Salient Features Quotes

...the salient feature of the absurd age I was at--an age which for all its alleged awkwardness, is prodigiously rich-- is that reason is not its guide, and the most insignificant attributes of other people always appear to be consubstantial with their personality. One lives among monsters and gods, a stranger to peace of mind. There is scarcely a single one of our acts from that time which we would not prefer to abolish later on. But all we should lament is the loss of the spontaneity that urged them upon us. In later life, we see things with a more practical eye, one we share with the rest of society; but adolescence was the only time when we ever learned anything.

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.

One of the most salient features of our culture is that there is so much bullshit.

In other words, what is salient to us—such as our own facial features—may not be salient to other species.

Even now, as Special Guest Star, even here, in your own neighborhood. Two words that define you, flatten you, trap you and keep you here. Who you are. All you are. Your most salient feature, overshadowing any other feature about you, making irrelevant any other characteristic. Both necessary and sufficient for a complete definition of your identity:

…art owes its continuous evolution to the Apollonian-Dionysian duality…. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord the agony which the term art but feebly denominates: until at last, by the thaumaturgy (magic or miracle) of a Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient feature of both parents.

A phrase such as ‘the idea derived from evolution that ontogenesis recapitulates phylogenesis’ for example, not impossibly intricate in itself but somehow resistant to effort, as though it triggered something obdurate and even delinquent in his mind. Or the promise to look at an argument from three points of view, each of which had five salient features, the first of which had four distinguishable aspects. It was like discovering that a supposedly sane person with whom one had been enjoying a perfect normal conversation was in fact quite mad. Or, if not mad, sadistic.

Yale philosopher Harry Frankfurt writes, “One of the salient features of our culture is that there is so much bullshit. Everyone knows this. Each of us contributes his share. But we tend to take the situation for granted.

In reality all of them want a war. It implies a simplification which comes as a relief. Everybody thinks that life is too complicated, and so it is as they live it. In itself life is not at all complicated; on the contrary its salient feature is its great simplicity, but they can never understand that. They do not realize that it is best when it is left as it is; they can never leave it in peace, or refrain from using it for a number of strange ends. But all the same they think that it is wonderful to be alive!

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

There are several predictable thinking errors people commonly make that lead them to incorrectly predict their own future emotions in general, and future happiness in particular: 1 Focusing on a single salient feature or period of time in a choice, rather than looking at the big picture. 2 Overestimating the long-term impact of our choices. 3 Forgetting that happiness is an ongoing process, not a destination. 4 Paying too much attention to external information while overlooking personal preferences and experience. 5 Trying to maximize decisions rather than focusing on personal satisfaction. 6 Confusing wanting something for liking it later, and forgetting to evaluate whether we will enjoy the choice once its novelty wears off.

The Musalman, remaining faithful to his religion, has not progressed; he has remained stationary in a world of swiftly moving modern forces. It is, indeed, one of the salient features of Islam that it immobilizes in their native barbarism, the races whom it enslaves. It is fixed in a crystallization, inert and impenetrable. It is unchangeable; and political, social or economic changes have no repercussion upon it. " Having been taught that outside Islam there can be no safety; outside its law no truth and outside its spiritual message there is no happiness, the Muslim has become incapable of conceiving any other condition than his own, any other mode of thought than the Islamic thought. He firmly believes that he has arrived at an unequalled pitch of perfection; that he is the sole possessor of true faith, of the true doctrine, the true wisdom ; that he alone is in possession of the truth—no relative truth subject to revision, but absolute truth. " The religious law of the Muslims has had the effect of imparting to the very diverse individuals of whom the world is composed, a unity of thought, of feeling, of ideas, of judgement.

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

No one can understand history without continually relating the long periods which are constantly mentioned to the experiences of our own short lives. Five years is a lot. Twenty years is the horizon to most people. Fifty years is antiquity. To understand how the impact of destiny fell upon any generation of men one must first imagine their position and then apply the time-scale of our own lives. Thus nearly all changes were far less perceptible to those who lived through them from day to day than appears when the salient features of an epoch are extracted by the chronicler. We peer at these scenes through dim telescopes of research across a gulf of nearly two thousand years. We cannot doubt that the second and to some extent the third century of the Christian era, in contrast with all that had gone before and most that was to follow, were a Golden Age for Britain. But by the early part of the fourth century shadows had fallen upon this imperfect yet none the less tolerable society. By steady, persistent steps the sense of security departed from Roman Britain. Its citizens felt by daily experience a sense that the world-wide system of which they formed a partner province was in decline.

