Quality Representation Quotes

We don't worship Satan, we worship ourselves using the metaphorical representation of the qualities of Satan. Satan is the name used by Judeo-Christians for that force of individuality and pride within us. But the force itself has been called by many names.We embrace Christian myths of Satan and Lucifer, along with Satanic renderings in Greek, Roman, Islamic, Sumerian, Syrian, Phrygian, Egyptian, Chinese or Hindu mythologies, to name but a few. We are not limited to one deity, but encompass all the expressions of the accuser or the one who advocates free thought and rational alternatives by whatever name he is called in a particular time and land. It so happens that we are living in a culture that is predominantly Judeo-Christian, so we emphasize Satan. If we were living in Roman times, the central figure, perhaps the title of our religion, would be different. But the name would be expressing and communicating the same thing. It's all context.

Greatness without models? Inconceivable. One could not be the thing itself - Reality. One must be satisfied with symbols. Make it the object of imitation to reach and release the high qualities. Make peace therefore with intermediacy and representations. Otherwise the individual must be the failure he now sees and knows himself to be.

By the time we comprehend and digest information, it is not necessarily a true reflection of reality. Instead, it is our representation of reality, and this is the input we base our decisions on. In essence we are limited to the tools nature has given us, and the natural way in which we make decisions is limited by the quality and accuracy of these tools.

But there are also remarkable differences between the two. The Beautiful in nature is connected with the form of the object, which consists in having boundaries. The Sublime, on the other hand, is to be found in a formless object, so far as in it or by occasion of it boundlessness is represented, and yet its totality is also present to thought. Thus the Beautiful seems to be regarded as the presentation of an indefinite concept of Understanding; the Sublime as that of a like concept of Reason. Therefore the satisfaction in the one case is bound up with the representation of quality, in the other with that of quantity.

The modern mind is like the eye of a man who is too tired to see the difference between blue and green. It fails in the quality that is truly called distinction; and,being incapable of distinction, it falls back on generalisation. The man, instead of having the sense to say he is tired, says he is emancipated and enlightened and liberal and universal.... ...we find it less trouble to let in a jungle of generalisations than to keep watch upon a logical frontier. But this shapeless assimilation is not only found in accepting things in the lump; it is also found in condemning them in the lump. When the same modern mind does begin to be intolerant, it is just as universally intolerant as it was universally tolerant. It sends things in batches to the gallows just as it admitted them in mobs to the sanctuary. It cannot limit its limitations any more than its license....There are...lunatics now having power to lay down the law, who have somehow got it into their heads that any artistic representation of anything wicked must be forbidden as encouraging wickedness. This would obviously be a veto on any tragedy and practically on any tale. But a moment's thought...would show them that this is simply an illogical generalisation from the particular problem of sex. All dignified civilisations conceal sexual things, for the perfectly sensible reason that their mere exhibition does affect the passions. But seeing another man forge a cheque does not make me want to forge a cheque. Seeing the tools for burgling a safe does not arouse an appetite for being a burglar. But the intelligence in question cannot stop itself from stopping anything. It is automatically autocratic; and its very prohibition proceeds in a sort of absence of mind. Indeed, that is the most exact word for it; it is emphatically absence of mind. For the mind exists to make those very distinctions and definitions which these people refuse. They refuse to draw the line anywhere; and drawing a line is the beginning of all philosophy, as it is the beginning of all art. They are the people who are content to say that what is sauce for the goose is sauce for the gander, and are condemned to pass their lives in looking for eggs from the cock as well as the hen.

This is where it begins to get mind-bending. The colors we experience are just appearances in the mind. The light itself does not have color; it is simply energy with a particular frequency, the color coming from the representation of that frequency in the mind. The same is true of every other quality we experience. We seem to be experiencing the world directly, but in truth all that we experience is a representation of the world out there appearing in our field of knowing.

3 Now this is eternal life: that they know you, the only true God, and Jesus Christ, whom you have sent. -JOHN 17:3 (Emphasis mine) Notice that Jesus does not say “eternal life” is an endless existence that we step into after death.  No, He speaks of “eternal life” as though it were a certain quality of life that hinges upon our understanding of God’s nature.  This life, however, can be experienced only through a knowledge of Jesus Christ, since He is the Father’s exact representation.

I think it's very dangerous to start censoring what authors should and shouldn't write.' ... 'I'd hate to live in a world where we tell people what they should and shouldn't write based on the color of their skin. I mean, turn what you're saying around and see how it sounds. Can a Black writer not write a novel with a white protagonist? What about everyone who has written about World War Two, and never lived through it? You can critique a work on the grounds of literary quality, and its representations of history--sure. But I see no reason why I shouldn't tackle this subject if I'm willing to do the work. And as you can tell by the text, I did do the work. You can look up my bibliographies. You can do the fact-checking yourself. Meanwhile, I think writing is fundamentally an exercise of empathy. Reading lets us live in someone else's shoes. Literature builds bridges; it makes our world larger, not smaller. And as for the question of profit--I mean, should every writer who writes about dark things feel guilty about it? should creatives not be paid for their work?

This basic evolutionary concept has been developed over the years into what we now know as biophilic design, which offers a set of three core design principles that aim to improve our connection with nature: Nature in the space: bringing real forms of nature and ways to connect to natural systems into your space... Natural analogues: including references to- or representations of- nature, taking inspiration from its forms, shapes, colors, patterns, and textures... Nature of the space: mimicking the spatial qualities of natural environments to enhance or evoke human responses.

The angel we named God banned representations of himself, even the writing of his name, trying to halt the process of literalization—but in the end it became inevitable. The angel found himself at the head of a corporation, run by Young Turks who wouldn't respect the line management structure: They rewrote his memos to make the law more rigorous, more confined, more human. He got ousted in a boardroom coup and kicked upstairs. He hadn't realized the power of corporeality, that the minds of men would of necessity alter the mind of their God. Being a deity meant taking on a lot of your subjects' qualities—both profound and trivial.

This does not necessarily mean that the man whose path at this moment crosses mine will be personally endowed with each and all of the marvellous qualities which we are accustomed to attribute to our representations of God, that he will be a perfect image of the divine Majesty, a striking sign of the Presence. But then, what about ourselves, as we look doubtfully at this man? Do we ourselves perfectly mirror the Lord in our bodies, our hearts and minds, our behaviour? What matters in our meeting is not the quality of the image that he and I present of God, still less any reflections upon this quality, but precisely the setting free of that image in his depths as in mine

An English visitor to Amsterdam in 1640 could not hide how impressed he was by what he saw. In the Low Countries, wrote Peter Mundy, even houses of “indifferent quality” were filled with furniture and ornaments “very Costly and Curious, Full of pleasure and home contentment, as Ritche Cupboards, Cabinetts…Imagery, porcelain, Costly Fine cages with birds” and more besides. Even butchers and bakers, blacksmiths and cobblers had paintings and luxury trinkets in their homes.60 “I was amazed,” wrote the English diarist John Evelyn about the annual fair in Rotterdam at around the same time; it was flooded with paintings, especially with “landscapes and drolleries, as they call those clownish representations.” Even common farmers had become avid art collectors.

