Outgoing Students Quotes

Patrick West.” Nick spoke so quietly the words were hardly more than a soft exhalation. “Student. Swimmer. Fan of lurid supernatural romances, €linore, and BadMadRad. Casual gamer. Admirer of Jaguar, fictional warrior princesses, and soprano witch queens. Lover of historical buildings. Idealist who wants to build cities where people can live well. Owner of strong opinions he never hesitates to defend, no matter how obviously wrong. Quick to laugh. Spontaneous and unselfconscious, except when he thinks too much, or tries too hard. Talks too much, with hardly any filter between the brain and the mouth. Adaptable. Outgoing. Unreserved. Loud. Talented. Whole-hearted. Foolhardy. Stronger than he thinks. Wiser than he seems.

crazy touches. She loves art and sometimes makes herself jewelry, especially big earrings. (Claudia, of course, has pierced ears, which Mal and I want desperately but are not allowed to have yet. All we’re going to get is braces on our teeth.) Anyway, Claudia doesn’t just love art, she’s a really good artist. Unfortunately, she’s a terrible student. Being a poor student is bad enough, but when you have an older sister who is a genius, like Claudia’s sister, Janine, it’s really tough. Claudia manages, though. She does as well as she can in school, and otherwise concentrates on her art and babysitting. She lives with her parents, her sister, and her grandmother, Mimi. Mary Anne Spier is the club secretary. She’s in charge of keeping the record book in order, except for the money stuff. (That’s Dawn Schafer’s job, since she’s the treasurer.) It’s hard to believe that Mary Anne and Kristy are best friends. This is because in a lot of ways they’re opposites. Oh, they look alike, all right. They’re the two shortest kids in their grade and they both have brown hair and brown eyes, but that’s where the similarities end. Kristy is loud and outgoing, Mary

Matthew Choptuik, a postdoctoral student at the University of Texas, carried out a simulation on a supercomputer that he hoped would reveal new, unexpected features of the laws of physics; and he hit the jackpot. What he simulated was the implosion of a gravitational wave.47 When the imploding wave was weak, it imploded and then disbursed. When it was strong, the wave imploded and formed a black hole. When its strength was very precisely “tuned” to an intermediate strength, the wave created a sort of boiling in the shapes of space and time. The boiling produced outgoing gravitational waves with shorter and shorter wavelengths. It also left behind, at the end, an infinitesimally tiny naked singularity (Figure 26.7). Fig. 26.6. Our bet about naked singularities. Fig. 26.7. Left: Matthew Choptuik. Middle: An imploding gravitational wave. Right: The boiling produced by the wave, and the naked singularity at the center of the magnifying glass. Now, such a singularity can never occur in nature. The required tuning is not a natural thing. But an exceedingly advanced civilization could produce such a singularity artificially by precisely tuning a wave’s implosion, and then could try to extract the laws of quantum gravity from the singularity’s behavior.

Mike sounded dismissive of Western communication styles, but he admitted that he sometimes wished he could be noisy and uninhibited himself. “They’re more comfortable with their own character,” he said of his Caucasian classmates. Asians are “not uncomfortable with who they are, but are uncomfortable with expressing who they are. In a group, there’s always that pressure to be outgoing. When they don’t live up to it, you can see it in their faces.” Mike told me about a freshman icebreaking event he’d participated in, a scavenger hunt in San Francisco that was supposed to encourage students to step out of their comfort zones. Mike was the only Asian assigned to a rowdy group, some of whom streaked naked down a San Francisco street and cross-dressed in a local department store during the hunt. One girl went to a Victoria’s Secret display and stripped down to her underwear. As Mike recounted these details, I thought he was going to tell me that his group had been over the top, inappropriate. But he wasn’t critical of the other students. He was critical of himself. “When people do things like that, there’s a moment where I feel uncomfortable with it. It shows my own limits. Sometimes I feel like they’re better than I am.” Mike was getting similar messages from his professors. A few weeks after the orientation event, his freshman adviser—a professor at Stanford’s medical school—invited a group of students to her house. Mike hoped to make a good impression, but he couldn’t think of anything to say. The other students seemed to have no problem joking around and asking intelligent questions. “Mike, you were so loud today,” the professor teased him when finally he said good-bye. “You just blew me away.” He left her house feeling bad about himself. “People who don’t talk are seen as weak or lacking,” he concluded ruefully.