That allowed them to model important features of the external world and even to model possible futures. No brainy creature (not even you or I) is in direct contact with its environment. Instead, we all live in a rich virtual reality constructed by our brains. Our brains generate and constantly update maps of the most salient features of our bodies and our surroundings, just as climate scientists model changing environments today.17 Those maps enable us to maintain homeostasis.

neuropharmacologist Franz Vollenweider observes . . . A fundamental feature of information processing dysfunction in psychosis is the inability of these patients to screen out, inhibit, filter, or gate extraneous stimuli and to attend selectively to salient features of the environment. Gating deficits may cause these subjects to become overloaded with excessive exteroceptive and interoceptive stimuli, which in turn could lead to a breakdown in cognitive integrity and difficulty in distinguishing self from nonself.4

What are the salient features of this novelization of other genres suggested by us above? They become more free and flexible, their language renews itself by incorporating extraliterary heteroglossia and the "novelistic" layers of literary language, they become dialogized, permeated with laughter, irony, humor, elements of self-parody and finally-this is the most important thing-the novel inserts into these other genres an indeterminacy, a certain semantic openendedness, a living contact with unfinished, still-evolving contemporary reality (the openended present).

If “bullshit,” as opposed to “bull,” is a distinctively modern linguistic innovation, that could have something to do with other distinctively modern things, like advertising, public relations, political propaganda, and schools of education. “One of the most salient features of our culture is that there is so much bullshit,” Harry Frankfurt, a distinguished moral philosopher who is professor emeritus at Princeton, says. The ubiquity of bullshit, he notes, is something that we have come to take for granted. Most of us are pretty confident of our ability to detect it, so we may not regard it as being all that harmful. We tend to take a more benign view of someone caught bullshitting than of someone caught lying. (“Never tell a lie when you can bullshit your way through,” a father counsels his son in an Eric Ambler novel.) All of this worries Frankfurt. We cannot really know the effect that bullshit has on us, he thinks, until we have a clearer understanding of what it is. That is why we need a theory of bullshit. Frankfurt’s own effort along these lines was contained in a paper that he presented more than three decades ago at a faculty seminar at Yale. Later, that paper appeared in a journal and then in a collection of Frankfurt’s writings; all the while, photocopies of it passed from fan to fan. In 2005, it was published as On Bullshit, a tiny book of sixty-seven spaciously printed pages that went on to become an improbable breakout success, spending half a year on the New York Times bestseller list.

This is even more puzzling than the Asian flushing gene’s failure to sweep through the world. As Tomáš Masaryk saw clearly, a culture that spends entire evenings consuming liquid neurotoxins—created at great expense and to the detriment of nutritious food production—should be at an enormous disadvantage compared to cultural groups that eschew intoxicants altogether. Such groups exist, and have for quite some time. Perhaps the most salient example is the Islamic world, which produced Ibn Fadlan. Prohibition was not a feature of the earliest period of Islam, but according to one hadith, or tradition, it was the consequence of a particular dinner at which companions of Mohammed became too inebriated to properly say their prayers. In any case, by the end of the Prophetic era in 632 CE, a complete ban on alcohol was settled Islamic law. It cannot be denied that, in the cultural evolution game, Islam has been extremely successful.

