Rework Quotes

What you do is what matters, not what you think or say or plan.

When you don’t know what you believe, everything becomes an argument. Everything is debatable. But when you stand for something, decisions are obvious.

Workaholics aren't heroes. They don't save the day, they just use it up. The real hero is home because she figured out a faster way

Neither a borrower, nor a lender be; For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry. This above all: to thine own self be true,   85 And it must follow, as the night the day, Thou canst not then be false to any man. Farewell; my blessing season this in thee!

But most critically, sweet, never try to change the narrative structure of someone else's story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better.

Every sunset is an opportunity to reset.

Capturing the beauty of the conversion of the water into wine, the poet Alexander Pope said, "The conscious water saw its Master and blushed." That sublime description could be reworked to explain each one of these miracles. Was it any different in principle for a broken body to mend at the command of its Maker? Was it far-fetched for the Creator of the universe, who fashioned matter out of nothing, to multiply bread for the crowd? Was it not within the power of the One who called all the molecules into existence to interlock them that they might bear His footsteps?

Working without a plan may seem scary. But blindly following a plan that has no relationship with reality is even scarier.

Find a judo solution, one that delivers maximum efficiency with minimum effort. When good enough gets the job done, go for it.

If circumstances change, your decisions can change. Decisions are temporary.

Plus, if you’re a copycat, you can never keep up. You’re always in a passive position. You never lead; you always follow. You give birth to something that’s already behind the times—just a knockoff, an inferior version of the original. That’s no way to live.

Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.

The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.

All our lives, we rework the things from our childhood, like feeling good about ourselves, managing our angry feelings, being able to say good-bye to people we love.

Until you actually start making something, your brilliant idea is just that, an idea.

Workaholics don't actually accomplish more than nonworkaholics. They may claim to be perfectionists, but that just mean they're wasting time fixating on inconsequential details instead of moving on to the next task.

Unless you are a fortune-teller, long-term business planning is a fantasy

If you build software, every error message is marketing

We are chained hand and foot by protocol, enslaved to a static, empty world where men and women can’t read, where the scientific advances of the ages are the preserve of the rich, where artists and poets are doomed to endless repetitions and sterile reworking of past masterpieces. Nothing is new. New does not exist. Nothing changes, nothing grows, evolves, develops. Time has stopped. Progress is forbidden

That world may be real for them, but it doesn't mean you have to live in it.

And Ren cracked open a jewelry box. Two strands of tiny beads wound around each other in gold and blue. Small diamond and sapphire flowers ran down the length of the chain and in the center hung a diamond lotus flower with a ruby center. I pressed trembling fingertips to my lips as I recognized Kishan's ring reworked into a new form....... I turned back to him and as he touched the beads along the edge, he spoke quietly, "Gold and blue tiger's eyes to remember what was found." His finger trailed down to the lotus ruby in the center. "A diamond lotus and red ruby to remember what was lost". He slid two fingers up the length of the chain over the dozens of tiny blue flowers. "And sapphire flowers that symbolize what will be.

Think about it this way: If you had to launch your business in two weeks, what would you cut out?

It’s a lot harder to pull your head up and ask why.

If you're opening a hot dog stand, you could worry about the condiments, the cart, the name, the decoration. But the first thing you should worry aout is the hot dog. The hot dogs are the epicenter. Everything else is secondary.

When you treat people like children, you get children’s work.

Don't let yourself off the hook with excuses.

Rank asked why the artist so often avoids clinical neurosis when he is so much a candidate for it because of his vivid imagination, his openness to the finest and broadest aspects of experience, his isolation from the cultural world-view that satisfies everyone else. The answer is that he takes in the world, but instead of being oppressed by it he reworks it in his own personality and recreates it in the work of art. The neurotic is precisely the one who cannot create—the “artiste-manque,” as Rank so aptly called him. We might say that both the artist and the neurotic bite off more than they can chew, but the artist spews it back out again and chews it over in an objectified way, as an ex­ternal, active, work project. The neurotic can’t marshal this creative response embodied in a specific work, and so he chokes on his in­troversions. The artist has similar large-scale introversions, but he uses them as material.

It’s a beautiful way to put it: Leave the poetry in what you make. When something becomes too polished, it loses its soul. It seems robotic.

There are four-letter words you should never use in business. They're not fuck or shit. They're need, must, can't, easy, just, only and fast. These words gets in the way of healthy communication

Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction--in short, belief--grows ever "truer." The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to "landscape" the virtual past. (He who pays the historian calls the tune.) Symmetry demands an actual + virtual future too. We imagine how next week, next year, or 2225 will shape up--a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows--the actual past--from another such simulacrum--the actual future? One model of time: an infinite matryoshka doll of painted moments, each "shell" (the present) encased inside a nest of "shells" (previous presents) I call the actual past but which we perceive as the virtual past. The doll of "now"likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future.

If you are trying to decide among a few people to fill a position hire the best writer. it doesn't matter if the person is marketer, salesperson, designer, programmer, or whatever, their writing skills will pay off. That's because being a good writer is about more than writing clear writing. Clear writing is a sign of clear thinking. great writers know how to communicate. they make things easy to understand. they can put themselves in someone else's shoes. they know what to omit. And those are qualities you want in any candidate. Writing is making a comeback all over our society... Writing is today's currency for good ideas.

Fabulous. If you possess it, you don’t need to ask what it is. When you attempt to delineate it, you move away from it. Fabulous is one of those words that provide a measure of the degree to which a person or event manifests a particular oppressed subculture’s most distinctive, invigorating features. What are the salient features of fabulousness? Irony. Tragic History. Defiance. Gender-fuck. Glitter. Drama. It is not butch. It is not hot. The cathexis surrounding fabulousness is not necessarily erotic. The fabulous is not delineated by age or beauty. It is raw materials reworked into illusion. To be truly fabulous, one must completely triumph over tragedy, age, and physical insufficiencies. The fabulous is the rapturous embrace of difference, the discovering of self not in that which has rejected you but in that which makes you unlike, the dislike, the other.

Small is not just a stepping-stone. Small is a great destination itself

Can you rework your past, the grit that rubs in you, until it is shiny and smooth as a pearl?

Whenever you can, swap “Let’s think about it” for “Let’s decide on it.” Commit to making decisions. Don’t wait for the perfect solution. Decide and move forward.

Meetings: "They often include at least one moron who inevitably gets his turn to waste everyone’s time with nonsense".

You're better off with a kick-ass half than a half-assed whole.

A life like an intricately woven basket, frayed, worn, broken, unraveled, reworked, reknit from many of its original pieces... Life can survive in the constant shadow of illness, and even rise to moments of rampant joy, but the shadow remains, and one has to make space for it.

