Sequence Game Quotes

Everything is a tale, Martin. What we believe, what we know, what we remember, even what we dream. Everything is a story, a narrative, a sequence of events with characters communicating an emotional content. We only accept as true what can be narrated.

How long have you done it?” “Since the second day of B and G. The first day was a bit of a blur. I’ve always meant to compile some stats. Sorry. Saying it aloud sounds insane.” “I wish I’d thought of doing it, if it makes you feel better. I’m equally insane.” “You cracked the shirt code pretty quick.” “Why do you even wear them in sequence?” “I wanted to see if you noticed. And once you did notice, it pissed you off.” “I’ve always noticed.” “Yeah, I know.” He smiles, and I smile too. 

There are so many things Blair doesn’t get about me, so many things she ultimately overlooked, and things that she would never know, and there would always be a distance between us because there were too many shadows everywhere. Had she ever made promises to a faithless reflection in the mirror? Had she ever cried because she hated someone so much? Had she ever craved betrayal to the point where she pushed the crudest fantasies into reality, coming up with sequences that she and nobody else could read, moving the game as you play it? Could she locate the moment she went dead inside? Does she remember the year it took to become that way? The fades, the dissolves, the rewritten scenes, all the things you wipe away—I now want to explain all these things to her but I know I never will, the most important one being: I never liked anyone and I’m afraid of people.

Life’s a sequence of gambles. You’re going to win some. You’re going to lose some. But that doesn’t mean you shouldn’t play the game.

Everything is a story, a narrative, a sequence of events with characters communicating an emotional content.

You wander through this city, and wonder if anything you do will make up for the horror that keeps the world turning. To live, you rip your own heart from your chest and hide it in a box somewhere, along with everything you ever learned about justice, compassion, mercy. You throw yourself into games to mark the time. And if you yearn for something different: what would you change? Would you bring back the blood, the dying cries, the sucking chest wounds? The constant war? So we’re caught between two poles of hypocrisy. We sacrifice our right to think of ourselves as good people, our right to think our life is good, our city is just. And so we and our city both survive.

She wanted to ask what he meant but in the game they played she lost points if she had to ask.

You see. He thinks of conversations like a chess game, and I don’t mean that in a good way.

And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice, or piggyback races on the weedy lawn, and it's your voice you hear, essentially, under the glimmerglass sky, and you look at the things in the room, offscreen, unwebbed, the tissued grain of the deskwood alive in light, the thick lived tenor of things, the argument of things to be seen and eaten, the apple core going sepia in the lunch tray, and the dense measures of experience in a random glance, the monk's candle reflected in the slope of the phone, hours marked in Roman numerals, and the glaze of the wax, and the curl of the braided wick, and the chipped rim of the mug that holds your yellow pencils, skewed all crazy, and the plied lives of the simplest surface, the slabbed butter melting on the crumbled bun, and the yellow of the yellow of the pencils, and you try to imagine the word on the screen becoming a thing in the world, taking all its meanings, its sense of serenities and contentments out into the streets somehow, its whisper of reconciliation, a word extending itself ever outward, the tone of agreement or treaty, the tone of repose, the sense of mollifying silence, the tone of hail and farewell, a word that carries the sunlit ardor of an object deep in drenching noon, the argument of binding touch, but it's only a sequence of pulses on a dullish screen and all it can do is make you pensive--a word that spreads a longing through the raw sprawl of the city and out across the dreaming bournes and orchards to the solitary hills. Peace.

And perhaps it was precisely because she knew nothing at all about chess that chess for her was not simply a parlor game or a pleasant pastime, but a mysterious art equal to all the recognized arts. She had never been in close contact with such people — there was no one to compare him with except those inspired eccentrics, musicians and poets whose image one knows as clearly and as vaguely as that of a Roman Emperor, an inquisitor or a comedy miser. Her memory contained a modest dimly lit gallery with a sequence of all the people who had in any way caught her fancy.

It is indeed a tricky name. It is often misspelt, because the eye tends to regard the "a" of the first syllable as a misprint and then tries to restore the symmetrical sequence by triplicating the "o"- filling up the row of circles, so to speak, as in a game of crosses and naughts. No-bow-cough. How ugly, how wrong. Every author whose name is fairly often mentioned in periodicals develops a bird-watcher's or caterpillar-picker's knack when scanning an article. But in my case I always get caught by the word "nobody" when capitalized at the beginning of a sentence. As to pronunciation, Frenchmen of course say Nabokoff, with the accent on the last syllable. Englishmen say Nabokov, accent on the first, and Italians say Nabokov, accent in the middle, as Russians also do. Na-bo-kov. A heavy open "o" as in "Knickerbocker". My New England ear is not offended by the long elegant middle "o" of Nabokov as delivered in American academies. The awful "Na-bah-kov" is a despicable gutterism. Well, you can make your choice now. Incidentallv, the first name is pronounced Vladeemer- rhyming with "redeemer"- not Vladimir rhyming with Faddimere (a place in England, I think).

...they shouldered their horses through the party in a sort of ritual movement as if certain points of ground must be trod in a certain sequence as in a child's game yet with some terrible forfeit at hand.

