Primary Colors Quotes

Cynicism is what passes for insight among the mediocre.

There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. There are not more than five primary colours, yet in combination they produce more hues than can ever been seen. There are not more than five cardinal tastes, yet combinations of them yield more flavours than can ever be tasted.

There are not more than five primary colors  (blue, yellow,  red, white, and black), yet in combination they produce more hues than can ever been seen.

I'm a talentless but popular young singer and I have the feeling someone is watching me. I use the term loosely because I have few feelings, and even they're too simple, like primary colors.

I thought Alchemists avoided alcohol the same way they do primary colors.

Victor Faust did much more than help me escape a life of abuse and servitude. He changed me. He changed the landscape of my dreams, the dreams I had every day about living ordinarily and free and on my own. He changed the colors on the palette from primary to rainbow—as dark as the colors of that rainbow may be.

Women of today are still being called upon to stretch across the gap of male ignorance and to educate men as to our existence and our needs. This is an old and primary tool of all oppressors to keep the oppressed occupied with the master's concerns. Now we hear that is is the task of women of Color to educated white women - in the face of tremendous resistance - as to our existence, our differences, our relative roles in our joint survival. This is a diversion of energies and a tragic repetition of racist patriarchal thought.

He wanted the world to be the color of his dreams, wanted to paint in primary colors.

The diaper bag, the car seat, the bottles, the pacifiers, the changing mat, the wipes, and all the toys in their primary colored glory; none of which would compliment my outfit.

Heartbreak itself is a primary color. Stagnant without a series of secondary colors to activate it. Longing is an activator.

Those old things were still painful to think about, still bright with the childish primary colors of fear and horror.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

Thankfully, God has shown us that hope, in its million different forms, always springs from three primary colors: justice, mercy, and love.

I know Levi is supposed to be my point of contact, but he’s currently sitting on three unanswered emails. I’m not sure how to get him to reply. Use Comic Sans? Write in primary colors?

How did people raise kids before plastic came along? "Everything for Baby", said the sign over the aisle we were in. It should have said, "Everything for Baby Is Made from Molded Plastic in Ugly Primary Colors.

Discard anything that creates visual noise. The objects I have at home are white, beige, gray, and the colors of wood, pleasing to the eye and in harmony among themselves. The balance is disrupted when I have something in a flashy neon color or a primary color that’s too bold; they stand out too much and disturb the peaceful atmosphere.

Everyday we are all presented with the same primary colors(red, yellow, blue), some mix their colors to get secondary and tertiary colors to paint their life's portrait beautifully, others sit and complain that they don't have enough colors. It's not the number of colors on your pallet that does the magic, it's what you do with what you have. Go ahead and paint anyway. It's your life's portrait.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

Blue-shirt (Blauserk in Inuktitat, the Inuit language), or Mykla Jokull, now known as Gunnbjorn's Peak (12,500 feet)--the great metaphorical centerpiece in William T. Vollmann's saga-like novel The Ice-Shirt--is the great glacier in Greenland used as a landmark by Erik the Red in sailing west from Snaefellsness.

The primary purpose of a resume is to get yourself invited in for an interview.

hope, in its million different forms, always springs from three primary colors: justice, mercy, and love.

After they leave, I look at the three of us and think about how there are three primary colors. Yellow, blue, and red. Those three colors create every other color ever.

8. There are not more than five primary colors (blue, yellow, red, white, and black), yet in combination they produce more hues than can ever been seen.

The human mind has no more power of inventing a new value than of imagining a new primary color, or indeed of creating a new sun and new sky for it to move in.

*Beyond the graveyard whose stones have lost their names to years. *Windows blown out and wooden sign.... rubbed to braille by wind, *Plastic toys.... their primary colors now faded to Easter hues

Sometimes she feels like a third gender- preferring primary colors to pastels, the radio to singing. At least she's all mermaid: never gets tired of swimming, hates the thought of socks. -from "The Straight Forward Mermaid

What did she expect? It was like trying to visualize a new primary color or a world in which you could recognize several hundred acquaintances individually only by their smells... She could talk about this, but she couldn't experience it.

The sunny scene looked impossibly vivid, as though painted in primary colors by an artist who hadn’t yet learned how to shade; it should trouble him, it really should, that he felt so goddamned alive. Was he never going to learn subtler pleasures? Miss Masters seemed to feel it, too. She wrested free of his hold,skipping ahead a little, then spinning back to face him. Her eyes were as blue as the sky behind her, her hair as bright as the sun; she was not a subtle pleasure herself.

He wanted the world to be the color of his dreams, wanted to paint in primary colors. He wanted to stride away from fear, and build the world that rang out in the protest marches, in the calls to action. He wanted the future, and wanted it in his hands.

But ultimately I think we cannot throw away any metaphor that helps us see and be. I wouldn’t trust a palette that had red missing from it, or blue, or yellow, or black, or white. Neither would you. The animus is a primary color in the palette of the female psyche.

The palate of taste is limited to the five or six primary colors that the tongue can recognize; olfaction, by comparison, is seemingly limitless in the shadings and combinations it can register and archive—and retronasal olfaction can perceive aromas to which even the nose is blind.

AI will not solve poverty, because the conditions that lead to societies that pursue profit over people are not technical. AI will not solve discrimination, because the cultural patterns that say one group of people is better than another because of their gender, their skin color, the way they speak, their height, or their wealth are not technical. AI will not solve climate change, because the political and economic choices that exploit the earth’s resources are not technical matters. As tempting as it may be, we cannot use AI to sidestep the hard work of organizing society so that where you are born, the resources of your community, and the labels placed upon you are not the primary determinants of your destiny. We cannot use AI to sidestep conversations about patriarchy, white supremacy, ableism, or who holds power and who doesn’t.

Learning that colour is a fiction of light is one of the primary shocks of growing up.

I started to scribble, and those scribbles started to come to life and squiggle around the apartment like little primary-colored worms that my mom was always trying to sweep up.

although it feels like the palette of human feelings is limitless, in fact every emotional shade, like every color, is derived from just a few primary emotions: sad, mad, glad, scared.

