Painting Related Quotes

once you have tasted the taste of sky, you will forever look up

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

I don’t know anything about art so I can’t tell you that it’s watercolor or acrylic or that it’s on canvas or anything art related at all. I can tell you that it’s a painting of a hand, my hand, turned up and opened to the world and that it reaches into my body and rips out everything that’s left. Because in the palm, right in the center, is the pearl button I never reached.

Dear Juliet. I could relate to her pain. Black misery painted on a blood red heart. Death would be more bearable than life without Romeo.

Music, to me, is the most beautiful form, and I love film because film is very related to music. It moves by you in its own rhythm. It's not like reading a book or looking at a painting. It gives you its own time frame, like music, so they are very connected for me. But music to me is the biggest inspiration. When I get depressed, or anything, I go "think of all the music I haven't even heard yet!" So, it's the one thing. Imagine the world without music. Man, just hand me a gun, will you?

Oil painting did to appearances what capital did to social relations. It reduced everything to the equality of objects. Everything became exchangeable because everything became a commodity.

London The Institute Year of Our Lord 1878 “Mother, Father, my chwaer fach, It’s my seventeenth birthday today. I know that to write to you is to break the law, I know that I will likely tear this letter into pieces when it is finished. As I have done on all my birthdays past since I was twelve. But I write anyway, to commemorate the occasion - the way some make yearly pilgrimages to a grave, to remember the death of a loved one. For are we not dead to each other? I wonder if when you woke this morning you remembered that today, seventeen years ago, you had a son? I wonder if you think of me and imagine my life here in the Institute in London? I doubt you could imagine it. It is so very different from our house surrounded by mountains, and the great clear blue sky and the endless green. Here, everything is black and gray and brown, and the sunsets are painted in smoke and blood. I wonder if you worry that I am lonely or, as Mother always used to, that I am cold, that I have gone out into the rain again without a hat? No one here worries about those details. There are so many things that could kill us at any moment; catching a chill hardly seems important. I wonder if you knew that I could hear you that day you came for me, when I was twelve. I crawled under the bed to block out the sound of you crying my name, but I heard you. I heard mother call for her fach, her little one. I bit my hands until they bled but I did not come down. And, eventually, Charlotte convinced you to go away. I thought you might come again but you never did. Herondales are stubborn like that. I remember the great sighs of relief you would both give each time the Council came to ask me if I wished to join the Nephilim and leave my family, and each time I said no and I send them away. I wonder if you knew I was tempted by the idea of a life of glory, of fighting, of killing to protect as a man should. It is in our blood - the call to the seraph and the stele, to marks and to monsters. I wonder why you left the Nephilim, Father? I wonder why Mother chose not to Ascend and to become a Shadowhunter? Is it because you found them cruel or cold? I have no fathom side. Charlotte, especially, is kind to me, little knowing how much I do not deserve it. Henry is mad as a brush, but a good man. He would have made Ella laugh. There is little good to be said about Jessamine, but she is harmless. As little as there is good to say about her, there is as much good to say about Jem: He is the brother Father always thought I should have. Blood of my blood - though we are no relation. Though I might have lost everything else, at least I have gained one thing in his friendship. And we have a new addition to our household too. Her name is Tessa. A pretty name, is it not? When the clouds used to roll over the mountains from the ocean? That gray is the color of her eyes. And now I will tell you a terrible truth, since I never intend to send this letter. I came here to the Institute because I had nowhere else to go. I did not expect it to ever be home, but in the time I have been here I have discovered that I am a true Shadowhunter. In some way my blood tells me that this is what I was born to do.If only I had known before and gone with the Clave the first time they asked me, perhaps I could have saved Ella’s life. Perhaps I could have saved my own. Your Son, Will

Painting relates to both art and life. Neither can be made. I try to act in that gap between the two. - 1959, from a catalogue

To express the love of two lovers by the marriage of two complementary colours, their blending and their contrast, the mysterious vibrations of related tones. To express the thought of a brow by the radiance of a light tone against a dark background. To express hope by some star. Someone's passion by the radiance of the setting sun. That's certainly no realistic trompe l'oeil, but something that really exists, isn't it?

How strange was the relation between parents and children! When they were small the parents doted on them, passed through agonies of apprehension at each childish ailment, and the children clung to their parents with love and adoration; a few years passed, the children grew up, and persons not of their kin were more important to their happiness than father or mother. Indifference displaced the blind and instinctive love of the past. Their meetings were a source of boredom and irritation. Distracted once at the thought of a month's separation they were able now to look forward with equanimity to being parted for years.

I read the first chapter of A Brief History of Time when Dad was still alive, and I got incredibly heavy boots about how relatively insignificant life is, and how compared to the universe and compared to time, it didn't even matter if I existed at all. When Dad was tucking me in that night and we were talking about the book, I asked if he could think of a solution to that problem. "Which problem?" "The problem of how relatively insignificant we are." He said, "Well, what would happen if a plane dropped you in the middle of the Sahara Desert and you picked up a single grain of sand with tweezers and moved it one millimeter?" I said, "I'd probably die of dehydration." He said, "I just mean right then, when you moved that single grain of sand. What would that mean?" I said, "I dunno, what?" He said, "Think about it." I thought about it. "I guess I would have moved one grain of sand." "Which would mean?" "Which would mean I moved a grain of sand?" "Which would mean you changed the Sahara." "So?" "So? So the Sahara is a vast desert. And it has existed for millions of years. And you changed it!" "That's true!" I said, sitting up. "I changed the Sahara!" "Which means?" he said. "What? Tell me." "Well I'm not talking about painting the Mona Lisa or curing cancer. I'm just talking about moving that one grain of sand one millimeter." "Yeah? If you hadn't done it, human history would have been one way..." "Uh-huh?" "But you did do it, so...?" I stood on the bed, pointing one of my fingers at the fake stars, and screamed: "I changed the course of human history!" "That's right." "I changed the universe!" "You did." "I'm God!" "You're an atheist." "I don't exist!" I fell back onto the bed, into his arms, and we cracked up together.

If you were far out in space, you would see that the sun neither rises nor sets, but that it shines continuously. And yet, even after realizing that, we can continue to speak of the sunrise or sunset, still see its beauty, paint it, write poems about it, even though we now know that it is a relative rather than an absolute truth.

The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.

Writing, music, sculpting, painting, and prayer! These are the three things that are most closely related! Writers, musicians, sculptors, painters, and the faithful are the ones who make things out of nothing. Everybody else, they make things out of something, they have materials! But a written work can be done with nothing, it can begin in the soul! A musical piece begins with a harmony in the soul, a sculpture begins with a formless, useless piece of rock chiseled and formed and molded into the thing that was first conceived in the sculptor's heart! A painting can be carried inside the mind for a lifetime, before ever being put onto paper or canvass! And a prayer! A prayer is a thought, a remembrance, a whisper, a communion, that is from the soul going to what cannot be seen, yet it can move mountains! And so I believe that these five things are interrelated, these five kinds of people are kin.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

Can you imagine if someone told Einstein, Okay, wrap up this relativity thing, we’re moving on to European history? Or said to Michelangelo, Time’s up for the ceiling, now go paint the walls. Yet versions of this snuffing out of creativity and boundary-stretching thought happen all the time in conventional schools.

I was obviously born to draw better than most people, just as the widow Berman and Paul Slazinger were obviously born to tell stories better than most people can. Other people are obviously born to sing and dance or explain the stars in the sky or do magic tricks or be great leaders or athletes, and so on. I think that could go back to the time when people had to live in small groups of relatives -- maybe fifty or a hundred people at the most. And evolution or God or whatever arranged things genetically to keep the little families going, to cheer them up, so that they could all have somebody to tell stories around the campfire at night, and somebody else to paint pictures on the walls of the caves, and somebody else who wasn't afraid of anything and so on. That's what I think. And of course a scheme like that doesn't make sense anymore, because simply moderate giftedness has been made worthless by the printing press and radio and television and satellites and all that. A moderately gifted person who would have been a community treasure a thousand years ago has to give up, has to go into some other line of work, since modern communications put him or her into daily competition with nothing but the world's champions. The entire planet can get along nicely now with maybe a dozen champion performers in each area of human giftedness. A moderately gifted person has to keep his or her gifts all bottled up until, in a manner of speaking, he or she gets drunk at a wedding and tapdances on the coffee table like Fred Astair or Ginger Rogers. We have a name for him or her. We call him or her an 'exhibitionist.' How do we reward such an exhibitionist? We say to him or her the next morning, 'Wow! Were you ever _drunk_ last night!

Is there a relative value of beauty? Is evanescence - fleetingness - a necessary element of the thing that most moves us? A shooting star dazzles more than the sun. A child captivates like an elf, but grows into grossness, an ogre, a harpy. A flower splays itself into color - the lilies of the field! - more treasured than any painting of a flower. But of all these things, women's grace, shooting stars, flowers, and paintings, only a painting endures.

The mind is the process through which expression comes. The thought "I am" is the expression of being conscious.   It is the bridge from the relative to the Absolute. It is the aperture through which the Absolute perceives its expressions.   But you are neither the field nor its contents.   You are That Light by which light is perceived.   You are That which provides the blank canvas onto which the paint is applied. You provide the space which supports all objects while itself being ignored.   You are the seeing, the hearing, the perceiving, the knowing, and the doing of all that is seen, heard, perceived, known and done.   Like the wind, That that you are is known only by its effects.

And even if something had once been committed to paper, did it mean that it was still true? Always true? Unlike the relative permanence of paint, words were temporal. You uttered them and they evanesced, but if you wrote them, they remained, though whether the written word was any more truthful than the spoken was a mystery to her. Only paint was honest.

What good's a black face if it means I'm just someone else's property? Why give me these arms and legs just to carry someone else's load, not my own?

What I have lately said of painting is equally true with respect to poetry. It is only necessary for us to know what is really excellent, and venture to give it expression; and that is saying much in few words. To-day I have had a scene, which, if literally related, would, make the most beautiful idyl in the world. But why should I talk of poetry and scenes and idyls? Can we never take pleasure in nature without having recourse to art?

We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask ... Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead.

It took me two months to realize home is a relative term. It’s not a place, not a city or a house. Not an address you can write down, not somewhere you can plant a garden or paint the walls. It’s a feeling – when you’re complete, accepted, and loved unconditionally.

Did you ever think our misfortune is directly related to your good fortune? Maybe the house your parents bought was on the market because the sellers didn't want my mama in the neighborhood. Maybe the good grades that eventually led you to law school were possible because your mama didn't have to work eighteen hours a day, and was there to read to you at night, or make sure you did your homework. How often do you remind yourself how lucky you are that you own your house, because you were able to build up equity through generations in a way families of color can't? How often do you open your mouth at work and think how awesome it is that no one's thinking you're speaking for everyone with the same skin color you have? How hard is it for you to find the greeting card for your baby's birthday with a picture of a child that has the same color skin as her? How many times have you seen a painting of Jesus that looks like you? Prejudice goes both ways, you know. There are people who suffer from it, and there are people who profit from it.

You ever think about the noose?' 'I been thinking about the noose since I was born.

The novelist might be greater possible help to us if they painted life as it is, and human feelings in their true proportion and relation, but for the most part they have been and are altogether noxious.

My mom believed that you make your own luck. Over the stove she had hung these old, maroon painted letters that spell out, “MANIFEST.” The idea being if you thought and dreamed about the way you wanted your life to be -- if you just envisioned it long enough, it would come into being. But as hard as I had manifested Astrid Heyman with her hand in mine, her blue eyes gazing into mine, her lips whispering something wild and funny and outrageous in my ear, she had remained totally unaware of my existence. Truly, to even dream of dreaming about Astrid, for a guy like me, in my relatively low position on the social ladder of Cheyenne Mountain High, was idiotic. And with her a senior and me a junior? Forget it. Astrid was just lit up with beauty: shining blonde ringlets, June sky blue eyes, slightly furrowed brow, always biting back a smile, champion diver on the swim team. Olympic level. Hell, Astrid was Olympic level in every possible way.

It is not certain whether the effects of totalitarianism upon verse need be so deadly as its effects on prose. There is a whole series of converging reasons why it is somewhat easier for a poet than a prose writer to feel at home in an authoritarian society.[...]what the poet is saying- that is, what his poem "means" if translated into prose- is relatively unimportant, even to himself. The thought contained in a poem is always simple, and is no more the primary purpose of the poem than the anecdote is the primary purpose of the picture. A poem is an arrangement of sounds and associations, as a painting is an arrangement of brushmarks. For short snatches, indeed, as in the refrain of a song, poetry can even dispense with meaning altogether.

She could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course; the colour could have been thinned and faded; the shapes etherealised; that was how Paunceforte would have seen it. But then she did not see it like that. She saw the colour burning on a framework of steel; the light of a butterfly’s wing lying upon the arches of a cathedral. Of all that only a few random marks scrawled upon the canvas remained. And it would never be seen; never be hung even, and there was Mr Tansley whispering in her ear, “Women can’t paint, women can’t write ...” She now remembered what she had been going to say about Mrs Ramsay. She did not know how she would have put it; but it would have been something critical. She had been annoyed the other night by some highhandedness. Looking along the level of Mr Bankes’s glance at her, she thought that no woman could worship another woman in the way he worshipped; they could only seek shelter under the shade which Mr Bankes extended over them both. Looking along his beam she added to it her different ray, thinking that she was unquestionably the loveliest of people (bowed over her book); the best perhaps; but also, different too from the perfect shape which one saw there. But why different, and how different? she asked herself, scraping her palette of all those mounds of blue and green which seemed to her like clods with no life in them now, yet she vowed, she would inspire them, force them to move, flow, do her bidding tomorrow. How did she differ? What was the spirit in her, the essential thing, by which, had you found a crumpled glove in the corner of a sofa, you would have known it, from its twisted finger, hers indisputably? She was like a bird for speed, an arrow for directness. She was willful; she was commanding (of course, Lily reminded herself, I am thinking of her relations with women, and I am much younger, an insignificant person, living off the Brompton Road). She opened bedroom windows. She shut doors. (So she tried to start the tune of Mrs Ramsay in her head.) Arriving late at night, with a light tap on one’s bedroom door, wrapped in an old fur coat (for the setting of her beauty was always that—hasty, but apt), she would enact again whatever it might be—Charles Tansley losing his umbrella; Mr Carmichael snuffling and sniffing; Mr Bankes saying, “The vegetable salts are lost.” All this she would adroitly shape; even maliciously twist; and, moving over to the window, in pretence that she must go,—it was dawn, she could see the sun rising,—half turn back, more intimately, but still always laughing, insist that she must, Minta must, they all must marry, since in the whole world whatever laurels might be tossed to her (but Mrs Ramsay cared not a fig for her painting), or triumphs won by her (probably Mrs Ramsay had had her share of those), and here she saddened, darkened, and came back to her chair, there could be no disputing this: an unmarried woman (she lightly took her hand for a moment), an unmarried woman has missed the best of life. The house seemed full of children sleeping and Mrs Ramsay listening; shaded lights and regular breathing.

The brain has allowed us to perform extraordinary feats from discovering general relativity to painting the Sistine Chapel, from building airplanes to composing symphonies. And yet, we still forget to pick up milk on the way home. How can this be?

Can you start tomorrow in Detroit?” “Sure.” “Come to Local 299 and report to Bill Isabel and Sam Portwine. They’re in charge of public relations for the International.” We

Kitsch. Can't think of Engl. trans. for this word. A copy that's so proud of how close it comes to the original that it believes there's more worth in this closeness than in originality itself. "It looks like...!" Imposture of feeling over actual emotion; sentimentality over sentiment. Kitsch can also be in the eye: "The sunset looks like a painting!" Because artifice is now the ultimate standard, the original (sunset) has to be turned into a fake (painting), so that the latter may provide the measure of the former's beauty. Kitsch is always a form of inverted Platonism, prizing imitation over archetype. And in every case, it's related to an inflation of aesthetic value, as seen in the worst kind of kitsch: "classy" kitsch. Solemn, ornamental, grand. Ostentatiously, arrogantly announcing its divorce from authenticity.

The skins matched all the tones of chocolate, coffee and wood. There were many white suits and dresses, and many of those flowered dresses which in the realm of printed dresses stand in the same relation as the old paintings of flowers and fruit done by maiden aunts to a Matisse, or a Braque.

It makes no sense to expect or claim to 'make the invisible visible', or the unknown known, or the unthinkable thinkable. We can draw conclusions about the invisible; we can postulate its existence with relative certainty. But all we can represent is an analogy, which stands for the invisible but is not it.

Real science is creative, as much so as painting, sculpture, or writing.Beauty, variously defined, is the criterion for art, and likewise a good theory has the elegance, proportion, and simplicity that we find beautiful. Just as the skilled artist omits the extraneous and directs our attention to a unifying concept, so the scientist strives to find a relatively simple order underlying the apparent chaos of perception.

Mom always says to leave him alone, that he’s an introvert and he needs to get his energy from a quiet place inside himself and that she can relate. I think he gets his energy from paint fumes and really good wee.

Here’s the simplest, most jargon-free, definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing.

Down through the druid wood I saw Wildman join with Cleaver Creek, put on weight, exchange his lean and hungry look for one of more well-fed fanaticism. Then came Chichamoonga, the Indian Influence, whooping along with its banks war-painted with lupine and columbine. Then Dog Creek, then Olson Creek, then Weed Creek. Across a glacier-raked gorge I saw Lynx Falls spring hissing and spitting from her lair of fire-bright vine maple, claw the air with silver talons, then crash screeching into the tangle below. Darling Ida Creek slipped demurely from beneath a covered bridge to add her virginal presence, only to have the family name blackened immediately after by the bawdy rollicking of her brash sister, Jumping Nellie. There followed scores of relatives of various nationalities: White Man Creek, Dutchman Creek, Chinaman Creek, Deadman Creek, and even a Lost Creek, claiming with a vehement roar that, in spite of hundreds of other creeks in Oregon bearing the same name, she was the one and only original...Then Leaper Creek...Hideout Creek...Bossman Creek...I watched them one after another pass beneath their bridges to join in the gorge running alongside the highway, like members of a great clan marshaling into an army, rallying, swelling, marching to battle as the war chant became deeper and richer.

She was one of the few stay-at-home moms in Ramsey Hill and was famously averse to speaking well of herself or ill of anybody else. She said that she expected to be “beheaded” someday by one of the windows whose sash chains she’d replaced. Her children were “probably” dying of trichinosis from pork she’d undercooked. She wondered if her “addiction” to paint-stripper fumes might be related to her “never” reading books anymore. She confided that she’d been “forbidden” to fertilize Walter’s flowers after what had happened “last time.

