Sequence And Series Quotes

Prime numbers are divisible only by 1 and by themselves. They hold their place in the infinite series of natural numbers, squashed, like all numbers, between two others, but one step further than the rest. They are suspicious, solitary numbers, which is why Mattia thought they were wonderful. Sometimes he thought that they had ended up in that sequence by mistake, that they'd been trapped, like pearls strung on a necklace. Other times he suspected that they too would have preferred to be like all others, just ordinary numbers, but for some reason they couldn't do it. This second thought struck him mostly at night, in the chaotic interweaving of images that comes before sleep, when the mind is too weak to tell itself lies.

Buckminster Fuller explained to me once that because our world is constructed from geometric relations like the Golden Ratio or the Fibonacci Series, by thinking about geometry all the time, you could organize and harmonize your life with the structure of the world.

How obvious, now, was that mathematical ratio of its sides, the quadratic sequence 1:4:9! And how naive to have imagined that the series ended there, in only three dimensions!

What do people think of when they talk about their lives? Do they really see them as an integral whole, as a chronological sequence of events; as something logical, purposeful, completed? What moments do they remember, and how do they remember them? As words? As a series of images and sounds? My life crumbles into a series of pictures, unconnected scenes which comes to mind only occassionally and at random. But there are key events, the acts of chance or fate, which later enable me to construct a logical whole of my life. One such moment was meeting Jose. The other was my decision to see our love through to the very end.

Relationship Selling implies long-term commitment, common goals, mutual respect, ongoing trust and cooperation. Informal relationships, many a time, get converted into formal alliances also, helping joint-marketing and co-branding. Establishing a relationship is a series of steps, by and large in sequence only. Jumping steps or changing the sequence could be counterproductive.

The Engineer smiled (internally, for of course it had no mouth). It was feeling good. It was feeling optimistic. Moving at its current speed, it would arrive back in Ireland in plenty of time to shut everything down before a series of overloads and power loops inevitably led to a sequence of events which would, in turn, eventually lead to the probable destruction of the world. The Engineer wasn't worried. And then the truck hit it.

I am of a temperament that needs the written word. For anything to have meaning, it has to be set down, it must live on paper before it is fully alive in my head. It has to be a series of words in a sequence in order to reveal a meaning and pattern.

Last of all, this book owes perhaps its biggest debt to the ultimate models for Kira and Heron and every other awesome girl in the Partials series: my two daughters. May you always have heroines to inspire you, role models to look up to, and the freedom and courage to make your own choices, no matter how simple or scary or hard or eternal they may be.

Moving lockstep through a series of predictable transitions is no longer a route to personal security. Each man and woman must put together a highly individualized sequence of transitions in and out of school, work, and marriage in order to take advantage of shifting opportunities and respond to unexpected setbacks--a "do-it-yourself biolography.

But histories differ from novels in that they insist on a homology between the sequence of their own telling, the form they impose to create a coherent explanation in the form of a narrative on the one hand, and the sequence of what they tell on the other.

Your story is not to be written as a novel you are a collection of the people you’ve become and the people you’ve yet to be a series of stories told in sequence sometimes with rhyme and sometimes without reason a neverending exploration of every corner of your potential please don’t worry if you cannot converge your old selves you are not meant to understand them you are only meant to set them free

Society itself falls apart into class and intraclass groups; individual life-sequences are directly linked with these and together both individual life and subgroups are opposed to the whole. Thus in the early stages of slaveholding society and in feudal society, individual life-sequences are still rather tightly interwoven with the common life of the most immediate social group. But nevertheless they are separate, even here. The course of individual lives, of groups, and of the sociopolitical whole do not fuse together, they are dispersed, there are gaps; they are measured by different scales of value; each of these series has its own logic of development, its own narratives, each makes use of and reinterprets the ancient motifs in its own way. Within the boundaries of individual life-series, an interior aspect makes itself apparent. The process of separating out and detaching individual life-sequences from the whole reaches its highest point when financial relations develop in slaveholding society, and under capitalism. Here the individual sequence takes on its specific private character and what is held in common becomes maximally abstract. The ancient motifs that had passed into the individual life-narratives here undergo a specific kind of degeneration. Food, drink, copulation and so forth lose their ancient "pathos" (their link, their unity with the laboring life of the social whole); they become a petty private matter; they seem to exhaust all their significance within the boundaries of individual life. As a result of this severance from the producing life of the whole and from the collective struggle with nature, their real links with the life of nature are weakened-if not severed altogether.

Prime numbers are divisible only by 1 and by themselves. They hold their place in the infinite series of natural numbers, squashed, like all numbers, between two others, but one step further than the rest. They are suspicious, solitary numbers, which is why Mattia thought they were wonderful. Sometimes he thought that they had ended up in that sequence by mistake, that they'd been trapped, like pearls strung on a necklace. Other times he suspected that they too would have preferred to be like all the others, just ordinary numbers, but for some reason they couldn't do it. This second thought struck him mostly at night, in the chaotic interweaving of images that comes before sleep, when the mind is too weak to tell itself lies. In his first year at university, Mattia had learned that, among prime numbers, there are some that are even more special. Mathematicians call them twin primes: pairs of prime numbers that are close to each other, almost neighbors, but between them there is always an even number that prevents them from truly touching. Numbers like 11 and 13, like 17 and 19, 41 and 43. If you have the patience to go on counting, you discover that these pairs gradually become rarer. You encounter increasingly isolated primes, lost in that silent, measured space made only of ciphers, and you develop a distressing presentiment that the pairs encountered up until that point were accidental, that solitude is the true destiny. Then, just when you're about to surrender, when you no longer have the desire to go on counting, you come across another pair of twins, clutching each other tightly. There is a common conviction among mathematicians that however far you go, there will always be another two, even if no one can say where exactly, until they are discovered.

...that's really all a story is: a series of things that happen in sequence, in which we can discern a pattern of causality.

There is no explaining a series of misfortunes like that. Every man blames himself. People in their black minds remember sins committed secretly and wonder whether they have caused the evil sequence

Here’s the thing: I’m ridiculously smart, and I’m pretty sure I have a photographic memory. It’s like I have a camera in my head, and if I see or hear something, I click it, and it stays. I saw a special on PBS once on children who were geniuses. These kids could remember complicated strands of numbers and recall words and pictures in correct sequence and quote long passages of poetry. So can I.

While endowed with the morose temper of genius, he [Lakes, Arts Professor] lacked originality and was aware of that lack; his own paintings always seemed beautifully clever imitations, although one could never quite tell whose manner he mimicked. His profound knowledge of innumerable techniques, his indifference to 'schools' and 'trends', his detestation of quacks, his conviction that there was no difference whatever between a genteel aquarelle of yesterday and, say, conventional neoplasticism or banal non-objectivism of today, and that nothing but individual talent mattered--these views made of him an unusual teacher. St Bart's was not particularly pleased either with Lake's methods or with their results, but kept him on because it was fashionable to have at least one distinguished freak on the staff. Among the many exhilarating things Lake taught was that the order of the solar spectrum is not a closed circle but a spiral of tints from cadmium red and oranges through a strontian yellow and a pale paradisal green to cobalt blues and violets, at which point the sequence does not grade into red again but passes into another spiral, which starts with a kind of lavender grey and goes on to Cinderella shades transcending human perception. He taught that there is no such thing as the Ashcan School or the Cache Cache School or the Cancan School. That the work of art created with string, stamps, a Leftist newspaper, and the droppings of doves is based on a series of dreary platitudes. That there is nothing more banal and more bourgeois than paranoia. That Dali is really Norman Rockwell's twin brother kidnapped by gipsies in babyhood. That Van Gogh is second-rate and Picasso supreme, despite his commercial foibles; and that if Degas could immortalize a calèche, why could not Victor Wind do the same to a motor car?