From *the form of time and of the single dimension* of the series of representations, on account of which the intellect, in order to take up one thing, must drop everything else, there follows not only the intellect’s distraction, but also its *forgetfulness*. Most of what it has dropped it never takes up again, especially as the taking up again is bound to the principle of sufficient reason, and thus requires an occasion which the association of ideas and motivation have first to provide. Yet this occasion may be the remoter and the smaller, the more our susceptibility to it is enhanced by interest in the subject. But, as I have already shown in the essay *On the Principle of Sufficient Reason*, memory is not a receptacle, but a mere faculty, acquired by practice, of bringing forth any representations at random, so that these have always to be kept in practice by repetition, otherwise they are gradually lost. Accordingly, the knowledge even of the scholarly head exists only *virtualiter* as an acquired practice in producing certain representations. *Actualiter*, on the other hand, it is restricted to one particular representation, and for the moment is conscious of this one alone. Hence there results a strange contrast between what a man knows *potentia* and what he knows *actu*, in other words, between his knowledge and his thinking at any moment. The former is an immense and always somewhat chaotic mass, the latter a single, distinct thought. The relation is like that between the innumerable stars of the heavens and the telescope’s narrow field of vision; it stands out remarkably when, on some occasion, a man wishes to bring to distinct recollection some isolated fact from his knowledge, and time and trouble are required to look for it and pick it out of that chaos. Rapidity in doing this is a special gift, but depends very much on the day and the hour; therefore sometimes memory refuses its service, even in things which, at another time, it has ready at hand. This consideration requires us in our studies to strive after the attainment of correct insight rather than an increase of learning, and to take to heart the fact that the *quality* of knowledge is more important than its quantity. Quantity gives books only thickness; quality imparts thoroughness as well as style; for it is an *intensive* dimension, whereas the other is merely extensive. It consists in the distinctness and completeness of the concepts, together with the purity and accuracy of the knowledge of perception that forms their foundation. Therefore the whole of knowledge in all its parts is permeated by it, and is valuable or troubling accordingly. With a small quantity but good quality of knowledge we achieve more than with a very great quantity but bad quality." —from_The World as Will and Representation_. Translated from the German by E. F. J. Payne in two volumes: volume II, pp. 139-141

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

There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.

I think it's very dangerous to start censoring what authors should and shouldn't write." I open strong, and this gets some approving murmurs from the crowd. But I still see some skeptical faces, especially from the other Asians present, so I continue. "I'd hate to live in a world where we tell people what they should and shouldn't write based on the color of their skin. I mean, turn what you're saying around and see how it sounds. Can a Black writer not write a novel with a white protagonist? What about everyone who has written about World War Two, and never lived through it? You can critique a work on the grounds of literary quality, and its representations of history—sure. But I see no reason why I shouldn't tackle this subject if I'm willing to do the work. And as you can tell by the text, I did do the work. You can look up my bibliographies. You can do the fact- checking yourself. Meanwhile, I think writing is fundamentally an exercise in empathy. Reading lets us live in someone else's shoes. Literature builds bridges; it makes our world larger, not smaller. And as for the question of profit—I mean, should every writer who writes about dark things feel guilty about it? Should creatives not be paid for their work?

As we trace the myth of the Goddess through her salvific guides, we are aware of a cohesive set of metaphors that suggest a family likeness, as though a great mirror has shattered, prismatically retaining the original image. Indeed, the way which wisdom appears in the Bible is by means of "reflective mythology"-not the representation of an actual myth, but by a theological appropriation of mythic language and patterns that have been repackaged from the pagan models. With the Goddesses Demeter and Isis, the myth of the Goddess takes on a greater urgency that resonates to our contemporary spiritual response to the Divine Feminine: we find a common theme of loss and finding, of seeking for pieces of the shattered mirror of the beloved. Only when the divine daughter or husband is found and reconstituted can earth function again. Kore and Osiris are lost and found again, but they cannot be reconstituted entirely as they were. It is with our own search for the Goddess. In the period of loss, exile, or death, something transformative has happened. In each of these saving stories, it is the urgency of love the enduring patience of the seeker that restores the beloved. These are the prime qualities of Sophia that remind us always that, though we do not see her face clearly because she is veiled or disguised, the Goddess accompanies us wherever we go.

The beautiful in nature is a question of the form of the object, and it consists in limitation, whereas the sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence evokes, a representation of limitlessness, yet with a super-added thought of its totality. Accordingly the beautiful seems to be regarded as a presentation of an indeterminate concept of the understanding , the sublime as a presentation of an indeterminate concept of reason, Hence, the delight is in the former case coupled with the representation of quality, but in this case with that of quantity. Moreover, the former delight is very different from the latter in kind. For the beautiful is directly attended with a feeling of the furtherance of life, and thus is compatible with charms and a playful imagination. On the other hand, the feeling of the sublime is a pleasure that only arrises indirectly, being brought about by the feeling of a momentary check of the vital forces followed all at once by discharge all the more powerful, and so it is an emotion that seems to be no play, but a serious matter of the imagination. Hence charms are also incompatible with it; and, since the mind is not simply attracted by the object, but is also alternately repelled thereby, the delight in the sublime does not show how much involve positive pleasure as admiration or respect, i.e. merits the name of a negative pleasure.

... higher intellectual power makes those very few susceptible to much greater sufferings than duller men can ever feel. Moreover, it makes them feel lonely among beings that are noticeably different from them, and in this way also matters are made even. But purely intellectual pleasures are not accessible to the vast majority of men. They are almost wholly incapable of the pleasure to be found in pure knowledge; they are entirely given over to willing. Therefore, if anything is to win their sympathy, to be interesting to them, it must (and this is to be found already in the meaning of the word) in some way excite their will, even if it be only through a remote relation to it which is merely within the bounds of possibility. The will must never be left entirely out of question, since their existence lies far more in willing than in knowing; action and reaction are their only element. The naive expressions of this quality can be seen in trifles and everyday phenomena; thus, for example, they write their names up at places worth seeing which they visit, in order thus to react on, to affect the place, since it does not affect them. Further, they cannot easily just contemplate a rare and strange animal, but must excite it, tease it, play with it, just to experience action and reaction. But this need for exciting the will shows itself particularly in the invention and maintenance of card-playing, which is in the truest sense an expression of the wretched side of humanity.

