Panorama Quotes

You’re like a lighthouse shining beside the sea of humanity, motionless: all you can see is your own reflection in the water. You’re alone, so you think it’s a vast, magnificent panorama. You haven’t sounded the depths. You simply believe in the beauty of God’s creation. But I have spent all this time in the water, diving deep into the howling ocean of life, deeper than anyone. While you were admiring the surface, I saw the shipwrecks, the drowned bodies, the monsters of the deep

En algún lugar debe haber un basural donde están amontonadas las explicaciones. Una sola cosa inquieta en este justo panorama: lo que pueda ocurrir el día en que alguien consiga explicar también el basural.

If we want to add human interaction to the panorama of our lifescape, the sustainability and the expectancy description of our emotions are momentous. Cracks in relations can be "restored," whereas breakups have to be "repaired." For 'repairs,' we need proper tools, respectively, concrete commitments, and endurance. For 'restoration,' we need exceptional talent and subtle adroitness to realize a perfect replica of the original emotional canvas. ("Life with sea view")

When we confront the essence of our desires and the void left in their absence, we step into the twilight zone in the tapestry of our emotional panorama. It's here that we come to a profound recognition: desires are not just fleeting whims but the very fabric that shapes our understanding of love and connection, inviting us to a deeper level of introspection and enlightenment. (“Crépuscule du désir “)

There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honour when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war--a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.

The destiny of every walking man is to immerse himself in the panorama surrounding him, to the point of becoming one with it and, ultimately, to vanish".

The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.

Against this cosmic background the lifespan of a particular plant or animal appears, not as drama complete in itself, but only as a brief interlude in a panorama of endless change.

People came to the desert because the stars were in the desert, and the stars had yet to be corrupted by man... The stars, it seemed, would crush man in a scenic, gravitational panorama before man would ever corrupt the stars.

The whole panorama makes me realize how small I am, in the grand scheme of things. How insignificant my problems are when you zoom out and out and out and see the whole of the world.

Squatting on old bones and excrement and rusty iron, in a white blaze of heat, a panorama of naked idiots stretches to the horizon. Complete silence - their speech centres are destroyed - except for the crackle of sparks and the popping of singed flesh as they apply electrodes up and down the spine. White smoke of burning flesh hangs in the motionless air. A group of children have tied an idiot to a post with barbed wire and built a fire between his legs and stand watching with bestial curiosity as the flames lick his thighs. His flesh jerks in the fire with insect agony.

Page after page, advert after advert. Lipsticks, undies, tinned food, patent medicines, slimming cures, face-creams. A sort of cross-section of the money world. A panorama of ignorance, greed, vulgarity, snobbishness, whoredom and disease.

You can say what you want, but I know you don’t want us to become too, well, what? Too human? Too living? But I like being alive. I look out at the endless deep outside the panorama windows. I see a sun. I burn the way the sun burns. I know without a doubt that I’m real. I may have been made, but now I’m making myself.

This dim coolness of my room was to the broad daylight of the street what the shadow is to the sunbeam, that is to say equally luminous, and presented to my imagination the entire panorama of summer, which my senses, if I had been out walking, could have tasted and enjoyed only piecemeal; and so it was quite in harmony with my state of repose which (thanks to the enlivening adventures related in my books) sustained, like a hand reposing motionless in a stream of running water, the shock and animation of a torrent of activity.

Guardi me o il panorama?

it seemed to him as if he were beholding in a magic panorama a future where he himself was sliding into that pleasureless yielding to the small solicitations of circumstance, which is a commoner history of perdition than any single momentous bargain.

We are all glorified motion sensors. Some things only become visible to us when they undergo change. We take for granted all the constant, fixed things, and eventually stop paying any attention to them. At the same time we observe and obsess over small, fast-moving, ephemeral things of little value. The trick to rediscovering constants is to stop and focus on the greater panorama around us. While everything else flits abut, the important things remain in place. Their stillness appears as reverse motion to our perspective, as relativity resets our motion sensors. It reboots us, allowing us once again to perceive. And now that we do see, suddenly we realize that those still things are not so motionless after all. They are simply gliding with slow individualistic grace against the backdrop of the immense universe. And it takes a more sensitive motion instrument to track this.

I have long been seduced by the idea of losing myself, persuaded by the thought that there was something poetic in this dissipation. I thought that the destiny of every true flâneur was to immerse himself in the panorama surrounding him, to the point of becoming one with it and, ultimately, to vanish.

the fact that she and I are now incorporated into this unique subject, the subject of love that views the panorama of the world through the prism of our difference

The true painter must be able, before an infinite panorama, to limit himself to reproducing a single ant.

In the age of Facebook and Instagram you can observe this myth-making process more clearly than ever before, because some of it has been outsourced from the mind to the computer. It is fascinating and terrifying to behold people who spend countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves.20 That’s how a family holiday fraught with traffic jams, petty squabbles and tense silences becomes a collection of beautiful panoramas, perfect dinners and smiling faces; 99 per cent of what we experience never becomes part of the story of the self. It is particularly noteworthy that our fantasy self tends to be very visual, whereas our actual experiences are corporeal. In the fantasy, you observe a scene in your mind’s eye or on the computer screen. You see yourself standing on a tropical beach, the blue sea behind you, a big smile on your face, one hand holding a cocktail, the other arm around your lover’s waist. Paradise. What the picture does not show is the annoying fly that bites your leg, the cramped feeling in your stomach from eating that rotten fish soup, the tension in your jaw as you fake a big smile, and the ugly fight the happy couple had five minutes ago. If we could only feel what the people in the photos felt while taking them! Hence if you really want to understand yourself, you should not identify with your Facebook account or with the inner story of the self. Instead, you should observe the actual flow of body and mind. You will see thoughts, emotions and desires appear and disappear without much reason and without any command from you, just as different winds blow from this or that direction and mess up your hair. And just as you are not the winds, so also you are not the jumble of thoughts, emotions and desires you experience, and you are certainly not the sanitised story you tell about them with hindsight. You experience all of them, but you don’t control them, you don’t own them, and you are not them. People ask ‘Who am I?’ and expect to be told a story. The first thing you need to know about yourself, is that you are not a story.

Heart-Mind, left to its natural state, is vast as a panorama of Nature.

One often hears of writers that rise and swell with their subject, though it may seem but an ordinary one. How, then, with me, writing of this Leviathan? Unconsciously my chirography expands into placard capitals. Give me a condor's quill! Give me Vesuvius' crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their out-reaching comprehensiveness of sweep, as if to include the whole circle of the sciences, and all the generations of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe, not excluding its suburbs. Such, and so magnifying, is the virtue of a large and liberal theme! We expand to its bulk. To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.

« La scrittura non è un mestiere. Non è un hobby. Né una passione. È un’esigenza di cui non si può far a meno. Perché senza ti senti soffocare. E sai che è l’unico modo per liberare quella bestia che ti strangola. Se provi questo, allora vuol dire che hai una bella storia da raccontare. » (Francesco Falconi, intervista Panorama Libri)

Postcards of landscapes, panoramas of old ruins, postcards ambitiously prepared so as to show as much as possible on that flat space, are slowly being replaced by photographs focusing on details. This is no doubt a good idea, because they relieve tired minds. There is too much world, so it’s better to concentrate on particulars, rather than the whole.

Happy the man...with a natural gift for practising the right one [art] from the start-- poetry, say, or fishing; whose nights are dreamless; whose deep-sunk panoramas rise and pass like daylight through the rod's eye or the nib's eye.

Ci sedemmo su una panchina, di fronte al panorama mozzafiato che la città ci offriva. Nel magnifico scenario dei giardini di Battery Park, mentre la luce del sole iniziava a farsi più morbida, ammirando il mare calmo solcato dalle barche a vela ai piedi della statua della Libertà, mi sentivo come in un film. Chiusi gli occhi e immaginai di essere Madonna in Cercasi Susan disperatamente: alcune scene erano state girate qui. Lo avevo visto tante volte, quel film; in un certo senso, aveva un legame con noi

The tiny features below, taken together with the gentle mass of Montblanc towering above them, the Vanoise glacier almost invisible in the shimmering distance, and the Alpine panorama that occupied half the horizon, had for the first time in her life awoken in her a sense of the contrarieties that are in our longings.

STEVE CARELL IS NICE BUT IT IS SCARY It has been said many times, but it is true: Steve Carell is a very nice guy. His niceness manifests itself mostly in the fact that he never complains. You could screw up a handful of takes outside in 104-degree smog-choked Panorama City heat, and Steve Carell’s final words before collapsing of heat stroke would be a friendly and hopeful “Hey, you think you have that shot yet?” I’ve always found Steve gentlemanly and private, like a Jane Austen character. The one notable thing about Steve’s niceness is that he is also very smart, and that kind of niceness has always made me nervous. When smart people are nice, it’s always terrifying, because I know they’re taking in everything and thinking all kinds of smart and potentially judgmental things. Steve could never be as funny as he is, or as darkly observational an actor, without having an extremely acute sense of human flaws. As a result, I’m always trying to impress him, in the hope that he’ll go home and tell his wife, Nancy, “Mindy was so funny and cool on set today. She just gets it.” Getting Steve to talk shit was one of the most difficult seven-year challenges, but I was determined to do it. A circle of actors could be in a fun, excoriating conversation about, say, Dominique Strauss-Kahn, and you’d shoot Steve an encouraging look that said, “Hey, come over here; we’ve made a space for you! We’re trashing Dominique Strauss-Kahn to build cast rapport!” and the best he might offer is “Wow. If all they say about him is true, that is nuts,” and then politely excuse himself to go to his trailer. That’s it. That’s all you’d get. Can you believe that? He just would not engage. That is some willpower there. I, on the other hand, hear someone briefly mentioning Rainn, and I’ll immediately launch into “Oh my god, Rainn’s so horrible.” But Carell is just one of those infuriating, classy Jane Austen guys. Later I would privately theorize that he never involved himself in gossip because—and I am 99 percent sure of this—he is secretly Perez Hilton.

...Puritanism has made life itself impossible. More than art, more than estheticism, life represents beauty in a thousand variations; it is indeed, a gigantic panorama of eternal change. Puritanism, on the other hand, rests on a fixed and immovable conception of life; it is based on the Calvinistic idea that life is a curse, imposed upon man by the wrath of God. In order to redeem himself man must do constant penance, must repudiate every natural and healthy impulse, and turn his back on joy and beauty. Puritanism celebrated its reign of terror in England during the sixteenth and seventeenth centuries, destroying and crushing every manifestation of art and culture. It was the spirit of Puritanism which robbed Shelley of his children, because he would not bow to the dicta of religion. It was the same narrow spirit which alienated Byron from his native land, because that great genius rebelled against the monotony, dullness, and pettiness of his country. It was Puritanism, too, that forced some of England's freest women into the conventional lie of marriage: Mary Wollstonecraft and, later, George Eliot. And recently Puritanism has demanded another toll--the life of Oscar Wilde. In fact, Puritanism has never ceased to be the most pernicious factor in the domain of John Bull, acting as censor of the artistic expression of his people, and stamping its approval only on the dullness of middle-class respectability.

In Venice, things not always as they first appear. I contemplate this observation from my post on the aft deck of one of Master Fumagalli’s gondolas, taking in the panorama of bridges, domes, bell towers, and quaysides of my native city. I row into the neck of the Grand Canal, and, one by one, the reflection of each colorful façade appears, only to dissipate into wavering, shimmering shards under my oar.

sobre la que se elevaba la cabaña del Viejo. Expuesta a todos los vientos, pero situada de forma que recibía los rayos de sol de la mañana hasta la noche, la cabaña gozaba de un amplio panorama sobre todo el valle.

The shock of collision was like the smashing of boulders in the landslide at Nesson. Damen felt the familiar battering shudder, the sudden shift in scale as the panorama of the charge was abruptly replaced by the slam of muscle against metal, of horse and man impacting at speed. Nothing could be heard over the crashing, the roars of men, both sides warping and threatening to rupture, regular lines and upright banners replaced by a heaving, struggling mass. Horses slipped, then regained their footing; others fell, slashed or speared through.

There are species that can run faster, climb higher, dig deeper, or hit harder, but humans are special because we can run, climb, dig, and hit. The phrase jack of all trades, master of none fits us perfectly. If life on earth were like the Olympic Games, the only event that humans would ever win is the decathlon. (Unless chess became an Olympic sport.)

Her true heart, however, was buried so far inside her, so gone beneath the vast blanket of her lies and deceptions and whims. Like her jewels now beneath the snow, it lay hidden until some thaw might some to it. She had no way of knowing, of course, whether this heart she imagined herself to have was, in fact, real in any way. Perhaps it was like the soldier's severed arm that keeps throbbing for years, or like a broken bone that aches at the approach of a storm. Perhaps the heart she imagined was one she had never really had at all. But how did they do it, those women she saw on the street, laughing with their charming or their ill-tempered children in restaurants, in train stations, everywhere around her? Any why was she left out of the whole sentimental panorama she felt eddying around her every day of her life?

With great freedom comes great responsibility, someone said once, well, it doesn't work the other way around.

If beauty gains in depth when colored by fear, then there is probably nothing more beautiful in the world than the spectacle at the bottom of the sea.

La fede nella vita è credere che il panorama esista e che dietro la nebbia ci sia un posto per te.

She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea.

In any new country we want panoramas.