I felt drained and frustrated (not to mention flat-out dirty) operating within a framework that positioned the criminal legal system as the primary remedy for sexual violence. The prison-industrial complex, to which the mainstream rape crisis movement is intimately and often unquestioningly linked, is an embodiment of nonconsent used to reinforce race and class inequality. Prisons take away the rights of people, primarily poor people of color, to control their own lives and bodies. This is glaringly apparent when one sits in a courtroom and observes the ways in which race, class, and power intersect in this space. How, then, do we as a movement whose fundamental principle is consent see this as an appropriate solution? A successful anti-rape movement will focus not only on how rape upholds male supremacy, but also on how it serves as a tool to maintain white supremacy and myriad other oppressive systems. When this is done, the importance of creating alternative ways to address violence becomes more apparent, and the state-sponsored systems that reproduce inequality seem less viable options for true transformative change.

(My Jungian therapist taught me something that I find quite comforting—that although it feels like the palette of human feelings is limitless, in fact every emotional shade, like every color, is derived from just a few primary emotions: sad, mad, glad, scared. For those just learning an emotional vocabulary, as I was, it’s less overwhelming to learn to identify only four feelings.)

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

The whole secret lies in confusing the enemy, so that he cannot fathom our real intent.’” To put it perhaps a little more clearly: any attack or other operation is CHENG, on which the enemy has had his attention fixed; whereas that is CH’I,” which takes him by surprise or comes from an unexpected quarter. If the enemy perceives a movement which is meant to be CH’I,” it immediately becomes CHENG.”] 4.    That the impact of your army may be like a grindstone dashed against an egg— this is effected by the science of weak points and strong. 5.    In all fighting, the direct method may be used for joining battle, but indirect methods will be needed in order to secure victory. [Chang Yu says: “Steadily develop indirect tactics, either by pounding the enemy’s flanks or falling on his rear.” A brilliant example of “indirect tactics” which decided the fortunes of a campaign was Lord Roberts’ night march round the Peiwar Kotal in the second Afghan war.76 6.    Indirect tactics, efficiently applied, are inexhausible as Heaven and Earth, unending as the flow of rivers and streams; like the sun and moon, they end but to begin anew; like the four seasons, they pass away to return once more. [Tu Yu and Chang Yu understand this of the permutations of CH’I and CHENG.” But at present Sun Tzu is not speaking of CHENG at all, unless, indeed, we suppose with Cheng Yu-hsien that a clause relating to it has fallen out of the text. Of course, as has already been pointed out, the two are so inextricably interwoven in all military operations, that they cannot really be considered apart. Here we simply have an expression, in figurative language, of the almost infinite resource of a great leader.] 7.    There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. 8.    There are not more than five primary colors (blue, yellow, red, white, and black), yet in combination they produce more hues than can ever been seen. 9.    There are

Abraham Lincoln was not, in the fullest sense of the word, either our man or our model. In his interests, in his associations, in his habits of thought, and in his prejudices, he was a white man. [...] Any man can say things that are true of Abraham Lincoln, but no man can say anything that is new of Abraham Lincoln. His personal traits and public acts are better known to the American people than are those of any other man of his age. He was a mystery to no man who saw him and heard him. Though high in position, the humblest could approach him and feel at home in his presence. Though deep, he was transparent; though strong, he was gentle; though decided and pronounced in his convictions, he was tolerant towards those who differed from him, and patient under reproaches. [...] I have said that President Lincoln was a white man, and shared the prejudices common to his countrymen towards the colored race. Looking back to his times and to the condition of his country, we are compelled to admit that this unfriendly feeling on his part may be safely set down as one element of his wonderful success in organizing the loyal American people for the tremendous conflict before them, and bringing them safely through that conflict. His great mission was to accomplish two things: first, to save his country from dismemberment and ruin; and, second, to free his country from the great crime of slavery. To do one or the other, or both, he must have the earnest sympathy and the powerful cooperation of his loyal fellow-countrymen. Without this primary and essential condition to success his efforts must have been vain and utterly fruitless.[...] Viewed from the genuine abolition ground, Mr. Lincoln seemed tardy, cold, dull, and indifferent; but measuring him by the sentiment of his country, a sentiment he was bound as a statesman to consult, he was swift, zealous, radical, and determined. Oration in Memory of Abraham Lincoln. Delivered at the Unveiling of The Freedmen’s Monument in Lincoln Park, Washington, D.C.

To prevent lower-income African Americans from living in neighborhoods where middle-class whites resided, local and federal officials began in the 1910s to promote zoning ordinances to reserve middle-class neighborhoods for single-family homes that lower-income families of all races could not afford. Certainly, an important and perhaps primary motivation of zoning rules that kept apartment buildings out of single-family neighborhoods was a social class elitism that was not itself racially biased. But there was also enough open racial intent behind exclusionary zoning that it is integral to the story of de jure segregation.

As Russ Hudson frequently emphasizes, “Type isn’t a ‘type’ of person, but a path to God.” The nine types of the Enneagram form a sort of color wheel that describes the basic archetypes of humanity’s tragic flaws, sin tendencies, primary fears, and unconscious needs. The understanding of these components, when shaped through contemplative practice, helps us wake up to our True Self and come home to our essential nature.

…and yet, at the end of it all, a few very broad lines did seem to stick out, like the primary colors in a painting that explain all the confusing blends. And once I had understood my artificial convention, as one understands a convention of the theatre, it was surprising how many adventures did, with a squeeze, fit in their compartments- provided that I chuckled as I did the squeezing and reminded myself that it was all a game anyway.

These are spiritual afflictions in and of themselves, but in religious communities, when whiteness becomes inseparable from the character of God, you’ll find customs such as evangelism equated with conquering, but admissible under the guise of “love.” You’ll find guilt-driven spirituality, which is obsessed with alleviating guilt and becoming “clean”—for whiteness always carries the memory of what it has done to those in bodies of color, and guilt is its primary tormentor. The irony, of course, is that this guilt cannot be relieved save by a rending of whiteness from the image of God (which the force of whiteness will never do). In order to rend whiteness from the face of God, we must do more than make new images.

Eric Greitens says that there are three primary forms of happiness: the happiness of pleasure, the happiness of grace, and the happiness of excellence5. He compares them to the primary colors, the basis on which the entire spectrum is created. The happiness of pleasure is largely sensory. It’s a good meal when you’re hungry, the smell of air after it rains, waking up warm and cozy in your bed. The happiness of grace is gratitude. It’s looking over to see the love of your life sleeping next to you and whispering, “thank you.” It’s taking inventory of what you do have. It’s when you speak to something greater than yourself, expressing humility and awe. And then there is the happiness of excellence. The kind of happiness that comes from the pursuit of something great. Not the moment you arrive at the top of the mountain and raise your fists in victory, but the process of falling in love with the hike. It is meaningful work. It is flow. It is the purpose that sears identity and builds character and channels our energy toward something greater than the insatiable, daily pursuit of our fleeting desires.

