Prism Related Quotes

Thus space and time, defining everything that we cognize by sensuous means, are in themselves just forms of consciousness, categories of our intellect, the prism through which we regard the world—or in other words space and time do not represent properties of the world, but just properties of our knowledge of the world gained through our sensuous organism. Consequently the world, until by these means we come into relation to it, has neither extension in space nor existence in time; these are properties which we add to it.

Sleep. Sleep. Like money, you only think about it when you have too little. Then you think about it all the time, and the less you have the more you think about it. It becomes the prism through which you see the world and nothing can exist except in relation to it.

White men have created 95% of the cinematic images we’ve ever seen in American main stream films, have made all the micro-decisions related to the shots, the framing, the lighting, the sound design of movie images that we have ever seen. So powerful is the impact of film and so ubiquitous white men’s perspective in shaping it that their worldview has been normalized to the point of being considered the one true, accurate, and all-inclusive reflection of reality. It is not. It is one narrow prism through which we are all being forced to look.

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

is the strength of the songwriting. Dark Side contained strong, powerful songs. The overall idea that linked those songs together – the pressures of modern life – found a universal response, and continues to capture people’s imagination. The lyrics had depth, and had a resonance people could easily relate to, and were clear and simple enough for non-native-English speakers to understand, which must have been a factor in its international success. And the musical quality spearheaded by David’s guitar and voice and Rick’s keyboards established a fundamental Pink Floyd sound. We were comfortable with the music, which had had time to mature and gestate, and evolve through live performances – later on we had to stop previewing work live as the quality of the recording equipment being smuggled into gigs reached near-studio standards. The additional singers and Dick Parry’s sax gave the whole record an extra commercial sheen. In addition, the sonic quality of the album was state of the art – courtesy of the skills of Alan Parsons and Chris Thomas. This is particularly important, because at the time the album came out, hi-fi stereo equipment had only recently become a mainstream consumer item, an essential fashion accessory for the 1970s home. As a result, record buyers were particularly aware of the effects of stereo and able to appreciate any album that made the most of its possibilities. Dark Side had the good fortune to become one of the definitive test records that people could use to show off the quality of their hi-fi system. The packaging for the album by Storm and Po at Hipgnosis was clean, simple, and immediately striking, with a memorable icon in the shape of the prism.

Before 1800 the word “light,” apart from its use as a verb and an adjective, referred just to visible light. But early that year the English astronomer William Herschel observed some warming that could only have been caused by a form of light invisible to the human eye. Already an accomplished observer, Herschel had discovered the planet Uranus in 1781 and was now exploring the relation between sunlight, color, and heat. He began by placing a prism in the path of a sunbeam. Nothing new there. Sir Isaac Newton had done that back in the 1600s, leading him to name the familiar seven colors of the visible spectrum: red, orange, yellow, green, blue, indigo, and violet. (Yes, the colors do indeed spell Roy G. Biv.) But Herschel was inquisitive enough to wonder what the temperature of each color might be. So he placed thermometers in various regions of the rainbow and showed, as he suspected, that different colors registered different temperatures.† Well-conducted experiments require a “control”—a measurement where you expect no effect at all, and which serves as a kind of idiot-check on what you are measuring. For example, if you wonder what effect beer has on a tulip plant, then also nurture a second tulip plant, identical to the first, but give it water instead. If both plants die—if you killed them both—then you can’t blame the alcohol. That’s the value of a control sample. Herschel knew this, and laid a thermometer outside of the spectrum, adjacent to the red, expecting to read no more than room temperature throughout the experiment. But that’s not what happened. The temperature of his control thermometer rose even higher than in the red. Herschel wrote: [I] conclude, that the full red falls still short of the maximum of heat; which perhaps lies even a little beyond visible refraction. In this case, radiant heat will at least partly, if not chiefly, consist, if I may be permitted the expression, of invisible light; that is to say, of rays coming from the sun, that have such a momentum as to be unfit for vision.

Pregame jitters hadn’t been a part of Myron’s existence for over a decade, and he knew now what he’d always suspected: this nerve-jangled high was directly connected to basketball. Nothing else. He had never experienced anything similar in his business or personal life. Even violent confrontations—a perverted high if ever there was one—were not exactly like this. He had thought this uniquely sports-related sensation would ebb away with age and maturity, when a young man no longer takes a small event like a basketball game and blows it into an entity of near biblical importance, when something so relatively insignificant in the long run is no longer magnified to epic dimensions through the prism of youth. An adult, of course, can see what is useless to explain to a child—that one particular school dance or missed foul shot would be no more than a pang in the future. Yet here Myron was, comfortably ensconced in his thirties and still feeling the same heightened and raw sensations he had known only in youth. They hadn’t gone away with age. They’d just hibernated—as Calvin had warned him—hoping for a chance to stir, a chance that normally never came in one man’s lifetime. Were

En résumé, en Israël, Yhwh devint définitivement la divinité la plus importante avec le putsch de Jéhu. Yhwh a d’abord été vénéré dans le Nord surtout comme un « baal », c’est-à-dire un dieu de l’orage ressemblant à certains égards au dieu Baal d’Ougarit. Il n’a pas été le seul dieu vénéré en Israël ; peut-être a-t-il d’abord été subordonné à El (notamment dans le cas du sanctuaire de Béthel). Sous les Omrides, deux baalim se faisaient concurrence : le baal phénicien (peut-être Milqart) et le baal Yhwh. Par la suite, Yhwh intégra apparemment les traits d’El ainsi que des traits solaires : il devint un baal shamem, un « Seigneur du ciel ». Jusqu’à la chute de Samarie en 722 avant notre ère, le culte de Yhwh n’était pas exclusif, comme le montre le prisme de Nimroud, dans lequel Sargon II relate la prise de la capitale du royaume du Nord : « Je comptai pour prisonniers 27 280 personnes ainsi que leurs chars et les dieux en qui ils se confiaient. »

Today’s connoisseurs of Sino-American relations seem to view the relationship through a dystopian prism; their gloomy commentaries are largely an assemblage of snapshots on contemporary interactions or day-to-day developments without a historical context.

There is only one, Absolute Self. The Relative self enquires, "Who, am I?" and the inner, Being replies with a smile, "Who, am I not?" What makes this realisation so joyful is the comprehension that the Absolute Self is expressed through the prism of an actualised individual's unique perspective and lived experience. It's a joyful, glorious playground of light and colour, a kaleidoscope of Being.

I saw now why the angry young men on the boats around us were so afraid of that derelict refugee boat: that tiny vessel represented the overturning of a centuries-old project that had been essential to the shaping of Europe. Beginning with the early days of chattel slavery, the European imperial powers had launched upon the greatest and most cruel experiment in planetary remaking that history has ever known: in the service of commerce they had transported people between continents on an almost unimaginable scale, ultimately changing the demographic profile of the entire planet. But even as they were repopulating other continents they had always tried to preserve the whiteness of their own metropolitan territories in Europe. This entire project had now been upended. The systems and technologies that had made those massive demographic interventions possible – ranging from armaments to the control of information – had now achieved escape velocity: they were no longer under anyone’s control. This was why those angry young men were so afraid of that little blue fishing boat: through the prism of this vessel they could glimpse the unravelling of a centuries-old project that had conferred vast privilege on them in relation to the rest of the world. In their hearts they knew that their privileges could no longer be assured by the people and institutions they had once trusted to provide for them. The world had changed too much, too fast; the systems that were in control now did not obey any human master; they followed their own imperatives, inscrutable as demons.