Chess contains the concentrated essence of life: First, because to win you have to be supremely patient and farseeing; and second, because the game is built on patterns, whole sequences of moves that have been played before and will be played again,

And what happens when a guy comes up next time asking if you want to play a game with him?" he asks, a smile pulling at the corner of his mouth. "I ask him to join my harem, of course." Lach's guffaw sends me into a fit of laughter – bent over, holding my stomach, tears leaking from my eyes.

Surprisingly, palindromes appear not just in witty word games but also in the structure of the male-defining Y chromosome. The Y's full genome sequencing was completed only in 2003. This was the crowning achievement of a heroic effort, and it revealed that the powers of preservation of this sex chromosome have been grossly underestimated. Other human chromosome pairs fight damaging mutations by swapping genes. Because the Y lacks a partner, genome biologists had previously estimated that its cargo was about to dwindle away in perhaps as little as five million years. To their amazement, however, the researchers on the sequencing team discovered that the chromosome fights withering with palindromes. About six million of its fifty million DNA letters form palindromic sequences-sequences that read the same forward and backward on the two strands of the double helix. These copies not only provide backups in case of bad mutations, but also allow the chromosome, to some extent, to have sex with itself-arms can swap position and genes are shuffled. As team leader David Page of MIT has put it, "The Y chromosome is a hall of mirrors.

Her own hypothesis was fairly elementary: There was a single moment responsible for every sequence thereafter. Regan wasn’t the science enthusiast Aldo was—and certainly not the genius he was, either—but her view of causality was methodical enough. Everything was a consequence that rippled out from some fixed point of entry, and it had become a game of hers (probably stolen from him) to expose the genesis from which everything else had sprung.

Had she ever made promises to a faithless reflection in the mirror? Had she ever cried because she hated someone so much? Had she ever craved betrayal to the point where she pushed the crudest fantasies into reality, coming up with sequences that she and nobody else could read, moving the game as you play it? Could she locate the moment she went dead inside? Does she remember the year it took to become that way? The fades, the dissolves, the rewritten scenes, all the things you wipe away...

Why do you think this house has so many secret passages? Why are there so many keys that don’t work in any of the locks? Every desk my grandfather ever bought has secret compartments. There’s an organ in the theater, and if you play a specific sequence of notes, it unlocks a hidden drawer. Every Saturday morning, from the time I was a kid until the night my grandfather died, he sat my brothers and me down and gave us a riddle, a puzzle, an impossible challenge—something to solve. And then he died. And then…” Jameson took a step toward me. “There was you.

There would always be a distance between us because there were too many shadows everywhere. Had she ever made promises to a faithless reflection in the mirror? Had she ever cried because she hated someone so much? Had she ever craved betrayal to the point where she pushed the crudest fantasies into reality, coming up with sequences that she and nobody else could read, moving the game as you play it? Could she locate the moment she went dead inside? Does she remember the year it took to become that way? The fades, the dissolves, the rewritten scenes, all the things you wipe away...

That's what scares me the most, Paul. That I'll just pass through life and all the people I know will just disappear, without a trace, without me ever telling them how much they mean to me, no matter how small the time spent was or how great the friendship was. That they'll be gone and they'll forget me and I'll end up with nothing." I saw in my head Charley laughing, Charley sticking his head out the window and screaming, Charley playing a video game so intensely he was a foot from the screen. Moments flashed before my eyes in a quick, unrelenting sequence. I shook my head. "I know. Believe me, I know.

A Märklin rifle,’ Harry said, ‘is a German semiautomatic hunting rifle which uses 16 mm bullets, bigger than those of any other rifle. It is intended for use on big game hunts, such as for water buffalo or elephants. The first rifle was made in 1970, but only three hundred were made before the German authorities banned the sale of the weapon in 1973. The reason was that the rifle is, with a couple of simple adjustments and Märklin telescopic sights, the ultimate professional murder weapon, and it had already become the world’s most sought after assassination weapon by 1973. Of the three hundred rifles at least one hundred fell into the hands of contract killers and terrorist organisations like Baader Meinhof and the Red Brigade.

