Realistic Anime Quotes

CUSTOMER: These books are really stupid, aren’t they? BOOKSELLER: Which ones? CUSTOMER: You know, the ones where animals like cats and mice are best friends. BOOKSELLER: I suppose they’re not very realistic, but then that’s fiction. CUSTOMER: They’re more than unrealistic; they’re really stupid. BOOKSELLER: Well, writers use that kind of thing to teach kids about accepting people different to themselves, you know? CUSTOMER: Yeah, well, books shouldn’t pretend that different people get on like that and that everything is ‘la de da’ and wonderful, should they? Kids should learn that life’s a bitch, and the sooner the better.

I enjoy sitting at home eating a whole pizza, washing it down with a six pack of Budweiser and watching Anime on a Friday evening, can I realistically expect that hot fitness instructor at the gym to come on over and genuinely want to fuck my brains out?

There are six canons of conservative thought: 1) Belief in a transcendent order, or body of natural law, which rules society as well as conscience. Political problems, at bottom, are religious and moral problems. A narrow rationality, what Coleridge called the Understanding, cannot of itself satisfy human needs. "Every Tory is a realist," says Keith Feiling: "he knows that there are great forces in heaven and earth that man's philosophy cannot plumb or fathom." True politics is the art of apprehending and applying the Justice which ought to prevail in a community of souls. 2) Affection for the proliferating variety and mystery of human existence, as opposed to the narrowing uniformity, egalitarianism, and utilitarian aims of most radical systems; conservatives resist what Robert Graves calls "Logicalism" in society. This prejudice has been called "the conservatism of enjoyment"--a sense that life is worth living, according to Walter Bagehot "the proper source of an animated Conservatism." 3) Conviction that civilized society requires orders and classes, as against the notion of a "classless society." With reason, conservatives have been called "the party of order." If natural distinctions are effaced among men, oligarchs fill the vacuum. Ultimate equality in the judgment of God, and equality before courts of law, are recognized by conservatives; but equality of condition, they think, means equality in servitude and boredom. 4) Persuasion that freedom and property are closely linked: separate property from private possession, and Leviathan becomes master of all. Economic levelling, they maintain, is not economic progress. 5) Faith in prescription and distrust of "sophisters, calculators, and economists" who would reconstruct society upon abstract designs. Custom, convention, and old prescription are checks both upon man's anarchic impulse and upon the innovator's lust for power. 6) Recognition that change may not be salutary reform: hasty innovation may be a devouring conflagration, rather than a torch of progress. Society must alter, for prudent change is the means of social preservation; but a statesman must take Providence into his calculations, and a statesman's chief virtue, according to Plato and Burke, is prudence.

Very often, those who express concern about (or even interest in) the conditions in which farmed animals are raised are disregarded as sentimentalists. But it’s worth taking a step back to ask who is the sentimentalist and who is the realist. […] Two friends are ordering lunch. One says, “I’m in the mood for a burger,” and orders it. The other says “I’m in the mood for a burger,” but remembers that there are things more important to him than what he is the mood for at any given moment, and orders something else. Who is the sentimentalist?

That mountain there! That cloud there! What is 'real' about those? Try taking away the phantasm and the entire human contribution, you sober realists! Yes, if only you could do that! If you could forget your heritage, your past, your training – your entire humanity and animality! For us there is no 'reality' – nor for you either, you sober ones.

You can't expect a person to love an animal they might see decapitated at any minute. It ain't realistic," I told Miss Blue, who was gulping down her worm. She looked up at me like it shocked her to learn that some chickens got treated that way.

The woman wants the man to love her for ever and ever. She deliberately shuts her eyes to those two terrible enemies — Time and Change. Men are more realistic. They know that all things pass. And yet, it’s precisely out of this tension between the two sexes that civilization has evolved. Had this not been present, man would have become extinct like the many animals who were overtaken by this fate. Why do I say this? Because I see this “push” and “pull” as masculine and feminine principles, respectively, both of which are essential for the survival of the human race.

He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.

The first discovery of Dostoievsky is, for a spiritual adventurer, such a shock as is not likely to occur again. One is staggered, bewildered, insulted. It is like a hit in the face, at the end of a dark passage; a hit in the face, followed by the fumbling of strange hands at one's throat. Everything that has been forbidden, by discretion, by caution, by self-respect, by atavistic inhibition, seems suddenly to leap up out of the darkness and seize upon one with fierce, indescribable caresses. 　　All that one has felt, but has not dared to think; all that one has thought, but has not dared to say; all the terrible whispers from the unspeakable margins; all the horrible wreckage and silt from the unsounded depths, float in upon us and overpower us. There is so much that the other writers, even the realists among them, cannot, will not, say. There is so much that the normal self-preservative instincts in ourselves do not want said. But this Russian has no mercy. Such exposures humiliate and disgrace? What matter? It is well that we should be so laid bare. Such revelations provoke and embarrass? What matter? We require embarrassment. The quicksilver of human consciousness must have no closed chinks, no blind alleys. It must be compelled to reform its microcosmic reflections, even down there, where it has to be driven by force. It is extraordinary how superficial even the great writers are; how lacking in the Mole's claws, in the Woodpecker's beak! They seem labouring beneath some pathetic vow, exacted by the Demons of our Fate, under terrible threats, only to reveal what will serve their purpose! This applies as much to the Realists, with their traditional animal chemistry, as to the Idealists, with their traditional ethical dynamics. It applies, above all, to the interpreters of Sex, who, in their conventional grossness, as well as in their conventional discretion, bury such Ostrich heads in the sand!