I have come to believe that our culture’s popular understanding of these difficult doctrines is often a caricature of what the Bible actually teaches and what mature Christian theology has historically proclaimed. To Laugh At, To Live By What do I mean by a caricature? A caricature is a cartoonlike drawing of a real person, place, or thing. You’ve probably seen them at street fairs, drawings of popular figures like President Obama, Marilyn Monroe, or your aunt Cindy. Caricatures exaggerate some features, distort some features, and oversimplify some features. The result is a humorous cartoon. In one sense, a caricature bears a striking resemblance to the real thing. That picture really does look like President Obama, Marilyn Monroe, or your aunt Cindy. Features unique to the real person are included and even emphasized, so you can tell it’s a cartoon of that person and not someone else. But in another sense, the caricature looks nothing like the real thing. Salient features have been distorted, oversimplified, or blown way out of proportion. President Obama’s ears are way too big. Aunt Cindy’s grin is way too wide. And Marilyn Monroe . . . well, you get the picture. A caricature would never pass for a photograph. If you were to take your driver’s license, remove the photo, and replace it with a caricature, the police officer pulling you over would either laugh . . . or arrest you. Placed next to a photograph, a caricature looks like a humorous, or even hideous, distortion of the real thing. Similarly, our popular caricatures of these tough doctrines do include features of the original. One doesn’t have to look too far in the biblical story to find that hell has flames, holy war has fighting, and judgment brings us face-to-face with God. But in the caricatures, these features are severely exaggerated, distorted, and oversimplified, resulting in a not-so-humorous cartoon that looks nothing like the original. All we have to do is start asking questions: Where do the flames come from, and what are they doing? Who is doing the fighting, and how are they winning? Why does God judge the world, and what basis does he use for judgment? Questions like these help us quickly realize that our popular caricatures of tough biblical doctrines are like cartoons: good for us to laugh at, but not to live by. But the caricature does help us with something important: it draws our attention to parts of God’s story where our understanding is off. If the caricature makes God look like a sadistic torturer, a coldhearted judge, or a greedy génocidaire, it probably means there are details we need to take a closer look at. The caricatures can alert us to parts of the picture where our vision is distorted.

Straightening reluctantly, she strolled about the room with forced nonchalance, her hands clasped behind her back, looking blindly at the cobwebs in the corner of the ceiling, trying to think what to say. And then inspiration struck. The solution was demeaning but practical, and properly presented, it could appear she was graciously doing him a favor. She paused a moment to arrange her features into what she hoped was the right expression of enthusiasm and compassion, then she wheeled around abruptly. “Mr. Thornton!” Her voice seemed to explode in the room at the same time his startled amber gaze riveted on her face, then drifted down her bodice, roving boldly over her ripened curves. Unnerved but determined, Elizabeth forged shakily ahead: “It appears as if no one has occupied this house in quite some time.” “I commend you on that astute observation, lady Cameron,” Ian mocked lazily, watching the tension and emotion play across her expressive face. For the life of him he could not understand what she was doing here or why she seemed to be trying to ingratiate herself this morning. Last night the explanation he’d given Jake had made sense; now, looking at her, he couldn’t quite believe any of it. Then he remembered that Elizabeth Cameron had always robbed him of the ability to think rationally. “Houses do have a way of succumbing to dirt when no one looks after them,” she stated with a bright look. “Another creditable observation. You’ve certainly a quick mind.” “Must you make this so very difficult!” Elizabeth exclaimed. “I apologize,” he said with mocking gravity. “Do go on. You were saying?” “Well, I was thinking, since we’re quite stranded here-Lucinda and I, I mean-with absolutely nothing but time on our hands, that this house could certainly use a woman’s touch.” “Capital idea!” burst out Jake, returning from his mission to locate the butter and casting a highly hopeful look at Lucinda. He was rewarded with a glare from her that could have pulverized rock. “It could use an army of servants carrying shovels and wearing masks on their faces,” the duenna countered ruthlessly. “You needn’t help, Lucinda,” Elizabeth explained, aghast. “I never meant to imply you should. But I could! I-“ She whirled around as Ian Thornton surged to his feet and took her elbow in a none-too-gentle grasp. “Lady Cameron,” he said. “I think you and I have something to discuss that may be better spoken in private. Shall we?” He gestured to the open door and then practically dragged her along in his wake. Outdoors in the sunlight he marched her forward several paces, then dropped her arm. “Let’s hear it,” he said. “Hear what?” Elizabeth said nervously. “An explanation-the truth, if you’re capable of it. Last night you drew a gun on me, and this morning you’re awash with excitement over the prospect over the prospect of cleaning my house. I want to know why.” “Well,” Elizabeth burst out in defense of her actions with the gun, “you were extremely disagreeable!” “I am still disagreeable,” he pointed out shortly, ignoring Elizabeth’s raised brows. “I haven’t changed. I am not the one who’s suddenly oozing goodwill this morning.” Elizabeth turned her head to the lane, trying desperately to think of an explanation that wouldn’t reveal to him her humiliating circumstances. “The silence is deafening, Lady Cameron, and somewhat surprising. As I recall, the last time we met you could scarcely contain all the edifying information you were trying to impart to me.” Elizabeth knew he was referring to her monologue on the history of hyacinths in the greenhouse. “I just don’t know where to begin,” she admitted. “Let’s stick to the salient points. What are you doing here?