She was too narcoleptic to speak. Or move. How long had this been going on? Was she like this yesterday? Had I missed her illness in my quest to prove to my brain that my dick wasn’t the one behind this train wreck’s wheel? I touched her forehead again. It sizzled. “Sweetheart.” “Please get out.” The words clawed past her throat. “Someone needs to take care of you.” “That someone definitely isn’t you. You made that clear these past couple days.” I said nothing. She was right. I hadn’t bothered to check on her. Perhaps I’d wished she’d check on me. In truth, she’d already gone beyond any expectations in trying to make whatever it was between us work. Meanwhile, I’d shut her down. Repeatedly. “Shortbread, let me get you some medicine and tea.” “I don’t want you to nurse me to health. Do you hear me?” She must have hated that I’d seen her like this. Weak and ill. “Call Momma and Frankie. It’s them I want by my side.” I swallowed but didn’t argue. I understood she didn’t want to feel humiliated. To be taken care of by the man who ensured she understood her insignificance to him. How did her bullshit meter not fry? How could she think I really felt nothing toward her? “First, I’ll get you medicine, tea, and water. Then I’ll call for Hettie to stay with you. Then I’ll notify your mother.” I tugged her comforter up to her chin. “No arguments.” She tried to wave me out, groaning at the slightest movement. “Whatever. Just go. I don’t want to see your face.” I gave her what she wanted, though as always, not in the way she expected. The sequence of actions didn’t proceed as promised. First, I contacted Cara to dispatch the private jet to Georgia. Then I called my mother-in-law and Franklin—separately—demanding their presence. Only then did I enter the kitchen to grab water, tea, and ibuprofen for Shortbread’s fever. Naturally, like the chronic idler he often proved to be, Oliver still sat at the island, now enjoying an extra-large slice of red velvet cake I was pretty sure was meant to be consumed by Dallas. “What are you still doing here?” I demanded, collecting the things I needed for her. He scratched his temple with the handle of his fork, brows pulled together. “You invited me here. You wanted to watch a soccer game, remember?” I did not remember. I didn’t even remember my own address right now. “Get out.” “What about the—” I snatched the plate from his fingers, admitting to myself that I’d treaded into feral grounds. “This cake wasn’t for you to eat.” “You’ve gone insane in the ten minutes you were gone.” Oliver gawked at me, wide-eyed. “What happened to you? Did Durban not get her hands on the latest Henry Plotkin book and take her anger out on you?” Shit. The Henry Plotkin book. I shoved Oliver out with a fork still clutched in his grimy fist, dialing Hettie with my free hand. She half-yawned, half-spoke. “Yes?” “Dallas is ill. You need to come here and take care of her until my in-laws arrive in about two hours.” “Oh, yeah?” Her energy returned tenfold. “And what the hell are you gonna do during this time?” “Freeze my balls off.”(Chapter 58)

In a 1997 showdown billed as the final battle for supremacy between natural and artificial intelligence, IBM supercomputer Deep Blue defeated Garry Kasparov. Deep Blue evaluated two hundred million positions per second. That is a tiny fraction of possible chess positions—the number of possible game sequences is more than atoms in the observable universe—but plenty enough to beat the best human. According to Kasparov, “Today the free chess app on your mobile phone is stronger than me.” He is not being rhetorical. “Anything we can do, and we know how to do it, machines will do it better,” he said at a recent lecture. “If we can codify it, and pass it to computers, they will do it better.” Still, losing to Deep Blue gave him an idea. In playing computers, he recognized what artificial intelligence scholars call Moravec’s paradox: machines and humans frequently have opposite strengths and weaknesses. There is a saying that “chess is 99 percent tactics.” Tactics are short combinations of moves that players use to get an immediate advantage on the board. When players study all those patterns, they are mastering tactics. Bigger-picture planning in chess—how to manage the little battles to win the war—is called strategy. As Susan Polgar has written, “you can get a lot further by being very good in tactics”—that is, knowing a lot of patterns—“and have only a basic understanding of strategy.

To claim that mathematics is purely a human invention and is successful in explaining nature only because of evolution and natural selection ignores some important facts in the nature of mathematics and in the history of theoretical models of the universe. First, while the mathematical rules (e.g., the axioms of geometry or of set theory) are indeed creations of the human mind, once those rules are specified, we lose our freedom. The definition of the Golden Ratio emerged originally from the axioms of Euclidean geometry; the definition of the Fibonacci sequence from the axioms of the theory of numbers. Yet the fact that the ratio of successive Fibonacci numbers converges to the Golden Ratio was imposed on us-humans had not choice in the matter. Therefore, mathematical objects, albeit imaginary, do have real properties. Second, the explanation of the unreasonable power of mathematics cannot be based entirely on evolution in the restricted sense. For example, when Newton proposed his theory of gravitation, the data that he was trying to explain were at best accurate to three significant figures. Yet his mathematical model for the force between any two masses in the universe achieved the incredible precision of better than one part in a million. Hence, that particular model was not forced on Newton by existing measurements of the motions of planets, nor did Newton force a natural phenomenon into a preexisting mathematical pattern. Furthermore, natural selection in the common interpretation of that concept does not quite apply either, because it was not the case that five competing theories were proposed, of which one eventually won. Rather, Newton's was the only game in town!