Writer Brigid Brophy exposes [their motives] with great precision: "Whenever people say 'We mustn't be sentimental,' you can take it they are about to do something cruel. And if they add 'We must be realistic,' they mean they are going to make money out of it. These slogans have a long history. After being used to justify slave traders, ruthless industrialists, and contractors who had found that the most economically 'realistic' method of cleaning a chimney was to force a small child to climb it, they have now been passed on, like an heirloom, to the factory farmers. 'We mustn't be sentimental' tries to persuade us that factory farming isn't, in fact, cruel. It implies that the whole problem had been invented by our sloppy imaginations.

All prevailing philosophies embody the fiction that human life can be altered at will. Better aim for the impossible, they say, than submit to fate. Invariably, the result is a cult of human self-assertion that soon ends in farce. The line of thinking that is traced in this book runs in an opposite direction—not only in questioning the idea of progress but also, and more fundamentally, in rejecting the idea that it is only through action that life can be meaningful. Politics is only a small part of human existence, and the human animal only a very small part of the world. Science and technology have given us powers we never had before, but not the ability to refashion our existence as we wish. Poetry and religion are more realistic guides to life.

Groups are capable of being as moral and intelligent as the individuals who form them; a crowd is chaotic, has no purpose of its own and is capable of anything except intelligent action and realistic thinking. Assembled in a crowd, people lose their powers of reasoning and their capacity for moral choice. Their suggestibility is increased to the point where they cease to have any judgment or will of their own. They become very ex­citable, they lose all sense of individual or collective responsibility, they are subject to sudden accesses of rage, enthusiasm and panic. In a word, a man in a crowd behaves as though he had swallowed a large dose of some powerful intoxicant. He is a victim of what I have called "herd-poisoning." Like alcohol, herd-poison is an active, extraverted drug. The crowd-intoxicated individual escapes from responsibility, in­telligence and morality into a kind of frantic, animal mindlessness.

But, as Sir Herbert Read remarks in his Concise History of Modern Art, metaphysical anxiety is no longer only Germanic and northern; it now characterizes the whole of the modern world. Read quotes Klee, who wrote in his Diary at the beginning of 1915: “The more horrifying this world becomes (as it is in these days) the more art becomes abstract; while a world at peace produces realistic art.” To Franz Marc, abstraction offered a refuge from the evil and ugliness in this world. “Very early in life I felt that man was ugly. The animals seemed to be more lovely and pure, yet even among them I discovered so much that was revolting and hideous that my painting became more and more schematic and abstract.

A global world puts unprecedented pressure on our personal conduct and morality. Each of us is ensnared within numerous all-encompassing spider webs, which on the one hand restrict our movements, but at the same time transmit our tiniest jiggle to faraway destinations. Our daily routines influence the lives of people and animals halfway across the world, and some personal gestures can unexpectedly set the entire world ablaze, as happened with the self-immolation of Mohamed Bouazizi in Tunisia, which ignited the Arab Spring, and with the women who shared their stories of sexual harassment and sparked the #MeToo movement. This global dimension of our personal lives means that it is more important than ever to uncover our religious and political biases, our racial and gender privileges, and our unwitting complicity in institutional oppression. But is that a realistic enterprise? How can I find a firm ethical ground in a world that extends far beyond my horizons, that spins completely out of human control, and that holds all gods and ideologies suspect?

Kill the spiders to save the butterflies, it’s only rational, until you realize that ; by striving to do so you yourself become the spider” - Vash the Stampede "If you keep saving butterflies, spiders will starve to death! But…wanting to save both is a contradiction. What would you rather do? Keep deliberating? The butterfly will be eaten in the meantime." - Million Knives, Vash’s brother

They are also difficult to reconcile with archaeological evidence of how cities actually began in many parts of the world: as civic experiments on a grand scale, which frequently lacked the expected features of administrative hierarchy and authoritarian rule. We do not possess an adequate terminology for these early cities. To call them ‘egalitarian’, as we’ve seen, could mean quite a number of different things. It might imply an urban parliament and co-ordinated projects of social housing, as with some pre-Columbian centres in the Americas; or the self-organizing of autonomous households into neighbourhoods and citizens’ assemblies, as with prehistoric mega-sites north of the Black Sea; or, perhaps, the introduction of some explicit notion of equality based on principles of uniformity and sameness, as in Uruk-period Mesopotamia. None of this variability is surprising once we recall what preceded cities in each region. That was not, in fact, rudimentary or isolated groups, but far-flung networks of societies, spanning diverse ecologies, with people, plants, animals, drugs, objects of value, songs and ideas moving between them in endlessly intricate ways. While the individual units were demographically small, especially at certain times of year, they were typically organized into loose coalitions or confederacies. At the very least, these were simply the logical outcome of our first freedom: to move away from one’s home, knowing one will be received and cared for, even valued, in some distant place. At most they were examples of ‘amphictyony’, in which some kind of formal organization was put in charge of the care and maintenance of sacred places. It seems that Marcel Mauss had a point when he argued that we should reserve the term ‘civilization’ for great hospitality zones such as these. Of course, we are used to thinking of ‘civilization’ as something that originates in cities – but, armed with new knowledge, it seems more realistic to put things the other way round and to imagine the first cities as one of those great regional confederacies, compressed into a small space.