What if a demon crept after thee into thy loneliest loneliness some day or night, and said to thee: "This life, as thou livest it at present, and hast lived it, thou must live it once more, and also innumerable times; and there will be nothing new in it, but every pain and every joy and every thought and every sigh, and all the unspeakably small and great in thy life must come to thee again, and all in the same series and sequence—and similarly this spider and this moonlight among the trees, and similarly this moment, and I myself. The eternal sand-glass of existence will ever be turned once more, and thou with it, thou speck of dust!"—Wouldst thou not throw thyself down and gnash thy teeth, and curse the demon that so spake? Or hast thou once experienced a tremendous moment in which thou wouldst answer him: "Thou art a God, and never did I hear anything so divine!" If that thought acquired power over thee as thou art, it would transform thee, and perhaps crush thee; the question with regard to all and everything: "Dost thou want this once more, and also for innumerable times?" would lie as the heaviest burden upon thy activity! Or, how wouldst thou have to become favourably inclined to thyself and to life, so as to long for nothing more ardently than for this last eternal sanctioning and sealing?

In the modern computer, software has developed in such a way as to fill this role of go-between. On one end you have the so-called end user who wants to be able to order up a piece of long division, say, simply by supplying two numbers to the machine and ordering it to divide them. At the other end stands the actual computer, which for all its complexity is something of a brute. It can perform only several hundred basic operations, and long division may not be one of them. The machine may have to be instructed to perform a sequence of several of its basic operations in order to accomplish a piece of long division. Software—a series of what are known as programs—translates the end user’s wish into specific, functional commands for the machine.

The vast growth of the proletariat, the concentration of ownership into the hands of a few owners, and the exploitation by those owners of the mass of the community, had no fatal or necessary connection with the discovery of new and perpetually improving methods of production. The evil proceeded in direct historical sequence, proceeded patently and demonstrably, from the fact that England, the seed-plot of the Industrial System, was already captured by a wealthy oligarchy before the series of great discoveries began.

Here is the short version of the Kool-Aid Fallacy: Cult … therefore Jim Jones … therefore mass suicide … therefore Kool-Aid. It’s astonishing how much of social media now revolves around simple word association sequences. Absolutely no thought goes into anything. No one ever delivers an actual argument. If they ever do attempt an argument, their punctuation, spelling, grammar, logic and general education are not up to the task, and soon dissolve into meaningless mush. But usually they just hurry on to the insults and ad hominem attacks, which is the part they love. Before long, the Kool-Aid fallacy is eagerly applied. Every argument should have a Dunning-Kruger quotient associated with it. Most people are 100% on the Dunning-Kruger scale. They imagine themselves geniuses, and geniuses dunces. As ever, they have inverted reality.

A plot, I used to remind my students, is not merely a sequence of events: "A" followed by "B" followed by "C" followed by "D." Rather, it's a series of events linked by cause and effect: "A" causes "B," which causes "C," and so on. True, a person's (or a fictional character's) destiny may be more than the sum of his choices--fate and luck play a role as well--but only scientists (and not all of them) believe that free will is a sham. People in life--and therefore in fiction--must choose, and their choices must have meaningful consequences. Otherwise, there's no story.

Studies have shown that the act of looking at something attractive - a person, a product, some honest-to-goodness nature - triggers an involuntary series of synapse firings in the motor cerebellum. As it turns out, this is the exact same neural sequence that causes us to reach out a hand. Beauty, then, literally moves us. We all know this: beauty can easily force a hand. But will we ever shake the pressing delusion, as Tolstoy put it, that beauty is the same as goodness? After all, how often does goodness truly force a hand? more likely it stays it, and even then, barely, and even then, only for a time.

Blessed are the poor in spirit; for theirs is the kingdom of heaven.” There could not have been a broader, more beautiful statement. Why? In Greek “the poor in spirit,” means “bankruptcy”. Blessed—or most fortunate; or, to be envied is better—is a person who has been reduced to bankruptcy, without any potential of his own, for in his bankruptcy, all heaven is his! Why is there not more heaven in some people? The rich young ruler in Matthew 19, turned away sorrowful, because he had great possessions. Anyone who has great possessions is not going to get too far with the Lord. Most fortunate, to be envied, is a person who is reduced to bankruptcy in any self-resources. “In me dwelleth no good thing.” This is basic, because then it is possible for all heaven to be yours. Then Jesus goes on with the rest of the Beatitudes, because they are divinely arranged—in sequence. One makes it possible for the second, and we can’t get to the third until we have had the first and second. The point is; their blessedness all runs into a series sequence.

It would be more accurate to say that we see with our brain rather than with our eyes. However, the more interesting point is that the brain does not always need to receive information through the eyes in order to “see.” It can recall sights, sounds, and feelings from memory and run the whole sequence like a movie, all inside our head, in the mind’s eye.

Family historians are history's speed freaks. Other historians usually begin their stories from a point in the past, advancing gradually forward, covering a few decades, perhaps half a century at most... Family historians, by contrast, work backwards, accelerating wildly across the generations, cutting a swathe through time, like the Grim Reaper himself. In the course of an hour's research, surfing the Web at home or scanning the records in a local Family History Centre, they watch individuals die, marry and be born in series, a dizzying sequence of families falling away and rising up, eras going and coming, wars fizzling out and flaring, cities turning back to fields. The past looks like a hectic, crowded business.

Definitions of number, as given by several later mathematicians, make the limit of an infinite sequence identical with the sequence itself. Under this view, the question as to whether the variable reaches its limit is without logical meaning. Thus the infinite sequence .9, .99, .999,... is the number one, and the question, "Does it ever reach one?" is an attempt to give a metaphysical argument which shall satisfy intuition.

A stick insect looks like a replicator, in that we may lay out a sequence consisting of daughter, granddaughter, great-granddaughter, etc., in which each appears to be a replica of the preceding one in the series. But suppose a flaw or blemish appears somewhere in the chain, say a stick insect is unfortunate enough to lose a leg. The blemish may last for the whole of her lifetime, but it is not passed on to the next link in the chain.

I thought that you would be frozen in awe when you found the sequence, when you heard a bird's song repeating my Morse code, my cry for help, my S.O.S, when you saw the same numbers in the petals of a flower and the structure of a pine cone, when you saw with your own eyes the interconnectedness of all things. But I was wrong. You searched for a male god, a creator, an intelligent designer, or you banished the beauty and mystery of the world beneath the cold concrete grave of closed-eye skepticism. The few of you who could still hear my music felt tortured and misunderstood; you reached out for any conspiracy theory large enough to explain your alienated despair, your sense that the Earth was dying and no one cared. But listen to me -- you are not alone. Run your fingers through the grass and grab it in your fists, feel my pulse echoing through your blood. You. Are. Not. Alone. And I -- I am not dead yet.

Blues is both a literary and a musical genre, and the two realms are inseparably linked by the very forces that also bind together music and text in most African cultures: semantic and grammatical tone, phonetic structure leading to offbeat phrasing of melodic accents (Waterman 1952; Kubik 196ia: 157-58. 1988a: 149-52), and the concept-widespread in African cultures-that the meaning of a song derives from its lyrics rather than from "melody," "rhythm," or chord sequences.