Free-Play Training The next step that you, the commander, take is to make virtually all training free-play. The best way to train your unit is to replicate the conditions of combat as closely as possible. The best method for doing so is free-play training. One of the salient features of war is that it is a clash of opposing wills. Training that does not incorporate this will not be effective in preparing units for combat. On the rare occasions that troops get the opportunity to act freely as “aggressors” during current training exercises, they unleash their creativity and often cause great difficulty for their opponents. The philosophical goal for training light infantry is to make this “aggressor” mindset the mindset of your men all the time.

The reliable functioning of any mechanism depends on the same result always being produced by a particular cause or set of causes. Many of the body's activities can be classified as chemical, and a salient feature of most chemical reactions is that their rate is affected strongly by the temperature. The hotter, the quicker; even a few degrees sometimes doubling the rate. Since proper working of our nervous system relies largely on the relative speeds of reaction in its various parts, the reliability of our responses is completely at the mercy of our body temperature. Were this not stabilised, we should behave more like insects or reptiles - zipping around feverishly in the summer and scarcely moving, breathing or even thinking, in the winter.(Using summer and winter in their classic senses, of course). We get occasional glimpses of the possibilities when we are either chilled or fevered - and surely there is no need to elaborate the miseries, physical, mental and emotional, which these conditions entail6

As a transmuted energy, anger is mirror-wisdom – undistracted, undistorted clarity. But in order for us to find this clarity, to polish this mirror, we need to cut through the insidious process of justification. Justification is the authority we invoke to license our anger. Because of this it is important not to allow space for the distorted indulgence of justification. This can be very difficult because the process of justification is a strong part of our education and a salient feature of the world’s cultural heritage. The nuclear balance of terror was part of that process. Totalitarian political movements (either extreme left or extreme right) are a manifestation of that process; and, unfortunately, it has also become part of the very ideologies that have arisen to benefit humanity. How often have we heard people saying: “Of course I’m angry! Wouldn’t anyone be angry?” And, of course, this is a purely rhetorical question. The concept that we have every right to feel anything that we feel needs to be called seriously into question. At best we can say that we simply feel what we feel. It is a delicate balance: to acknowledge emotional needs, on the one hand, and to have a sense of these needs being conceptually generated on the other. This balancing act requires the experience of emptiness, because without it, we either indulge ourselves or brutalise ourselves. The experience of emptiness, in this sense, helps us to view our emotions with a degree of humour – with more sanity and true perspective. With this sense of space we can find ourselves adopting a very powerful stance – the stance of a practitioner. Then it is no longer possible to say: “You have made me angry!” All we can say is: “I have made myself angry in reaction to what I have perceived you to have done to me”. In this way we make ourselves completely responsible for what we feel. That is really wonderful, because from this perspective we stop laying this responsibility on other people. Taking responsibility for whatever we may happen to be feeling is what enables us to kill justification. Dechen, Khandro; Chogyam, Ngakpa (2014-01-14). Spectrum of Ecstasy: Embracing the Five Wisdom Emotions of Vajrayana Buddhism (p. 143). Shambhala Publications. Kindle Edition.

their previous education in India had prepared them for an entirely different cultural context than the one in which they were now teaching. Other features of culture may have mattered more in India, like religion or socioeconomic status, though the teachers did not acknowledge this themselves, but race was not one of those salient features. Additionally, their agencies and communities in the United States did not provide appropriate, contextualized, and continuous education for them. Thus, the spectacle of constructing bridges was, in reality, the building of barriers. FOUR Barriers