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a reproductive vessel. The reduction of the head and the diminution of the extremities seem to stress the female form as potentially reproductive, but to what extent this condition was seen as sexual, erotic or matriarchal is unclear. ....Despite the correct rejection of the 'Mother Goddess' and utopian matriarchy myths by recent scholarship, we should not loose track of the overwhelming evidence that the image of female nudity was indeed one of power in ancient Mesopotamia. The goddess Ishtar/Inanna was but one of several goddesses whose erotic allure was represented as a powerful attribute in the literature of the ancient Near East. In contact to the naked male body which was the focus of a variety of meanings in the visual arts, female nudity was always associated with sexuality, and in particular with powerful sexual attraction, Akkadian *kuzbu*. This sexuality was not limited to Ishtar and her cult. As a literary topos, sensuousness is a defining quality for both mortal women and goddesses. In representational art, the nude woman is portrayed in a provocative pose, as the essence of the feminine. For femininity, sexual allure, *kuzbu*, the ideal of the feminine, was thus expressed as nudity in both visual and verbal imagery. While several iconographic types of unclothed females appear in Mesopotamian representations of the historical period - nursing mothers, women in acts of sexual intercourse, entertainers such as dancers and musicians, and isolated frontally represented nudes with or without other attributes - and while these nude female images may have different iconographic functions, the ideal of femininity and female sexuality portrayed in them is similar. -Zainab Bahrani, Women of Babylon: Gender and Representation in Mesopotamia

Approximately 80 percent of criminal defendants are indigent and thus unable to hire a lawyer. Yet our nation's public defender system is woefully inadequate. The most visible sign of the failed system is the astonishingly large caseloads public defenders routinely carry, making it impossible for them to provide meaningful representations to their clients. Sometimes defenders have well over one hundred clients at a time; many of these clients are facing decades behind bars or life imprisonment. Too often the quality of court-appointed counsel is poor because the miserable working conditions and low pay discourage good attorneys from participating in the system. And some states deny representation to impoverished defendants on the theory that somehow they should be able to pay for a lawyer, even thought they are scarcely able to pay for food or rent. In Virginia, for examples, fees paid to court-appointed attorneys for representing someone charged with a felony that carried a sentence of less than twenty years are capped at $428. And in Wisconsin, more than 11,000 poor people go to court without representation each year because anyone who earns more than $3,000 per year is considered able to afford a lawyer. In Lake Charles, Louisiana, the public defender office has only two investigators for the 2,500 felony cases and 4,000 misdemeanor cases assigned to the office each year. The NAACP Legal Defense Fund and the Southern Center for Human Rights in Atlanta sued the city of Gulfport, Mississippi, alleging that the city operated a 'modern day debtor's prison' by jailing poor people who are unable to pay their fines and denying them the right to lawyers.

We also find *physics*, in the widest sense of the word, concerned with the explanation of phenomena in the world; but it lies already in the nature of the explanations themselves that they cannot be sufficient. *Physics* is unable to stand on its own feet, but needs a *metaphysics* on which to support itself, whatever fine airs it may assume towards the latter. For it explains phenomena by something still more unknown than are they, namely by laws of nature resting on forces of nature, one of which is also the vital force. Certainly the whole present condition of all things in the world or in nature must necessarily be capable of explanation from purely physical causes. But such an explanation―supposing one actually succeeded so far as to be able to give it―must always just as necessarily be burdened with two essential imperfections (as it were with two sore points, or like Achilles with the vulnerable heel, or the devil with the cloven foot). On account of these imperfections, everything so explained would still really remain unexplained. The first imperfection is that the *beginning* of the chain of causes and effects that explains everything, in other words, of the connected and continuous changes, can positively *never* be reached, but, just like the limits of the world in space and time, recedes incessantly and *in infinitum*. The second imperfection is that all the efficient causes from which everything is explained always rest on something wholly inexplicable, that is, on the original *qualities* of things and the *natural forces* that make their appearance in them. By virtue of such forces they produce a definite effect, e.g., weight, hardness, impact, elasticity, heat, electricity, chemical forces, and so on, and such forces remain in every given explanation like an unknown quantity, not to be eliminated at all, in an otherwise perfectly solved algebraical equation. Accordingly there is not a fragment of clay, however little its value, that is not entirely composed of inexplicable qualities. Therefore these two inevitable defects in every purely physical, i.e., causal, explanation indicate that such an explanation can be only *relatively* true, and that its whole method and nature cannot be the only, the ultimate and hence sufficient one, in other words, cannot be the method that will ever be able to lead to the satisfactory solution of the difficult riddles of things, and to the true understanding of the world and of existence; but that the *physical* explanation, in general and as such, still requires one that is *metaphysical*, which would furnish the key to all its assumptions, but for that very reason would have to follow quite a different path. The first step to this is that we should bring to distinct consciousness and firmly retain the distinction between the two, that is, the difference between *physics* and *metaphysics*. In general this difference rests on the Kantian distinction between *phenomenon* and *thing-in-itself*. Just because Kant declared the thing-in-itself to be absolutely unknowable, there was, according to him, no *metaphysics* at all, but merely immanent knowledge, in other words mere *physics*, which can always speak only of phenomena, and together with this a critique of reason which aspires to metaphysics." ―from_The World as Will and Representation_. Translated from the German by E. F. J. Payne. In Two Volumes, Volume II, pp. 172-173

come to call “ideograms.” An ideogram is often a pictorial character that refers not to the visible entity that it explicitly pictures but to some quality or other phenomenon readily associated with that entity. Thus—to invent a simple example—a stylized image of a jaguar with its feet off the ground might come to signify “speed.” For the Chinese, even today, a stylized image of the sun and moon together signifies “brightness”; similarly, the word for “east” is invoked by a stylized image of the sun rising behind a tree.5 The efficacy of these pictorially derived systems necessarily entails a shift of sensory participation away from the voices and gestures of the surrounding landscape toward our own human-made images. However, the glyphs which constitute the bulk of these ancient scripts continually remind the reading body of its inherence in a more-than-human field of meanings. As signatures not only of the human form but of other animals, trees, sun, moon, and landforms, they continually refer our senses beyond the strictly human sphere.6 Yet even a host of pictograms and related ideograms will not suffice for certain terms that exist in the local discourse. Such terms may refer to phenomena that lack any precise visual association. Consider, for example, the English word “belief.” How might we signify this term in a pictographic, or ideographic, manner? An image of a phantasmagorical monster, perhaps, or one of a person in prayer. Yet no such ideogram would communicate the term as readily and precisely as the simple image of a bumblebee, followed by the figure of a leaf. We could, that is, resort to a visual pun, to images of things that have nothing overtly to do with belief but which, when named in sequence, carry the same sound as the spoken term “belief” (“bee-leaf”). And indeed, such pictographic puns, or rebuses, came to be employed early on by scribes in ancient China and in Mesoamerica as well as in the Middle East, to record certain terms that were especially amorphous or resistant to visual representation. Thus, for instance, the Sumerian word ti, which means