Time management also involves energy management. Sometimes the rationalization for procrastination is wrapped up in the form of the statement “I’m not up to this,” which reflects the fact you feel tired, stressed, or some other uncomfortable state. Consequently, you conclude that you do not have the requisite energy for a task, which is likely combined with a distorted justification for putting it off (e.g., “I have to be at my best or else I will be unable to do it.”). Similar to reframing time, it is helpful to respond to the “I’m not up to this” reaction by reframing energy. Thinking through the actual behavioral and energy requirements of a job challenges the initial and often distorted reasoning with a more realistic view. Remember, you only need “enough” energy to start the task. Consequently, being “too tired” to unload the dishwasher or put in a load of laundry can be reframed to see these tasks as requiring only a low level of energy and focus. This sort of reframing can be used to address automatic thoughts about energy on tasks that require a little more get-up-and-go. For example, it is common for people to be on the fence about exercising because of the thought “I’m too tired to exercise.” That assumption can be redirected to consider the energy required for the smaller steps involved in the “exercise script” that serve as the “launch sequence” for getting to the gym (e.g., “Are you too tired to stand up and get your workout clothes? Carry them to the car?” etc.). You can also ask yourself if you have ever seen people at the gym who are slumped over the exercise machines because they ran out of energy from trying to exert themselves when “too tired.” Instead, you can draw on past experience that you will end up feeling better and more energized after exercise; in fact, you will sleep better, be more rested, and have the positive outcome of keeping up with your exercise plan. If nothing else, going through this process rather than giving into the impulse to avoid makes it more likely that you will make a reasoned decision rather than an impulsive one about the task. A separate energy management issue relevant to keeping plans going is your ability to maintain energy (and thereby your effort) over longer courses of time. Managing ADHD is an endurance sport. It is said that good soccer players find their rest on the field in order to be able to play the full 90 minutes of a game. Similarly, you will have to manage your pace and exertion throughout the day. That is, the choreography of different tasks and obligations in your Daily Planner affects your energy. It is important to engage in self-care throughout your day, including adequate sleep, time for meals, and downtime and recreational activities in order to recharge your battery. Even when sequencing tasks at work, you can follow up a difficult task, such as working on a report, with more administrative tasks, such as responding to e-mails or phone calls that do not require as much mental energy or at least represent a shift to a different mode. Similarly, at home you may take care of various chores earlier in the evening and spend the remaining time relaxing. A useful reminder is that there are ways to make some chores more tolerable, if not enjoyable, by linking them with preferred activities for which you have more motivation. Folding laundry while watching television, or doing yard work or household chores while listening to music on an iPod are examples of coupling obligations with pleasurable activities. Moreover, these pleasant experiences combined with task completion will likely be rewarding and energizing.

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.

Andromeda said, “I see that you understand the paradox involved. These are axiomatic beliefs. If life is finite, there can be no math, no logic, nothing which says using the Eschaton Engine to obliterate the majority of the universe in self-preservation is wrong. No game theory applies, because there is no retaliation, no tit for tat. No punishment. But if life is infinite, then an infinite game theory applies, and no act where the ends justifies the means is allowed, because there is no Concubine Vector, no eternal imbalance, no chance of any act escaping unpunished.

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.

We’re talking about fundamentals here; the fundamental physical laws pertaining to the day-to-day running of the universe. Physicists call them the fundamental constants—things like the masses of atomic particles, the speed of light, the electric charges of electrons, the strength of gravitational force.… They’re beginning to realize just how finely balanced they are. One flip of a decimal point either way and things would start to go seriously wrong. Matter wouldn’t form, stars wouldn’t twinkle, the universe as we know it wouldn’t exist and, if we insist on taking the selfish point of view in the face of such spectacular, epic, almighty destruction, nor would we. The cosmic harmony that made life possible exists at the mercy of what appear, on the face of it, to be unlikely odds. Who or what decided at the time of the Big Bang that the number of particles created would be 1 in 1 billion more than the number of antiparticles, thus rescuing us by the width of a whisker from annihilation long before we even existed (because when matter and antimatter meet, they cancel each other out)? Who or what decided that the number of matter particles left behind after this oversize game of cosmic swapping would be exactly the right number to create a gravitational force that balanced the force of expansion and didn’t collapse the universe like a popped balloon? Who decided that the mass of the neutron should be just enough to make the formation of atoms possible? That the nuclear force that holds atomic nuclei together, in the face of their natural electromagnetic desire to repulse each other, should be just strong enough to achieve this, thus enabling the universe to move beyond a state of almost pure hydrogen? Who made the charge on the proton exactly right for the stars to turn into supernovas? Who fine-tuned the nuclear resonance level for carbon to just delicate enough a degree that it could form, making life, all of which is built on a framework of carbon, possible? The list goes on. And on. And as it goes on—as each particularly arrayed and significantly defined property, against all the odds, and in spite of billions of alternative possibilities, combines exquisitely, in the right time sequence, at the right speed, weight, mass, and ratio, and with every mathematical quality precisely equivalent to a stable universe in which life can exist at all—it adds incrementally in the human mind to a growing sense, depending on which of two antithetical philosophies it chooses to follow, of either supreme and buoyant confidence, or humble terror. The first philosophy says this perfect pattern shows that the universe is not random; that it is designed and tuned, from the atom up, by some supreme intelligence, especially for the purpose of supporting life. The other says it’s a one in a trillion coincidence.

You observe her rites and rules in the dealing of a hand or the shuffling of cards. You worship her, sure as a ballplayer sixty years ago worshipped the Twins or Ili of the Bright Sails or Qet Sea-Lord or Exchitli. For you, at least, the card game never ends. You’re an occasional priest—pledged to a goddess who only exists occasionally.