How much such a little moon can do. There are days when everything about one is bright, light, scarcely stated in the clear air and yet distinct. Even what lies nearest has tones of distance, has been taken away and is only shown, not proffered; and everything related to expanse–the river, the bridges, the longs streets, and the squares that squander themselves–has taken that expanse in behind itself, is painted on it as on silk. It is not possible to say what a bright green wagon on the Pont-Neuf can then become, or some red that is not to be held in, or even a simple placard on the party wall of a pearl-grey group of houses. Everything is simplified, brought into a few right, clear planes, like the face in a Manet portrait. And nothing is trivial and superfluous. The booksellers on the quai open their stalls, and the fresh or worn yellow of their books, the violet brown of the bindings, the bigger green of an album–everything harmonizes, counts, takes part, creating a fulness in which nothing lacks

As if reading his mind, Lily huffed. “You’re as predictable as the spring rains, son of mine, and as boring as drying paint. Unless there’s an emergency, you’re home every night by seven, you eat dinner by yourself, go for a run, watch exactly one hour of TV by yourself, and go to bed at ten o’clock. If God ever loses his watch, he only has to look at Lance Beaufort to get back on schedule.” ... “I’ve been having trouble with my phone,” he tried. Lily took two strides to the desk, leaned over it with both hands braced on the surface, and stared. “Okay, yes! I have been over there. But it’s for work. And…and it’s work related!” “Oh? Explain that to me, because I thought you were the sheriff, not in training for a role in Lassie.

Therefore we can posit this generalization: That a painting is the representation of the artist’s notion of reality in the terms of the plastic elements. The creation of a plastic unit reduces all the phenomena of the time to a unity of sensuality and thereby relates the subjective and objective in its relevance to man. Art therefore is a generalization. The use of the plastic elements to any other ends, which are most usually particularizations and descriptions of appearances, or which serve the stimulation of separate senses, are not in the category of art and must be classified in the category of applied arts.

She paints a pretty picture, but the story has a twist Her paintbrush is a razor, her canvas is her wrist. She paints a pretty picture in a colour that's blood red. While using her sharp paintbrush, she ends up finally dead. The pretty picture is fading quite slowly on her arm. Blood no longer runs through her, she can no longer do harm. Yes, she painted a pretty picture but the story has a twist, you see, her mind was her razor, and her heart was her wrist.

Mortality is inscribed in your cellular structure, and you say you’re not ill? Look at the painting. Look at it.” She nods towards The Adoration of the Magi. I obey. I always will. “Thirteen subjects, if you count them, like the Last Supper. Shepherds, the Magi, the relatives. Study their faces, one by one. Who believes this newborn manikin can one day conquer death? Who wants proof? Who suspects the Messiah is a false prophet? Who knows that he is in a painting, being watched? Who is watching you back?

For it is the body that drags us down. It is attachment, identification, which makes us miserable. That is the secret: To think that I am the spirit and not the body, and that the whole of this universe with all its relations, with all its good and all its evil, is but a series of paintings — scenes on a canvas — of which I am the witness.

The Idiot. I have read it once, and find that I don't remember the events of the book very well--or even all the principal characters. But mostly the 'portrait of a truly beautiful person' that dostoevsky supposedly set out to write in that book. And I remember how Myshkin seemed so simple when I began the book, but by the end, I realized how I didn't understand him at all. the things he did. Maybe when I read it again it will be different. But the plot of these dostoevsky books can hold such twists and turns for the first-time reader-- I guess that's b/c he was writing most of these books as serials that had to have cliffhangers and such. But I make marks in my books, mostly at parts where I see the author's philosophical points standing in the most stark relief. My copy of Moby Dick is positively full of these marks. The Idiot, I find has a few... Part 3, Section 5. The sickly Ippolit is reading from his 'Explanation' or whatever its called. He says his convictions are not tied to him being condemned to death. It's important for him to describe, of happiness: "you may be sure that Columbus was happy not when he had discovered America, but when he was discovering it." That it's the process of life--not the end or accomplished goals in it--that matter. Well. Easier said than lived! Part 3, Section 6. more of Ippolit talking--about a christian mindset. He references Jesus's parable of The Word as seeds that grow in men, couched in a description of how people are interrelated over time; its a picture of a multiplicity. Later in this section, he relates looking at a painting of Christ being taken down from the cross, at Rogozhin's house. The painting produced in him an intricate metaphor of despair over death "in the form of a huge machine of the most modern construction which, dull and insensible, has aimlessly clutched, crushed, and swallowed up a great priceless Being, a Being worth all nature and its laws, worth the whole earth, which was created perhaps solely for the sake of the advent of this Being." The way Ippolit's ideas are configured, here, reminds me of the writings of Gilles Deleuze. And the phrasing just sort of remidns me of the way everyone feels--many people feel crushed by the incomprehensible machine, in life. Many people feel martyred in their very minor ways. And it makes me think of the concept that a narrative religion like Christianity uniquely allows for a kind of socialized or externalized, shared experience of subjectivity. Like, we all know the story of this man--and it feels like our own stories at the same time. Part 4, Section 7. Myshkin's excitement (leading to a seizure) among the Epanchin's dignitary guests when he talks about what the nobility needs to become ("servants in order to be leaders"). I'm drawn to things like this because it's affirming, I guess, for me: "it really is true that we're absurd, that we're shallow, have bad habits, that we're bored, that we don't know how to look at things, that we can't understand; we're all like that." And of course he finds a way to make that into a good thing. which, it's pointed out by scholars, is very important to Dostoevsky philosophy--don't deny the earthly passions and problems in yourself, but accept them and incorporate them into your whole person. Me, I'm still working on that one.

I made a birdhouse,” he said confidently. “And I painted it to look like Hogwarts.

The paintings seemed to bear the same relation to reality as prayers to the vision of God.

But history is really related to poetry as portrait painting to historical painting: the former gives us that which is true in the individual, the latter that which is true in general;

The artist, the true artist, the true poet, should paint only in accordance with what he sees or feels. He must be really faithful to his own nature. He must avoid, like death itself, the temptation of borrowing the eyes or feelings of another man, however great, for in that case the production he gave us would be a pack of lies, relatively to himself, not realities.

Fuchsia took three paces forward in the first of the attics and then paused a moment to retie a string above her knee. Over her head vague rafters loomed and while she straightened herself she noticed them and unconsciously loved them. This was the lumber room. Though very long and lofty it looked relatively smaller than it was, for the fantastic piles of every imaginable kind of thing, from the great organ to the lost and painted head of a broken toy lion that must one day have been the plaything of one of Fuchsia's ancestors, spread from every wall until only an avenue was left to the adjacent room.

Have you ever thought about Jesus’ physical appearance? If you think about the paintings, he was a relatively handsome Dutchman. But if you think about a prophetic description, “he had no form or majesty that we should look at him, and no beauty that we should desire him” (Isaiah 53:2). To put it diplomatically, he didn’t look like much, and sleepless nights filled with prayer vigils probably didn’t help.

We came around the corner and stood in the doorway of what looked like a paint-testing ground. This was where we proved once and for all that we were good loving parents. We decided to let him live. "What is painting doing in my best Tupperware bowl?" I yelled. "Well, I needed something lightweight I could carry around with me," he began. "You've been carrying around a brain for year," the boy's father said.

Aeron’s stone-faced expression cracked, as he turned to give me a dumbfounded look. Meeting his questioning eyes, I let out a little annoyed sigh, “I refuse to believe that you don’t know the meaning of ‘cojones’.” “I’m well aware of the meaning,” he raised his eyebrows, fighting back a smile. “Just a little surprised at your choice of words…” “Yeah, I can really paint a verbal picture,” I responded dryly.

My mother, after stopping her physical abuse, began conveying my private life through a filtered lens to my relatives via phone. She was the 'dutiful mother' and painted our family portrait as a hardship because of me.

In Detroit I was assigned to Bill Isabel and Sam Portwine. They worked as a team, doing public relations, but actually Sam looked to Bill as boss of the team. Bill was about 5′8″ and was known for his ability with candy, not the kind you eat, the kind you use to blow things up with — dynamite. Bill was proficient in bombing, and he always packed. Bill was born in Ireland, but he sounded American. He came up through the ranks as a trucker.

But as well as copy-shop piracy, there is another kind of "taking" that is more directly related to the Internet. That taking, too, seems wrong to many, and it is wrong much of the time. Before we paint this taking "piracy," however, we should understand its nature a bit more. For the harm of this taking is significantly more ambiguous than outright copying, and the law should account for that ambiguity, as it has so often done in the past.

Although the style of each varied in crudity, the subjects of the paintings were relatively similar: camellias floating in bowls of water, azaleas tortured into ambitious flower arrangements, magnolias that looked like white windmills.

Our minds have this strange ability to make associations using ourselves as a reference point. They create our identities based on our relation to people and things. They aim for control because ownership falsely promises us an elevated sense of self. But this is exactly the opposite of love. When we fall in love, we disidentify and get lost for a little while in a song, a beautiful painting, and most of all, we get lost in our lover. And through their love, we find our true infinite selves.

Hey! What have you been thinking? It's been an hour now and you are barely blinking. Is it stress of love or career that you seek, Or are you running a movie of all that you want to be? Are you scared of failing or trying to procrastinate, Oh! I get it, you are fumbling on that song to which you relate. To be in your head seems like a good place, You have your walls up and that is now your safe space. Staring at that wall with worn out paint, Your pupil just dilated,did you think of him again?

And now as if the cleaning and the scrubbing and the scything and the mowing had drowned it there rose that half-heard melody, that intermittent music which the ear half catches but lets fall; a bark, a bleat; irregular, intermittent, yet somehow related; the hum of an insect, the tremor of cut grass, dissevered yet somehow belonging; the jar of a dor beetle, the squeak of a wheel, loud, low, but mysteriously related; which the ear strains to bring together and is always on the verge of harmonising but they are never quite heard, never fully harmonised, and at last, in the evening, one after another the sounds die out, and the harmony falters, and silence falls. With the sunset sharpness was lost, and like mist rising, quiet rose, quiet spread, the wind settled; loosely the world shook itself down to sleep, darkly here without a light to it, save what came green suffused through leaves, or pale on the white flowers by the window. [Lily Briscoe had her bag carried up to the house late one evening in September. Mr. Carmichael came by the same train.]

The time is coming when it will hardly be possible to write a book of philosophy as it has been done for so long: "Ah! the old style.... " The search for new means of philosophical expression was begun by Nietzsche and must be pursued today in relation to the renewal of certain other arts, such as the theater or the cinema. In this context, we can now raise the question of the utilization of the history of philosophy. It seems to us that the history of philosophy should play a role roughly analogous to that of collage in painting.

Yet, if the American Negro has arrived at his identity by virtue of the absoluteness of his estrangement from his past, American white men still nourish the illusion that there is some means of recovering the European innocence, of returning to a state in which black men do not exist. This is one of the greatest errors Americans can make. The identity they fought so hard to protect has, by virtue of that battle, undergone a change: Americans are as unlike any other white people in the world as it is possible to be. I do not think, for example, that it is too much to suggest that the American vision of the world-which allows so little reality, generally speaking, for any of the darker forces in human life, which tends until today to paint moral issues in glaring black and white owes a great deal to the battle waged by Americans to maintain between themselves and black men a human separation which could not be bridged. It is only now beginning to be borne in on us, very faintly, it must be admitted, very slowly, and very much against our will--that this vision of the world is dangerously inaccurate, and perfectly useless. For it protects our moral high-mindedness at the terrible expense of weakening our grasp of reality. People who shut their eyes to reality simply invite their own destruction, and anyone who insists on remaining in a state of innocence long after that innocence is dead turns himself into a monster.

It is attachment, identification, which makes us miserable. That is the secret: To think that I am the spirit and not the body, and that the whole of this universe with all its relations, with all its good and all its evil, is but a series of paintings — scenes on a canvas — of which I am the witness.

The unicorns, led by costumed grooms, were behaving well about their horns, and the painted rhapsodies all round the cart were more than flattering while the pseudo-king, sceptred in ermine, was positively handsome, as well as resembling the real one quite a lot. The small boy acting as the Dauphin, was obviously his son. It was easy to guess that the angel and the other three children, demure on tasselled cushions, were also related. Reminded by the red heads before her, the Queen Dowager spoke absently to Margaret Erskine. ‘I must tell your mother to destroy that marmoset. Mary teases it, and it bites.

On Turgenev: He knew from Lavrov that I was an enthusiastic admirer of his writings; and one day, as we were returning in a carriage from a visit to Antokolsky's studio, he asked me what I thought of Bazarov. I frankly replied, 'Bazaraov is an admirable painting of the nihilist, but one feels that you did not love him as mush as you did your other heroes.' 'On the contrary, I loved him, intensely loved him,' Turgenev replied, with an unexpected vigor. 'When we get home I will show you my diary, in which I have noted how I wept when I had ended the novel with Bazarov's death.' Turgenev certainly loved the intellectual aspect of Bazarov. He so identified himself with the nihilist philosophy of his hero that he even kept a diary in his name, appreciating the current events from Bazarov's point of view. But I think that he admired him more than he loved him. In a brilliant lecture on Hamlet and Don Quixote, he divided the history makers of mankind into two classes, represented by one or the other of these characters. 'Analysis first of all, and then egotism, and therefore no faith,--an egotist cannot even believe in himself:' so he characterized Hamlet. 'Therefore he is a skeptic, and never will achieve anything; while Don Quixote, who fights against windmills, and takes a barber's plate for the magic helmet of Mambrino (who of us has never made the same mistake?), is a leader of the masses, because the masses always follow those who, taking no heed of the sarcasms of the majority, or even of persecutions, march straight forward, keeping their eyes fixed upon a goal which is seen, perhaps, by no one but themselves. They search, they fall, but they rise again and find it,--and by right, too. Yet, although Hamlet is a skeptic, and disbelieves in Good, he does not disbelieve in Evil. He hates it; Evil and Deceit are his enemies; and his skepticism is not indifferentism, but only negation and doubt, which finally consume his will.' These thought of Turgenev give, I think, the true key for understanding his relations to his heroes. He himself and several of his best friends belonged more or less to the Hamlets. He loved Hamlet, and admired Don Quixote. So he admired also Bazarov. He represented his superiority admirably well, he understood the tragic character of his isolated position, but he could not surround him with that tender, poetical love which he bestowed as on a sick friend, when his heroes approached the Hamlet type. It would have been out of place.

I got incerdibly heavy boots about how relatively insignificant life is, and how, compared to the universe and compared to time, it didn't even matter if I exsited at all... "Well I'm not talking about painting the Mona LIsa or curing limeter." "Yeah?" "If you hadn't done it, human history would have been one way..." "Uh-huh?" "But you did do it, so...?" I stood on the bed, pointed my fingers at the fake stars, and screamed: "I changed the course of human history!" "That's right." "I changed the universe!" "You did." "I'm God!" "You're an atheist." "I don't exist!" I fell back onto the bed, into his arms, and we cracked up together.

Horse Frightened by a Lion depicts a majestic stallion in a very different situation. Stubbs painted this magnetic masterpiece to illustrate the nature of the sublime, which was one of his era's most popular philosophical concepts,and its relation to a timelessly riveting feeling: fear. The magnificent horse galloping through a vast wilderness encounters the bottom-up stimulus of a crouching predator and responds with a dramatic display of what psychologists mildly call "negative emotion." The equine superstar's arched neck, dilated eyes, and flared nostrils are in fact the very picture of overwhelming dread. The painting's subject matter reflects he philosopher Edmund Burke's widely circulated Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, which asserts that because "terror" is unparalleled in commanding "astonishment," or total, single-pointed,--indeed, rapt--attention, it is "the ruling principle of the sublime.

We did get out and walk around on the Strip. Jep, Miss Kay, and I posed for a picture with one of those big, painted picture with face cutouts--Jep was Elvis in the middle, and Miss Kay and I were the showgirls in bikinis with tropical fruit hats. We also splurged and went to see Phantom of the Opera. It was my first time going to a Broadway-style musical, and I loved it. I could relate to struggling to find true love. We did a little bit of gambling and card playing, and I remember visiting a Wild West town, right outside the city. Mostly, though, Jep and I were kind of boring our first year of marriage. All we wanted to do was stay home and spend time together.

This was crazy. Celeste had merely said her relatives would love to have her stay with them, they had plenty of room. She hadn’t said that they could have housed a large portion of the Confederate army. Well, she’d stay one night and if things didn’t work out, she’d seen an inn in the little town they’d just driven through. It at least had a coat of paint.

Our first answer must be that the dream has no means at its disposal among the dream-thoughts of representing these logical relations. Mostly it disregards all these terms and takes over only the factual substance of the dream-thoughts to work upon. It is left to the interpretation of the dream to re-establish the connections which the dream-work has destroyed. This inability to express such relations must be due to the nature of the psychical material which goes to make the dream. After all, the fine arts, painting and sculpture, are subject to a similar limitation in comparison with literature, which can make use of speech. Here too the cause of the incapacity lies in the material which both arts use as their medium of expression.

Women do not simply have faces, as men do; they are identified with their faces. Men have a naturalistic relation to their faces. Certainly they care whether they are good-looking or not. They suffer over acne, protruding ears, tiny eyes; they hate getting bald. But there is a much wider latitude in what is esthetically acceptable in a man’s face than what is in a woman’s. A man’s face is defined as something he basically doesn’t need to tamper with; all he has to do is keep it clean. He can avail himself of the options for ornament supplied by nature: a beard, a mustache, longer or shorter hair. But he is not supposed to disguise himself. What he is “really” like is supposed to show. A man lives through his face; it records the progressive stages of his life. And since he doesn’t tamper with his face, it is not separate from but is completed by his body – which is judged attractive by the impression it gives of virility and energy. By contrast, a woman’s face is potentially separate from her body. She does not treat it naturalistically. A woman’s face is the canvas upon which she paints a revised, corrected portrait of herself. One of the rules of this creation is that the face not show what she doesn’t want it to show. Her face is an emblem, an icon, a flag. How she arranges her hair, the type of make-up she uses, the quality of her complexion – all these are signs, not of what she is “really” like, but of how she asks to be treated by others, especially men. They establish her status as an “object.

By the end of the twentieth century Interpol was ranking art crime as one of the world’s most profitable criminal activities, second only to drug smuggling and weapons dealing. The three activities were related: Drug pushers were moving stolen and smuggled art down the same pipelines they used for narcotics, and terrorists were using looted antiquities to fund their activities. This latter trend began in 1974, when the IRA stole $32 million worth of paintings by Rubens, Goya, and Vermeer. In 2001, the Taliban looted the Kabul museum and “washed” the stolen works in Switzerland. Stolen art was much more easily transportable than drugs or arms. A customs canine, after all, could hardly be expected to tell the difference between a crap Kandinksy and a credible one.

To be sure, it would be a mistake to underestimate the importance of the intuitive knowledge that everyone acquires about contemporary wealth and income levels, even in the absence of any theoretical framework or statistical analysis. Film and literature, nineteenth-century novels especially, are full of detailed information about the relative wealth and living standards of different social groups, and especially about the deep structure of inequality, the way it is justified, and its impact on individual lives. Indeed, the novels of Jane Austen and Honoré de Balzac paint striking portraits of the distribution of wealth in Britain and France between 1790 and 1830. Both novelists were intimately acquainted with the hierarchy of wealth in their respective societies.

The less the thought of the body, the better. For it is the body that drags us down. It is attachment, identification, which makes us miserable. That is the secret: To think that I am the spirit and not the body, and that the whole of this universe with all its relations, with all its good and all its evil, is but as a series of paintings — scenes on a canvas — of which I am the witness.