The true significance of slavery in the United States to the whole social development of America lay in the ultimate relation of slaves to democracy. What were to be the limits of democratic control in the United States? If all labor, black as well as white, became free – were given schools and the right to vote – what control could or should be set to the power and action of these laborers? Was the rule of the mass of Americans to be unlimited, and the right to rule extended to all men regardless of race and color, or if not, what power of dictatorship and control; and how would property and privilege be protected? This was the great and primary question which was in the minds of the men who wrote the Constitution of the United States and continued in the minds of thinkers down through the slavery controversy. It still remains with the world as the problem of democracy expands and touches all races and nations.

So instead of not-writing, I am painting. I’m not a painter, but I make paintings anyway. I use glass and oil-based house paint, which is toxic, and which you can’t buy just anywhere anymore. It’s being phased out in favor of latex, which doesn’t stick to glass, and acrylic, which I haven’t tried. Stacked on my garage windowsill are seventeen quarts of the stuff in various primary colors, in case the whole world stops selling it. I love the oiliness, I love how it spreads on the surface of the glass, how tipped at an angle it rolls and drips, and merges. I love how one color overtakes another on the downward slide.

No more peeping through keyholes! No more masturbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter.

She could imagine problems enormously beyond us that would be old hat to them. But she couldn't get into their minds; she couldn't imagine what thinking would be like if you were much more capable than a human being. Of course. No surprise. What did she expect? It was like trying to visualize a new primary color or a world in which you could recognize several hundred acquaintances individually only be their smells... She could talk about this, but she couldn't experience it. By definition, it has to be mighty hard to understand the behavior of a being much smarter than you are. But even so, even so: Why only prime numbers?

All of these are reminders of the face char seven primitive and primary spirits have become incarnated in the composite structure of man and that the Elohim are actually within his own nature, where from their seven thrones they are molding him into a septenary creature. One of these Elohim, which corresponds to a color, a musical note, a planetary vibration, and a mystical dimension, is the key consciousness of every kingdom in Nature. The Elohim also rake turns in controlling the life of the human being. According to the ancient Brahmins, the Lord of the human race is keyed to the musical note fa, and His vibration runs through the minute tube in the spinal column.

AI will not solve poverty, because the conditions that lead to societies that pursue profit over people are not technical. AI will not solve discrimination, because the cultural patterns that say one group of people is better than another because of their gender, their skin color, the way they speak, their height, or their wealth are not technical. AI will not solve climate change, because the political and economic choices that exploit the earth’s resources are not technical matters. As tempting as it may be, we cannot use AI to sidestep the hard work of organizing society so that where you are born, the resources of your community, and the labels placed upon you are not the primary determinants of your destiny. We cannot use AI to sidestep conversations about patriarchy, white supremacy, ableism, or who holds power and who doesn’t. As Dr. Rumman Chowdhury reminds us in her work on AI accountability, the moral outsourcing of hard decisions to machines does not solve the underlying social dilemmas.

Tomorrow I will try to enjoy looking at flowers all day. I will rub away my worries with an alcohol-soaked cottonball. Because my dreams have been so trou­bling, I want to dream a dream filled with blossoming flowers, a dream of gravure of primary hues, like a colorful picture book. I would like to compose a refreshing poem, in a 7-point font, for each illustration of my dreams.

He turned out the lamps and walked down to his bedroom. He had no preliminary sketch of an idea, not a scrap, not even a hunch, and he would not find it by sitting at the piano and frowning hard. It could come only in its own time. He knew from experience that the best he could do was relax, step back, while remaining alert and receptive. He would have to take a long walk in the country, or even a series of long walks. He needed mountains, big skies. The Lake District, perhaps. The best ideas caught him by surprise at the end of twenty miles, when his mind was elsewhere. In bed at last, lying on his back in total darkness, taut, resonating from mental effort, he saw jagged rods of primary color streak across his retina, then fold and writhe into sunbursts.

Mila held out a dress so lovely that Snow gasped. She lovingly touched the blue bodice with the cap sleeves that had red accents woven throughout and the shining yellow satin. She hadn't had anything new to wear in a very long time. She almost hesitated to put the dress on- what if she ruined it in the woods? But when else would she have a chance to wear such a fine gown? She slipped into it with glee.

Theologians are to look to the _beyond_-community–– _beyond_ nationality; skin-color, gender; sexual orientation, citizenship, religious affiliation––because God, the Divine, who is the primary frame of reference for theologians, is for, with, in, among those individual human beings. It is to reaffirm the sheer truth: No one is better or worse, superior or inferior than any other; and, 'Ich bin du, wenn Ich Ich bin' [I am you, when Iam I.]

What, then, would it mean to imagine a system in which punishment is not allowed to become the source of corporate profit? How can we imagine a society in which race and class are not primary determinants of punishment? Or one in which punishment itself is no longer the central concern in the making of justice? An abolitionist approach that seeks to answer questions such as these would require us to imagine a constellation of alternative strategies and institutions, with the ultimate aim of removing the prison from the social and ideological landscapes of our society. In other words, we would not be looking for prisonlike substitutes for the prison, such as house arrest safeguarded by electronic surveillance bracelets. Rather, positing decarceration as our overarching strategy, we would try to envision a continuum of alternatives to imprisonment—demilitarization of schools, revitalization of education at all levels, a health system that provides free physical and mental care to all, and a justice system based on reparation and reconciliation rather than retribution and vengeance. The creation of new institutions that lay claim to the space now occupied by the prison can eventually start to crowd out the prison so that it would inhabit increasingly smaller areas of our social and psychic landscape. Schools can therefore be seen as the most powerful alternative to jails and prisons. Unless the current structures of violence are eliminated from schools in impoverished communities of color—including the presence of armed security guards and police—and unless schools become places that encourage the joy of learning, these schools will remain the major conduits to prisons. The alternative would be to transform schools into vehicles for decarceration.