Stretched out side by side, we exhanged confidences, whispers, smiles. Curled up, she fell on my chest and unfolded there like a vegetation of murmurs. She sang in my ear, a little sea shell. She became humble and transparent, clutching my feet like a small animal, calm water. She was so clear I could read all of her thoughts. On certain nights her skin was covered with phosphorescence and to embrace her was to embrace a piece of night tattooed with fire. — Octavio Paz, from “My Life with the Wave

I remained silent, scarcely daring to breathe. I felt as if I was present at an intimate moment, watching a wild animal give birth. Although Alicia was aware of my presence, she didn’t seem to mind. She occasionally looked up, while painting, and glanced at me. Almost as if she was studying me. Over the next few days the painting slowly took shape, roughly at first, sketchily, but with increasing clarity—then it emerged from the canvas with a burst of pristine photo-realistic brilliance. Alicia had painted a redbrick building, a hospital—unmistakably the Grove. It was on fire, burning to the ground. Two figures were discernible on the fire escape. A man and a woman escaping the fire. The woman was unmistakably Alicia, her red hair the same color as the flames. I recognized the man as myself. I was carrying Alicia in my arms, holding her aloft while the fire licked at my ankles. I couldn’t tell if I was depicted as rescuing Alicia—or about to throw her in the flames. CHAPTER TWENTY-NINE “THIS IS RIDICULOUS. I’ve been coming here for years and nobody ever told me to call ahead before. I can’t stand around waiting all day. I’m an extremely busy person.

So, once more, the question is: Does the Bible forbid homosexual behavior? Well, I’ve already said that it does. The Bible is so realistic! You might not expect it to mention a topic like homosexual behavior, but in fact there are six places in the Bible—three in the Old Testament and three in the New Testament—where this issue is directly addressed—not to mention all the passages dealing with marriage and sexuality which have implications for this issue. In all six of these passages homosexual acts are unequivocally condemned. In Leviticus 18.22 it says that it is an abomination for a man to lie with another man as with a woman. In Lev. 20.13 the death penalty is prescribed in Israel for such an act, along with adultery, incest, and bestiality. Now sometimes homosexual advocates make light of these prohibitions by comparing them to prohibitions in the Old Testament against having contact with unclean animals like pigs. Just as Christians today don’t obey all of the Old Testament ceremonial laws, so, they say, we don’t have to obey the prohibitions of homosexual actions. But the problem with this argument is that the New Testament reaffirms the validity of the Old Testament prohibitions of homosexual behavior, as we’ll see below. This shows they were not just part of the ceremonial laws of the Old Testament, which were done away with, but were part of God’s everlasting moral law. Homosexual behavior is in God’s sight a serious sin. The third place where homosexual acts are mentioned in the Old Testament is the horrifying story in Genesis 19 of the attempted gang rape of Lot’s visitors by the men of Sodom, from which our word sodomy derives. God destroyed the city of Sodom because of their wickedness. Now if this weren’t enough, the New Testament also forbids homosexual behavior.

A crowd is chaotic, has no purpose of its own and is capable of anything except intelligent action and realistic thinking. Assembled in a crowd, people lose their powers of reasoning and their capacity for moral choice. They become very excitable, they lose all sense of individual or collective responsibility, they are subject to sudden accesses of rage, enthusiasm and panic. The crowd-intoxicated individual escapes from responsibility, intelligence and morality into a kind of frantic, animal mindlessness. Marching diverts men's thoughts. Marching kills thought. Marching makes an end of individuality.

When people look at my work, they often say, “Your picture is so good. I can’t even draw a straight line.” I think everyone can learn to draw. The important thing is to keep trying, keep drawing. […] Young children make marvelous pictures. There is nothing they can’t draw. They paint and draw from their imaginations and the world around them. And they are not afraid to draw anything. I saw a child’s picture, a country landscape. It had fifteen trees that looked like lollipops, both a sun and a moon in the sky and a crazy river running through. It wasn’t very realistic, but it was a miracle of design. … And when children draw people or portraits of themselves, even if they are only stick figures, they have an animate quality that a professional rarely gets.

Life was transparent, literature opaque. Life was open, literature a closed system. Life was composed of things, literature of words. Life was what it appeared to be: if you were afraid your plane would crash it was about death, if you were trying to get a girl into bed it was about sex. Literature was never about what it appeared to be about, though in the case of the novel cosiderable ingenuity and perception were needed to crack the code of realistic illusion, which was why he had been professionally attracted to the genre (even the dumbest critic understood that Hamlet wasn't about how the guy wanted to kill his uncle, or the Ancient Mariner about cruelty to animals, but it was surprising how many people thought Jane Austen's novels were about finding Mr Right).

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

SENTIMENTALITY The valuing of emotions over reality. Sentimentality is widely considered out of touch, weak. Very often, those who express concern about (or even an interest in) the conditions in which farmed animals are raised are disregarded as sentimentalists. But it's worth taking a step back and asking who is the sentimentalist and who is the realist. Is caring to know about the treatment of farmed animals a confrontation with the facts about the animals and ourselves or an avoidance of them? Is arguing that a sentiment of compassion should be given greater value than a cheaper burger (or having a burguer at all) an expression of emotion and impulse or an engagement with reality and our moral institutions? Two friends are ordering lunch. One says, "I'm in the mood for a burger," and orders it. The other says, "I'm im the mood for a burguer," but remembers that there are things more important to him than what he is in the mood for at any given moment, and orders something else. Who is the sentimentalist?