No wonder that, for once, painting came to her with such ease; if grief can be called easy. The painting was a self-portrait. She titled it in the bottom left-hand corner of the canvas, in light blue Greek lettering. One word: Alcestis. CHAPTER TWO ALCESTIS IS THE HEROINE OF A GREEK MYTH. A love story of the saddest kind. Alcestis willingly sacrifices her life for that of her husband, Admetus, dying in his place when no one else will. An unsettling myth of self-sacrifice, it was unclear how it related to Alicia’s situation. The true meaning of the allusion remained unknown to me for some time. Until one day, the truth came to light— But I’m going too fast. I’m getting ahead of myself. I must start at the beginning and let events speak for themselves. I mustn’t color them, twist them, or tell any lies.

All the public inscriptions in the town were painted alike, in severe characters of black and white.  The jail might have been the infirmary, the infirmary might have been the jail, the town-hall might have been either, or both, or anything else, for anything that appeared to the contrary in the graces of their construction.  Fact, fact, fact, everywhere in the material aspect of the town; fact, fact, fact, everywhere in the immaterial.  The M’Choakumchild school was all fact, and the school of design was all fact, and the relations between master and man were all fact, and everything was fact between the lying-in hospital and the cemetery, and what you couldn’t state in figures, or show to be purchaseable in the cheapest market and saleable in the dearest, was not, and never should be, world without end, Amen.   A

The rape and exploitation of enslaved black women was not just rampant, it was endemic. The writings of former slaves such Harriet Jacobs, as well those of sympathetic white women like abolitionist Sarah Grimké, paint a picture of black girls in their early teens getting routinely bribed with presents and “favors,” such as promises of better treatment, for agreeing to sex with white plantation workers or relatives of the owner.

The plane banked, and he pressed his face against the cold window. The ocean tilted up to meet him, its dark surface studded with points of light that looked like constellations, fallen stars. The tourist sitting next to him asked him what they were. Nathan explained that the bright lights marked the boundaries of the ocean cemeteries. The lights that were fainter were memory buoys. They were the equivalent of tombstones on land: they marked the actual graves. While he was talking he noticed scratch-marks on the water, hundreds of white gashes, and suddenly the captain's voice, crackling over the intercom, interrupted him. The ships they could see on the right side of the aircraft were returning from a rehearsal for the service of remembrance that was held on the ocean every year. Towards the end of the week, in case they hadn't realised, a unique festival was due to take place in Moon Beach. It was known as the Day of the Dead... ...When he was young, it had been one of the days he most looked forward to. Yvonne would come and stay, and she'd always bring a fish with her, a huge fish freshly caught on the ocean, and she'd gut it on the kitchen table. Fish should be eaten, she'd said, because fish were the guardians of the soul, and she was so powerful in her belief that nobody dared to disagree. He remembered how the fish lay gaping on its bed of newspaper, the flesh dark-red and subtly ribbed where it was split in half, and Yvonne with her sleeves rolled back and her wrists dipped in blood that smelt of tin. It was a day that abounded in peculiar traditions. Pass any candy store in the city and there'd be marzipan skulls and sugar fish and little white chocolate bones for 5 cents each. Pass any bakery and you'd see cakes slathered in blue icing, cakes sprinkled with sea-salt.If you made a Day of the Dead cake at home you always hid a coin in it, and the person who found it was supposed to live forever. Once, when she was four, Georgia had swallowed the coin and almost choked. It was still one of her favourite stories about herself. In the afternoon, there'd be costume parties. You dressed up as Lazarus or Frankenstein, or you went as one of your dead relations. Or, if you couldn't think of anything else, you just wore something blue because that was the colour you went when you were buried at the bottom of the ocean. And everywhere there were bowls of candy and slices of special home-made Day of the Dead cake. Nobody's mother ever got it right. You always had to spit it out and shove it down the back of some chair. Later, when it grew dark, a fleet of ships would set sail for the ocean cemeteries, and the remembrance service would be held. Lying awake in his room, he'd imagine the boats rocking the the priest's voice pushed and pulled by the wind. And then, later still, after the boats had gone, the dead would rise from the ocean bed and walk on the water. They gathered the flowers that had been left as offerings, they blew the floating candles out. Smoke that smelt of churches poured from the wicks, drifted over the slowly heaving ocean, hid their feet. It was a night of strange occurrences. It was the night that everyone was Jesus... ...Thousands drove in for the celebrations. All Friday night the streets would be packed with people dressed head to toe in blue. Sometimes they painted their hands and faces too. Sometimes they dyed their hair. That was what you did in Moon Beach. Turned blue once a year. And then, sooner or later, you turned blue forever.

I think that could go back to the time when people had to live in small groups of relatives—maybe fifty or a hundred people at the most. And evolution or God or whatever arranged things genetically, to keep the little families going, to cheer them up, so that they could all have somebody to tell stories around the campfire at night, and somebody else to paint pictures on the walls of the caves, and somebody else who wasn’t afraid of anything and so on. That’s what I think. And of course a scheme like that doesn’t make sense anymore, because simply moderate giftedness has been made worthless by the printing press and radio and television and satellites and all that. A moderately gifted person who would have been a community treasure a thousand years ago has to give up, has to go into some other line of work, since modern communications put him or her into daily competition with nothing but world’s champions.

Culture, like food, is necessary to sustain us. It molds us and shapes our relations to each other. An inequitable culture is one in which people do not have the same power to create, access, or circulate their practices, works, ideas and stories. It is one in which people cannot represent themselves equally. To say that American culture in inequitable is to say that it moves us away from seeing each other in our full humanity. It is to say that the culture does not paint a more just society.

In my early years the psychology of the 1960s U.S. was aspirational and inspirational—to achieve great and noble goals. It was like nothing I have seen since. One of my earliest memories was of John F. Kennedy, an intelligent, charismatic man who painted vivid pictures of changing the world for the better—exploring outer space, achieving equal rights, and eliminating poverty. He and his ideas had a major effect on my thinking. The United States was then at its peak relative to the rest of the world, accounting for 40 percent of its economy compared to about 20 percent today; the dollar was the world’s currency; and the U.S. was the dominant military power. Being “liberal” meant being committed to moving forward in a fast and fair way, while being “conservative” meant being stuck in old and unfair ways—at least that’s how it seemed to me and to most of the people around me. As we saw it, the U.S. was rich, progressive, well managed, and on a mission to improve quickly at everything. I might have been naive but I wasn’t alone.

So far as he could prevent it, Dickens never permitted a day of his life to be ordinary. There was always some prank, some impetuous proposal, some practical joke, some sudden hospitality, some sudden disappearance. It is related of him (I give one anecdote out of a hundred) that in his last visit to America, when he was already reeling as it were under the blow that was to be mortal, he remarked quite casually to his companions that a row of painted cottages looked exactly like the painted shops in a pantomime. No sooner had the suggestion passed his lips than he leapt at the nearest doorway and in exact imitation of the clown in the harlequinade, beat conscientiously with his fist, not on the door (for that would have burst the canvas scenery of course), but on the side of the doorpost. Having done this he lay down ceremoniously across the doorstep for the owner to fall over him if he should come rushing out. He then got up gravely and went on his way. His whole life was full of such unexpected energies, precisely like those of the pantomime clown.

As often as you wish to know what is to be avoided or what is to be sought, consider its relation to the Supreme Good, to the purpose of your whole life. For whatever we do ought to be in harmony with this; no man can set in order the details unless he has already set before himself the chief purpose of his life. The artist may have his colours all prepared, but he cannot produce a likeness unless he has already made up his mind what he wishes to paint. The reason we make mistakes is because we all consider the parts of life, but never life as a whole. 3. The archer must know what he is seeking to hit; then he must aim and control the weapon by his skill. Our plans miscarry because they have no aim. When a man does not know what harbour he is making for, no wind is the right wind. Chance must necessarily have great influence over our lives, because we live by chance. 4. It is the case with certain men, however, that they do not know that they know certain things. Just as we often go searching for those who stand beside us, so we are apt to forget that the goal of the Supreme Good lies near us.

Fuchsia took three paces forward in the first of the attics and then paused a moment to re-tie a string above her knee. Over her head vague rafters loomed and while she straightened her-self she noticed them and unconsciously loved them. This was the lumber room. Though very long and lofty it looked relatively smaller than it was, for the fantastic piles of every imaginable kind of thing, from the great organ to the lost and painted head of a broken toy lion that must one day have been the plaything of one of Fuchsia's ancestors, spread from every wall until only an avenue was left to the adjacent room. This high, narrow avenue wound down the centre of the first attic before suddenly turning at a sharp angle to the right. The fact that this room was filled with lumber did not mean that she ignored it and used it only as a place of transit. Oh no, for it was here that many long afternoons had been spent as she crawled deep into the recesses and found for herself many a strange cavern among the incongruous relics of the past. She knew of ways through the centre of what appeared to be hills of furniture, boxes, musical instruments and toys, kites, pictures, bamboo armour and helmets, flags and relics of every kind, as an Indian knows his green and secret trail. Within reach of her hand the hide and head of a skinned baboon hung dustily over a broken drum that rose above the dim ranges of this attic medley. Huge and impregnable they looked in the warm still half-light, but Fuchsia, had she wished to, could have disappeared awkwardly but very suddenly into these fantastic mountains, reached their centre and lain down upon an ancient couch with a picture book at her elbow and been entirely lost to view within a few moments.

The conversation swings from the brothers Bush to the war in Iraq to the emerging rights of Muslim women to postfeminism to current cinema—Mexican, American, European (Giorgio goes spasmodically mad over Bu-ñuel), and back to Mexican again—to the relative superiority of shrimp over any other kind of taco to the excellence of Ana’s paella, to Ana’s childhood, then to Jimena’s, to the changing role of motherhood in a postindustrial world, to sculpture, then painting, then poetry, then baseball, then Jimena’s inexplicable (to Pablo) fondness for American football (she’s a Dallas Cowboys fan) over real (to Pablo) fútbol, to his admittedly adolescent passion for the game, to the trials of adolescence itself and revelations over the loss of virginity and why we refer to it as a loss and now Óscar and Tomás, arms over each other’s shoulders, are chanting poetry and then Giorgio picks up a guitar and starts to play and this is the Juárez that Pablo loves, this is the city of his soul—the poetry, the passionate discussions (Ana makes her counterpoints jabbing her cigarette like a foil; Jimena’s words flow like a gentle wave across beach sand, washing away the words before; Giorgio trills a jazz saxophone while Pablo plays bass—they are a jazz combo of argument), the ideas flowing with the wine and beer, the lilting music in a black night, this is the gentle heartbeat of the Mexico that he adores, the laughter, the subtle perfume of desert flowers that grow in alleys alongside garbage, and now everyone is singing— México, está muy contento, Dando gracias a millares… —and this is his life—this is his city, these are his friends, his beloved friends, these people, and if this is all that there is or will be, it is enough for him, his world, his life, his city, his people, his sad beautiful Juárez… —empezaré de Durango, Torreón y Ciudad de

Every relation between forms in a painting is to some degree adaptable to the painter's purpose. This is not the case with photography. Composition in the profound, formative sense of the word cannot enter into photography. The true content of a photograph is invisible, for it derives from a play, not with form, but with time. One might argue that photography is as close to music as to painting. I have said that a photograph bears witness to a human choice being exercised. The choice is not between photographing X and Y: but between photographing at X moment or at Y moment. The objects recorded in any photograph (from the most effective to the most commonplace) carry approximately the same weight, the same conviction. What varies is the intensity with which we are made aware of the poles of absence and presence. A photograph, while recording what has been seen, always and by its nature refers to what is not seen. It isolates, preserves, and presents a moment taken from a continuum. The only decision (the still photographer) can take is as regards the moment he chooses to isolate. Yet this apparent limitation gives the photograph its unique power. The immediate relation between what is present and what is absent is particular to each photograph: it may be that of ice to sun, of grief to tragedy, of a smile to a pleasure, of a body to love, of a winning race-horse to the race it has run.

And then I recalled those mysterious stories about the waxworkers of the middle ages and the public reprobation attached to their trade. Did they not live in cellars, in the eternal twilight propitious for enchantments and apparitions? Their visionary art (who, more than they, evoked a truer image of life?) was closely related to that of magicians: bewitchments were carried out with wax figures, witch trials are full of them, and one particular legend haunted me above all, that of the modeler from Anspach, who slowly squeezed the soul and the life out of his model in order to animate his painted waxwork and then, having finished his work of art, awaited nightfall to go and bury the corpse in the ditch at the city walls.

Inasmuch as the public cannot recognise the charm, the beauty, even the outlines of nature save in the stereotyped impressions of an art which they have gradually assimilated, while an original artist starts by rejecting those impressions, so M. and Mme. Cottard, typical, in this respect, of the public, were incapable of finding, either in Vinteuil’s sonata or in Biche’s portraits, what constituted harmony, for them, in music or beauty in painting. It appeared to them, when the pianist played his sonata, as though he were striking haphazard from the piano a medley of notes which bore no relation to the musical forms to which they themselves were accustomed, and that the painter simply flung the colours haphazard upon his canvas.

A theorem is no more proved by logic and computation than a sonnet is written by grammar and rhetoric, or than a sonata is composed by harmony and counterpoint, or a picture painted by balance and perspective. Logic and computation, grammar and rhetoric, harmony and counterpoint, balance and perspective, can be seen in the work after it is created, but these forms are, in the final analysis, parasitic on, they have no existence apart from, the creativity of the work itself. Thus the relation of logic to mathematics is seen to be that of an applied science to its pure ground, and all applied science is seen as drawing sustenance from a process of creation with which it can combine to give structure, but which it cannot appropriate.

men worked fifty, sixty, even seventy or more hours a week; the women worked all the time, with little assistance from labor-saving devices, washing laundry, ironing shirts, mending socks, turning collars, sewing on buttons, mothproofing woolens, polishing furniture, sweeping and washing floors, washing windows, cleaning sinks, tubs, toilets, and stoves, vacuuming rugs, nursing the sick, shopping for food, cooking meals, feeding relatives, tidying closets and drawers, overseeing paint jobs and household repairs, arranging for religious observances, paying bills and keeping the family’s books while simultaneously attending to their children’s health, clothing, cleanliness, schooling, nutrition, conduct, birthdays, discipline, and morale.

Here they are. Everything is related in them which bears reference to my accursed origin; the whole detail of that series of disgusting circumstances which produced it is set in view; the minutest description of my odious and loathsome person is given, in language which painted your own horrors and rendered mine indelible. I sickened as I read. 'Hateful day when I received life!' I exclaimed in agony. 'Accursed creator! Why did you form a monster so hideous that even YOU turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow devils, to admire and encourage him, but I am solitary and abhorred.

The ability to perceive and feel, along with the intricacies of family relations unites us as a species. Poets collect succulent physical sense impressions and heartfelt feelings with equal enthusiasm. Poets have the alacrity to see and feel what most of us fail to perceive or otherwise ignore, take for granted, or attempt to forget. Similar to the art of Ukiyo-e (a genre of Japanese woodblock prints and paintings depicting traditional Japanese scenes), poets make the nothingness of our lives come alive. Poets design their sun-filled salvations out of the minutia of nature and the seemingly ordinary happenings of life. Although essayist can also explore the liminal spaces of daily life by probing the avenues of common experiences, essayists are more interested in testing ideas and principles than in invoking memories, sharing feelings, or eliciting emotions.

Doors had lost their hinges, and were holding on by their latches; windows were broken, painted plaster had peeled off, and was lying about in clods; fowls and cats had so taken possession of the out-buildings, that I couldn’t help thinking of the fairy tales, and eyeing them with suspicion, as transformed retainers, waiting to be changed back again.  One old Tom in particular: a scraggy brute, with a hungry green eye (a poor relation, in reality, I am inclined to think): came prowling round and round me, as if he half believed, for the moment, that I might be the hero come to marry the lady, and set all to-rights; but discovering his mistake, he suddenly gave a grim snarl, and walked away with such a tremendous tail, that he couldn’t get into the little hole where he lived, but was obliged to wait outside, until his indignation and his tail had gone down together.

We've taken it away too much, the funeral people take over. No. Let people bury their own." "Do you think it helps people to go through the process and be intimately involved?" "Yes of course, of course!" It's the most emphatic Steve has been about anything. "Keep the body at home, put it on the dining table, let the kids sleep under the table, paint the coffin, decorate it, eat. When my brother died we had fights over the coffin drinking whiskey. I remember one brother pounding Bill's coffin 'Oh you bastard!' It was our lives. We carried the coffin, we filled in the hole. I used to work in the garden as a boy with my father. And I dug the hole to put his plants in and filled in the hole. In the end we put Dad into the ground and I helped my brothers fill in the hole. We need to do it ourselves." "Why do you think it helps to have that involvement?" "It's our responsibility, it's not to help, it's enabling us to grieve, it's enabling us to go through it together. Otherwise it's taken away and whoosh - it's gone. And you can't grieve. You've got to feel, you've got to touch, you've got to be there." Steve is passionate. He reaches into his bag to pull out something to show me. It's an old yellowing newspaper clipping. The caption reads 'Devastation: a woman in despair at the site of the blasts near the Turkey-Syrian border'. The photograph is a woman, she has her arms open to the sky and she is wailing, her head thrown back. "I pray in front of that" Steve tells me as I look at it. "That's a wonderful photo of the pain of our world. I don't know if she's lost relatives or what's blown up. You have a substance to your life if you've felt pain, you've got understanding, that's where compassion is, it makes you a deeper richer human being.

Necessities 1 A map of the world. Not the one in the atlas, but the one in our heads, the one we keep coloring in. With the blue thread of the river by which we grew up. The green smear of the woods we first made love in. The yellow city we thought was our future. The red highways not traveled, the green ones with their missed exits, the black side roads which took us where we had not meant to go. The high peaks, recorded by relatives, though we prefer certain unmarked elevations, the private alps no one knows we have climbed. The careful boundaries we draw and erase. And always, around the edges, the opaque wash of blue, concealing the drop-off they have stepped into before us, singly, mapless, not looking back. 2 The illusion of progress. Imagine our lives without it: tape measures rolled back, yardsticks chopped off. Wheels turning but going nowhere. Paintings flat, with no vanishing point. The plots of all novels circular; page numbers reversing themselves past the middle. The mountaintop no longer a goal, merely the point between ascent and descent. All streets looping back on themselves; life as a beckoning road an absurd idea. Our children refusing to grow out of their childhoods; the years refusing to drag themselves toward the new century. And hope, the puppy that bounds ahead, no longer a household animal. 3 Answers to questions, an endless supply. New ones that startle, old ones that reassure us. All of them wrong perhaps, but for the moment solutions, like kisses or surgery. Rising inflections countered by level voices, words beginning with w hushed by declarative sentences. The small, bold sphere of the period chasing after the hook, the doubter that walks on water and treads air and refuses to go away. 4 Evidence that we matter. The crash of the plane which, at the last moment, we did not take. The involuntary turn of the head, which caused the bullet to miss us. The obscene caller who wakes us at midnight to the smell of gas. The moon's full blessing when we fell in love, its black mood when it was all over. Confirm us, we say to the world, with your weather, your gifts, your warnings, your ringing telephones, your long, bleak silences. 5 Even now, the old things first things, which taught us language. Things of day and of night. Irrational lightning, fickle clouds, the incorruptible moon. Fire as revolution, grass as the heir to all revolutions. Snow as the alphabet of the dead, subtle, undeciphered. The river as what we wish it to be. Trees in their humanness, animals in their otherness. Summits. Chasms. Clearings. And stars, which gave us the word distance, so we could name our deepest sadness.