If my views were generally judged to be paradoxical when they made their appearance, some of them are commonplace today; others bid fair to become so. Let us admit that they could not at first be accepted. It would have meant tearing oneself away from deeply-rooted habits, veritable extensions of nature. All our ways of speaking, thinking, perceiving imply in effect that immobility and immutability are there by right, that movement and change are superadded, like accidents, to things which, by themselves, do not move and, in themselves, do not change. The representation of change is that of qualities or states, which supposedly follow one another in a substance. Each of these qualities, each of these states would be something stable, change being made of their succession: as for substance, whose role is to support the states and qualities which succeed one another, it would be stability itself. Such is the logic immanent in our languages and formulated once and for all by Aristotle: the intelligence has as its essence to judge, and judgment operates by the attribution of a predicate to a subject. The subject, by the sole fact of being named, is defined as invariable; the variation will reside in the diversity of the states that one will affirm concerning it, one after another.

When one is in a morbid state of health, one's dreams are often characterized by an unusual vividness and brilliance, and also by an extremely lifelike quality. Sometimes the scene that is conjured up is a monstrous one, yet the setting and the entire process of its representation are so lifelike and executed with details that are so subtle, astonishing, yet correspond in an artistic sense to the integral nature of the whole, that the dreamer himself could never invent them while awake, not even if he were an artist of the order of Pushkin or Turgenev.

The point is that our visual and decision environments are filtered to us courtesy of our eyes, our ears, our senses of smell and touch, and the master of it all, our brain. By the time we comprehend and digest information, it is not necessarily a true reflection of reality. Instead, it is our representation of reality, and this is the input we base our decisions on. In essence we are limited to the tools nature has given us, and the natural way in which we make decisions is limited by the quality and accuracy of these tools.

A great perfume can express the intangible, but essential, intentions of a designer and convey the constant, enduring, and driving identity of the fashion house. It was through Marc Rosen's advocacy that I came to realize that the greatest modern perfume bottles were an art reflecting art. They exist as design objects in their own right, but are directly responsive to the composition of the scents they hold. A perfume, based on a series of layers and combinations of scent and composed of "notes" in a system that is at once science and subjectivity, is dependent on the sensory and the intuitive. With evocative qualities that are an amalgam of references framing it conceptually, a perfume can inspire possibilities of representation through graphics and the form of its flacon. Perfume bottles reside at the intersection of aesthetics and technology. They are, at their most artful, the sculptural manifestations of the ideas, emotions, and poetry elicited by a fragrance.

Such distrust regarding democracy was also very widespread in the United States in the era of the supposed “Founding Fathers.” Ralph Ketcham perfectly summarized this situation by writing that “virtually all shades of opinion reviled monarchy and democracy, and, publicly at least, supported republicanism.” In effect, the distinction between democratic government and republican government was of the utmost importance (even if there were semantic variations), and politicians such as James Madison condemned the error consisting in confounding “a republic with a democracy.” He opposed, for his part, the qualities of republics, founded on representation and better adapted to large states, to the flaws of democracies, which are incapable of stretching across vast territories or of protecting themselves against pernicious factions. In a similar fashion, Alexander Hamilton called for the unification of the states into a “confederate republic” rather than into a democracy, which he described as being unstable and imprudent. William Cobbett, the editor of a pro-Federalist paper, went further still by expressing himself with remarkable candor: “O base democracy! Why, it is absolutely worse than street-sweepings, or the filth of the common sewers.” Yet it is perhaps John Adams who, better than anyone, lucidly summarized the dangers of democracy in the eyes of the most powerful statesmen. For he feared that the majority, who were very poor, would wish to redistribute goods and establish material equality.

When today we say ‘form’, we mean only the visible and measurable aspects of a thing, especially its spatial contours. For the Medieval masters, on the other hand…’form’ was the sum total of the essential properties or qualities of a thing; it was what constituted the inner unity of a manifested object. ‘The forms of things,’ writes Thierry of Chartres, ‘are outside and beyond matter, contained in the Divine Spirit. There, in its simple and immutable fullness, true forms exist. But those which, in a certain and not fully explicable way, are impregnated into matter, are so to speak ephemeral and not forms in the true sense. They are only something like the reflections or representations of true forms. True form is thus neither limitable nor mutable; it is like a ray of the creative Spirit which, descending into matter, fleetingly lends it form. An analogy for this is artistic creation: just as the artist may more or less completely...imprint on a material the spiritual picture that he carries within himself, so the essence of a thing may manifest itself more or less perfectly in that particular thing.

not only that symbolic hybridity can signal perspective—both the language facet of perspective and, indirectly, the perception facet of perspective—but also that symbolic hybridity can only feature in specific discourse categories, namely those categories that can contain elements of the character’s discourse and thus have a mimetic quality. TT shifts in linguistic hybridity can therefore lead to TT shifts in discourse category and these discourse-category shifts in turn can trigger TT shifts in the language facet of perspective. The following discussion will illustrate this in more detail. For this, I will draw on Leech and Short’s (2007) as well as Brian McHale’s (1978) classification of speech and thought presentation. Leech and Short (2007:255ff.) distinguish the following five speech-presentation categories: Narrative Report of Speech Act (NRSA) Indirect Speech (IS) Free Indirect Speech (FIS) Direct Speech (DS) Free Direct Speech (FDS) For a detailed discussion of these five speech-presentation categories see Leech and Short 2007:255–270. McHale (1978:258–259) further subdivides indirect discourse into (i) “indirect content paraphrase” and (ii) “indirect discourse, mimetic to some degree”. Building on McHale, I will therefore distinguish between (i) indirect speech (IS) and (ii) mimetic indirect speech (MIS). Short (1996:293) refers to NRSA as “Narrative Representation of Speech Acts” rather than “Narrative Report of Speech Act” and adds another category, that of “Narrator’s Representation of Speech (NRS)”. NRS is the most minimalist form of speech presentation, as it “merely tells us that speech occurred” without “specify[ing] the speech act(s) involved