cele 3 secole diferitele lor tipuri de sensibilitate se exprima cel mai bine astfel: aristocratismul: Descartes, domnia ratiunii, marturie despre suveranitatea vointei. feminismul: Rousseau, domnia sentimentului, marturie despre suveranitatea simturilor, minciuna. animalismul: Schopenhauer, domnia dorintei, marturie despre suveranitatea animalitatii. mai cinstit, dar sumbru. secolul 17 e aristocratic, ordonator, trufas fata de animalic, sever fata de inima, "incomod", chiar lipsit de sentiment, negermanic, retinut fata de burlesc si naturalete, inclinat spre generalizare si cu aere de suveranitate fata de trecut, deoarece este increzator in sine. in mare masura si animal de prada, multa deprindere ascetica pt a putea ramane stapan. secolul tariei de vointa dar si al pasiunii puternice. secolul 18 e dominat de femeie, visator, inteligent, cam plat, avand totusi un anumit spirit la dispozitia dorintelor sale, a inimii, libertin in delectarea cu cele spirituale, subminand orice gen de autoritate. ametit, voios, limpede, uman, fals fata de sine, o mare canalie au fond, sociabil. secolul 19 e mai animalic, mai subteran, mai urat, mai realist, mai badaran si tocmai de aceea considerat "mai bun" "mai cinstit" mai smerit in fata "realitatii", mai autentic. dar slab in vointa, dar trist si sumbru, pofticios dar fatalist. nu se teme si nici nu stimeaza ratiunea sau inima. adanc convins de dominatia poftelor [Schopenhauer vorbea de "vointa" dar nimic nu e mai caracteristic pt filozofia sa, decat ca ii lipseste tocmai vointa per se]. pana si morala e redusa la un singur instinct ["mila"]. faptul ca stiinta devenit intr'un asemenea grad suverana arata ca secolul 19 s'a eliberat de dominatia idealurilor. abia o anumita lipsa de pretentii in felul nostru de a dori ne face posibila starea de curiozitate si rigoare stiintifica - aceasta stranie virtute care ne apartine. secolul 19 cauta instinctiv teorii cu ajutorul carora isi simte justificata subordonarea fatalista fata de real. suntem niste oameni care se autodesfiinteaza.

Aristotle's metaphysics, but perhaps the best place is his criticism of the theory of ideas, and his own alternative doctrine of universals. He advances against the theory of ideas a number of very good arguments, most of which are already to be found in Plato's Parmenides. The strongest argument is that of the 'third man': if a man is a man because he resembles the ideal man, there must be a still more ideal man to whom both ordinary men and the ideal man are similar. Again, Socrates is both a man and an animal, and the question arises whether the ideal man is an ideal animal; if he is, there must be as many ideal animals as there are species of animals. It is needless to pursue the matter; Aristotle makes it obvious that, when a number of individuals share a predicate, this cannot be because of relation to something of the same kind as themselves, but more ideal. This much may be taken as proved, but Aristotle's own doctrine is far from clear. It was this lack of clarity that made possible the medieval controversy between nominalists and realists. Aristotle's metaphysics,

We have looked at some of the things that a female might do if she has been deserted by her mate. But these all have the air of making the best of a bad job. Is there anything a female can do to reduce the extent to which her mate exploits her in the first place? She has a strong card in her hand. She can refuse to copulate. She is in demand, in a seller's market. This is because she brings the dowry of a large, nutritious egg. A male who successfully copulates gains a valuable food reserve for his offspring. The female is potentially in a position to drive a hard bargain before she copulates. Once she has copulated she has played her ace — her egg has been committed to the male. It is all very well to talk about driving hard bargains, but we know very well it is not really like that. Is there any realistic way in which something equivalent to driving a hard bargain could evolve by natural selection? I shall consider two main possibilities, called the domestic-bliss strategy, the he-man strategy. The simplest version of the domestic-bliss strategy is this. The female looks the males over, and tries to spot signs of fidelity and domesticity in advance. There is bound to be variation in the population of males in their predisposition to be faithful husbands. If females could recognize such qualities in advance, they could benefit themselves by choosing males possessing them. One way for a female to do this is to play hard to get for a long time, to be coy. Any male who is not patient enough to wait until the female eventually consents to copulate is not likely to be a good bet as a faithful husband. By insisting on a long engagement period, a female weeds out casual suitors, and only finally copulates with a male who has proved his qualities of fidelity and perseverance in advance. Feminine coyness is in fact very common among animals, and so are prolonged courtship or engagement periods. As we have already seen, a long engagement can also benefit a male where there is a danger of his being duped into caring for another male's child.

And the wraith on the heart monitor looks pensively down at Gately from upside-down and asks does Gately remember the myriad thespian extras on for example his beloved ‘Cheers!,’ not the center-stage Sam and Carla and Nom, but the nameless patrons always at tables, filling out the bar’s crowd, concessions to realism, always relegated to back- and foreground; and always having utterly silent conversations: their faces would animate and mouths would move realistically, but without sound; only the name-stars at the bar itself could audibilize. The wraith says these fractional actors, human scenery, could be seen (but not heard) in most pieces of filmed entertainment. And Gately remembers them, the extras in all public scenes, especially like bar and restaurant scenes, or rather remembers how he doesn’t quite remember them, how it never struck his addled mind as in fact surreal that their mouths moved but nothing emerged, and what a miserable fucking bottom-rung job that must be for an actor, to be sort of human furniture, figurants the wraith says they’re called, these surreally mute background presences whose presence really revealed that the camera, like any eye, has a perceptual corner, a triage of who’s important enough to be seen and heard v. just seen. A term from ballet, originally, figurant, the wraith explains. The wraith pushes his glasses up in the vaguely sniveling way of a kid that’s just got slapped around on the playground and says he personally spent the vast bulk of his own former animate life as pretty much a figurant, furniture at the periphery of the very eyes closest to him, it turned out, and that it’s one heck of a crummy way to try to live. Gately, whose increasing self-pity leaves little room or patience for anybody else’s self-pity, tries to lift his left hand and wiggle his pinkie to indicate the world’s smallest viola playing the theme from The Sorrow and the Pity, but even moving his left arm makes him almost faint. And either the wraith is saying or Gately is realizing that you can’t appreciate the dramatic pathos of a figurant until you realize how completely trapped and encaged he is in his mute peripheral status, because like say for example if one of ‘Cheers!’’s bar’s figurants suddenly decided he couldn’t take it any more and stood up and started shouting and gesturing around wildly in a bid for attention and nonperipheral status on the show, Gately realizes, all that would happen is that one of the audibilizing ‘name’ stars of the show would bolt over from stage-center and apply restraints or the Heineken Maneuver or CPR, figuring the silent gesturing figurant was choking on a beer-nut or something, and that then the whole rest of that episode of ‘Cheers!’ would be about jokes about the name star’s life-saving heroics, or else his fuck-up in applying the Heineken Maneuver to somebody who wasn’t choking on a nut. No way for a figurant to win. No possible voice or focus for the encaged figurant.