Heart-Mind, left to its natural state, is vast as a panorama of Nature. - from The School of Soft-Attention: Poems

Tell me, Dr. Lanark, is there a connection between your love of vast panorama and your distate for human problems?

He opened the door and led me through a corridor into a dark green lounge curiously paneled with pale green glass behind which, at cunningly measured distances, lay exquisitely painted panoramas of strange seas and beautiful landfalls. Standing in the center of the room, and slowly turning, a man might imagine that Satan had taken him to the top of a high mountain, and was showing him all the kingdoms of the earth... until he put out his hand to touch the middle distance, and felt a window, and saw through it to the heart of the illusion.

Apart from the jet-black sky, the photo might have been taken almost anywhere in the polar regions of Earth; there was nothing in the least alien about the sea of wrinkled ice that stretched all the way out to the horizon. Only the five space-suited figures in the foreground proclaimed that the panorama was of another world.

I want My children’s eyes set on Me, hoping in Me, not looking at the passing panorama of earthly events being played out before them. I want them to look beyond, to look up, to see at last the distant shore toward which they are sailing, filling their hearts and minds, their eyes and ears with Me. This will bring the hope that gives peace.

Art, according to him, was the revolt of humans against nature. It was none other than the expression of a human being’s dissatisfaction with the way things are and his desire to imprint his own individual personality upon nature.

The mountain panorama was the backdrop to every photo taken here, the backdrop to everything. At first Ursula had thought it beautiful, now she was beginning to find its magnificence oppressive. The great icy crags and the rushing waterfalls, the endless pine trees--nature and myth fused to form the Germanic sublimated soul. German Romanticism, it seemed to Ursula, was write large and mystical, the English Lakes seemed tame by comparison. And the English soul, if it resided anywhere, was surely in some unheroic back garden--a patch of lawn, a bed of roses, a row of runner beans.

Destino de las Explicaciones En algún lugar debe haber un basural donde están amontonadas las explicaciones. Una sola cosa inquieta en este justo panorama: lo que pueda ocurrir el día en que alguien consiga explicar también el basural.

As he crossed Grattan Bridge he looked down the river towards the lower quays and pitied the poor stunted houses. They seemed to him a band of tramps, huddled together along the riverbanks, their old coats covered with dust and soot, stupefied by the panorama of sunset and waiting for the first chill of night bid them arise, shake themselves and begone.

And then one day we found ourselves in a cornfield. After that it seemed like the whole world was made of corn. It was just the same cornfield over and over. I got to thinking that we'd suddenly be out of it and the Manhattan skyline would pop right up on the other side. But that never happened. The corn went on forever. But eventually we hit the slave state of Missouri, with its constant panorama of rural beauty.

and so I opened my eyes and I opened my mind and I saw something I never would have noticed on a bicycle unless I was going very, very fast down a very long hill. Because of the speed of the bus and how I was exerting no effort, the telephone wires on the side of the road, sagging between poles, went up and down with the same rhythm as my heartbeat.

Consequently our age is one of frustration, anxiety, agitation, and addiction to “dope.” Somehow we must grab what we can while we can, and drown out the realization that the whole thing is futile and meaningless. This “dope” we call our high standard of living, a violent and complex stimulation of the senses, which makes them progressively less sensitive and thus in need of yet more violent stimulation. We crave distraction—a panorama of sights, sounds, thrills, and titillations into which as much as possible must be crowded in the shortest possible time. To

Instead of yelling at you when you did something wrong, like her mother did, Dad liked to bring you on a little journey first, up over the hills and mountains. It made it hard to fight back; you just had to follow the path he had laid out, his voice calm and even, your guilt crushing down on your shoulders, until turning a corner you would find yourself at the summit, your crime lying spread out in a panorama before you, and you and he would gaze down on it together.

Here is something for you to write down and remember: facing reality is never pessimistic. Believing the truth, no matter how difficult that may be, is the ultimate act of optimism because it opens up the panorama of options that will free us from further deception. Taking off a blindfold is never an act of pessimism. Getting angry at the truth (or at the messenger who delivers the truth) is a self-deceptive act of narcissistic theater, and it is a colossal waste of time.

Societies and communities change—dictionaries are rewritten; people and ideas die off. The point is for us to develop so much that when we outgrow the awareness of the community, we willfully reach back to pull others forward with our knowledge.

Like Hamlet, Goethe's Faust offers a wide panorama of scenes from the vulgar to the sublime, with passages of wondrous poetry that can be sensed even through the veil of translation. And it also preserves the iridescence of its modern theme. From it Oswald Spengler christened our Western culture 'Faustian,' and others too have found it an unexcelled metaphor for the infinitely aspiring always dissatisfied modern self. Goethe himself was wary of simple explanations. When his friends accused him of incompetence in metaphysics, he replied. 'I, being an artist, regard this as of little moment. Indeed, I prefer that the principle from which and through which I work should be hidden from me.

And I feared that death picks up where life left off. An endless barrage of unbearable obstacles. A godforsaken terrain where lost souls find even less mercy. A shattered dreamstate where every somnambulant second is plagued by the nightmarish preoccupation of one's own fears. A bleak panorama where not even death offers any release, for what you wrought will come back to haunt. As if the struggle never ends. As if there is not now, nor ever has been peace. Peace being foreign to my nature. The nature of the fucking beast.

There can be no doubt whatsoever that the burning desire to obey only the call of one’s soul leaves infinite scope for action, a true state of anarchy, and there are cases of chemically pure souls actually committing crimes. But the minute a soul has morals, religion, philosophy, a well-grounded middle-class education, ideals in the spheres of duty and beauty, it has been equipped with a system of rules, conditions, and directives that it must obey before it can think of being a respectable soul, and its heat, like that of a blast furnace, is directed into orderly rectangles of sand. All that remains are only logical problems of interpretation, such as whether an action falls under this or that commandment, and the soul presents the tranquil panorama of a battlefield after the fact, where the dead lie still and one can see at once where a scrap of life still moves or groans.

I’ll just say that in the face of the power of money the word “impossible” does not exist, and leave it at that.

Justice, contrary to public belief, is not blind. Love is blind, but Justice? Look at any statue, at any depiction. She is blindfolded.

On sacrifie plus aisément, l'avenir incertain que le souvenir assuré. L'homme redoute le risque.

nearly all animals on the planet make plenty of their own vitamin C, usually in their livers,

A mile ahead the great eyes of the Mercedes hooded themselves as they went over the crest of Wrotham Hill and disappeared down into the moonlit panorama of the Weald of Kent.

Luna y panorama de los insectos

Will you take a picture? she said. I looked down at the bleak panorama and shook my head. How could I take a picture of nothing?

The next star shell revealed a horrific panorama: The snow was smeared with blood. Twisted corpses and shorn body parts had been flung in all directions.

O: Are you asleep, mi amor? C: [no response] O: There is a spider on your face. C: [no response] O: That's a little trick, Juan-George, to make sure someone's really asleep. There's no spider.

Three million years! The infinitely crowded panorama of written history, with its empires and its kings, its triumphs and its tragedies, covered barely one thousandth of this appalling span of time.

after we ate we was silent on our blankets looking out across the mighty Great Divide I never seen this country before it were like a fairy story landscape the clear and windy skies was filled with diamonds the jagged black outlines of the ranges were a panorama. You're going to ride a horse across all that. I know. He laughed and he were right I knew nothing of what lay ahead. See that there he pointed. That is called the Crosscut Saw and that one is Mount Speculation and yonder is Mount Buggery and that other is Mount Despair did you know that? No Harry. You will and you'll be sorry.

They’d seen killing, and many themselves had killed. But the emotional texture of warfare was vastly different from that of prisonerhood. Fighting, even fighting a losing battle, was mercifully busy work. There was always something to do, and having something to do could be a godsend. It kept one’s mind off the brutal panorama, it kept the focus on martial craft and the necessities of personal survival.

Nearly half of human DNA is made of autonomously replicating, highly repetitive, dangerously jumping, pure genetic nonsense that the body dutifully copies and maintains in each one of its billions of cells.

El cuento conserva los últimos símbolos místicos de la humanidad, su sencillez nos permite percibirlos con más claridad que en los relatos actuales, reflejo del confuso panorama intelectual del mundo de hoy”.

I said to my soul, be still, and let the dark come upon you Which shall be the darkness of God. As, in a theatre, The lights are extinguished, for the scene to be changed With a hollow rumble of wings, with a movement of darkness on darkness, And we know that the hills and the trees, the distant panorama And the bold imposing facade are all being rolled away-- Or as, when an underground train, in the tube, stops too long between stations And the conversation rises and slowly fades into silence And you see behind every face the mental emptiness deepen Leaving only the growing terror of nothing to think about; Or when, under ether, the mind is conscious but conscious of nothing-- I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love, For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing.

Don't let parenting become religious. Don't keep the amazing panorama of life from your children. Don't keep them from reaching for their dreams because you're afraid of the edge. Instead, be right there with them.

Here was a small corner of the Greek archipelago; sky-blue, caressing waves, islands and rocks, a flowering strip of coastline, a magical panorama in the distance, an inviting sunset — you can’t describe it in words. This is what the peoples of Europe remembered as their cradle; here unfolded the first scenes of mythology, here was their earthly paradise. Here lived beautiful people! They got up and went to sleep happy and innocent; the groves were filled with their joyous songs, their great excess of untapped energies went into love and artless joy. The sun bathed these islands and the sea in its rays, rejoicing in its beautiful children.

Mary Karr presents her childhood in an almost unbroken panorama. Mine is a fogged-out landscape from which occasional memories appear like isolated trees… the kind that look as if they might like to grab and eat you.

Taking a deep breath, George turned around taking in the unspectacular panorama. A tear moved slowly down his cheek. To George this was where it had all began. And where it was now ending. His biggest regret was not making peace with his family. All those years and now he’d reached the last moments of his life without saying the things he needed to say. Without making the effort he should have done. Years of taking things for granted.

Mary Karr presents her childhood in an almost unbroken panorama. Mine is a fogged-out landscape from which occasional memories appear like isolated trees . . . the kind that look as if they might like to grab and eat you.

You may have heard that humans use only 10 percent of their brains. This is a total myth; humans use every lobe, fold, and nook of their neural tissues. While some regions specialize in certain functions— speech, for instance, or movement— and rev up their activity when performing them, the whole brain is active pretty much all of the time. There is no part of the brain, no matter how tiny, that can be deactivated or removed without serious consequences.

Voy acercándome al término a que quería conduciros por tan árido sendero. Permitidme que sigamos un corto trecho de camino, y se abrirá una amplia perspectiva, un alegre panorama, que nos recompensará quizá del esfuerzo realizado

Annabelle…” His mouth drifted along her throat. “I’ve wanted you since the first moment I saw you standing outside that panorama, digging for coins in your purse. I couldn’t take my eyes from you. I could hardly believe you were real.” “You stared at me for the entire show,” she said, gasping a little as he nibbled at the silken lobe of her ear. “I doubt you learned a single thing about the fall of the Roman Empire.” “I learned that you have the softest lips I’ve ever kissed.” “You have a novel way of introducing yourself.” “I couldn’t help it.” His hand skimmed gently up and down her side. “Standing next to you in the darkness was the most unholy temptation I’d ever experienced. All I could think about was how adorable you were and how much I wanted you. When the lights went out completely, I couldn’t stand it any longer.” A note of masculine smugness entered his voice as he added, “And you didn’t push me away.” “I was too surprised!” “That was the reason you didn’t object?” “No,” Annabelle admitted, tilting her face so that her cheek brushed against his. “I liked your kiss. You know that I did.” He smiled at that. -Annabelle & Simon

PANORAMA ALÉM Não sei que tempo faz, nem se é noite ou se é dia. Não sinto onde é que estou, nem se estou. Não sei de nada. Nem de ódio, nem amor. Tédio? Melancolia. -Existência parada. Existência acabada. Nem se pode saber do que outrora existia. A cegueira no olhar. Toda a noite calada no ouvido. Presa a voz. Gesto vão. Boca fria. A alma, um deserto branco: -o luar triste na geada... Silêncio. Eternidade. Infinito. Segredo. Onde, as almas irmãs? Onde, Deus? Que degredo! Ninguém.... O ermo atrás do ermo: - é a paisagem daqui. Tudo opaco... E sem luz... E sem treva... O ar absorto... Tudo em paz... Tudo só... Tudo irreal... Tudo morto... Por que foi que eu morri? Quando foi que eu morri?

In our artificial civilization many young people at twenty-five are still on the threshold of activity. As one looks back then, over eight or nine years, one sees a panorama of seemingly formidable length. So many crises, so many startling surprises, so many vivid joys and harrowing humiliations and disappointments, that one feels startlingly old; one wonders if one will ever feel so old again. —Youth and Life, Randolph S. Bourne (1886–1918) Even now, when I have come

During the day she notices mostly his arms in the short-sleeved army shirt and the rifle which is always with him, even though battles seem now to be over for them. He has various postures with the gun—half-staff, half a crook for his elbows when it is over his shoulders. He will turn, suddenly realizing she is watching him. He is a survivor of his fears, will step around anything suspicious, acknowledging her look in this panorama as if claiming he can deal with it all.

His subject is the universe, from stars all the way down to polyps, and ultimately what the Natural History presents is a panorama of an ancient world crawling with myth and misinformation, but also elegant and ordered and deeply beautiful.