Due’s guidelines, we will especially. Florida location convictions drunk people really need a hard line. 100 ml of blood, or about 0.08 per cent of all liquid at least the 0.08 per cent alcohol (due to back) is shown when some 210 liters of breath, you can claim for drunk driving. Far assessed only through this type of general assistance, the lack of such discrepancies is guilty of drunken his strength and reliability of March, the Americans, the. But it actually drinking and drink driving test in its own way will be forced to take care of Tallahassee by individuals will be condemned, rejected by his results, but only for those very is harsh. Orlando outcome of an internal drunk food is very harsh. Only 9 weeks in jail, 1,000 $ 500 Ignition lock-track recorder old suspected car or $ 250-500 almost certainly believe that high quality feed, only about six weeks in prison, and a drunken crime before punished by a DUI offense. 10 found guilty of a DUI third internal many years, Orlando is only a third of the number of offenders. The crime, the suspect in price for at least two years in a given calendar year and the unit ignition lock was initiated criminal representation.

As the discussion in this chapter is predominantly concerned with TT shifts in representational hybridity, and as representational hybridity is linked to its speaker, that is, it is defined by its quality of representing the language of a character or—in the case of iconic hybridity—also an embodied narrator, it makes sense to postulate a separate language facet, as this is the facet where the absence or presence of linguistic hybridity can signal perspective, as long as we keep in mind (i) that the language facet does not necessarily belong to the same textual agent as the other facets of perspective and (ii) that TT shifts in the language facet can trigger TT shifts in other facets too. For

we must rid ourselves of the notion that space and time are actual qualities in things in themselves . . . all bodies, together with the space in which they are, must be considered nothing but mere representations in us, and exist nowhere but in our thoughts.” Biocentrism,

Actually,” he said, “that brings me to the subject of this meeting, your future.” “It’s secure as long as there’s crime in the streets.” “There’s crime in the boardrooms, too, Henry. My firm is interested in hiring an associate with a criminal law background. I’ve circulated your name. People are impressed.” “Why would your firm dirty its hands in criminal practice?” Gold put his coffee cup down and said, “Corporations consist of people, some of whom are remarkably venal. Others still are just plain stupid. Anyway, they’ve come to us often enough needing a criminal defense lawyer to make it worth our while to hire one. We’d start you as a third-year associate, at sixty thousand a year.” I answered quickly, “Well, thanks for thinking of me, but I’m not interested.” Gold said, “Look, if it’s the money, I know you deserve more, but that’s just starting pay.” “You know it’s not the money, Aaron,” I said, reflecting that the sum he named was almost double my present wage. He sighed and said, “Henry, don’t tell me it’s the principle.” I said nothing. “You’re wasting yourself in the public defender’s office. You knock yourself out for some little creep and what you get in return is a shoebox of an office and less money than a first-year associate at my firm makes.” “So I should exchange it for a bigger office and more money and the opportunity to defend some rising young executive who gets busted for drunk driving?” “Why not? Aren’t the rich entitled to as decent a defense as the poor?” “You never hear much public outcry over the quality of legal representation of the rich.

Interest groups exercise influence way out of proportion to their place in society, distort both taxes and spending, and raise overall deficit levels through their ability to manipulate the budget in their favor. They also undermine the quality of public administration as a result of the multiple and often contradictory mandates they induce Congress to support. All of this has led to a crisis of representation, in which ordinary people feel their supposedly democratic government no longer truly reflects their interests but is under the control of a variety of shadowy elites. What is ironic and peculiar is that this crisis in representativeness has occurred in part because of reforms designed to make the system more democratic.

A second level of analysis for conceptualizing spirituality is in terms of personalized goals or strivings, or what Emmons and colleagues have called "ultimate concerns" (Emmons, 1999; Emmons, Cheung, & Tehrani, 1998). A rapidly expanding database now exists that demonstrates that personal goals are a valid representation of how people structure and experience their lives: They are critical constructs for understanding the ups and downs of everyday life, and they are key elements for understanding both the positive life as well as psychological dysfunction (Karoly, 1999). People's priorities, goals, and concerns are key determinants of their overall quality of life. The possession of and progression toward important life goals are essential for long-term well-being. Several investigators have found that individuals who are involved in the pursuit of personally meaningful goals possess greater emotional well-being and better physical health than do persons who lack goal direction (see Emmons, 19 9 9, for a review).

When he brought the dead to life, it was said that it was him and not him. The onlookers fell into bewilderment (hayra) just as the man of intellect becomes bewildered in his logical reflection when he sees an individual human being bringing the dead to life, as that is one of the divine qualities - bringing to life with speech, not mere bringing with animation. (12) The beholder is bewildered because he sees the form of a man who possesses a divine effect. That led some of them to speak of that as "incarnation" and say that 'Isa was Allah since it was by Him that 'Isa brought the dead to life. Thus they are charged with disbelief (kufr) which is the veil because they veil Allah, who brings the dead to life, by the human form of 'Isa. Allah said, "They are unbelievers who say, 'Allah is the Messiah, the son of Maryam.'" (13) They fell into both error and disbelief at the end of all they said, not because they say that he is Allah nor by calling him the son of Maryam. But they made the attribution that Allah, insofar as He brought the dead to life, was contained in the human form of the nasut which is called the son of Maryam. There is no doubt that 'Isa was the son of Maryam. The hearer imagines that they have attributed divinity to the form, and so they make divinity the same as the form. That is not what they do. Rather, they make divine He-ness the subject in the human form which is the son of Maryam. They should differentiate between the form of 'Isa and the divine principle because they have made the form the same as the principle. Jibril was in the form of man who did not breathe and then he breathed. One differentiates between the form and the breath, and the breath from the form. The form existed without the breath - thus the breath is not part of its essential definition. For that reason, differences occurred among the people of different [Christian] parties regarding 'Isa and what he was. Whoever looks at him in respect to his mortal human form, says that he is the son of Maryam. Whoever looks at him in respect to his mortal representational form relates him to Jibril. Whoever looks at him in respect to what was manifested from him of bringing the dead to life, relates him to Allah by the quality of the spirit, and says that he is the Spirit of Allah, (14) that is, by Him life was manifested in whomever received his breath. Sometimes Allah is imagined to be the passive principle in 'Isa, and sometimes the angel is imagined in him, and sometimes mortal humanity is imagined in him. So the conception of everyone is based on what predominates that person. 'Isa is the Word of Allah, (15) the Spirit of Allah, (16) and the slave of Allah. (17) That is something which no one else has in the sensory form. Indeed, each person is attached to his father of form, not to the One who breathed his spirit into the human form. When Allah fashioned the human body as He said, "When I have shaped him," (15:29;38:72) then He breathed into Him, that was from His spirit. Thus in its being and source, the spirit is ascribed to Allah. That is not the case with 'Isa. The shaping of his body and mortal form is implied in the breath of the spirit. Others, as we mentioned, are not like that.