Don’t confuse the term games of progression with other ideas about progression in games, such as leveling up, difficulty curves, skill trees, and so on. We use Juul’s definition of the term: A game of progression is one that offers predesigned challenges, each of which often has exactly one solution, in a fixed (or only slightly variable) sequence.

They tried to bury us. They didn’t know we were seeds.” —Mexican proverb There are some secrets we don’t share because they’re embarrassing. Like that time I met Naval Ravikant (page 546) by accidentally hitting on his girlfriend at a coffee shop? Oops. Or the time a celebrity panelist borrowed my laptop to project a boring corporate video, and a flicker of porn popped up—à la Fight Club—in front of a crowd of 400 people? Another good example. But then there are dark secrets. The things we tell no one. The shadows we keep covered for fear of unraveling our lives. For me, 1999 was full of shadows. So much so that I never wanted to revisit them. I hadn’t talked about this traumatic period publicly until April 29, 2015, during a Reddit AMA (Ask Me Anything). What follows is the sequence of my downward spiral. In hindsight, it’s incredible how trivial some of it seems. At the time, though, it was the perfect storm. I include wording like “impossible situation,” which was reflective of my thinking at the time, not objective reality. I still vividly recall these events, but any quotes are paraphrased. So, starting where it began . . . It’s the beginning of my senior year at Princeton University. I’m slated to graduate around June of 1999. Somewhere in the next six months, several things happen in the span of a few weeks. First, I fail to make it to final interviews for McKinsey consulting and Trilogy software, in addition to others. I have no idea what I’m doing wrong, and I start losing confidence after “winning” in the game of academics for so long. Second, a long-term (for

Confirmation bias is another of the psychological quirks associated with cognitive dissonance. The best way to see its effects is to consider the following sequence of numbers: 2, 4, 6. Suppose that you have to discover the underlying pattern in this sequence. Suppose, further, that you are given an opportunity to propose alternative sets of three numbers to explore the possibilities. Most people playing this game come up with a hypothesis pretty quickly. They guess, for example, that the underlying pattern is “even numbers ascending sequentially.” There are other possibilities, of course. The pattern might just be “even numbers.” Or “the third number is the sum of the first two.” And so on. The key question is, How do you establish whether your initial hunch is right? Most people simply try to confirm their hypothesis. So, if they think the pattern is “even numbers ascending sequentially,” they will propose “10, 12, 14” and when this is confirmed, they will propose “100, 102, 104.” After three such tests most people are pretty certain that they have found the answer. And yet they may be wrong. If the pattern is actually “any ascending numbers,” their guesses will not help them. Had they used a different strategy, on the other hand, attempting to falsify their hypothesis rather than confirm it, they would have discovered this far quicker. If they had, say, proposed 4, 6, 11 (fits the pattern), they would have found that their initial hunch was wrong. If they had followed up with, say, 5, 2, 1, (which doesn’t fit), they would now be getting pretty warm. As Paul Schoemaker, research director of the Mack Institute for Innovation Management at the Wharton School of the University of Pennsylvania, puts it: The pattern is rarely uncovered unless subjects are willing to make mistakes—that is, to test numbers that violate their belief. Instead most people get stuck in a narrow and wrong hypothesis, as often happens in real life, such that their only way out is to make a mistake that turns out not to be a mistake after all. Sometimes, committing errors is not just the fastest way to the correct answer; it’s the only way.

Computer vision (CV) is the subbranch of AI that focuses on the problem of teaching computers to see. The word “see” here does not mean just the act of acquiring a video or image, but also making sense of what a computer sees. Computer vision includes the following capabilities in increasing complexity: Image capturing and processing—use cameras and other sensors to capture real-world 3D scenes in a video. Each video is composed of a sequence of images, and each image is a two-dimensional array of numbers representing the color, where each number is a “pixel.” Object detection and image segmentation—divide the image into prominent regions and find where the objects are. Object recognition—recognizes the object (for example, a dog), and also understands the details (German Shepherd, dark brown, and so on). Object tracking—follows moving objects in consecutive images or video. Gesture and movement recognition—recognize movements, like a dance move in an Xbox game. Scene understanding—understands a full scene, including subtle relationships, like a hungry dog looking at a bone.

