Prints And Patterns Quotes

I love the book. I love the feel of a book in my hands, the compactness of it, the shape, the size. I love the feel of paper. The sound it makes when I turn a page. I love the beauty of print on paper, the patterns, the shapes, the fonts. I am astonished by the versatility and practicality of The Book. It is so simple. It is so fit for its purpose. It may give me mere content, but no e-reader will ever give me that sort of added pleasure.

It may be that we exist and cease to exist in alternations, like the minute dots in some forms of toned printing or the succession of pictures on a cinema film. It may be that reality is an illusion of movement in an eternal, static, multidimensional universe. We may be only a story written on the ground of the inconceivable; the pattern on a rug beneath the feet of the incomprehensible.

Some people spend their whole lives looking for themselves, yet our self is the one thing we surely cannot lose (how like a cheap philosopher I am become, staying in this benighted place). From the moment we are conceived it is the pattern in our blood and our bones are printed through with it like sticks of seaside rock. Nora, on the other hand, says that she’s surprised anyone knows who they are, considering that every cell and molecule in our bodies has been replaced many times over since we were born.

She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narciso, a revelation also trembled just past the threshold of her understanding.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

She hates that word. Nice is what you call ice cream, or a paper doily, or fluffy bunny rabbit print pattern.

The childish and savage taste of men and women for new patterns keeps how many shaking and squinting through kaleidoscopes that they may discover the particular figure which this generation requires to-day. The manufacturers have learned that this taste is merely whimsical. Of two patterns which differ only by a few threads more or less of a particular color, the one will be sold readily, the other lie on the shelf, though it frequently happens that after the lapse of a season the latter becomes the most fashionable. Comparatively, tattooing is not the hideous custom which it is called. It is not barbarous merely because the printing is skin-deep and unalterable.

The Creator of all men and all things has provided the challenge of change, the necessity for acceptance, and variations of all patterns. We live by change, by struggle and the unexpected; for only in change, struggle, and the unexpected can we achieve growth.

Where the piano is, there is one's treasure, as far as I am concerned....nothing, surely, is more delightful than sitting down at the piano on a summer day, and playing Chopin or Debussy while the natural sunlight drifts over one's shoulders through the vines outside, creating a filigree of shadow in the printed page...a shifting pattern of ghostly leaf and blossom that dances to the mood of the music.

Quantum physicists discovered that physical atoms are made up of vortices of energy that are constantly spinning and vibrating; each atom is like a wobbly spinning top that radiates energy. Because each atom has its own specific energy signature (wobble), assemblies of atoms (molecules) collectively radiate their own identifying energy patterns. So every material structure in the universe, including you and me, radiates a unique energy signature. If it were theoretically possible to observe the composition of an actual atom with a microscope, what would we see? Imagine a swirling dust devil cutting across the desert’s floor. Now remove the sand and dirt from the funnel cloud. What you have left is an invisible, tornado-like vortex. A number of infinitesimally small, dust devil–like energy vortices called quarks and photons collectively make up the structure of the atom. From far away, the atom would likely appear as a blurry sphere. As its structure came nearer to focus, the atom would become less clear and less distinct. As the surface of the atom drew near, it would disappear. You would see nothing. In fact, as you focused through the entire structure of the atom, all you would observe is a physical void. The atom has no physical structure—the emperor has no clothes! Remember the atomic models you studied in school, the ones with marbles and ball bearings going around like the solar system? Let’s put that picture beside the “physical” structure of the atom discovered by quantum physicists. No, there has not been a printing mistake; atoms are made out of invisible energy not tangible matter! So in our world, material substance (matter) appears out of thin air. Kind of weird, when you think about it. Here you are holding this physical book in your hands. Yet if you were to focus on the book’s material substance with an atomic microscope, you would see that you are holding nothing. As it turns out, we undergraduate biology majors were right about one thing—the quantum universe is mind-bending. Let’s look more closely at the “now you see it, now you don’t” nature of quantum physics. Matter can simultaneously be defined as a solid (particle) and as an immaterial force field (wave). When scientists study the physical properties of atoms, such as mass and weight, they look and act like physical matter. However, when the same atoms are described in terms of voltage potentials and wavelengths, they exhibit the qualities and properties of energy (waves). (Hackermüller, et al, 2003; Chapman, et al, 1995; Pool 1995) The fact that energy and matter are one and the same is precisely what Einstein recognized when he concluded that E = mc2. Simply stated, this equation reveals that energy (E) = matter (m, mass) multiplied by the speed of light squared (c2). Einstein revealed that we do not live in a universe with discrete, physical objects separated by dead space. The Universe is one indivisible, dynamic whole in which energy and matter are so deeply entangled it is impossible to consider them as independent elements.

It’s printed in the Earthman’s brainwave patterns,” continued Marvin, “but I don’t suppose you’ll be very interested in knowing that.” “You mean,” said Arthur, “you mean you can see into my mind?” “Yes,” said Marvin. Arthur stared in astonishment. “And…?” he said. “It amazes me how you can manage to live in anything that small.” “Ah,” said Arthur, “abuse.” “Yes,” confirmed Marvin. “Ah, ignore him,” said Zaphod, “he’s only making it up.” “Making it up?” said Marvin, swiveling his head in a parody of astonishment. “Why should I want to make anything up? Life’s bad enough as it is without wanting to invent any more of it.

The Deliverator had to borrow some money to pay for it. Had to borrow it from the Mafia, in fact. So he's in their database now—retinal patterns, DNA, voice graph, fingerprints, footprints, palm prints, wrist prints, every fucking part of the body that had wrinkles on it—almost—those bastards rolled in ink and made a print and digitized it into their computer.

Thіѕ рrосеѕѕ of іdеntіfуіng patterns іn уоur unсоnѕсіоuѕ mіnd аnd аltеrіng уоur соnѕсіоuѕ асtіоnѕ іn rеѕроnѕе tо thеm іѕ what Jung саllеd іndіvіduаtіоn. Thrоugh іndіvіduаtіоn, wе саn соuntеr оur nеgаtіvе сhаrасtеr trаіtѕ, unlосk nеw сrеаtіvе tаlеntѕ, аnd соmе tо tеrmѕ wіth оur реrѕоnаl ѕtrugglеѕ.

The small pergola that Michael had built was covered in loops of jasmine, and Lara's flower beds were blazing with color. Blowsy white peonies, dusky purple irises with golden stripes, pale orange poppies with sooty centers. The first tea roses of the year were budding. Elinas, pink petals tipped with crimson, and the ivory Jeanne Moreaus that smelled faintly of lemons. Lara wanted to pick one and put it on the breakfast tray, but Michael hated cut flowers. She went back inside and began to set the tray. Her mother's blue Venetian glass dish filled with raspberries. Orange juice in a white jug. A honey pot with a wooden dipper. Sunshine streamed in through the window, warming the terra-cotta tiles beneath her bare feet. She could not have cut flowers in the house so she had pictures of them instead. Two huge framed Georgia O'Keefe poppy prints. An apron with a pattern of climbing roses. A wooden clock that Phil had given her with a pendulum in the shape of a red rose.

