Short Cameras Quotes

For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.

How You Doing, Little Lucy?” His bright tone and mild expression indicates we’re playing a game we almost never play. It’s a game called How You Doing? and it basically starts off like we don’t hate each other. We act like normal colleagues who don’t want to swirl their hands in each other’s blood. It’s disturbing. “Great, thanks, Big Josh. How You Doing?” “Super. Gonna go get coffee. Can I get you some tea?” He has his heavy black mug in his hand. I hate his mug. I look down; my hand is already holding my red polka-dot mug. He’d spit in anything he made me. Does he think I’m crazy? “I think I’ll join you.” We march purposefully toward the kitchen with identical footfalls, left, right, left, right, like prosecutors walking toward the camera in the opening credits of Law & Order. It requires me to almost double my stride. Colleagues break off conversations and look at us with speculative expressions. Joshua and I look at each other and bare our teeth. Time to act civil. Like executives. “Ah-ha-ha,” we say to each other genially at some pretend joke. “Ah-ha-ha.” We sweep around a corner. Annabelle turns from the photocopier and almost drops her papers. “What’s happening?” Joshua and I nod at her and continue striding, unified in our endless game of one-upmanship. My short striped dress flaps from the g-force. “Mommy and Daddy love you very much, kids,” Joshua says quietly so only I can hear him. To the casual onlooker he is politely chatting. A few meerkat heads have popped up over cubicle walls. It seems we’re the stuff of legend. “Sometimes we get excited and argue. But don’t be scared. Even when we’re arguing, it’s not your fault.” “It’s just grown-up stuff,” I softly explain to the apprehensive faces we pass. “Sometimes Daddy sleeps on the couch, but it’s okay. We still love you.

A paradox: the same century invented History and PHotography. But History is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic Time; and the Photograph is a certain but fugitive testimony; so that everything, today, prepares our race for this impotence: to be no longer able to conceive duration, affectively or symbolically: the age of the Photograph is also the age of revolutions, contestations, assassinations, explosions, in short, of impatiences, of everything which denies ripening.

Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive. The picture tells you how to arrange the words and the arrangement of the words tells you, or tells me, what’s going on in the picture. Nota bene. It tells you. You don’t tell it.

This was not Newt's fault; in his younger days he would go every couple of months to the barber's shop on the corner, clutching a photograph he's carefully torn from a magazine which showed someone with an impressively cool haircut grinning at the camera and he would show the picture to the barber, and ask to be made to look like that, please. And the barber, who knew his job, would take one look and then give Newt the basic, all-purpose, short-back-and-sides. After a year of this, Newt realized that he obviously didn't have the face for haircuts. The best Newton Pulsifer could hope for after a haircut was shorter hair.

Our perceptions take on richness and depth as a result of all the things that we learn. The eye is not a camera that objectively takes a photo of the “world out there.” Rather, what the eye sees is determined by what the brain has learned. This suggests a short mantra: learn more, see more.

The Priestess Her skin was pale, and her eyes were dark, and her hair was dyed black. She went on a daytime talk show and proclaimed herself a vampire queen. She showed the cameras her dentally crafted fangs, and brought on ex-lovers who, in various stages of embarrassment, admitted that she had drawn their blood, and that she drank it. "You can be seen in a mirror, though?" asked the talk show hostess. She was the richest woman in America, and had got that way by bringing the freaks and the hurt and the lost out in front of her cameras and showing their pain to the world. The studio audience laughed. The woman seemed slightly affronted. "Yes. Contrary to what people may think, vampires can be seen in mirrors and on television cameras." "Well, that's one thing you finally got right, honey," said the hostess of the daytime talk show. But she put her hand over her microphone as she said it, and it was never broadcast.

Mio padre va nella camera di mia sorella per parlare con lei. Julia lo guarda. –  Ciao, papà. Ti serve qualcosa? –  Sì, Julia. Tuo fratello adesso si sta vestendo.  Voglio che prendiate questi.