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Page 429: The identifying characteristics of Marxist biology are numerous. Salient among these is the rejection of Malthusian doctrine. As Margaret Sanger admitted, "A remarkable feature of Marxian propaganda has been the almost complete unanimity with which the implications of the Malthusian doctrines have been derided, denounced, and repudiated. Any defense of the so-called 'Law of Population' was enough to stamp one, in the eyes of the orthodox Marxians, as a 'tool of the capitalistic class,' seeking to dampen the ardor of those who expressed the belief that men might create a better world for themselves. Malthus, they claimed, was actuated by selfish motives. He was not merely a hidebound aristocrat, but a pessimist who was trying to kill all hope of human progress. By Marx, Engels, Bebel, Kautsky and the celebrated leaders and interpreters of Marx's great 'Bible of the Working Class' ... birth control has been looked upon as a subtle Machiavelian sophistry created for the purpose of placing the blame for human misery elsewhere than at the door of the capitalistic class. Upon this point the orthodox Marxian mind has been universally and sternly uncompromising.

Page 147: As nation and state are two radically distinct notions, it is clearly not redundant to treat the growth processes of the modern state and of modern nationalism separately in discussing the causes of revolution. That the development of the state sometimes parallels the growth of nationalism is beyond doubt, but that the term “nation-state” in most cases grossly simplifies the actual complexity of the population of most states is just as certain. The most blatant consequence of this latter confusion is that what many modern social scientists call “nation building” is rather “state building,” which often turns out to be “nation destroying” instead. The strengthening of the state under the guise of “nation building” occurs at the expense of groups whose claim to nationhood is quite valid. The attempt to merge already existing nations or near-nations into a novel state-sponsored supernation is patently artificial. Terror is the usual means used to prevent such weak structures from tottering to the ground. The growth of true nationalism then is the growth of that sentiment of belonging together and differentiation from others which is such a salient feature of the modern world. Not surprisingly, whether or not the potentially explosive elements of nationalism will reach revolutionary dimensions is determined by the historical context. However, one general conclusion is warranted: nationalism in some manifestation is always involved in modern revolutions.

Yet framing is not only for high-stakes matters. It affects our everyday lives as well. We are continually confronted with questions that require having a model of the world in our mind. How can I get along better with my partner? How can I impress my boss? How can I rearrange my life to be healthier? And wealthier? Framing is just as essential for these types of questions. It undergirds our thoughts, affecting what we perceive and how we think. By making our frames apparent and learning how to deliberately choose and apply them, we can improve our lives and our world. Put simply: we can turn framing from a basic feature of human cognition into a practical tool we can use to make better decisions. Our mind uses frames to capture the most salient aspects of the world, and filter out the others—we couldn’t comprehend life in all of its intricate complexity otherwise. By mentally modeling the world, we keep it manageable and thus actionable. In this sense, frames simplify reality. But they aren’t dumbed-down versions of the world. They concentrate our thinking on the critical parts. Frames also help us to learn from single experiences and come up with general rules that we can apply to other situations—including ones that have not yet happened. They enable us to know something about the unobserved and even the unobservable; to imagine things for which no data exists. Frames let us see what isn’t there. We can ask “What if?” and foresee how different decisions might play out. It is this ability to envision other realities that makes possible individual achievement and societal progress.

The most salient feature of Ash'arite atomism is the thesis of the perpetual renewal (tajdid) of accidents. According to this theory, of all the accidents of the things there is not even one that continues to exist for two units of time. Every accident comes into being at this moment and is annihilated at the very next moment to be replaced by another accident which is 'similar' to its being created anew in the same locus. This is evidently the thesis of 'new creation'. Now if we examine Ibn Arabi's thought in relation to this Ash'arite thesis, we find a striking similarity between them. Everything is, for Ibn Arabi, a phenomenal form of the Absolute, having no basis for independent subsistence (qiwam) in itself. All are, in short, 'accidents' which appear and disappear in the one eternal-everlasting Substance (jawhar). Otherwise expressed, the existence itself of the Absolute comes into appearance at every moment in milliards of new clothes. With every breath of God, a new world is created.