As decisões de investimento que os empresários fazem são muitíssimo influenciadas tanto pelo ambiente económico do momento como pelo panorama de curto prazo. Isto é, uma procura de consumo morna hoje pode estar a roubar a nossa prosperidade futura.

The grand, tarnished panorama of History amounts, as I see it, to a flow of interpretations, a confused consensus of unreliable eyewitness accounts. The novelist is all of us, and we narrate whenever we see, because seeing is complex like everything.

You live an insular existence, going from your soundproofed cars to your air-conditioned, insulated houses. People would not say God is dead if they only looked up at the spectacular panorama of the night sky, or had an unobstructed view of the sunset.

She put up her posters, which mainly consisted of one five-foot-wide panorama of Diego Luna doing a split on the set of Dirty Dancing: Havana Nights-which Penelope had decided would be an excellent conversation topic, because that is a movie everyone likes.

Exoneration of Jesus Christ If Christ was in fact God, he knew all the future. Before Him like a panorama moved the history yet to be. He knew how his words would be interpreted. He knew what crimes, what horrors, what infamies, would be committed in his name. He knew that the hungry flames of persecution would climb around the limbs of countless martyrs. He knew that thousands and thousands of brave men and women would languish in dungeons in darkness, filled with pain. He knew that his church would invent and use instruments of torture; that his followers would appeal to whip and fagot, to chain and rack. He saw the horizon of the future lurid with the flames of the auto da fe. He knew what creeds would spring like poisonous fungi from every text. He saw the ignorant sects waging war against each other. He saw thousands of men, under the orders of priests, building prisons for their fellow-men. He saw thousands of scaffolds dripping with the best and bravest blood. He saw his followers using the instruments of pain. He heard the groans—saw the faces white with agony. He heard the shrieks and sobs and cries of all the moaning, martyred multitudes. He knew that commentaries would be written on his words with swords, to be read by the light of fagots. He knew that the Inquisition would be born of the teachings attributed to him. He saw the interpolations and falsehoods that hypocrisy would write and tell. He saw all wars that would be waged, and-he knew that above these fields of death, these dungeons, these rackings, these burnings, these executions, for a thousand years would float the dripping banner of the cross. He knew that hypocrisy would be robed and crowned—that cruelty and credulity would rule the world; knew that liberty would perish from the earth; knew that popes and kings in his name would enslave the souls and bodies of men; knew that they would persecute and destroy the discoverers, thinkers and inventors; knew that his church would extinguish reason’s holy light and leave the world without a star. He saw his disciples extinguishing the eyes of men, flaying them alive, cutting out their tongues, searching for all the nerves of pain. He knew that in his name his followers would trade in human flesh; that cradles would be robbed and women’s breasts unbabed for gold. And yet he died with voiceless lips. Why did he fail to speak? Why did he not tell his disciples, and through them the world: “You shall not burn, imprison and torture in my name. You shall not persecute your fellow-men.” Why did he not plainly say: “I am the Son of God,” or, “I am God”? Why did he not explain the Trinity? Why did he not tell the mode of baptism that was pleasing to him? Why did he not write a creed? Why did he not break the chains of slaves? Why did he not say that the Old Testament was or was not the inspired word of God? Why did he not write the New Testament himself? Why did he leave his words to ignorance, hypocrisy and chance? Why did he not say something positive, definite and satisfactory about another world? Why did he not turn the tear-stained hope of heaven into the glad knowledge of another life? Why did he not tell us something of the rights of man, of the liberty of hand and brain? Why did he go dumbly to his death, leaving the world to misery and to doubt? I will tell you why. He was a man, and did not know.

The Tower is not a sacred monument, and no taboo can forbid a commonplace life to develop there, but there can be no question, nonetheless, of a trivial phenomenon here; the installation of a restaurant on the Tower, for instance ... The Eiffel Tower is a comfortable object, and moreover, it is in this that it its an object wither very old (analogous, for instance, to the Circus) or very modern (analogous to certain American institutions such as the drive-in movie, in which one can simultaneously enjoy the film, the car, the food, and the freshness of the night air). Further, by affording its visitor a whole polyphony of pleasures, from technological wonder to haute cuisine, including the panorama, the Tower ultimately reunites with the essential function of all major human sites: autarchy; the Tower can live on itself: one can dream there, eat there, observe there, understand there, marvel there, shop there, as on an ocean liner (another mythic object that sets children dreaming), one can feel oneself cut off from the world and yet the owner of a world.

As adults we’re all balanced on the frail shoulders of the infants and tweens we once were, wobbling on their epaulets to reach the lofty vantage points of middle age, blinking above the tree line as we wonder if the physical effort was worth it for the cheerless panorama.

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After seeing the various fantastic sights, a visitor to Panorama Island would have had to gasp in amazement at this unsurpassable view. He would have had the impression that the entire island was a rose floating on the vast ocean and that the giant scarlet flower of an opium dream was conversing on an equal footing with the sun in the sky, just the two of them. What kind of strange beauty had that incomparable simplicity and grandeur created? Some travelers might have recalled the world of myth that their distant ancestors had seen. . . . How can the author describe the madness and debauchery, the pleasures of revelry and drunkenness, the numberless games of life and death that were played day and night on that magnificent stage? You readers might find something that resembled it, in part, in your most fantastic, bloodiest, and most beautiful nightmares.

Andar no es un deporte. Poner un pie delante de otro es un juego de niños. Cuando dos caminantes se encuentran, no es cuestión ni de resultados ni de números: uno le dirá al otro qué camino ha tomado, qué sendero ofrece el paisaje más hermoso, qué panorama se contempla desde tal o cual promontorio.

All those fascinating varieties of terrain—mountains and valleys, fiords and straits, gulfs and streams—that make Europe a panorama of diverse delight, have broken the population of a minor continent into a score of peoples cherishing their differences, and self-imprisoned in their heritage of hate.

And so when the generation, which itself desired to level and to be emancipated, to destroy authority and at the same time itself, has, through the scepticism of the principle association, started the hopeless forest fire of abstraction; when as a result of levelling with this scepticism, the generation has rid itself of the individual and of everything organic and concrete, and put in its place 'humanity' and the numerical equality of man and man: when the generation has, for a moment, delighted in this unlimited panorama of abstract infinity, unrelieved by even the smallest eminence, undisturbed by even the slightest interest, a sea of desert; then the time has come for work to begin, for every individual must work for himself, each for himself. No longer can the individual, as in former times, turn to the great for help when he grows confused. That is past; he is either lost in the dizziness of unending abstraction or saved for ever in the reality of religion. Perhaps very many will cry out in despair, but it will not help them--already it is too late...Nor shall any of the unrecognizable presume to help directly or to speak directly or to teach directly at the head of the masses, in order to direct their decisions, instead of giving his negative support and so helping the individual to make the decision which he himself has reached; any other course would be the end of him, because he would be indulging in the short-sighted compassion of man, instead of obeying the order of divinity, of an angry, yet so merciful, divinity. For the development is, in spite of everything, a progress because all the individuals who are saved will receive the specific weight of religion, its essence at first hand, from God himself. Then it will be said: 'behold, all is in readiness, see how the cruelty of abstraction makes the true form of worldliness only too evident, the abyss of eternity opens before you, the sharp scythe of the leveller makes it possible for every one individually to leap over the blade--and behold, it is God who waits. Leap, then, into the arms of God'. But the 'unrecognizable' neither can nor dares help man, not even his most faithful disciple, his mother, or the girl for whom he would gladly give his life: they must make the leap themselves, for God's love is not a second-hand gift. And yet the 'unrecognizable' neither can nor dares help man, not even his most faithful disciple, his mother, or the girl for whom he would gladly give his life: they must make the leap themselves, for God's love is not a second-hand gift. And yet the 'unrecognizable' (according to his degree) will have a double work compared with the 'outstanding' man (of the same degree), because he will not only have to work continuously, but at the same time labour to conceal his work.

Thought I saw you on the beach this morning...Thought I saw you standing on the white strand, your back to the wind. The rain had stopped and there was a brisk clarity in the air. You watched me over your left shoulder, head tucked in coyly. Seabirds flying low in the sky, and the grey-green waves at your foot. A whole panorama thrown up behind you. I was on the coast road coming back from the shops. I stopped walking once I caught sight of you. You were wearing a reefer jacket with the collar turned up against the weather. It might have been navy, but it looked black in the distance. As did your trousers. As did your shoes. All of you was black except your face and hair. You wore no hat...Never once saw you in Winter clothes, yet there you were as clear as day for a whole moment. Only your eyes were visible above the upturned collar. Your hair was in your eyes. You watched me through those pale strands. And I watched you. Intently. The man from down the road drove by in his faded red car. He was going the other way, so he didn't offer a lift. He just waved. I waved back. And then I turned to you again, and we looked at each other a little longer. Very calm. Heart barely shifted. Too far away to see your features. No matter. There was salt on your face. Sea salt. It was in your hair. It was on your mouth. It was all over you, as though you gazed at me through ice. And it was all over me. It tingled on my skin. After a time I moved off, and you broke into two. You realigned yourself into driftwood and stone. I came inside and lit a fire. Sat in front of it and watched it burn. The window fogged up as my clothes and hair dried out. That was hours ago. The fire is nearly gone. But I can still taste the salt on my lips. It is a dry and stinging substance and it is everywhere now. It has touched everything that is left. Coated every surface with its sparkling silt. I will always be thirsty.

In the age of Facebook and Instagram you can observe this myth-making process more clearly than ever before, because some of it has been outsourced from the mind to the computer. It is fascinating and terrifying to behold people spending countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves.20 That’s how a family holiday fraught with traffic jams, petty squabbles, and tense silences becomes a collection of beautiful panoramas, perfect dinners, and smiling faces; 99 percent of what we experience never becomes part of the story of the self.

From every book invisible threads reach out to other books; and as the mind comes to use and control those threads the whole panorama of the world's life, past and present, becomes constantly more varied and interesting, while at the same time the mind's own powers of reflection and judgment are exercised and strengthened.

Je me mis dès lors à lire avec avidité et bientôt la lecture fut ma passion. Tous mes nouveaux besoins, toutes mes aspirations récentes, tous les élans encore vagues de mon adolescence qui s’élevaient dans mon âme d’une façon si troublante et qui étaient provoqués par mon développement si précoce, tout cela, soudainement, se précipita dans une direction, parut se satisfaire complètement de ce nouvel aliment et trouver là son cours régulier. Bientôt mon cœur et ma tête se trouvèrent si charmés, bientôt ma fantaisie se développa si largement, que j’avais l’air d’oublier tout ce qui m’avait entourée jusqu’alors. Il semblait que le sort lui même m’arrêtât sur le seuil de la nouvelle vie dans laquelle je me jetais, à laquelle je pensais jour et nuit, et, avant de m’abandonner sur la route immense, me faisait gravir une hauteur d’où je pouvais contempler l’avenir dans un merveilleux panorama, sous une perspective brillante, ensorcelante. Je me voyais destinée à vivre tout cet avenir en l’apprenant d’abord par les livres ; de vivre dans les rêves, les espoirs, la douce émotion de mon esprit juvénile. Je commençai mes lectures sans aucun choix, par le premier livre qui me tomba sous la main. Mais, le destin veillait sur moi. Ce que j’avais appris et vécu jusqu’à ce jour était si noble, si austère, qu’une page impure ou mauvaise n’eût pu désormais me séduire. Mon instinct d’enfant, ma précocité, tout mon passé veillaient sur moi ; et maintenant ma conscience m’éclairait toute ma vie passée. En effet, presque chacune des pages que je lisais m’était déjà connue, semblait déjà vécue, comme si toutes ces passions, toute cette vie qui se dressaient devant moi sous des formes inattendues, en des tableaux merveilleux, je les avais déjà éprouvées. Et comment pouvais-je ne pas être entraînée jusqu’à l’oubli du présent, jusqu’à l’oubli de la réalité, quand, devant moi dans chaque livre que je lisais, se dressaient les lois d’une même destinée, le même esprit d’aventure qui règnent sur la vie de l’homme, mais qui découlent de la loi fondamentale de la vie humaine et sont la condition de son salut et de son bonheur ! C’est cette loi que je soupçonnais, que je tâchais de deviner par toutes mes forces, par tous mes instincts, puis presque par un sentiment de sauvegarde. On avait l’air de me prévenir, comme s’il y avait en mon âme quelque chose de prophétique, et chaque jour l’espoir grandissait, tandis qu’en même temps croissait de plus en plus mon désir de me jeter dans cet avenir, dans cette vie. Mais, comme je l’ai déjà dit, ma fantaisie l’emportait sur mon impatience, et, en vérité, je n’étais très hardie qu’en rêve ; dans la réalité, je demeurais instinctivement timide devant l’avenir.

That's what coming face-to-face with six months in the woods will do to you: as soon as you realize you have the chance to be a different person, you become one. You can forget who you are. This is no accident when you've spent miles wondering, with every labored step, Who is this person who has decided to try this?--wondering who you are. You have nothing but time to answer the question, to give a new account of yourself. Your only witness might be a blanket of cool moss on a sunny day, or a panorama of endless mountains, or a young doe gazing by the Trail. You've yet to discover that the journey is the destination. So you lose yourself, then you find yourself again, farther along.