He couldn’t have known it, but among the original run of The History of Love, at least one copy was destined to change a life. This particular book was one of the last of the two thousand to be printed, and sat for longer than the rest in a warehouse in the outskirts of Santiago, absorbing the humidity. From there it was finally sent to a bookstore in Buenos Aires. The careless owner hardly noticed it, and for some years it languished on the shelves, acquiring a pattern of mildew across the cover. It was a slim volume, and its position on the shelf wasn’t exactly prime: crowded on the left by an overweight biography of a minor actress, and on the right by the once-bestselling novel of an author that everyone had since forgotten, it hardly left its spine visible to even the most rigorous browser. When the store changed owners it fell victim to a massive clearance, and was trucked off to another warehouse, foul, dingy, crawling with daddy longlegs, where it remained in the dark and damp before finally being sent to a small secondhand bookstore not far from the home of the writer Jorge Luis Borges. The owner took her time unpacking the books she’d bought cheaply and in bulk from the warehouse. One morning, going through the boxes, she discovered the mildewed copy of The History of Love. She’d never heard of it, but the title caught her eye. She put it aside, and during a slow hour in the shop she read the opening chapter, called 'The Age of Silence.' The owner of the secondhand bookstore lowered the volume of the radio. She flipped to the back flap of the book to find out more about the author, but all it said was that Zvi Litvinoff had been born in Poland and moved to Chile in 1941, where he still lived today. There was no photograph. That day, in between helping customers, she finished the book. Before locking up the shop that evening, she placed it in the window, a little wistful about having to part with it. The next morning, the first rays of the rising sun fell across the cover of The History of Love. The first of many flies alighted on its jacket. Its mildewed pages began to dry out in the heat as the blue-gray Persian cat who lorded over the shop brushed past it to lay claim to a pool of sunlight. A few hours later, the first of many passersby gave it a cursory glance as they went by the window. The shop owner did not try to push the book on any of her customers. She knew that in the wrong hands such a book could easily be dismissed or, worse, go unread. Instead she let it sit where it was in the hope that the right reader might discover it. And that’s what happened. One afternoon a tall young man saw the book in the window. He came into the shop, picked it up, read a few pages, and brought it to the register. When he spoke to the owner, she couldn’t place his accent. She asked where he was from, curious about the person who was taking the book away. Israel, he told her, explaining that he’d recently finished his time in the army and was traveling around South America for a few months. The owner was about to put the book in a bag, but the young man said he didn’t need one, and slipped it into his backpack. The door chimes were still tinkling as she watched him disappear, his sandals slapping against the hot, bright street. That night, shirtless in his rented room, under a fan lazily pushing around the hot air, the young man opened the book and, in a flourish he had been fine-tuning for years, signed his name: David Singer. Filled with restlessness and longing, he began to read.

It was readily apparent that Millie was fond of geometric patterns. Today she wore double diamond checks. Her blouse in black and white, her skirt in bright teal. Around her neck she wore a scarf printed with random blocks of gray and gold. Out of sight, hanging in the tiny wardrobe of her room, were five striped blouses, two sweaters knit in intricate cables of intersecting colors. Also three tartan plaid skirts and one pair of unusual trousers, blue and yellow. She wore brown-and-white saddle shoes, which she constantly thought of decorating with fine black lines.

Words are anchors for sense experience, but the experience is not the reality, and the word is not the experience. Language is thus two removes from reality. To argue about the real meaning of a word is rather like arguing that one menu tastes better than another because you prefer the food that is printed on it...To come to believe that the external world is patterned by the way we talk about it is even worse than eating the menu - it is eating the printing ink on the menu. Words can be combined and manipulated in ways that have nothing to do with sensory experience.

A great textile, like the William Morris Strawberry Thief, is a pice of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

She thought about his naked chest again. Her memory of it both fascinated and repelled her. Hair. It had been there again as they had argued in the bathroom. She shuddered. Who would have thought? Yet she had studied it with surreptitious care: a pattern of dark hair, two perfect swirls that converged to become a dense pattern in the crevice between chest muscles, then (when he pulled hi arms away to push back his hair) ran in a dark, ever-narrowing line, like an arrow pointing downward. Mick Tremore in the rude, as it were. This way to the widge. (hardcover, large print, page 78)

she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

Maybe at the end of our lives we get a Ferris-Wheel vantage of the whole tapestry, the quilt laid flat, answering for its complexity. At the beginning we’re handed frayed and stained flowery bed sheets, a scrap of polka-dots, a snatch of strawberry print. Tattered as they are, there’s some sustaining sweetness in there. The oldest pioneer quilts conceal bits of paper batting between their threadbare layers: postcards, recipes, clipped snippets of newspaper poetry. Every spare material had a part to play, fragments of experience and feeling arranged in a repeating pattern, little sewn sound bytes spinning ordered fractals.

Take out a sheet of paper and list your last ten major decisions, the ones that really shook things up. Look at your list and ask yourself: Were these all necessary, or were they hand grenades? Look for patterns in the decisions that weren’t necessary. Were you rushing? Micromanaging? Penny-pinching? Then, if you see a pattern emerge, write down your current assassin. Bonus: If you really want to have fun with this, you could always print off a picture of a target and write in “The Supervisor” or “The Speed Demon” or whatever assassin you’re currently facing. Then fold up that target and put it in your wallet or purse and carry it around with you.

Absence " Then the birds stitching the dawn with their song have patterned your name. Then the green bowl of the garden filling with light is your gaze. Then the lawn lengthening and warming itself is your skin. Then a cloud disclosing itself overhead is your opening hand. Then the first seven bells from the church pine on the air. Then the sun's soft bite on my face is your mouth. Then a bee in a rose is your fingertip touching me here. Then the trees bending and meshing their leaves are what we would do. Then my steps to the river are text to a prayer printing the ground. Then the river searching its bank for your shape is desire. Then a fish nuzzling for the water's throat has a lover's ease. Then a shawl of sunlight dropped in the grass is a garment discarded. Then a sudden scatter of summer rain is your tongue. Then a butterfly paused on a trembling leaf is your breath. Then the gauzy mist relaxed on the ground is your pose. Then the fruit from the cherry tree falling on grass is your kiss, your kiss. Then the day's hours are theatres of air where I watch you entranced. Then the sun's light going down from the sky is the length of your back. Then the evening bells over the rooftops are lovers' vows. Then the river staring up, lovesick for the moon, is my long night. Then the stars between us are love urging its light.

The introduction of cinematography enabled us to corral time past and thus retain it not merely in the memory - at best, a falsifying receptacle - but in the objective preservative of a roll of film. But, if past, present and future are the dimensions of time, they are notoriously fluid. There is no tension in the tenses and yet they are always tremulously about to coagulate. The present is a liquid jelly which settles into a quivering, passive mass, the past, as soon as - if not sooner than - we are aware of it as present. Yet this mass was intangible and existed only conceptually until arrival of the preservative, cinema. The motion picture is usually regarded as only a kind of shadow play and few bother to probe the ontological paradoxes it presents. For it offers us nothing less than the present tense experience of time irrefutably past. So that the coil of film has, as it were, lassoed inert phenomena from which the present had departed, and when projected upon a screen, they are granted a temporary revivification. [...] The images of cinematography, however, altogether lack autonomy. Locking in programmed patterns, they merely transpose time past into time present and cannot, by their nature, respond to the magnetic impulses of time future for the unachievable future which does not exist in any dimension, but nevertheless organizes phenomena towards its potential conclusions. The cinematographic model is one of cyclic recurrences alone, even if these recurrences are instigated voluntarily, by the hand of man viz. the projectionist, rather than the hand of fate. Though, in another sense, the action of time is actually visible in the tears, scratches and thumbprints on the substance of the film itself, these are caused only by the sly, corrosive touch of mortality and, since the print may be renewed at will, the flaws of aging, if retained, increase the presence of the past only by a kind of forgery, as when a man punches artificial worm-holes into raw or smokes shadows of fresh pain with a candle to produce an apparently aged artefact. Mendoza, however, claimed that if a thing were sufficiently artificial, it became absolutely equivalent to the genuine.