The Language of the Birds" 1 A man saw a bird and found him beautiful. The bird had a song inside him, and feathers. Sometimes the man felt like the bird and sometimes the man felt like a stone—solid, inevitable—but mostly he felt like a bird, or that there was a bird inside him, or that something inside him was like a bird fluttering. This went on for a long time. 2 A man saw a bird and wanted to paint it. The problem, if there was one, was simply a problem with the question. Why paint a bird? Why do anything at all? Not how, because hows are easy—series or sequence, one foot after the other—but existentially why bother, what does it solve? And just because you want to paint a bird, do actually paint a bird, it doesn’t mean you’ve accomplished anything. Who gets to measure the distance between experience and its representation? Who controls the lines of inquiry? We do. Anyone can. Blackbird, he says. So be it, indexed and normative. But it isn’t a bird, it’s a man in a bird suit, blue shoulders instead of feathers, because he isn’t looking at a bird, real bird, as he paints, he is looking at his heart, which is impossible. Unless his heart is a metaphor for his heart, as everything is a metaphor for itself, so that looking at the paint is like looking at a bird that isn’t there, with a song in its throat that you don’t want to hear but you paint anyway. The hand is a voice that can sing what the voice will not, and the hand wants to do something useful. Sometimes, at night, in bed, before I fall asleep, I think about a poem I might write, someday, about my heart, says the heart. 3 They looked at the animals. They looked at the walls of the cave. This is earlier, these are different men. They painted in torchlight: red mostly, sometimes black—mammoth, lion, horse, bear—things on a wall, in profile or superimposed, dynamic and alert. They weren’t animals but they looked like animals, enough like animals to make it confusing, meant something but the meaning was slippery: it wasn’t there but it remained, looked like the thing but wasn’t the thing—was a second thing, following a second set of rules—and it was too late: their power over it was no longer absolute. What is alive and what isn’t and what should we do about it? Theories: about the nature of the thing. And of the soul. Because people die. The fear: that nothing survives. The greater fear: that something does. The night sky is vast and wide. They huddled closer, shoulder to shoulder, painted themselves in herds, all together and apart from the rest. They looked at the sky, and at the mud, and at their hands in the mud, and their dead friends in the mud. This went on for a long time. 4 To be a bird, or a flock of birds doing something together, one or many, starling or murmuration. To be a man on a hill, or all the men on all the hills, or half a man shivering in the flock of himself. These are some choices. The night sky is vast and wide. A man had two birds in his head—not in his throat, not in his chest—and the birds would sing all day never stopping. The man thought to himself, One of these birds is not my bird. The birds agreed.

These solo concerts were without precedent, not only in jazz history, but also in the entire history of the piano. They were not renditions of composed music committed to memory, nor were they a series of variations on composed themes. They were attempts at very long stretches (up to an hour at a time) of total improvisation, the creation from scratch of everything: rhythms, themes, structures, harmonic sequences and textures. Before a concert, Jarrett would try to empty himself of all preconceived ideas, and then allow the music to flow through and out of him. He said that if he was not able to empty himself he would, almost invariably, have a concert that was not as good. There might be periods when he seemed to be marking time but and feeling his way into a new area, but this was also part of the total experience which delighted and enthralled audiences. The sustained intensity of Jarrett’s inspiration during these marathons was literally awesome and, almost in the sense of preacher and congregation, he seemed to want the audiences to be not only witnesses but also participators on the occasion...

Petrie found nothing that disproved the pyramidologist's assumption that the Great Pyramid had been built according to a master plan. Indeed, he describes the Pyramid's architecture as being filled with extraordinary mathematical harmonies and concordances: those same strange symmetries that had so haunted the pyramidologist. Petrie not only noted, for example, that the proportions of the reconstructed pyramid approximated to pi - which others have since elaborated to include those twin delights of Renaissance and pyramidological mathematicians, the Golden Section and the Fibonacci Series ...

Where is the freedom in all this? Nowhere! There is no choice here, no final decision. All decisions concerning networks, screens, information or communication are serial in character, partial, fragmentary, fractal. A mere succession of partial decisions, a microscopic series of partial sequences and objectives, constitute as much the photographer's way of proceeding as that of Telecomputer Man in general, or even that called for by our own most trivial television viewing. All such behaviour is structured in quantum fashion, composed of haphazard sequences of discrete decisions. The fascination derives from the pull of the black box, the appeal of an uncertainty which puts paid to our freedom. Am I a man or a machine? This anthropological question no longer has an answer. We are thus in some sense witness to the end of anthropology, now being conjured away by the most recent machines and technologies. The uncertainty here is born of the perfecting of machine networks, just as sexual uncertainty (Am I a man or a woman? What has the difference between the sexes become?) is born of increasingly sophisticated manipulation of the unconscious and of the body, and just as science's uncertainty about the status of its object is born of the sophistication of analysis in the microsciences.

From the perspective of my old laptop, I am a numbers man, something like that every instruction he gives me is a one or a zero I remember well I have information about him before he left for his new toy thinner, younger, able to keep up with him, I have information about him may 15th 2008, he listened to a song five times in succession it was titled Everybody, open parenthesis, Backstreet's Back, close parenthesis it included the lyric 'Am I sexual, yeaaaaah' He said once, computers like a sense of finality to them when I write something I don't want to be able to run from it this was a lie he was addicted to my ability to keep his secrets I am a numbers man, every instruction he gives me is a one, or a zero I remember well January, 7th 2007 I was young just two week awake he gave me, a new series of one's and zeros the most sublime sequence I have ever seen it had curves, and shadow, it was him he gave his face in numbers and trusted me to be the artist, and I was do not laugh I have read about your God you kill each other over your grand fathers memory of him I still remember the fingertips of my God dancing across my body After I learnt to draw him he trusted with more art rubric jpeg 1063 was his favourite Him, and that woman, resting her head in the curve of his nick I read his correspondence she hasn't written him back in years but he asks for it, constantly, jpeg 1063, jpeg 1063, jpeg 1063 it was my master piece it looked so, .., life like I wanted to tell him That's not her that is me that is not her face those are my ones and zeros waltzing in space for you she is nothing more than my shadow puppet you do not miss her, you miss me, I am a numbers man, every instruction he gives is a one or a zero I remember well but he taught me to be a Da Vinci and I sit here, with his portraits waiting for him to return I do not think he will Is that what it means to be human to be all powerful, to build a temple to yourself and leave only the walls to pray

I assume that you have read it. I also assume that you set it down as idiotic—a series of words without sense. You are quite right; it is. But now imagine it intoned as it were designed to be intoned. Imagine the slow tempo of a public speech. Imagine the stately unrolling of the first clause, the delicate pause upon the word “then”—and then the loud discharge of the phrase “in understanding,” “in mutuality of interest,” “in concern for the common good,” each with its attendant glare and roll of the eyes, each with a sublime heave, each with its gesture of a blacksmith bringing down his sledge upon an egg—imagine all this, and then ask yourself where you have got. You have got, in brief, to a point where you don’t know what it is all about. You hear and applaud the phrases, but their connection has already escaped you. And so, when in violation of all sequence and logic, the final phrase, “our tasks will be solved,” assaults you, you do not notice its disharmony—all you notice is that, if this or that, already forgotten, is done, “our tasks will be solved.” Whereupon, glad of the assurance and thrilled by the vast gestures that drive it home, you give a cheer. That is, if you are the sort of man who goes to political meetings, which is to say, if you are the sort of man that Dr. Harding is used to talking to, which is to say, if you are a jackass.

The conclusion that the Egyptians of the Old Kingdom were acquainted with both the Fibonacci series and the Golden Section, says Stecchini, is so startling in relation to current assumptions about the level of Egyptian mathematics that it could hardly have been accepted on the basis of Herodotus' statement alone, or on the fact that the phi [golden] proportion happens to be incorporated in the Great Pyramid. But the many measurements made by Professor Jean Philippe Lauer, says Stecchini, definitely prove the occurrence of the Golden Section throughout the architecture of the Old Kingdom.... Schwaller de Lubicz also found graphic evidence that the pharonic Egyptians had worked out a direct relation between pi and phi in that pi = phi^2 x 6/5.

