Prism Meaning In Life Quotes

When a language dies, so much more than words are lost. Language is the dwelling place of ideas that do not exist anywhere else. It is a prism through which to see the world. Tom says that even words as basic as numbers are imbued with layers of meaning. The numbers we use to count plants in the sweetgrass meadow also recall the Creation Story. Én:ska—one. This word invokes the fall of Skywoman from the world above. All alone, én:ska, she fell toward the earth. But she was not alone, for in her womb a second life was growing. Tékeni—there were two. Skywoman gave birth to a daughter, who bore twin sons and so then there were three—áhsen. Every time the Haudenosaunee count to three in their own language, they reaffirm their bond to Creation.

Occasionally, events in one's life become clearer through the prism of experience, a phrase which simply means that things tend to be clearer as time goes on. For instance, when a person is just born, they usually have no idea what curtains are and spend a great deal of their first months wondering why on earth Mommy and Daddy have hung large pieces of cloth over each window in the nursery. But as the person grows older, the idea of curtains becomes clearer through the prism of experience. The person will learn the word "curtains" and notice that they are actually quite handy for keeping a room dark when it is time to sleep, and for decorating an otherwise boring window area. Eventually, they will entirely accept the idea of curtains of their own, or venetian blinds, and it is all due to the prism of experience.

We all view life through the lens of these experiences, but the Narcissist has something more, not just a lens but a prism that refracts and distorts incoming messages to avoid the intolerable feeling of shame. This means that you are never in control of how these people perceive you, or when you will be assaulted with some defensive maneuver that deflects their shame, prevents their deflation, or reinflates them after narcissistic injury. Narcissists constantly dump – or project – unwanted parts of themselves onto other people. They then begin to behave as if others possess these unwanted pieces of themselves, and they may even succeed in getting others to feel as if they actually have those traits or feelings. This is an unconscious process for both the dumper and the dumpee, but what it means is that you end up being treated like the dirt they’ve brushed off their own psyches, or feeling the humiliation, the anger, the vulnerability, and worthlessness that they cannot tolerate themselves.

But psychology is passing into a less simple phase. Within a few years what one may call a microscopic psychology has arisen in Germany, carried on by experimental methods, asking of course every moment for introspective data, but eliminating their uncertainty by operating on a large scale and taking statistical means. This method taxes patience to the utmost, and could hardly have arisen in a country whose natives could be bored. Such Germans as Weber, Fechner, Vierordt, and Wundt obviously cannot ; and their success has brought into the field an array of younger experimental psychologists, bent on studying the elements of the mental life, dissecting them out from the gross results in which they are embedded, and as far as possible reducing them to quantitative scales. The simple and open method of attack having done what it can, the method of patience, starving out, and harassing to death is tried ; the Mind must submit to a regular siege, in which minute advantages gained night and day by the forces that hem her in must sum themselves up at last into her overthrow. There is little of the grand style about these new prism, pendulum, and chronograph-philosophers. They mean business, not chivalry. What generous divination, and that superiority in virtue which was thought by Cicero to give a man the best insight into nature, have failed to do, their spying and scraping, their deadly tenacity and almost diabolic cunning, will doubtless some day bring about. No general description of the methods of experimental psychology would be instructive to one unfamiliar with the instances of their application, so we will waste no words upon the attempt.

Gregori brought Savannah's hand to the warmth of his mouth,his breath heating the pulse beating in her wrist. The night is especially beautiful, mon petit amour.Your hero saved the girl, walks among humans, and converses with a fool.That alone should bring a smile to your face.Do not weep for what we cannot change.We will make certain that this human with us comes to no harm. Are you my hero,then? There were tears in her voice, in her mind, like an iridescent prism. She needed him, his comfort,his support under her terrible weight of guilt and love and loss. Always,for all eternity, he answered instantly,without hesitation, his eyes hot mercury. He tipped her chin up so that she met the brilliance of his silver gaze.Always, mon amour.His molten gaze trapped her blue one and held her enthralled. Your heart grows lighter.The burden of your sorrow becomes my own. He held her gaze captive for a few moments to ensure that she was free of the heaviness crushing her. Savannah blinked and moved a little away from him, wondering what she had been thinking of.What had they been talking about? "Gary." Gregori drawled the name slowly and sat back in his chair,totally relaxed. He looked like a sprawling tiger,dangerous and untamed. "Tell us about yourself." "I work a lot.I'm not married. I'm really not much of a people person. I'm basically a nerd." Gregori shifted, a subtle movement of muscles suggesting great power. "I am not familiar with this term." "Yeah,well,you wouldn't be," Gary said. "It means I have lots of brains and no brawn.I don't do the athlete thing. I'm into computers and chess and things requiring intellect. Women find me skinny,wimpy,and boring. Not something they would you." There was no bitterness in his voice,just a quiet acceptance of himself,his life. Gregori's white teeth flashed. "There is only one woman who matters to me, Gary, and she finds me difficult to live with.I cannot imagine why,can you?" "Maybe because you're jealous, possessive, concerned with every single detail of her life?" Gary plainly took the question literally, offering up his observations without judgement. "You're probably domineering,too. I can see that. Yeah.It might be tough." Savannah burst out laughing, the sound musical, rivaling the street musicians. People within hearing turned their heads and held their breath, hoping for more. "Very astute, Gary.Very, very astute. I bet you have an anormous IQ." Gregori stirred again, the movement a ripple of power,of danger. He was suddenly leaning into Gary. "You think you are intelligent? Baiting the wild animal is not too smart.