I don’t think I know Strawberry Thief,” Sadie said. “One moment,” Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.” Sadie caressed the thick cotton.

The more difficult it becomes to process a series of statements, the less credit you give them overall. During metacognition, the process of thinking about your own thinking, if you take a step back and notice that one way of looking at an argument is much easier than another, you will tend to prefer the easier way to process information and then leap to the conclusion that it is also more likely to be correct. In experiments where two facts were placed side by side, subjects tended to rate statements as more likely to be true when those statements were presented in simple, legible type than when printed in a weird font with a difficult-to-read color pattern. Similarly, a barrage of counterarguments taking up a full page seems to be less persuasive to a naysayer than a single, simple, powerful statement.

Man tends to regard the order he lives in as natural. The houses he passes on his way to work seem more like rocks rising out of the earth than like products of human hands. He considers the work he does in his office or factory as essential to the har­monious functioning of the world. The clothes he wears are exactly what they should be, and he laughs at the idea that he might equally well be wearing a Roman toga or medieval armor. He respects and envies a minister of state or a bank director, and regards the possession of a considerable amount of money the main guarantee of peace and security. He cannot believe that one day a rider may appear on a street he knows well, where cats sleep and chil­dren play, and start catching passers-by with his lasso. He is accustomed to satisfying those of his physio­logical needs which are considered private as dis­creetly as possible, without realizing that such a pattern of behavior is not common to all human so­cieties. In a word, he behaves a little like Charlie Chaplin in The Gold Rush, bustling about in a shack poised precariously on the edge of a cliff. His first stroll along a street littered with glass from bomb-shattered windows shakes his faith in the "naturalness" of his world. The wind scatters papers from hastily evacuated offices, papers labeled "Con­fidential" or "Top Secret" that evoke visions of safes, keys, conferences, couriers, and secretaries. Now the wind blows them through the street for anyone to read; yet no one does, for each man is more urgently concerned with finding a loaf of bread. Strangely enough, the world goes on even though the offices and secret files have lost all meaning. Farther down the street, he stops before a house split in half by a bomb, the privacy of people's homes-the family smells, the warmth of the beehive life, the furniture preserving the memory of loves and hatreds-cut open to public view. The house itself, no longer a rock, but a scaffolding of plaster, concrete, and brick; and on the third floor, a solitary white bath­ tub, rain-rinsed of all recollection of those who once bathed in it. Its formerly influential and respected owners, now destitute, walk the fields in search of stray potatoes. Thus overnight money loses its value and becomes a meaningless mass of printed paper. His walk takes him past a little boy poking a stick into a heap of smoking ruins and whistling a song about the great leader who will preserve the nation against all enemies. The song remains, but the leader of yesterday is already part of an extinct past.

(1) Phonological awareness is recognizing the sound structures of spoken language, not just the meanings it conveys. This is a reading prerequisite. (2) Phonemic awareness is the skill of recognizing and manipulating individual speech sounds or phonemes. Students must be able to segment words and syllables into phonemes to learn to read. (3) The Alphabetic Principle is the concept that printed language consists of alphabet letters that are deliberately and systematically related to the individual sounds of spoken language. Reading depends on understanding this concept. (4) Orthographic awareness is recognition of printed language structures, such as orthographic rules, patterns in spelling; derivational morphology and inflectional morphology, i.e. structural changes indicating word types and grammatical differences; and etymology, i.e. word and meaning

Yes, I do think the ruling class in America would like to grab everything for themselves, because they were brought up that way, and early American Puritans somehow had it wired into their religion that poverty is a sign that God doesn't like you, that you're not "saved," that money, on the other hand, is a sign of God's approval. They say the middle class in this country is shrinking, but I don't really know who the "they" is in that sentence. I tend to think there's a natural process of balances -- that when the very rich press their luck too far, there's a danger of a backlash, and the rich know it. There's often a time when the bully on the playground does one bad thing too many and all the little weaklings gang up on him, and that's the end of that particular pattern. I look at that stuff as a novelist, and as a human being, but I try not to get too worked up about it. I think of myself as wearing the invisible tee shirt with "You can kill me but you can't impress me" printed on it. Every second I spend laughing is a second I don't have to think about Vice President Cheney, for instance.

The ingenuity and inventiveness of the Chinese, which have given so much to mankind—silk, tea, porcelain, paper, printing, and more—would no doubt have enriched China further and probably brought it to the threshold of modern industry, had it not been for this stifling state control. It is the State that kills technological progress in China. Not only in the sense that it nips in the bud anything that goes against or seems to go against its interests, but also by the customs implanted inexorably by the raison d’Etat. The atmosphere of routine, of traditionalism, and of immobility, which makes any innovation suspect, any initiative that is not commanded and sanctioned in advance, is unfavorable to the spirit of free inquiry.21 In short, no one was trying. Why try? Whatever the mix of factors, the result was a weird pattern of isolated initiatives and sisyphean discontinuities—up, up, up, and then down again—almost as though the society were held down by a silk ceiling. The result, if not the aim, was change-in-immobility; or maybe immobility-in-change. Innovation was allowed to go (was able to go) so far and no farther.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn’t simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again.” “I don’t think I know Strawberry Thief,” Sadie said. “One moment,” Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

HEY, LADY? IS THAT PRETTY DECORATION ON THE CURRY... REALLY A PIECE OF CHOCOLATE?!" "How is that even possible?!" "Do you see its delicate, complex design? And they're mass-producing it?! It even has a colorful swirl pattern on it!" "Not even a professional could manage something like this!" "It wasn't hard, really. I just printed those chocolates using a 3-D Food Printer." "A 3-D Printer? Oh, I've heard of those!" "But I didn't know you could use it to print food!" "Dark chocolate makes a perfect accent to curry, y'know. Take some 80 percent cacao chocolate, add a dash of curry spices to it and then print it out in totally cute designs with a 3-D Printer! Put it on top of some piping hot curry, and it will start to melt, adding a rich, colorful undertone to the flavor of the dish!" "Papa, I want some! Buy me that!" "Sure thing! Your papa wants to try it too!" "Mm! The curry itself smells so good I could melt! But then they go and add that beautiful chocolate topping?!" "Man, Totsuki students are amazing!" They like it. "That chocolate is, like, all bonus. It adds a colorful touch and a little sweet scent... without affecting the curry spices you balanced so carefully.

To state the proposition, generally, at the outset, I assert that the whole end and object of the Etiquette of Courtship and Matrimony is to insult, persecute, and degrade the bridegroom. I first became satisfied of this disgraceful fact at page thirty-six of the Hand Book or Manual. In the earlier part of the volume it was assumed that I had fallen in love, had made my offer, and had been accepted by my young woman and her family. Etiquette is hard on my heels all through those preliminary processes, and finally runs me down as soon as I appear in the character of an engaged man. My behaviour in my future wife’s company is of the last importance and there Etiquette has me, and never lets me go again. “In private,” says the Manual, “the slightest approach to familiarity must be avoided, as it will always be resented by a woman who deserves to be a wife.” So! I may be brimming over with affection; I may even have put on a soft waistcoat expressly for the purpose; but I am never to clasp my future wife with rapture to my bosom; I am never to print upon her soft cheek a momentary impression of the pattern of my upper shirt-stud! She is to keep me at arm’s length, in private as well as in public and I am actually expected to believe, all the time, that she is devotedly attached to me! First insult.