Never try to change the narrative structure of someone else's story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better. Increasing the scale, the depth of content, the universal themes. And I don't care what those themes are- they're yours to uncover and stand behind-so long as, at the very least, there is courage.

I could spend whole days at Cinecittà. There, I am the greatest director of all time. On the town side, I reshoot the close-ups for Touch of Evil. Down at the beach, I rework the dolly shots for Stagecoach, and offshore I re-create the storm rocking the smugglers of Moonfleet.

The problem with abstractions (like reports and documents) is that they create illusions of agreement. A hundred people can read the same words, but in their heads, they’re imagining a hundred different things.

When everything constantly needs approval, you create a culture of nonthinkers.

Standing for something isn’t just about writing it down. It’s about believing it and living it.

I do not believe ADD leads to creativity any more than creativity causes ADD. Rather, they both originate in the same inborn trait: sensitivity. For creativity, a temperamental sensitivity is indispensable. The sensitive individual, as we have seen, draws into herself the unseen emotional and psychic communications of her environment. On some levels of the unconscious, she will, therefore, have a deeper awareness of the world. She may also be more attuned to particular sensory input, such as sound, color or musical tone. Thus the sensitivity provides her with the raw materials her mind will rework and reshape. Thus sensitivity contributes to the emergence of attention deficit disorder, as well as to creativity. Colin,

It wasn’t God that mattered, the researchers figured out. It was belief itself that made a difference. Once people learned how to believe in something, that skill started spilling over to other parts of their lives, until they started believing they could change. Belief was the ingredient that made a reworked habit loop into a permanent behavior.

And what do I think about? What thoughts do I have! - What thoughts! a whole host, multitude, and world of thoughts, I keep devising new ones and reworking old ones, some of the old ones are concluded and are only thought of as conclusions, whole worlds of new ones come crashing into my fingers, and it never ends.

If no one’s upset by what you’re saying, you’re probably not pushing hard enough. (And you’re probably boring, too.)

Limited resources force you to make do with what you've got. There's no room for waste. And that forces you to be creative.

It's better to have people be happy using someone else's product than disgruntled using yours.

Don’t make up problems you don’t have yet. It’s not a problem until it’s a real problem. Most of the things you worry about never happen anyway.

Plans let past drives the future.

People plug in to you, and when they’re gone, you stop working for a while. You have to reconfigure yourself, rework your wiring, so you can get out of bed in the morning.

Once people learned how to believe in something, that skill started spilling over to other parts of their lives, until they started believing they could change. Belief was the ingredient that made a reworked habit loop into a permanent behavior.

Personally I feel that real rock 'n' roll may be on the way out, just like adolescence as a relatively innocent transitional period is on the way out. What we have instead is a small island of new free music surrounded by some good reworkings of past idioms and a vast sargasso sea of absolute garbage.

Press Releases are spam

All companies have customers. Lucky companies have fans. But the most fortunate companies have audiences.

Culture is action, not words.

A business without a path to profit isn't a business, it's a hobby.

It’s a lot harder to pull your head up and ask why.

WE ALL HAVE ideas. Ideas are immortal. They last forever. What doesn’t last forever is inspiration. Inspiration is like fresh fruit or milk: It has an expiration date.

Jobs liked to tell the story- and he did so to his team that day- about how everything that he had done correctly had required a moment when he hit the rewind button. In each case he had to rework something that he discovered was not perfect. He talked about doing it on Toy Story, when the character of Woody had evolved into being a jerk, and on a couple of occasions with the original Macintosh. " If something isn't right, you can't just ignore it and say you'll fix it later," he said. " That's what other companies do.

I started calling that girl back . . . The girl who loved living, the girl who danced instead of walking. The girl who had sunfl owers for eyes and fi reworks in her soul. I started playing music again, hoping she would come out. I started looking for beautiful moments to experience, so she would feel safe enough to show herself, because I knew she was in there. And she needed my kindness and my eff ort to come to the surface again.

Novels well up naturally from within you, not something you can casually, strategically change. You can’t do market research or something and then intentionally rework the content based on the results. If you did, a work born from such a shallow base won’t find many readers.

Major thinkers in this century from a wide range of traditions in philosophy are scarcely comprehensible without understanding their relation to Hegel. This is true of Sartre, Heidegger, Merleau Ponty, Kojève (whose thought has been reworked by Francis Fukuyama in his writing on the ‘end of history’), Derrida, Lacan, Rorty, Royce, Althusser, Charles Taylor, Adorno, Marcuse, Fromm, and many others.

People automatically associate quitting with failure, but sometimes that's exactly what you should do. If you already spent too much time on something that wasn't worth it, walk away. You can't get that time back. The worst thing you can do now is waste even more time.

Pass on hiring people you don't need, even if you think that person's a great catch.

How long someone’s been doing it is overrated. What matters is how well they’ve been doing it.

If you constantly fret about timing things perfectly, they'll never happen.

It’s entirely your responsibility to make your dreams come true.

I'm very sorry - the only words that could not rework into anything but what they signified.

A complex system that works is invariably found to have evolved from a simple system that worked. A complex system designed from scratch never works and cannot be patched up to make it work. You have to start over with a working simple system

I’ve long suspected that many of my memories of childhood are actually drawn from old pictures, that they are a composite of snapshots, a mosaic of celluloid images reworked into a remembered reality. Kodak cast backward. Maybe it’s better to recall the past that way. We rarely take pictures of sad occasions.

Ignore the real world “That would never work in the real world.” You hear it all the time when you tell people about a fresh idea. This real world sounds like an awfully depressing place to live. It’s a place where new ideas, unfamiliar approaches, and foreign concepts always lose. The only things that win are what people already know and do, even if those things are flawed and inefficient. Scratch the surface and you’ll find these “real world” inhabitants are filled with pessimism and despair. They expect fresh concepts to fail. They assume society isn’t ready for or capable of change. Even worse, they want to drag others down into their tomb. If you’re hopeful and ambitious, they’ll try to convince you your ideas are impossible. They’ll say you’re wasting your time.

You don’t make a great museum by putting all the art in the world into a single room. That’s a warehouse.

You don’t need an MBA, a certificate, a fancy suit, a briefcase, or an above-average tolerance for risk. You just need an idea, a touch of confidence, and a push to get started.

Workaholics aren’t heroes. They don’t save the day, they just use it up. The real hero is already home because she figured out a faster way to get things done.

Failure is not a pre-requisite for success. Already successful entrepreneurs are far more likely to succeed again than who failed

Starting a business on the side while keeping your day job can provide all the cash flow you need.

Don't throw good time after bad work.

What do you call a generic pitch sent out to hundreds of strangers hgoping that one will bite? Spam.