The fact is that the estimate of fatalities, in terms of what was calculable at that time—even before the discovery of nuclear winter—was a fantastic underestimate. More than forty years later, Dr. Lynn Eden, a scholar at Stanford’s Center for International Security and Cooperation, revealed in Whole World on Fire71 the bizarre fact that the war planners of SAC and the Joint Chiefs—throughout the nuclear era to the present day—have deliberately omitted entirely from their estimates of the destructive effects of U.S. or Russian nuclear attacks the effects of fire. They have done so on the questionable grounds that these effects are harder to predict than the effects of blast or fallout, on which their estimates of fatalities are exclusively based, even though, as Eden found, experts including Hal Brode have disputed such conclusions for decades. (A better hypothesis for the tenacious lack of interest is that accounting for fire would reduce the number of USAF warheads and vehicles required to achieve the designated damage levels: which were themselves set high enough to preclude coverage by available Navy submarine-launched missiles.) Yet even in the sixties the firestorms caused by thermonuclear weapons were known to be predictably the largest producers of fatalities in a nuclear war. Given that for almost all strategic nuclear weapons, the damage radius of firestorms would be two to five times the radius destroyed by the blast, a more realistic estimate of the fatalities caused directly by the planned U.S. attacks on the Sino-Soviet bloc, even in 1961, would surely have been double the summary in the graph I held in my hand, for a total death toll of a billion or more: a third of the earth’s population, then three billion. Moreover, what no one would recognize for another twenty-two years were the indirect effects of our planned first strike that gravely threatened the other two thirds of humanity. These effects arose from another neglected consequence of our attacks on cities: smoke. In effect, in ignoring fire the Chiefs and their planners ignored that where there’s fire there’s smoke. But what is dangerous to our survival is not the smoke from ordinary fires, even very large ones—smoke that remained in the lower atmosphere and would soon be rained out—but smoke propelled into the upper atmosphere from the firestorms that our nuclear weapons were sure to create in the cities we targeted. (See chapter 16.) Ferocious updrafts from these multiple firestorms would loft millions of tons of smoke and soot into the stratosphere, where it would not be rained out and would quickly encircle the globe, forming a blanket blocking most sunlight around the earth for a decade or more. This would reduce sunlight and lower temperatures72 worldwide to a point that would eliminate all harvests and starve to death—not all but nearly all—humans (and other animals that depend on vegetation for food). The population of the southern hemisphere—spared nearly all direct effects from nuclear explosions, even from fallout—would be nearly annihilated, as would that of Eurasia (which the Joint Chiefs already foresaw, from direct effects), Africa, and North America. In a sense the Chiefs

In cases where the selecting and abstracting have been dictated by a system that is not too erroneous as a view of the nature of things, and where the verbal labels have been intelligently chosen and their symbolic nature clearly understood, our behavior is apt to be realistic and tolerably decent. But under the influence of badly chosen words, applied, without any understanding of their merely symbolic character, to experiences that have been selected and abstracted in the light of a system of erroneous ideas, we are apt to behave with a fiendishness and an organized stupidity, of which dumb animals (precisely because they are dumb and cannot speak) are blessedly incapable.

The Situational Character: A Critical Realist Perspective on the Human Animal” by Jon D. Hanson and David G. Yosifon, along with its companion piece, “The Situation: An Introduction to the Situational Character, Critical Realism, Power Economics, and Deep Capture.” Situationism

Charles?  What is wrong?" That rueful little smile still in place, he bent his head, looking down as though he could see the beautiful animal whose broad forehead was pressed to his chest, and whose ears were only a few inches from his nose.  "I cannot ride him," he said softly, with one of his long, slow, blinks that lent him an air of studied sadness.  "As much as he means to me, as much as I've missed him, he is nothing more to me than a pet, now —" He never finished the sentence.  As though he'd taken violent offense at his master's words, the stallion flung up his head, the blow catching Charles squarely beneath the jaw, snapping his head back and sending him reeling backwards into Amy's arms. She staggered under his weight. "Will, help me!" Her brother rushed forward, and together they eased the captain down onto his back in the straw.  He lay unmoving, his lashes still against his cheeks.  Blood gushed from his nose. "Charles!" Amy slid a hand beneath his nape and lifted his head just as his eyes fluttered open. "Oh-h-h-h," he moaned, covering his nose with one hand and trying to stop the bleeding.  "Damn." "Will, get some cold water, quick!" Amy urged.  As her brother ran out of the barn toward the well, Amy helped Charles to sit up.  Cradling him against her body and tipping his head back over her arm, she tore off her neckerchief and pressed it to his nose. "You silly man," she said, in gentle admonishment.  "I would've thought you knew your horse well enough to realize he doesn't take kindly to insults, either to himself or to his master." "I didn't insult him. "  His voice sounded nasally and thick. "You insulted yourself." "I did not." "You did.  You said you couldn't ride him." "I damn well can't." "You damn well will.  My brother didn't go to all the trouble of bringing him back just so you could do nothing more than groom and feed him." "My dear Amy, please be realistic.  I cannot ride him." "Why not?" "Because I can't see." "So you can't.  But there's nothing wrong with your legs —" she blushed hotly, remembering the feel of them hard and strong against her own — "or your balance, or anything else about you.  You simply can't see where you're going.  But Contender can." "I shall not be able to guide him where I wish to go, pull him up when he needs pulling up, anticipate possible dangers to both himself and I." "Then you can go out riding with Mira and me, and we'll anticipate those things for you." "But I shall look the fool, up there on his back." "You shall look splendid." "Amy," he said in a patient, controlled voice, "you do not understand.  If something cannot be done the proper way, it should not be done at all.  Since I cannot ride him the proper way, I should not —" "No, Charles, you don't understand.  Sometimes there is no right way to do something, but a whole parcel of varying ways.  So you can't ride him the way you used to.  You find a different way." "But —" "You're doing it again," she scolded. "Doing what?" "Trying to be perfect.  And taking yourself far too seriously.  Stop it." He began to protest, then grinned and gave her a half-hearted salute.  "Yes, ma'm." At