Ernst & Young, Catalyst, the World Bank, and McKinsey have “all discovered over the past few years that once parliaments and corporate boards reach 30 percent female representation, the quality of decisions improves, the guys behave better, and there is less corruption.”[1]

Line: An artist’s tool used to illustrate the outer edges of shapes and forms. Technically, no physical lines exist in nature. For example, there is not an actual line around an apple to distinguish it from the table it’s sitting on, nor is there a physical line between the sky and the land at the horizon; therefore, lines in art are an artist’s interpretation of the boundaries between forms in a scene, or the perceived edges of shapes in a composition. Repeated lines can also be used to create values and textures in two-dimensional and three-dimensional art. Shape: The outside two-dimensional contour, outline or border of a form, figure or structure. Form: The three-dimensional representation of a shape. In drawings, paintings and other two-dimensional art, the artist creates the illusion of a three-dimensional form in space using light, shadow and other rendering techniques. In sculpture, the form is the manifestation of the object itself. Texture: The distinctive surface qualities found on all things as well as the overall visual patterns and tactile feel of objects and their surroundings. Value: The relative lightness or darkness of shapes, forms and backgrounds of two-dimensional or three-dimensional compositions. Value plays a prominent role in both black-and-white and color artworks, potentially adding dramatic contrasts and depth to an otherwise bland composition. Color: The spectrum of hues, values and intensities of natural light and man-made pigments, paints and mineral compounds that can be used in all art forms.

…This lack of morality is not limited to rank. In Alaba, for example, even the simplest social structures are ignored. Alabans claim that concepts of ‘man’ and ‘woman’ do not apply, and insist they have either five or six genders, depending on how they are counted, between which these heathens will move depending on their whims. As a tonal language, the same sound with different inflections carries different meanings, so a Naridan must be very careful to avoid misrepresenting himself: for example, ‘mè’ is ‘high masculine’, used by those in whom the fire of manhood burns strongly, while ‘mê’ is ‘low masculine’, for in Alaban society it is no great shame for a man to admit to womanly character. The largely uninflected ‘me’ is the gender-neutral formal, but ‘mé’ is ‘low feminine’, favoured by women who lack the qualities appropriate for their gender, and ‘mē’ is ‘high feminine’, the only appropriate usage for any Naridan lady of decency. Even stranger is ‘më’, used only by those who insist they have no gender, even in the most informal settings. Such immorality is hardly unsurprising in a land that has provided succour to exiled pretenders since the Splintering. Needless to say, Naridans should resist these pernicious local customs and only use the ‘high’ forms for themselves when visiting this land, lest they cause themselves considerable embarrassment.

The best representation of automation test execution scheduling is possible through Bar Charts when multiple Automation Testers are involved in the test project.

Increasingly, I have become concerned that the motivation to meet Wall Street earnings expectations may be overriding common sense business practices,” he said. “Too many corporate managers, auditors, and analysts are participants in a game of nods and winks. In the zeal to satisfy consensus earnings estimates and project a smooth earnings path, wishful thinking may be winning the day over faithful representation. As a result, I fear that we are witnessing an erosion in the quality of earnings, and therefore, the quality of financial reporting. Managing may be giving way to manipulation. Integrity may be losing out to illusion.” It was a remarkable speech.

Only emotion differs in nature from both intelligence and instinct, from both intelligent individual egoism and quasi-instinctive social pressure. Obviously no one denies that egoism produces emotions; and even more so social pressure, with all the fantasies of the story-telling function. But in both these cases, emotion is always connected to a representation on which it is supposed to depend. We are then placed in a composite of emotion and of representation, without noticing that it is potential, the nature of emotion as pure element. The latter in fact precedes all representation, itself generating new ideas. It does not have, strictly speaking, an object, but merely an essence that spreads itself over various objects, animals, plants and the whole of nature. "Imagine a piece of music which expresses love. It is not love for a particular person.... The quality of love will depend upon its essence and not upon its object." Although personal, it is not individual; transcendent, it is like the God in us. "When music cries, it is humanity, it is the whole of nature which cries with it. Truly speaking, it does not introduce these feelings in us; it introduces us rather into them, like the passers-by that might be nudged in a dance". In short, emotion is creative (first because it expresses the whole of creation, then because it creates the work in which it is expressed; and finally, because it communicates a little of this creativity to spectators or hearers).

How does electrolocation work, and what can we say about its representational and phenomenological qualities? Constant electric organ discharges emanating from the caudal region maintain a stable spatial voltage pattern over the skin surface. This voltage pattern changes when objects that have a resistance different from the surrounding water come within range of the signal and distort the field, resulting in changes of local electric voltages at particular skin loci. Objects can alter the stable electric discharge field in waveform and/or in amplitude, and weakly electric fish can detect both types of disruptions. These changes in local transepidermal electric current flow are recorded by the skin electroreceptors, which act as a 'retina' upon which an electric image of the object is projected. This image is then transduced, and the information is fed to regions of the brain that process higher-order features of objects. Whereas in humans the processing of higher-order features of objects take place in the cerebral cortex, in electrolocating fish these cognitive tasks are carried out in their hypertrophied cerebellum. The 'mormyrocerebellum' is so oversized that it accounts for the vast majority of the organism's total oxygen consumption, with metabolic expenditures exceeding that of any vertebrate. This, in turn, speaks to the great functional utility of electrolocation: all that brain stuff must be doing something computationally demanding and ecologically important.

As with cross-modal task transfer in echolocating dolphins, spontaneous cross-modal recognition in weakly electric fish strongly suggests that electrolocated objects are being perceived holistically in three dimensions with a representational format and/or phenomenological quality that is analogous in fundamental ways to vision. Object recognition across ISMs is thus a robustly replicable phenomenon and is indicative of both the common representational formats of ISM percepts and their global access. Further, as von der Emde and colleagues point out, cross-modal recognition is not a quirk of experimental artifice. Rather, it is a crucial adaptive functionality that ensures reliable perception in complex environments in which information flowing in from different senses must be weighted and adjusted in accordance with fluctuating conditions, such as changes in turbidity, lighting conditions, and so forth.