Literature composed by women was stored not in books but in female bodies, living repositories of poetry and song. I have come across a line of argument in my reading, which posits that, due to the inherent fallibility of memory and the imperfect human vessels that held it, the Caoineadh cannot be considered a work of single authorship. Rather, the theory goes, it must be considered collage, or, perhaps, a folky reworking of older keens. This, to me --- in the brazen audacity of one positioned far from the tall walls of the university --- feels like a male assertion pressed upon a female text. After all, the etymology of the word ‘text’ lies in the Latin verb ‘texere’: to weave, to fuse, to braid. The Caoineadh form belongs to a literary genre worked and woven by women, entwining strands of female voices that were carried in female bodies, a phenomenon that seems to me cause for wonder and admiration, rather than suspicion of authorship.

Read your work aloud, if you can, if you aren't too embarrassed by the sound of your voice ringing out when you are alone in a room. Chances are that the sentence you can hardly pronounce without stumbling is a sentence that needs to be reworked to make it smoother and more fluent. A poet once told me that he was reading a draft of a new poem aloud to himself when a thief broke into his Manhattan loft. Instantly surmising that he had entered the dwelling of a madman, the thief turned and ran without taking anything, and without harming the poet. So it maybe that reading your work aloud will not only improve its quality but save your life in the process.

His connection to his life was that of a sculptor to his statue or a novelist to his novel. It is an inviolable right of a novelist to rework his novel. If the opening does not please him, he can rewrite or delete it. But Zdena's existence denied Mirek that author's prerogative. Zdena insisted on remaining on the opening pages of the novel and did not let herself be crossed out.

Beware: forget the reworking of characters. Obviously, the time-span is short. The first three parts, in any case, will only cover a period of three years. As for the last two, well that’s God’s secret and what I wouldn’t give to know it.

Ever find yourself working on something without knowing exactly why? Someone just told you to do it. It's pretty common, actually. That's why it's important to ask why you're working on _____. What is this for? Who benefits? What's the motivation behind it? Knowing the answers to these questions will help you better understand the work itself.

When we talk about books…we are talking about our approximate recollections of books… What we preserve of the books we read—whether we take notes or not, and even if we sincerely believe we remember them faithfully—is in truth no more than a few fragments afloat, like so many islands, on an ocean of oblivion…We do not retain in memory complete books identical to the books remembered by everyone else, but rather fragments surviving from partial readings, frequently fused together and further recast by our private fantasies. … What we take to be the books we have read is in fact an anomalous accumulation of fragments of texts, reworked by our imagination and unrelated to the books of others, even if these books are materially identical to ones we have held in our hands.

Writing is today 's currency for good ideas.

No time is no excuse

People will respect you more if you are open, honest, public, and responsive during a crisis. Don’t hide behind spin or try to keep your bad news on the down low. You

The longer something takes, the less likely it is that you're going to finish it.

It’s OK if it’s not perfect. You might not seem as professional, but you will seem a lot more genuine.

Everyone should be encouraged to start his own business, not just some rare breed that self-identifies as entrepreneurs.

The artist takes in the world, but instead of being oppressed by it, he reworks it in his own personality and recreates it in the work of art.

Oil paints were wiser to the human condition, understanding our imperfections and giving us enough time to rework ourselves until we made things right.

...writing is making a mess, and then working and reworking to create a beautiful piece.

Like language, books serve to express us, but also to complete us, furnishing, through a variety of excerpted and reworked fragments, the missing elements of our personality.

But where we see trash, God sees potential. The Mater Artist, with His tender touch, can rework our suffering into a pattern of good.

I wished to trust, and so I trusted. When events did not please me, my dreams reworked them.

All our lives we rework the things from our childhood, like feeling good about ourselves, managing our angry feelings, being able to say goodbye to people we love. —Fred Rogers

It's like when you're on hold and a recorded voice comes on telling you how much the company values you as a customer. Really? Then maybe you should hire some more support people so I don't have to wait thirty minutes to get help.

But most critically, sweet, never try to change the narrative structure of someone else’s story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better. Increasing the scale, the depth of content, the universal themes. And I don’t care what those themes are – they’re yours to uncover and stand behind – so long as, at the very least, there is courage. Guts. Mut, in German. Those around you can have their novellas, sweet, their short stories of cliché and coincidence, occasionally spiced up with tricks of the quirky, the achingly mundane, the grotesque. A few will even cook up Greek tragedy, those born into misery, destined to die in misery. But you, my bride of quietness, you will craft nothing less than epic with your life. Out of all of them, your story will be the one to last.

Every problem in quantum physics had to be first “solved” using classical physics, and then be reworked by the judicious insertion of quantum numbers more by inspired guesswork than cool reasoning.

Banana is also a Methodist minister who became a liberation theologian and once reworked the Lord's Prayer to include the lines: "Teach us to demand our share of the gold/And forgive us our docility.

Teach and you'll form a bond you just don't get from traditional marketing tactics. Buying people's attention with a magazine or online banner ad is one thing. Earning their loyalty by teaching them forms a whole different connection. They'll trust you more. They'll respect you more. Even if they don't use your product, they can still be your fans.

So ask yourself, "What can we do in two weeks?" And then do it. Get out there and let people use it, taste it, play it, or whatever. The quicker it's in the hands of customers, the better off you'll be.

When you cannot concentrate and focus sufficiently, the code you write will be wrong. It will have bugs. It will have the wrong structure. It will be opaque and convoluted. It will not solve the customers’ real problems. In short, it will have to be reworked or redone. Working while distracted creates waste.

If you're just going to be like everyone else, why are you even doing this? If you merely replicate competitors, there's no point for your existence. Even if you wind up losing, it's better to go down fighting for what you believe in instead of just imitating others.

When you build an audience, you don’t have to buy people’s attention—they give it to you. This is a huge advantage. So build an audience. Speak, write, blog, tweet, make videos—whatever. Share information that’s valuable and you’ll slowly but surely build a loyal audience.

I brought my hand to the back of his neck and leaned into him, sliding my fingers into the curls at his nape. His arms clasped tighter around me. I sighed just a little against his mouth, feeling that it was almost too much, all this newness, this feeling that there was space and light inside me I’d never noticed before. Every part of me down to my fingertips felt like reworked glass, melting into some new shape, my edges beginning to glow. I wanted to do nothing but change this way, pressed against his body, his warmth and goodness, forever.

Delegators love to pull people into meetings, too. In fact, meetings are a delegator’s best friend. That’s where he gets to seem important. Meanwhile, everyone else who attends is pulled away from getting real work done.

Good software designs accommodate change without huge investments and rework. When we use code that is out of our control, special care must be taken to protect our investment and make sure future change is not too costly.