Computational models of the mind would make sense if what a computer actually does could be characterized as an elementary version of what the mind does, or at least as something remotely like thinking. In fact, though, there is not even a useful analogy to be drawn here. A computer does not even really compute. We compute, using it as a tool. We can set a program in motion to calculate the square root of pi, but the stream of digits that will appear on the screen will have mathematical content only because of our intentions, and because we—not the computer—are running algorithms. The computer, in itself, as an object or a series of physical events, does not contain or produce any symbols at all; its operations are not determined by any semantic content but only by binary sequences that mean nothing in themselves. The visible figures that appear on the computer’s screen are only the electronic traces of sets of binary correlates, and they serve as symbols only when we represent them as such, and assign them intelligible significances. The computer could just as well be programmed so that it would respond to the request for the square root of pi with the result “Rupert Bear”; nor would it be wrong to do so, because an ensemble of merely material components and purely physical events can be neither wrong nor right about anything—in fact, it cannot be about anything at all. Software no more “thinks” than a minute hand knows the time or the printed word “pelican” knows what a pelican is. We might just as well liken the mind to an abacus, a typewriter, or a library. No computer has ever used language, or responded to a question, or assigned a meaning to anything. No computer has ever so much as added two numbers together, let alone entertained a thought, and none ever will. The only intelligence or consciousness or even illusion of consciousness in the whole computational process is situated, quite incommutably, in us; everything seemingly analogous to our minds in our machines is reducible, when analyzed correctly, only back to our own minds once again, and we end where we began, immersed in the same mystery as ever. We believe otherwise only when, like Narcissus bent above the waters, we look down at our creations and, captivated by what we see reflected in them, imagine that another gaze has met our own.

Eternity, in the sense of the pools, manifests as an enigma within the mathematical fabric of existence. It represents a fractal realm in which the notion of endless duration deviates from conventional human experience. Far beyond the finite bounds of what we call ‘time,’ eternity morphs into a disorienting continuum of perpetual recurrence and unbounded expansion. The cyan merely acts as a catalyst to understanding. Within this eerie realm, space dissolves into a concept, and the usual arithmetic constraints fail to hold sway. The rooms become a ceaseless amalgamation of symbolic sequences and iterations, where infinite series relentlessly converge and diverge, oscillating in rhythm to the waves. The wave function collapses when th//Цијан цијан цијан цијан цијан цијан цијан цијан цијан HELP ME цијан цијан цијан цијан цијан цијан цијан цијан цијан цијан Цијан цијан цијан цијан цијан цијан цијан цијан цијан HELP ME цијан цијан цијан цијан цијан цијан цијан

When a man is asleep, he has in a circle round him the chain of the hours, the sequence of the years, the order of the heavenly host. Instinctively, when he awakes, he looks to these, and in an instant reads off his own position on the earth’s surface and the amount of time that has elapsed during his slumbers; but this ordered procession is apt to grow confused, and to break its ranks. Suppose that, towards, morning, after a night of insomnia, sleep descends upon him while he is reading, in quite a different position from that in which he normally goes to sleep, he has only to lift his arm to arrest the sun and turn it back in its course, and, at the moment of waking, he will have no idea of the time, but will conclude that he has just gone to bed. Or suppose that he gets drowsy in some even more abnormal position; sitting in an armchair, say, after dinner: then the world will go hurtling out of orbit, the magic chair will carry him at full speed through time and space, and when he opens his eyes again he will imagine that he went to sleep months earlier in another place. But for me it was enough if, in my own bed, my sleep was so heavy as completely to relax my consciousness; for then I lost all sense of the place in which I had gone to sleep, and when I awoke in the middle of the night, not knowing where I was, I could not even be sure at first who I was; I had only the most rudimentary sense of existence, such as may lurk and flicker in the depths of an animal's consciousness; I was more destitute than the cave-dweller; but then the memory - not yet of the place in which I was, but of various other places where I had lived and might now very possibly be - would come like a rope let down from heaven to draw me up out of the abyss of not-being, from which I could never have escaped by myself: in a flash I would traverse centuries of civilisation, and out of a blurred glimpse of oil-lamps, then of shirts with turned-down collars, would gradually piece together the original components of my ego. Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves and not anything else, by the immobility of our conception of them. For it always happened that when I awoke like this, and my mind struggled in an unsuccessful attempt to discover where I was, everything revolved around me through the darkness: things, places, years. My body, still too heavy with sleep to move, would endeavour to construe from the pattern of its tiredness the position of its various limbs, in order to deduce therefrom the direction of the wall, the location of the furniture, to piece together and give a name to the house in which it lay. Its memory, the composite memory of its ribs, its knees, its shoulder-blades, offered it a whole series of rooms in which it had at one time or another slept, while the unseen walls, shifting and adapting themselves to the shape of each successive room that it remembered, whirled round it in the dark.

Polyvagal Theory proposes a neurophysiological model of safety and trust. The model emphasizes that safety is defined by feeling safe and not by the removal of threat. Feeling safe is dependent on three conditions: 1) the autonomic nervous system cannot be in a state that supports defense; 2) the social engagement system needs to be activated to down regulate sympathetic activation and functionally contain the sympathetic nervous system and the dorsal vagal circuit within an optimal range (homeostasis) that would support health, growth, and restoration; and 3) to detect cues of safety (e.g., prosodic vocalizations, positive facial expressions and gestures) via neuroception. In everyday situations, the cues of safety may initiate the sequence by triggering the social engagement system via the process of neuroception, which will contain autonomic state within a homeostatic range and restrict the autonomic nervous system from reacting in defense. This constrained range of autonomic state has been referred to as the window of tolerance (see Ogden et. al. 2006; Siegel, 1999) and can be expanded through neural exercises embedded in therapy. See: throughout

The Heaviest Burden. What if a demon crept after you into your loneliest loneliness some day or night, and said to you: "This life, as you live it at present, and have lived it, you must live it once more, and also innumerable times; and there will be nothing new in it, but every pain and every joy and every thought and every sigh, and all the unspeakably small and great in thy life must come to you again, and all in the same series and sequence - and similarly this spider and this moonlight among the trees, and similarly this moment, and I myself. The eternal sand-glass of existence will ever be turned once more, and you with it, you speck of dust!" - Would you not throw yourself down and gnash your teeth, and curse the demon that so spoke? Or have you once experienced a tremendous moment in which you would answer him: "You are a God, and never did I hear anything so divine!" If that thought acquired power over you as you are, it would transform you, and perhaps crush you; the question with regard to all and everything: "Do you want this once more, and also for innumerable times?" would lie as the heaviest burden upon your activity! Or, how would you have to become favourably inclined to yourself and to life, so as to long for nothing more ardently than for this last eternal sanctioning and sealing?

At this point, the sequence of my memories is disrupted. I sank into a chaos of brief, incoherent and bizarre hallucinations, in which the grotesque and the horrible kept close company. Prostrate, as if I were being garrotted by invisible cords, I floundered in anguish and dread, oppressively ridden by the most unbridled nightmares. A whole series of monsters and avatars swarmed in the shadows, coming to life amid draughts of sulphur and phosphorus like an animated fresco painted on the moving wall of sleep. There followed a turbulent race through space. I soared, grasped by the hair by an invisible hand of will: an icy and powerful hand, in which I felt the hardness of precious stones, and which I sensed to be the hand of Ethal. Dizziness was piled upon dizziness in that flight to the abyss, under skies the colour of camphor and salt, skies whose nocturnal brilliance had a terrible limpidity. I was spun around and around, in bewildering confusion, above deserts and rivers. Great expanses of sand stretched into the distance, mottled here and there by monumental shadows. At times we would pass over cities: sleeping cities with obelisks and cupolas shining milk-white in the moonlight, between metallic palm-trees. In the extreme distance, amid bamboos and flowering mangroves, luminous millennial pagodas descended towards the water on stepped terraces.