The salient feature of Paradise is that, as a reader, I experience events long before I can make sense of them.35 Events initially seem to exist outside of any frame of meaning, and it is only afterward that the frame through which the event is comprehensible becomes visible. The event itself initially appears as a violent irruption of the Real, occurring outside of any symbolic context. What Morrison is tapping into here is one of the key aspects of contemporary experience. Rather than experiencing the events in our lives as a part of a whole, within the context of the universal, we tend to experience events in isolation, as if each event exists in its own sphere, untouched by any other. The lack of an evident universal is what makes interpretation so difficult today. This appearance, however, is misleading, and it is through the act of interpretation that we can see the connection between events, the way in which they are all situated within a universality. On the level of its form, the novel illustrates both the illusion of nonuniversality and the hidden universality that makes interpretation possible.

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You think I have to identify with Bobby Nock in all this. That our blackness is the most defining feature about us. It’s okay, Maya. It doesn’t make you a racist. This is the craziest thing about good, well-intentioned white people, isn’t it? What lengths you’ll go to not to come off as in any way racist. Heavens! So instead of saying, ‘Bobby is a man and Trisha is a woman, so they don’t have much in common,’ you’re saying, ‘Bobby is black and Trisha is black, so that must be what they have in common.’ What’s the salient feature? The defining part of an object?

None of this is to say that experts are inflexible automatons. Experts act with demonstrably more flexibility than novices in a particular domain. Psychologists specify two types of expert flexibility. In the first type, the expert internalizes many of the domain’s salient features and hence sees and reacts to most of the domain’s contexts and their effects. This flexibility operates effectively in relatively stable domains. The second type of flexibility is more difficult to exercise. This flexibility requires experts to recognize when their cognitively accessible models are unlikely to work, forcing the experts to go outside their routines and their familiar frameworks to solve problems. This flexibility is crucial to success in nonlinear, complex systems.

None of this is to say that experts are inflexible automatons. Experts act with demonstrably more flexibility than novices in a particular domain. Psychologists specify two types of expert flexibility. In the first type, the expert internalizes many of the domain’s salient features and hence sees and reacts to most of the domain’s contexts and their effects. This flexibility operates effectively in relatively stable domains. The second type of flexibility is more difficult to exercise. This flexibility requires experts to recognize when their cognitively accessible models are unlikely to work, forcing the experts to go outside their routines and their familiar frameworks to solve problems. This flexibility is crucial to success in nonlinear, complex systems. So how do experts ensure they incorporate both types of flexibility? Advocates of cognitive flexibility theory suggest the major determinant in whether or not an expert will have more expansive flexibility is the amount of reductive bias during deliberate practice.4 More reductive bias may improve efficiency but will reduce flexibility. To mitigate reductive bias, the theory prescribes exploring abstractions across diverse cases to capture the significance of context dependence.

To constrain the behavior of objects in the world, sequences rely on a work-force of third-party mechanisms. They engage the services of physical agents, of interactors, to function on their behalf. The duties of an interactor, says Kim Sterelny, are “to link the registration of a salient feature of the world to an appropriate response,” in other words to couple perception to behavior.3 Sequences can describe alternatives, but they need real-world interactors to perform the classification and execute the decision.

...the salient feature of hygge is the atmosphere of warm and relaxed enjoyment of the moment which it allows. While it is nurtured by thoughtfulness and mutual involvement, hygge is informal and unrestrained. -Judith Friedman Hansen

Right of the People." The first salient feature of the operative clause is that it codifies a "right of the people." The unamended Constitution and the Bill of Rights use the phrase "right of the people" two other times, in the First Amendment's Assembly-and-Petition Clause and in the Fourth Amendment's Search-and-Seizure Clause. The Ninth Amendment uses very similar terminology ("The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people"). All three of these instances unambiguously refer to individual rights, not "collective" rights, or rights that may be exercised only through participation in some corporate body.

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.

There is one more salient feature of neoliberalism that is essential in identifying it in the wild: fake social progressivism. This is one of its most sinister traits, because it helps unjust institutions appear benevolent and forward-thinking... You'll notice that tendency over and over; an institution that is inherently hierarchical and unjust tries to defuse criticisms through superficial changes. A corporation, for instance, will not increase the rights of its ordinary workers or eliminate racial and gender pay gaps, but it might introduce racial and gender diversity on its board of directors.

thing of beauty is a joy forever: This graceful line from a poem written by John Keats is not so much inaccurate as it is archaic. Mr. Keats, it must be remembered, was not only a poet but also a product of the era in which he lived. Additionally, it must not be forgotten that one of the salient features of the early nineteenth century was an inordinate admiration for the simple ability to endure. Therefore, while a thing of beauty is a joy, to be sure, we of the modern age, confined no longer by outmoded values, are free to acknowledge that nine times out of ten a weekend is long enough. Each man kills the thing he loves: And understandably so, when he has been led to believe that it will be a joy forever.