According to the Southern Poverty Law Center, the school-to-prison pipeline is a set of seemingly unconnected school policies and teacher instructional decisions that over time result in students of color not receiving adequate literacy and content instruction while being disproportionately disciplined for nonspecific, subjective offenses such as “defiance.” Students of color, especially African American and Latino boys, end up spending valuable instructional time in the office rather than in the classroom. Consequently, they fall further and further behind in reading achievement just as reading is becoming the primary tool they will need for taking in new content. Student frustration and shame at being labeled “a slow reader” and having low comprehension lead to more off-task behavior, which the teacher responds to by sending the student out of the classroom. Over time, many students of color are pushed out of school because they cannot keep up academically because of poor reading skills and a lack of social-emotional support to deal with their increasing frustration.

As a woman of color who is interested in these issues of democracy and who wants to enact social change, Pilaf sees the Internet as a tool that perpetuates the corporate, white, middle-class hegemony of American consumer culture rather than a tool for revolution. Instead of viewing the Internet as a new outlet for activism and that opens up a world of communication, Pilaf sees the online communication and activism as an escape valve, a way to remove oneself from interactions with people. Although I disagree with her on this point, I’m very much aware that my ability to see the Internet as revolutionary comes from a place of privilege, in which I can think of the Internet as a sexual, political, and intellectual arena because I’m in a place (geographically and economically) where these are the very things that are my primary focus and concern. Although some of Pilaf’s criticisms overlap with those technophobes who view the Internet as the devil’s playground, her observations come from a very real, intense place of political and personal discomfort with forging ahead of digital culture and the casualties this ‘progress’ may leave.

Audre Lorde once stated, “I am a Black Feminist. I mean I recognize that my power as well as my primary oppressions come as a result of my blackness as well as my womanness, and therefore my struggles on both of these fronts are inseparable.” As a woman of color, I find that some feminists don’t seem terribly concerned with the issues unique to women of color—the ongoing effects of racism and postcolonialism, the status of women in the Third World, the fight against the trenchant archetypes black women are forced into (angry black woman, mammy, Hottentot, and the like).

Missy and her crew left, I was alone. Like really alone, like pre-Shay alone. It felt glorious. Well, maybe not. I didn’t feel right about Shay, but I’d see him in a day. We could sort out whatever happened on his street. Till then, I studied to my heart’s content. I made trips to my dorm’s computer lab, and I even got naughty. I stole some of the computer’s printing papers, stuffing them down the front of my shirt. My inner dork was coming out full-force. It was like I’d been around “cool” people too much for my system. It was rebelling. It needed an outlet, and I indulged. All of the colored highlighters came out. Not just the primary colors, all of them. I used pink for one textbook, and added purple on the next. All caution was thrown to the wind. It was only eight, but I went to the library. I really let my freak out. An energy drink. Coffee from the cart. My own Twizzlers this time. Even a bag of chocolate candies. I was going nuts on the caffeine and sugar, and then I found an empty study room on the top and most isolated floor in the library. I stayed until midnight. It was some of the best studying I’ve had. Ever. Mind-blowing.

In Old Europe and other traditional cultures, white, the color of bone, was the color of death, whereas black, the color of earth and the womb, signified transformation and rebirth. The symbolism was reversed by Indo-Europeans. It is likely that the Indo-Europeans used the symbolism of light to justify their conquest of 'darker' peoples. And, as we have seen, one of the foundations of dualistic thinking is the notion that the 'light' of reason enables 'men' to transcend the 'dark' earth. The contrast between Old European thinking and modern western thinking is sharply drawn when we understand the positive valuation of blackness as one of the primary symbols of the Goddess.

The odds are ever in Katniss's favor: she is the primary character with whom audiences identify. This is not inherently problematic, as part of the work of literature is to provide mirrors, windows, and doors into other people's experiences. The problem occurs when contemporary literature and media for young people include characters of color who are supposed to provide someone for every reader or viewer to identify with--and yet at the same time construct protagonists who are the only characters worth rooting for. Although the initial authorial intent may have been noble, stories constructed in such a fashion have the pernicious effect of normalizing our existing social hierarchies--including hierarchies of race.

At primary school when people tried to find friends, I tried to find space that my imagination could fill with whatever it wanted, nearly always butterflies because to me they were perfection, like real-life fairies with prettier wings. At break time I turned myself into them, not just one butterfly but hundreds of them, my arms a kaleidoscope of colors as I danced across the wet grass while my class played tag, chasing around each other around the blacktop. I didn't understand it, like wasn't it too crowded I asked them all the time in my head. Don't you worry cherub, the lunch monitor said when she caught me watching the other children in confusion. You're Pluto. Happiest away from the heat of the action. She smiled a wrinkly smile. Nothing wrong with that.

Gritting my teeth as if it requires actual physical strength, I push the memory of him dying in my arms down, deep down. It almost seems to fight me, to want to surge into the forefront of my mind, and I sigh. Long ago I came to the realization that painful memories are persistent. The agony of them stays with you much longer, sharper, and clearer than sweet memories, that soften and assume a hazy, rosy glow in your mind, almost as if they have been airbrushed. Remembrance of pain is different; there is no muting of colors, no blurring of edges. No, its colors remain stark and bold, a palette of vibrant primary reds, blues, and yellows; its edges stay defined and razor sharp. Years later it can still cut you as deeply, make you bleed as profusely, as the day it was formed. FROM AN UNTITLED WORK IN PROGRRESS

For what people of color quickly come to see—in a sense the primary epistemic principle of the racialized social epistemology of which they are the object—is that they are not seen at all. Correspondingly, the “central metaphor” of W. E. B. Du Bois’s The Souls of Black Folk is the image of the “veil,”20 and the black American cognitive equivalent of the shocking moment of Cartesian realization of the uncertainty of everything one had taken to be knowledge is the moment when for Du Bois, as a child in New England, “it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their [white] world by a vast veil.”21 Similarly, Ralph Ellison’s classic Invisible Man, generally regarded as the most important twentieth-century novel of the black experience, is arguably in key respects—while a multi-dimensional and multi-layered work of great depth and complexity, not to be reduced to a single theme—an epistemological novel.22 For what it recounts is the protagonist’s quest to determine what norms of belief are the right ones in a crazy looking-glass world where he is an invisible man “simply because [white] people refuse to see me… . When they approach me they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me.” And this systematic misperception is not, of course, due to biology, the intrinsic properties of his epidermis, or physical deficiencies in the white eye, but rather to “the construction of their inner eyes, those eyes with which they look through their physical eyes upon reality.”23

King’s primary responsibility, though, was to issue a call for action, and stress the need to expand the struggle on all fronts. Up to now we have thought of the color question as something which could be solved in and of itself. We know now that while it [is] necessary to say ‘No’ to racial injustice, this must be followed by a positive program of action: the struggle for the right to vote, for economic uplift of the people. A part of this is the realization that men are truly brothers, that the Negro cannot be free so long as there are poor and underprivileged white people.… Equality for Negroes is related to the greater problem of economic uplift for Negroes and poor white men. They share a common problem and have a common interest in working together for economic and social uplift. They can and must work together.