Rip ran a hand through his dusty brown hair and tried to imagine what Larsen had found. Larsen’s words “a Cosega find” had been playing over in his mind almost constantly since he’d heard them. Cosega was the reason that Rip became an archaeologist. The Jeep’s motor whined as it pushed over the unmaintained road. Rip’s thoughts drifted to the past. They always did when he was in the mountains. Fifteen years earlier he had graduated from the University of Pennsylvania with honors after publishing a series of papers on the prehistory of man. His first break came when billionaire Booker Lipton, a Penn alumnus who had amassed a fortune through brutal corporate takeovers and a variety of other business dealings, immediately offered him funding. Rip had skipped the “cap and gown nonsense,” as he called it, and was already in Africa when his degree caught up with him. His first human origins digs were featured in an eight-page layout for National Geographic. Within a few years Archaeology Magazine had twice detailed his findings for cover stories. He taught courses at three different universities, and often shared his expertise on news and talk shows. Then, four years ago, he published a paper on the creation stories of all known Native American tribes entitled: Cosega. The controversy that erupted after had almost ended his career. Not yet forty, Ripley had already achieved more than the greats

Could it be that we lose some of the visual functions that we inherited from our evolution as we learn to read? Or, at the very least, are these functions massively reorganized? This counterintuitive prediction is precisely what my colleagues and I tested in a series of experiments. To draw a complete map of the brain regions that are changed by literacy, we scanned illiterate adults in Portugal and Brazil, and we compared them to people from the same villages who had had the good fortune of learning to read in school, either as children or adults.41 Unsurprisingly perhaps, the results revealed that, with reading acquisition, an extensive map of areas had become responsive to written words (see figure 14 in the color insert). Flash a sentence, word by word, to an illiterate individual, and you will find that their brain does not respond much: activity spreads to early visual areas, but it stops there, because the letters cannot be recognized. Present the same sequence of written words to an adult who has learned to read, and a much more extended cortical circuit now lights up, in direct proportion to the person’s reading score. The areas activated include the letter box area, in the left occipitotemporal cortex, as well as all the classical language regions associated with language comprehension. Even the earliest visual areas increase their response: with reading acquisition, they seem to become attuned to the recognition of small print.42 The more fluent a person is, the more these regions are activated by written words, and the more they strengthen their links: as reading becomes increasingly automatic, the translation of letters into sounds speeds up.

To reason about something is to proceed from one premise or proposition or concept to another, in order ideally to arrive at some conclusion, and in a coherent sequence whose connections are determined by the semantic content of each of the steps taken—each individual logical syntagma of the argument, each clause or sentence or symbol. In a simple syllogism, for example, two premises in conjunction inevitably produce a conclusion determined by their logical content. “Every rose in my garden is red; the rose I am looking at now is in my garden; therefore, the rose I am looking at now is red.” But then the series of steps by which the mind arrives at the conclusion of a series of propositions simply cannot be identical with a series of brute events in the biochemistry of the brain. If the mechanical picture of nature is correct, after all, any sequence of physical causes and effects is determined entirely by the impersonal laws governing the material world. One neuronal event can cause another as a result of physical necessity, but certainly not as a result of logical necessity. And yet the necessary connection that exists between the addition of two numbers and the sum thereby yielded is one produced entirely by the conceptual content of the various terms of the equation, and not by any set of biochemical contingencies. Conversely, if the tenets of mechanistic materialism are sound, the mere semantic content of a thought should not be able to affect the course of physical events in the cerebrum. Even if the long process of human evolution has produced a brain capable of reason, the brain cannot produce the actual contents of reasoning; the connections among the brain’s neurons cannot generate the symbolic and conceptual connections that compose an act of consecutive logic, because the brain’s neurons are related to one another organically and therefore interact physically, not conceptually. Clearly, then, there are mental events that cannot be reduced to mechanical electrochemical processes.

know that taking a long walk was his preferred way to have a serious conversation. It turned out that he wanted me to write a biography of him. I had recently published one on Benjamin Franklin and was writing one about Albert Einstein, and my initial reaction was to wonder, half jokingly, whether he saw himself as the natural successor in that sequence. Because I assumed that he was still in the middle of an oscillating career that had many more ups and downs left, I demurred. Not now, I said. Maybe in a decade or two, when you retire. I had known him since 1984, when he came to Manhattan to have lunch with Time’s editors and extol his new Macintosh. He was petulant even then, attacking a Time correspondent for having wounded him with a story that was too revealing. But talking to him afterward, I found myself rather captivated, as so many others have been over the years, by his engaging intensity. We stayed in touch, even after he was ousted from Apple. When he had something to pitch, such as a NeXT computer or Pixar movie, the beam of his charm would suddenly refocus on me, and he would take me to a sushi restaurant in Lower Manhattan to tell me that whatever he was touting was the best thing he had ever produced. I liked him. When he was restored to the throne at Apple, we put him on the cover of Time, and soon thereafter he began offering me his ideas for a series we were doing on the most influential people of the century. He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating. After I had deflected his suggestion that I write a biography of him, I heard from him every now and then. At one point I emailed to ask if it was true, as my daughter had told me, that the Apple logo was an homage to Alan Turing, the British computer pioneer who broke the German wartime codes and then committed suicide by biting into a cyanide-laced apple. He replied that he wished he had thought of that, but hadn’t. That started an exchange about the early history of Apple, and I found myself gathering string on the subject, just in case I ever decided to do such a book. When my Einstein biography came out, he came to a book event in Palo Alto and

One possibility is that many of these universes are unstable and decay to our familiar universe. We recall that the vacuum, instead of being a boring, featureless thing, is actually teeming with bubble universes popping in and out of existence, like in a bubble bath. Hawking called this the space-time foam. Most of these tiny bubble universes are unstable, jumping out of the vacuum and then jumping back in. In the same way, once the final formulation of the theory is found, one might be able to show that most of these alternate universes are unstable and decay down to our universe. For example, the natural time scale for these bubble universes is the Planck time, which is 10−43 seconds, an incredibly short amount of time. Most universes only live for this brief instant. Yet the age of our universe, by comparison, is 13.8 billion years, which is astronomically longer than the lifespan of most universes in this formulation. In other words, perhaps our universe is special among the infinity of universes in the landscape. Ours has outlasted them all, and that is why we are here today to discuss this question. But what do we do if the final equation turns out to be so complex that it cannot be solved by hand? Then it seems impossible to show that our universe is special among the universes in the landscape. At that point I think we should put it in a computer. This is the path taken for the quark theory. We recall that the Yang-Mills particle acts like a glue to bind quarks into a proton. But after fifty years, no one has been able to rigorously prove this mathematically. In fact, many physicists have pretty much given up hope of ever accomplishing it. Instead, the Yang-Mills equations are solved on a computer. This is done by approximating space-time as a series of lattice points. Normally, we think of space-time being a smooth surface, with an infinite number of points. When objects move, they pass through this infinite sequence. But we can approximate this smooth surface with a grid or lattice, like a mesh. As we let the spacing between lattice points get smaller and smaller, it becomes ordinary space-time, and the final theory begins to emerge. Similarly, once we have the final equation for M-theory, we can put it on a lattice and do the computation on a computer. In this scenario, our universe emerges from the output of a supercomputer. (However, I am reminded of the Hitchhiker’s Guide to the Galaxy, when a gigantic supercomputer is built to find the meaning of life. After eons doing the calculation, the computer finally concluded that the meaning of the universe was “forty-two.”)