One of the most salient features of our culture is that there is so much bullshit. Everyone knows this. Each of us contributes his share. But we tend to take the situation for granted. Most people are rather confident of their ability to recognize bullshit and to avoid being taken in by it. So the phenomenon has not aroused much deliberate concern, nor attracted much sustained inquiry. In consequence, we have no clear understanding of what bullshit is, why there is so much of it, or what functions it serves. And we lack a conscientiously developed appreciation of what it means to us. In other words, we have no theory. I propose to begin the development of a theoretical understanding of bullshit, mainly by providing some tentative and exploratory philosophical analysis. I shall not consider the rhetorical uses and misuses of bullshit. My aim is simply to give a rough account of what bullshit is and how it differs from what it is not—or (putting it somewhat differently) to articulate, more or less sketchily, the structure of its concept. Any suggestion about what conditions are logically both necessary and sufficient for the constitution of bullshit is bound to be somewhat arbitrary. For one thing, the expression bullshit is often employed quite loosely - simply as a generic term of abuse, with no very specific literal meaning. For another, the phenomenon itself is so vast and amorphous that no crisp and perspicuous analysis of its concept can avoid being procrustean. Nonetheless it should be possible to say something helpful, even though it is not likely to be decisive. Even the most basic and preliminary questions about bullshit remain, after all, not only unanswered but unasked.

The idea that a salient—if not the most salient—feature of “modern societies” is their “divisive biases” is ludicrously unhistorical. No culture has been more blandly indifferent than modern Western society to the individual and group characteristics that can still lead to death and warfare elsewhere. There is also no place that more actively celebrates the characteristics that still handicap people outside the West than the modern American campus. Yet when UC Two’s administrators and professors survey their domains, they see a landscape riven by the discrimination that it is their duty to extirpate.

In Mary’s case the first word is the same (she was troubled), but what follows is not fear but an interior reflection on the angel’s greeting. She ponders (dialogues within herself) over what the greeting of God’s messenger could mean. So one salient feature of the image of the mother of Jesus is already present here, and we will encounter it again in two similar situations in the Gospel: her inner engagement with the word. She does not remain locked in her initial troubled state at the proximity of God in his angel, but she seeks to understand. So Mary appears as a fearless woman, one who remains composed even in the presence of something utterly unprecedented. At the same time she stands before us as a woman of great interiority, who holds heart and mind in harmony and seeks to understand the context, the overall significance of God’s message. In this way, she becomes an image of the Church as she considers the word of God, tries to understand it in its entirety and guards in her memory the things that have been given to her.

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

The most salient feature of the statement is its categorical rejection of the idea that there is any wide disparity among people in their innate ability to master science. A blithe egalitarianism reigns. Any attempt to confront this pipe dream with an "elitist" view of the spectrum of talent would be rejected with pious horror.

...before most of us possess an inkling that babies could be listening to us, infants are making astonishing connections between listening to human voices and developing their language system. Think how much more can happen in those regions when parents slowly, deliberately read to their children, *just to them*, with mutually focused attention. This disarmingly simple act makes huge contributions: it provides not only the most palpable associations with reading, but also a time when parent and child are together in a timeless interaction that involves shared attention; learning about words, sentences, and concepts; and even learning what a book is. One of the most salient influences on young children's attention involves the shared gaze that occurs and develops while parents read to them. With little conscious effort children learn to focus their visual attention on what their parent or caretaker is looking at without losing an ounce of their own curiosity and exploratory behaviors. As the philosopher Charles Taylor notes, "The crucial condition for human language learning is *joint* attention," which he and others who are involved in studying the ontogenesis of language consider one of the most important features of human evolution.

Find the most salient, the most revelatory features of the story and expand them to the utmost, wring the last drop of juice from them.