We were barely out of earshot when Caroline exclaimed, “Mummy, she’s so beautiful and so nice. She’s just perfect. What a jerk Charles must be!” Pat and I burst out laughing at Caroline’s blunt and irreverent assessment. Then we asked about the children’s visit with Prince Harry. Caroline reported first. “It didn’t look like a prince’s room at all, Mom. It looked just like ours. You know, full of books and toys and stuffed animals.” I reminded Caroline that Diana wanted her boys to have a normal upbringing. The only bit of conversation either of them could recall was Harry asking them quite seriously, “Do you two ever fight with each other?” Patrick and Caroline had laughed and said they certainly did. Harry seemed greatly relieved. “Good,” he said, “because my brother and I fight all the time.” I couldn’t coax any more details out of them. We had enjoyed a wonderful, really unforgettable afternoon with Diana. I had been relieved to see her confident, healthy, and realistic--ready to move on to the next stage of her life. She had made an indelible and stunning impression on all of us. Pat and Caroline will certainly never forget their only close contact with the radiant and lovely Princess of Wales. Patrick adored seeing his princess again.

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Dante, as you might know, had originally titled his book The Comedy of Dante Alighieri, A Florentine by birth but not in character. The title Divine Comedy only came later, when the book became regarded as a masterpiece. It’s a work that can be approached in a thousand different ways, and over the centuries it has been,” he said, his voice gaining strength once he was on firm and familiar ground. “But what we’re going to focus on today is the use of natural imagery in the poem. And this Florentine edition which was recently donated to the Newberry collection—and which I think most of you have now seen in the central display case—is a particularly good way to do that.” He touched a button on the lectern’s electronic panel and the first image—an etching of a deep forest, with a lone figure, head bent, entering a narrow path—appeared on the screen. “ ‘In the middle of the journey of our life,’ ” he recited from memory, “ ‘I came to myself in a dark wood where the straight way was lost.’ ” Looking up, he said, “With the possible exception of ‘Jack and Jill went up the hill,’ there is probably no line of poetry more famous and easily identifiable than that. And you will notice that right here, at the very start of the epic that is to follow, we have a glimpse of the natural world that is both realistic—Dante spends a terrible night in that wood—and metaphorical.” Turning to the etching, he elaborated on several of its most salient features, including the animals that animated its border—a leopard with a spotted coat, a lion, and a skulking wolf with distended jaws. “Confronted by these creatures, Dante pretty much turns tail and runs, until he bumps into a figure—who turns out of course to be the Roman poet Virgil—who offers to guide him ‘through an eternal place where thou shalt hear the hopeless shrieks, shalt see the ancient spirits in pain so that each calls for a second death.’ ” A new image flashed on the screen, of a wide river—Acheron with mobs of the dead huddled on its shores, and a shrouded Charon in the foreground, pointing with one bony finger at a long boat. It was a particularly well-done image and David noted several heads nodding with interest and a low hum of comments. He had thought there might be. This edition of the Divine Comedy was one of the most powerful he had ever seen, and he was making it his mission to find out who the illustrator had been. The title pages of the book had sustained such significant water and smoke damage that no names could be discerned. The book had also had to be intensively treated for mold, and many of the plates bore ineradicable green and blue spots the circumference of a pencil eraser.

reinforcement-based technology is that at least as far as animals and children go, we now have a realistic way to keep them and take care of them and teach them without automatically using fear.

Three crows, two zebras, one whale, a handful of ladybugs, one unicorn with metallic wings, three horses—one pink, one green, one realistically colored—two butterflies, three bears including the one we got free with a wiper blade change, a dolphin from the aquarium class trip we lied to go to, convincing my mother she signed the permission slip while she dozed on the recliner after my brother made us a simple meal. Finally, four parakeets arranged up front, who were the young Luna’s—my—favorites. Place the walrus next to the puppy. The raccoon comes after the bear. The hush of human voices on the other side of the curtain, amplified and immediate. I had prepared for cruelty but not for this tender thought: Tom has returned my animals to me. They will never be out of order again. The Man from the Coffee Shop enters and every conciliatory sentiment fades. Tom’s gotten it wrong again. When the man entered in real life, no one noticed. There is no memory in a play. A play is always present tense. I am newly injured in real time.