The Motive for Metaphor" You like it under the trees in autumn, Because everything is half dead. The wind moves like a cripple among the leaves And repeats words without meaning. In the same way, you were happy in spring, With the half colors of quarter-things, The slightly brighter sky, the melting clouds, The single bird, the obscure moon-- The obscure moon lighting an obscure world Of things that would never be quite expressed, Where you yourself were not quite yourself, And did not want nor have to be, Desiring the exhilarations of changes: The motive for metaphor, shrinking from The weight of primary noon, The A B C of being, The ruddy temper, the hammer Of red and blue, the hard sound-- Steel against intimation--the sharp flash, The vital, arrogant, fatal, dominant X. Wallace Stevens, Transport to Summer (1947)

Situated in the center of family values debates is an imagined traditional family ideal. Formed through a combination of marital and blood ties, "normal" families should consist of heterosexual, racially homogeneous couples who produce their own biological children. Such families should have a specific authority structure, namely, a father-head earning an adequate family wage, a stay-at-home wife and mother, and children. Idealizing the traditional family as a private haven from a public world, family is seen as being held together through primary emotional bonds of love and caring. assuming a relatively fixed sexual division of labor, wherein women's roles are defined as primarily in the home with men's in the public world of work, the traditional family ideal also assumes the separation of work and family. Defined as a natural or biological arrangement based on heterosexual attraction, instead this monolithic family type is actually supported by government policy. It is organized not around a biological core, but a state-sanctioned, heterosexual marriage that confers legitimacy not only on the family structure itself but on children born in this family. In general, everything the imagined traditional family ideal is thought to be, African-American families are not. Two elements of the traditional family ideal are especially problematic for African-American women. First, the assumed split between the "public" sphere of paid employment and the "private" sphere of unpaid family responsibilities has never worked for U.S. Black women. Under slavery, U.S. Black women worked without pay in the allegedly public sphere of Southern agriculture and had their family privacy routinely violated. Second, the public/private binary separating the family households from the paid labor market is fundamental in explaining U.S. gender ideology. If one assumes that real men work and real women take care of families, then African-Americans suffer from deficient ideas concerning gender. in particular, Black women become less "feminine," because they work outside the home, work for pay and thus compete with men, and their work takes them away from their children. Framed through this prism of an imagined traditional family ideal, U.S. Black women's experiences and those of other women of color are typically deemed deficient. Rather than trying to explain why Black women's work and family patterns deviate from the seeming normality of the traditional family ideal, a more fruitful approach lies in challenging the very constructs of work and family themselves. Understandings of work, like understandings of family, vary greatly depending on who controls the definitions.

I went to grab the perfect shade of green and realized I didn’t have it. How could bamboo be colored with primary green? I blew out a frustrated breath and looked back into the box. Rand was crouched beside me, his hand resting gently on my back. His touch was light but also strong and reassuring. I couldn’t help but lean into him, even if I swore to myself I wasn’t. “What’s wrong?” “This green isn’t right for the bamboo.” Because that was the most normal sentence I’d ever uttered. “What about these colors?” he pulled out a pink crayon, then a blue, and finally a purple. “Bamboo is green! But it isn’t primary green.” To his credit, Rand didn’t look at me like I had four heads. But then again, he picked up the blue crayon and handed it to me. “I think blue and pink and purple bamboo would be perfect.” My mouth hung open, and I tried to argue. “No! No, it’s not.” Rand rubbed his hand over my head. “Kyle, it’s coloring in a children’s coloring book. You aren’t entering this into an art contest. It can be blue and purple and yellow and orange if you want it to be. It can be out of the lines, it can be scribbles on the page. You aren’t trying to imitate life right now. You’re coloring a picture that I can hang on the fridge and we can smile at.” “The fridge?” “I’m going to take the green away completely if you keep worrying about it.” I gasped in horror. “You wouldn’t!” I needed the green. Rand raised an eyebrow at me, asking me if I wanted to push it. I shut my mouth quickly and picked up the light-blue color he was holding out to me. Could bamboo really be light blue? I bit my lip as I put the blue to the paper and colored the first few lines in smooth up and down motions. “It’s going to be beautiful,” Rand gushed. He was over exaggerating, but I felt myself swell with pride.

Galileo's mechanical world was only a partial representation of a finite number of probable worlds, each peculiar to a particular living species; and all these worlds are but a portion of the infinite number of possible worlds that may have once existed or may yet exist. But anything like a single world, common to all species, at all times, under all circumstances, is a purely hypothetical construction, drawn by inference from pathetically insufficient data, prized for the assurance of stability and intelligibility it gives, even though that assurance turns out, under severe examination, to be just another illusion. A butterfly or a beetle, a fish or a fowl, a dog or a dolphin, would have a different report to give even about primary qualities, for each lives in a world conditioned by the needs and environmental opportunities open to his species. In the gray visual world of the dog, smells, near and distant, subtle or violently exciting, probably play the part that colors do in man's world-though in the primal occupation of eating, the dog's world and man's world would approach each other more closely.

the Man of Fancy preceded the company to another noble saloon, the pillars of which were solid golden sunbeams taken out of the sky in the first hour in the morning. Thus, as they retained all their living lustre, the room was filled with the most cheerful radiance imaginable, yet not too dazzling to be borne with comfort and delight. The windows were beautifully adorned with curtains made of the many-colored clouds of sunrise, all imbued with virgin light, and hanging in magnificent festoons from the ceiling to the floor. Moreover, there were fragments of rainbows scattered through the room; so that the guests, astonished at one another, reciprocally saw their heads made glorious by the seven primary hues; or, if they chose,—as who would not?—they could grasp a rainbow in the air and convert it to their own apparel and adornment. But the morning light and scattered rainbows were only a type and symbol of the real wonders of the apartment. By an influence akin to magic, yet perfectly natural, whatever means and opportunities of joy are neglected in the lower world had been carefully gathered up and deposited in the saloon of morning sunshine. As may well be conceived, therefore, there was material enough to supply, not merely a joyous evening, but also a happy lifetime, to more than as many people as that spacious apartment could contain.