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.

TATTOOED NUMBERS, AS BLOOM had already established, were used to identify prisoners at just one concentration camp—the Auschwitz complex in Upper Silesia—and then just from 1941 onward. Only prisoners selected for work received a serial number, Epstein explained. Those who were sent directly to the gas chambers—including the elderly, the weak, and children—were not tattooed, although in the early days of the camp those who were in the infirmary or marked for execution were also tattooed on the chest using a metal stamp made up of interchangeable centimeter-long needles that allowed the tattoo to be created using a single blow, after which ink was rubbed into the wound. The digits were generally tattooed on the outer side of the left forearm, although some prisoners from transports in 1943 received tattoos on the inner forearm. The numbering sequences used varied over time, according to intake and the nature of the prisoners involved. An AU series denoted a Soviet prisoner, a Z series a Gypsy. A and B sequences up to 20,000 were used to identify male and female prisoners arriving at the camp after 1944, although an administrative error resulted in the B series exceeding 20,000. The Nazis’ original intention was to get as far as the final letter of the alphabet if required.

Focused word of mouth from the right sources in the right sequence at the right level in the right form at the right pace is going to lead them through a very easy-to-make series of decisions, without wasting time, effort, and money.

This book should never have happened. If it wasn’t for the most bizarre and twisted sequence of events involving a diverse array of people it wouldn’t have. Let us explain. If someone we, the authors, had wanted to impress - a publisher, say, or a book reviewer - had asked us how it had emerged, we could have come up with all kinds of things to establish our credentials for writing it. But they would have been only a small part of the story of how it came about, and not the interesting bit either. The truth is much more human and fascinating - and it also gets to the heart of the book and shows how networks really work. Greg has always been fascinated by ‘network theory’ - the findings of sociologists, mathematicians and physicists, which seemed to translate to the real world of links between people. Early in his professional life at Auto Trader magazine in Canada he got to see an extraordinary network of buyers and sellers in operation. Later, when he became a venture capitalist - someone who invests in new or young companies, hoping that some of them will become very valuable - he applied what he’d learned. He invested in businesses that could benefit from the way networks behave, and this approach yielded some notable successes. Richard came from a different slant. For twenty years, he was a ‘strategy consultant’, using economic analysis to help firms become more profitable than their rivals. He ended up co-founding LEK, the fastest-growing ‘strategy boutique’ of the 1980s, with offices in the US, Europe and Asia. He also wrote books on business strategy, and in particular championed the ‘star business’ idea, which stated that the most valuable venture was nearly always a ‘star’, defined as the biggest firm in a high-growth market. In the 1990s and 2000s, Richard successfully invested the money he had made as a management consultant in a series of star ventures. He also read everything available about networks, feeling intuitively that they were another reason for business success, and might also help explain why some people’s careers took off while equally intelligent and qualified people often languished. So, there were good reasons why Greg and Richard might want to write a book together about networks. But the problem with all such ‘formal’ explanations is that they ignore the human events and coincidences that took place before that book could ever see the light of day. The most

Leonardo Pisano, aka Fibonacci: Fibonacci was a 13th-century Italian mathematician who invented the Fibonacci series, which goes like this: 1, 1, 2, 3, 5, 8, 13, 21, etc. Each of the numbers is the sum of the two preceding numbers. I look at the sequence again. I know I recognize it from somewhere. It takes me a couple of seconds, but then it clicks: Boggle! It's the scoring system for my favorite find-a-word game, Boggle.

Puzzle out the sequence. What is next in this series? JFMAMJJASON....

Oresme's genius was to make a new series which was definitely smaller than the harmonic series. He took the list of all unit fractions, and for any of them which did not have a power of two as a denominator, he replaced it with a smaller fraction which did. As all these new fractions were either the same or smaller, the total of this new series had therefore to be smaller than the sum of the harmonic series. But when Oresme grouped these fractions into runs, each of which added up to 1/2, he was left with a sum of an infinite sequence of 1/2s, which definitely diverges. This meant in turn that the greater harmonic series must also diverge. Oresme had proved that a sequence of ever-decreasing numbers could still be divergent. (His proof was lost for a while, and the same result was independently rediscovered in the 1600s.)

Its coding wheels, stepping a space—or two, or three, or four—after every letter or so, did not return to their original positions to re-create the same series of paths, and hence the same sequence of substitutes, until hundreds of thousands of letters had been enciphered.

Blanqui is an important, if neglected, nineteenth-century theorist, for unlike nearly all of his contemporaries, he dismissed the naive belief, central to Marx, that human history is a linear progression toward equality and greater morality. He warned that this absurd positivism is the lie perpetrated by oppressors: “All atrocities of the victor, the long series of his attacks are coldly transformed into constant, inevitable evolution, like that of nature. . . . But the sequence of human things is not inevitable like that of the universe. It can be changed at any moment.”32 He also foresaw that scientific and technological advancement, rather than a harbinger of progress, could be “a terrible weapon in the hands of Capital against Work and Thought.”33

These solo concerts were without precedent, not only in jazz history, but also in the entire history of the piano. They were not renditions of composed music committed to memory, nor were they a series of variations on composed themes. They were attempts at very long stretches (up to an hour at a time) of total improvisation, the creation from scratch of everything: rhythms, themes, structures, harmonic sequences and textures. Before a concert, Jarrett would try to empty himself of all preconceived ideas, and then allow the music to flow through and out of him. He said that if he was not able to empty himself he would, almost invariably, have a concert that was not as good. There might be periods when he seemed to be marking time but and feeling his way into a new area, but this was also part of the total experience which delighted and enthralled audiences. The sustained intensity of Jarrett’s inspiration during these marathons was literally awesome and, almost in the sense of preacher and congregation, he seemed to want the audiences to be not only witnesses but also participators on the occasion…

On the whole, it is less the sequence of ages that holds his attention than the general feeling of a kind of fatality:

Although a few enzymes (e.g. carbonic anhydrase) catalyse a single isolated reaction, most are part of a team that catalyses a series of reactions in which each enzyme picks up its predecessor’s product, taking it a step further to create a metabolic pathway. This pathway may be to build up, say, an amino acid from simpler starting molecules, or conversely to break down food molecules to yield new chemical building blocks and sometimes also to trap useable energy. Life is the combined outcome of this seemingly logical enzyme teamwork. Like most things in the living world, this gives the appearance of purposeful planning down to the last detail. Such meticulous perfection would in past eras have been confidently attributed to the attentive skill of an all-powerful Creator. Since Charles Darwin, however, we have an alternative way of explaining how things in the living world come to be the way they are. Darwin led us to understand that natural selection could bring about stepwise beneficial adaptation over thousands or even millions of years, and, in the 150 years since the Origin of Species, we have learnt far more about the genetic mechanisms that can bring about such change. Does this kind of thinking work at the molecular level when we come to look at metabolic pathways and individual enzymes? In fact the study of enzymes and other proteins allows us to be a great deal more certain than Victorian biologists could be. Many of the distinctive biological characteristics studied in comparing animals and plants, like eye colour or wing shape, have turned out to be controlled by multiple genes, whereas, in looking at individual proteins, we are looking at the products of individual genes, and latterly we can even examine those genes directly. The possibility of determining protein amino acid sequences, and, more recently, the corresponding DNA sequences, allows comparison of the same enzyme from many species and also of enzymes catalysing different but similar reactions from a single species.