We have retinas that face backward, the stump of a tail, and way too many bones in our wrists. We must find vitamins and nutrients in our diets that other animals simply make for themselves. We are poorly equipped to survive in the climates in which we now live. We have nerves that take bizarre paths, muscles that attach to nothing, and lymph nodes that do more harm than good. Our genomes are filled with genes that don’t work, chromosomes that break, and viral carcasses from past infections. We have brains that play tricks on us, cognitive biases and prejudices, and a tendency to kill one another in large numbers. Millions of us can’t even reproduce successfully without a whole lot of help from modern science. Our flaws illuminate not only our evolutionary past but also our present and future. Everyone knows that it is impossible to understand current events in a specific country without understanding the history of that country and how the modern state came to be. The same is true for our bodies, our genes, and our minds.

It seems to me that I have always wanted to say the same thing in my books: that life is one, that mystery is all around us, that yeterday, today and tomorrow are all spread out in the pattern of eternity, together, and that although love may wear many faces in the incomprehensible panorama of time, in the heart that loves, it is always the same.

Let us be French, let us be English, but above all, let us be Canadians! - John A. MacDonald, First Prime Minister of Canada

The capacity to blunder slightly is the real marvel of DNA. Without this special attribute, we would still be anaerobic bacteria, and there would be no music.

Ele nasceu para morrer. Ele morreu para que pudéssemos viver.

Contrary to popular belief, love is actually a reflection of how much we ‘honor’ another person—for at its core genuine love is a decision, not a feeling.

Scurvy is a dystopian novel written by the human body.

What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi th the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things--from close-ups of insects to panoramas of prairies--which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity.

La ciudad se descentra como se descentran las viviendas y los hogares con la televisión y el ordenador y como se descentrarán los individuos cuando los móviles sean además ordenadores y televisores. Lo urbano se extiende por todas partes, pero hemos perdido la ciudad y al mismo tiempo nos perdemos de vista a nosotros mismos. Ante este panorama, es posible que a la bicicleta le corresponda un papel determinante: ayudar a los seres humanos a recobrar la conciencia de sí mismos y de los lugares que habitan invirtiendo, en lo que corresponde a cada uno, el movimiento que proyecta a las ciudades fuera de sí mismas. Necesitamos la bicicleta para ensimismarnos en nosotros mismos y volver a centrarnos en los lugares en que vivimos.

Our hopes are high. Our faith in the people is great. Our courage is strong. And our dreams for this beautiful country will never die. - Pierre Elliot Trudeau, Former Prime Minister of Canada

Lo que aún sigue atormentándome es el veneno de amargura y temor que engendraron aquellos días. El hecho inicial de estar continuamente haciendo algo que no nos gusta y de hacerlo como un esclavo, con acompañamiento de lisonjas y adulaciones, quizá no imprescindibles, pero a mí me lo parecían y no quería correr ningún riesgo" (Increíble lo que esto se parece al panorama laboral actual)

LIVE FROM THE PASTA FARMS, THIS HAS BEEN AL DENTE: The British Broadcasting Corporation (BBC) aired a documentary on its new show Panorama about Spaghetti growers in Switzerland-- on April 1, 1957. The joke broadcast showed Swiss spaghetti farmers picking fresh spaghetti from 'spaghetti trees' and preparing the spaghetti for market. It also mentioned that the pasta farmers had a bumper crop partly because of the 'virtual disappearance of the spaghetti weevil.' Soon after the broadcast, the BBC received phone calls from viewers eager to know if spaghetti really grew on trees and how they might grow a spaghetti tree of their own. To the last question, the BBC reportedly replied that they should 'place a sprig of spaghetti in a tin of tomato sauce and hope for the best.

...the lighthouse, as a symbol, made no sense. Someone had declared it a Christian beacon of some sort, but a lighthouse wasn't something that led you to a safe harbor, a lighthouse was something that you avoided at all costs, a lighthouse was something you stayed away from lest you and your ship be dashed on the rocks. The most perverse message a lighthouse could ever deliver is come here and be saved.

For those of you too young to remember the fun of a good old county fair, take it from me, it’s a great way to spend a hot summer day. Perusing the fruits of our county’s gifted citizens’ labors; getting sticky on unnaturally-hued cotton candy; reveling in the panorama of colored lights on the midway. Viewing the stars from atop a Ferris wheel can’t be described to someone who hasn’t been there in person.

There are species that can run faster, climb higher, dig deeper, or hit harder, but humans are special because we can run, climb, dig, and hit. The phrase jack of all trades, master of none fits us perfectly.

Simon had never forgotten the first moment that he had seen her standing outside the panorama, digging through her purse with a little pucker on her forehead. The sun had picked out streaks of gold and champagne in her light brown hair and made her skin glow. There had been something so delicious... so touchable... about her, the velvety skin and shining blue eyes, and the slight frown that he had longed to soothe away.

To deny the truth of our own experience in the scientific study of ourselves is not only unsatisfactory; it is to render the scientific study of ourselves without a subject matter. But to suppose that science cannot contribute to an understanding of our experience may be to abandon, within the modern context, the task of self-understanding. Experience and scientific understanding are like two legs without which we cannot walk. We can phrase this very same idea in positive terms: it is only by having a sense of common ground between cognitive science and human experience that our understanding of cognition can be more complete and reach a satisfying level. We thus propose a constructive task: to enlarge the horizon of cognitive science to include the broader panorama of human, lived experience in a disciplined, transformative analysis.

But mostly, finally, ultimately, I'm here for the weather. As a result of the weather, ours is a landscape in a minor key, a sketchy panorama where objects, both organic and inorganic, lack well-defined edges and tent to melt together, creating a perpetual blurred effect, as if God, after creating Northwestern Washington, had second thoughts and tried unsuccessfully to erase it. Living here is not unlike living inside a classical Chinese painting before the intense wisps of mineral pigment had dried upon the silk - although, depending on the bite in the wind, they're times when it's more akin to being trapped in a bad Chinese restaurant; a dubious joint where gruff waiters slam chopsticks against the horizon, where service is haphazard, noodles soggy, wallpaper a tad too green, and considerable amounts of tea are spilt; but in each and every fortune cookie there's a line of poetry you can never forget. Invariably, the poems comment on the weather. In the deepest, darkest heart of winter, when the sky resembles bad banana baby food for months on end, and the witch measles that meteorologists call "drizzle" are a chronic gray rash on the skin of the land, folks all around me sink into a dismal funk. Many are depressed, a few actually suicidal. But I, I grow happier with each fresh storm, each thickening of the crinkly stratocumulus. "What's so hot about the sun?" I ask. Sunbeams are a lot like tourists: intruding where they don't belong, promoting noise and forced activity, faking a shallow cheerfulness, dumb little cameras slung around their necks. Raindrops, on the other hand, introverted, feral, buddhistically cool, behave as if they were locals. Which, of course, they are.

It’s the color scheme of that first afternoon—that white panorama full of potential, that threshold white—that Marina understands as whomise. And that’s what she’s trying to recreate now, a year and a bit later, with a series of expensive light bulbs. ‘White light,’ the packaging promised. She fits them one by one throughout the house, and unbeknown to her, choreographs the slow dance of light-over-puddle in the passageway.

Francis asks Julia if the children couldn’t have their dinner earlier. Julia’s guns are loaded for this. She can’t cook two dinners and lay two tables. She paints with lightning strokes that panorama of drudgery in which her youth, her beauty, and her wit have been lost. Francis says that he must be understood; he was nearly killed in an airplane crash, and he doesn’t like to come home every night to a battlefield. Now Julia is deeply concerned.

They stole my bank account,” Gloria said. After a time he realized, from her measured, lucidly stated narration, that no “they” existed. Gloria unfolded a panorama of total and relentless madness, lapidary in construction. She had filled in all the details with tools as precise as dental tools. No vacuum existed anywhere in her account. He could find no error, except of course for the premise, which was that everyone hated her, was out to get her, and she was worthless in every respect. As she talked she began to disappear. He watched her go; it was amazing. Gloria, in her measured way, talked herself out of existence word by word. It was rationality at the service of—well, he thought, at the service of nonbeing. Her mind had become one great, expert eraser. All that really remained now was her husk; which is to say, her uninhabited corpse. She is dead now, he realized that day on the beach.

Mi región ofrece gran número de paseos espléndidos; y aunque durante muchos años he caminado prácticamente cada día, y a veces durante varios días, aún no los he agotado. Un panorama completamente nuevo me hace muy feliz, y sigo encontrando uno cada tarde. Dos o tres horas de camino me llevan a una zona tan desconocida como siempre espero. Una granja solitaria que no haya visto antes resulta a veces tan magnífica como los dominios del rey de Dahomey.

Nell'acqua c'è vita, mentre quel panorama interstellare, per quanto sorprendente, non ne aveva. Se davvero rappresenta la manifestazione visibile di un dio, mi rifiuto di provarne timore. Non ho bisogno di una divinità imperscrutabile: l'imperscrutabilità di mio padre mi è stata sufficiente. Ho abbastanza da fare con la mia vita, e non ho bisogno di dei troppo distanti per rivelarsi, non ho bisogno di presenze nascoste dietro il bagliore delle stelle.

The “confusion” that straight and gay colonizers claim bisexuals experience is because there are no influential cultural templates for bisexuals/ fluid/pansexual people to cling to, nor is their experience politically validated.

many animals purchase sexual access with food or other gifts. There are penguins that trade sex for nest-building materials. (If you’re interested, I have a whole section on prostitution among animals in my book Not So Different.)

It is only the contemplative, witness-like study of objects that brings to us real enjoyment and happiness. The animal has its happiness in the senses, the man in his intellect, and the god in spiritual contemplation. It is only to the soul that has attained to this contemplative state that the world really becomes beautiful. To him who desires nothing, and does not mix himself up with them, the manifold changes of nature are one panorama of beauty and sublimity.

The imagery of rescue and victory places the themes of reconciliation and forgiveness into another context altogether, where they are brought in under the heading of God acting to make right what has been wrong (rectification). Then, and only then, can the whole complex of ideas and images be located where it belongs, on the battlefield of Christ against the Powers. This is the overarching panorama against which to place the imagery of the Great Assize, or Last Judgment.

I saw myself reflected in the glass of the large terrace window while black gloom spread over the rain-hounded night panorama. I was tied by blood to no creature in this world. I could go anywhere, do anything. It was dizzying. Suddenly, to see that the world was so large, the cosmos so black. The unbounded fascination of it, the unbounded loneliness... for the first time these days, i was touching it with these hands, these eyes. I've been looking at the world half-blind, i thought.

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.

Add to these dangers the very good chance that a pandemic could strike at any point. Humans now exist in such density that infectious diseases spread like wildfire. When we add to this the ease of global travel, a doomsday scenario is not hard to imagine.

estoy convencido de que disponemos de una facultad singular para hacer una labor mejor que otros y cuyo descubrimiento, práctica y buen ejercicio nos habrá de llevar, ineludiblemente, a un triunfo al que estamos abocados desde que nacemos, porque nacimos para brillar, por más oscuro que a veces se muestre el panorama. Dar con ella, si aún no sabes cuál es esa facultad, ha de ser tu empeño principal, y más vale que seas bueno buscando y que te apliques con esfuerzo e ingenio en esa tarea, porque en ello te va la vida,

Sebbene il suo spirito sia affranto, nessuno sa gustare più profondamente di lui le bellezze della natura. Il cielo stellato, il mare, ogni panorama offerto da queste regioni meravigliose sembrano avere ancora il potere di elevare il suo animo al di sopra delle cose terrene. Un uomo simile ha una duplice esistenza: può essere vittim del dolore, può essere travolto dalle sciagure, ma quando si chiude in se stesso è come uno spirito celeste chiuso in un alone nel cui cerchio né scoraggiamento né follia possono penetrare.

That supposed to be a comment about what? My legs? My butt? Let’s say that I know it’s a view. You could call it a panorama. Probably too much of one.” “Oh, no.” He was still smiling, but the smile had changed some. “That’s not too much. That’s a Southern boy’s hello-baby. That’s biscuits and gravy you got going on there. That’s a long, slow good time, sweet tea in the porch swing and your sweetheart in a pretty little dress, shoving off with her bare foot and giving you that come-on-boy smile. That’s bourbon and Coke and Friday night, is what that is.

The journey from the mountain town of Altamont to the tower-masted island of Manhattan is not, as journeys are conceived in America, a long one. The distance is somewhat more than 700 miles, the time required to make the journey a little more than twenty hours. But so relative are the qualities of space and time, and so complex and multiple their shifting images, that in the brief passage of this journey one may live a life, share instantly in 10,000,000 other ones, and see pass before his eyes the infinite panorama of shifting images that make a nation's history.

Each of us, I thought, could do little to change the course of things - indeed, anything we tried was likely to be so uncontrolled as to inflict more damage than benefit - and yet, conversely, we should not allow the huge panorama about us, the immensity of the Multiplicity of Histories, to overwhelm us. The perspective of the Multiplicity rendered each of us, and our actions, tiny - but not without meaning; and each of us must proceed with our lives with stoicism and fortitude, as if the rest of it - the final Doom of mankind, the endless Multiplicity - were not so.