By consciously experiencing some elements of our tunnel as mere images or thoughts about the world, we became aware of the possibility of misrepresentation. We understood that sometimes we can be wrong, since reality is only a specific type of appearance. As evolved representational systems, we could now represent one of the most important facts about ourselves—namely, that we are representational systems. We were able to grasp the notions of truth and falsity, of knowledge and illusion. As soon as we had grasped this distinction, cultural evolution exploded, because we became ever more intelligent by systematically increasing knowledge and minimizing illusion. The discovery of the appearance/reality distinction was possible because we realized that some of the content of our conscious minds is constructed internally and because we could introspectively apprehend the construction process. The technical term here would be phenomenal opacity—the opposite of transparency. Those things in the evolution of consciousness that are old, ultrafast, and extremely reliable—such as the qualities of sensory experience—are transparent; abstract conscious thought is not. From an evolutionary perspective, thinking is very new, quite unreliable (as we all know), and so slow that we can actually observe it going on in our brains. In conscious reasoning, we witness the formation of thoughts; some processing stages are available for introspective attention. Therefore, we know that our thoughts are not given but made.

misconceptions of both science and philosophy. I believe that nowadays we live no longer in the presence of the world, but rather in a re-presentation of it. The significance of that is that the left hemisphere’s task is to ‘re-present’ what first ‘presences’ to the right hemisphere. This re-presentation has all the qualities of a virtual image: an infinitely thin, immobile, fragment of a vast, seamless, living, ever-flowing whole. From a standpoint within the representation, everything is reversed. Instead of seeing what is truly present as primary, and the representation as a necessarily diminished derivative of it, we see reality as merely a special case of our representation – one in which something is added in to ‘animate’ it. In this it is like a ciné film that consists of countless static slices requiring a projector to bring it back into what at least looks to us like a living flow. On the contrary, however, reality is not an animated version of our re-presentation of it, but our re-presentation a devitalised version of reality. It is the re-presentation that is a special, wholly atypical and imaginary, case of what is truly present, as the filmstrip is of life – the re-presentation is simply what one might call the ‘limit case’ of what is real. Stepping out of this world-picture and into the world, stepping out of suspended animation and back into life, will involve inverting many of our perhaps cherished assumptions.

1.​Identify the messages that are being presented. They all have one or more. (Except maybe that song about there being millions of peaches… I think those dudes were just high.) 2.​Along with your kids, identify which values the creators are elevating. (Freedom? Autonomy? Sex? Drugs? Pride?) Which values are they demeaning? (Humility? Responsibility? Traditional gender roles?) 3.​Try to piece together the worldview behind the message. What do you think the artist’s definition of good and bad is? What about moral and immoral? What is the good life—the life that reflects success (according to their art or writing)? Is it money? Lots of romantic relationships? Freedom from rules? 4.​If you are watching a movie, identify which characters and qualities are presented in an attractive way. Pay attention to the traits that are exhibited by the villains. The protagonist and antagonist are often archetypes, or representations of ideas.

Our sensations are effects brought forth in our organs by means of exterior causes, and how such an effect manifests itself depends of course quite essentially on the nature of the apparatus on which the cause operates. Insofar as the quality of our sensations gives us information about the peculiarities of the exterior process that excites it, it can count as a sign of that process, but not as a picture. For one expects of a picture some sort of similarity with the pictured object . . . But a sign need have no similarity of any sort whatever with that of which it is the sign. The relation between them is only that the same object, working its effects in the same way, produces the same sign, and that unequal signs always correspond to unequal causes. To the popular view, which naively and complacently assumes the full truth of the pictures that our senses give us of things, this remainder of similarity that we recognise may seem rather paltry. In truth it is not; with its aid something of the greatest significance can be achieved: the representation of the regularities in the processes of the real world . . . So even if our sense impressions in their qualities are only signs, whose special nature depends wholly on our internal organisation, they are nonetheless not to be dismissed as empty appearance, but are in fact a sign of something, whether this is something existing or something occurring; and what is most important, they can picture the law of this occurring.

In tragedy, if I may be allowed to make my meaning plain by a comparison, the monarchical constitution prevails, but a monarchy without despotism, such as it was in the heroic times of the Greeks: everything yields a willing obedience to the dignity of the heroic sceptre. Comedy, on the other hand, is the democracy of poetry, and is more inclined even to the confusion of anarchy than to any circumscription of the general liberty of its mental powers and purposes, and even of its separate thoughts, sallies, and allusions. Whatever is dignified, noble, and grand in human nature, admits only of a serious and earnest representation; for whoever attempts to represent it, feels himself, as it were, in the presence of a superior being, and is consequently awed and restrained by it. The comic poet, therefore, must divest his characters of all such qualities; he must place himself without the sphere of them; nay, even deny altogether their existence, and form an ideal of human nature the direct opposite of that of the tragedians, namely, as the odious and base. But as the tragic ideal is not a collective model of all possible virtues, so neither does this converse ideality consist in an aggregation, nowhere to be found in real life, of all moral enormities and marks of degeneracy, but rather in a dependence on the animal part of human nature, in that want of freedom and independence, that want of coherence, those inconsistencies of the inward man, in which all folly and infatuation originate.

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About the principle of representation and the concept of a parliament, today we have grown accustomed to associating them exclusively with the system of absolute democracy, based on universal suffrage and the principle of one man, one vote. This basis is absurd and indicates more than anything else the individualism that, combined with the pure criterion of quantity and of number, defines modern democracy. We say individualism in the bad sense, because here we are dealing with the individual as an abstract, atomistic and statistical unity, not as a ‘person’, because the quality of a person — that is, a being that has a specific dignity, a unique quality and differentiated traits—is obviously negated and offended in a system in which one vote is the equal of any other, in which the vote of a great thinker, a prince of the Church, an eminent jurist or sociologist, the commander of an army, and so on has the same weight, measured by counting votes, as the vote of an illiterate butcher’s boy, a halfwit, or the ordinary man in the street who allows himself to be influenced in public meetings, or who votes for whoever pays him. The fact that we can talk about ‘progress’ in reference to a society where we have reached the level of considering all this as normal is one of the many absurdities that, perhaps, in better times will be the cause of amazement or amusement.

It’s impossible to exaggerate the importance of a believer’s mental representation of God, for the way you imagine God largely determines the quality of your relationship with God. The intensity of your love for God will never outrun the beauty of the God you envision. Related to this, the depth of your transformation into the likeness of Christ will never outrun the Christlikeness of your mental representation of God.

In fact, there is mounting neurological evidence that a person’s mental representation of God significantly affects their quality of life, for better or for worse. For example, it’s a neurological fact that people who have a loving mental representation of God tend to have a greater capacity to think objectively about controversial matters and to make rational decisions than do people who have a threatening mental representation of God.