Circles in time A causal loop (also known as a closed time loop or predestination paradox)2 is a sequence of looped events where an event causes another event, which in turn seems to cause the first event. In a nutshell, each event in the loop is one of the causes of the next event and at least one of the later events causes an earlier event.p It is possible that understanding the general idea of causal loops is absolutely essential to understanding how precognition might work. But the problem with causal loops is that you may start to think of everything as a causal loop, and that can drive you nuts. Let’s take the coffee-cup dropping example. Sure, we can say that one event is dropping the coffee cup and the other is the shattering of the cup on the floor. But what about the initial act of picking up the cup? And then there’s the sweeping up of the shattered remains. Maybe those are really the pushing/pulling events? Oh, but go one more step back into the past and one more step forward into the future, and now let’s look at the idea that you wanted coffee and the disposal of the shards of ceramic followed by finding an unbreakable, plastic mug in your cabinet. Maybe the plastic mug search pulled forward the original desire for coffee? This kind of game is never-ending, and in time you start to go a little crazy and see that your birth pushes your death and your death pulls your birth. You can take any point in time and choose events on the left and the right of the timeline, centred around that event, and create a causal loop, depending on how you think of things. This kind of thinking leads quickly to what we call “fantasy thinking”. When you are engaging in fantasy thinking and at the same time trying to understand precognition, you can take every dream and every thought that you have and try to find the future event that is pulling that dream or thought. For example, you dream you are in a plane crash the night before you go on a flight, and the next day you feel lucky that your flight doesn’t crash. But you decide your dream was precognitive, and you start obsessively combing the news for a plane crash. Within about four months, a plane crashes. So you decide that plane crash was the one you were dreaming about, even though there were no other correspondences between your dream and the crash. While fantasy thinking is vitally important to creativity, it is not helpful when developing your precognitive skills. Even in the forward direction in time, most causes and effects are not understandable in a simple way. Trying to figure out possible causal loops for everything is futile, and, more importantly, unnecessary.

Bed games were one thing, keys another.

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etc.) Alternative exercise: 1) Write down the limiting belief. 2) Remember the sequence: belief—emotion—action—result. 3) To get a different result, in what way do you need to act? 4) How do you need to feel in order to act differently and get a different result? 5) What do you need to believe in order to feel differently, act differently and get a different result? 7 The importance of your attitude Everything can be taken from a man but one thing: the last of human freedoms—to choose one’s attitude in any given set of circumstances. —Viktor Frankl Your Attitude is crucial for your happiness! It can change your way of seeing things dramatically and also your way of facing them. You will suffer less in life if you accept the rules of the game. Life is made up of laughter and tears, light and shadow. You have to accept the bad

It had started with Brando. He was the influence. The force. The originator. What he had created, together with collaborators like Tennessee Williams and Elia Kazan, was more visceral. It was threatening. Brando had become part of a triumvirate of actors, along with Montgomery Clift and James Dean. Clift had the beauty and the soul, the vulnerability. Dean was like a sonnet, compact and economical, able to do so much with the merest gesture or nuance. And if Dean was a sonnet, then Brando was an epic poem. He had the looks. He had the charisma. He had the talent. There’s that classic sequence from A Streetcar Named Desirewhere Brando completely loses it during the card game, until he’s at the bottom of the stairs, yelling, “Stella! Stella!” It’s an episode that builds gradually, which of course comes from Kazan’s original staging of the play and Brando’s memory of it as he had done it every night. But by the time Brando got this on film, he had become one with the elements. You experienced that sequence like you experienced a tornado or monsoon. It was that captivating. But evolution always makes people nervous. There was anger toward Brando. People said he mumbled. They said his features were too soft, too delicate. They said he liked to show off his chest. If people disparaged his approach it was because they didn’t see the technique that went into it. But he found whatever it was that opened the door to his expression, that allowed him to reveal himself and communicate it to audiences so that they identified with him. Brando made possible the Paul Newmans of the world, the Ben Gazzaras, the Anthony Franciosas, and the Peter Falks, people like John Cassavetes, who was his own special kind of phenomenon. These were the idols of an era just before mine, actors who had already moved beyond the studios and had been out in the world for a decade or more by the time I arrived there.

The dialogue, the choices of plot by PC and villain—those aren’t yours to command. But the sequence, the map, and the locations are all elements that are the foundation of an adventure, and that most DMs rarely change.

Unlike basketball, baseball, or football, games that reset after each play, soccer unfolds fluidly and continuously. To understand how a goal was scored, you have to work back through the action - the sequences of passes and decisions, the movement of the players away from the action who reappear unexpectedly in empty space to create or waste opportunities - all the way back to the first touch. If that goal was scored by a young refugee from Liberia, off an assist from a boy from southern Sudan, who was set up by a player from Burundi or a Kurd from Iraq - on a field in Georgia, U.S.A., no less - understanding its origins would mean following the thread of causation back in time to events that long preceded the first whistle.

Besides the simple logic involved in trying to find the next move, Go deals with shapes, so some scientists think the artistic power of our right brain is called in to help make decisions when we can’t read out all the possibilities (see page 160). This sets up a possible conflict between the hemispheres so that what looks or feels good to one might not be what the other thinks. Thus, besides the sheer excitement of competition and the basic inability for humans to ever be able to completely read out long sequences, this ongoing debate between the two halves of our brain can bring our emotions into play to a high degree.

Genuine travel has no destination. Travelers do not go somewhere, but constantly discover they are somewhere else. Since gardening is a way not of subduing the indifference of nature but of raising one's own spontaneity to respond to the disregarding vagaries and unpredictabilities of nature, we do not look on nature as a sequence of changing scenes but look on ourselves as persons in passage.

Infinite speakers are Plato's poietai taking their place in the historical. Storytellers enter the historical not when their speaking is full of anecdotes about actual persons, or when they appear as characters in their own tales, but when in their speaking we begin to see the narrative character of our lives. The stories they tell touch us. What we thought was an accidental sequence of experiences suddenly takes the dramatic shape of unresolved narrative.

