that is accessible to all of us. The process can be illustrated in the following manner: Let us say we are learning the piano, or entering a new job where we must acquire certain skills. In the beginning, we are outsiders. Our initial impressions of the piano or the work environment are based on prejudgments, and often contain an element of fear. When we first study the piano, the keyboard looks rather intimidating—we don’t understand the relationships between the keys, the chords, the pedals, and everything else that goes into creating music. In a new job situation, we are ignorant of the power relationships between people, the psychology of our boss, the rules and procedures that are considered critical for success. We are confused—the knowledge we need in both cases is over our heads. Although we might enter these situations with excitement about what we can learn or do with our new skills, we quickly realize how much hard work there is ahead of us. The great danger is that we give in to feelings of boredom, impatience, fear, and confusion. We stop observing and learning. The process comes to a halt. If, on the other hand, we manage these emotions and allow time to take its course, something remarkable begins to take shape. As we continue to observe and follow the lead of others, we gain clarity, learning the rules and seeing how things work and fit together. If we keep practicing, we gain fluency; basic skills are mastered, allowing us to take on newer and more exciting challenges.

Just as New York’s Armory Show synthesized modern art in 1913, the Paris show on decorative arts in 1925 synthesized another kind of modernity and influenced commercial and decorative art, popularizing it to the point where industrial designers became household names. Art Deco, like many movements in the design field, began as a movement in furniture and decorative arts, but its influence in one form or another extended beyond interiors and magazine covers and the figures of Erté, to the design of automobiles and even locomotives.

MODERN SCIENCE CAN SOLVE ANY TECHNICAL PROBLEM IT RECOGNISES therefore 257 THE GREAT FUTURE OF MANKIND WE CAN DOME THE CRATERS OF THE MOON AND GROW FORESTS IN THEM and then STRIP FROM VENUS HALF THE CLOUDS WHICH MAKE HER SURFACE A FACSIMILE OF ANCIENT HELL AND GIVE HER MOIST AIR RAINING AN OCEAN WHICH, STOCKED WITH PLANKTON AND WHALES, WILL COMPOSE A WARM PACIFIC PLANET WITH VOLCANIC ISLANDS WHERE SLOWLY NEW LIFE WILL TAKE ROOT and then HOLLOW THE LARGEST ASTEROIDS, LIGHT ARTIFICIAL SUNS IN THEM, ACCELERATE THEIR AXIAL ROTATION TO PRODUCE CENTRIFUGAL INTERIOR GRAVITY, BUILD HORIZONLESS GARDEN CITIES ROUND THE WALLS AND LET ADVENTUROUS GENERATIONS SAIL TO THE STARS IN THEM because WITHOUT FIGHTING OTHERWORLDLY HUNS, PLUNDERING OTHERWORLDLY AZTECS, KOWTOWING TO OTHERWORLDLY SUPERMEN, WE CAN CREATE ALL THE GOOD WORLDS WE EVER IMAGINED and thus LOVE, SEX, BIRTH, CHILDREN NEED NO LONGER LEAD TO POVERTY, FAMINE, WAR, DEBT, SLAVERY, REVOLUTION, THEY WILL BECOME OUR GREATEST GIFT TO THE UNIVERSE WHICH ENGENDERED US! However THE COST OF FERTILISING THE WASTE OF THE UNIVERSE, STARTING WITH THE MOON, IS SO GREAT THAT ONLY A RICH PLANET CAN AFFORD IT so we must EMPLOY EVERY LIVING SOUL TO FERTILISE OUR OWN DESERTS, RESTOCK OUR OWN SEAS, USE UP OUR OWN WASTE, IMPROVE ALL GROUND, NOURISH EDUCATE DELIGHT ALL CHILDREN UNTIL ALL ARE STRONG, UNAFRAID, CREATIVE, PRACTICAL ADULTS WHO LOVE AND UNDER-STAND THE WORLD THEY LIVE IN AND THE MANY WORLDS THEY COULD LIVE IN 258 GLORY RAGE RADIANCE for it is technically possible to CREATE A WORLD WHERE EVERYONE IS A PARTNER IN THE HUMAN ENTERPRISE AND NOBODY A MERE TOOL OF IT yes God we can BECOME GARDENERS AND LOVERS OF THE UNIVERSE BY FIRST TREATING OTHERS AS WE WISH THEY WOULD TREAT US AND LOVING OUR NEIGHBOURS AS OURSELVES (What happened three nights later when you went home to Denny?) FUCK OFF YA FUCKIN BASTARDING BAMPOT YE! LEA ME ALANE YE BLEEDN CUNTYE! YE ROTTN PRICKYE! Yes I’ll tell you about that but not right now. Give me a bit more time. Please. God.

Archaeology suggests our ancestors figured out how to make fire around a million years ago. Making ice was much harder, and the power to cool is the unglamorous but indispensable technology of the modern age. Refrigeration is the most obviously thermodynamic of all human inventions, and the most defiant of the universal tendency for entropy to increase. These devices force heat to pass from a cold interior to a warm exterior, which is in the opposite direction to the one in which heat flows spontaneously. The purpose of this is to create a space where the relentless increase of entropy is slowed down. Although ostensibly a refrigerator is a cool box, that’s a means to an end. Its ultimate purpose is to slow down decay and putrefaction, which are both examples of entropy increasing. Think of a refrigerator as a device inside which time slows down.

Vastu shastra is yoga for architecture and by balancing all 8 directions, panch mahabhootas ie 5 elements and energies with in a space a perfect equilibrium of health and happiness may be achieved in homes and work places alike. Dr. Vaishali Gupta is a Vedic scholar & modern researcher of the science of Vastushastra, with more than 15 years of experience and expertise in the field. Although Dr. Vaishali Gupta has worked in all areas of Vastu but she specializes in commercial and industrial vastu and has a long list of industrial clients in India and abroad. She is a qualified interior designer and has done in depth study of building construction. This gives her immense understanding of dealing with buildings, plans, elevations & sections etc. and she is known for giving simple yet effective vastu solutions, for homes, offices restaurants, factories etc. She is one of the few Vastu Consultants who take the natal chart of the owner into consideration while giving vastu solutions as she firmly believes that both vastu and astrology go hand in hand.

The CORINNE HOTEL has transferred the mysteries of the past to the present and staying loyal to the original structure of the building it was restored with respect for nature using ecofriendly technology. Our hotel with its interior design blending the modern with the historical past opens the doors to its 39 rooms to host guests who crave luxury and boutique service.

Contrary to Le Corbusier’s adage of modern architecture, a traditional Japanese house is not simply a “machine to live in,” but a home for the soul.

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The outcome of such hyper-subjective interiority is an elimination of the need to take risks or make sacrifices. 69 It is a condition much like that of Nietzsche’s “last man” in Thus Spoke Zarathustra. An incarnation of complacency, risk aversion, and comfort, the last man’s drive for self-preservation overrides any thymotic desire, the “spiritedness” that gives rise to idealistic selflessness, moralistic self-sacrifice, courage, and honor. 70 In the last man, the desire for excellence or achievement dissolves. So do the concepts of sacrifice, glory, and courage. (“Real are we entirely, and without belief or superstition. Thus you stick out your chests—but alas, they are hollow!” 71) For Nietzsche, the last man is the primary product of the secularizing, mechanizing, and rationalizing forces of modernity, which are “crushing, stifling, and ruining” the human spirit. 72 Modernity is characterized by an inexorable, accelerating descent into nihilism, an inescapable “horizonlessness.” Without a horizon defined by a system of values, transcendent rules, or an ethical program, modernity is suspended within an abyss of meaninglessness. 73