La nieve apenas cubría mis zapatos. Y después, mientras contemplaba la ciudad que se extendía ante mis ojos, desde la ventanilla del ferrocarril elevado, el nevado panorama, sobre el que aún no incidían los rayos del sol naciente, era más sórdido que bello. La nieve parecía un sucio vendaje que ocultaba las heridas abiertas de la ciudad, que ocultaba aquellos surcos formados por las calles de irregular trazado y por las tortuosas callejuelas, aquellos patios y aquellos escasos solares que constituyen la única belleza que cabe hallar en el panorama de nuestras ciudades. . P. 159

The captain regarded his bridge and its people and their task with the stateliness of a bird on a bough. Not a bird of prey, though, this captain. This one could soar in any direction, whichever way duty demanded. Not a large man or even an imposing one—a task he left to his first officer—the captain was at times unobtrusive, the bird hiding in the foliage, watching, never seen until those great wings suddenly spread. Those around him knew this could happen at any moment, this sudden peeling off across the bridge panorama like a lean sky thing. Even in repose, his presence kept them alert.

E cosa fanno i batteri, vivendo? Niente di nulla. Nulla di niente. Esistono. Sono. Vivono. Punto. Basta. Immagina lo sterminato, immoto panorama. In confronto un dojo di monaci zen sprofondati nella meditazione è la festa di Pamploma in cui i tori scorrazzano per le strade, è la serata d'apertura del Carnevale di Rio. Io penso, a volte, ai musoni eternamente annoiati, agli snob terminali, a quelli secondo cui non c'è mai niente di interessante da vedere, nulla di eccitante da fare. Ecco, mi piacerebbe che un qualche moderno Virgilio li accompagnasse a fare un giro fin laggiù, nell'Archeano: tre miliardi di anni fa.

Everett's approach, which he described as "objectively deterministic" with probability "reappearing at the subjective level," resonated with this strategy. And he was thrilled by the direction. As he noted in the 1956 draft of his dissertation, the framework offered to bridge the position of Einstein (who famously believed that a fundamental theory of physics should not involve probability) and the position of Bohr (who was perfectly happy with a fundamental theory that did). According to Everett, the Many Worlds approach accommodated both positions, the difference between them merely being one of perspective. Einstein's perspective is the mathematical one in which the grand probability wave of all particles relentlessly evolves by the Schrodinger equation, with chance playing absolutely no role. I like to picture Einstein soaring high above the many worlds of Many Worlds, watching as Schrodinger's equation fully dictates how the entire panorama unfolds, and happily concluding that even though quantum mechanics is correct, God doesn't play dice. Bohr's perspective is that of an inhabitant in one of the worlds, also happy, using probabilities to explain, with stupendous precision, those observations to which his limited perspective gives him access.

Because of this genuine love for horses, the beautiful wild-horse panorama beneath Pan swelled his heart. He gazed and gazed. From near to far the bands dotted the green-gray valley. Far away this valley floor shaded into blue. Near at hand the colors were easily distinguishable. Blacks and bays, whites and chestnuts, pintos that resembled zebras dotted this wild pasture land. The closest band to where Pan and Blinky stood could not have been more than a mile distant, in a straight line. A shiny black stallion was the leader of this herd. He was acting strangely, too, trotting forward and halting, tossing his head and long black mane.

Prendersi cura, all'interno di una relazione, non significa proteggersi. Perché in fondo fra due persone che si amano ferirsi è inevitabile, ma è anche un privilegio. Ogni ferita è una finestra che ci mostra la verità, l'irriducibile differenza fra due vite, E quella differenza e un peso difficilissimo da sostenere. Però quel peso e anche ciò che ti salva, che contiene tutto quel che ti serve per affrontare la salita, proprio come uno zaino per un alpinista. L'amore è piuttosto diventare un'occasione l'uno per l'altra. Quella di comprendere il diverso da noi, quel diverso che però ci portiamo anche dentro. E di riconoscerlo. E di accettarlo. E di impararne il significato, ogni giorno. Poi è difficile, si sa. Perché a volte è come se lei fosse un'austriaca e tu un giapponese pure un po' rincoglionito. Lei ti piace, tu le piaci, ma rimanete un'austriaca e un giapponese che non parlano le rispettive lingue, e corsi non ce n'é. Si può imparare solo con un'applicazione quotidiana. Tu le insegni le tue parole e lei insegna le sue. Certi giorni, non si capisce il perché, anche dopo anni, ti sembra di dover ricominciare tutto da capo. Il fatto è che ci hanno convinti che il senso dell'amore dovrebbe stare in quell'essere compresi subito, in un attimo, scarpe e tutto. Non è così. L'amore non è un'illuminazione, o lo è solo per un istante, per il resto è più una specie di viaggio a bordo di una tartaruga. Ognuno è libero di decidere quando scendere o se restare, per vedere insieme all'altro cosa c'è sulla sponda opposta del fiume. Richiede pazienza, come fare un puzzle senza sapere il disegno che verrà fuori, e la capacità di alimentare il fuoco di una concentrazione costante. Il problema è che le tartarughe vivono tantissimo e vanno pianissimo, mentre in giro è pieno di gente che ha fretta e sembra non avere più tempo per godersi il panorama. Che dal guscio di una tartaruga, è risaputo, soprattutto mentre incastri i pezzi di un puzzle, È davvero tutta un'altra cosa.

Except for the Marabar Caves—and they are twenty miles off—the city of Chandrapore presents nothing extraordinary. Edged rather than washed by the river Ganges, it trails for a couple of miles along the bank, scarcely distinguishable from the rubbish it deposits so freely. There are no bathing-steps on the river front, as the Ganges happens not to be holy here; indeed there is no river front, and bazaars shut out the wide and shifting panorama of the stream. The streets are mean, the temples ineffective, and though a few fine houses exist they are hidden away in gardens or down alleys whose filth deters all but the invited guest. Chandrapore was never large or beautiful, but two hundred years ago it lay on the road between Upper India, then imperial, and the sea, and the fine houses date from that period. The zest for decoration stopped in the eighteenth century, nor was it ever democratic. There is no painting and scarcely any carving in the bazaars. The very wood seems made of mud, the inhabitants of mud moving. So abased, so monotonous is everything that meets the eye, that when the Ganges comes down it might be expected to wash the excrescence back into the soil. Houses do fall, people are drowned and left rotting, but the general outline of the town persists, swelling here, shrinking there, like some low but indestructible form of life.

Having conditioned myself for a new political outlook, I could no longer accept in the old way the multi-colored, patchwork-quilt-like political map of Europe. The continent has known more than its share of wars and tears. It has had enough. Scanning the panorama of this long-suffering land and pondering on the common roots of such a multi-form but essentially common European civilization, I felt with growing acuteness the artificiality and temporariness of the bloc-to-bloc confrontation and the archaic nature of the "iron curtain." That was probably how the idea of a common European home came to my mind, and at the right moment this expression sprang from my tongue by itself.

That this will is blind means only that it has no further end than the mere perpetuation of existence- and bare existence, contrasted with existing for something, is the essence of meaninglessness. This fact eludes us so long as we have great designs and pruposes to claim our attention; we assume that these motivate us, and do not consider that they are themselves the arbitrary product of a will that has no design or purpose. This pointlessness of life, even of life that is filled with striving and achievement, becomes particularly apparent when we contemplate the vast panorama of non-human life, see the restless determination with which it is pursued, and then inquire into the purpose of it all.

My name is Arthur and I was born in the Ardennes, or so I have been told, but I cannot be at all sure that the assertion is correct, particularly since, as you have divined, I do not in the least accept that the universe can be broken down into distinct and separate locations. I would say simply 'I was born,' if even this proposition did not mistakenly present the fact it expresses as an action completed in the past, instead of a state where time is boundless. The verb was created in such a way that all of its modes are a function of time, and I am convinced that syntax in itself anoints man as a slave to this concept, since he can only conceive thought through syntax, and his brain is essentially no more than a grammar.

For most modern humans in the developed world now, losing some money generally means that they might have to scale back some aspects of their lifestyles. Losing resources in the Pleistocene epoch might have meant starvation. Thus, extreme aversion to loss also made good sense. When the alternative is an almost certain death, taking a risk doesn’t seem so foolish.

The continent is full of buried violence, of the bones of antediluvian monsters and of lost races of man, of mysteries which are wrapped in doom. The atmosphere is at times so electrical that the soul is summoned out of its body and runs amok. Like the rain everything comes in bucketsful - or not at all. The whole continent is a huge volcano whose crater is temporarily concealed by a moving panorama which is partly dream, partly fear, partly despair. From Alaska to Yucatan it's the same story. Nature dominates. Nature wins out. Everywhere the same fundamental urge to slay, to ravage, to plunder. Outwardly they seem like a fine, upstanding people - healthy, optimistic, courageous. Inwardly they are filled with worms. A tiny spark and they blow up.

For 3,000 years the most sought-after rooms were on the first floor—or the second floor if you’re an American. The piano nobile, the grand first floor, was for animals or the shop. One flight up was the master bedroom and reception rooms, and the further up you went, the lower your status. Scullery maids roosted like swallows in the eaves. But the lift brought us to the penthouse to live with the angels, the glass walls, the silent buffet of the wind, the hiss of climate control. And beneath the great, blinking panorama of the city, wall evaporated into air. No art or bookshelf could compete with the view of omnipotence, the sense of living on Parnassus, a double-glazed Valhalla. And a view suddenly had a value—real estate agents could sell something they didn’t own.

[...] Vennero a casa, [...]. Rimasero estasiati dal panorama, dalla irruenza della luce; confessarono però che erano stati pietrificati osservando lo squallore, la vetustà, il sudiciume delle strade di accesso. Non spiegai loro che una cosa era derivata dall'altra, come ho tentato di fare a lei. Uno di loro, poi, mi chiese che cosa veramente venissero a fare, qui in Sicilia, quei volontari italiani. 'They are coming to teach us good manners' risposi 'but won't succeed, because we are gods.' [...] I Siciliani non vorranno mai migliorare per la semplice ragione che credono di essere perfetti: la loro vanità è più forte della loro miseria; ogni intromissione di estranei sia per origine sia anche, se si tratti di Siciliani, per indipendenza di spirito, sconvolge il loro vaneggiare di raggiunta compiutezza, rischia di turbare la loro compiaciuta attesa del nulla; calpestati da una diecina di popoli differenti essi credono di avere un passato imperiale che dà loro diritto a funerali sontuosi. [...] La Sicilia ha voluto dormire, a dispetto delle loro invocazioni; perché avrebbe dovuto ascoltarli se è ricca, se è saggia, se è onesta, se è da tutti ammirata e invidiata, se è perfetta, in una parola? "Adesso anche da noi si va dicendo [...] che la colpa del cattivo stato delle cose, qui ed altrove, è del fedaulismo; mia cioè, per così dire. Sarà. Ma il feudalismo c'è stato dappertutto, le invasioni straniere pure. [...] I risultati intanto sono diversi. La ragione della diversità deve trovarsi in quel senso di superiorità che barbaglia in ogni occhio siciliano, che noi stessi chiamiamo fierezza, che in realtà è cecità. [...]

Speaking of Puritanism in relation to American art, Mr. Gutzon Borglum said: “Puritanism has made us self-centered and hypocritical for so long, that sincerity and reverence for what is natural in our impulses have been fairly bred out of us, with the result that there can be neither truth nor individuality in our art.” Mr. Borglum might have added that Puritanism has made life itself impossible. More than art, more than estheticism, life represents beauty in a thousand variations; it is, indeed, a gigantic panorama of eternal change. Puritanism, on the other hand, rests on a fixed and immovable conception of life; it is based on the Calvinistic idea that life is a curse, imposed upon man by the wrath of God. In order to redeem himself man must do constant penance, must repudiate every natural and healthy impulse, and turn his back on joy and beauty.

Era difficile limitarsi a non guardare, a abolire il significato nel panorama; continuare, mentre si camminava lungo il mare, a stupirsi di come la bellezza esterna rispecchiasse la bellezza interiore. La natura integrava quel che l'uomo anticipava? Completava quel che lui iniziava? Con eguale compiacenza vedeva la sua pena, perdonava la sua meschinità, e accettava la sua tortura. Dunque quel sogno, di condividere, completare, trovare in solitudine sulla spiaggia una risposta, non era che un riflesso in uno specchio, e lo specchio stesso non era che la vitrea immobilità che si forma nei momenti di pausa quando al di sotto dormono le forze più nobili? Impazienti, disperati eppure restii a andarsene (poiché la bellezza ha le sue lunghe, le sue consolazioni), passeggiare sulla spiaggia era impossibile; la contemplazione intollerabile; lo specchio era infranto.

Y les dijo: ¿No sabéis esta parábola? ¿Cómo, pues, entenderéis todas las parábolas? MARCOS 4.13 Jesús fue un experto narrador de historias, pero nunca contó una historia solo por contarla. Sus parábolas no fueron juegos de palabras o misteriosos «resuélvalo usted mismo», donde se invitaba a cada oyente a proporcionar su propio significado. Cada una de sus parábolas transmitía una enseñanza importante, originada por Cristo mismo y fortalecida por él en la estructura de la parábola. Esa es una realidad crucial para recordar, porque explica cómo la verdad es compatible con la narración de historias. Ni siquiera la ficción es totalmente incompatible con nuestras ideas convencionales de verdad, porque a la larga toda historia bien narrada la plantea. Y lo importante de una buena historia es que se supone que es cierta (o al menos una verdad de vida en algún nivel), aunque la historia misma pinte un panorama totalmente imaginario. Las parábolas resaltan una verdad importante, igual que la moraleja de una historia bien contada. Eso explica por qué la verdad vital contenida en una parábola es fija y objetiva, no es un pedazo metafísico de plastilina que podemos amasar y darle la forma que queramos. Recuerde que cuando Jesús empezó a usar parábolas en su ministerio público, se apartó a solas con los discípulos y cuidadosamente les explicó la parábola del sembrador (Mateo 13.18–23). Esta tenía un significado objetivo claro, simple, único y sencillo, y mientras Jesús se los explicaba les indicó que todas las parábolas se podían entender por medio de un método parecido de interpretación (vea Marcos 4.13). De ahí que no haya absolutamente ninguna razón para suponer que el uso de parábolas por parte de Jesús es de algún modo un indicio de que la verdad misma está tan oculta en misterio como para ser totalmente indescifrable.