Weirdly, the more standard classroom math you’ve had, the harder it’s going to be to avoid answering in an impoverished way. Such as, e.g., validating a/(1-r) by observing, in the best Calc II tradition, that the relevant geometric series here is a particular subtype of convergent infinite series, and that the sum of such a series is defined as the limit of the sequence of its partial sums (that is, if the sequence s1, s2, s3, …, sn , … of a series’ partial sums tends to a limit S, then S is the sum of the series), and that sure enough, w/r/t the above series, Lim (sn) = 1 so a/(1-r) works just fine … in which case you will once again have answered Zeno’s Dichotomy in a way that is complex, formally sexy, technically correct, and deeply trivial. Along the lines of ‘Because it’s illegal’ as an answer to ‘Why is it wrong to kill?

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

it was a fine line for me between making fun of my culture—which is a fine line I straddled the entire show—and just allowing it to be as silly and ridiculous as it is. How much can I get away saying without insulting, you know? I still get emails from people saying, “You really insulted your culture by saying this and that,” but that’s the nature of comedy. You’re never going to make everyone laugh, and someone’s going to be offended by all the colloquiums that you bring to light about your own cultures. So the dance sequence was one of those moments where I was like, Oh, this could go really badly, but it ended up being really fun. And there were certain things that I said on the show that I wish I could unsay now, given the current political climate, but it’s nothing so life-changing. It was a different time where people were not so sensitive to the divisiveness around us… and there was a lot more tolerance between people. We were not so offended by making fun of each other. Everything we said was not the end of the world. There’s only one line—and I don’t even remember it [entirely], but it was something about a prostitute—I wish I could take back. [Ed. note: It is “Madhuri Dixit is a l-leperous prostitute! ” in an exchange with Sheldon from season two, episode one, “The Bad Fish Paradigm.”] But even though Raj made fun of India, he was very [proud to be] Indian. He wore his culture on his sleeve. There’s a scene that rarely ever gets brought up, but it’s a very beautiful scene where Howard and Raj are sitting in a car together in front of a Hindu temple and talking about religion and science. Raj wants to show Howard how he can make an amalgamation between spirituality and science and what that means to him. I thought, Why don’t more people talk about that instead of him insulting his culture? But that’s just the nature of things.

The dream sequence where Leonard was holding Penny in the elevator shaft is captured in a photograph of the pair on Penny’s refrigerator. But as executive producer Steve Molaro points out, that picture could technically never exist. Steve Molaro: It makes me crazy because technically that photo was from the fantasy sequence, so it shouldn’t be a real photo on her refrigerator. Unless Leonard said, “Hey, we should go re-create this image I have from a dream of mine and get in the elevator shaft and have somebody take a picture of us,” it doesn’t belong there.

As David Hull writes, “officially we are all supposed to value interdisciplinary research, but in reality just about every feature of academia frustrates genuinely interdisciplinary work. Those of us who are engaged in it are the last hired and the first fired.”24

Rate independence is a general property of information,” explains Howard Pattee.

Interdisciplinary research is risky business. It entails importing technical concepts from many specialized fields and then tying them together, often metaphorically. Settling on the right level of detail is tricky. How much molecular biology is necessary to make a point? How much is sufficient to satisfy relevant experts that I have done my homework? A psychologist might be put off by more molecular biology than is needed, while a molecular biologist might be put off by omission of the nuances of the field. In this, the book can be at once too scholarly for some and not scholarly enough for others. This challenge is baked into all interdisciplinary research, and the more interdisciplinary the research, the more prominent the challenge.

the Fibonacci sequence starts with the number one, then the number one again. Add those numbers together to get two. Then add one and two together to get three. Two and three make five. Three and five make eight. And the series continues like that, adding the two previous numbers to get the following number.

Before this insight, one might have been tempted to think of evolution as a completely random walk across a fitness landscape, in other words a series of steps in multidimensional sequence space where no region is more likely to be explored than any other region. But it turns out that, due to the power of selection and quasispecies, there are biases in evolution’s walk through the genetic possibilities of life.

regression as dummy variables Explain the importance of the error term plot Identify assumptions of regression, and know how to test and correct assumption violations Multiple regression is one of the most widely used multivariate statistical techniques for analyzing three or more variables. This chapter uses multiple regression to examine such relationships, and thereby extends the discussion in Chapter 14. The popularity of multiple regression is due largely to the ease with which it takes control variables (or rival hypotheses) into account. In Chapter 10, we discussed briefly how contingency tables can be used for this purpose, but doing so is often a cumbersome and sometimes inconclusive effort. By contrast, multiple regression easily incorporates multiple independent variables. Another reason for its popularity is that it also takes into account nominal independent variables. However, multiple regression is no substitute for bivariate analysis. Indeed, managers or analysts with an interest in a specific bivariate relationship will conduct a bivariate analysis first, before examining whether the relationship is robust in the presence of numerous control variables. And before conducting bivariate analysis, analysts need to conduct univariate analysis to better understand their variables. Thus, multiple regression is usually one of the last steps of analysis. Indeed, multiple regression is often used to test the robustness of bivariate relationships when control variables are taken into account. The flexibility with which multiple regression takes control variables into account comes at a price, though. Regression, like the t-test, is based on numerous assumptions. Regression results cannot be assumed to be robust in the face of assumption violations. Testing of assumptions is always part of multiple regression analysis. Multiple regression is carried out in the following sequence: (1) model specification (that is, identification of dependent and independent variables), (2) testing of regression assumptions, (3) correction of assumption violations, if any, and (4) reporting of the results of the final regression model. This chapter examines these four steps and discusses essential concepts related to simple and multiple regression. Chapters 16 and 17 extend this discussion by examining the use of logistic regression and time series analysis. MODEL SPECIFICATION Multiple regression is an extension of simple regression, but an important difference exists between the two methods: multiple regression aims for full model specification. This means that analysts seek to account for all of the variables that affect the dependent variable; by contrast, simple regression examines the effect of only one independent variable. Philosophically, the phrase identifying the key difference—“all of the variables that affect the dependent variable”—is divided into two parts. The first part involves identifying the variables that are of most (theoretical and practical) relevance in explaining the dependent

Rework the basics. Your initial presentation will result in a sequence or series of steps: To really know your stuff, change the order. Start with step 5 and work backward. Skip a couple of steps. Rehearsing the material in a different order helps to reinforce your knowledge of the material.

In fact, Wilson and King showed that the difference in the average protein-coding gene sequences of chimps and modern humans was about 1 percent. In other words, the proteins that we use in our day-to-day biology are nearly identical to those that chimpanzees and bonobos use.

The series of activation sequences to control a bladesinger’s arms was complex and required continuous chanting, giving bladesingers their name.

Any thought sequence that minimizes anxiety would get reinforced over time. The sequence would be maintained during the person’s development and would be provoked in contexts where refutation of the belief might occur. So, any kind of refutation of a person’s religious beliefs makes the beliefs only stronger.

[At Gunung Padang] First, the drill cores contained evidence--fragments of worked columnar basalt--that more man-made megalithic structures lay far beneath the surface. Secondly, the organic materials brought up in the drill cores began to yield older and older dates--3000 BC to 5000 BC, then 9600 BC as the drills bit deeper, then around 11,000 BC, then 15,000 BC and finally, at depths of 27.5 meters (90 feet) and more, an astonishing sequence of dates of 20,000 BC to 22,000 BC and earlier. [...] The problem is that those dates going back before 9600 BC take us deep into the last Ice Age, when Indonesia was not a series of islands as it is today but was part of a vast antediluvian Southeast Asian continent dubbed "Sundaland" by geologists. Sea level was 122 meters (400 feet) lower then. Huge ice caps 3.2 kilometers (2 miles) deep covered most of Europe and North America until the ice caps began to melt. Then all the water stored in them returned to the oceans and sea-level rose, submerging many parts of the world where humans had previously lived.