Popular authors do not and apparently cannot appreciate the fact that true art is obtainable only by rejecting normality and conventionality in toto, and approaching a theme purged utterly of any usual or preconceived point of view. Wild and “different” as they may consider their quasi-weird products, it remains a fact that the bizarrerie is on the surface alone; and that basically they reiterate the same old conventional values and motives and perspectives. Good and evil, teleological illusion, sugary sentiment, anthropocentric psychology—the usual superficial stock in trade, and all shot through with the eternal and inescapable commonplace…. Who ever wrote a story from the point of view that man is a blemish on the cosmos, who ought to be eradicated? As an example—a young man I know lately told me that he means to write a story about a scientist who wishes to dominate the earth, and who to accomplish his ends trains and overdevelops germs … and leads armies of them in the manner of the Egyptian plagues. I told him that although this theme has promise, it is made utterly commonplace by assigning the scientist a normal motive. There is nothing outré about wanting to conquer the earth; Alexander, Napoleon, and Wilhelm II wanted to do that. Instead, I told my friend, he should conceive a man with a morbid, frantic, shuddering hatred of the life-principle itself, who wishes to extirpate from the planet every trace of biological organism, animal and vegetable alike, including himself. That would be tolerably original. But after all, originality lies with the author. One can’t write a weird story of real power without perfect psychological detachment from the human scene, and a magic prism of imagination which suffuses theme and style alike with that grotesquerie and disquieting distortion characteristic of morbid vision. Only a cynic can create horror—for behind every masterpiece of the sort must reside a driving demonic force that despises the human race and its illusions, and longs to pull them to pieces and mock them.

It was my mother, my frequent co-conspirator in the kitchen and my conduit to our past, who suggested the means to convey this epic disjunction, this unruly collision of collectivist myths and personal antimyths. We would reconstruct every decade of Soviet history - from the prequel 1910s to the postscript present day - through the prism of food. Together, we'd embark on a yearlong journey unlike any other: eating and cooking our way through decade after decade of Soviet life, using her kitchen and dining room as a time machine and an incubator of memories. Memories of wartime rationing cards and grotesque shared kitchens in communal apartments. Of Lenin's bloody grain requisitioning and Stalin's table manners. Of Khrushchev's kitchen debates and Gorbachev's disastrous antialcohol policies. Of food as the focal point of our everyday lives, and - despite all the deprivations and shortages - of compulsive hospitality and poignant, improbable feasts.

A distinctive poetic atmosphere surrounds our autobiographical being. The culmination of our personal experiences projects an expressive emotional prism upon our faces, a self-projected limelight casting us with an aura-like quality that other people readily perceive and interpret. Each person’s life consists of nurturing his or her poetic seedlings. Introspection is the first and foremost means that people rely upon to grasp the referential nature of their essential personal experiences. Reflective moments allow us to enrich our understanding of life’s nuisances that imbue even our most rouge experiences with a personalized ambiance. The juxtaposition of life’s prosodic fragments with unanticipated moments of exhilaration provides the tension that composes the contrapuntal language driving the meter of our life’s story. The sweeping arch of our hand-tooled stories designates our chosen path and serves to remind us that even persons injured while attempting to discern the pathway to bliss can use their own brand of resourcefulness to rescue themselves.

I began asking myself questions like these: Am I listening for the still, small voice? Is my work still the center of my life and identity? Do I have an eternal perspective as a prism through which I view my life? What is my truest purpose? My life work? My destiny? What does it really mean to “have it all”?

The Haunt The haunt walks counting the bodies held in cubicle chambers; each night the rattle of his keys reminds one of the living dead who are keyless. The Turnkey continues his nightly watch to ensure none of the living dead commits suicide. To be truly dead is forbidden, unless the State sanctions the kill. This ritual first began as a means of penitence, and Auburn was the first N.Y.S. penitentiary and silence was the means to repentance, silence and reading the bible. Back then, the penitent memorized the portions of the bible: when Cain killed Abel, Joshua’s war on Jericho, and all about Ruth, Mary, and Esther — with little thought of God. Over 100 years, the haunt walks with the sanctimonious sentiments of a sentinel, with self-righteous indignation which the living dead attempt to repel with false braggadocio — but when the lights go out, the sudden screams, and all- night talk to prohibit nightmares — awaiting the dawn — permit the haunt to smile with arrogant knowing. The torture of the night is the haunt’s pleasure, making the rounds smelling the decay of dreams deferred, the putrid stench of justice, like the full bowels of slave ships. Gun towers stand reminiscent of the hanging trees with its strange fruit that the haunt picks at leisure appraising its ripeness in terms of life sentences. As steel bangs against steel, chains clang with the echoes of gangs dressed in strips of day and night, black and white; the fright prohibits flight as jail cells constrict and severely depict the absence of liberty. The haunt of Auburn, year by year decade by decade, in a century has never escaped the nightly count of tormented souls, himself chained to the ball of the imprisoned — a spirit’s horror of lost freedom.

jungles of Central and South America—something the sloth is very good at. The reputation of the sloth was sufficiently besmirched that I felt compelled to found the Sloth Appreciation Society. (Our motto: “Being fast is overrated.”) I gave a talk on the unexpected truth about this much maligned creature to festivals and schools. This book grew out of those talks and the need to set the record straight—not just for the sloth, but for other animals as well. When seeking to understand animals, context is key. We have a habit of viewing the animal kingdom through the prism of our own, rather narrow, existence. The sloth’s arboreal lifestyle is sufficiently extraterrestrial to make it one of the world’s most misunderstood creatures, but it is by no means alone in this category. Life takes a glorious myriad of alien forms, and even the simplest require complex understanding.