I would fix my eyes, without limit of time, upon the trunk of a distant tree, from behind which she must appear and spring towards me; my closest scrutiny left the horizon barren as before; night was falling; without any hope now would I concentrate my attention, as though to force up out of it the creatures which it must conceal, upon that sterile soil, that stale and outworn land; and it was no longer in lightness of heart, but with sullen anger that I aimed blows at the trees of Roussainville wood, from among which no more living creatures made their appearance than if they had been trees painted on the stretched canvas background of a panorama, when, unable to resign myself to having to return home without having held in my arms the woman I so greatly desired, I was yet obliged to retrace my steps towards Combray, and to admit to myself that the chance of her appearing in my path grew smaller every moment.

EAGLE The East direction is represented by eagle and condor, who bring vision, clarity, and foresight. Eagle perceives the entire panorama of life without becoming bogged down in its details. The energies of eagle assist us in finding the guiding vision of our lives. The eyes of condor see into the past and the future, helping to know where we come from, and who we are becoming. When I work with a client who is stuck in the traumas of the past, I help her to connect with the spirit of eagle or condor. As this energy infuses the healing space, my client is often able to attain new clarity and insight into her life. This is not an intellectual insight, but rather a call, faint at first, hardly consciously heard. Her possibilities beckon to her and propel her out of her grief and into her destiny. I believe that while everyone has a future, only certain people have a destiny. Having a destiny means living to your fullest human potential. You don’t need to become a famous politician or poet, but your destiny has to be endowed with meaning and purpose. You could be a street sweeper and be living a destiny. You could be the president of a large corporation and be living a life bereft of meaning. One can make oneself available to destiny, but it requires a great deal of courage to do so. Otherwise our destiny bypasses us, leaving us deprived of a fulfillment known by those who choose to take the road less traveled. Eagle allows us to rise above the mundane battles that occupy our lives and consume our energy and attention. Eagle gives us wings to soar above trivial day-to-day struggles into the high peaks close to Heaven. Eagle and condor represent the self-transcending principle in nature. Biologists have identified the self-transcending principle as one of the prime agendas of evolution. Living molecules seek to transcend their selfhood to become cells, then simple organisms, which then form tissues, then organs, and then evolve into complex beings such as humans and whales. Every transcending jump is inclusive of all of the levels beneath it. Cells are inclusive of molecules, yet transcend them; organs are inclusive of cells, yet go far beyond them; whales are inclusive of organs yet cannot be described by them, as the whole transcends the sum of its parts. The transcending principle represented by eagle states that problems at a certain level are best solved by going up one step. The problems of cells are best resolved by organs, while the needs of organs are best addressed by an organism such as a butterfly or a human. The same principle operates in our lives. Think of nested Russian dolls. Material needs are the tiny doll in the center. The larger emotional doll encompasses them, and both are contained within the outermost spiritual doll. In this way, we cannot satisfy emotional needs with material things, but we can satisfy them spiritually. When we go one step up, our emotional needs are addressed in the solution. We rise above our life dilemmas on the wings of eagle and see our lives in perspective.

Fue también decisivo para mis progresos en el colegio el que nunca considerase estudiar y leer como una carga. Muy al contrario, encerrado, como había estado hasta entonces, en la Biblia galesa y las homilías, me parecía ahora como si al pasar cada página se abriera otra puerta. Leía todo lo que ofrecía la biblioteca del colegio, formada de un modo totalmente arbitrario, y lo que conseguía prestado de mis profesores, libros de geografía y de historia, relatos de viajes, novelas y biografías, y me quedaba hasta la noche ante libros de consulta y atlas. Poco a poco surgió así en mi cabeza una especie de paisaje ideal, en el que el desierto arábigo, el imperio azteca, el continente antártico, los Alpes nevados, el Paso del Noroeste, la corriente del Congo y la península de Crimea formaban un solo panorama, poblado de todas las figuras correspondientes. Como en cualquier momento que quisiera, en la clase de latín lo mismo que durante el servicio religioso o en los ilimitados fines de semana, podía imaginarme en ese mundo, nunca caí en las depresiones que padecían tantos en Stower Grange.

But hitherto the emotion had remained in him as a silent ache, veiling with sadness the beauty that evoked it. He did not even know whether anyone else in the world felt as he did, or whether he was the sole victim of this mournful privilege. Then he learned that one other spirit had trembled with the same touch of wonder: that at his side, living under his roof and eating his bread, was a creature to whom he could say: ‘That’s Orion down yonder; the big fellow to the right is Aldebaran, and the bunch of little ones —like bees swarming — they’re the Pleiades...’ or whom he could hold entranced before a ledge of granite thrusting up through the fern while he unrolled the huge panorama of the ice age, and the long dim stretches of succeeding time. The fact that admiration for his learning mingled with Mattie’s wonder at what he taught was not the least part of his pleasure. And there were other sensations, less definable but more exquisite, which drew them together with a shock of silent joy: the cold red of sunset behind winter hills, the flight of cloud-flocks over slopes of golden stubble, or the intensely blue shadows of hemlocks on sunlit snow. When she said to him once: ‘It looks just as if it was painted!’ it seemed to Ethan that the art of definition could go no farther, and that words had at last been found to utter his secret soul....

In humans, the vertebral disks are in an arrangement that is optimal for knuckle-draggers, not upright walkers. They still do a decent job of lubricating and supporting the spine, but they are much more prone to being pushed out of position than the vertebral disks of other animals. They are structured to resist gravity by pulling the vertebral joints toward the chest, as if humans were on all fours. With our upright posture, however, gravity often pulls them backward or downward, not toward the chest. Over time, this uneven pressure creates protuberances in the cartilage. This is known as a spinal disk herniation or, more commonly, a “slipped disk.” Spinal disk herniation is nearly unheard of in any primate species but us.

The vast majority of Muslims still breathe in a universe in which the Name of God is associated above all with Compassion and Mercy, and they turn to Him in patience even in the midst of the worst tribulations. If it seems that more violence is associated with Islam than with other religions today, it is not due to the fact that there has been no violence elsewhere—think of the Korean and Vietnam wars, the atrocities committed by the Serbs, and the genocide in Rwanda and Burundi. The reason is that Islam is still very strong in Islamic society. Because Islam so pervades the lives of Muslims, all actions, including violent ones, are carried out in the name of Islam, especially since other ideologies such as nationalism and socialism have become so bankrupt. Yet this identification is itself paradoxical because traditional Islam is as much on the side of peace and accord as are traditional Judaism and Christianity. Despite such phenomena, however, if one looks at the extensive panorama of the Islamic spectrum summarized below, it becomes evident that for the vast majority of Muslims, the traditional norms based on peace and openness to others, norms that have governed their lives over the centuries and are opposed to both secularist modernism and “fundamentalism,” are of central concern. And after the dust settles in this tumultuous period of both Islamic and global history, it will be the voice of traditional Islam that will have the final say in the Islamic world.

Like drops of water that fall on the rocks of the jungle, the silence is full of tenderness. Whisper softly my poetry unraveling your admiration. In the name of night. Everything I see is simplicity in your beautiful body Like an incandescent light that dispels the darkness Then it bounced on the rose petals in the dim moonlight. Blushing reconciles the anxiety of the soul Comforting a sore heart Your beauty is a flower that unites to dazzle the majesty of the universe. Ahhh love... Your beauty is like a waterfall from the height of a cliff that is so sensual, showing the magic of a perfect panorama. How seductive and alluring is your soft skin..... As gentle as the twilight wind blew the dandelions scattered under the night sky. As soft as a lump of cotton that lay white on the heart rug. As gentle as the caress of the night breeze, flaking your shiny black hair. Ahhh. Let my breath rest for a moment Here, Between two seas of wine flowing red I find on your lips. How beautiful is love When the stalks of a kiss fall lying down Tickling spoiled and whispering intimately about the love that is heaven behind your ear with a warm whisper blowing slowly And Slowly... caressing your face in a long soft moan Lull a thousand touches and then cast your body into a pleasure that you have not found. In the name of my chest. Let our restless tantrums grapple in the flames of burning love. Until our passion quells the passion, Wet and subside. ️

Il «buonasera, Anselmo» largito al passaggio pioveva giù dal fastigio di una pellicciosa e margaritante regalità, come sguardo di eccelsa Teodora o di Caterina allo scriba genuflesso; poi però veniva aprendosi e sgranandosi in un più impegnato contrasto di sensi, e talvolta in una chiacchieratina, (se dava il caso), pèna denter de l’üss: tutta insorgenze filantropiche e larghezza di antichi pareri. O addirittura in uno scambio di vedute sul panorama totale del mondo: «disèmela kì intra de nün, cara el me Giròlom, ona volta l’eva minga come al dì d’inkoèu....». Oh!, quest’è certo, a’ begli anni che loro ne avevano diciassette tutto era color di rosa, il mondo, come vaporato dal languido sogno d’una adolescente, vellutato d’una sua pubere aurora: un’albicocca insomma, una spera da ballo «Amor». In quel punto, in quel trapasso di luci, annusando soddisfatte l’odorino della cera fresca evidenziato dal dolce tepore della casa, amavano discendere dalla degnazione alla conversazione, dalla conversazione alla confidenza, coi vecchi Braghenti o Baruffaldi della Confidenza di Via Pattari; dopo la paura vespertina del rincasare all’incontro del lôkk. «El m’a guardàa i brilànt’....» (El lôkk). Questi sessantenni con ginocchî rinforzati che gli pantofolavano e strusciavano per tutta casa dalle undici in poi, sissignora, fedeli all’uscio, implacabili come il destino: ogni martedì e venerdì. Questi Eligi, Anselmi, Umberti, o Girolami, «di cui ci si poteva pienamente fidare». «Madonna, madonna!... El m’a guardàa i brilànt’....».

Dear Mother, . . . We have been putting in our time here at very hard drilling, and are supposed to have learned in six weeks what the ordinary recruit, in times of peace, takes all his two years at. We rise at 5, and work stops in the afternoon at 5. A twelve hours day at one sou a day. I hope to earn higher wages than this in time to come, but I never expect to work harder. The early rising hour is splendid for it gives one the chance to see the most beautiful part of these beautiful autumn days in the South. We march up to a lovely open field on the end of the ridge behind the barracks, walking right into the rising sun. From this panorama, spread about on three sides is incomparably fine—yellow cornfields, vineyards, harvest-fields where the workers and their teams can be seen moving about in tiny figures—poplars, little hamlets and church-towers, and far away to the south the blue line of the Pyrenees, the high peaks capped with snow. It makes one in love with life, it is all so peaceful and beautiful. But Nature to me is not only hills and blue skies and flowers, but the Universe, the totality of things, reality as it most obviously presents itself to us; and in this universe strife and sternness play as big a part as love and tenderness, and cannot be shirked by one whose will it is to rule his life in accordance with the cosmic forces he sees in play about him. I hope you see the thing as I do, and think that I have done well, being without responsibilities and with no one to suffer materially by my decision, in taking upon my shoulders, too, the burden that so much of humanity is suffering under, and, rather than stand ingloriously aside when the opportunity was given me, doing my share for the side that I think right. . . .

[Harry] started talking about the many moves he'd made over the years and all the traveling, which his marriage had not survived. He said the irony was that, as his work had become focused on trying to settle people, migrants and refugees and the displaced, his own life had become more peripatetic, so that by the time he finally came back to Dublin nowhere felt like home, or maybe everywhere did, just a little. He wanted to believe that he'd gained more than he'd lost in that transaction, that in becoming less exclusive in his attachments, he'd come to feel a deeper kind of affection for the world. He said there was always a rupture when you left a place, until you realized it had to do with the person you had somehow decided to be. Until you saw that you carried all these rifts and partings with you, like you carried scars, and that instead of feeling like things torn from you, they were part of you. I like this idea. I like Harry. He calms me. He has a way of expanding the view. Panning out, and out, into a panorama. It's not that the view is all good -- Harry is essentially a pessimist. It's just that there's a sense of perspective. I think he has lost a lot and survived, though I don't know exactly what I am referring to. Apart from the limitations on his mobility, Harry's losses seem not greater than most. He has, in many ways, a rather nice life. But I get the sense he's made peace with himself, and that it took some doing, and that he's emerged from that battle wistful, bemused, a little elsewhere. He watches the world as though it were a faraway thing and he a minor god made melancholy by us humans, by the fact that we never, ever seem to learn. Over dinner, he said that if we don't know where we belong, we can feel homesick for almost anywhere we've been.