As a commissioner (delegate) to the Old School Presbyterian General Assembly in 1845, Thornwell wrote to his wife, “I have no doubts but that the Assembly, by a very large majority, will declare slavery not to be sinful, will assert that it is sanctioned by the word of God, that it is purely a civil relation with which the Church, as such, has no right to interfere, and that abolitionism is essentially wicked, disorganizing, and ruinous.”7 In an 1850 sermon Thornwell painted a clear picture that Christians supported slavery and atheists opposed it: “The parties in this conflict are not merely Abolitionists and Slaveholders; they are Atheists, Socialists, Communists, Red Republicans, Jacobins on the one side, and the friends of order and regulated freedom on the other. In one word, the world is the battleground—Christianity and atheism the combatants; and the progress of humanity the stake.”8

... I was flipping through a National Geographic magazine and I came across an article with this headline: "Women Created Most of the Oldest Known Cave Art Paintings, Suggests a New Analysis of Ancient Handprints. Most Scholars Had Assumed These Ancient Artists Were Predominantly Men, So the Finding Overturns Decades of Archaeological Dogma."... According to the article, Snow "analyzed hand stencils found in eight cave sites in France and Spain. By comparing the relative lengths of certain fingers, Snow determined that three-quarters of the handprints were female. 'There has been a male bias in the literature for a long time,' said Snow... 'People have made a lot of unwarranted assumptions about who made these things, and why."' But Snow suggested that women were involved in every aspect of prehistoric life-from the hunt to the hearth to religious ritual. "It wasn't just a bunch of guys out there chasing bison around," he said." Leaving the Cave - pg. 93

What Is Marketing? Some people think marketing is advertising or branding or some other vague concept. While all these are associated with marketing, they are not one and the same. Here’s the simplest, most jargon-free definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and, ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing.

In the time of chimpanzees, I was a monkey Butane in my veins and I'm out to cut the junkie With the plastic eyeballs, spray paint the vegetables Dog food stalls with the beefcake pantyhose Kill the headlights and put it in neutral Stock car flamin' with a loser in the cruise control Baby's in Reno with the Vitamin D Got a couple of couches, sleep on the love seat Someone came in sayin' I'm insane to complain About a shotgun wedding and a stain on my shirt Don't believe everything that you breathe You get a parking violation and a maggot on your sleeve So shave your face with some mace in the dark Savin' all your food stamps and burnin' down the trailer park Yo, cut it Soy un perdedor I'm a loser, baby, so why don't you kill me? (Double barrel buckshot) Soy un perdedor I'm a loser baby, so why don't you kill me? Forces of evil on a bozo nightmare Ban all the music with a phony gas chamber 'Cause one's got a weasel and the other's got a flag One's on the pole, shove the other in a bag With the rerun shows and the cocaine nose-job The daytime crap of the folksinger slob He hung himself with a guitar string A slab of turkey neck and it's hangin' from a pigeon wing You can't write if you can't relate Trade the cash for the beef, for the body, for the hate And my time is a piece of wax fallin' on a termite That's chokin' on the splinters Soy un perdedor I'm a loser baby, so why don't you kill me? (Get crazy with the cheese whiz) Soy un perdedor I'm a loser baby, so why don't you kill me? (Drive-by body pierce) Yo, bring it on down I'm a driver, I'm a winner Things are gonna change, I can feel it Soy un perdedor I'm a loser baby, so why don't you kill me? (I can't believe you) Soy un perdedor I'm a loser baby, so why don't you kill me? Soy un perdedor I'm a loser baby, so why don't you kill me? (Sprechen sie Deutsche, baby) Soy un perdedor I'm a loser, baby, so why don't you kill me? (Know what I'm sayin'?)

Beauty is not the goal of competitive sports, but high-level sports are a prime venue for the expression of human beauty. The relation is roughly that of courage to war. The human beauty we’re talking about here is beauty of a particular type; it might be called kinetic beauty. Its power and appeal are universal. It has nothing to do with sex or cultural norms. What it seems to have to do with, really, is human beings’ reconciliation with the fact of having a body. Of course, in men’s sports no one ever talks about beauty or grace or the body. Men may profess their “love” of sports, but that love must always be cast and enacted in the symbology of war: elimination vs. advance, hierarchy of rank and standing, obsessive statistics, technical analysis, tribal and/or nationalist fervor, uniforms, mass noise, banners, chest-thumping, face-painting, etc. For reasons that are not well understood, war’s codes are safer for most of us than love’s." - from "Federer Both Flesh and Not

NOVEL, n. A short story padded. A species of composition bearing the same relation to literature that the panorama bears to art. As it is too long to be read at a sitting the impressions made by its successive parts are successively effaced, as in the panorama. Unity, totality of effect, is impossible; for besides the few pages last read all that is carried in mind is the mere plot of what has gone before. To the romance the novel is what photography is to painting. Its distinguishing principle, probability, corresponds to the literal actuality of the photograph and puts it distinctly into the category of reporting; whereas the free wing of the romancer enables him to mount to such altitudes of imagination as he may be fitted to attain; and the first three essentials of the literary art are imagination, imagination and imagination. The art of writing novels, such as it was, is long dead everywhere except in Russia, where it is new. Peace to its ashes — some of which have a large sale.

So we need to make a schedule, but where do we begin? The common approach is to make a to-do list. We write down all the things we want to do and hope we’ll find the time throughout the day to do them. Unfortunately, this method has some serious flaws. Anyone who has tried keeping such a list knows many tasks tend to get pushed from one day to the next, and the next. Instead of starting with what we’re going to do, we should begin with why we’re going to do it. And to do that, we must begin with our values. According to Russ Harris, author of The Happiness Trap, values are “how we want to be, what we want to stand for, and how we want to relate to the world around us.” They are attributes of the person we want to be. For example, they may include being an honest person, being a loving parent, or being a valued part of a team. We never achieve our values any more than finishing a painting would let us achieve being creative. A value is like a guiding star; it’s the fixed point we use to help us navigate our life choices.

What Is Marketing? Some people think marketing is advertising or branding or some other vague concept. While all these are associated with marketing, they are not one and the same. Here’s the simplest, most jargon-free definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and, ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing. Yup, it’s as simple as that—marketing is the strategy you use for getting your ideal target market to know you, like you and trust you enough to become a customer. All the stuff you usually associate with marketing are tactics.

Yes, it was quick, all right, he thought about saying to her--ah, how that would shatter her face all over again, and he felt a vicious urge to do it, to simply spray the words into her face. It was quick, no doubt about that, that's why the coffin's closed, nothing could have been done about Gage even if Rachel and I approved of dressing up dead relatives in their best like department store mannequins and rouging and powdering and painting their faces, It was quick, Missy-my-dear, one minute he was there on the road and the next minute he was lying in it, but way down by the Ringers' house. It hit him and killed him and then it dragged him and you better believe it was quick. A hundred yards or more all told, the length of a football field. I ran after him, Missy, I was screaming his name over and over again, almost as if I expected he would still be alive, me, a doctor. I ran ten yards and there was his baseball cap and I ran twenty yards and there was one of his Star Wars sneakers, I ran forty yards and by then the truck had run off the road and the box had jackknifed in that field beyond the Ringers' barn. People were coming out of their houses and I went on screaming his name, Missy, and at the fifty-yard line there was his jumper, it was turned inside-out, and on the seventy-yard line there was the other sneaker, and then there was Gage.

None,” Einstein said. “Relativity is a purely scientific matter and has nothing to do with religion.”51 That was no doubt true. However, there was a more complex relationship between Einstein’s theories and the whole witch’s brew of ideas and emotions in the early twentieth century that bubbled up from the highly charged cauldron of modernism. In his novel Balthazar, Lawrence Durrell had his character declare, “The Relativity proposition was directly responsible for abstract painting, atonal music, and formless literature.” The relativity proposition, of course, was not directly responsible for any of this. Instead, its relationship with modernism was more mysteriously interactive. There are historical moments when an alignment of forces causes a shift in human outlook. It happened to art and philosophy and science at the beginning of the Renaissance, and again at the beginning of the Enlightenment. Now, in the early twentieth century, modernism was born by the breaking of the old strictures and verities. A spontaneous combustion occurred that included the works of Einstein, Picasso, Matisse, Stravinsky, Schoenberg, Joyce, Eliot, Proust, Diaghilev, Freud, Wittgenstein, and dozens of other path-breakers who seemed to break the bonds of classical thinking.52 In his book Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc, the historian of science and philosophy Arthur I. Miller explored the common wellsprings that produced, for example, the 1905 special theory of relativity and Picasso’s 1907 modernist masterpiece Les Demoiselles d’Avignon.

In La Tête d’Obsidienne André Malraux relates a conversation that he had with Picasso in 1937, at the time he was painting “Guernica.” Picasso said, “People are always talking about the influence of the blacks on me. What can one say? We all of us liked those fetishes. Van Gogh said, ‘We all of us had Japanese art in common.’ In our day it was the Negroes. Their forms did not influence me any more than they influenced Matisse. Or Derain. But as far as Matisse and Derain were concerned, the Negro masks were just so many other carvings, the same as the rest of sculpture. When Matisse showed me his first Negro head he talked about Egyptian art. “When I went to the Trocadéro, it was revolting. Like a flea-market. The smell. I was all by myself. I wanted to get out. I didn’t go: I stayed. It came to me that this was very important: something was happening to me, right? “Those masks were not just pieces of sculpture like the rest. Not in the least. They were magic. And why weren’t the Egyptians or Chaldees? We hadn’t understood what it was really about: we had seen primitive sculpture, not magic. These Negroes were intercessors—that’s a word I’ve known in French ever since then. Against everything: against unknown, threatening spirits. I kept on staring at these fetishes. Then it came to me—I too was against everything. I too felt that everything was unknown, hostile! Everything! Not just this and that but everything, women, children, animals, smoking, playing … Everything! I understood what their sculpture meant to the blacks, what it was really for. Why carve like that and not in any other way?

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

If you want the reader to feel intimately related to your subject, try a close-up shot. Describe the character, object or scene as if it were positioned directly in front of your eyes, close enough to touch. Let the reader see the hand-etched signature on the bottom of the wooden bowl or the white strip on the divorcée’s finger where a wedding ring once lay. Let him smell the heaviness of the milking barn after a night of rain, hear the squeak of the farmer’s rubber boots. If you want to get even closer, take the reader inside a character’s body and let him experience her world—the reeling nausea of Lydia’s first morning sickness, the tenderness of her breasts, the metallic taste in her mouth—from the inside out. Then, when you need to establish distance, to remove the reader from the scene as Shirley Jackson did in “The Lottery,” pull back. Describe your object from a great distance. The wooden bowl is no longer a hand-crafted, hand-signed original, or if it is, you can’t tell from where you’re standing. The pregnant woman is no longer Lydia-of-the-tender-breasts; she’s one of dozens of other faceless women seated in the waiting room of the county clinic. As you vary the physical distance between your describer and the subjects being described, you may find that your personal connection with your subjects is altered. Physical closeness often presages emotional closeness. Consider how it is possible that kind and loving men (like my father, who served in three wars) are capable of dropping bombs on “enemy” villages. One factor is their physical distance from their targets. The scene changes dramatically when they face a villager eye to eye; no longer is the enemy a tiny dot darting beneath the shadow of their planes, or a blip on the radar screen. No, this “enemy” has black hair flecked with auburn and a scar over her left eyebrow; she’s younger than the wives they left behind. If

Let us suppose that this ounce of mud is left in perfect rest, and that its elements gather together, like to like, so that their atoms may get into the closest relations possible. Let the clay begin. Ridding itself of all foreign substance, it gradually becomes a white earth, already very beautiful; and fit, with help of congealing fire, to be made into finest porcelain, and painted on, and be kept in kings’ palaces. But such artificial consistence is not its best. Leave it still quiet to follow its own instinct of unity, and it becomes not only white, but clear; not only clear, but hard; not only clear and hard, but so set that it can deal with light in a wonderful way, and gather out of it the loveliest blue rays only, refusing the rest. We call it then a sapphire. Such being the consummation of the clay, we give similar permission of quiet to the sand. It also becomes, first, a white earth, then proceeds to grow clear and hard, and at last arranges itself in mysterious, infinitely fine, parallel lines, which have the power of reflecting not merely the blue rays, but the blue, green, purple, and red rays in the greatest beauty in which they can be seen through any hard material whatsoever. We call it then an opal. In next order the soot sets to work; it cannot make itself white at first, but instead of being discouraged, tries harder and harder, and comes out clear at last, and the hardest thing in the world; and for the blackness that it had, obtains in exchange the power of reflecting all the rays of the sun at once in the vividest blaze that any solid thing can shoot. We call it then a diamond. Last of all the water purifies or unites itself, contented enough if it only reach the form of a dew-drop; but if we insist on its proceeding to a more perfect consistence, it crystallizes into the shape of a star. And for the ounce of slime which we had by political economy of competition, we have by political economy of co-operation, a sapphire, an opal, and a diamond, set in the midst of a star of snow.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

Self-Obsession & Self-Presentation on Social-Media" Some people always post their cars/bikes photos because they love their cars/bikes so much. Some people always post their dogs/cats/birds/fish/pets photos because they love their pets so much. Some people always post their children’s/families photos because they love their children/families so much. Some people always post their daily happy/sad moments because they love sharing their daily lives so much. Some people always post their poems/songs/novels/writings because they love being poets/lyricists/novelists/writers so much. Some people always copy paste other people’s writings/quotes without mentioning the actual writers name because they love seeking attention/fame so much. [Unacceptable & Illegal] Some people always post their plants/garden’s photos because they love planting/gardening so much. Some people always post their art/paintings because they love their creativity so much. Some people always post their home-made food because they love cooking/thoughtful-presentation so much. Some people always post their makeup/hairstyles selfies because they love wearing makeup/doing hair so much. Some people always post their party related photos because they love those parties so much. Some people always post their travel related photos because they love traveling so much. Some people always post their selfies because they love taking selfies so much. Some people always post restaurant/street-foods because they love eating in restaurants/streets so much. Some people always post their job-related photos because they love their jobs so much. Some people always post religious things because they love spreading their religion so much. Some people always post political things because they love politics/power so much. Some people always post inspirational messages because they love being spiritual. Some people always share others posts because they love sharing links so much. Some people always post their creative photographs because they love photography so much. Some people always post their business-related products because they love advertising so much. And some people always post complaints about other people’s post because they love complaining so much

Oh, Gray, she said. Oh, gray, indeed. As in, oh Gray what the holy hell has come over you and what the devil do you intend to do about it? He took the coward’s way out. He looked away. “I thought you were painting a portrait. Of me.” She turned her head, following his gaze to her easel. A vast seascape overflowed the small canvas. Towering thunderclouds and a violent, frothy sea. And slightly off center, a tiny ship cresting a massive wave. “I am painting you.” “What, am I on the little boat, then?” It was a relief to joke. The relief was short-lived. “No,” she said softly, turning back to look at him. “I’m on the little boat. You’re the storm. And the ocean. You’re…Gray, you’re everything.” And that was when things went from “very bad” to “worse.” “I can’t take credit for the composition. It’s inspired by a painting I once saw, in a gallery on Queen Anne Street. By a Mr. Turner.” “Turner. Yes, I know his work. No relation, I suppose?” “No.” She looked back at the canvas. “When I saw it that day, so brash and wild…I could feel the tempest churning in my blood. I just knew then and there, that I had something inside me-a passion too bold, too grand to keep squeezed inside a drawing room. First I tried to deny it, and then I tried to run from it…and then I met you, and I saw you have it, too. Don’t deny it, Gray. Don’t run from it and leave me alone.” She sat up, still rubbing his cheek with her thumb. Grasping his other hand, she drew it to her naked breast. Oh, God. She was every bit as soft as he’d dreamed. Softer. And there went his hand now. Trembling. “Touch me, Gray.” She leaned forward, until her lips paused a mere inch away from his. “Kiss me.” Perhaps that dagger had missed his heart after all, because the damned thing was hammering away inside his chest. And oh, he could taste her sweet breath mingling with his. Her lips were so close, so inviting. So dangerous. Panic-that’s what had his knees trembling and his heart hammering and his lips spouting foolishness. It had to be panic. Because something told Gray that he could see her mostly naked, and watch her toes curl as she reached her climax, and even cup her dream-soft breast in his palm-but somehow, if he touched his lips to hers, he would be lost. “Please,” she whispered. “Kiss me.

We would like to go and see the field that Millet…shows us in his Springtime, we would like Claude Monet to take us to Giverny, on the banks of the Seine, to that bend of the river which he hardly lets us distinguish through the morning mist. Yet in actual fact, it was the mere chance of a connection or family relation that give…Millet or Monet occasion to pass or to stay nearby, and to choose to paint that road, that garden, that field, that bend in the river, rather than some other. What makes them appear other and more beautiful than the rest of the world is that they carry on them, like some elusive reflection, the impression they afforded to a genius, and which we might see wandering just as singularly and despotically across the submissive, indifferent face of all the landscapes he may have painted.’ It should not be Illiers-Combray that we visit: a genuine homage to Proust would be to look at our world through his eyes, not look at his world through our eyes. To forget this may sadden us unduly. When we feel interest to be so dependent on the exact locations where certain great artists found it, a thousand landscapes and areas of experience will be deprived of possible interest, for Monet only looked at a few stretches of the earth, and Proust’s novel, though long, could not comprise more than a fraction of human experience. Rather than learn the general lesson of art’s attentiveness, we might seek instead the mere objects of its gaze, and would then be unable to do justice to parts of the world which artists had not considered. As a Proustian idolater, we would have little time for desserts which Proust never tasted, for dresses he never described, nuances of love he didn’t cover and cities he didn’t visit, suffering instead from an awareness of a gap between our existence and the realm of artistic truth and interest. The moral? There is no great homage we could pay Proust than to end up passing the same verdict on him as he passed on Ruskin, namely, that for all its qualities, his work must eventually also prove silly, maniacal, constraining, false and ridiculous to those who spend too long on it. ‘To make [reading] into a discipline is to give too large a role to what is only an incitement. Reading is on the threshold of the spiritual life; it can introduce us to it: it does not constitute it.