Policies are organizational scar tissue. They are codified overreactions to situations that are unlikely to happen again. They are collective punishment for the misdeeds of an individual. This is how bureaucracies are born. No one sets out to create a bureaucracy. They sneak up on companies slowly. They are created one policy—one scar—at a time. So don’t scar on the first cut. Don’t create a policy because one person did something wrong once. Policies are only meant for situations that come up over and over again.

When you are new at something, you need to start creating.

The most important thing is to begin.

There is so much more to grief than just death. In losing someone, you lose their presence in every single moment and milestone that appears after their death. Every hope, dream, and expectation you had for the future must now be reworked, because the person you love can no longer be there. It’s normal to feel like you’re grieving multiple losses when someone dies.

When you want something bad enough, you make the time—regardless of your other obligations. The truth is most people just don’t want it bad enough. Then they protect their ego with the excuse of time. Don’t let yourself off the hook with excuses. It’s entirely your responsibility to make your dreams come true.

...it was easy to forget that Washington was just another glum city of government, like Albany or Sacramento, legislators and lobbyists and bureaucrats and their clerks working and reworking the sodden language of government in order to distribute the spoils.

What do I love most? Working with words. Words in a sentence are like pieces of a puzzle; you try out a whole bunch, then turn them this way and that until they fit into the whole. Creating flow is crucial. There's nothing like the moment when, after working and reworking a sentence, everything falls into place, and you know that it's right. What I do love least? Touring. It's grueling, time-consuming, and lonely.

According to special relativity, no longer can space and time be thought of as universal concepts set in stone, experienced identically by everyone. Rather, space and time emerged from Einstein's reworking as malleable constructs whose form and appearance depend on one's state of motion.

You cannot work science around a predetermined belief system; you can only work (or rework) a belief system around science, current knowledge, and new evidence. If you are not willing to do that, you believe in the fanciful instead of understanding the factual – and that is delusional.

THE RETURN OF THE REPRESSED: RELIVING DISSOCIATED EXPERIENCES The reexperiencing of previously dissociated traumatic events presents in a variety of complex ways. The central principle is that dissociated experiences often do not remain dormant. Freud's concept of the “repetition compulsion” is enormously helpful in understanding how dissociated events are later reexperienced. In his paper, "Beyond the Pleasure Principle," Freud (1920/ 1955) described how repressed (and dissociated) trauma and instinctual conflicts can become superimposed on current reality. He wrote: The patient cannot remember the whole of what is repressed in him, and what he cannot remember may be precisely the essential part of it. .. . He is obliged to repeat the repressed material as a contemporary experience instead of remembering it as something in the past. (p. 18) If one understands repression as the process in which overwhelming experiences are forgotten, distanced, and dissociated, Freud posited that these experiences are likely to recur in the mind and to be reexperienced. He theorized that this "compulsion to repeat" served a need to rework and achieve mastery over the experience and that it perhaps had an underlying biologic basis as well. The most perceptive tenet of Freud’s theory is that previously dissociated events are actually reexperienced as current reality rather than remembered as occurring in the past. Although Freud was discussing the trauma produced by intense intrapsychic conflict, clinical experience has shown that actual traumatic events that have been dissociated are often repeated and reexperienced.

Easy is a word that’s used to describe other people’s jobs. “That should be easy for you to do, right?” But notice how rarely people describe their own tasks as easy. For you, it’s “Let me look into it”—but for others, it’s “Get it done.

In a sense, you're also a sculptor fashioning the other party. The words and looks you use are the tools that leave imprints. Nurturing words shape the heart. As you allow the holy spirit to rework and refashion your beliefs about yourself, drawing closer to Christ's image, your skills as a potter or sculptor will be refined.

It’s often the case that teams working in agile processes do not actually go back to improve the user interface of the software. But, as the saying goes, “it’s not iterative if you only do it once.” Teams need to make a commitment to continuous improvement, and that means not simply refactoring code and addressing technical debt but also reworking and improving user interfaces. Teams must embrace the concept of UX debt and make a commitment to continuous improvement of the user experience.

that only there, in the silences of the painter or the writer can reality be reordered, reworked and made to show its significant side. Our common actions in reality are simply the sackcloth covering which hides the cloth-of-gold — the meaning of the pattern. For us artists there waits the joyous compromise through art with all that wounded or defeated us in daily life; in this way, not to evade destiny, as the ordinary people try to do, but to fulfil it in its true potential — the imagination.

GENERAL NOTE TO MYSELF - Douglas Adams Writing isn’t so bad really when you get through the worry. Forget about the worry, just press on. Don’t be embarrassed about the bad bits. Don’t strain at them, give yourself time, you can come back and do it again in the light of what you discover about the story later on. It's better to have pages and pages of material to work through and often maybe find an unexpected shape in that you can then craft and put it for good use, rather than one manically reworked paragraph or sentence. But writing can be good. You attack it, don’t let it attack you. You can get pleasure out of it. You can certainly do very well for yourself with it...!

The closest I ever got to Dragonlance and Forgotten Realms was when I bought the box game set for the latter (I think this was before the novels came out). I well recall this—we were living in James Bay, in Victoria. We opened the box up and took out the maps while sitting in a Mexican restaurant. Ten minutes later I was as close as I have ever been to publicly burning someone else’s creation…What bothered us was the reworking of every fantasy cliché imaginable, all in one package now, and none of it made sense.

Working more doesn’t mean you care more or get more done. It just means you work more.

no one’s upset by what you’re saying, you’re probably not pushing hard enough. (And you’re probably boring, too.)

Ideas are cheap and plentiful. The original pitch idea is such a small part of a business that it’s almost negligible. The real question is how well you execute.

Once you [work on your idea extra hours], you'll learn whether your excitement and interest is real or just a passing phase.

Check the cover letter. In a cover letter, you get actual communication instead of a list of skills, verbs, and years of irrelevance.

I want to be that woman . . . the one who, yes, may have been hurt, but because You {God} reworked her heart she stands whole. Emotionally whole. Free.

As Camus’ reworking of the myth reveals, liberty can be found in the oddest of places—even Oran or Hades.

In Jason Fried’s book Rework, he writes that one of the smartest investments a business can make is in hiring great writers, and I completely agree. No

The art of creative leadership is the art of institution building, the reworking of human and technological materials to fashion an organism that embodies new and enduring values.

Project Princess Teeny feet rock layered double socks Popping side piping of many colored loose lace ups Racing toe keeps up with fancy free gear slick slide and just pressed recently weaved hair Jeans oversized belie her hips, back, thighs that have made guys sigh for milleni year Topped by an attractive jacket her suit’s not for flacking, flunkies, junkies or punk homies on the stroll. Her hands mobile thrones of today’s urban goddess Clinking rings link dragon fingers no need to be modest. One or two gap teeth coolin’ sport gold initials Doubt you get to her name just check from the side please chill. Multidimensional shrimp earrings frame her cinnamon face Crimson with a compliment if a comment hits the right place Don’t step to the plate with datelines from ‘88 Spare your simple, fragile feelings with the same sense that you came Color woman variation reworks the french twist with crinkle cut platinum frosted bangs from a spray can’s mist Never dissed, she insists: “No you can’t touch this.” And, if pissed, bedecked fists stop boys who must persist. She’s the one. Give her some. Under fire. Smoking gun. Of which songs are sung, raps are spun, bells are rung, rocked, pistols cocked, unwanted advances blocked, well stacked she’s jock. It’s all about you girl. You go on. Don’t you dare stop.