— ’tis flatten and fold, isn’t it, and flatten again, among the thicknesses of Hide, till presently you’ve these very thin Sheets of Gold-Leaf.” “Lamination,” Mason observes. “Lo, Lamination abounding,” contributes Squire Haligast, momentarily visible, “its purposes how dark, yet have we ever sought to produce these thin Sheets innumerable, to spread a given Volume as close to pure Surface as possible, whilst on route discovering various new forms, the Leyden Pile, decks of Playing-Cards, Contrivances which, like the Lever or Pulley, quite multiply the apparent forces, often unto disproportionate results. . . .” “The printed Book,” suggests the Revd, “— thin layers of pattern’d Ink, alternating with other thin layers of compress’d Paper, stack’d often by the Hundreds.” “Or an unbound Heap of Broadsides,” adds Mr. Dimdown, “dispers’d one by one, and multiplying their effect as they go.” The Macaroni is of course not what he seems, as which of us is?— the truth comes out weeks later, when he is discover’d running a clandestine printing Press, in a Cellar in Elkton. He looks up from the fragrant Sheets, so new that one might yet smell the Apprentices’ Urine in which the Ink-Swabs were left to soften, bearing, to sensitiz’d Nasalia, sub-Messages of youth and Longing,— all about him the word repeated in large Type, LIBERTY. One Civilian leads in a small band of Soldiers. “Last time you’ll be seeing that word.” “Don’t bet your Wife’s Reputation on it,” the Quarrelsome Fop might have replied. Philip Dimdown, return’d to himself, keeps his Silence.

The radial patterning of Protestantism allows us to use a county’s proximity to Wittenberg to isolate—in a statistical sense—that part of the variation in Protestantism that we know is due to a county’s proximity to Wittenberg and not to greater literacy or other factors. In a sense, we can think of this as an experiment in which different counties were experimentally assigned different dosages of Protestantism to test for its effects. Distance from Wittenberg allows us to figure out how big that experimental dosage was. Then, we can see if this “assigned” dosage of Protestantism is still associated with greater literacy and more schools. If it is, we can infer from this natural experiment that Protestantism did indeed cause greater literacy.16 The results of this statistical razzle-dazzle are striking. Not only do Prussian counties closer to Wittenberg have higher shares of Protestants, but those additional Protestants are associated with greater literacy and more schools. This indicates that the wave of Protestantism created by the Reformation raised literacy and schooling rates in its wake. Despite Prussia’s having a high average literacy rate in 1871, counties made up entirely of Protestants had literacy rates nearly 20 percentile points higher than those that were all Catholic.18 FIGURE P.2. The percentage of Protestants in Prussian counties in 1871.17 The map highlights some German cities, including the epicenter of the Reformation, Wittenberg, and Mainz, the charter town where Johannes Gutenberg produced his eponymous printing press. These same patterns can be spotted elsewhere in 19th-century Europe—and today—in missionized regions around the globe. In 19th-century Switzerland, other aftershocks of the Reformation have been detected in a battery of cognitive tests given to Swiss army recruits. Young men from all-Protestant districts were not only 11 percentile points more likely to be “high performers” on reading tests compared to those from all-Catholic districts, but this advantage bled over into their scores in math, history, and writing. These relationships hold even when a district’s population density, fertility, and economic complexity are kept constant. As in Prussia, the closer a community was to one of the two epicenters of the Swiss Reformation—Zurich or Geneva—the more Protestants it had in the 19th century. Notably, proximity to other Swiss cities, such as Bern and Basel, doesn’t reveal this relationship. As is the case in Prussia, this setup allows us to finger Protestantism as driving the spread of greater literacy as well as the smaller improvements in writing and math abilities.

Switching on the ground-floor lights, she checked the gas jet and the main gas plug and poured water over the smoldering, half-buried charcoal in the brazier. She stood before the upright mirror in the four-and-a-half-mat room and held up her skirts. The bloodstains made it seem as if a bold, vivid pattern was printed across the lower half of her white kimono. When she sat down before the mirror, she was conscious of the dampness and coldness of her husband’s blood in the region of her thighs, and she shivered. Then, for a long while, she lingered over her toilet preparations. She applied the rouge generously to her cheeks, and her lips too she painted heavily. This was no longer make-up to please her husband. It was make-up for the world which she would leave behind, and there was a touch of the magnificent and the spectacular in her brushwork. When she rose, the mat before the mirror was wet with blood. Reiko was not concerned about this. (...) The lieutenant was lying on his face in a sea of blood. The point protruding from his neck seemed to have grown even more prominent than before. Reiko walked heedlessly across the blood. Sitting beside the lieutenant’s corpse, she stared intently at the face, which lay on one cheek on the mat. The eyes were opened wide, as if the lieutenant’s attention had been attracted by something. She raised the head, folding it in her sleeve, wiped the blood from the lips, and bestowed a last kiss. (...) Reiko sat herself on a spot about one foot distant from the lieutenant’s body. Drawing the dagger from her sash, she examined its dully gleaming blade intently, and held it to her tongue. The taste of the polished steel was slightly sweet. Reiko did not linger. When she thought how the pain which had previously opened such a gulf between herself and her dying husband was now to become a part of her own experience, she saw before her only the joy of herself entering a realm her husband had already made his own. In her husband’s agonized face there had been something inexplicable which she was seeing for the first time. Now she would solve that riddle. Reiko sensed that at last she too would be able to taste the true bitterness and sweetness of that great moral principle in which her husband believed. What had until now been tasted only faintly through her husband’s example she was about to savor directly with her own tongue. Reiko rested the point of the blade against the base of her throat. She thrust hard. The wound was only shallow. Her head blazed, and her hands shook uncontrollably. She gave the blade a strong pull sideways. A warm substance flooded into her mouth, and everything before her eyes reddened, in a vision of spouting blood. She gathered her strength and plunged the point of the blade deep into her throat.

I have a friend—she is the kind of friend that all of us have—who is a true believer in astrology and psychic phenomenon, a devotee of reiki, a collector of crystals, a woman who occasionally sends me emails with cryptic titles and a single line of text asking, for example, the time of day that I was born or whether I have any mental associations with moths. None that come immediately to mind, I write back. But then of course moths are suddenly everywhere: on watercolor prints in the windows of art shops, in Virginia Woolf’s diaries, on the pages of the illustrated children’s book I read to my nieces. This woman, whom I have known since I was very young, also experiences strange echoes and patterns, but for her they are not the result of confirmation bias or the brain’s inclination toward narrative. She believes that the patterns are part of the very fabric of reality, that they refer to universal archetypes that express themselves in our individual minds. Transcendent truths, she has told me many times, cannot be articulated intellectually because higher thought is limited by the confines of language. These larger messages from the universe speak through our intuitions, and we modern people have become so completely dominated by reason that we have lost this connection to instinct. She claims to receive many of these messages through images and dreams. In a few cases she has predicted major global events simply by heeding some inchoate sensation—an aching knee, the throbbing of an old wound, a general feeling of unease. This woman is a poet, and I tend to grant her theories some measure of poetic license. It seems to me that beneath all the New Agey jargon, she is speaking of the power of the unconscious mind, a realm that is no doubt elusive enough to be considered a mystical force in its own right. I have felt its power most often in my writing, where I’ve learned that intuition can solve problems more efficiently than logical inference. This was especially true when I wrote fiction. I would often put an image in a story purely by instinct, not knowing why it was there, and then the image would turn out to be the perfect metaphor for some conflict that emerged between the characters—again, something that was not planned deliberately—as though my subconscious were making the connections a step or two ahead of my rational mind. But these experiences always took place within the context of language, and I couldn’t understand what it would mean to perceive knowledge outside that context. I’ve said to my friend many times that I believe in the connection between language and reason, that I don’t believe thought is possible without it. But like many faith systems, her beliefs are completely self-contained and defensible by their own logic. Once, when I made this point, she smiled and said, “Of course, you’re an Aquarius.