Heartened up by this story, I began to draw upon his more comprehensive knowledge as to the ages of the pictures and as to certain of the stories connected with them, upon which I was not clear; and I likewise inquired into the causes of the decadence of the present age, in which the most refined arts had perished, and among them painting, which had not left even the faintest trace of itself behind. "Greed of money," he replied, "has brought about these unaccountable changes. In the good old times, when virtue was her own reward, the fine arts flourished, and there was the keenest rivalry among men for fear that anything which could be of benefit to future generations should remain long undiscovered. Then it was that Democritus expressed the juices of all plants and spent his whole life in experiments, in order that no curative property should lurk unknown in stone or shrub. That he might understand the movements of heaven and the stars, Eudoxus grew old upon the summit of a lofty mountain: three times did Chrysippus purge his brain with hellebore, that his faculties might be equal to invention. Turn to the sculptors if you will; Lysippus perished from hunger while in profound meditation upon the lines of a single statue, and Myron, who almost embodied the souls of men and beasts in bronze, could not find an heir. And we, sodden with wine and women, cannot even appreciate the arts already practiced, we only criticise the past! We learn only vice, and teach it, too. What has become of logic? of astronomy? Where is the exquisite road to wisdom? Who even goes into a temple to make a vow, that he may achieve eloquence or bathe in the fountain of wisdom? And they do not pray for good health and a sound mind; before they even set foot upon the threshold of the temple, one promises a gift if only he may bury a rich relative; another, if he can but dig up a treasure, and still another, if he is permitted to amass thirty millions of sesterces in safety! The Senate itself, the exponent of all that should be right and just, is in the habit of promising a thousand pounds of gold to the capitol, and that no one may question the propriety of praying for money, it even decorates Jupiter himself with spoils'. Do not hesitate, therefore, at expressing your surprise at the deterioration of painting, since, by all the gods and men alike, a lump of gold is held to be more beautiful than anything ever created by those crazy little Greek fellows, Apelles and Phydias!

The society’s ‘look’ is a self-publicizing one. The American flag itself bears witness to this by its omnipresence, in fields and built-up areas, at service stations, and on graves in the cemeteries, not as a heroic sign, but as the trademark of a good brand. It is simply the label of the finest successful international enterprise, the US. This explains why the hyperrealists were able to paint it naively, without either irony or protest (Jim Dine in the sixties), in much the same way as Pop Art gleefully transposed the amazing banality of consumer goods on to its canvases. There is nothing here of the fierce parodying of the American anthem by Jimi Hendrix, merely the light irony and neutral humour of things that have become banal, the humour of the mobile home and the giant hamburger on the sixteen-foot long billboard, the pop and hyper humour so characteristic of the atmosphere of America, where things almost seem endowed with a certain indulgence towards their own banality. But they are indulgent towards their own craziness too. Looked at more generally, they do not lay claim to being extraordinary; they simply are extraordinary. They have that extravagance which makes up odd, everyday America. This oddness is not surrealistic (surrealism is an extravagance that is still aesthetic in nature and as such very European in inspiration); here, the extravagance has passed into things. Madness, which with us is subjective, has here become objective, and irony which is subjective with us has also turned into something objective. The fantasmagoria and excess which we locate in the mind and the mental faculties have passed into things themselves. Whatever the boredom, the hellish tedium of the everyday in the US or anywhere else, American banality will always be a thousand times more interesting than the European - and especially the French - variety. Perhaps because banality here is born of extreme distances, of the monotony of wide-open spaces and the radical absence of culture. It is a native flower here, asis the opposite extreme, that of speed and verticality, of an excess that verges on abandon, and indifference to values bordering on immorality, whereas French banality is a hangover from bourgeois everyday life, born out of a dying aristocratic culture and transmuted into petty-bourgeois mannerism as the bourgeoisie shrank away throughout the nineteenth century. This is the crux: it is the corpse of the bourgeoisie that separates us. With us, it is that class that is the carrier of the chromosome of banality, whereas the Americans have succeeded in preserving some humour in the material signs of manifest reality and wealth. This also explains why Europeans experience anything relating to statistics as tragic. They immediately read in them their individual failure and take refuge in a pained denunciation of the merely quantitative. The Americans, by contrast, see statistics as an optimistic stimulus, as representing the dimensions of their good fortune, their joyous membership of the majority. Theirs is the only country where quantity can be extolled without compunction.

Personally, I have learned the hard way that spending most of the time with prospective clients talking about their potential problems is way better than trying to promote myself with accolades about the value of my product or service. Granted, this aforementioned passage is a condensed version of my value proposition for QBS. But it delivers the message. Times are tough in sales, and QBS has ways to solve that. That message resonates with sales management. In the same way, as prospective customers relate to the verbal pictures you paint about challenges they currently face, they will naturally look to you as someone who can help address those issues.

Colour me with black paint me with white we are both victims of stupidity stirred in greed. Deep me inside the bucket of white I will write a story on your black skin without manipulation, I will write a story on your skin without digging scars.

Walter White. Walter White is represented by Jim Trueblood. In this instance irony is ascendant since White, a black civil rights leader, had blond hair and blue eyes and looked like a white person: thus White’s blood was not “true.” In this instance the name relates to the social level of the text, a practice that is not consistent. White’s presence on the social level of the text reverberates against the thematic concern with appearances and purity that comes to the fore in Chapter Ten, when the protagonist finds employment with Liberty Paints. The ten drops of black “dope” that the protagonist drips into the buckets of white paint

There is an art to giving feedback. It is common for critics to offer diagnoses: This is boring. This is choppy. This character isn’t working. The storyline is predictable. The transition is off. It is often more helpful to offer specific suggestions: Shorten the dialogue. Pick up the pace. Combine these three paragraphs. Invert these two lines. Envision a possibility they may not have considered. Or suggest an alternative they may not have thought of. There is also an art to receiving advice. Suggestions may be most helpful while the paint is still wet and the ink hasn’t dried. Inviting feedback early can make a big difference. And, ultimately, it is important to remember that the word “author” is related to the word “authority.” The choice to accept, or reject, or modify the advice that is offered always remains under the author’s control.

Sorry. That was a very long answer to your question. So to answer, I would say that no, I'm not depressed." "But sad?" "Sure." "Why is that—how is that different?" "Depression is a serious illness. It's physically painful, debilitating. And you can't just decide to get over it in the same way you can't just decide to get over cancer. Sadness is a normal human condition, no different from happiness. You wouldn't think of happiness as an illness. Sadness and happiness need each other. To exist, each relies on the other, is what I mean." "It seems like more people, if not depressed, are unhappy these days. Would you agree?" "I'm not sure I'd say that. It does seem like there's more opportunity to reflect on sadness and feelings of inadequacy, and also a pressure to be happy all the time. Which is impossible." "That's what I mean. We live in a sad time, which doesn't make sense to me. Why is that? Are there more sad people around now than there used to be?" "There are many around the university, students and profs whose biggest concern each day—and I'm not exaggerating—is how to burn the proper number of calories for their specific body type based on diet and amount of strenuous exercise. Think about that in the context of human history. Talk about sad. "There's something about modernity and what we value now. Our shift in morality. Is there a general lack of compassion? Of interest in others? In connections? It's all related. How are we supposed to achieve a feeling of significance and purpose without feeling a link to something bigger than our own lives? The more I think about it, the more it seems happiness and fulfillment rely on the presence of others, even just one other. The same way sadness requires happiness, and vice versa. Alone is..." "I know what you mean," I say. "There's an old example that gets used in first-year philosophy. It's about context. It goes like this: Todd has a small plant in his room with red leaves. He decides he doesn't like the look of it and wants his plant to look like the other plants in his house. So he very carefully paints each leaf green. After the paint dries, you can't tell that the plant has been painted. It just looks green. Are you with me?" "Yeah." "The next day he gets a call from his friend. She's a plant biologist and asks if he has a green plant she can borrow to do some tests on. He says no. The next day, another friend, this time an artist, calls to ask if he has a green plant she can use as a model for a new painting. He says yes. He's asked the same question twice and gives opposite answers, and each time he's being honest." "I see what you mean." Another turn, this time at a four-way stop. "It seems to me that in the context of life and existing and people and relationships and work, being sad is one correct answer. It's truthful. Both are right answers. The more we tell ourselves that we should always be happy, that happiness is an end in itself, the worse it gets. And by the way, this isn't a very original thought or anything. You know I'm not trying to be brilliant right now, right? We're just talking." "We're communicating," I say. "We're thinking.

The overall message of the toolkit model of psychotherapy is that the problem is the anxiety, depression or other negative emotion, and this feeling can be transcended through a more positive, or at least a more realistic outlook. With this second idea, I completely agree, a more realistic outlook is needed. But the idea of a ‘realistic outlook’ in and of itself tells us nothing about what that outlook should be. In object relations, a realistic outlook is recognizing the good and the bad in things and seeing things not as all good and all bad. In DBT, the realistic outlook is something that involves both emotion and intellect, not letting one rule over the other. These are both answers, and what we need is not an answer, but rather a better way to question. The way this is done is by building with the client an understanding of the parallax view, and an examination of the primordial wall in which different paintings keep being painted on. It is easy to get caught up on the paintings of this Lacanian primordial caveman wall, as the paintings are the conscious end goal of painting. But then why the specific wall, what is the story behind the set of all the paintings on that specific wall?

what the poet is saying — that is, what his poem ‘means’ if translated into prose — is relatively unimportant, even to himself. The thought contained in a poem is always simple, and is no more the primary purpose of the poem than the anecdote is the primary purpose of the picture. A poem is an arrangement of sounds and associations, as a painting is an arrangement of brushmarks. For short snatches, indeed, as in the refrain of a song, poetry can even dispense with meaning altogether. It is therefore fairly easy for a poet to keep away from dangerous subjects and avoid uttering heresies; and even when he does utter them, they may escape notice.

Yet biologists feel that animals are no strangers to aesthetic expression. The New Guinean bowerbird's nest decorations are as good an example as any. The thatched nests can be so large and well-constructed that they once were mistaken for the huts of timid people, who never showed up. The nests often have a doorway with carefully arranged colorful objects, such as berries, flowers, or iridescent beetle wings. The male who built the bower keeps flying in new ornaments, shifting everything around with a critical eye, fussing over the arrangement, moving back to look at the whole from a distant anglelike a human painter with his painting-and then continuing the rearrangement. He is very sensitive to the fading of his flowers, replacing them with fresh ones as soon as necessary. Young males build crude "practice" bowers, tearing them down, then starting over again, until the construction holds up as it should. They also frequently visit the completed bowers of adult males in the neighborhood and see how the ornaments are laid out. There are ample learning opportunities here, and it has been noted that bower decorations differ in color and arrangement from region to region, which suggests culturally transmitted styles. Is this art? One could counter that it isn't: howerbird males are genetically programmed to engage in this activity just to attract females. Yet, while it is true that females select mates on nest quality and their equivalent of a stamp collection, the argument is not nearly as good as it sounds. To contrast these birds with our species requires that one demonstrates that human art does not rest on an inborn aesthetic sense and is produced purely for its own sake, not to impress anyone else. Both are unlikely. In fact, Geoffrey Miller argues in a recent book that impressing others, especially members of the opposite sex, may be the whole point of human art! What if our artistic impulse is ancient, antedating modern humanity, and perhaps even our species? What if it rests on a delight in self-created visual effects and a penchant for certain color combinations, shapes, and visual equilibriums that we share with other animals? Would admission in any of these areas diminish the significance of and pleasure derived from human art? Isn't it possible that our basic distinctions in art, our musical scales, and our preference for symmetrical compositions, go deeper than culture, and relate to basic features of our perceptual systems?

This complacency with the social order, however, is not experienced as complacency, but as defiance. Our complacency—our conformism—feels as if it is radical activity: today, we think we are challenging authority at precisely the moment we are most wholly following its dictates. This is why political conservatives increasingly see themselves—and paint their conservatism—as rebellious. For them, conservatism represents a willingness to defy the ruling structure of contemporary society. FOX News represents its conservativism as an “alternative” to the dominant ideology. And even someone like Rush Limbaugh can imagine himself (like the Leftist of old) “telling truth to power.” Most of its practitioners today define conservatism as a radical program—thus the “Republican Revolution” of 1994—despite how this contradicts the very definition of the term “conservative.” Whereas within the society of prohibition it is relatively easy to distinguish between conformity and defiance, this becomes increasingly difficult within a society structured around the command to enjoy. This is because, in a society of enjoyment, we no longer experience the explicit prohibition from the social order, which lets us know that the symbolic order is structuring and determining our behavior. We don’t experience the symbolic law in its prohibitory form, and so we imagine that, when we act, we are acting without reference to the symbolic law, that it does not shape our actions. Our failure to experience the impinging of the symbolic law, however, doesn’t mean that it does not exist.

Wi-Fi is one of the maximum vital technological developments of the present day age. It’s the wireless networking wellknown that enables us experience all of the conveniences of cutting-edge media and connectivity. But what is Wi-Fi, definitely? The time period Wi-Fi stands for wi-fi constancy. Similar to other wi-fi connections, like Bluetooth, Wi-Fi is a radio transmission generation. Wireless fidelity is built upon a fixed of requirements that permit high-pace and at ease communications among a huge sort of virtual gadgets, get admission to points, and hardware. It makes it viable for Wi-Fi succesful gadgets to get right of entry to the net without the want for real wires. Wi-Fi can function over brief and long distances, be locked down and secured, or be open and unfastened. It’s particularly flexible and is simple to use. That’s why it’s located in such a lot of famous devices. Wi-Fi is ubiquitous and exceedingly essential for the manner we function our contemporary linked world. How does Wi-Fi paintings? Bluetooth Mesh Philips Hue Wi-fi Although Wi-Fi is commonly used to get right of entry to the internet on portable gadgets like smartphones, tablets, or laptops, in actuality, Wi-Fi itself is used to hook up with a router or other get entry to point which in flip gives the net get entry to. Wi-Fi is a wireless connection to that tool, no longer the internet itself. It also affords get right of entry to to a neighborhood community of related gadgets, that's why you may print photos wirelessly or study a video feed from Wi-Fi linked cameras without a want to be bodily linked to them. Instead of the usage of stressed connections like Ethernet, Wi-Fi uses radio waves to transmit facts at precise frequencies, most typically at 2.4GHz and 5GHz, although there are numerous others used in more niche settings. Each frequency range has some of channels which wireless gadgets can function on, supporting to spread the burden in order that person devices don’t see their indicators crowded or interrupted by other visitors — although that does happen on busy networks.

Worship as such especially provides the subject-matter of prayer. This is indeed a situation of humility, of the sacrifice of Pelf and the quest for peace in another, but still it is not so much begging (Bitten) as praying (Beten). Of course begging and praying are closely related because a prayer may also be a begging. Yet begging proper wants something for itself; it is addressed to someone who possesses something essential to me, in the hope that my begging will incline his heart to me, weaken his heart, and stimulate his love for me and so arouse in him a sense of identity with me. But what I feel in begging him is the desire for something that he is to lose when I get it; he is to love me so that my own selfishness can be satisfied and my interest and welfare furthered. But I give nothing in return except perhaps an implicit avowal that he can ask the same things of me. This is not the kind of thing that prayer is. Prayer is an elevation of the heart to God who is absolute love and asks nothing for himself. Worship itself is the prayer answered; the petition itself is bliss. For although prayer may also contain a petition for some particular thing, this particular request is not what should really be expressed; on the contrary, the essential thing is the assurance of simply being heard, not of being heard in respect of this particular request, but absolute confidence that God will give me what is best for me. Even in this respect, prayer is itself satisfaction, enjoyment, the express feeling and consciousness of eternal love which is not only a ray of transfiguration shining through the worshipper’s figure and situation, but is in itself the situation and what exists and is to be portrayed. This is the prayerful situation of e.g. Pope Sixtus in the Raphael picture that is called after him,[18] and of St. Barbara in the same picture; the same is true of the innumerable prayerful situations of Apostles and saints (e.g. St. Francis) at the foot of the Cross, where what is now chosen as the subject is, not Christ’s grief or the timorousness, doubt, and despair of the Disciples, but the love and adoration of God, the prayer that loses itself in him. Especially in the earlier ages of painting there are faces of this kind, usually of old men who have gone through much in life and suffering. The faces have been treated as if they were portraits, yet they are those of worshipful souls. The result is that this worship is not their occupation at this moment only, but on the contrary they become priests, as it were, or saints whose whole life, thought, desire, and will is worship, and their expression, despite all portraiture, has in it nothing but this assurance and this peace of love.

I am learning to read the moods of cities, and perhaps more than anywhere else so far, I relate to Detroit, a city of many narratives. A place powered by the auto industry that powered America. A place inscribed by segregation, but also by such promise that tens of thousands of black Americans settled there during the Great Migration. A place that nearly dies when the car companies downsized and left, but didn't die, refuses to die. A place where the future is painted upon the palimpset of a painful past. Upon skin that rears up in welts, angry and beautiful - a beauty that transcends anger but also wouldn't be possible without it. And isn't that how it always goes, catastrophe forcing reinvention?

Our watan is now known as the Islamic Emirate of Afghanistan. These are the laws that we will enforce and you will obey: All citizens must pray five times a day. If it is prayer time and you are caught doing something other, you will be beaten. All men will grow their beards. The correct length is at least one clenched fist beneath the chin. If you do not abide by this, you will be beaten. All boys will wear turbans. Boys in grade one through six will wear black turbans, higher grades will wear white. All boys will wear Islamic clothes. Shirt collars will be buttoned. Singing is forbidden. Dancing is forbidden. Playing cards, playing chess, gambling, and kite flying are forbidden. Writing books, watching films, and painting pictures are forbidden. If you keep parakeets, you will be beaten. Your birds will be killed. If you steal, your hand will be cut off at the wrist. If you steal again, your foot will be cut off. If you are not Muslim, do not worship where you can be seen by Muslims. If you do, you will be beaten and imprisoned. If you are caught trying to convert a Muslim to your faith, you will be executed. Attention women: You will stay inside your homes at all times. It is not proper for women to wander aimlessly about the streets. If you go outside, you must be accompanied by a mahram, a male relative.

Meanwhile, Facebook censors Palestinian groups so often that they have created their own hashtag, #FBCensorsPalestine. That the groups have become prominent matters little: in 2016, Facebook blocked accounts belonging to editors at the Quds News Network and Shehab News Agency in the West Bank; it later apologized and restored the accounts.30 The following year, it did the same to the official account of Fatah, the ruling party in the West Bank.31 A year after Facebook’s relationship with the Israelis was formalized, the Guardian released a set of leaked documents exposing the ways the company’s moderation policy discriminates against Palestinians and other groups. Published in a series called “The Facebook Files,” the documents contained slides from manuals used to train content moderators. On the whole, the leaks paint a picture of a disjointed and disorganized company where the community standards are expanded piecemeal, and little attention is given to their consequences. Anna, the former Facebook operations specialist I spoke with, agrees: “There’s no ownership of processes from beginning to end.” One set of documents demonstrate with precision the imbalance on the platform between Palestinians and Israelis (and the supporters of both). In a slide deck entitled “Credible Violence: Abuse Standards,” one slide lists global and local “vulnerable” groups; alongside “foreigners” and “homeless people” is “Zionists.”32 Interestingly, while Zionists are protected as a special category, “migrants,” as ProPublica has reported, are only “quasi-protected” and “Black children” aren’t protected at all.33 In trying to understand how such a decision came about, I reached out to numerous contacts, but only one spoke about it on the record. Maria, who worked in community operations until 2017, told me that she spoke up against the categorization when it was proposed. “We’d say, ‘Being a Zionist isn’t like being a Hindu or Muslim or white or Black—it’s like being a revolutionary socialist, it’s an ideology,’” she told me. “And now, almost everything related to Palestine is getting deleted.

you will create a rough but accurate brunaille (broo-nay-uh) which is simply a sketch done in browns (assuming you've chosen a brown tone). This is a rough sketch but it must be an accurate one. This will be drawn in a sketchy manner but it needs to be true to the scene before you. Lines, angles, and relative spaces should reflect the scene accurately. So take your time to use a view finder, hold your brush to measure angles, and/or any other tricks you have to accurately capture the scene before you and to transfer it to the canvas.

