Priceless Commercial Quotes

Pick someplace that you could actually get to without building a spaceship.” Six asks I think it over for a moment. “I don’t know. Disney World?” Six and Sarah both exchange a look and then start laughing. “Disney World?” exclaims Six. “You’re so cheesy, John.” “No, it’s sweet,” says Sarah, patting my hand. “It’s the most magical place on Earth.” “You know, I’ve never actually been on a roller coaster. Henri wasn’t down with the whole amusement-park thing. I used to see the commercials and I always wanted to go.” “That’s so sad!” exclaims Sarah. “We’re definitely going to get you to Disney World. Or at least on a roller coaster. They’re amazing.” Six snaps her fingers. “What’s that one ride? It’s supposed to be like a rocket ship?” “Space Mountain,” answers Sarah. “Yeah,” replies Six, and then hesitates as if she’s worried she’s about to divulge too much. “I actually remember looking that up online when I was little. I insisted to Katarina that it had something to do with us.” The thought of a young Six investigating Disney World is priceless. The three of us share a laugh. “Aliens,” mutters Sarah jokingly. “You need to get out more.

Forget those stupid MasterCard commercials. Watching two chicks duke it out in high heels...now, that's priceless.

To be sure, we can buy art, but we sense that if it is mere commodity, we pay too much; and if it is true art, we pay infinitely too little. Similarly, we can buy sex but not love; we can buy calories but not real nourishment. Today we suffer a poverty of immesurable things, priceless things; a poverty of the things that money cannot buy and a surfeit of the things it can (though this surfeit is so unequally distributed that many suffer a poverty of those things, too). Just as money homogenizes the things it touches, so also does it homogenize and depersonalize its users: "It facilitates the kind of commercial exchange that is disembedded from all other relations." In other words, people become mere parties to a transaction. In contrast to the diverse motivations that characterize the giving and receiving of gifts, in a pure financial transaction we are all identical: we all want to get the best deal. The homegeneity among human beings that is an effect of money is assumed by economics to be a cause. The whole story of money's evolution from barter assumes that it is fundamental human nature to want to maximize self-interest. In this, human beings are assumed to be identical. When there is no standard of value, different humans want different things. When money is exchangeable for any thing, then all people want the same thing: money.

It has been noted in various quarters that the half-illiterate Italian violin maker Antonio Stradivari never recorded the exact plans or dimensions for how to make one of his famous instruments. This might have been a commercial decision (during the earliest years of the 1700s, Stradivari’s violins were in high demand and open to being copied by other luthiers). But it might also have been because, well, Stradivari didn’t know exactly how to record its dimensions, its weight, and its balance. I mean, he knew how to create a violin with his hands and his fingers but maybe not in figures he kept in his head. Today, those violins, named after the Latinized form of his name, Stradivarius, are considered priceless. It is believed there are only around five hundred of them still in existence, some of which have been submitted to the most intense scientific examination in an attempt to reproduce their extraordinary sound quality. But no one has been able to replicate Stradivari’s craftsmanship. They’ve worked out that he used spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. They’ve figured out that he also treated the wood with several types of minerals, including potassium borate, sodium and potassium silicate, as well as a handmade varnish that appears to have been composed of gum arabic, honey, and egg white. But they still can’t replicate a Stradivarius. The genius craftsman never once recorded his technique for posterity. Instead, he passed on his knowledge to a number of his apprentices through what the philosopher Michael Polyani called “elbow learning.” This is the process where a protégé is trained in a new art or skill by sitting at the elbow of a master and by learning the craft through doing it, copying it, not simply by reading about it. The apprentices of the great Stradivari didn’t learn their craft from books or manuals but by sitting at his elbow and feeling the wood as he felt it to assess its length, its balance, and its timbre right there in their fingertips. All the learning happened at his elbow, and all the knowledge was contained in his fingers. In his book Personal Knowledge, Polyani wrote, “Practical wisdom is more truly embodied in action than expressed in rules of action.”1 By that he meant that we learn as Stradivari’s protégés did, by feeling the weight of a piece of wood, not by reading the prescribed measurements in a manual. Polyani continues, To learn by example is to submit to authority. You follow your master because you trust his manner of doing things even when you cannot analyze and account in detail for its effectiveness. By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself. These hidden rules can be assimilated only by a person who surrenders himself to that extent uncritically to the imitation of another.

Commercial real estate is a booming business however, whether you are buying or advertising commercial real estate, chances are that you are going to need a bit of assist. A good real estate broker can be priceless to you, and they can provide you with an enormous deal of assist that no one else could ever give to you.