A large society will consist of a wide variety of games-though all somehow connected, inasmuch as they have a bearing on a final societal ranking. Schools are a species of finite play to the degree that they bestow ranked awards on those who win degrees from them. Those awards in turn qualify graduates for competition in still higher games-certain prestigious colleges, for example, an then certain professional schools beyond that, with a continuing sequence of higher games in each of the professions, and so forth. It is not uncommon for families to think of themselves as a competitive unit in a broader finite game for which they are training their members in the struggle for societally visible titles.

So consciousness is best left uninvited from most of the parties. When it does get included, it’s usually the last one to hear the information. Take hitting a baseball. On August 20, 1974, in a game between the California Angels and the Detroit Tigers, the Guinness Book of World Records clocked Nolan Ryan’s fastball at 100.9 miles per hour (44.7 meters per second). If you work the numbers, you’ll see that Ryan’s pitch departs the mound and crosses home plate, sixty-feet, six inches away, in four-tenths of a second. This gives just enough time for light signals from the baseball to hit the batter’s eye, work through the circuitry of the retina, activate successions of cells along the loopy superhighways of the visual system at the back of the head, cross vast territories to the motor areas, and modify the contraction of the muscles swinging the bat. Amazingly, this entire sequence is possible in less than four-tenths of a second; otherwise no one would ever hit a fastball. But the surprising part is that conscious awareness takes longer than that: about half a second, as we will see in Chapter 2. So the ball travels too rapidly for batters to be consciously aware of it. One does not need to be consciously aware to perform sophisticated motor acts. You can notice this when you begin to duck from a snapping tree branch before you are aware that it’s coming toward you, or when you’re already jumping up when you first become aware of the phone’s ring.

She imagined the trade in meanings as a kind of game, in which tokens shaped like mahjong tiles were exchanged and switched. Signs moved from one world to another, clacked together, made new sequences. A man in Bolshevik Russia became virtually Chinese; a world unfolded from a paper envelope. This game existed in the borderless continent of her father’s head. She could see how he concentrated: ‘cher’ in Russian, ‘neve’ in Italian, ‘snow’ in English, until he arrived at the sound ‘xue’, and then the character: the radical symbol for rain, the strokes for frozen, the little block of marks that revealed the transition from alphabets to ideograms.

You let my mother know what you’re about,” she said in Irish, just in case. “On purpose. My mother knows this. And you two are deep in your game, and I am one of those bees, sent by the queen bee to buzz from hive to hive to flower, not knowing what’s really going on.” “Well,” he said. “I’m surprised it took you so long.

Everything is a tale, Martín. What we believe, what we know, what we remember, even what we dream. Everything is a story, a narrative, a sequence of events with characters communicating an emotional content. We only accept as true what can be narrated. Don’t tell me you’re not tempted by the idea.” “I’m not.” “Are you not tempted to create a story for which men and women would live and die, for which they would be capable of killing and allowing themselves to be killed, of sacrificing and condemning themselves, of handing over their souls? What greater challenge for your career than to create a story so powerful that it transcends fiction and becomes a revealed truth?

18. Elaine T. Ostrander, “Genetics and the Shape of Dogs: Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species,” American Scientist (Sept.–Oct. 2007). 19.

That’s crazy! We can’t go the way of—” “Since when has human history been anything else?” asks the woman with the camera on her shoulder—Donna, being some sort of public archivist, is in Sirhan’s estimate likely to be of use to him. “Remember what we found in the DMZ?” “The DMZ?” Sirhan asks, momentarily confused. “After we went through the router,” Pierre says grimly. “You tell him, love.” He looks at Amber. Sirhan, watching him, feels it fall into place at that moment, a sense that he’s stepped into an alternate universe, one where the woman who might have been his mother isn’t, where black is white, his kindly grandmother is the wicked witch of the west, and his feckless grandfather is a farsighted visionary. “We uploaded via the router,” Amber says, and looks confused for a moment. “There’s a network on the other side of it. We were told it was FTL, instantaneous, but I’m not so sure now. I think it’s something more complicated, like a lightspeed network, parts of which are threaded through wormholes that make it look FTL from our perspective. Anyway, Matrioshka brains, the end product of a technological singularity—they’re bandwidth-limited. Sooner or later the posthuman descendants evolve Economics 2.0, or 3.0, or something else, and it, uh, eats the original conscious instigators. Or uses them as currency or something. The end result we found is a howling wilderness of degenerate data, fractally compressed, postconscious processes running slower and slower as they trade storage space for processing power. We were”—she licks her lips—“lucky to escape with our minds. We only did it because of a friend. It’s like the main sequence in stellar evolution; once a G-type star starts burning helium and expands into a red giant, it’s ‘game over’ for life in what used to be its liquid-water zone.

My heart can 't take another sequence of angry arguments, another round in this dangerous game of "Will we make it? Should we make it?"or another spin on this never-ending carousel of highs and lows.