And yet there is no sign of humans in this picture, not our reworking of the Earth’s surface, not our machines, not ourselves: We are too small and our statecraft is too feeble to be seen by a spacecraft between the Earth and the Moon. From this vantage point, our obsession with nationalism is nowhere in evidence. The Apollo pictures of the whole Earth conveyed to multitudes something well known to astronomers: On the scale of worlds—to say nothing of stars or galaxies—humans are inconsequential, a thin film of life on an obscure and solitary lump of rock and metal.

We all have that one friend who says, "I had the idea for eBay. If only I had acted on it, I'd be a billionaire!" That logic is pathetic and delusional. Having the idea for eBay has nothing to do with actually creating eBay. What you do is what matters, not what you think or say or plan.

So why was the goddess of Memory linked with artistic creation,you may well ask" "Because for the Greeks creativity wasn't associated with the idea of producing something new-as it is today.The artist built upon, or reworked, the great intellectual and cultural achievements of the past. So a great memory,you see, was considered a key part of creative activity- it gave the artist more material to draw upon, as well as a richer, more complex intellect. When James Joyce said ' I invented nothing, but I forgot nothing either," I think he was referring to exactly this sort of thing.

Marketing is not a department Do you have a marketing department? If not, good. If you do, don’t think these are the only people responsible for marketing. Accounting is a department. Marketing isn’t. Marketing is something everyone in your company is doing 24/7/365. Just as you cannot not communicate, you cannot not market: Every time you answer the phone, it’s marketing. Every time you send an e-mail, it’s marketing. Every time someone uses your product, it’s marketing. Every word you write on your Web site is marketing. If you build software, every error message is marketing. If you’re in the restaurant business, the after-dinner mint is marketing. If you’re in the retail business, the checkout counter is marketing. If you’re in a service business, your invoice is marketing. Recognize that all of these little things are more important than choosing which piece of swag to throw into a conference goodie bag. Marketing isn’t just a few individual events. It’s the sum total of everything you do.

Give up on the guesswork. Decide what you’re going to do this week, not this year. Figure out the next most important thing and do that. Make decisions right before you do something, not far in advance.

If you want to change your story, change your actions first. When we choose to act a certain way, our mind can’t help but rework our narrative to make those actions become coherent. We become what we do.

Pour yourself into your product and everything around your product too: how you sell it, how you support it, how you explain it, and how you deliver it. Competitors can never copy the you in your product.

Then you fail. And you try again. You keep at it, despite failing, or because of failing, if that makes sense. It’s like creating that perfect recipe. You rework and rework and rework it until you get it right.

Folklore has it in America that quality and production are incompatible; that you can not have both. A plant manager will usually tell you that it is either or. In his experience, if he pushes quality, he falls behind in production. If he pushes production, his quality suffers. This will be his experience when he knows not what quality is nor how to achieve it. A clear, concise answer came forth in a meeting with 22 production workers, all union representatives, in response to my question, "Why is it that productivity increase as quality improves?" Less rework. There is no better answer. Another version often comes forth: Not so much waste.

Don’t cut too deep in your first prints.” “But what if we do dig too deep?” a girl in the front asked. “What happens then?” Giulia reached out to the side, pulling up a print stained with inky shadows, but within its depths, the faint outlines of something else. An echo of what it had been still visible in the second plate. “Cut too deep,” she said, “and your image will keep coming back again and again, no matter how many times you rework it.

Don't make up problems you don't have yet. It's not a problem until it's a real problem. Most of the things you worry about never happen anyway. The decisions you make today don't need to last forever. If circumstances change, your decisions CAN change. Decisions are temporary. Pay attention to today and worry about later when it gets here. Otherwise, you'll waste energy, time and money fixating on problems that may never materialize." ~ An excerpt from the awesome book, "Rework

No one thought it odd that at her funeral Elton John should perform a reworking of the song he had originally composed as hero-worship to Marilyn Monroe, for she too was an icon for a secular age and in the end icons of that kind are interchangeable.

Martel seems to point to the fact that most people are engaged in forms of self-deception or revisionist history, reworking the narrative of their lives in order to see actions that were motivated by self-interest instead of motivated out of concern for others. ... So what is the “truth”? Martel's message is that it is impossible to ascertain. There is no neat binary. It is always just beyond our grasp—we are all capable of being both victims and victimizers, innocent and guilty, good and bad simultaneously

It doesn't mean I'm not thinking it. I always feel a bit defeated when I have to follow up with "I love you too". It's like the sequel to a film: I Love You and I Love You Too. You know the second one's always going to be a predictable reworking of the first.

What is better… A Mini Metal Stencil or an Adhesive-Backed Plastic Stencil? We were wondering what was a better performer for PCB rework……a miniature metal stencil or the newer plastic film stencils with and adhesive backing. To know more visit soldertools.net

find of the basket’s contents, then reworked the cinch-basket-harness arrangement, fastening the two spears the way they had fallen, points down. She attached the grass mat, which had been wrapped around the deer, to both poles, thus creating a carrier platform between them—behind the horse but off the ground. She lashed the deer to it, then carefully tied down the unconscious cave lion cub. After she relaxed, Whinney seemed more accepting of the cinches and harnesses, and she stood quietly while Ayla made adjustments.

Anything that helps an individual heal, stretch, and grow requires confrontation: updating a previous belief, reworking old patterns that no longer serve, overhauling your spiritual systems, implementing an elimination diet. Comfort is not a companion of change.

When you build a product or service, you make the call on hundreds of tiny decisions each day. If you’re solving someone else’s problem, you’re constantly stabbing in the dark. When you solve your own problem, the light comes on. You know exactly what the right answer is.

We need instead to ask, what possibilities of mobilization are produced on the basis of existing configurations of discourse and power? What are the possibilities of reworking that very matrix of power by which we are constituted, of reconstituting the legacy of that constitution, and of working against each other process of regulation that can destabilize existing power regimes? For if the subject is constituted by power, that power does not cease at the moment the subject is constituted, for that subject is never fully constituted, but is subjected and produced time and again. That subject is neither a ground nor a product, but the permanent possibility of a certain resignifying process, one which gets detoured and stalled through other mechanisms of power, but which is power's own possibility of being reworked. It is not enough to say that the subject is invariably engaged in a political field; that phenomenological phrasing misses the point that the subject is an accomplishment regulated and produced in advance. And is as such fully political; indeed, perhaps most political as the point in which it is claimed to be prior to politics itself. To perform this kind of Foucaultian critique of the subject is not to do away with the subject or to pronounce it's death, but merely to claim that certain versions of the subject are politically insidious.