Ten short years ago, nobody had ever heard of a selfie. But today every decent cell phone has not one but two cameras, so you can take idiotic duck face pictures. And don't forget the billion dollar selfie-stick industry. Capitalism has found a whole new way to turn our vanity into profit.

You nervous about doing this on camera?” Chance tilted his head a little, considering. “Well, yeah, of course. You don’t know what you look like when you come—for all I know, I’m hella ugly or something. But at the same time....” He trailed off and shuddered, and his eyes got half-lidded. One hand went unconsciously to his stomach, then slid up to his nipples, which were still pointy and puckered. “It’s sort of cool. It’s making my stomach all jumpy, and....” His other hand slid down under the waistband of his shorts, as he made obvious kneading motions on his groin. “It’s turning you on?” “Mmmm....” “Take the shorts off, Chance, and show us.

She sank with an enormous sigh that carried all rigidity like a mythical fluid from her, down next to him; so weak she couldn't help him undress her; it took him 20 minutes, rolling, arranging her this way and that, as if she thought, he were some scaled-up, short-haired, poker-faced little girl with a Barbie doll. She may have fallen asleep once or twice. She awoke at last to find herself getting laid; she'd come in on a sexual crescendo in progress, like a cut to a scene where the camera's already moving. Outside a fugue of guitars had begun, and she counted each electronic voice as it came in, till she reached six or so and recalled only three of the Paranoids played guitars; so others must be plugging in.

The security camera caught her eye, and for a long moment Suzanne gazed up at it—an expression frozen in time and, like Mona Lisa’s smile, interpreted a thousand different ways.

The photograph showed a young couple smiling at the camera. The man didn't look much older than seventeen or eighteen, with light-coloured hair and delicate, aristocratic features. The woman may have been a bit younger, one or two years at the most. She had pale skin and a finely chiselled face framed by short black hair. She looked drunk with happiness. The man had his arm round her waist, and she seemed to be whispering something to him in a teasing way. The image conveyed a warmth that drew a smile from me, as if I had recognized two old friends in those strangers.

In the morning this light breasts your windowpane and, having pried your eye open like a shell, runs ahead of you, strumming its lengthy rays - like a hot-footed schoolboy running his stick along the iron grate of the park or garden - along arcades, colonnades, red-brick chimneys, saints and lions. "Depict! Depict!" it cries to you, either mistaking you for some Canaletto or Carpaccio or Guardi, or because it doesn't trust your retina's ability to retain what it makes available, not to mention your brain's capacity to absorb it. Perhaps art is simply an organism's reaction against its retentive limitations. At any rate, you obey the command and grab your camera, supplementing both your brain cells and your pupil. Should this city ever be short of cash, it can go straight to Kodak for assistance - or else tax its products savagely. By the same token, as long as this place exists, as long as winter light shines upon it, Kodak shares are the best investment.

Every week seems to bring another luxuriantly creamy envelope, the thickness of a letter-bomb, containing a complex invitation – a triumph of paper engineering – and a comprehensive dossier of phone numbers, email addresses, websites, how to get there, what to wear, where to buy the gifts. Country house hotels are being block-booked, great schools of salmon are being poached, vast marquees are appearing overnight like Bedouin tent cities. Silky grey morning suits and top hats are being hired and worn with an absolutely straight face, and the times are heady and golden for florists and caterers, string quartets and Ceilidh callers, ice sculptors and the makers of disposable cameras. Decent Motown cover-bands are limp with exhaustion. Churches are back in fashion, and these days the happy couple are travelling the short distance from the place of worship to the reception on open-topped London buses, in hot-air balloons, on the backs of matching white stallions, in micro-lite planes. A wedding requires immense reserves of love and commitment and time off work, not least from the guests. Confetti costs eight pounds a box. A bag of rice from the corner shop just won’t cut it anymore.

is yank it. It’ll release eventually.” “It usually does, when you yank it,” he said with a smile. Nana wrapped both hands around the fleshy appendage and started pulling on it with a series of quick, short tugs. “I know I can jerk it off,” Nana said. “I just gotta keep tugging.” I had to bite my lip to keep from laughing. Behind the camera, Trevor was shaking with silent laughter and turning red.