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54 ‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55 Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing. A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.

some more Qur’an the Caliph often read; lone well In paradise awaiting, what can tell You how it was: ’Uthman without a care Slept in the Prophet’s Mosque, alone; just there, Sometimes, beneath a blanket, maybe woolen, The pattern of the pebbles printed on His side when he awoke. Rebellion’s shine Across the towns of Persia flashed, but died.

At the end of nothing the Universe was created, or perhaps it was all that was left when the end of nothing, ended. And thus the possible end of the Universe too was created in the same way that the Universe made the creation of something else, something hopefully even better, perhaps a Universe with less pesky librarians possible. However that is not news. Though it supposedly happened recently. Just around 13.8 billions years ago. But since nothing is something that is not anything, and not simply "nothing" it would be more accurate to say: At the end of something that was probably nothing and hopefully nothing special. The Universe replaced it with itself, something that is probably more worthwhile but in worst case perhaps even less special. Anyway, nobody will never know and any living thing will just have to make do with whatever universe they happen to be born in. Since that happened, and the printing press was invented around 13,799,999,700 years after the birth of the current Universe. Humans may now instead of spending the evening looking at all the boring stars, look at repeating patterns of black ink printed on egg white paper forming a combination of any of around a couple of just a hundred thousands words called pages. Put in collections known as books. In reality it was probably just a conspiracy to create work for graphic artists, librarians and book reviewers. Backed by the PIC paper industrial complex. But you did not read that here.

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When the next negotiation session came around on March 15, Nichols confidently pulled out a printed copy of the report and confronted U.S. Soccer’s representatives with it. U.S. Soccer responded that the jump in profitability for the women’s team was an aberration—not part of the larger pattern in the federation’s finances. “An aberration?” Nichols responded. “Aberrations don’t occur multiple years in a row. Aberrations aren’t projected. You guys have projected profitability. You projected the women to bring in more than the men.” What U.S. Soccer’s executives told him, and have maintained in the federation’s defense ever since, is that over the previous four-year cycle—which includes World Cups for both teams—the men brought in more revenue than the women. Both sides agree that is true. The gap in revenue between the national teams had historically been large—but the long-term trend showed the gap was shrinking. Since the 2015 World Cup, the gap had flipped and the women had been bringing in more money.

For Marin, the city had an almost medieval look. The effect was belied by the swarms of hopjets, and Taxi-Airs, and other aircraft, large and small. But his training had sharpened his ability to shut out extraneous material and to see essentials; and so, he saw a city pattern that had a formal, oldfashioned beauty. The squares were too rigid, but their widely varying sizes provided some of the randomness so necessary to achieve what was timeless in true art. The numerous parks, perpetually green and rich with orderly growth, gave an overall air of graceful elegance. The city of the Great Judge looked prosperous and long-enduring. Ahead, the scene changed, darkened, became alien. The machine glided forward over a vast, low-built, rambling gray mass of suburb that steamed and smoked, and here and there hid itself in its own rancorous mists. Pripp City! Actually, the word was Pripps: Preliminary Restriction Indicated Pending Permanent Segregation. It was one of those alphabetical designations, and an emotional nightmare to have all other identification removed and to find yourself handed a card which advised officials that you were under the care of the Pripps organization. The crisis had been long ago now, more than a quarter of a century, but there was a line in fine print at the bottom of each card. A line that still made the identification a potent thing, a line that stated: Bearer of this card is subject to the death penalty if found outside restricted area. In the beginning it had seemed necessary. There had been a disease, virulent and deadly, perhaps too readily and too directly attributed to radiation. The psychological effects of the desperate terror of thousands of people seemed not to have been considered as a cause. The disease swept over an apathetic world and produced merciless reaction: permanent segregation, death to transgressors, and what seemed final evidence of the rightness of what had been done: people who survived the disease . . . changed.

I utilize nineteenth-century photo techniques to document climate change in this century. Right now I’m working on a series of platinum prints that explore tidal patterns and beach erosion.” “I’d

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No writer ever knows enough words but he doesn’t have to try to use all that he does know. Tests would show that I had an enormous vocabulary and through the years it must have grown, but I never had a desire to display it in the way that John Updike or William Buckley or William Safire do to such lovely and often surprising effect. They use words with such spectacular results; I try, not always successfully, to follow the pattern of Ernest Hemingway who achieved a striking style with short familiar words. I want to avoid calling attention to mine, judging them to be most effective as ancillaries to a sentence with a strong syntax. My approach has been more like that of Somerset Maugham, who late in life confessed that when he first thought of becoming a writer he started a small notebook in which he jotted down words that seemed unusually beautiful or exotic, such as chalcedony, for as a novice he believed that good writing consisted of liberally sprinkling his text with such words. But years later, when he was a successful writer, he chanced to review his list and found that he had never used even one of his beautiful collection. Good writing, for most of us, consists of trying to use ordinary words to achieve extraordinary results. I struggle to find the right word and keep always at hand the largest dictionary my workspace can hold, and I do believe I consult it at least six or seven times each working day, for English is a language that can never be mastered.* [*Even though I have studied English for decades I am constantly surprised to find new definitions I have not known: ‘panoply’ meaning ‘a full set of armor’, ‘calendar’ meaning ‘a printed index to a jumbled group of related manuscripts or papers’. —Chapter IX “Intellectual Equipment”, page 306

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And with that, he stepped out from the darkness of the tunnel mouth to find himself in a kind of cave; the air was warm with sandalwood, and nutmeg, and allspice, and cardamom, and the Moths were all around him. For a moment, Tom was breathless with the beauty of the Midnight Folk. In the semi-darkness, their wings shone with a faint luminescence and their skin gleamed with unearthly tattoos, like something under black light. Their hair was braided with feathers and rags, and all of them seemed to be covered with a powdery dust that twinkled and shone against their skin, setting the shadows darkly aflame. And all around them lay a pattern of those vivid tracks, as if the luminescence could be transferred to their surroundings by touch; each set of prints a different shade in troubled, alien colors. Instinctively, he looked for Charissa's colors in the crowd. But she was nowhere to be seen. Instead, he was surrounded by the dangerous shine of the enemy. He saw them only in slices of light against the velvet darkness. The tip of a wing; the gleam of an eye; the mystic spiral of a tattoo that seemed to move across the skin.

A man can be aroused, even to erection, by a printed photograph of a woman’s body. He is not ‘fooled’ into thinking that the pattern of printing ink really is a woman. He knows that he is only looking at ink on paper, yet his nervous system responds to it in the same kind of way as it might respond to a real woman. We may find the attractions of a particular member of the opposite sex irresistible, even though the better judgment of our better self tells us that a liaison with that person is not in anyone’s long-term interests.