Our product launches use a series of sequences—pre-prelaunch, the prelaunch, the launch, and the post-launch.

This special was followed one month later by “Bart the Genius.” This was the first genuine episode of The Simpsons , inasmuch as it premiered the famous trademark opening sequence and included the debut of Bart’s notorious catchphrase “Eat my shorts.” Most noteworthy of all, “Bart the Genius” contains a serious dose of mathematics. In many ways, this episode set the tone for what was to follow over the next two decades, namely a relentless series of numerical references and nods to geometry that would earn The Simpsons a special place in the hearts of mathematicians.

The idea of a personal journey around a site and the interpretation of it is something that Gordon Cullen focuses upon when he describes the concept of ‘serial vision’ in his book Concise Townscape. This concept suggests that the area under study is drawn as a map, and a series of points are then identified on it, each one indicating a different view of the site. These views are then sketched out as small thumbnails, which offer personal impressions of the site’s space. Serial vision is a useful technique to apply to any site (or building), in order to explain how it operates spatially and to identify its significance. The visuals can be created either as a series of sketches or as photographs of the journey, as long as they are assembled and read in sequence.

4.33 The sequence of mutation occurs in every second, yet is comprehensible only at the end of a series.

Have you ever heard of the Swiss cheese model? In order for a catastrophic event, such as a plane crash, to occur, a sequence of events precedes it. Think of these separate factors as slices of Swiss cheese lined up one behind the other. If any one of the holes in them doesn't align with the others, the series of events is changed or curtailed, and a catastrophe is prevented." "But if all the holes line up ---" "The door is open for disaster.

Write contracts for software development that fix time, costs, and quality but call for an ongoing negotiation of the precise scope of the system. Reduce risk by signing a sequence of short contracts instead of one long one.

Parenthood, it turns out, is common to all the negative transition sequences (that is, those that depress socioeconomic prospects) and delayed parenthood is common to the positive transition sequences.

Anne McCaffrey’s Series Order John Sandford’s Series Order Christine Feehan’s

McCaffrey’s Series Order John Sandford’s Series Order Christine Feehan’s Series Order

Series Order Kresley Cole’s    Series Order Dale Brown’s     Series Order Lee Child’s Series Order Daniel Silva’s Series Order Lisa Jackson’s   Series Order David Baldacci’s

DNA sequencing of fecal samples from players in an international rugby union team showed considerably greater diversity of gut bacteria than samples from people who are more sedentary.

If a thing can appear without a cause there is no relation between cause and effect, and there can be no harmony in the world. A potter’s work may lead to a weaver’s products, and vice versa, which is absurd. The interdependence of cause and effect is ascertained by their logical sequence and proved by its role in practical life. How then can a universe be an accident?

This sequence of intentionally engaging in present-moment awareness, becoming distracted, noticing your distraction, and then bringing your attention back to the present is the practice of mindful awareness itself.

If you recall, in Ramanujan's letters to English mathematicians, he claimed that 1 + 2 + 3 +...= -1/12. He was so surprised when Hardy took him seriously that he replied on 27 February 1913 in the following words: 'I was expecting a reply from you similar to the one which a Mathematics Professor at London wrote asking me to study Infinite Series and not fall into the pitfalls of divergent series. If I had given you my methods of proof I am sure you will follow the London Professor. I told him that the sum of an infinite number of terms of the series: 1 + 2 + 3 + 4 +...= -1/12 under mu theory. If I tell you this, you will at once point out to me the lunatic asylum as my goal.' It turns out that not only had Ramanujan independently rediscovered the Bernoulli numbers, but he may have found more than one way to prove that 1 +2 +3 + 4 ...= -1/12. This is now called Ramanujan summation and gives us an insight into the ways in which the sum of a sequence can be divergent. Of course, the sum of all the positive whole numbers is infinite, but if you can somehow peel that infinity back out of the way and look at what else is going on, there's a -1/12 in there.

series of increasingly frequent and agitated, but otherwise incomprehensible, bursts of sound

A year on, in 2021, 43 international scientists would sign four letters calling for an investigation into a possible laboratory leak. The first group of 25 scientists went public with their letter on March 4, 2021 in response to the WHO’s flawed inquiry, which failed to investigate the Wuhan laboratories. The scientists published a series of letters outlining the steps the WHO needed to take for a rigorous scientific inquiry into the origins of the virus. One of the essential questions they identified that needs examining is this: “Did the WIV or any other laboratory ever attempt to recreate RaTG13 or any other coronaviruses by assembling them from synthetic gene sequences?” They want to obtain the records of laboratories involved in coronavirus research in Wuhan, such as laboratory notebooks, electronic records and details of gain-of-function research, including related sequences and isolates.

The heads were flushed with sea-water, so they constantly stank! But in rough weather, the water pressure varied as the ship pounded the waves. This often caused a phenomenon known as “Blow-Back!” When this happened, the contents of the toilet exploded violently upwards, all over the walls of the cubical and the floor. And when it happened, it tended to explode in sequence; one toilet followed by the next in line, and so on. God help you if you happened to be on the toilet at the time as there would be no warning until a last minute gurgling sound; then, “BOOM!” A very messy experience; equally messy for those of us who then had to clean it up afterwards!

Note that this is the fourth novel starring these characters (this can be a source of confusion, as reissues and new editions can complicate things if you search purely by publication date). They can all be read independently, and if this is your first, I assure you that having read them all in sequence would do nothing to alleviate whatever confusion you’re feeling now. In order, they are: John Dies at the End This Book Is Full of Spiders: Seriously, Dude, Don’t Touch It What the Hell Did I Just Read: A Novel of Cosmic Horror The first was turned into a feature film with the same title and is surely available on at least one video streaming service you have access to. If you are a loyal fan and have been following this series from the start, first of all, thank you, and second of all, please note that all plot and continuity errors, as well as timeline inconsistencies, are intentional. Or at least, my choice to not worry about them is intentional.

Like machines, living things need both special boundary conditions and the laws of nature in order to function. But neither is reducible to the other. Function can only be understood by reference to the boundary conditions. The laws say nothing about function. The boundary conditions, on the other hand, are impotent without the laws. “The existence of dual control in machines and living mechanisms,” says Polanyi, “represents a discontinuity between machines and living things on the one hand and inanimate nature on the other.

You may not realize it, but English contains many idioms that relate sequences to energy. Talk is cheap and actions speak louder than words. We often use idioms like these without much reflection on their deeper meaning, but I invite you to consider in more detail what expressions like these are really getting at. You may conclude that it is easier said than done.

If you want a generic interaction like a collision between rocks, the laws of physics are fine; if you want special interactions, you need special constraints or, as Richard Dawkins says, “those blind physical forces are going to have to be deployed in a very peculiar way.”2 We have seen that sequences have no direct, meaningful effect on their environments; in essence they are job descriptions without anyone to do the job. Absent Peter, “Please pass the pepper” accomplishes nothing. The pepper will not move on its own, no matter how stridently you demand. Nonetheless, sequences do constrain and coordinate vast amounts of matter and energy on our planet. Symbolic information actually does get control of physical systems.

For fundamental questions like how life differs from the ordinary physical world or how human civilization differs from ordinary biology, much of the answer has to do with situational specificity.

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.

Interactors are constraints, but far more specialized and discriminating than tabletops or inclined planes. They are constructed or configured to respond in improbable ways to patterns in their environment and, if they are good at what they do, they increase the likelihood that their corresponding sequences will be replicated to construct or configure future interactors.