Evelyn was born to be famous. I think her body helped her. I think her face helped her. But for the first time, watching her in action, moving in front of the camera, I get the sense that she has sold herself short in one way: she could have been born with considerably less physical gifts and probably still made it. She simply has it. That undefinable quality that makes everyone stop and pay attention.

What is there more real, for instance, in our universe than a man's life, and how can we hope to preserve it better than a realistic film? But under what conditions is such a film possible? Under purely imaginary conditions. We should have to presuppose, in fact, an ideal camera focused on the man day and night and constantly registering his every move. The very projection of such a film would last a lifetime and could be seen only by an audience of people willing to waste their lives in watching someone else's life in great detail. Even under such conditions, such an unimaginable film would not be realistic for the simple reason that the reality of a man's life is not limited to the spot in which he happens to be. It lies also in other lives that give shape to his--lives of people he loves, to begin with, which would have to be filmed too, and also lives of unknown people, influential and insignificant, fellow citizens, policemen, professors, invisible comrades from the mines and foundries, diplomats and dictators, religious reformers, artists who create myths that are decisive for out conduct--humble representatives, in short, of the sovereign chance that dominates the most routine existences. Consequently, there is but one possible realistic film: one that is constantly shown us by an invisible camera on the world's screen. The only realistic artist, then, is God, if he exists. All other artists are, ipso facto, unfaithful to reality.

Critics often say that DDLJ, with its emphasis on patriarchal permission for young love, discourages dissent. This argument narrows the space for dissent by legitimizing it only in its most blatant, combative form, demanding that dissent always be obvious and 'out there' in full view of TV cameras and Twitter. So, no act of protest short of elopement, short of the most radical rejection of family, would suffice. Demanding such all-or-nothing actions doesn't account for the costs that eloping and actively abandoning their families would impose on women from any economic strata. The way we express resistance is subject to our own personal calculus of risk and reward.

See that guy over there?" I nod toward a man in jean shorts and a Budweiser T-shirt. "Am I that obvious?" St. Clair squints at him. "Obviously what? Balding? Overweight? Tasteless?" "American." He sighs melodramtically. "Honestly, Anna. You must get over this." "I just don't want to offend anyone. I hear they offend easily." "You're not offending anyone except me right now." "What about her?" I point to a middle-aged woman in khaki shorts and a knit top with stars and stripes on it.She has a camera strapped to her belt and is arguing with a man in a bucket hat. Her husband,I suppose. "Completely offensive." "I mean,am I as obvious as her?" "Considering she's wearing the American flag, I'd venture a no on that one." He bites his thumbnail. "Listen.I think I have a solution to your problem, but you'll have to wait for it. Just promise you'll stop asking me to compare you to fifty-year-old women,and I'll take care of everything." "How? With what? A French passport?" He snorts. "I didn't say I'd make you French." I open my mouth to protest, but he cuts me off. "Deal?" "Deal," I say uncomfortably. I don't care for surprises. "But it better be good." "Oh,it's good." And St. Clair looks so smug that I'm about to call him on it, when I realize I can't see our school anymore. I don't believe it.He's completely distracted me.

I came here in a car like everybody else. In a car filled with shit I thought meant something and shortly thereafter tossed on the street: DVDs, soon to be irrelevant, a box of digital and film cameras for a still-latent photography talent, a copy of On the Road that I couldn’t finish, and a Swedish-modern lamp from Walmart. It was a long, dark drive from a place so small you couldn’t find it on a generous map...Does anyone come to New York clean? I’m afraid not….Yes, I’d come to escape, but from what? The twin pillars of football and church? The low, faded homes on childless cul-de-sacs? Morning of the Gazette and boxed doughnuts? The sedated, sentimental middle of it? It didn’t matter. I would never know exactly, for my life, like most, moved only imperceptibly and definitely forward...Let’s say I was born in late June of 2006 when I came over the George Washington Bridge at seven a.m. with the sun circulating and dawning, the sky full of sharp corners of light, before the exhaust rose, before the heat gridlocked in, windows unrolled, radio turned up to some impossibly hopeful pop song, open, open, open.