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Got himself fired for pulling a sword on an acknowledged perp. Slid it right through the fabric of the perp’s shirt, gliding the flat of the blade along the base of his neck, and pinned him to a warped and bubbled expanse of vinyl siding on the wall of the house that the perp was trying to break into. Thought it was a pretty righteous bust. But they fired him anyway because the perp turned out to be the son of the vice-chancellor of the Farms of Merryvale. Oh, the weasels had an excuse: said that a thirty-six-inch samurai sword was not on their Weapons Protocol. Said that he had violated the SPAC, the Suspected Perpetrator Apprehension Code. Said that the perp had suffered psychological trauma. He was afraid of butter knives now; he had to spread his jelly with the back of a teaspoon. They said that he had exposed them to liability. The Deliverator had to borrow some money to pay for it. Had to borrow it from the Mafia, in fact. So he’s in their database now—retinal patterns, DNA, voice graph, fingerprints, footprints, palm prints, wrist prints, every fucking part of the body that had wrinkles on it—almost—those bastards rolled in ink and made a print and digitized it into their computer. But it’s their money—sure they’re careful about loaning it out. And when he applied for the Deliverator job they were happy to take him, because they knew him. When he got the loan, he had to deal personally with the assistant vice-capo of the Valley, who later recommended him for the Deliverator job. So it was like being in a family. A really scary, twisted, abusive family. CosaNostra

the same conclusion . . . She found the photo she wanted, a high-res close-up of the recovered shell casing, also dusted and documented at the scene. Like the whiskey bottle, it bore a distinct ridge pattern. D.D. pulled the image, placed it next to the one of the fifth of whiskey. “Advantage of the Amber Alert,” D.D. stated now. “I have the city’s full investigative and forensic resources at my disposal.” Meaning she could demand a rush job on the print identification in

the tyre?’ said Janet. ‘I mean – it just might come in useful. And we could measure the width of the tyre print too.’ ‘I don’t see how those things can possibly matter,’ said Barbara, who wanted to go down the lane and join the three boys. ‘Well, I’m going to try and copy the pattern,’ said Janet firmly. ‘I’d like to have something to show the boys!’ So, very carefully, she drew the pattern in her notebook. It was a funny pattern, with lines and circles and V-shaped marks. It didn’t really look very good when she had done it. She had measured the print as best she could. She had no tape-measure with her, so she had placed a sheet from her notebook over the track, and had marked on it the exact size. She felt rather pleased with herself, but she did wish she had drawn the pattern better. Barbara laughed when she saw it. ‘Goodness! What a mess!’ she said. Janet looked cross and shut her notebook up. ‘Let’s follow the tracks down the lane now,’ she said. ‘We’ll see exactly where they go. Not many vans come down here – we ought to be able to follow the tracks easily.’ She was quite right. It was very easy to follow them. They went on and on down the lane – and then stopped outside the old house. There were such a lot of different marks there that it was difficult to see exactly what they were – footprints, tyre-marks, places where the snow had been kicked and ruffled up – it was hard to tell anything except that this was where people had got out and perhaps had had some kind of struggle. ‘Look – the tyre-marks leave all this mess and go on down the lane,’ said Janet. She looked over the gate. Were the boys in the old house with the caretaker? ‘Let’s go and see if we can find the boys,’ said Barbara.

Ollie hadn’t been kidding. He really did like jigsaw puzzles. A countryside harvest festival was spread across the coffee table, and its repeating autumnal patterns held him and Grandma Young in a matching trance. Perched on their seat edges, they bonded over etiquette and strategy: start with the border. Then any sections that contain printed words. If someone is searching for one specific piece, but the other person finds it, it must be handed over, because it means more to the first person. And always save the sky—the hardest part of any puzzle—for last.

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The Lance deHaven-Smith book Conspiracy Theory in America (published by the University of Texas) reveals that the phrase “conspiracy theory” was invented by the CIA to discredit doubters of the Warren Commission, which claims that John F. Kennedy’s assassination was carried out alone by a single “lone gunman.” Distraught by the murder of President Kennedy, a Beverly Hills housewife named Mae Brussell took it upon herself to buy all 26 printed volumes issued by the Warren Commission report, and attempt to make sense of the thing by cross-indexing the entire work. Mae was disturbed by the contradictory information and unreported realities she discovered in those volumes. As a result, she started subscribing to many major newspapers and magazines, whose stories she filed and organized, uncovering disquieting connections and patterns behind government and corporate malfeasance.

April 24 The Warning against Wantoning Notwithstanding in this rejoice not, that the spirits are subject unto you. Luke 10:20 As Christian workers, worldliness is not our snare, sin is not our snare, but spiritual wantoning is, viz.: taking the pattern and print of the religious age we live in, making eyes at spiritual success. Never court anything other than the approval of God, go “without the camp, bearing His reproach.” Jesus told the disciples not to rejoice in successful service, and yet this seems to be the one thing in which most of us do rejoice. We have the commercial view—so many souls saved and sanctified, thank God, now it is all right. Our work begins where God’s grace has laid the foundation; we are not to save souls, but to disciple them. Salvation and sanctification are the work of God’s sovereign grace; our work as His disciples is to disciple lives until they are wholly yielded to God. One life wholly devoted to God is of more value to God than one hundred lives simply awakened by His Spirit. As workers for God we must reproduce our own kind spiritually, and that will be God’s witness to us as workers. God brings us to a standard of life by His grace, and we are responsible for reproducing that standard in others. Unless the worker lives a life hidden with Christ in God, he is apt to become an irritating dictator instead of an indwelling disciple. Many of us are dictators, we dictate to people and to meetings. Jesus never dictates to us in that way. Whenever Our Lord talked about discipleship, He always prefaced it with an “IF,” never with an emphatic assertion—“You must.” Discipleship carries an option with it.

1.1M    ./scripts 58M     ./cloud9 74M     . You can also use tee to write the output to several files at the same time, as shown in this example: root@beaglebone:/opt# du ‐d1 ‐h | tee /tmp/1.txt /tmp/2.txt /tmp/3.txt Filter Commands (from sort to xargs) There are filtering commands, each of which provides a useful function: sort: This command has several options, including (‐r) sorts in reverse; (‐f) ignores case; (‐d) uses dictionary sorting, ignoring punctuation; (‐n) numeric sort; (‐b) ignores blank space; (‐i) ignores control characters; (‐u) displays duplicate lines only once; and (‐m) merges multiple inputs into a single output. wc (word count): This can be used to calculate the number of words, lines, or characters in a stream. For example: root@beaglebone:/tmp# wc < animals.txt  4  4 18 This has returned that there are 4 lines, 4 words, and 18 characters. You can select the values independently by using (‐l) for line count; (‐w) for word count; (‐m) for character count; and (‐c) for the byte count (which would also be 18 in this case). head: Displays the first lines of the input. This is useful if you have a very long file or stream of information and you want to examine only the first few lines. By default it will display the first 10 lines. You can specify the number of lines using the ‐n option. For example, to get the first five lines of output of the dmesg command (display message or driver message), which displays the message buffer of the kernel, you can use the following: root@beaglebone:/tmp# dmesg | head ‐n5   [    0.000000] Booting Linux on physical CPU 0x0   [    0.000000] Initializing cgroup subsys cpuset   [    0.000000] Initializing cgroup subsys cpu   [    0.000000] Initializing cgroup subsys cpuacct   [    0.000000] Linux version 3.13.4-bone5(root@imx6q-sabrelite-1gb-0) tail: This is just like head except that it displays the last lines of a file or stream. Using it in combination with dmesg provides useful output, as shown here: root@beaglebone:/tmp# dmesg | tail ‐n2   [   36.123251] libphy: 4a101000.mdio:00 - Link is Up - 100/Full   [   36.123421] IPv6:ADDRCONF(NETDEV_CHANGE): eth0:link becomes ready grep: A very powerful filter command that can parse lines using text and regular expressions. You can use this command to filter output with options, including (‐i) ignore case; (‐m 5) stop after five matches; (‐q) silent, will exit with return status 0 if any matches are found; (‐e) specify a pattern; (‐c) print a count of matches; (‐o) print only the matching text; and (‐l) list the filename of the file containing the match. For example, the following examines the dmesg output for the first three occurrences of the string “usb,” using ‐i to ignore case: root@beaglebone:/tmp# dmesg |grep ‐i ‐m3 usb   [    1.948582] usbcore: registered new interface driver usbfs   [    1.948637] usbcore: registered new interface driver hub   [    1.948795] usbcore: registered new device driver usb You can combine pipes together. For example, you get the exact same output by using head and displaying only the first three lines of the grep output: root@beaglebone:/tmp# dmesg |grep ‐i usb |head ‐n3   [    1.948582] usbcore: registered new interface driver usbfs   [    1.948637] usbcore: registered new interface driver hub   [    1.948795] usbcore: registered new device driver usb xargs: This is a very powerful filter command that enables you to construct an argument list that you use to call another command or tool. In the following example, a text file args.txt that contains three strings is used to create three new files. The output of cat is piped to xargs, where it passes the three strings as arguments to the touch command, creating three new files a.txt, b.txt,