Dear Elephant, Sir: … There are those, of course, who say you are useless, that you destroy crops in a land where starvation is rampant, that mankind has enough problems taking care of itself, without being expected to burden itself with elephants, They are saying, in fact, that you are a luxury, that we can no longer afford you. This is exactly the kind of argument every totalitarian regime from Stalin and Hitler to Mao uses to prove that a truly “progressive” society cannot be expected to afford the luxury of individual freedom. Human rights are elephants, too. The right of dissent, of independent thinking, the right to oppose and to challenge authority can very easily be throttled and repressed in the name of “necessity.” … In a German prison camp, during the last world war … locked behind the barbed wires we would think of the elephant herds thundering across the endless plains of Africa, and the image of such an irresistible liberty helped us to survive. If the world can no longer afford the luxury of natural beauty, then it will soon be overcome and destroyed by its own ugliness. I myself feel deeply that the fate of Man, and his dignity, are at stake.… There is no doubt that in the name of total rationalism you should be destroyed, leaving all the room to us on this overpopulated planet. Neither can there be any doubt that your disappearance will mean the beginning of an entirely man-made world. But let me tell you this, old friend: in an entirely man-made world, there can be no room for man either.… We are not and could never be our own creation. We are forever condemned to be part of a mystery that neither logic nor imagination can fathom, and your presence among us carries a resonance that cannot be accounted for in terms of science or reason, but only in terms of awe, wonder and reverence. You are our last innocence.… I know only too well that by taking your side—or is it merely my own?—I shall no doubt be labeled a conservative, or even a reactionary, a “monster” belonging to another and, it seems, prehistorical era: that of liberalism. I willingly accept the label. And so, dear Elephant, sir, we are finding ourselves, you and I, in the same boat.… In a truly materialistic and realistic society, poets, writers, artists, dreamers and elephants are a mere nuisance.… You are, dear Elephant sir, the last individual. Your very devoted friend, Romain Gary

Chasing a dream is a one-way relationship: you have to love it and give it everything or it won't work out, but you can't expect loyalty in return. Some guys are realistic about the results and just enjoy the process, but for others, the dream had thrown them away long before and they were still going after it--or maybe they were running away from something else. I had friends who were in it so long, trying to stay above water in their own little world was all they knew, and they'd gotten good at it, with side jobs and host families, living out of their cars, just as I would have been if I hadn't won Redlands by two seconds--if I hadn't met Tom Danielson against my will. If you're lost in the forest, you might get hungry, so you'll teach yourself how to hunt. And then maybe you'll make a shelter when you get cold. It all seems reasonable, but one step at a time, the forest becomes home, and you forget you were trying to get out.

Since the earliest days of the art form, humans have been the most difficult characters to animate. The more realistic the human being, the more difficult the animation becomes. Audiences will accept distortions in the actions of a cartoony character: no one has ever seen a four-foot-tall rabbit walk on its hind legs, so an artist animating Bugs Bunny enjoys considerable freedom. But everyone knows how human beings move, and if those movements are not rendered accurately, viewers won't believe in the characters. Ward Kimball, one of Disney's "Nine Old Men," commented, "As long as we deal in fantasy, we are on safe ground. The eye has no basis for comparison. But the more we try to duplicate nature realistically, the tougher our job becomes. The audience compares what we draw with what it knows to be true. Any false movement is easily detected.

I want (the story) to be about good and evil and true love, and it should also be funny. No talking animals. Not too much fooling around with the narrative structure. The ending should be happy but still realistic, believable, you know, and there shouldn't be a moral although we should be able to think back later and have some sort of revelation. No 'and suddenly they woke up and discovered that it was all a dream.' Got that?

The most important thing is that you find a diet and lifestyle that meets your personal needs and goals. If you feel inspired to eliminate animal foods completely from your diet to make a positive impact on animal welfare, on the environment, and on your own health, then go for it. But if you believe that it’s not realistic for you to completely forgo animal foods, there’s still a plant-based eating style that can improve your health and reduce your eco-impact. The bottom line: There are no hard-and-fast rules about the plant-based eating style; it’s up to you to decide your own.

Somehow it has become mawkish and weak to dwell upon the details of animal suffering, and strong and sensible to ignore them - to disregard "the sentimental maunderings of animal rights extremists," as Larry Katz, Safari Club's president for the year 2000 puts it. This is a twisting of plain words , of excuse ad evasion. A realist is someone who wants to know the realities, the facts of the case, what is actually taking place and how it feels to the victim. A sentimental person is one who follows desire, emotion, and impulse, often in disregard of the facts.

Mind Magic Spells ~Mind Control Programming Mind control, thought projection, mental manipulation, and brainwashing. These are spells that either affect another's mind or body or mind- altering magic. They make things a bit more realistic. The following spells can be considered 'mental' magic: Death Trance, See Aura, Sense Evil, Sense Magic, Befuddle, Fear, Levitation, Paralysis: Lesser, Telekinesis, Astral Projection, Blind, Repel Animals, Traitorous Hand, Trance, Calling, Domination, Sleep, Compulsion, Memory Bank, Agony, Second Sight, Hallucination, Locate, Oracle, Curse: Phobia, Mute, Curse; Temporary  Insanity, Transferable, Curse; Paranoia, Friend in the Head, Curse; Neurosis, Psychic Drain, Id Barrier, and Someone Makes Them. We might extend this category to include spirit spells (like Commune with Spirit, Banishment,

Parental interventions that make children happy clearly can and should be used to shape behaviour. The same goes for husbands, wives, co-workers and parents. Skinner, however, was a realist. He noted that use of reward was very difficult: the observer had to attend patiently until the target spontaneously manifested the desired behaviour, and then reinforce. This required a lot of time, and a lot of waiting, and that’s a problem. He also had to starve his animals down to three-quarters of their normal body weight before they would become interested enough in food reward to truly pay attention. But these are not the only shortcomings of the purely positive approach.