The trial and confession of Isobel Gowdie, a Scottish witch tried in 1662, echoes some of the transformation sequences in Cerridwen’s tale. Her vivid account offers a detailed and unique glimpse into the practise of Witchcraft during the seventeenth century. O I shall go into a hare, with sorrow and sighing and mickle care, and I shall go in the Devil’s name, aye, till I be fetched home again. Hare, take heed of a bitch greyhound, will harry thee all these fells around, for here come I in our Lady’s name, all but for to fetch thee home again. Cunning and art he did not lack, but aye her whistle would fetch him back. Yet I shall go into a trout, with sorrow and sighing and mickle doubt, and show thee many a merry game, ere that I be fetched home again. Trout take heed of an otter lank, will harry thee close from bank to bank, for here come I in our Lady’s name, all but for to fetch thee home again.69

Shadow emphasised the wide, satisfied cheekbones of a man who had just won a dangerous game or a great race.

The Final Play On My Version Of Ender's Game With Artificial Intelligence Utilizing My Method Of Hexagonal Prismatics - Abstract Sequence = Xor durability = key ring portal turn % Golden Helixor, XOR Lum = Fal Gul Hel % Vex, Rune8 Sage8 Golden8 Vortex8 % Band6, Final Result Interstellar 5555 = Rune Band Sage Band Golden Band Vortex Band

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Skin in the game can make boring things less boring. When you have skin in the game, dull things like checking the safety of the aircraft because you may be forced to be a passenger in it cease to be boring. If you are an investor in a company, doing ultra-boring things like reading the footnotes of a financial statement (where the real information is to be found) becomes, well, almost not boring. But there is an even more vital dimension. Many addicts who normally have a dull intellect and the mental nimbleness of a cauliflower—or a foreign policy expert—are capable of the most ingenious tricks to procure their drugs. When they undergo rehab, they are often told that should they spend half the mental energy trying to make money as they did procuring drugs, they are guaranteed to become millionaires. But, to no avail. Without the addiction, their miraculous powers go away. It was like a magical potion that gave remarkable powers to those seeking it, but not those drinking it. A confession. When I don’t have skin in the game, I am usually dumb. My knowledge of technical matters, such as risk and probability, did not initially come from books. It did not come from lofty philosophizing and scientific hunger. It did not even come from curiosity. It came from the thrills and hormonal flush one gets while taking risks in the markets. I never thought mathematics was something interesting to me until, when I was at Wharton, a friend told me about the financial options I described earlier (and their generalization, complex derivatives). I immediately decided to make a career in them. It was a combination of financial trading and complicated probability. The field was new and uncharted. I knew in my guts there were mistakes in the theories that used the conventional bell curve and ignored the impact of the tails (extreme events). I knew in my guts that academics had not the slightest clue about the risks. So, to find errors in the estimation of these probabilistic securities, I had to study probability, which mysteriously and instantly became fun, even gripping. When there was risk on the line, suddenly a second brain in me manifested itself, and the probabilities of intricate sequences became suddenly effortless to analyze and map. When there is fire, you will run faster than in any competition. When you ski downhill some movements become effortless. Then I became dumb again when there was no real action. Furthermore, as traders the mathematics we used fit our problem like a glove, unlike academics with a theory looking for some application—in some cases we had to invent models out of thin air and could not afford the wrong equations. Applying math to practical problems was another business altogether; it meant a deep understanding of the problem before writing the equations.

Silly Me Preparation and Instructions: These are delightful interactions with a child that alter the normal sequence of events or offer the element of surprise. The following is but a brief list of possibilities. The type of silly interaction you create is limited only by your imagination. Be playful; see how many different silly interaction games you can create. The Game: Start with the following ideas and make up more. Put the child’s shoes on the wrong feet. Put the child’s shoe (or sock) on the child’s hand; then try to put it on the child’s elbow. Push the child’s nose (belly button, or another body part) and make a silly noise. Comb the child’s knee as if this were the natural and correct way to comb hair. Blow raspberries on the child’s hand, stomach, or other places. Name the noises by saying, “There is an elephant in your hand. See! Right there!” Then blow another raspberry. Blow three “elephant calls” and ask the child, “How many elephants did you hear?” Sometimes the raspberries sound more like ducks quacking. Use your imagination!

You'll hear jazz musicians talk about how playing the rests in the music can be just as important as hitting the notes surrounding them. In Dark Souls, more spacious arenas such as Darkroot Basin provide a necessary counterpoint to the highly crafted arteries through which you pass in the game's maze-like sequences.

Once a team has identified a possible product, the natural tendency is to want it to succeed. This creates a prejudice in favor of going forward, rather than a hardheaded reckoning of whether it should. And the team can further tilt the analysis by addressing the easy problems first, and leaving the tough ones for later. P&G has flipped this sequence. Teams must identify so-called “killer issues”—problems that must be solved for the innovation to succeed. They have to try to solve the toughest problems first, to clear the highest hurdles early. P&G calls this “doing the last experiment first.” This is an important best practice, because it not only conserves and focuses scarce human and financial resources, but also forces the innovation team and team leader to come to grips with the nature of the particular innovation challenge.

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