Another recent study, this one on academic research, provides real-world evidence of the way the tools we use to sift information online influence our mental habits and frame our thinking. James Evans, a sociologist at the University of Chicago, assembled an enormous database on 34 million scholarly articles published in academic journals from 1945 through 2005. He analyzed the citations included in the articles to see if patterns of citation, and hence of research, have changed as journals have shifted from being printed on paper to being published online. Considering how much easier it is to search digital text than printed text, the common assumption has been that making journals available on the Net would significantly broaden the scope of scholarly research, leading to a much more diverse set of citations. But that’s not at all what Evans discovered. As more journals moved online, scholars actually cited fewer articles than they had before. And as old issues of printed journals were digitized and uploaded to the Web, scholars cited more recent articles with increasing frequency. A broadening of available information led, as Evans described it, to a “narrowing of science and scholarship.”31 In explaining the counterintuitive findings in a 2008 Science article, Evans noted that automated information-filtering tools, such as search engines, tend to serve as amplifiers of popularity, quickly establishing and then continually reinforcing a consensus about what information is important and what isn’t. The ease of following hyperlinks, moreover, leads online researchers to “bypass many of the marginally related articles that print researchers” would routinely skim as they flipped through the pages of a journal or a book. The quicker that scholars are able to “find prevailing opinion,” wrote Evans, the more likely they are “to follow it, leading to more citations referencing fewer articles.” Though much less efficient than searching the Web, old-fashioned library research probably served to widen scholars’ horizons: “By drawing researchers through unrelated articles, print browsing and perusal may have facilitated broader comparisons and led researchers into the past.”32 The easy way may not always be the best way, but the easy way is the way our computers and search engines encourage us to take.

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After a user clicks a button to POST information to a server (like submitting an order), the server will process the information and respond with an HTTP redirect (like the redirect we saw in the Telnet window) telling the browser to GET some other resource. The browser will issue the GET request, the server will respond with a "thank you for the order" resource, and then the user can refresh or print the page safely as many times as he or she would like. This is a common web design pattern known as the POST/Redirect/GET pattern.

Shirt" The back, the yoke, the yardage. Lapped seams, The nearly invisible stitches along the collar Turned in a sweatshop by Koreans or Malaysians Gossiping over tea and noodles on their break Or talking money or politics while one fitted This armpiece with its overseam to the band Of cuff I button at my wrist. The presser, the cutter, The wringer, the mangle. The needle, the union, The treadle, the bobbin. The code. The infamous blaze At the Triangle Factory in nineteen-eleven. One hundred and forty-six died in the flames On the ninth floor, no hydrants, no fire escapes— The witness in a building across the street Who watched how a young man helped a girl to step Up to the windowsill, then held her out Away from the masonry wall and let her drop. And then another. As if he were helping them up To enter a streetcar, and not eternity. A third before he dropped her put her arms Around his neck and kissed him. Then he held Her into space, and dropped her. Almost at once He stepped to the sill himself, his jacket flared And fluttered up from his shirt as he came down, Air filling up the legs of his gray trousers— Like Hart Crane’s Bedlamite, “shrill shirt ballooning.” Wonderful how the pattern matches perfectly Across the placket and over the twin bar-tacked Corners of both pockets, like a strict rhyme Or a major chord. Prints, plaids, checks, Houndstooth, Tattersall, Madras. The clan tartans Invented by mill-owners inspired by the hoax of Ossian, To control their savage Scottish workers, tamed By a fabricated heraldry: MacGregor, Bailey, MacMartin. The kilt, devised for workers To wear among the dusty clattering looms. Weavers, carders, spinners. The loader, The docker, the navvy. The planter, the picker, the sorter Sweating at her machine in a litter of cotton As slaves in calico headrags sweated in fields: George Herbert, your descendant is a Black Lady in South Carolina, her name is Irma And she inspected my shirt. Its color and fit And feel and its clean smell have satisfied Both her and me. We have culled its cost and quality Down to the buttons of simulated bone, The buttonholes, the sizing, the facing, the characters Printed in black on neckband and tail. The shape, The label, the labor, the color, the shade. The shirt.

there some coloureds, negroes, blacks, cd make a living big enough to leave there to come here: but no one went there much any more for all sorts of reasons. the big reason being immigration restrictions & unemployment. nowadays, immigration restrictions of every kind apply to any non-european persons who want to go there from here. just like unemployment applies to most non-european persons without titles of nobility or north american university training. some who want to go there from here risk fetching trouble with the customs authority there. or later with the police, who, can tell who's not from there cuz the shoes are pointed & laced strange/the pants be for august & yet it's january/the accent is patterned for port-au-prince, but working in crown heights. what makes a person comfortably ordinary here cd make him dangerously conspicuous there. so some go to london or amsterdam or paris, where they are so many no one tries to tell who is from where. still the far right wing of every there prints lil pamphlets that say everyone from here shd leave there & go back where they came from.

MYTH-1: Handmade items are costly! The items are modest yet the commitment of the craftsmen behind the items we offer is costly The vast majority of the cycles engaged with making the item are finished by the creator – the plan, however, the choice of the materials, the working out of how to cause the materials to go together, gathering the item, capturing the item, advertising the item, planning the bundling, and posting, conveying, or action selling. In spite of this, the items that the fasten organization offers you are truly sensible. Haven't viewed our list? here you go! (click here) Have you ever discovered such wonderful hand-made items at such modest rates?? I GUESS NOT! MYTH-2: HAND-MADE PRODUCTS ARE NOT STYLISH On the off chance that you believe that way, I have an inquiry for you – did your grandmother convey such a shopping pack when went out to get for food supplies or did she have such telephone and individual embellishment sacks? Certainly not. The crafted works are not, at this point unfashionable or old-fashioned. Actually, they are intended for pioneers. Simply being an aspect of the pattern and following it has neither rhyme nor reason. Be the person who sets it MYTH-3: HANDMADE GOODS ARE OF POOR QUALITY I can't envision how individuals have such misguided judgment. The machine-made merchandise is to some degree bargained with quality. In any case, with regards to hand made items, they are taken well consideration of by the craftsmen as referenced above, there is no trade-off with the quality. They are made of cotton and jute which are solid and strong. They are lightweight and simple to deal with. MYTH-4: THEY ARE SAME OLD PATTERNS You can't quit lecturing about the handcrafted items which are extremely extraordinary as it will never be equivalent to some other the explanation being that they are delivered by the hands of a craftsman and not a machine. The sack so made is a result of devotion, love, energy, and the enthusiasm to serve the client. Individuals love block prints due to the strong and straightforward plans that can be made, yet that effortlessness finds a way to accomplish. The strategy is brilliant for pictures with only a couple of tones and fewer subtleties however can be hard to use for pictures with bunches of little content, or extremely fine subtleties that will, in general, sever the square with such a large number of employments. One of the benefits of square printing is that it very well may be done on a surface of practically any size and surface. I print on texture, paper, canvas, wood, and different materials, and you don't need to stress over fitting it through a printer or a press. MYTH-5: HANDMADE PRODUCTS ARE NOT LONG LASTING Recollect the last cowhide sack you had? Which lost its covering not long after getting wet in a downpour or subsequent to utilizing it for 3-4 times. That is not the situation with hand-made cotton packs. They are launderable which makes it look clean with each utilization. No problem with the upkeep.