Having lost his mother, father, brother, an grandfather, the friends and foes of his youth, his beloved teacher Bernard Kornblum, his city, his history—his home—the usual charge leveled against comic books, that they offered merely an escape from reality, seemed to Joe actually to be a powerful argument on their behalf. He had escaped, in his life, from ropes, chains, boxes, bags and crates, from countries and regimes, from the arms of a woman who loved him, from crashed airplanes and an opiate addiction and from an entire frozen continent intent on causing his death. The escape from reality was, he felt—especially right after the war—a worthy challenge. He would remember for the rest of his life a peaceful half hour spent reading a copy of 'Betty and Veronica' that he had found in a service-station rest room: lying down with it under a fir tree, in a sun-slanting forest outside of Medford, Oregon, wholly absorbed into that primary-colored world of bad gags, heavy ink lines, Shakespearean farce, and the deep, almost Oriental mistery of the two big-toothed wasp-waisted goddess-girls, light and dark, entangled forever in the enmity of their friendship. The pain of his loss—though he would never have spoken of it in those terms—was always with him in those days, a cold smooth ball lodged in his chest, just behind his sternum. For that half hour spent in the dappled shade of the Douglas firs, reading Betty and Veronica, the icy ball had melted away without him even noticing. That was magic—not the apparent magic of a silk-hatted card-palmer, or the bold, brute trickery of the escape artist, but the genuine magic of art. It was a mark of how fucked-up and broken was the world—the reality—that had swallowed his home and his family that such a feat of escape, by no means easy to pull off, should remain so universally despised.

Consider, for example, a cichlid fish known as Haplochromis burtoni that comes from the lakes of East Africa.9 In this species, only a small number of males secure a breeding territory, and they are not discreet about their privileged social status. In contrast to their drably beige nonterritorial counterparts, territorial males sport bold splashes of red and orange, and intimidating black eye stripes. The typical day for a territorial male involves a busy schedule of unreconstructed masculinity: fighting off intruders, risking predation in order to woo a female into his territory, then, having inseminated her by ejaculating into her mouth, immediately setting off in pursuit of a new female. Add to this the fact that territorial males boast significantly larger testes and have higher circulating levels of testosterone than submissive nonterritorial males, and a T-Rex view of the situation seems almost irresistible. These high-T fish are kings indeed, presumably thanks to the effects of all that testosterone on their bodies, brain, and behavior. With a large dose of artistic license, we might even imagine the reaction were a group of feminist cichlid fish to start agitating for greater territorial equality between the sexes. It’s not discrimination, the feminist fish would be told, in tones of regret almost thick enough to hide the condescension, but testosterone. But even in the cichlid fish, testosterone isn’t the omnipotent player it at first seems to be. If it were, then castrating a territorial fish would be a guaranteed method of bringing about his social downfall. Yet it isn’t. When a castrated territorial fish is put in a tank with an intact nonterritorial male of a similar size, the castrated male continues to dominate (although less aggressively). Despite his flatlined T levels, the status quo persists.10 If you want to bring down a territorial male, no radical surgical operations are required. Instead, simply put him in a tank with a larger territorial male fish. Within a few days, the smaller male will lose his bold colors, neurons in a region of the brain involved in gonadal activity will reduce in size, and his testes will also correspondingly shrink. Exactly the opposite happens when a previously submissive, nonterritorial male is experimentally maneuvered into envied territorial status (by moving him into a new community with only females and smaller males): the neurons that direct gonadal growth expand, and his testes—the primary source of testosterone production—enlarge.11 In other words, the T-Rex scenario places the chain of events precisely the wrong way around. As Francis and his colleagues, who carried out these studies, conclude: “Social events regulate gonadal events.”12

There are not more than five primary colors, yet in combination they produce more hues than can ever be seen. —SUN TZU, The Art of War

Her bronze hair was whipped by the wind, blown like petals around her face. She was the only splash of color in the bone gray of the shore, and later he would think that he was like an infant in that instant, his eyes just beginning to see in something more than black and white, beginning to see in primary colors. Anyway, he was drawn to her, as a child reaches for the first flower he sees as being yellow. And he was surprised by this stirring towards her, surprised as if by seeing yellow for the first time.

First to bloom in the primary colors of yellow, blue, and red are the Fool, the Hanged Man, and the Aeon. These three personify the powers and qualities of the three mother letters of the Hebrew alphabet and the primitive elements of air, water, and fire.69

First to bloom in the primary colors of yellow, blue, and red are the Fool, the Hanged Man, and the Aeon. These three personify the powers and qualities of the three mother letters of the Hebrew alphabet and the primitive elements of air, water, and fire.69 Figure 10. Three Petals of the elemental trumps. Next to flower in the primary and secondary colors of the rainbow (scarlet, orange, yellow, green, blue, indigo, and violet) are the Tower, the Sun, the Magus, the Empress, the High Priestess, the Universe, and Fortune. These seven trumps personify the powers and qualities of the seven double letters of the Hebrew alphabet and the seven planets of the ancients: Mars, Sol, Mercury, Venus, Luna, Saturn, and Jupiter. Figure 11. Seven petals of the planetary trumps.

Last to burst forth in a riot of primary, secondary, and intermediate colors (scarlet, orange-red, orange, amber, yellowish-green, emerald green, greenish-yellow, green-blue, blue, indigo, violet, and crimson ultraviolet) are the Emperor, the Hierophant, the Lovers, the Chariot, Lust, the Hermit, Adjustment, Death, Art, the Devil, the Star, and the Moon. These trumps personify the powers and qualities of the twelve simple letters of the Hebrew alphabet and the twelve signs of the zodiac: Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, and Pisces. Figure 12. Twelve petals of the zodiacal trumps.