There is an emptiness in the writer or painter prior to beginning. It is by writing or painting that one discovers...However, to have written or painted this or that changes him. To the point that he would not be able to make it again precisely because he has made it...This is because what is written has realized certain instruments, operational concepts, defined by their use value, types of praxis...that...set up the difference, the personal divergence in the norm, to turn it into a new norm, in relation to which other divergences are possible. This is where polarization of the field and change come from...The new means become truly norms of the praxis.

While we’ve talked about how the overall amount of that radiation has to balance the warming sunlight, the radiation is actually spread over a spectrum of different wavelengths. Think of those like “colors,” although not visible to our eyes. Water vapor, the most significant greenhouse gas, intercepts only some colors, but because it blocks almost 100 percent of those it does, adding more water vapor to the atmosphere won’t make the insulation much thicker—it would be like putting another layer of black paint on an already black window. But that’s not true for carbon dioxide. That molecule intercepts some colors that water vapor misses, meaning a few molecules of CO2 can have a much bigger effect (like the first layer of black paint on a clear window). So the greater potency of a CO2 molecule depends upon relatively obscure aspects of how it, and water vapor, intercept heat radiation—another example of why the details are important when attempting to understand human influences on the climate.

On Diversification for Stress Management The below came from me asking, “What advice would you give your 30-year-old self?”: “My 30-year-old self wouldn’t have access to medical marijuana, so I’d have a limited canvas with which to paint. I’ve always made it a top priority since I was a teenager—and had tons of stress-related medical problems—to make that job one: to learn how to not have stress. I would consider myself a world champion at avoiding stress at this point in dozens of different ways. A lot of it is just how you look at the world, but most of it is really the process of diversification. I’m not going to worry about losing one friend if I have a hundred, but if I have two friends I’m really going to be worried. I’m not going to worry about losing my job because my one boss is going to fire me, because I have thousands of bosses at newspapers everywhere. One of the ways to not worry about stress is to eliminate it. I don’t worry about my stock picks because I have a diversified portfolio. Diversification works in almost every area of your life to reduce your stress.

An effective timeline includes the dates of when the relationship began, residential history, when the children were born, career changes, instances of infidelity or abuse, breakups, marriage dissolution, when custody was first disputed, or other major milestones that relate to child custody and your relationship to the other parent. A relationship timeline paints an overall picture, whereas a journal is more commonly used to document and reference specific details.

Sometimes I wonder whether my whole life has been a singular quest for beauty. Beauty in mathematics, and beauty in literature and in music. I feel that creating mathematics and writing fiction are closely related. While authors are poets in the universe of language, mathematicians seek the poetry in the language of the universe. The German mathematician Karl Weierstrass once wrote that any great mathematician must also be a poet. When I was young, several people told me that I’d be a poet when I grew up. So in a way, it feels as if I’ve tried to investigate whether the reverse implication is true: whether every poet must also be a great mathematician. I still don’t know the answer, but I doubt that this is the case. Over the past few years, I’ve started to dream of writing a novel. I’ve marveled at how the enjoyment of hearing a piece of music often gets stronger the better you know the piece, while a novel rarely has the same impact on third reading. Is it because music relies on recognition, while literature relies on the unexpected? Or has it more to do with the structure of the music, how the themes reflect each other so that the listener discovers ever new connections? The way the interplay of colors in a painting can fluctuate in different light, so that the painting continually changes? If so, it must be possible to write a novel in the same way. A novel that gets richer every time you read it, because you discover new connections that were previously invisible. A novel that carries something of the eternal beauty of music and mathematics within it. One of the most alluring things about mathematics is perhaps the feeling of being able to uncover unshakeable truths. And that terms such as truth and beauty obtain a kind of objectivity, because mathematicians have a shared understanding of what constitutes a valid proof and what is aesthetically beautiful. The disadvantage is that the truths of mathematics don’t say anything about what is true in the world beyond mathematics itself.

Mani Kaul, the most strikingly non-narrative of the Indian arthouse filmmakers of the sixties and seventies, was also a student and exponent of the dhrupad. I don’t know if it was his exposure to the raga that made his films (according to many) notoriously slow, and Kaul (this is known to relatively few) a ferocious critic of the Renaissance. The Renaissance painting, like proscenium theatre, or, indeed, the realist story, gives centre-stage to a protagonist – that is, the human being. Renaissance art’s development of perspective helps consolidate the rules of realism: a foreground or central theme, and a background occupied by what’s necessary to complete the portrait of the protagonist. Kaul’s cinema wished to be unfettered by hero or theme; he wanted the camera to devote itself equally to recording things ordinarily consigned to ‘background’.

I paint the capitalist and the landlord in no sense couleur de rose [i.e., seen through rose-tinted glasses]. But here individuals are dealt with only in so far as they are the personifications of economic categories, embodiments of particular class-relations and class-interests. My standpoint, from which the evolution of the economic formation of society is viewed as a process of natural history, can less than any other make the individual responsible for relations whose creature he socially remains, however much he may subjectively raise himself above them.

The most fundamental of context effects is the principle of contrast. The principle relies on the fact that human minds magnify differences: when two relatively similar stimuli are placed next to each other, they'll be perceived as more different from each other than they actually are. Contrast is not only the most basic of context effects but probably the easiest to achieve. "I don't paint things," Matisse said. "I only paint the difference between things.

The AMA launched the first modern public relations and lobbying campaign to paint government insurance as a threat not to doctors’ finances, however—but to the entire American way of life. They labeled the idea socialist.

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drunk beneath a pale moon. I’m in a room, a dark room. Surrounded by candles, the light is flickering off the wall. The flame dances to the silence and the sound of me breathing. I feel alone, nearing loneliness, alone, overthinking. I feel sadness lurking near the windows of my heart as the wrong thoughts overcrowd my mind. I can’t sleep, and so I just lie here with my eyes searching the ceiling for an imperfection, tracing old lines in the paint that give off this illusion of the foundation cracking. This is something I can relate to, being imperfect, feeling as if I’ll crack beneath the weight of it all.

The list was astounding. There were ten heads in all: one full head in the refrigerator, four skulls in a small floor freezer, three painted skulls in metallic colors, and two that were bone-dry white. Those that were still relatively identifiable were matched with either police or family photos. The large blue hermetically sealed industrial drum from the bedroom contained severed human flesh and four completely dismembered bodies covered in a solution of muriatic acid. There were sets of hands, a human scalp, and two well-preserved penises found in plastic pails hidden in the closet. A four-drawer metal filing cabinet from the living room contained the entire skeletal structure of a victim. The bones inside had been treated with the various solvents and were immaculately clean. There was a variety of knives. One had a large contoured black plastic handle with a six-inch serrated blade and the word Bushwacker molded into it. There was a small drill with several bits, numerous handsaws, forks, plates, and a stovetop broiler adapter, all encrusted with human bone and flesh and trace blood evidence.

This is what I see," becomes replaced by a question: "Is this what I see?" You share his hesitations about the positions of a tree or a branch; or the final shape of Mont Ste-Victoire, and the trees in front of it. Relativity is all. Doubt becomes part of the painting's subject.

Page 207 In the inner cities of all the major metropolitan areas across the United States, ethnic Koreans represent an increasingly glaring market-dominant minority vis-à-vis the relatively economically depressed African-American majorities around them. In New York City, Koreans, less than .1 percent of the city’s population, own 85 percent of produce stands, 70 percent of grocery stores, 80 percent of nail salons, and 60 percent of dry cleaners. In portions of downtown Los Angeles, Koreans own 40 percent of the real estate but constitute only 10 percent of the residents. Korean-American businesses in Los Angeles County number roughly 25,000, with gross sales of $4.5 billion. Nationwide, Korean entrepreneurs have in the last decade come to control 80 percent of the $2.5 billion African-American beauty business, which—“like preaching and burying people”—historically was always a “black” business and a source of pride, income, and jobs for African-Americans. “They’ve come in and taken away a market that’s not rightfully theirs,” is the common, angry view among inner-city blacks. Page 208 At a December 31, 1994, rally, Norman “Grand Dad” Reide, vice president of Al Sharpton’s National Action Network, accused Koreans of “reaping a financial harvest at the expense of black people” and recommended that “we boycott the bloodsucking Koreans.” More recently, in November 2000, African-Americans firebombed a Korean-owned grocery store in northeast Washington, D.C. The spray-painted message on the charred walls: “Burn them down, Shut them down, Black Power!

I do not at all have a sense of luring anyone into the poetic by catching hold of them through my subject matter. The idea appalls me in fact. Some events — whether a tree in a certain light, a Mexican family looking at the movie stills outside the cinema, a dream, my own condition of being in or out of love, of some epiphany relating to husband, child, friend, cat or dog, street or painting, cloud or stone, a book read, a story heard, a life thought about, a demonstration lived through, a situation, historical and/or topical, (that’s to say known in the moment of its passing into history) — it doesn’t matter, the list is endless, but some events (selected by some interior mysterious process out of all the other minutes and hours of my life) begin to form themselves in my understanding as phrases, images, rhythms of language, demand to be further formed, demand midwifery is one way to put it. Not all that one feels most strongly makes this verbal demand, even if one is a poet — by poet here I mean prose writer too — … but whatever experiences do demand it are always strongly felt ones. That is my testimony.

I think it's because humor is related to strength. To have a sense of humor is to be strong: to keep one's sense of humor is to shrug off misfortunes, and to lose one's sense of humor is to be wounded by them. And so the mark- - or at least the prerogative- - of strength is not to take oneself too seriously. The confident will often, like swallows, seem to be making fun of the whole process slightly, as Hitchcock does in his films or Bruegel in his paintings- - or Shakespeare, for that matter.

You could hate a sofa, of course—that is, if you could hate a sofa. But it didn't matter. You still had to get together $4.80 a month. If you had to pay $4.80 a month for a sofa that started off split, no good, and humiliating—you couldn't take any joy in owning it. And the joylessness stank, pervading everything. The stink of it kept you from painting the beaverboard walls; from getting a matching piece of material for the chair; even from sewing up the split, which became a gash, which became a gaping chasm that exposed the cheap frame and the cheaper upholstery. It withheld the refreshment in a sleep slept on it. It imposed a furtiveness on the loving done on it. Like a sore tooth that is not content to throb in isolation, but must diffuse its own pain to other parts of the body—making breathing difficult, vision limited, nerves unsettled, so a hated piece of furniture produces a fretful malaise that asserts itself throughout the house and limits the delight of things not related to it.

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His soul leaped with joy to see about each neck four or five scapularies and around each waist a knotted girdle, and to behold the procession of corpses and ghosts in guingón habits. The senior sacristan made a small fortune selling—or giving away as alms, we should say—all things necessary for the salvation of the soul and the warfare against the devil, as it is well known that this spirit, which formerly had the temerity to contradict God himself face to face and to doubt His words, as is related in the holy book of Job, who carried our Lord Christ through the air as afterwards in the Dark Ages he carried the ghosts, and continues, according to report, to carry the asuang of the Philippines, now seems to have become so shamefaced that he cannot endure the sight of a piece of painted cloth and that he fears the knots on a cord.

While working in California, I met William Valentiner and Edgar Richardson of the Detroit Institute of Arts. I mentioned a desire which I had to paint a series of murals about the industries of the United States, a series that would constitute a new kind of plastic poem, depicting in color and form the story of each industry and its division of labor. Dr. Valentiner was keenly interested, considering my idea a potential base for a new school of modern art in America, as related to the social structure of American life as the art of the Middle Ages had been related to medieval society.

Claude Monet's Water Lilies (The Clouds) consists of nothing more than dabs of different colored paint on a canvas.14 But because of the particular arrangement of those dabs of paint, Monet has produced not simply a piece of canvas with dabs of paint on it. Monet has produced for us a painting, a unique picture, a cognitively recognizable and culturally meaningful representation of a reality, a new entity with its own characteristics and capacities to cause effects in the world. One of the emergent causal capacities of those particularly arranged dabs of paint is the ability to evoke certain emotions in people who view the painting, such as warmth or serenity. Neither the recognizable and meaningful picture nor the capacity to evoke emotions is present in the dabs of paint totaled up. It is through Monet's particular relational arrangement of those paint dabs that a unique picture emerges possessing particular characteristics and capacities that can cause experiences in observers. To say that Monet's Water Lilies (The Clouds) is reducible to many dabs of colored paint on a canvas would be to say that all of the characteristics and capacities we observe in the painting are present in the sum total of all the dabs of paint and the piece of canvas. To say that about this painting would be to make oneself a reductionist in relation to it. And to do this would be misguided.

If a viewer responds to Botticelli’s Venus with an erotic desire, as if she is a pinup, he is actually not appreciating her for her beauty. And if someone enjoys looking at a Gauguin painting of Tahiti while fantasizing about going on vacation there, then they no longer have an aesthetic relation to its beauty.

Painting relates to both art and life. Neither can be made - I try to act in the gap.

In fact, scientists have taken advantage of this effect by using the amount of red in contemporary paintings of sunsets to estimate the intensity of volcanic eruptions. Several Greek scientists, led by C. S. Zerefos, digitally measured the amount of red—relative to other primary colors—in more than 550 samples of landscape art by 181 artists from the sixteenth through the nineteenth centuries to produce estimates of the amount of volcanic ash in the air at various times. Paintings from the years following the Tambora eruption used the most red paint; those after Krakatoa came a close second.

Why should bricks and mortar, wood and paint, increase in price even faster than inflation? It is because not only is the currency diminishing in its worth relative to fixed objects, but belief in the currency is diminishing even faster, at a geometric rate. Thus the conventional wisdom, that what goes up must come down, may be false physics

Aesthetic ideals emerging from Zen art focus heavily on naturalness, on the emphasis of man's relation to nature. The Zen artists, as do many moderns, liked a sense of the materials and process of creation to come through in a work. But there is a subtle difference. The Zen artists frequently included in their works devices to ensure that the message reached the viewer. For example, Zen ceramics are always intended to force us to experience them directly and without analysis. The trick was to make the surface seem curiously imperfect, almost as though the artist were careless in the application of a finish, leaving it uneven and rough. At times the glaze seems still in the process of flowing over a piece, uneven and marred by ashes and lumps. There is no sense of "prettiness": instead they feel old and marred by long use. But the artist consciously is forcing us to experience the piece for itself, not as just another item in the category of bowl. We are led into the process of creation, and our awareness of the piece is heightened—just as an unfinished painting beckons us to pick up a brush,

Primitive veddhas moulded images of women with full-blown breasts and legs. This was not to evoke sensuous pleasure, but as symbolic images related to their faith in religious fertility rites with the aim of increasing their return from harvesting and hunting. The modern artist magnifies the breasts of the woman in a painting in order to derive and to evoke erotic pleasure. That is how vulgarity enters their art.

Let us suppose a race of people whose peculiar mental limitation compels them to regard a painting as something made up of little coloured dots which have been put together like a mosaic. Studying the brushwork of a great painting, through their magnifying glasses, they discover more and more complicated relations between the dots, and sort these relations out, with great toil, into certain regularities. Their labour will not be in vain. These regularities will in fact ‘work’; they will cover most of the facts. But if they go on to conclude that any departure from them would be unworthy of the painter, and an arbitrary breaking of his own rules, they will be far astray. For the regularities they have observed never were the rule the painter was following. What they painfully reconstruct from a million dots, arranged in an agonising complexity, he really produced with a single lightning-quick turn of the wrist, his eye meanwhile taking in the canvas as a whole and his mind obeying laws of composition which the observers, counting their dots, have not yet come within sight of, and perhaps never will".

The great French diarist Jules Renard (1864-1910) had small interest in non-literary art forms. When Ravel approached him wanting to set five of his Histoires naturelles, Renard couldn’t see the point; he didn’t forbid it, but declined to go to the premiere. He sat through Debussy’s Pelléas et Mélisande and found it a ‘sombre bore’, its plot ‘puerile’. His attitude to painting was a little more responsive: he admired (and knew) Lautrec, and approved of Renoir; but he found Cézanne barbarous and Monet’s waterlilies ‘girly’. This was less philistinism than a robust admission of his own areas of non-response. And he did write one wonderful thing about painting, on 8 January 1908: ‘When I am in front of a picture, it speaks better than I do.’ It is a chastening remark, because most of us, when in front of a picture, do not give the picture time enough to speak. We talk at it, about it, of it, to it; we want to forcibly understand it, get its measure, colonise it, ‘friend’ it. We compare it to other pictures it reminds us of; we read the label on the wall, confirm that it is, say, pastel on monotype, and check which gallery or plutocrat owns it. But unless we are highly trained, we don’t know enough to recognise more than roughly how the picture relates to the history of painting (because it always does, even if negatively). Instead, we hose it with words and move on.

It is not possible to write a relatively short book that explores all aspects of the phenomenon of mass incarceration and its implications for racial justice. No attempt has been made to do so here. This book paints with a broad brush, and as a result, many important issues have not received the attention they deserve. For example, relatively little is said here about the unique experience of women, Latinos, and immigrants in the criminal justice system, though these groups are particularly vulnerable to the worst abuses and suffer in ways that are important and distinct. This book focuses on the experience of African American men in the new caste system. I hope other scholars and advocates will pick up where the book leaves off and develop the critique more fully or apply the themes sketched here to other groups and other contexts.