she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narciso, a revelation also trembled just past the threshold of her understanding.

you’re going to need a blade. Now …” He moved to the next box, tearing off the lid, nails and all. “Why don’t you make yourself useful and look through a few of these yourself? See if anything jumps out at you. Remember, you’re looking for a blade. Not a mace or a maul or a huge spiked chain that you’d probably hurt yourself with trying to learn.” “Fine.” I wandered down the aisle, looking at random articles. “But I still say the flail looked like it could bash in a vamp’s head pretty efficiently.” “Allison—” “I’m going, I’m going.” More wooden boxes lined the aisle to either side, covered in dust. I brushed back a film of cobwebs and grime to read the words on the side of the nearest carton. Longswords: Medieval Europe, 12th century. The rest was lost to time and age. Another read: Musketeer Rapie … something or other. Another apparently had a full suit of gladiator armor, whatever a gladiator was. A clang from Kanin’s direction showed him holding up a large, double-bladed ax, before he laid it aside and moved on to another shelf. One box caught my attention. It was long and narrow, like the other boxes, but instead of words, it had strange symbols printed down the side. Curious, I wrenched off the lid and reached in, shifting through layers of plastic and foam, until my fingers closed around something long and smooth. I pulled it out. The long, slightly curved sheath was black and shiny, and a hilt poked out of the end, marked with diamond pattern in black and red. I grasped that hilt and pulled the blade free, sending a metallic shiver through the air and down my spine. As soon as I drew it, I knew I had found what Kanin wanted. The blade gleamed in the darkness, long and slender, like a silver ribbon. I could sense the razor sharpness of the edge without even touching it. The sword itself was light and graceful, and fit perfectly into my palm, as if it had been made for me. I swept it in a wide arc, feeling it slice through the air, and imagined this was a blade that could pass through a snarling rabid without even slowing down. A chuckle interrupted me. Kanin stood a few yards away, arms crossed, shaking his head. His mouth was pulled into a resigned grin. “I should have known,” he said, coming forward. “I should have known you would be drawn to that. It’s very fitting, actually.

Marcus studied those NASA pictures for hours, the gorgeous Hasselblad pictures of men on the moon and the pictures of Jupiter’s turbulence. Since Newton’s laws apply everywhere, Marcus programmed a computer with a system of fluid equations. To capture Jovian weather meant writing rules for a mass of dense hydrogen and helium, resembling an unlit star. The planet spins fast, each day flashing by in ten earth hours. The spin produces a strong Coriolis force, the sidelong force that shoves against a person walking across a merry-go–round, and the Coriolis force drives the spot. Where Lorenz used his tiny model of the earth’s weather to print crude lines on rolled paper, Marcus used far greater computer power to assemble striking color images. First he made contour plots. He could barely see what was going on. Then he made slides, and then he assembled the images into an animated movie. It was a revelation. In brilliant blues, reds, and yellows, a checkerboard pattern of rotating vortices coalesces into an oval with an uncanny resemblance to the Great Red Spot in NASA’s animated film of the real thing. “You see this large-scale spot, happy as a clam amid the small-scale chaotic flow, and the chaotic flow is soaking up energy like a sponge,” he said. “You see these little tiny filamentary structures in a background sea of chaos.” The spot is a self-organizing system, created and regulated by the same nonlinear twists that create the unpredictable turmoil around it. It is stable chaos.

Nature resembles a printing-press, not the printer. It is an embroidery, not the Embroiderer. It is passive, not active. It is a pattern, not a source. It is an order, and not the Orderer. It is a law, not a power. It is a code of laws proceeding from a will, not an external reality.

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Decoding   Basically, being able to apply one’s knowledge of patterns in printed letters and of correspondences between letters and the sounds they represent, and to pronounce printed words correctly, constitute word decoding.

This is the shape that Renaissance innovation takes, seen from a great (conceptual) distance. Most innovation clusters in the third quadrant: non-market individuals. A handful of outliers are scattered fairly evenly across the other three quadrants. This is the pattern that forms when information networks are slow and unreliable, and entrepreneurial economic conventions are poorly developed. It’s too hard to share ideas when the printing press and the postal system are still novelties, and there’s not enough incentive to commercialize those ideas without a robust marketplace of buyers and investors. And so the era is dominated by solo artists: amateur investigators, usually well-to-do, working on their own private obsessions. Not surprisingly, this period marks the birth of the modern notion of the inventive genius, the rogue visionary who somehow sees beyond the horizon that limits his contemporaries—da Vinci, Copernicus, Galileo. Some of those solo artists (Galileo most famously) worked outside of broader groups because their research posed a significant security threat to the established powers of the day. The few innovations that did emerge out of networks—the portable, spring-loaded watches that first appeared in Nuremberg in 1480, the double-entry bookkeeping system developed by Italian merchants—have their geographic origins in cities, where information networks were more robust. First-quadrant solo entrepreneurs, crafting their products in secret to ensure their eventual payday, turn out to be practically nonexistent. Gutenberg was the exception, not the rule.

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It is most comfortable to be invisible, to observe life from a distance, at one with our own intoxicating superior thoughts. But comfort and isolation are not where the surprises are. They are not where hope is. Hope tends to appear when we see that all sorts of disparate personalities can come together, no matter how different and jarring they may seem at first. Little kids think all colors or patterns of shirt go with all patterns and colors of pants, and it takes us elders a minute to see that they in fact do. Blue madras shorts can look great with a Peter Max print top, in the right hands—say, of someone who has found a visual rhythm, in patterns that play off each other without being chaotic. I’ve seen this many times. In life the fussy beautician can be beautiful beside the motorcyclist with neck tats, filling boxes with donated food for Thanksgiving dinners, or reading together on the same ratty couch at the library. Only together do we somehow keep coming through unsurvivable loss, the stress of never knowing how things will shake down, to the biggest miracle of all, that against all odds, we come through the end of the world, again and again—changed but intact (more or less).

Scott and I have fallen into a comfortable pattern as the weeks go by.

Once you have chosen your color palette, think about the scale of the prints that you are choosing. Smaller or solid-like prints may not initially catch your eye in the quilt shop, but they are important to balancing out your quilt and helping certain shapes stand out, such as the points in a star pattern.

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Motherhood, Rossi argued, had become a full-time job for the first time in history, as fewer women worked farms, craft shops, or printing presses alongside their families, and some could afford not to work outside the home. But child-rearing did not last forever, and women were living out the rest of their increasingly long lives “in a perpetual state of intellectual and social impoverishment.” Home pursuits had been “needlessly elaborated” even as technological advances had eliminated many of the time-sucking chores of the past. This pattern stunted marriages as well as women, made children excessively dependent and directionless. (They needed, Rossi argued, “a healthy dose of inattention.”)

The typical pattern I've fallen back into tonight feels emptier than usual. I've gotten used to Zahra's incessant texting and our bedtime conversations about everything under the sun.

So he’s in their database now—retinal patterns, DNA, voice graph, fingerprints, footprints, palm prints, wrist prints, every fucking part of the body that had wrinkles on it—almost—those bastards rolled in ink and made a print and digitized it into their computer.

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