Because life, as Pablo Picasso averred, 'is a very bad novel', it has to be reworked through the writers' suffering into something much more meaningful, much more valuable. A life lived and relived, then, emitting intensity and beauty only achievable by a journey through pain.

Philosophy worked with the desacralized concepts produced by the elimination of the old order: concepts of reason, dialogue, justice and conscience reworked the terms associated with the practices of deliberation and accountability required by secularized democratic government.

Three portraits by Hans Holbein have for generations dictated the imagery of the epoch. The first shows King Henry VIII in all his swollen arrogance and finery. The second gives us Sir Thomas More, the ascetic scholar who seems willing to lay his life on a matter of principle. The third captures King Henry’s enforcer Sir Thomas Cromwell, a sallow and saturnine fellow calloused by the exercise of worldly power. The genius of Mantel’s prose lies in her reworking of this aesthetic: Look again at His Majesty and see if you do not detect something spoiled, effeminate, and insecure. Now scrutinize the face of More and notice the frigid, snobbish fanaticism that holds his dignity in place. As for Cromwell, this may be the visage of a ruthless bureaucrat, but it is the look of a man who has learned the hard way that books must be balanced, accounts settled, and zeal held firmly in check. By the end of the contest, there will be the beginnings of a serious country called England, which can debate temporal and spiritual affairs in its own language and which will vanquish Spain and give birth to Shakespeare and Marlowe and Milton.

I despise the religions we have, nothing but flummery and manipulation based on texts and materials so reworked over time they’re all meaningless. I despise the division religions religions bring; humans have enough problems without that. I despise con men like Father Melly. And yet, and yet …

There's a beauty to imperfection. This is the essence of the Japanese principle of wabi-sabi. Wabi-sabi values character and uniqueness over a shiny facade. It teaches that cracks and scratches in things should be embraced. It's also about simplicity. You strip things down and then use what you have.

Restraining a smile, Owen came around her and laid his hand on the snow's surface. With a silent command, he reworked the internal chemistry of the layers. Megan nearly fell on her face when the saw sliced right through to the ground. She whooped out a cheer. "Woot! I did it! I did it! Take that, snow

The first step is to stop seeing everything as a threat. You can’t will this to happen—it requires wider exposure. If you’ve been punched in the face, you won’t worry as much about a mugger, for example. If you face the flinch in meditation, you don’t worry about a long line at the bank. Build your base of confidence by having a vaster set of experiences to call upon, and you’ll realize you can handle more than you used to. Doing the uncomfortable is key. It widens your circle of comfort. Second, rework the pattern of threat response. Learn habits that move you out of a fight-or-flight choice and into another pattern that’s more effective.

The concerts went off as Concert for Bangladesh on August 1 (afternoon and evening shows), with Ringo Starr double-drumming next to Jim Keltner and an all-star band, including Billy Preston, Leon Russell, Klaus Voormann, Badfinger, and Eric Clapton. Reunion rumors evaporated the minute Harrison introduced Bob Dylan, who hadn’t performed widely in America since his motorcycle accident in 1966. Except for the Woody Guthrie memorial concert with the Band in 1968, Dylan hadn’t appeared on a New York stage since 1966, and he quickly upstaged everybody by reworking five songs that signaled a larger return to form. Once again, Harrison trumped expectations by bringing in a ringer.

The telling and the hearing of a story is not a simple act. The one who tells must reach down into deeper layers of the self, reviving old feelings, reviewing the past. Whatever is retrieved is reworked into a new form, one that narrates events and gives the listener a path through these events that leads to some fragment of wisdom. The one who hears takes the story in, even to a place not visible or conscious to the mind, yet there. In this inner place a story from another life suffers a subtle change. As it enters the memory of the listener it is augmented by reflection, by other memories, and even the body hearing and responding in the moment of the telling. By such transmissions, consciousness is woven.

Inspiration is a magical thing, a productivity multiplier, a motivator.

La planificación a largo plazo en un negocio es una fantasía, a no ser que tú seas una pitonisa

Aprendre dels errors està sobrevalorat

Clear writing is a sign of clear thinking. Great writers know how to communicate. They make things easy to understand.

Having a positive outlook means being optimistic even when you have continuous failures, and keep re-working on your plans.

The best part of re-working a story is falling in love with the characters all over again.

It doesn’t matter how much you plan, you’ll still get some stuff wrong anyway. Don’t make things worse by overanalyzing and delaying before you even get going.

Not everything will work out the way that you want it to the first time. Sometimes you will have to re-work an idea, or sell it in a different way. Riding

Hire great writers If you are trying to decide among a few people to fill a position, hire the best writer. It doesn’t matter if that person is a marketer, salesperson, designer, programmer, or whatever; their writing skills will pay off. That’s because being a good writer is about more than writing. Clear writing is a sign of clear thinking. Great writers know how to communicate. They make things easy to understand. They can put themselves in someone else’s shoes. They know what to omit. And those are qualities you want in any candidate.

In real life, I constantly rework conversations after the fact in my head, edit them until I’ve perfected my witty, lighthearted, effortless banter—all the stuff that seems to come naturally to other girls. A waste of time, of course, because by then I’m way too late. In the Venn diagram of my life, my imagined personality and my real personality have never converged.

-Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction--in short, belief--grows ever 'truer.' The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. -The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to 'landscape' the virtual past. (He who pays the historian calls the tune.) -Symmetry demands an actual + virtualfuture, too. We imagine how next week, next year, or 2225 will shape up--a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. -Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows--the actual past--from another such simulacrum--the actual future? -One model of time: an infinite matryoshka doll of painted moments, each 'shell' (the present) encased inside a nest of 'shells' (previous presents) I call the actual past but which we perceive as the virtual past. The doll of 'now' likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future. -Proposition: I am in love with Luisa Ray.