This idea goes back to one of the classical theories of political sociology, the theory of modernization, formulated by Seymour Martin Lipset. Modernization theory maintains that all societies, as they grow, are headed toward a more modern, developed, and civilized existence, and in particular toward democracy. Many followers of modernization theory also claim that, like democracy, inclusive institutions will emerge as a by-product of the growth process. Moreover, even though democracy is not the same as inclusive political institutions, regular elections and relatively unencumbered political competition are likely to bring forth the development of inclusive political institutions. Different versions of modernization theory also claim that an educated workforce will naturally lead to democracy and better institutions. In a somewhat postmodern version of modernization theory, New York Times columnist Thomas Friedman went so far as to suggest that once a country got enough McDonald’s restaurants, democracy and institutions were bound to follow. All this paints an optimistic picture. Over the past sixty years, most countries, even many of those with extractive institutions, have experienced some growth, and most have witnessed notable increases in the educational attainment of their workforces. So, as their incomes and educational levels continue to rise, one way or another, all other good things, such as democracy, human rights, civil liberties, and secure property rights, should follow. Modernization

Jenny, what can I do to help?” Westhaven’s expression was merely genial, but in his words, Jenny heard determination and that most dratted of holiday gifts, sibling concern. “Help?” “You’re quiet as a dormouse. Maggie says you’re chewing your nails. Louisa reports that you’re taking odd notions, and Sophie won’t say anything, but she’s clearly worried. Her Grace muttered something about regretting all the time she’s permitted you to spend among the paint fumes.” “What would Her Grace know of paint fumes?” What would the duchess know of anything relating to painting? “She’s our mother. Where knowledge fails, maternal instinct serves. Is Bernward troubling you?” Westhaven was an excellent dancer, and if Jenny did not finish the dance with him, Her Grace would casually suggest that tomorrow be a day to rest from the activity in the studio. The idea made Jenny desperate. “Westhaven, you must not involve yourself in anything to do with Elijah.” “Elijah.” Westhaven’s gaze shifted to a spot over Jenny’s shoulder. “And does he call you Jenny?” He calls me Genevieve, and sometimes he even calls me “woman.” “He calls me talented and brilliant but uneducated and unorthodox too. I’ve enjoyed working with him these past weeks more than anything—” “Excuse me.” Elijah had tapped Westhaven on the shoulder. “May I cut in?” Westhaven’s smile was diabolical. “Of course. Jenny would never decline an opportunity to dance with a family friend.” Family friend? Her blighted, interfering, perishing brother was laying it on quite thick. Elijah bowed. “Lady Genevieve, may I have what remains of this dance?” Two days remained. Two days and three nights. Jenny curtsied and assumed waltz position. As Elijah’s hand settled on her back, his scent wafted to her, enveloping her in his presence. “You’re avoiding me,” he said. “You needn’t. I’ll be leaving soon, and I hope we can at least part friends.” With her siblings, she could dissemble and maintain appearances, but with Elijah… “I am honored you think me a friend, Elijah.” And he danced wonderfully, with the same sense of assurance and mastery that he undertook painting… and lovemaking. “I am your friend too, Genevieve.

Eve was beside herself. Whatever this is, Deene had best appreciate—why are you staring at me like that?” He closed the door and stepped closer. The room was unusual, built with a small balcony overlooking a conservatory that might have been added as an afterthought, hence its relative warmth and humidity, and the lush scent of foliage blending with all the other fragrances wafting through the house. “Looking at you like what?” “Like… you just lost your best friend? Won’t it be wonderful to go home to Flint Hall, Elijah?” Elijah was better than my lord, and because she seemed to need it, he lied for her. “Wonderful, indeed. Have you told your parents yet that you’re going to Paris?” He had the sense she was waiting for him to leave Morelands first, unwilling to have his support even tacitly. “Not… not yet.” She set the perfect little gift down. “Louisa says I must, and she grasps tactics with an intuition I can only admire. I wish…” Her gaze went to the elegant little parcel. “I wish…” While Elijah watched, Jenny lost some of that distant, preoccupied quality that had characterized her since they’d finished their paintings. She gazed on that parcel as if it held secrets and treats and even a happy ending or two. Once they completed the twenty-minute walk back to Morelands, they’d have no more private moments ever. He’d leave for London at first light; she’d sail for Paris, probably before the New Year. “What do you wish, Genevieve?” Because whatever it was, he’d give it to her. His heart, his soul, his hands, passage to Paris—passage home from Paris. How he wished she’d ask him for that, but passage home was something she could only give herself. “Will you make love with me, Elijah? You’re leaving tomorrow, I know that, and I shouldn’t ask it. I shouldn’t want it, but I do. I want you, so much. Please?

So they went out for a walk. They went through narrow, lightless lanes, where houses that were silent but gave out smells of fish and boiled rice stood on either side of the road. There was not a single tree in sight; no breeze and no sound but the vaguely musical humming of mosquitoes. Once, an ancient taxi wheezed past, taking a short-cut through the lane into the main road, like a comic vintage car passing through a film-set showing the Twenties into the film-set of the present, passing from black and white into colour. But why did these houses – for instance, that one with the tall, ornate iron gates and a watchman dozing on a stool, which gave the impression that the family had valuables locked away inside, or that other one with the small porch and the painted door, which gave the impression that whenever there was a feast or a wedding all the relatives would be invited, and there would be so many relatives that some of them, probably the young men and women, would be sitting bunched together on the cramped porch because there would be no more space inside, talking eloquently about something that didn’t really require eloquence, laughing uproariously at a joke that wasn’t really very funny, or this next house with an old man relaxing in his easy-chair on the verandah, fanning himself with a local Sunday newspaper, or this small, shabby house with the girl Sandeep glimpsed through a window, sitting in a bare, ill-furnished room, memorising a text by candlelight, repeating suffixes and prefixes from a Bengali grammar over and over to herself – why did these houses seem to suggest that an infinitely interesting story might be woven around them? And yet the story would never be a satisfying one, because the writer, like Sandeep, would be too caught up in jotting down the irrelevances and digressions that make up lives, and the life of a city, rather than a good story – till the reader would shout "Come to the point!" – and there would be no point, except the girl memorising the rules of grammar, the old man in the easy-chair fanning himself, and the house with the small, empty porch which was crowded, paradoxically, with many memories and possibilities. The "real" story, with its beginning, middle and conclusion, would never be told, because it did not exist.

The Obama Administration has been trying to indoctrinate the public with its climate ideology in many ways and through a variety of agencies. This includes material on agency websites, advocacy of climate “education,”470 exhibits in National Parks,471 and grants by the National Science Foundation. One example is the $700,000 NSF grant to The Civilians, a New York theatre company, to finance the production of a show entitled “The Great Immensity,”472 “a play and media project about our environmental challenges.”473 A second example is a $5.7 million grant to Columbia University to record “voicemails from the future” that paint a picture of an Earth destroyed due to climate change.474 A third example is a $4.9 million grant to the University of Wisconsin-Madison to create scenarios based on America’s climate actions on climate change including a utopian future where everyone rides bicycles and courts forcibly take property from the wealthy.475 The general approach pursued by the Administration for arts and education-related climate propaganda appears to be very similar to the similar propaganda campaigns by Soviet and Eastern European governments to promote their political ends.

leaders.’ Nebe snorted and went back round his desk. ‘You’re going to have to watch your mouth, Bernie,’ he said, half-amused. ‘Get to the funny bit.’ ‘Well, it’s this. A number of recent reports, complaints if you like, made to Kripo by those related to institutionalized people leads me to suspect that some sort of mercy-killing is already being unofficially practised.’ I leant forward and grasped the bridge of my nose. ‘Do you ever get headaches? I get headaches. It’s smell that really sets them off. Paint smells pretty bad. So does formaldehyde in the mortuary. But the worst are those rotten pissing places you get where the dozers and rum-sweats sleep rough. That’s a smell I can recall in my worst nightmares. You know, Arthur, I thought I knew every bad smell there was in this city. But that’s last month’s shit fried with last year’s eggs.’ Nebe pulled open a drawer and took out a bottle and two glasses. He said nothing as he poured a couple of large ones. I threw it back and waited for the fiery spirit to seek out what was left of my heart and stomach. I nodded and let him pour me another. I said: ‘Just when you thought that things couldn’t get any worse, you find out that they’ve always been a lot worse than you thought they were. And then they get worse.’ I drained the second glass and then surveyed its empty shape. ‘Thanks for telling me straight, Arthur.’ I dragged myself to my feet. ‘And thanks for the warmer.’ ‘Please keep me informed about your suspect,’ he said. ‘You might consider letting a couple of your men work a friend-and-foe shift on him. No rough stuff, just a bit of the old-fashioned psychological pressure. You know the sort of thing I mean. Incidentally, how are you getting on with your team? Everything working out there? No resentments, or anything like that?’ I could have sat down again and given him a list of

In the American colonies, the first laborers were European indentured servants. When African laborers were forcibly brought to Virginia beginning in 1619, status was defined by wealth and religion, not by physical characteristics such as skin color. But this would change. Over time, physical difference mattered, and with the development of the transatlantic slave trade, landowners began replacing their temporary European laborers with enslaved Africans who were held in permanent bondage. Soon a new social structure emerged based primarily on skin color, with those of English ancestry at the top and African slaves and American Indians at the bottom. By 1776, when “all men are created equal” was written into the Declaration of Independence by a slaveholder named Thomas Jefferson, a democratic nation was born with a major contradiction about race at its core. As our new nation asserted its independence from European tyranny, blacks and American Indians were viewed as less than human and not deserving of the same liberties as whites. In the 19th and 20th centuries, the notion of race continued to shape life in the United States. The rise of “race science” supported the common belief that people who were not white were biologically inferior. The removal of Native Americans from their lands, legalized segregation, and the internment of Japanese Americans during World War II are legacies of where this thinking led. Today, science tells us that all humans share a common ancestry. And while there are differences among us, we’re also very much alike. Changing demographics in the United States and across the globe are resulting in new patterns of marriage, housing, education, employment, and new thinking about race. Despite these advances, the legacy of race continues to affect us in a variety of ways. Deeply held assumptions about race and enduring stereotypes make us think that gaps in wealth, health, housing, education, employment, or physical ability in sports are natural. And we fail to see the privileges that some have been granted and others denied because of skin color. This creation, called race, has fostered inequality and discrimination for centuries. It has influenced how we relate to each other as human beings. The American Anthropological Association has developed this exhibit to share the complicated story of race, to unravel fiction from fact, and to encourage meaningful discussions about race in schools, in the workplace, within families and communities. Consider how your view of a painting can change as you examine it more closely. We invite you to do the same with race. Examine and re-examine your thoughts and beliefs about race. 1

While occasional stress is quite normal, excessive stress can cause health issues. Too much stress in your life can bring on heart attacks, anxiety, and other serious health problems. By following the advice below you can greatly reduce the amount of stress that you have to deal with. One way to reduce your high levels of stress is to read a book. When you read, your mind wanders into a fantasy land, where you are not troubled by the different pressures that will cause you tension. Purchase a mystery or science fiction novel to help how you feel. A great tip that can help you keep stress down is to turn off the television. Studies have shown that watching television actually increases our stress levels. You don't have to stop watching it completely but you should definitely limit how much television you're going to watch everyday. If you have a lot of excess dry skin on your face, one of the best ways to relieve your stress is to get a facial. This will allow your skin to breathe so that you feel fresh for the better part of the day. Give yourself a facial to help your anxiety and melt away your stress. A great tip that can help you keep your stress down is to draw or paint something. Drawing and painting are great ways to fight stress because you focus on being creative. It's a great way to keep your mind off of certain things and you'll also have some art to show off. As was previously mentioned in this article, to feel stress is a normal part of life, but when its prevalence is in excess, stress may lead to health complications. There are some relatively simple things you can do to help cut some of the stress out of your life. Try these ideas yourself and improve your quality of life.

What I have lately said of painting is equally true with respect to poetry. It is only necessary for us to know what is really excellent, and venture to give it expression; and that is saying much in few words. To-day I have had a scene which, if literally related, would make the most beautiful idyl in the world. But why should I talk of poetry and scenes and idyls? Can we never take pleasure in Nature without having recourse to art? If

Thus, for an adequate interpretation of the differences found between the classes or within the same class as regards their relation to the various legitimate arts, painting, music, theatre, literature etc., one would have to analyse fully the social uses, legitimate or illegitimate, to which each of the arts, genres, works or institutions considered lends itself. For example, nothing more clearly affirms one's 'class', nothing more infallibly classifies, than tastes in music.

It would be interesting if some real authority investigated carefully the part which memory plays in painting. We look at the object with an intent regard, then at the palette, and thirdly at the canvas. The canvas receives a message dispatched usually a few seconds before from the natural object. But it has come through a post office en route. It has been transmitted in code. It has been turned from light into paint. It reaches the canvas a cryptogram. Not until it has been placed in its correct relation to everything else that is on the canvas can it be deciphered, is its meaning apparent, is it translated once again from mere pigment into light. And the light this time is not of Nature but of Art.

When I went into the attic to find the veil for Rose, I discovered this painting,” she began. “This is your great-grandfather, the third Earl of Ashton.” He wasn’t certain what to make of it, but then the weight of her words struck him. She’d said it was his great-grandfather. “He had green eyes,” Moira whispered. “You can see it for yourself.” Iain accepted the portrait, and when he took a closer look at the man, his blood ran cold. It was like looking into a mirror. There was no doubt at all that he was a blood relation to this man. He set down the portrait, and the hair stood up on his arms. Moira spoke first. “You have to understand how broken I was after I was violated by a man who was not my husband. And because Aidan sought revenge, he died. I found myself with a living reminder of that night.” Tears rolled down her cheeks. “Every time I looked at you, I could only think of the violence. I couldn’t see that you were a gift that Aidan left to me, so I wouldn’t be alone.” Moira turned away, her shoulders slumped forward. He couldn’t answer her, though he knew what she was saying. She finished with, “There is nothing I can say to undo the years I mistreated you. I neglected the only son remaining to me. The last piece of my husband, because I was too blind to see the truth.” For a time, he was frozen, not knowing how to respond. He was the Earl of Ashton in truth. By blood and by birthright. “I will leave, if you ask it of me,” she whispered. “I deserve to be cast out for what I did.” A part of him wanted to lash out at her, for the years she’d made him feel like a shadow worth nothing at all. But what good would it do? She had aged into a fragile shell of a woman who had based her life upon misery and bitterness. He had Rose now, the woman he loved more than life itself. He had brought her here to help him rebuild Ashton . . . but perhaps she could help him rebuild more than the estate. With a heavy sigh, he placed his hand upon his mother’s shoulder. “Will you walk with me when I meet my bride?” Moira took his hand and pressed it to her forehead. Against his fingers, he felt the wetness of her tears. “I will, yes. Thank you.” It would take time to let go of the past. But it would begin with a single step.

But now, after the news of Barthelme’s death, this simple fact of presence or absence, which I had begun to recognize in a small way already, now became the single most important supplemental piece of information I felt I could know about a writer: more important than his age when he wrote a particular work, or his nationality, his sex (forgive the pronoun), political leanings, even whether he did or did not have, in someone’s opinion, any talent. Is he alive or dead? — just tell me that. The intellectual surface we offer to the dead has undergone a subtle change of texture and chemistry; a thousand particulars of delight and fellow-feeling and forbearance begin reformulating themselves the moment they cross the bar. The living are always potentially thinking about and doing just what we are doing: being pulled through a touchless car wash, watching a pony chew a carrot, noticing that orange scaffolding has gone up around some prominent church. The conclusions they draw we know to be conclusions drawn from how things are now. Indeed, for me, as a beginning novelist, all other living writers form a control group for whom the world is a placebo. The dead can be helpful, needless to say, but we can only guess sloppily about how they would react to this emergent particle of time, which is all the time we have. And when we do guess, we are unfair to them. Even when, as with Barthelme, the dead have died unexpectedly and relatively young, we give them their moment of solemnity and then quickly begin patronizing them biographically, talking about how they “delighted in” x or “poked fun at” y — phrases that by their very singsong cuteness betray how alien and childlike the shades now are to us. Posthumously their motives become ludicrously simple, their delights primitive and unvarying: all their emotions wear stage makeup, and we almost never flip their books across the room out of impatience with something they’ve said. We can’t really understand them anymore. Readers of the living are always, whether they know it or not, to some degree seeing the work through the living writer’s own eyes; feeling for him when he flubs, folding into their reactions to his early work constant subauditional speculations as to whether the writer himself would at this moment wince or nod with approval at some passage in it. But the dead can’t suffer embarrassment by some admission or mistake they have made. We sense this imperviousness and adjust our sympathies accordingly. Yet in other ways the dead gain by death. The level of autobiographical fidelity in their work is somehow less important, or, rather, extreme fidelity does not seem to harm, as it does with the living, our appreciation for the work. The living are “just” writing about their own lives; the dead are writing about their irretrievable lives, wow wow wow. Egotism, monomania, the delusional traits of Blake or Smart or that guy who painted the electrically schizophrenic cats are all engaging qualities in the dead.

St. Lawrence River May 1705 Temperature 48 degrees From the river they walked back to the town, and the boy was taken into the fire circle outside the powwow’s longhouse. Here he was placed on the powwow’s sacred albino furs. A dozen men, those who were now his relatives, sat in a circle around him. The powwow lit a sacred pipe and passed it, and for the first time in his life, the boy smoked. Don’t cough, Mercy prayed for him. Don’t choke. Afterward she found out they diluted the tobacco with dried sumac leaves to make sure he wouldn’t cough on his first pull. Although the women had adopted him, it was the men who filed by to bring gifts. The new Indian son received a tomahawk, knives, a fine bow, a pot of vermilion paint, a beautiful black-and-white-striped pouch made from a skunk and several necklaces. “Watch, watch!” whispered Snow Walker, riveted. “This is his father. Look what his father gives him!” The warrior transferred from his own body to his son’s a wampum belt--hundreds of tiny shell circles linked together like white lace. The belt was so large it had to hang from the neck instead of the waist. To give a man a belt was old-fashioned. Wampum had no value to the French and had not been used as money by the Indians for many years. But it still spoke of power and honor and even Mercy caught her breath to see it on a white boy’s body. But of course, he was not white any longer. “My son,” said the powwow, “now you are flesh of our flesh and bone of our bone.” At last his real name was called aloud, and the name was plain: Annisquam, which just meant “Hilltop.” Perhaps they had caught him at the summit of a mountain. Or considering the honor of the wampum belt, perhaps he kept his eyes on the horizon and was a future leader. Or like Ruth, he might have done some great deed that would be told in story that evening. When the gifts and embraces were over, Annisquam was taken into the powwow’s longhouse to sit alone. He would stay there for many hours and would not be brought out until well into the dancing and feasting in the evening. Not one of Mercy’s questions had been answered. Was he, in his heart, adopted? Had he, in his heart, accepted these new parents? Where, in his heart, had he placed his English parents? How did he excuse himself to his English God and his English dead? The dancing began. Along with ancient percussion instruments that crackled and rattled, rasped and banged, the St. Francis Indians had French bells, whose clear chimes rang, and even a bugle, whose notes trumpeted across the river and over the trees.

One doesn’t arrive — in words or in art — by necessarily knowing where one is going. In every work of art something appears that does not previously exist, and so, by default, you work from what you know to what you don’t know. You may set out for New York but you may find yourself as I did in Ohio. You may set out to make a sculpture and find that time is your material. You may pick up a paint brush and find that your making is not on canvas or wood but in relations between people. You may set out to walk across the room but getting to what is on the other side might take ten years. You have to be open to all possibilities and to all routes — circuitous or otherwise. But not knowing, waiting and finding — though they may happen accidentally, aren’t accidents. They involve work and research. Not knowing isn’t ignorance. (Fear springs from ignorance.) Not knowing is a permissive and rigorous willingness to trust, leaving knowing in suspension, trusting in possibility without result, regarding as possible all manner of response. The responsibility of the artist … is the practice of recognizing.

During much of the Paleolithic, reindeer were a primary food source for Eurasians, but judging by the relative scarcity of their representations in cave paintings, they were not as highly respected as aurochs, horses, and bison. They don't seem to have been deemed sacred. By the time domestication commenced, that attitude had changed, as evidenced by the Bronze Age megaliths depicting flying reindeer—a motif that still figures prominently in the religion of contemporary Siberian tribes such as the Evenki and Eveny. Some believe that Santa's flying reindeer ultimately derive from these myths. I don't, but I have been called Scrooge more than once.