Sleepless City (Brooklyn Bridge Nocturne)" Out in the sky, no one sleeps. No one, no one. No one sleeps. Lunar creatures sniff and circle the dwellings. Live iguanas will come to bite the men who don’t dream, and the brokenhearted fugitive will meet on street corners an incredible crocodile resting beneath the tender protest of the stars. Out in the world, no one sleeps. No one, no one. No one sleeps. There is a corpse in the farthest graveyard complaining for three years because of an arid landscape in his knee; and a boy who was buried this morning cried so much they had to call the dogs to quiet him. Life is no dream. Watch out! Watch out! Watch out! We fall down stairs and eat the humid earth, or we climb to the snow’s edge with the choir of dead dahlias. But there is no oblivion, no dream: raw flesh. Kisses tie mouths in a tangle of new veins and those in pain will bear it with no respite and those who are frightened by death will carry it on their shoulders. One day horses will live in the taverns and furious ants will attack the yellow skies that take refuge in the eyes of cattle. Another day we’ll witness the resurrection of dead butterflies, and still walking in a landscape of gray sponges and silent ships, we’ll see our ring shine and rose spill from our tongues. Watch out! Watch out! Watch out! Those still marked by claws and cloudburst, that boy who cries because he doesn’t know bridges exist, or that corpse that has nothing more than its head and one shoe— they all must be led to the wall where iguanas and serpents wait, where the bear’s teeth wait, where the mummified hand of a child waits and the camel’s fur bristles with a violent blue chill. Out in the sky, no one sleeps. No one, no one. No one sleeps. But if someone closes his eyes, whip him, my children, whip him! Let there be a panorama of open eyes and bitter inflamed wounds. Out in the world, no one sleeps. No one. No one. I’ve said it before. No one sleeps. But at night, if someone has too much moss on his temples, open the trap doors so he can see in moonlight the fake goblets, the venom, and the skull of the theaters.

It was a charming and delightful day at Lord's as Ford and Arthur tumbled haphazardly out of a space-time anomaly and hit the immaculate turf rather hard. The applause of the crowd was tremendous. It wasn't for them, but instinctively they bowed anyway, which was fortunate because the small red heavy ball which the crowd actually had been applauding whistled mere millimetres over Arthur's head. In the crowd a man collapsed. They threw themselves back to the ground which seemed to spin hideously around them. "What was that?" hissed Arthur. "Something red," hissed Ford back at him. "Where are we?" "Er, somewhere green." "Shapes," muttered Arthur. "I need shapes." The applause of the crowd had been rapidly succeeded by gasps of astonishment, and the awkward titters of hundreds of people who could not yet make up their minds about whether to believe what they had just seen or not. "This your sofa?" said a voice. "What was that?" whispered Ford. Arthur looked up. "Something blue," he said. "Shape?" said Ford. Arthur looked again. "It is shaped," he hissed at Ford, with his brow savagely furrowing, "like a policeman." They remained crouched there for a few moments, frowning deeply. The blue thing shaped like a policeman tapped them both on the shoulders. "Come on, you two," the shape said, "let's be having you." These words had an electrifying effect on Arthur. He leapt to his feet like an author hearing the phone ring and shot a series of startled glanced at the panorama around him which had suddenly settled down into something of quite terrifying ordinariness. "Where did you get this from?" he yelled at the policeman shape. "What did you say?" said the startled shape. "This is Lord's Cricket Ground, isn't it?" snapped Arthur. "Where did you find it, how did you get it here? I think," he added, clasping his hand to his brow, "that I had better calm down." He squatted down abruptly in front of Ford. "It is a policeman," he said, "What do we do?" Ford shrugged. "What do you want to do?" he said. "I want you," said Arthur, "to tell me that I have been dreaming for the last five years." Ford shrugged again, and obliged. "You've been dreaming for the last five years," he said. Arthur got to his feet. "It's all right, officer," he said. "I've been dreaming for the last five years. Ask him," he added, pointing at Ford, "he was in it.

Daniel Whitesmoke non protestò, si limitò a sospirare e a uscire di casa per dedicarsi a una delle cose che amava fare maggiormente, passeggiare. Avrebbe percorso il viale alberato che costeggiava il fiume godendosi il freddo pungente di quel sabato mattina di fine novembre. Sarebbe arrivato a Hammersmith Bridge, si sarebbe seduto su una panchina e avrebbe ammirato il panorama. Il sabato mattina, in fondo, era fatto per quello. Per rilassarsi, passeggiare e godersi il panorama spettacolare che si poteva vedere solamente da Hammersmith Bridge. E, ovviamente, per prendere il tè in santa pace non dovendo subire il fastidioso rumore che giungeva dall’appartamento accanto al suo. Daniel Whitesmoke non amava solo passeggiare, amava anche altre cose, tra cui il silenzio e la riflessione. Uno dei motivi per cui aveva scelto di vivere ad Angels Street nell’Hammersmith era proprio il silenzio. E il fatto che poteva vivere mantenendo la sua riservatezza. Se il quartiere di Hammersmith poteva apparire un mondo fuori dal mondo, l’appartamento di Daniel Whitesmoke poteva sembrare addirittura un altro mondo. Come tutta la vita di Daniel Whitesmoke d’altronde. Una vita che a occhi distratti appariva decisamente ordinaria ma che aveva un qualcosa di talmente straordinario che al resto del mondo sarebbe stato precluso se non fosse stato lui stesso a decidere di mostrarlo. Aveva capelli di un biondo talmente chiaro da apparire quasi bianchi, ribelli anche se lui si ostinava a tenerli tagliati corti. Due occhi di un azzurro che forse in natura non esisteva nemmeno, mobili e sempre attenti. Un carattere pacato e movenze morbide che trasmettevano un che di tranquillizzante. Non scattava mai, non alzava mai la voce, non si agitava mai, non perdeva le staffe. Non era privo di emozioni ma aveva imparato a gestirle. Aveva una voce calda ma dolcissima ed era la cosa di lui che le persone notavano per prima. Non era bello. Ma non era nemmeno brutto. Era ordinario, fuori moda e terribilmente buono. Tanto mansueto da far pensare che la sua ira, qualora fosse mai stata scatenata sarebbe stata devastante. Viveva a Londra da sempre. E con da sempre si intende proprio da sempre. O quasi. Non stiamo parlando di molto tempo o dal momento della sua nascita che, apparentemente avrebbe potuto essere avvenuta una quarantina di anni prima, anche se non era così. Stiamo parlando di decenni, di secoli, di millenni. Di sempre insomma.

An unexpected sight opens in front of my eyes, a sight I cannot ignore. Instead of the calm waters in front of the fortress, the rear side offers a view of a different sea—the sea of small, dark streets and alleys—like an intricate puzzle. The breathtaking scenery visible from the other side had been replaced by the panorama of poverty–stricken streets, crumbling house walls, and dilapidated facades that struggle to hide the building materials beneath them. It reminds me of the ghettos in Barcelona, the ghettos I came to know far too well. I take a deep breath and look for a sign of life—a life not affected by its surroundings. Nothing. Down, between the rows of dirty dwellings stretches a clothesline. Heavy with the freshly washed laundry it droops down, droplets of water trickling onto the soiled pavement from its burden. Around the corner, a group of filthy children plays with a semi–deflated soccer ball—it makes a funny sound as it bounces off the wall—plunk, plunk. A man sitting on a staircase puts out a cigarette; he coughs, spits phlegm on the sidewalk, and lights a new one. A mucky dog wanders to a house, lifts his leg, and pisses on it. His urine flows down the wall and onto the street, forming a puddle on the pavement. The children run about, stepping in the piss, unconcerned. An old woman watches from the window, her large breasts hanging over the windowsill for the world to see. Une vie ordinaire, a mundane life...life in its purest. These streets bring me back to all the places I had escaped when I sneaked onto the ferry. The same feeling of conformity within despair, conformity with their destiny, prearranged long before these people were born. Nothing ever changes, nothing ever disturbs the gloomy corners of the underworld. Tucked away from the bright lights, tucked away from the shiny pavers on the promenade, hidden from the eyes of the tourists, the misery thrives. I cannot help but think of myself—only a few weeks ago my life was not much different from the view in front of my eyes. Yet, there is a certain peace soaring from these streets, a peace embedded in each cobblestone, in each rotten wall. The peace of men, unconcerned with the rest of the world, disturbed neither by global issues, nor by the stock market prices. A peace so ancient that it can only be found in the few corners of the world that remain unchanged for centuries. This is one of the places. I miss the intricacy of the street, I miss the feeling of excitement and danger melted together into one exceptional, nonconforming emotion. There is the real—the street; and then there is all the other—the removed. I am now on the other side of reality, unable to reach out with my hand and touch the pure life. I miss the street.

Reflection does not coincide with what is constituted but grasps only the essence of it...it does not take the place of inten tional life in an act of pure production but only reproduces the outline of it. Husserl always presents the "return to absolute consciousness" as a title for a multitude of operations which are learned, gradually effected, and never completed. We are never wholly one with constitutive genesis; we barely manage to accompany it for short segments. What is it then which responds to our reconstitution from (if these words have a meaning ) the other side of things? From our own side, there is nothing but convergent but discontinuous intentions, moments of clarity. We constitute constituting consciousness by dint of rare and difficult efforts. It is the presumptive or alleged subject of our attempts. The author, Valery said, is the instantaneous thinker of works which were slow and laborious—and this thinker is nowhere. As the author is for VaIery the impostor of the writer, constituting consciousness is the philosopher's professional impostor. In any case, for Husserl it is the artifact the teleology of intentional life ends up at—and not the Spinozist attribute of Thought. Originally a project to gain intellectual possession of the world, constitution becomes increasingly, as Husserl's thought matures, a means of unveiling a back side of things that we have not constituted. This senseless effort to submit everything to the proprieties of "consciousness" (to the limpid play of its attitudes, intentions, and impositions of meaning) was necessary—the picture of a well-behaved World left to us by classical philosophy had to be pushed to the limit--in order to reveal all that was left over: these beings beneath our idealizations and objectifications which secretly nourish them and in which we have difficulty recognizing noema... Willy-nilly, against his plans and according to his essential audacity, Husserl awakens a wild-flowering world and mind. Things are no longer there simply according to their projective appearances and the requirements of the panorama, as in Renaissance perspective; but on the contrary upright, insistent, flaying our glance with their edges, each thing claiming an absolute presence which is not compossible with the absolute presence of other things, and which they nevertheless have all together by virtue of a configurational meaning which is in no way indicated by its 'theoretical meaning.

Always on the boat there was an inner breeze of excitement, a happy gratitude for the water and its strong promising scents, the Nymph’s proud sail set against the sliding panorama of facing continents and their ghostly empires, crusted one atop the other like gobs of paint on a giant canvas.

In the daylight that followed my arrival, the pale grey Trappe resembled not so much an abbey as a hospital, an asylum or a reformatory. It dwindled off into farm buildings, and came to an end in the fields where thousands of turnips led their secret lives and reared into the air their little frostbitten banners. Among the furrows an image mouldered on its pedestal; and, under a sky of clouded steel, the rooks cawed and wheeled and settled. Across the December landscape, flat and waterlogged with its clumps of drizzling coppice and barren-looking pasture-land, ran a rutted path which disappeared beneath an avenue of elm-trees. Willows, blurred and colourless as the detail of an aquatint, receded in the mist; and, here and there, the pallor of the woods was interrupted by funereal clumps of pine. Isolated monks, all of them hooded and clogged, at work in the fields, ploughing or chopping wood, dotted this sodden panorama and the report of their falling axes reached the ear long seconds after the visual impact. Others were driving slow herds of cattle to graze.

With a cry of ‘Land Ahoy!’, Lieutenant Wood confirmed that not only had Erebus and Terror become the first sailing ships to break through the ice-pack, but they were now the first ships to come face-to-face with irrefutable proof that an Antarctic continent existed. Surprisingly, Ross’s first reaction was less than ecstatic. All he could see was that this ‘coastline’ had effectively blocked the way to his most coveted goal, the South Magnetic Pole. Nevertheless he was, like everyone else, humbled and overawed by what he saw as they drew closer to land. ‘We had a most enchanting view of . . . two magnificent ranges of mountains . . . The glaciers that filled their intervening valleys, and which descended from near the mountain summits, projected in many places several miles into the sea . . .The sky was a clear azure blue, with the most brilliant sunshine . . . all that could be desired for giving effect to such a magnificent panorama.’ For Joseph Hooker, it was simply ‘one of the most gorgeous sights I have ever witnessed’. And there was another cause for celebration. Measurements showed that Erebus and Terror had reached latitude 71°14'S, passing Captain Cook’s furthest south. ‘We have now but Weddell’s track to get beyond,’ wrote Captain Ross, referring to the whaling captain’s 74°15'S, a record that had stood since 1823.

Dirigió una última mirada atrás. Su puente dominaba el panorama. Había transformado radicalmente la aldea. La mayoría de la gente ya no se refería a ella por su antiguo nombre de Dreng’s Ferry. Ahora la llamaban King’s Bridge, el puente del rey.

Venecia es como Chongqing, pero mientras Chongqing construye una falsa San Gimignano como decorado de un parque temático, en Venecia el parque temático ya está hecho: es la ciudad histórica. En este panorama, los pocos supervivientes del pueblo de Venecia, en su mayor parte exiliados a los nuevos suburbios de tierra firme, irían de vez en cuando a la plaza de San Marcos en un metro que pase por debajo de la laguna, mientras los verdaderos dueños de la ciudad - las hordas de turistas- entrarían en ella por arriba en sus barcos-rascacielos.