We became the most successful advanced projects company in the world by hiring talented people, paying them top dollar, and motivating them into believing that they could produce a Mach 3 airplane like the Blackbird a generation or two ahead of anybody else. Our design engineers had the keen experience to conceive the whole airplane in their mind’s-eye, doing the trade-offs in their heads between aerodynamic needs and weapons requirements. We created a practical and open work environment for engineers and shop workers, forcing the guys behind the drawing boards onto the shop floor to see how their ideas were being translated into actual parts and to make any necessary changes on the spot. We made every shop worker who designed or handled a part responsible for quality control. Any worker—not just a supervisor or a manager—could send back a part that didn’t meet his or her standards. That way we reduced rework and scrap waste. We encouraged our people to work imaginatively, to improvise and try unconventional approaches to problem solving, and then got out of their way. By applying the most commonsense methods to develop new technologies, we saved tremendous amounts of time and money, while operating in an atmosphere of trust and cooperation both with our government customers and between our white-collar and blue-collar employees. In the end, Lockheed’s Skunk Works demonstrated the awesome capabilities of American inventiveness when free to operate under near ideal working conditions. That may be our most enduring legacy as well as our source of lasting pride.

From The Gambler: You’ve got to know when to hold them, Know when to fold them, Know when to walk away, Know when to run, But you should never count your money, Until the dealings done. reworked... You’ve got to know what you told them, Know when to be bold with them, Know when to have your say, Know when to have fun, But you should always count your blessings, Especially when any day you might be done.

But what if …?” “What happens when …?” “Don’t we need to plan for …?” Don’t make up problems you don’t have yet. It’s not a problem until it’s a real problem. Most of the things you worry about never happen anyway.

My friend Wicker once said to be careful what and how you say what you’re really thinking to a woman. After much screwing up in that department with Emma, I’ve learned it’s not what you should hide, but what you say that makes her react the way she does. If I am unable to make myself clear, as I so often do, it’s more likely going to go to pot if I try to explain how I really feel. Instead, I rework in my brain what she needs to hear. I don’t always nail it, but I’m getting better at it. And it’s always the truth even if it isn’t how I see it. Is it deceiving? No. It’s being considerate and aware that she is an emotional creature, and that for some crazy reason, craves my attention. I love to make her happy. My jumbled up mess of a mind isn’t important in the long run if it just confuses her. So I chose words carefully. When something goes right, I use it over and over again. -Ames

The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.... Yet the program construct, unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself.

A kind of journal of forgotten, reworked, and remembered holy moments, too awesome to be simply described in everyday conscious language. It is all that remains of the most penetrating incursion of waking into the earth-mother-Jewish-people darkness of what is not the spirit, but only sleep. But the memory is still there, set in our bodies by our parents or our choice. We may ignore the dream or we may appropriate it for ourselves, and so make it our own. It is our choice alone.

If you read no other work of what’s known as “cyberpunk” (which looks at the ever-thinner line between humans and machines), at least read the novel that began it all: William Gibson’s Neuromancer, which won every major science fiction award (the Nebula, the Hugo, and the Philip K. Dick award) in 1984, the year it was published. Gibson introduced words (including “cyberpunk” itself), themes, and a dystopic vision of the future that have been liberally reworked in the writings of many other authors.

He sighs. “I have to fight to write an honest song. There’s a lot of fluff out there and the public seems to eat that up. I think my mission is to challenge listeners—I’ll never be satisfied to whip out a tune just for the sake of creating a hit. A good song has to be something that evolves, something that is birthed from an emotion, an idea … an emptiness that needs filling. And it’s not enough to just write it all at once and be done with it. I work and rework lyrics the way you probably do when you’re writing a story.

If you've never given a speech before, do you want your first speech to be in front of ten thousand people or ten people? You don't want everyone to watch you starting your business. It makes no sense to tell everyone to look at you if you're not ready to be looked at yet.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

As dangerous as Komatsu’s plan might be, he could not possibly stop rewriting the novella at this point. He might have been able to give up on the idea before he started working on it, but that was out of the question now. He was up to his neck in it. He was breathing the air of its world, adapting to its gravity. The story’s essence had permeated every part of him, to the walls of his viscera. Now the story was begging him to rework it: he could feel it pleading with him for help. This was something that only Tengo could do. It was a job well worth doing, a job he simply had to do.

Tom Schiller recalls going in to ask Lorne about a new ending for a sketch he was working on. “Lorne would say, ‘Well, I like it for three reasons and I don’t like it for four reasons.’ And suddenly he’d whip off these four reasons, and you’d think to yourself, ‘How could he remember four reasons to talk about?’ But then you’d think that maybe he was thinking of the next one while he was saying the first one and he made it up. So you would be spellbound at the process, and you would leave sort of befuddled and enthusiastic at the same time, and sort of despondent that you had to rework your piece. That happened over and over again.

The prophet died in the year 632 of our own approximate calendar. The first account of his life was set down a full hundred and twenty years later by Ibn Ishaq, whose original was lost and can only be consulted through its reworked form, authored by Ibn Hisham, who died in 834. Adding to this hearsay and obscurity, there is no agreed-upon account of how the Prophet’s followers assembled the Koran, or of how his various sayings (some of them written down by secretaries) became codified. And this familiar problem is further complicated—even more than in the Christian case—by the matter of succession. Unlike Jesus, who apparently undertook to return to earth very soon and who (pace the absurd Dan Brown) left no known descendants, Muhammad was a general and a politician and—though unlike Alexander of Macedonia a prolific father—left no instruction as to who was to take up his mantle. Quarrels over the leadership began almost as soon as he died, and so Islam had its first major schism—between the Sunni and the Shia—before it had even established itself as a system. We need take no side in the schism, except to point out that one at least of the schools of interpretation must be quite mistaken. And the initial identification of Islam with an earthly caliphate, made up of disputatious contenders for the said mantle, marked it from the very beginning as man-made.

When we start designing something, we sketch out ideas with a big, thick Sharpie marker, instead of a ballpoint pen. Why? Pen points are too fine. They’re too high-resolution. They encourage you to worry about things that you shouldn’t worry about yet, like perfecting the shading or whether to use a dotted or dashed line. You end up focusing on things that should still be out of focus.

In the seventies I used to work in the bedroom of my flat at a little table. I worked in longhand with a fountain pen. I'd type out a draft, mark up the typescript, type it out again. Once I paid a professional to type a final draft, but I felt I was missing things I would have changed if I had done it myself. In the mid-eighties I was a grateful convert to computers. Word processing is more intimate, more like thinking itself. In retrospect, the typewriter seems a gross mechanical obstruction. I like the provisional nature of unprinted material held in the computer's memory - like an unspoken thought. I like the way sentences or passages can be endlessly reworked, and the way this faithful machine remembers all your little jottings and messages to yourself. Until, of course, it sulks and crashes.

People are creatures of habit. That’s why they react to change in such a negative way. They’re used to using something in a certain way and any change upsets the natural order of things. So they push back. They complain. They demand that you revert to the way things were. But that doesn’t mean you should act. Sometimes you need to go ahead with a decision you believe in, even if it’s unpopular at first.