The way circus elephants are trained demonstrates this dynamic well: When young, they are attached by heavy chains to large stakes driven deep into the ground. They pull and yank and strain and struggle, but the chain is too strong, the stake too rooted. One day they give up, having learned that they cannot pull free, and from that day forward they can be “chained” with a slender rope. When this enormous animal feels any resistance, though it has the strength to pull the whole circus tent over, it stops trying. Because it believes it cannot, it cannot. “You’ll never amount to anything;” “You can’t sing;” “You’re not smart enough;” “Without money, you’re nothing;” “Who’d want you?;” “You’re just a loser;” “You should have more realistic goals;” “You’re the reason our marriage broke up;” “Without you kids I’d have had a chance;” “You’re worthless”—this opera is being sung in homes all over America right now, the stakes driven into the ground, the heavy chains attached, the children reaching the point they believe they cannot pull free. And at that point, they cannot. Unless and until something changes their view, unless they grasp the striking fact that they are tied with a thread, that the chain is an illusion, that they were fooled, and ultimately, that whoever so fooled them was wrong about them and that they were wrong about themselves—unless all this happens, these children are not likely to show society their positive attributes as adults. There’s more involved, of course, than just parenting. Some of the factors are so small they cannot be seen and yet so important they cannot be ignored: They are human genes. The one known as D4DR may influence the thrill-seeking behavior displayed by many violent criminals. Along with the influences of environment and upbringing, an elongated D4DR gene will likely be present in someone who grows up to be an assassin or a bank robber (or a daredevil). Behavioral geneticist Irving Gottesman: “Under a different scenario and in a different environment, that same person could become a hero in Bosnia.” In the future, genetics will play a much greater role in behavioral predictions. We’ll probably be able to genetically map personality traits as precisely as physical characteristics like height and weight. Though it will generate much controversy, parents may someday be able to use prenatal testing to identify children with unwanted personality genes, including those that make violence more likely. Until then, however, we’ll have to settle for a simpler, low-tech strategy for reducing violence: treating children lovingly and humanely.

It wasn’t personal because none of his ancestors had been trafficked as slaves, so gray eyes and light skin were simply an advantage in his mind, not a reminder that many ancestors were raped or bred like animals. Tonye was a pragmatist and a realist, not a historian or psychologist;

3D Character Modeling & low poly game character by 3D Game Art Studio Low poly game character are three-dimensional models based on a small number of polygons. An important condition is that this amount is enough to understand what the visualizer wanted to demonstrate. Since one of the relevant areas where 3d low-poly character developers are involved in the gaming industry, consider the process of work on the example of creating a Game Character Modeling Services. Work on other low poly character is similar. Each game must be unique in its own way. Character Modeling is the process of creating a character within the 3D space of computer programs. The techniques for character modeling are essential for third - and first - person experiences within film, animation, games, and Virtual Reality. It is important to bear in mind that low poly objects have less definition and are made with fewer polygons, spheres, cylinders, or cubes. By using flat lighting, the models will get the desired flat-shaded blocky look. low poly modeling requires a high degree of creativity, as you need to make the most of limited resources to create complex compositions. It has the power of simplicity. Low poly character also has its uses. The most important use is game engines since a computer can only handle many polygons in real time. Low poly keeps everything as low as possible applying normal mapping everywhere. Other uses of low poly include: • Subdivision modeling • Low-polygon proxy geometry for animating and rigging • Low poly style High poly character are preferable in Movie Character Modeling for the film industry since a large number of polygons are needed there for optimal detail. However, their 3d Rendering & Animation can sometimes take several days. But for games, low-poly character are often used: visualization of 3D characters is carried out directly in the course of the game process. GameYan Studio is a Game Development and Movie Animation company offer an animation 3D Character Modeling Services with a wide range of 3d character design services and animation with a specialized team of highly skilled designers & animators are having a capable to transform any characters to virtually animated characters. GameYan Studio is one stop solution for 3D Character Development - 3D Modeling Company. Whether you have concept or not, our creative team can convert your visualization into Sketches and 3d Character Modeling Design. We can deliver the final model with specific technical requirement like Low Poly, High Polygons and many technical detail will be follow by our 3d artist in realistic game character.

I'd rather die building an unrealistic human world, than live in a realistic animal world.

One of the most revolutionary concepts to grow out of our clinical experience is the growing recognition that the innermost core of man’s nature, the deepest layers of his personality, the base of his “animal nature,” is positive in nature—is basically socialized, forward-moving, rational and realistic.

The kids ignored the cranes, and the cranes ignored the kids, George remembered, and that struck him as the best humanity could realistically hope for.

Oh... wow!” The words were out before she could think better of them. He was a gorgeously-realistic Anime character come to sudden, distracting life... and that face. OMG that face! He caught her eyes onscreen and she stopped breathing.

The Commissioner asserts 'motivated intruders' evidence from Professor Anderaon was accepted under cross-examination as an 'over-extension' from his personal experiences with completely unrelated animal rights activists - see para.24 of the closing submissions, Professor Anderson's "wild speculations" about the possibility of "young men, borderline sociopathic or psychopathic" attaching themselves to the PACE trial criticism 'do him no credit". Nor do his extrapolations from benign Twitter requests for information to an "organised campaign” from an "adversarial group" show that he has maintained the necessary objectivity and accuracy that he is required to maintain. He does not distinguish between legitimate ethical and political disagreement, and the use of positions of access to confidential data. He stated that where there was legitimate disagreement one should assume that people will act in unlawful ways, This proposition that one should in every case assume the absolute worst about data disclosure is clearly neither sensible nor realistic. Freedom of Information Act tribunal judgment

Our opinion on palaeoart is that subtle references and hints of anatomical features are more realistic, more in line with what we see in living animals. Portrayed with style and in an appropriate setting, they can leave a more distinct effect on the viewer.

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