Scc Quotes

Alright, we’ll have 20 ‘Foxtrot’ pushups,” the SCC roared, “are you ready?” “Yes sir,” the Squadron shouted. “1,” he said, and bent down for a pushup. “Foxtrot,” we hollered, and did a pushup. “2,” he shouted and this continued with everyone being their loudest in the end. This was a kind of energy instilling act, which kept up the morale of the Squadron.

Regions and Kings Eastern King Samrat Western King Suvrat Northern King Virat Southern King Bhoja King of middle country Raja   Important Ratnins/Officials in Later Vedic Period Purohita Chief Priest, in also sometimes referred to as Rashtragopa Senani Supreme Commander of army Vrajapati Officer-in-Charge of pasture land Jivagribha Police Officer Spasas/Dutas Spies who also sometimes worked as messengers Gramani Head of the village Kulapati Head of the family Madhyamasi Mediator on disputes Bhagadugha Revenue collector Sangrahitri Treasurer Mahishi Chief Queen Suta Charioteer and court minstrel Govikartana Keeper of games and forests Palagala Messenger Kshatri Chamberlain Akshavapa Accountant Sthapati Chief Justice Takshan Carpenter   Kingdoms in the Later Vedic Age Kingdom Location Gandhar Rawalpindi and Peshawar districts of Western Punjab Kekaya On the bank of River Beas, east of Gandhar kingdom Uttar Madra Kashmir Eastern Madra Near Kangra Southern Madra Near Amritsar Kushinagar Nothern region of modern Uttar Pradesh Panchal Bareilly, Badayun and Farrukhabad districts of modern Uttar Pradesh Kashi Modern Varanasi Koshal Faizabad region of today's Uttar Pradesh

I think about all the things money can and cannot buy. A spot at SCC, but not a moral compass. Health care and rehab, but not immunity from our worst impulses. Fluency in Mandarin, but not the ability to talk honestly. Privilege and large heaping chunks of the world, but not confidence. Or self-reflection. And certainly not courage. No, money doesn’t buy courage. In fact, if I’ve learned anything since the scandal, it’s that the opposite is true. Money makes you weak because it tricks you into thinking you’re strong.

The event, once completed, casts a retrospective reflection. In this way, the character of that which has occurred is completely transformed. It should, however, be emphasised here that the view from the past into the future on the one hand and from the future into the past on the other completely changes the object under observation. Looking from the past into the future, we see the present as a complete collection of a series of equally probable possibilities. When we look into the past, reality acquires the status of fact and we are inclined to see it as the only possible realisation. Unrealised possibilities are transformed into possibilities which could not be realised

The artistic text transforms this tendency into one of its most important structural elements. In principle, it forces us to experience any space as the space of proper nouns. We oscillate between the subjective world, which is personally familiar to us, and its antithesis. In the artistic world, the ‘alien’ is always our ‘own’ but at the same time our ‘own’ is also always ‘alien’. In this way, the poet, having created a work riddled with personal emotions, experiences this as a catharsis of feelings, as a liberation from tragedy.

The problem of predictability-unpredictability is central to the resolution of such fundamental questions as authentic and surrogate art. Artistic creation is invariably immersed in the vast space of surrogates. The latter should not be understood as a simple condemnation. Artistic surrogates are harmful in their aggressiveness. They have a tendency to envelop authentic art and to displace it. Where it is a question of commercial competition, they always have the victory. “However, reduced by their limits, they are not only necessary but also useful. They perform a broad educational role and represent the first step towards an understanding of the language of art. Their annihilation is impossible and, furthermore, would be as disastrous as the seizure by them of authentic art. They can perform those tasks uncharacteristic to art, which nevertheless, society imperatively places before the artist: educational instruction, propaganda, moral, training, etc.

The event, once completed, casts a retrospective reflection In this way, the character of that which has occurred is completely transformed. It should, however, be emphasised here that the view from the past into the future on the one hand and from the future into the past on the other completely changes the object under observation. Looking from the past into the future, we see the present as a complete collection of a series of equally probable possibilities. When we look into the past, reality acquires the status of fact and we are inclined to see it as the only possible realisation. Unrealised possibilities are transformed into possibilities which could not be realised

On the contrary, whole spheres of culture may achieve movement only in the form of gradual processes. Gradual and explosive processes, although antithetical, exist only in terms of their mutual reciprocity.

The poetry of paradox is nourished by unpredictability. The best science fiction authors of the second half of the 20th century attempt to transfer us into a world that is so alien to everyday experience that it stokes up the emaciated forecasts of technical progress in the sea of unpredictability.” Thus, art enlarges the space of the unpredictable – the space of information – and simultaneously creates a conventional world experimenting with this space and proclaiming mastery over it.

Both gradual and explosive processes play equally important roles in a structure which operates synchronically: [...] these represent two parts of a unified, integrated mechanism and its synchrony structure and the aggression of one does not subdue but, rather, stimulates the development of the opposite tendency.

One of the fundamental semiotic mechanisms inherent in humanity begins with the possibility of being ‘only itself’; to be a thing (proper name) and to simultaneously appear as the ‘representative’; of a group, as one of many (common noun). This possibility of stepping into the role of another, of acting as a substitute for someone or something, indicates that you ‘are not what you are’.

Semiotic space appears before us as the multi-layered intersection of various texts, which are woven together in a specific layer characterised by complex internal relationships and variable degrees of translatability and spaces of untranslatability. The layer of ‘reality’ is located underneath this textual layer – the kind of reality that is organised by a multiplicity of languages and has a hierarchical relationship with them. Together, both these layers constitute the semiotics of culture. That reality which is external to the boundaries of language lies beyond the limits of the semiotics of culture.

Geniuses — the creators of art — are unpredictable in their oeuvre and do not allow themselves to be directly influenced by the critic. [...] From this, Belinsky reached the audacious conclusion that the genius working towards eternity and posterity may not only be misunderstood by his peers but may even be considered useless to them. Thuis usefulness is concealed by the historical perspective. But the contemporary man needs art and although not as deep nor as long- lived he may nevertheless be taken as the reader of today.