It’s a cultural deprivation not to appreciate the panorama offered by modern cosmology and Darwinian evolution – the chain of emergent complexity leading from some still-mysterious beginning to atoms, stars, and planets – and how, on our planet, life emerged, and evolved into a biosphere containing creatures with brains able to ponder the wonder of it all. This common understanding should transcend all national differences – and all faiths too. Science is indeed a global culture. Its universality is specially compelling in my own subject of astronomy. The dark night sky is an inheritance we’ve shared with all humanity, throughout history. All have gazed up in wonder at the same ‘vault of heaven’, but interpreted it in diverse ways. There

He recorrido un largo camino hacia la libertad. He intentado no titubear. He dado pasos en falso en mi recorrido, pero he descubierto el gran secreto. Tras subir a una colina, uno descubre que hay muchas más colinas detrás. Me he concedido aquí un momento de reposo, para lanzar una mirada hacia el glorioso panorama que me rodea, para volver la vista atrás hacia el trecho que he recorrido. Pero sólo puedo descansar un instante, ya que la libertad trae consigo responsabilidades y no me atrevo a quedarme rezagado. Mi largo camino aún no ha terminado.

It’s like this for many of us. There’s a certain spot on this earth that is somehow sacred, the place where you come from, the place you never quite leave. When you think back to your hometown or home neighborhood, sometimes it’s the very soil and mountains that you remember, the way a certain wind would blow through a certain kind of crop, perhaps the way a certain factory would scent the town. Always it’s the people, the characters in the small dramatic panorama that was, when you were a child, your whole life.

When Paul had grown old and was sitting gray-haired and shivering in a dungeon in Rome, he was able to say with greater emphasis than we can, “I know whom I have believed,”1 for each experience had been like the climbing of a hill, each trial had been like ascending another summit, and his death seemed like gaining the top of the mountain, from which he could see the whole panorama of the faithfulness and love of Him to whom he had committed his soul. Get up, dear friend, into a high mountain.

Yves treats my wife as if she were a plaything, and continually assures me that she is charming. I find her as exasperating as the cicalas on my roof; and when I am alone at home, side by side with this little creature twanging the strings of her long-necked guitar, facing this marvellous panorama of pagodas and mountains, I am overcome by sadness almost to tears.

Just as a traveller, gazing out to contemplate a vast panorama, seeks some human figure in his surroundings to bring the distant objects into perspective, so do we look towards God with amazement, but can identify and welcome a purely human figure at the side of his throne. A ship has finished its passage, a destiny has been fulfilled, a human perfection has existed. Through her, his masterpiece, we see God’s relations with humanity more clearly and with greater insight.[231]

Rachel’s response was gentle. As far as a continuation of consciousness beyond death, she was willing to dwell in mystery, and invoked the words of Swedish oceanographer Otto Pettersson, who, at the end of his long life, told his son that he would be sustained “by an infinite curiosity as to what was to follow.” But there was one thing about which Carson did have some certainty, and that was in her sense of what she called “material immortality,” where our bodies are first broken down by decay, then resurrected physically in new cellular arrangements. She summoned the words she had penned in an early piece, “Undersea,” published in 1937 by the Atlantic Monthly. Individual elements are lost to view, only to reappear again and again in different incarnations in a kind of material immortality.… Against this cosmic background the life span of a particular plant or animal appears not as a drama complete in itself, but only as a brief interlude in a panorama of endless change. She

Que coisa? Não sei. Qualquer coisa, um feto que está nas entranhas do futuro, — ou cinco fetos para imitar uma senhora de Aracati, estação da estrada de ferro Leopoldina, que acaba de dar à luz cinco criaturas. Todas gozam perfeita saúde. Eis o que se chama vontade de criar. Parecem uns retardatários, munidos de bilhetes, que receiam perder o espetáculo, e entram aos magotes. Não, amiguinhos, não é tarde; qualquer que seja a hora, chegareis a tempo. O espetáculo é semelhante ao panorama do Rio de Janeiro, de Victor Meirelles; está sempre no mesmo pavilhão.

The window glass was cold as Jude touched his nose to its surface. He looked north over the centre of Tirana and drank in the thrill of the panorama. From a restaurant in the Sky Tower he could see down over the lush, green square of land criss-crossed with paths that was Rinia Park. He had arranged to meet Edona there at 3pm. To his left the apartment blocks clustered densely away to the horizon in colours of mustard, olive and denim blue. Ahead he could make out the rouge and yellow government ministry buildings on the edge of Skanderbeu Square, and the white needle of the Et’hem Bey Mosque. His eyes turned to the east past the black glass panelled Twin Towers and concrete Pyramid to the traffic flowing up the Gjergj Fishta Boulevard, where the harsh mid-day sunlight was glinting off car roofs and windscreens. Beyond that, through a haze of heat and light smog, Mount Dajti rose up to the blue, utterly cloudless sky. (From 'The Silencer').

Imagine a seasoned hiker preparing for a daunting, yet beautiful journey. Their backpack is full, but their most essential tool is intangible: their innate self-awareness. This is akin to our journey on the relationship highway, a dynamic panorama of human connections ranging from familial to romantic ties. Navigating this diverse terrain requires a unique kind of GPS: Grounded Peronsal Self-Awareness.

el recorrido filosófico que proponemos tiene dos dimensiones. Muestra, en primer lugar, un panorama teórico desde el que acercarnos a una filosofía vital que reivindica lo corporal como camino de autoconocimiento y ensalza la profunda alegría que aparece al alinear nuestra vida con nuestra naturaleza más íntima. No toda la filosofía occidental ha participado en el menosprecio hacia lo corpóreo, sino que algunos destellos han mantenido lo corporal (Epicuro, Nietzsche, Schopenhauer, etc.) como un elemento central tanto en las reflexiones que han desarrollado como, y es esto lo que nos interesa, en las indicaciones de un trabajo de autoconocimiento más profundo y radical.

O sermão do panorama dizia que mesmo um homem sem um único amigo no universo ainda podia achar seu planeta natal um lugar misterioso e dolorosamente lindo.

Age brings diminishments, but more than a few come with benefits. I’ve lost the capacity for multitasking, but I’ve rediscovered the joy of doing one thing at a time. My thinking has slowed a bit, but experience has made it deeper and richer. I’m done with big and complex projects, but more aware of the loveliness of simple things: a talk with a friend, a walk in the woods, sunsets and sunrises, a night of good sleep. I have fears, of course, always have and always will. But as time lengthens like a shadow behind me, and the time ahead dwindles, my overriding feeling is gratitude for the gift of life. Above all, I like being old because the view from the brink is striking, a full panorama of my life—and a bracing breeze awakens me to new ways of understanding my own past, present, and future. As one of Kurt Vonnegut’s characters says in Player Piano, “out on the edge you can see all kinds of things you can’t see from the center.

He told her of outlandish places that he had seen, of bad men that he had met, of forlorn ventures in which he had played his part, and yet it was nothing like a detailed autobiography that he gave her—it was a kaleidoscope, an irresponsibly shredded panorama of a weird and wonderful life, strewn extravagantly under her eyes as only the Saint himself could have strewn it, seasoned with his own unique spice of racy allusion and flippant phrase, and it was out of this squandered prodigality of inconsequent reminiscence, and the gallant manner of its telling, that she put together her picture of the man.

Mary Karr presenta su infancia como un panorama casi ininterrumpido. La mía es un paisaje de niebla, de donde surgen recuerdos aislados como árboles solitarios… de esos que parece que vayan a echarte las ramas encima y comerte

Gli altri sono troppi, per me. Ho un cuore eremita. Sono impastata di silenzio e di vento. Sono antica. Mi pento ogni volta che vado lontano dal mio stare lento nelle velocità della sera, nelle auto schizzate di pianto. Col loro buio abitacolo. E se sfreccio a volte sulla modesta moto, è per cantare a gola stesa l’ultimo del paradiso fare il mio guizzo pericoloso con tutto quel vento nel petto seminare parole beate nel panorama nervoso.

Por supuesto, resulta espantosa e insoportablemente aburrida esta inactividad tan absoluta, este quedarse sentado sin hacer nada en un estado de postración mental, pero, por otro lado, ¿acaso no pasan el tiempo de esa manera tan pasiva y apática millones y millones de gentes del planeta? Y además, ¿no lo hacen así desde hace años, desde haces siglos, independientemente de la religión, de la cultura, de la raza? Basta con que, en América del Sur, vayamos a los Andes o nos paseemos en coche por las polvorientas calles de Piura o naveguemos por el Orinoco: en todas partes encontramos aldeas de barro, poblados y villas pobres y veremos cuánta gente permanece sentada en la puerta de su casa, sobre piedras o en bancos, inmóvil, sin hacer nada. Vayamos de América del Sur a África, visitemos los solitarios oasis del Sáhara o los poblados de pescadores negros que se extienden a lo largo del Golfo de Guinea, visitemos a los misteriosos pigmeos en la jungla del Congo, la diminuta ciudad de Mwenzo en Zambia, la hermosa y dotada tribu Dinka en Sudán: en todas partes veremos gentes sentadas que de vez en cuando articularán alguna palabra, que por la noche se calentarán alrededor de un fuego, pero que en realidad, aparte de permanecer sentadas, inmóviles e inactivas, no hacen nada en absoluto y se encuentran (podemos suponer) en un estado de postración mental. ¿Acaso Asia es diferente? ¿Acaso, yendo de Karachi a Lahore o de Bombay a Madrás o de Yakarta a Malangu, no nos chocará ver que miles, qué digo, millones de paquistaníes, hindúes, indonesios y otros asiáticos están sentados inmóviles con la vista fija en no se sabe qué? Cojamos un vuelo a las Filipinas o a Samoa, visitemos las inconmensurables extensiones del Yukón o la exótica Jamaica: en todas partes veremos el mismo panorama de gentes sentadas que permanecen inmóviles durante horas enteras en unas sillas viejas, en unos tablones de madera, en unas cajas de plástico, a la sombra de olmos y mangos, apoyadas contras las paredes de las chabolas, las vallas y los marcos de las ventanas, independientemente de la hora del día y de la estación del año, de si hace solo o llueve, gentes aturdidas e indefinidas, gentes en un estado de somnolencia crónica, que no hacen nada excepto permanecer allí sin necesidad y sin objetivo, y también sumidas (podemos suponer) en una postración mental.

Come and see what the world looks like at the Merdeka 118, Malaysia.

Come and see what the world looks like at the Burj Khalifa, Dubai.

The window glass was cold as Jude touched his nose to its surface. He looked north over the centre of Tirana and drank in the thrill of the panorama. From a restaurant in the Sky Tower he could see down over the lush, green square of land criss-crossed with paths that was Rinia Park. He had arranged to meet Edona there at 3pm. To his left the apartment blocks clustered densely away to the horizon in colours of mustard, olive and denim blue. Ahead he could make out the rouge and yellow government ministry buildings on the edge of Skanderbeu Square, and the white needle of the Et’hem Bey Mosque. His eyes turned to the east past the black glass panelled Twin Towers and concrete Pyramid to the traffic flowing up the Gjergj Fishta Boulevard, where the harsh mid-day sunlight was glinting off car roofs and windscreens. Beyond that, through a haze of heat and light smog, Mount Dajti rose up to the blue, utterly cloudless sky. (From 'The Silencer').

Yet an investigation by the BBC programme Panorama discovered the move was at least partly a way to get around the shortage of protective equipment in the NHS. The problem was that the Health and Safety Executive had earlier ruled that the very top level of PPE should be worn when dealing with a disease ranked as an HCID. The change in classification therefore meant health workers could be kitted out with less protective equipment – making the most of the threadbare stocks available. The government had requested that the Advisory Committee on Dangerous Pathogens remove Covid-19 from the HCID list.

We crave distraction—a panorama of sights, sounds, thrills, and titillations into which as much as possible must be crowded in the shortest possible time. To keep up this “standard” most of us are willing to put up with lives that consist largely in doing jobs that are a bore, earning the means to seek relief from the tedium by intervals of hectic and expensive pleasure. These intervals are supposed to be the real living, the real purpose served by the necessary evil of work.

When he recalled it later, he would realize that his feeling at the time was akin to sleepwalking, and that though he was about to carry out his plan, he felt strangely empty, as if that great plan were some casual pleasure trip that he was setting out on. But somewhere in a corner of his mind lurked the consciousness that what he was doing was actually a dream and that there was another real world waiting for him on the other side of the dream.

There must have been a time in this world when humans realized for the first time the beauty that resides in the sinuosity of a curve.

The window glass was cold as Jude touched his nose to its surface. He looked north over the centre of Tirana and drank in the thrill of the panorama. From a restaurant in the Sky Tower he could see down over the lush, green square of land criss-crossed with paths that was Rinia Park. He had arranged to meet Edona there at 3pm. To his left the apartment blocks clustered densely away to the horizon in colours of mustard, olive and denim blue. Ahead he could make out the rouge and yellow government ministry buildings on the edge of Skanderbeu Square, and the white needle of the Et’hem Bey Mosque. His eyes turned to the east past the black glass panelled Twin Towers and concrete Pyramid to the traffic flowing up the Gjergj Fishta Boulevard, where the harsh mid-day sunlight was glinting off car roofs and windscreens. Beyond that, through a haze of heat and light smog, Mount Dajti rose up to the blue, utterly cloudless sky.

Come and see what the world looks like from the One World Trade Center, New York City, New York.