But this is no longer a photograph and, liter-ally speaking, it is no longer even an image. These shots may be said, rather, to be part of the murder of the image. That murder is being perpetrated continually by all the images that accumulate in series, in 'thematic' sequences, which illustrate the same event ad nauseam, which think they are accumulating, but are, in fact, cancelling each other out, till they reach the zero degree of information. There is a violence done to the world in this way, but there is also a violence done to the image, to the sovereignty of images. Now, an image has to be sovereign; it has to have its own symbolic space. If they are living images- 'aesthetic' quality is not at issue here- they ensure the existence of that symbolic space by eliminating an infinite number of other spaces from it. There is a perpetual rivalry between (true) images. But it is exactly the opposite today with the digital, where the parade of images resembles the sequencing of the genome.

a best self is “the cognitive representation of the qualities and characteristics the individual displays when at his or her best.”5 Our concepts of our best selves are not projections of what we think we could become someday. Rather, they’re based on our real-life experiences and actions. They comprise the skills and traits that we’ve developed and discovered over time, and the actions we have taken to affect others in a positive way. The more our colleagues know who we are when we’re at our best, the more likely we can feel like ourselves at work. We suspected that this is the reason why the people who experienced our wise intervention stayed so much longer and made clients happier: because they could express themselves more authentically.

Ra-Hoor-Khuit is an Egyptian deity who is an aspect of the hawk-headed god, Horus. He is of some significance within the magical paradigm of Thelema, which has evolved out of the magical work of Aleister Crowley. Among other things, he is described as the god of “strength and silence.” He appears as a hawk, or as a hawk-headed man. Ra-Hoor Khuit is generally associated with martial prowess. He is a warrior-god, but we can gain a further insight into his nature by looking at the qualities of a hawk. A hawk is powerful, aggressive and predatory, but in a very controlled sense. It hovers high above the land, until it spots its prey, whereon it swoops in for the kill. Ra-Hoor Khuit also has solar associations, and a powerful representation of him is the ‘Aeon’ card in the Crowley-Harris Thoth deck. So, when invoking Ra-Hoor-Khuit, we are identifying with these qualities; the power, confidence and poise of the god, the perceptual acuity of the hawk, and also a sense of freedom and detachment from the object (target) of our will.

Reality—according to the most stringent interpretation of the scientific data—is created by or at least correlative with the observer. It is in this light that natural philosophy needs now to be reinterpreted, with science placing a new emphasis on those special properties of life that make it fundamental to material reality. Yet even back then in the eighteenth century, Immanuel Kant, ahead of his time, said that “we must rid ourselves of the notion that space and time are actual qualities in things in themselves . . . all bodies, together with the space in which they are, must be considered nothing but mere representations in us, and exist nowhere but in our thoughts.

As such, does the moon exist when nobody is looking at it? If by ‘the moon’ we mean the aspect of reality that is represented as that shiny white disk up in the night sky, then yes, it exists whether or not anyone or anything is measuring or observing it. But if by ‘the moon’ we mean that shiny white disk itself—the colloquially ‘physical’ entity up in the sky—then no, it doesn’t exist if no living being is observing it, for the experiential qualities ‘shiny,’ ‘white,’ and ‘disk-shaped’ are cognitive representations created by the act of observation.

The book Making a Way Out of No Way: A Womanist Theology by Monica Coleman gave voice to what I couldn’t fully articulate, but have felt since the work of rest has received greater attention: “Not all evil can be overcome in this world, and yet a postmodern womanist theology maintains hope in the struggle to creatively and constructively respond to it. Sometimes feelings of discord are the result of the conflicts in this world. Sometimes liberation is not possible, but survival and quality of life are. All-encompassing health, wholeness, unity, and salvation are never fully attained in this world. As we constantly become, we are constantly vulnerable to evil and constantly capable of overcoming it. In postmodern womanist theology, salvation is an activity. Each new moment brings possibilities in both directions. A postmodern womanist theology strives for tangible representations of the good. The good includes justice, equality, discipleship, quality of life, acceptance and inclusion.

There is something quite peculiar to be found in the deep, unconscious seriousness with which two young people of opposite sex regard each other when they meet for the first time. the searching and penetrating glance they cast at each other, the careful inspection all the features and parts of their respective persons have to undergo. This scrutiny and examination is the meditation of the genius of the species concerning the individual possible through these two, and the combination of its qualities. The degree of their mutual pleasure in and longing for each other proves to be in accordance with the result of this meditation. After this longing has reached a significant degree, it can be suddenly extinguished again by the discovery of something that had previously remained unobserved. In all who are capable of procreation, therefore, the genius of the species meditates thus concerning the race to come. The constitution of this race is the great work with which Cupid is occupied, incessantly active, speculating, and pondering. Compared with the importance of his great business concerning the species and all the generations to come, the affairs of individuals in all their ephemeral totality are very insignificant; hence he is always ready to sacrifice these arbitrarily. For he is related to them as an immortal is to mortals, and his interests are related to theirs as the infinite to the finite. Therefore, conscious of managing affairs of a higher order than all those that concern only individual weal and woe, he pursues them with sublime and undisturbed calm amid the tumult of war, in the turmoil of business life, or during the raging of a plague; and follows them even into the seclusion of the cloister.

This genetic line ends in representation— in the “object supposed to be both real and the end of our actions.”92 Every object, Deleuze says, is defined by two things: “the quality or qualities which it possesses, the extension which it occupies.”93 These two characteristics—quality and extensity—are the basic “elements of representation.”94 They are the central coordinates of the “perceptual world.”95 The basic units of “propositions of consciousness.

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I believe that nowadays we live no longer in the presence of the world, but rather in a re-presentation of it. The significance of that is that the left hemisphere's task is to 're-present' what first 'presences' to the right hemisphere. This re-presentation has all the qualities of a virtual image: an infinitely thin, immobile, fragment of a vast, seamless, living, ever-flowing whole.

we formerly considered all the different architecture verification mechanisms as separate—​code quality versus DevOps metrics versus security, and so on. Fitness functions unify many existing concepts into a single mechanism, allowing architects to think in a uniform way about many existing (often ad hoc) “nonfunctional requirements” tests. Collecting important architecture thresholds and requirements as fitness functions allows for a more concrete representation for previously fuzzy, subjective evaluation criteria. We leverage a large number of existing mechanisms to build fitness functions, including traditional testing, monitoring, and other tools. Not all tests are fitness functions, but some tests are—​if the test helps verify the integrity of architectural concerns, we consider it a fitness function.

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