Her imagination arranged the oatcakes, rissoles and dumplings into a still life, and even with complimentary lighting, it was a rather cheerless composition. She found herself wanting to add a single satsuma to the canvas to give it a splash of color and a contrast of texture, a pomegranate, an aubergine, or even a humble tomato. But that wasn't English cooking, was it? She looked at the pile of letters. "We are not a country that cooks in primary colors," she said aloud, experimentally, testing the words as her mouth formed them. How pleasurable it would be to write about a ratatouille made from sweet end-of-summer tomatoes, apricot-colored chanterelles fried in butter with flecks of bright green parsley, or red mullet grilled over vine prunings and served with spoonfuls of golden aioli

Suddenly Elizabeth feels, not lonely, but single, alone. She can’t remember the last time anyone other than her children helped her to do something. She knows it rains in China, even though it does not rain in this pictures. She knows the people there do not invariably smile, do not all have such white teeth and rosy cheeks. Underneath the poster-paint colors, primary as a child’s painting, there is malice, greed, despair, hatred, death. How could she not know that? China is not paradise; paradise does not exist. Even the Chinse know it, they must know it, they live there. Like cavemen, they paint not what they see but what they want.

That self-confidence only blossomed into full-blown delusion as I got older. Eventually, the braids were replaced by a bob cut with bangs that had the presence Tina Yothers’s bangs did at her peak during Family Ties. Wait till these white boys at my new school get a whiff of me, I’d tell myself as I got dressed in the morning. Oh, they definitely did. And if Calvin Klein were to bottle that odor, it would have been called: Eau de Weary Grandmother at Post Office Who Hums a Negro Spiritual Parfum. Rolls off the tongue, doesn’t it? To make matters worse, I often paired my asexual hairdo with lived-in black dress shoes, pleated khakis, and a primary-colored turtleneck from Eddie Bauer. At best, this outfit could be described as “Jehovah Witness Chic,” and at worst, “recent Heaven’s Gate defector.” This, my friends, was the milk shake that did not bring all the boys to the yard. It was the milk shake that made them go, “You know, I’m really not into dairy right now.

A professor said that all she needed were the three primary colors of red, yellow, and green to make many other colors. She was wrong. Why is that?

The declaration and escalation of the War on Drugs marked a moment in our past when a group of people defined by race and class was viewed and treated as the 'enemy.' A literal war was declared on a highly vulnerable population, leading to a wave of punitiveness that permeated every aspect of our criminal justice system and redefined the scope of fundamental constitutional rights. The war mentality resulted in the militarization of local police departments and billions invested in drug law enforcement at the state and local levels. It also contributed to astronomical expenditures for prison building for people convicted of all crimes and the slashing of billions from education, public housing and welfare programs, as well as a slew of legislation authorizing legal discrimination against millions of people accused of drug offenses, denying them access to housing, food stamps, credit, basic public benefits, and financial aid for schooling. This war did not merely increase the number of people in prisons and jails. It radically altered the life course of millions, especially black men who were the primary targets in the early decades of the war. Their lives and families were destroyed for drug crimes that were largely ignored on the other side of town. Those who define 'mass incarceration' narrowly, to include only individuals currently locked in prisons or jails, erase from public view the overwhelming majority of people ensnared by the system. Twice as many people are on probation or parole in this country as are locked in literal cages. The United States has a staggering 2.3 million people in prison-a higher rate of incarceration than any country in the world-but it also has another 4.5 million people under state control outside of prisons, on probation or parole. More than 70 million Americans-over 20 percent of the entire U.S. population, overwhelming poor and disproportionately people of color-now have criminal records that authorize legal discrimination for life. The New Jim Crow was intended to help people see that it is a serious mistake to think of mass incarceration as simply a problem of too many people in prisons and jails. It is that, but it is also much, much more. Prison statistics barely begin to capture the enormity of this crisis. And yet for too many, the discussion begins and ends there.

The most self-consciously visual of all political forms, fascism presents itself to us in vivid primary images: a chauvinist demagogue haranguing an ecstatic crowd; disciplined ranks of marching youths; colored-shirted militants beating up members of some demonized minority; surprise invasions at dawn; and fit soldiers parading through a captured city. Examined more closely, however, some of these familiar images induce facile errors. The image of the all-powerful dictator personalizes fascism, and creates the false impression that we can understand it fully by scrutinizing the leader alone. This image, whose power lingers today, is the last triumph of fascist propagandists. It offers an alibi to nations that approved or tolerated fascist leaders, and diverts attention from the persons, groups, and institutions who helped him. We need a subtler model of fascism that explores the interaction between Leader and Nation, and between Party and civil society.

Not all masterpieces are painted in primary colors. Some of them are as dark as midnight and as red as blood.

Let’s say an older child has grown up with episodic domestic violence; when he was younger he saw his father belittling and hitting his mother. This happened at an important period of brain development, when he was making primary “memories” to make sense of his world. His brain comes to associate attributes of men with threat; a loud, low, masculine voice is connected with fear. Five years after these associations and memories were made, this young student has a male English teacher who happens to look a little like his abusive father—about the same height, same hair color, deep voice. The boy is not capable of consciously making the connection, but simply sitting in the classroom gives him a feeling of discomfort. This originates in those pre-cortical, lower parts of the brain; it’s subconscious.

Do not allow white group members to treat their discomfort as harm done to them. Remember, the primary focus of this book—and therefore, hopefully, your discussion group—is how we can talk about the systemic harm done to people of color by a white supremacist society. It is the instinct of our culture to center white emotions and experiences; don’t let that happen in these discussions. The comfort of white attendees should be very, very far down on the priority list. If white attendees feel strongly that they need to center their feelings and experiences in the discussion, set up a space away from the group where