Perhaps the most radical aspect of queer politics was its claim not only to transcend the homo/hetero boundary but to do so in such a way as to challenge the sexual regulation and repression of heterosexual desire, above all female desire. Queer politics, it was claimed, had a lot to teach those accustomed to the narrow confines of ‘male’ and ‘female’ heterosexual roles in relationships. The re-working of notions of monogamy and the send-up of marriage through queer weddings, the greater sexual adventurism, the rejection of the concept of gay men and lesbians as ‘victims’ in favour of assertiveness and redefinition, and the emphasis on the creation of more egalitarian relationships in the domestic, sexual and social spheres, were all cited as examples of how queer could contribute to a new sexual agenda of empowerment.

Everyone on your team should be connected to your customers—maybe not every day, but at least a few times throughout the year. That’s the only way your team is going to feel the hurt your customers are experiencing. It’s feeling the hurt that really motivates people to fix the problem. And the flip side is true too: The joy of happy customers or ones who have had a problem solved can also be wildly motivating. So

Oh, goodness, you … You really don’t know. I’m so sorry; it was foolish of me to assume.” Mosscap gestured at its body with professorial deliberateness. “My components are from factory robots, yes, but those individuals broke down long ago. Their bodies were harvested by their peers, who reworked their parts into new individuals. Their children. And then, when they broke down, their parts were again harvested and refurbished, and used to build new individuals. I’m part of the fifth build. See, look.” It lay its metal hand on its stomach. “My torso was taken from Small Quail Nest, and before them, it belonged to Blanket Ivy, and Otter Mound, and Termites. And before that…” It opened up a compartment in its chest, switched on a fingertip light, and illuminated the space within. Dex peeked inside, and their eyes widened. There was an official-looking plate bolted in there, worn with time but kept clean with meticulous care. 643–14G, it read, Property of Wescon Textiles, Inc.

But when we activate trauma memories and our stress-response systems in ways that offer controllability and predictability, we can begin to heal a sensitized system. Healing takes place when there are dozens of therapeutic moments available each day for the person to control, revisiting and reworking their traumatic experience. When you have friends, family, and other healthy people in your life, you have a natural healing environment. We heal best in community. Creating a network—a village, whatever you want to call it—gives you opportunities to revisit trauma in moderate, controllable doses. That pattern of stress activation will ultimately lead to a more regulated stress-reactivity curve (see Figure 5). So the traumatized person with a sensitized stress response can become “neurotypical”—less sensitized, less vulnerable. In fact, they can ultimately develop the capacity to demonstrate resilience. The journey from traumatized to typical to resilient helps create a unique strength and perspective. That journey can create post traumatic wisdom.

Why is programming fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his first mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God’s delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake. Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child’s first clay pencil holder “for Daddy’s office.” Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate. Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something; sometimes practical, sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. (As we shall see later, this very tractability has its own problems.) Yet the program construct, unlike the poet’s words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard and a display screen comes to life, showing things that never were nor could be. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

Anne Sexton, who died forty-two years ago today, did her best to respond to the legions of fans who wrote to her. The letter below, from August 1965, finds her dispensing unvarnished advice to an aspiring poet from Amherst. Read more of her correspondence in Anne Sexton: A Self-Portrait in Letters. Your letter was very interesting, hard to define, making it hard on me somehow to set limits for you, advise or help in any real way. First of all let me tell you that I find your poems fascinating, terribly uneven … precious perhaps, flashes of brilliance … but the terrible lack of control, a bad use of rhyme and faults that I feel sure you will learn not to make in time. I am not a prophet but I think you will make it if you learn to revise, if you take your time, if you work your guts out on one poem for four months instead of just letting the miracle (as you must feel it) flow from the pen and then just leave it with the excuse that you are undisciplined. Hell! I’m undisciplined too, in everything but my work … Everyone in the world seems to be writing poems … but only a few climb into the sky. What you sent shows you COULD climb there if you pounded it into your head that you must work and rework these uncut diamonds of yours. If this is impossible for you my guess is that you will never really make it … As for madness … hell! Most poets are mad. It doesn’t qualify us for anything. Madness is a waste of time. It creates nothing. Even though I’m often crazy, and I am and I know it, still I fight it because I know how sterile, how futile, how bleak … nothing grows from it and you, meanwhile, only grow into it like a snail. Advice … Stop writing letters to the top poets in America. It is a terrible presumption on your part. I never in my life would have the gall (sp?) to write Randall Jarrell out of the blue that way and all my life I have wanted to do so. It’s out of line … it isn’t done. I mean they get dozens of fan letters a day that they have no time to respond to and I’m sure dozens of poems. Meanwhile, these poets (fans of whatever) should be contacting other young poets on their way—not those who have made it, who sit on a star and then have plenty of problems, usually no money, usually the fear their own writing is going down the sink hole … make contact with others such as you. They are just as lonely, just as ready, and will help you far more than the distant Big Name Poet … I’m not being rejecting, Jon, I’m being realistic.

Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction - in short, belief - grows ever “truer.” The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to “landscape” the virtual past. (He who pays the historian calls the tune.) Symmetry demands an actual + virtual future, too. We imagine how next week, next year, or 2225 will shape up - a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows - the actual past - from another such simulacrum - the actual future? One model of time: an infinite matryoshka doll of painted moments, each “shell” (the present) encased inside a nest of “shells” (previous presents) I call the actual past but which we perceive as the virtual past. The doll of “now” likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future. Proposition: I have fallen in love with Luisa Rey.

Slavery has a special interaction with the normal structures of being a human being. So a human being is sort of a generalist creature with a capacity to have its software re-worked for different habitats. The reason that human beings are able to exploit every terrestrial habitat where plants grow is that they don't all have the software program that's the same, right? You can have a software program for hunting in the Calihari, you can have one for terracing the Andes to grow potatoes, you can have any one of a number of software programs. Well, slavery took the software program that Africans who were brought into the slave trade had, and it did its best to erase that program – and to render that program non-functional. It rendered it non-functional by combining people from different places who didn't even necessarily speak a language so there was not one culture available. And it sort of forces the bootstrapping of a new culture, which was composed of various things but of course it was, you know, prohibition against teaching slaves to read and things like that, and so there was a systematic breaking of the original culture that Africans had during the New World, and a substituting of a version that was not a much of a threat to the slave-holding population, right? And at the point that slavery comes to an end, it is not as if, frankly, even, you know, we didn't even have the tools to talk about these things in responsible terms. There wasn't enough known about how the mind works and what its relationship is to the body and all...so, the thing that makes the black population and the Indian population different, I would argue, is the systematic hobbling of the on-board, the inherited, evolved culture in the case of Indians by transporting them to reservations and by putting them in schools that disrupt the passage of normal culture and in the case of Africans, it was breaking apart of families, keeping people from being in contact with others they had the right language to talk to and all...so in any case, that carries through to the present: it creates a situation where there has not been access to the materials to fully update software.