Same scenario, but instead of saying “Sure. What does done look like?” Murdoch says “Sure. Let’s paint done.” Rather than slinging directives West Wing walk-and-talk style, we find Barrett and talk for five minutes. I say, “Here’s my plan. I want to collect scenarios from the participants today so we have new role-plays for the group tomorrow. I don’t want to reuse the ones we brought and used today. They’re really struggling with these hard conversations, and the more specific the scenarios are to their issues and culture, the more helpful the role-playing will be. My plan is to have you collect them and sort through them tonight, looking for ones that are specific but have broad appeal. I’d like y’all to type up three of them and make copies. Instead of breaking the group into pairs, I want to do triads with one person observing and supporting. So, if we have three role-plays for each group, they can each take a turn.” Murdoch and Barrett think about it for a minute, then Barrett says, “One issue is that everyone here today is from operations. Tomorrow is the marketing team. Will that affect the relatability of the role-plays?” Me: “Dammit. It totally changes what I’m thinking. Thank you.” Paint done.

Now there is this song on the saxophone. And I am ashamed. A glorious little suffering has just been born, an exemplary suffering. Four notes on the saxophone. They come and go, they seem to say: You must be like us, suffer in rhythm. All right! Naturally, I’d like to suffer that way, in rhythm, without complacence, without self-pity, with an arid purity. But is it my fault if the beer at the bottom of my glass is warm, if there are brown stains on the mirror, if I am not wanted, if the sincerest of my sufferings drags and weighs, with too much flesh and the skin too wide at the same time, like a sea-elephant, with bulging eyes, damp and touching and yet so ugly? No, they certainly can’t tell me it’s compassionate—this little jewelled pain which spins around above the record and dazzles me. Not even ironic: it spins gaily, completely self-absorbed; like a scythe it has cut through the drab intimacy of the world and now it spins and all of us, Madeleine, the thick-set man, the patronne, myself, the tables, benches, the stained mirror, the glasses, all of us abandon ourselves to existence, because we were among ourselves, only among ourselves, it has taken us unawares, in the disorder, the day to day drift: I am ashamed for myself and for what exists in front of it. It does not exist. It is even an annoyance; if I were to get up and rip this record from the table which holds it, if I were to break it in two, I wouldn’t reach it. It is beyond—always beyond something, a voice, a violin note. Through layers and layers of existence, it veils itself, thin and firm, and when you want to seize it, you find only existants, you butt against existants devoid of sense. It is behind them: I don’t even hear it, I hear sounds, vibrations in the air which unveil it. It does not exist because it has nothing superfluous: it is all the rest which in relation to it is superfluous. It is. And I, too, wanted to be. That is all I wanted; this is the last word. At the bottom of all these attempts which seemed without bonds, I find the same desire again: to drive existence out of me, to rid the passing moments of their fat, to twist them, dry them, purify myself, harden myself, to give back at last the sharp, precise sound of a saxophone note. That could even make an apologue: there was a poor man who got in the wrong world. He existed, like other people, in a world of public parks, bistros, commercial cities and he wanted to persuade himself that he was living somewhere else, behind the canvas of paintings, with the doges of Tintoretto, with Gozzoli’s Florentines, behind the pages of books, with Fabrizio del Dongo and Julien Sorel, behind the phonograph records, with the long dry laments of jazz. And then, after making a complete fool of himself, he understood, he opened his eyes, he saw that it was a misdeal: he was in a bistro, just in front of a glass of warm beer. He stayed overwhelmed on the bench; he thought: I am a fool. And at that very moment, on the other side of existence, in this other world which you can see in the distance, but without ever approaching it, a little melody began to sing and dance: “You must be like me; you must suffer in rhythm.

the number of colors you use? Do you make deliberate decisions about how colors are distributed on the page? Are you thinking about color temperature and relative intensity? Are your darkest darks all the same color? And most important of all: Do you always make the same color choices, no matter how your purpose changes? Begin your assessment by identifying the feelings you were after in several paintings. Do the color choices you made support your intention? How might you have enhanced the emotion? Would using more colors, or fewer, strengthen the feeling you sought?

The greatest heights of self-expression—in poetry, music, painting—are achieved by men who are supremely alone. And it is for this reason that the idea of ‘the beatific vision’ is easier for the artist to grasp than for anyone else. He has only to imagine his moment of ‘greatest aloneness’ intensified to a point where it would fill up his life and make all other relations impossible or unnecessary. They never are, of course, for the artist; his moments of highest inspiration leave him glad enough to get back to people, but at least he knows something of that complete independence of other human beings the theoretical existence of which most people prefer to doubt.

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I am putting up a signpost, not offering a photograph of what we will find once we get to where the signpost is pointing. I don’t know what musical instruments we shall have to play Bach in God’s new world, though I’m sure Bach’s music will be there. I don’t know how my planting a tree today will relate to the wonderful trees that there will be in God’s recreated world, though I do remember Martin Luther’s words about the proper reaction to knowing the kingdom was coming the next day being to go out and plant a tree. I do not know how the painting an artist paints today in prayer and wisdom will find a place in God’s new world. I don’t know how our work for justice for the poor, for remission of global debts, will reappear in that new world. But I know that God’s new world of justice and joy, of hope for the whole earth, was launched when Jesus came out of the tomb on Easter morning, and I know that he calls his followers to live in him and by the power of his Spirit and so to be new-creation people here and now, bringing signs and symbols of the kingdom to birth on earth as in heaven. The resurrection of Jesus and the gift of the Spirit mean that we are called to bring real and effective signs of God’s renewed creation to birth even in the midst of the present age.

Salon writer Scot Sea, who said that his experience with his own autistic daughter helped him understand why a California man named Delfin Bartolome had shot his son and then himself. “The odor has finally made its way down the hall. When you see the balled-up pants and diaper on the floor, you know you are too late,” Sea began ominously. “A bright red smear across the door, the molding, the wall. Turn the corner and the bedroom is a crime scene. An ax murder? In fact, it is only your daughter at her worst.” He described a scene worthy of a slasher movie: “Splashes of blood glistening like paint, black clots, yellow-brown feces, and a 3-foot-in-diameter pond of vomit that your daughter stands in the middle of . . . hands dripping, face marked like a cannibal.” Parents in previous eras were spared these horrors, he explained, because “idiot” children were promptly “tossed down the well or thumped against the fence post.” For “educated” families in more recent times, he added, at least there was a way out—institutionalization. But now, desperate parents had to find their own ways out, as Bartolome had been forced to do with a handgun when he ran out of options. This was the harsh reality of raising a child with autism, according to Sea. (He neglected to mention that weeks before the shooting, Bartolome—described by his relatives as a loving and devoted father—had been laid off just before retirement, shunting him into a series of temporary jobs and putting his son’s future care at risk.) Shannon felt herself becoming physically ill while reading Sea’s article. Was this her family’s future? IV

The English language once had a word for the characteristic impression that a plant or animal offers to the eye. We called it the “jizz,” and the adoption of that term as sexual slang is unfortunate, as it seems unlikely we’ll come up with a replacement. It is the jizz, for example, that allows a skilled birdwatcher to know a bird by its silhouette alone , or by some quality of movement or the way it holds its head. The strangely unsteady flight of the turkey vulture, the flat forehead of the Barrow’s goldeneye, the endless headlong running of sanderlings on a mudflat— each of these is the jizz. It is so pure an essence that, if captured in a few rough lines drawn with charcoal, it can express an animal more authentically than a portrait by a trained artist who has never carefully watched the creatures he paints. It’s the jizz that ancient art so often represents. While looking at Egyptian treasures in a museum, I felt a rush of nostalgia when an engraving of a scarab beetle reminded me that I used to see a related species, the tumblebug, or Canthon simplex, roll balls of dung across my home prairie. I had completely forgotten; it took a 3,500-year-old artifact from another continent to make me remember.

According to this, the state of a quantum system is some definite but abstract thing in an equally abstract Hilbert space. The one state can, so to speak, be looked at from different points of view. A cubist painting might give you a flavour of the idea. In relativity, different coordinate systems on space-time correspond to different decompositions into space and time. In quantum mechanics, the different coordinate systems, or bases, are equally startling in their physical significance. They determine what will happen if different kinds of measurement, say of position or of momentum, are made on the system by instruments that are external to the system. The state in Hilbert space is an enigmatic gem that presents a different aspect on all the innumerable sides from which it can be examined. As Leibniz would say, it is a city multiplied in perspective. Dirac was entranced, and spoke of the 'darling transformation theory'. He knew he had seen into the structure of things. What he saw was some real but abstract thing not at all amenable to easy visualization. But the multiplication of viewpoints and the mathematical freedom it furnished delighted him.

Relativity works in the realm of the large. It deals with gravity and mass and speed. Quantum mechanics deals with the very small. Elementary particles. Like electrons. Both paint a picture of a universe that seems ridiculous. Crazier than something out of a fantasy novel.” “For instance?” prompted Elovic. “Relativity shows that as an object speeds up, time itself passes more and more slowly for it. At the speed of light, time stops altogether.

SELF PORTRAIT, 1799 In this early self portrait we can note the subtle blend of light and dark, illuminating the face of the young twenty-four year old artist. Dating from around 1799, the painting was most likely intended to mark Turner’s election as a full member of the Royal Academy, a momentous occasion for any aspiring artist. This meant that he could now exhibit his works on the walls of the Academy without fear of rejection by any members of the committee. Despite his relative youth, Turner had already made a name for himself as an original, accomplished painter with the technical abilities of someone many years more experienced. He had been described in London newspapers as an artist that ‘seems thoroughly to understand the mode of adjusting and applying his various materials’ and ‘their effect in oil or on paper is equally sublime’. The portrait, which is now housed in Tate Britain, depicts a confident young man, who stares assertively at the viewer, hinting at his ambitions and skilled abilities as an artist.

Writing a poem, I construct a magenta fan with a photolikeness, enclosed in a central oval, of a beloved relation, with her hair brown that is not to say, before her hair turned grey: it's her essential self. Someone's jealous of the attention I'm paying her in my work because he wants it all for his art which is a pure, gridded, layer of words painted in crosshatched grey monochrome brushstrokes. Your art, he seems to say to me, kisses life's ass. His art asks that his own ass be kissed.

I view a piece ‘The Sick Child’ by Edward Munch. At the moment I view it I perceive the intended effect, a certain situation and the emotion it contains. The viewer’s reaction to this will depend on his or her own subjective experiences, that is, if he or she can relate, create a relation between what was (or is) and what is expressed. If he cannot he will walk away to the next painting with a strictly intellectual enjoyment of Munch’s work. If he can (and does) create a relation then the effect becomes affectual. The viewer’s memory activates, he sees the painting, he sees himself, and out of that comes the relation. He remembers what it (the situation, resemblance to situation) felt like and in that relation feels a bond with the painting, a connection. Art is relieving because it makes us feel that we have not been alone in what we have felt.

Richard felt that they should not paint too black a picture, and that in any case there was no proof of contagion since the relatives of his patients were still unaffected. ‘But others have died,’ Rieux pointed out. ‘And, of course, contagion is never absolute, because if it were, we should have endless exponential growth and devastating loss of population. It’s not a matter of painting a black picture; it’s a matter of taking precautions.’ However, Richard thought he could sum the situation up by saying that if they were to halt the disease, assuming it did not stop of its own accord, they had to apply the serious preventive health measures provided for in law; that, to do so, they would have to acknowledge officially that there was an outbreak of plague; that there was no absolute certainty on that score; and consequently that they should consider the matter.

Tere is signification when we submit the data of the world to a "coherent deformation." That convergence of all the visible and intellectual vectors of the painting towards the same signification, X, is already sketched out in the painter's perception. It begins as soon as he perceives—that is, as soon as he arranges certain gaps or fissures, figures and grounds, a top and a bottom, a norm and a deviation in the inaccessible plenum of things. In other words, as soon as certain elements of the world take on the value of dimensions to which from then on we relate all the others and in whose language we express them. For each painter, style is the system of equivalences that he makes for himself for the work which manifests the world he sees. It is the universal index of the "coherent deformation" by which he concentrates the still scattered meaning of perception and makes it exist expressly. The work is not brought to fulfilment far from things and in some intimate laboratory to which the painter and the painter alone has the key. Whether he is looking at real flowers or paper flowers, he always goes back to his world, as if the principle of the equivalences by means of which he is going to manifest it had been buried there since the beginning of time.

Another black, Shelby Steele, argues that affirmative action encourages blacks to invest in their status as victims, because it is as victims that they reap the benefits of race-based preferences. Power comes from portraying oneself as “oppressed,” not from work or achievement. “When power itself grows out of suffering,” he writes, “blacks are encouraged to expand the boundaries of what qualifies as racial oppression, a situation that can lead us to paint our victimization in vivid colors even as we receive the benefits of preference.

As the most perfect subject for painting I have already specified inwardly satisfied [reconciled and peaceful] love, the object of which is not a purely spiritual ‘beyond’ but is present, so that we can see love itself before us in what is loved. The supreme and unique form of this love is Mary’s love for the Christ-child, the love of the one mother who has borne the Saviour of the world and carries him in her arms. This is the most beautiful subject to which Christian art in general, and especially painting in its religious sphere, has risen. The love of God, and in particular the love of Christ who sits at’ the right hand of God, is of a purely spiritual kind. The object of this love is visible only to the eye of the soul, so that here there is strictly no question of that duality which love implies, nor is any natural bond established between the lovers or any linking them together from the start. On the other hand, any other love is accidental in the inclination of one lover for another, or,’ alternatively, the lovers, e.g. brothers and sisters or a father in his love for his children, have outside this relation other conceI1l8 with an essential claim on them. Fathers or brothers have to apply themselves to the world, to the state, business, war, or, in short, to general purposes, while sisters become wives, mothers, and so forth. But in the case of maternal love it is generally true that a mother’s love for her child is neither something accidental just a single feature in her life, but, on the contrary, it is her supreme vocation on earth, and her natural character and most sacred calling directly coincide. But while other loving mothers see and feel in their child their husband and their inmost union with him, in Mary’s relation to her child this aspect is always absent. For her feeling has nothing in common with a wife’s love for her husband; on the contrary, her relation to Joseph is more like a sister’s to a brother, while on Joseph’s side there is a secret awe of the child who is God’s and Mary’s. Thus religious love in its fullest and most intimate human form we contemplate not in the suffering and risen Christ or in his lingering amongst his friends but in the person of Mary with her womanly feeling. Her whole heart and being is human love for the child that she calls her own, and at the same time adoration, worship, and love of God with whom she feels herself at one. She is humble in God’s sight and yet has an infinite sense of being the one woman who is blessed above all other virgins. She is not self-subsistent on her own account, but is perfect only in her child, in God, but in him she is satisfied and blessed, whether. at the manger or as the Queen of Heaven, without passion or longing, without any further need, without any aim other than to have and to hold what she has. In its religious subject-matter the portrayal of this love has a wide series of events, including, for example, the Annunciation, the Visitation, the Birth, the Flight into Egypt, etc. And then there are, added to this, other subjects from the later life of Christ, i.e. the Disciples and the women who follow him and in whom the love of God becomes more or less a personal relation of love for a living and present Saviour who walks amongst them as an actual man; there is also the love of the angels who hover over the birth of Christ and many other scenes in his life, in serious worship or innocent joy. In all these subjects it is painting especially which presents the peace and full satisfaction of love. But nevertheless this peace is followed by the deepest suffering. Mary sees Christ carry his cross, she sees him suffer and die on the cross, taken down from the cross and buried, and no grief of others is so profound as hers. Mary’s grief is of a totally different kind. She is emotional, she feels the thrust of the dagger into the centre of her soul, her heart breaks, but she does not turn into stone.

The study was done in a relatively small town in Kyoto named Kyotango.  What makes this town special and a very good place to conduct the study was the fact that its population of people above 100 years old was the highest in Japan - 3 times more than the average for any town in the country.  The program - Takeshi no katei no igaku - specifically wanted to find out what these very old - but very joyful - bunch of people in Kyotango had in common when it comes to living their daily lives.  The program followed 7 people who were already in their late 90s and early 100s from sunrise to sunset.  The program also subjected them to health checkups such as blood tests, among others.  One of the interesting findings of the study was that all of the 7 subjects had very high levels of DHEA, which is a steroid hormone produced by the body's adrenal glands.  DHEA has a solid reputation of being a miracle hormone that's highly associated with longevity.  And as the study continued following the 7 super senior citizens, they discovered another commonality:  they all did things that they really enjoyed.  Each of them had different hobbies they passionately practiced every day such as painting, fishing and making traditional Japanese masks, among others. Given these findings, is it possible then that doing something you really love to do, something you're very passionate about, is the key to higher levels of DHEA and, therefore, a much longer life?  The science on this relationship hasn't been established yet, but the program concluded that regularly doing something that you're very interested in, passionate about, and focused on can give you a long-lasting and deep sense of personal satisfaction in life, which in turn can help elevate your DHEA levels.  And when such levels are very high, a long and joyful life isn't far behind.  And guess what, the program repeatedly made mention of Ikigai in discussing this concept of conclusion.

The truth is that in order for my freedom not to risk coming to grief against the obstacle which its very engagement has raised, in order that it might still pursue its movement in the face of the failure, it must, by giving itself a particular content, aim by means of it at an end which is nothing else but precisely the free movement of existence. Popular opinion is quite right in admiring a man who, having been ruined or having suffered an accident, knows how to gain the upper hand, that is, renew his engagement in the world, thereby strongly asserting the independence of freedom in relation to thing. Thus, when the sick Van Gogh calmly accepted the prospect of a future in which he would be unable to paint any more, there was no sterile resignation. For him painting was a personal way of life and of communication with others which in another form could be continued even in an asylum. The past will be integrated and freedom will be confirmed in a renunciation of this kind. It will be lived in both heartbreak and joy. In heartbreak, because the project is then robbed of its particularity — it sacrifices its flesh and blood. But in joy, since at the moment one releases his hold, he again finds his hands free and ready to stretch out toward a new future. But this act of passing beyond is conceivable only if what the content has in view is not to bar up the future, but, on the contrary, to plan new possibilities. This brings us back by another route to what we had already indicated. My freedom must not seek to trap being but to disclose it. The disclosure is the transition from being to existence. The goal which my freedom aims at is conquering existence across the always inadequate density of being.

Isaac studied the huge, airy room and went to stand in front of a wall of watercolor apples- each one was set off by a colored background ranging from deep blue to fluorescent green to soft pink. He turned to ask Sanna about it, but she was still in the kitchen, pulling salt-crusted baked potatoes from the oven. Bass kneeled on a bar stool and stirred sliced apples with cinnamon and sugar. On the counter were the fixings for a baked potato bar, with cheese, bacon, broccoli, sour cream, and minced chives. "Are the apples above the fireplace meaningful?" Einars bent lower to talk to Bass, as they layered the apples into a dish, forcing Sanna to answer the question. "Those are all the apples we grow in our orchard." There were at least thirty. He hadn't even known there were that many varieties of apple in the world. "Did you paint them?" "Some of them. Most were done by much older relatives.

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There is no relation between using the mind — as one does, in repairing shoes, and seeing it.