Undoing their objectivization as goods to be bought and sold, therefore, required not only that captives escape the physical hold exerted on them by the forts, factories, and other coastal facilities used to incarcerate them but, more difficult still, that they reverse their own transformation into commodities, by returning to a web of social bonds that would tether them safely to the African landscape, within the fold of kinship and community. For most, as we have seen, distance made return to their home communities impossible. The market, they learned, made return to any form of social belonging impossible as well. If they managed to escape from the waterside forts and factories, their value resided not in their potential to join communities as slave laborers, wives, soldiers, or in some other capacity, but rather in their market price. For most, the power of the market made it impossible to return to their previous state, that of belonging to (being ‘owned’ by) a community—to being possessed, that is, of an identity as a subject. Rather, the strangers the runaways encountered shared the vision of the officials at Cape Coast Castle: the laws of the market made fellow human beings see it as their primary interest to own as commodities these escaped captives, rather than to connection them as social subjects. More often than not, then, captives escaped only to be sold again. As Snelgrave’s language articulates so clearly, the logic of the market meant that enslavement was a misfortune for which no buyer needed to feel the burden of accountability. Indeed, according to the mercantile logic in force, buyers (of whatever nationality) could not bear the weight of political accountability. Buying people who had no evidence social value was not a violation or an act of questionable morality but rather a keen and appropriate response to opportunity; for this was precisely what one was supposed to do in the market: create value by exchange, recycle someone else’s castoffs into objects of worth. Thus, then, did the market exert its power—through its language, its categories, its logic. The alchemy of the market derived from its effectiveness in producing a counterfeit representation; it had become plausible that human beings could be so completely drained of social value, so severed from the community, that their lives were no longer beyond price: they could be made freely available in exchange for currency. The market painted in colors sufficiently believable as to seem true the appalling notion that ‘a human being could fail to be a person.

Still, both Rent and Spring Awakening ultimately use gay characters to bolster heteronormativity. Angel serves as the emotional touchstone of Rent, endlessly generous and hopeful, caring and sensitive. All mourn his death, which compels the other characters to look at their lives and choices. That Angel’s death enables the other characters to learn about themselves replicates a typical (tired) trope in which an Other (usually a person of color or a person with a disability) aids in the self-actualization of the principal character. Also, Collins and Angel have the most loving and healthy relationship, which the musical needs to eliminate so as not to valorize the gay male couple above all else. In addition, Joanne and Maureen sing a lively number, “Take Me or Leave Me,” but the musical doesn’t take their relationship seriously. Maureen is presented as a fickle, emotionally abusive, yet irresistible lover (Joanne and Mark’s duet, “The Tango Maureen”) and a less-than-accomplished artist (her “The Cow Jumped over the Moon” is a parody of performance art).15 In contrast, Mimi and Roger’s relationship lasts through the end of the musical, since Mimi comes back to life. This choice, one of the few that differs from Puccini’s La Bohème (which provides the primary situational basis for Rent), shows how beholden twentieth-century musicals—even tragedies—are to the convention of a heterosexually happy ending.

A cosa serve avere un vestito alla moda? A sentirsi parte del branco. Ma chi è il capo-branco? Qualcuno se le fa ancora queste domande? Qualcuno, ogni tanto, si chiede quali siano i bisogni primari e quali sia no quelli indotti? È vero, posso essere felice nel comprare finalmente il copri-telefonino del colore che volevo. Anche questo è un piacere, mi direte voi. Ma è un piacere che deriva dal soddisfare un bisogno indotto (indotto da qualcun altro) e non primario. Non è scritto nei nostri geni il colore giusto che il nostro telefonino deve avere. E allora, di fronte alla fatidica domanda, ma tu a cosa servi, rispondo con orgoglio: io cerco di fornire piacere, che renda la nostra vita un poco più degna di essere vissuta.

The only way for interaction and mutual influence between nothing and something is through the activity of the One we have chosen to call Something. This Something “colors” nothingness with its own colors. This Something envelopes Nothingness. Regardless of how strange it sounds, Nothingness is never full, not even a bit. The Immaterial Being envelops the Nothingness in the form of a “material” Being, the Universe, yet all the happenings of the Something (the Being, Universe) are immaterial “forces” transformed from its primordial stage based on the principles of interaction between the primary, secondary and tertiary qualities.

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

Moms of babies and toddlers often have no idea how much their children are soaking in early truths about the love of God … even through a song! The sketch they later develop of both God and themselves can be dramatically colored by the crayons of influence they're given in those primary years. We wonder if we're wasting our breath on such young ears and don't see a correlation when our children develop an affection for God later. Our early encouragements are not guarantees, but when we lead them by the hand down the path, they'll know where to find Him long after they've let go of us. Mercifully, God makes Himself discoverable to those who search even if the jungle is deep and the path totally unfamiliar. He tenderly offers them His own hand.

The primary indicator light for a C2 is their social and relational resume.

The world-wide struggle between the primary races of mankind—the ‘conflict of color,’ as it has been happily termed—bids fair to be the fundamental problem of the twentieth century, and great communities like the United States of America, the South African Confederation, and Australasia

As to the 1,150,000,000 of the colored world, they are divided, as already stated, into four primary categories: yellows, browns, blacks, and reds.

She told me, years later, that it was the lack of adult interaction that was really driving her nuts. All those hours with nursery rhymes, and Barney, and primary-colored blocks. She wasn't built for it. She had a sneaking suspicion no woman really was, only no one ever wanted to admit it.

The primary function of your senses is to stop yourself from experiencing the universe, whose infinite information would otherwise overwhelm and madden you. Eyes that once simplified the world into finite wavelengths of color closed for the last time, and then I saw everything. Ears once deaf to cosmic music sung by the birth of stars, the communal heartbeat of the human race, and the haunting pop of each collapsing universe now concealed them no longer.

In his Principles of Psychology, James already criticized what he took to be the artificial and deeply misleading traditional empiricist accounts of experience. Experience does not consist of discrete atomic units that simply follow or are associated with each other. This is an intellectualist abstraction of philosophers, not an account of concrete experience as it is lived. James emphasizes the dynamic, flowing quality of the “stream of experience” – what he sometimes called the “muchness” and pluralistic variety of experience. Contrary to Hume and those influenced by him, James argued that we experience “relations,” “continuity,” and “connections” directly. We experience activity – its tensions, resistances, and tendencies. We feel “the tendency, the obstacle, the will, the strain, the triumph, or the passive giving up, just as [we feel] the time, the space, the swiftness or intensity, the movement, the weight and color, the pain and pleasure, the complexity, or whatever remaining characters the situation may involve” (James 1997, p. 282). He does not denigrate or underestimate the importance of our conceptual activity, but concepts are never quite adequate to capture the concreteness of experience. To say this is not to claim that there is something about experience that is in principle knowable, but that we cannot know. Rather, it is to affirm that there is more to experience than knowing. James criticizes the epistemological prejudice, which assumes that the only or primary role that experience plays in our lives is to provide us with knowledge. Paraphrasing Hamlet, James might well have said to his fellow philosophers: “There are more things in experience than are dreamt of in your philosophy.

Middlemarch.