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

I’ve never really understood the importance of class participation. If I have the knowledge and I can prove that I have it in a test or in some homework, then why do I have to show it off in front of the whole classroom to get the grade? Or worse, if I don’t know the answer, why do I have to humiliate myself in front of the entire classroom just for some points? I just don’t get it. All I can say is that I definitely didn’t want that top spot hard enough to participate daily in every class. Although I gotta say that sometimes I was tempted to force myself to participate just so I could get the teachers off my back. “You have to learn to come out of your shell,” “Don’t be shy, we don’t bite,” “You’re never going to make it in the real world if you don’t talk.” They always used the same old, tired phrases. I knew some of them had good intentions, and maybe they were right, maybe I needed to speak up and participate more, but why did they think it was a good idea to motivate me like that? I’m sure there are other ways to promote class participation without being so aggressive or rude. Public humiliation was not going to magically transform me into someone outgoing like my brother, my parents had already tried that for years with no results. It is the teachers’ job to create a safe space for students to grow and develop, not a safe space for mocking and bullying. By singling me out as the “quiet one,” the teachers basically put a target on my back and gave my classmates permission to mock me for the same reason. And they took that permission by heart. All through middle school, many kids enjoyed bullying me for being quiet—and for other things, like preferring to read during recess instead of playing sports and for my short stature, but mostly it was for being quiet, which is something that I’ve never fully understood. Why did being quiet make me stand out? Shouldn’t it have been the other way around? I used to try to not pay attention to the bullies, but when so many people—including some of the teachers—tell you that there’s something wrong with you, you can’t help but start to wonder if they’re right.

Matthew Choptuik, a postdoctoral student at the University of Texas, carried out a simulation on a supercomputer that he hoped would reveal new, unexpected features of the laws of physics; and he hit the jackpot. What he simulated was the implosion of a gravitational wave.47 When the imploding wave was weak, it imploded and then disbursed. When it was strong, the wave imploded and formed a black hole. When its strength was very precisely “tuned” to an intermediate strength, the wave created a sort of boiling in the shapes of space and time. The boiling produced outgoing gravitational waves with shorter and shorter wavelengths. It also left behind, at the end, an infinitesimally tiny naked singularity

In relation to these learning styles, psychologists have also identified other associated psychological, neurological, and personality characteristics. The students with preferences for the auditory-sequential learning style are more inclined to have extrovert personalities, while the students who prefer the visual-spatial learning style are inclined to possess introvert personalities. Extrovert personalities are more outgoing, engage in discussions, and respond easily, even with relatively unknown people, and they enjoy social activities with a large number of participants. On the contrary, introverts prefer attending to things on their own with less interaction with others, especially with relatively unknown people, and dislike social activities with large attendance. Auditory-sequential learners are good in analysis and pay more attention to specific detail; they approach solving a complex problem by dividing it into smaller parts. On the other hand, visual-spatial learners are good synthesisers, who can relate different perspectives to form an answer and are better at seeing the big picture or are holistic. As we would expect, auditory-sequential learners deal better with the concept of time and are better organised, while visual-spatial learners are relatively less competent with the concept of time. Auditory-sequential learners think in words and are better in rote memorisation; visual-spatial learners think in pictures and need to relate contextual meanings with pictures and, as a result, struggle with rote memorisation. That is, auditory-sequential learners have better auditory short-term memory, while visual-spatial learners have better visual long-term memory. Further, since they think in pictures, visual-spatial learners take a relatively longer time to process and relate information to contexts; once they do that, this contextual information is retained longer in memory.

exhaustion make a significant impact on the workforce. Western workers find themselves working as much overtime as possible to pay off debts, match earnings with outgoing daily expenses, pay monthly rents/mortgage, student loans, car bill and credit card debts. Certain corporations will employ young citizens for days or weeks, on trial for a job, without paying them any salary, with the excuse of giving them “work experience.” Young people believe that working in a coffee shop, store or office will help them get a job. They are there serving as free or cheap labour. Corporations influence legislation. Major corporations endorse lower taxation to make themselves better off and to get people to spend more rather than pay taxes for the welfare and support of the poor. The corporate world enjoys major tax breaks for the wealthy. Some of the superrich use tax havens worldwide

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