Dan Hendricks, her partner, was a top-notch surveillance man. He’d broken into Gibson’s apartment a week ago and wired it in ninety minutes flat. Motion-activated infrared cameras, bugs, the works. It gave them uninterrupted video coverage of the entire apartment, and the starkness of Gibson’s living conditions was informative.

I probably should say that this is what makes you a good traveler in my opinion, but deep down I really think this is just universal, incontrovertible truth. There is the right way to travel, and the wrong way. And if there is one philanthropic deed that can come from this book, maybe it will be that I teach a few more people how to do it right. So, in short, my list of what makes a good traveler, which I recommend you use when interviewing your next potential trip partner: 1. You are open. You say yes to whatever comes your way, whether it’s shots of a putrid-smelling yak-butter tea or an offer for an Albanian toe-licking. (How else are you going to get the volcano dust off?) You say yes because it is the only way to really experience another place, and let it change you. Which, in my opinion, is the mark of a great trip. 2. You venture to the places where the tourists aren’t, in addition to hitting the “must-sees.” If you are exclusively visiting places where busloads of Chinese are following a woman with a flag and a bullhorn, you’re not doing it. 3. You are easygoing about sleeping/eating/comfort issues. You don’t change rooms three times, you’ll take an overnight bus if you must, you can go without meat in India and without vegan soy gluten-free tempeh butter in Bolivia, and you can shut the hell up about it. 4. You are aware of your travel companions, and of not being contrary to their desires/​needs/​schedules more often than necessary. If you find that you want to do things differently than your companions, you happily tell them to go on without you in a way that does not sound like you’re saying, “This is a test.” 5. You can figure it out. How to read a map, how to order when you can’t read the menu, how to find a bathroom, or a train, or a castle. 6. You know what the trip is going to cost, and can afford it. If you can’t afford the trip, you don’t go. Conversely, if your travel companions can’t afford what you can afford, you are willing to slum it in the name of camaraderie. P.S.: Attractive single people almost exclusively stay at dumps. If you’re looking for them, don’t go posh. 7. You are aware of cultural differences, and go out of your way to blend. You don’t wear booty shorts to the Western Wall on Shabbat. You do hike your bathing suit up your booty on the beach in Brazil. Basically, just be aware to show the culturally correct amount of booty. 8. You behave yourself when dealing with local hotel clerks/​train operators/​tour guides etc. Whether it’s for selfish gain, helping the reputation of Americans traveling abroad, or simply the spreading of good vibes, you will make nice even when faced with cultural frustrations and repeated smug “not possible”s. This was an especially important trait for an American traveling during the George W. years, when the world collectively thought we were all either mentally disabled or bent on world destruction. (One anecdote from that dark time: in Greece, I came back to my table at a café to find that Emma had let a nearby [handsome] Greek stranger pick my camera up off our table. He had then stuck it down the front of his pants for a photo. After he snapped it, he handed the camera back to me and said, “Show that to George Bush.” Which was obviously extra funny because of the word bush.) 9. This last rule is the most important to me: you are able to go with the flow in a spontaneous, non-uptight way if you stumble into something amazing that will bump some plan off the day’s schedule. So you missed the freakin’ waterfall—you got invited to a Bahamian family’s post-Christening barbecue where you danced with three generations of locals in a backyard under flower-strewn balconies. You won. Shut the hell up about the waterfall. Sally

I took her to my favorite bookstore, where I loaded her up with Ian Rankin novels and she bullied me into buying a book on European snails. I took her to the chip shop on the corner, where she distracted me by giving a detailed-and-probably-bullshit account of her brother's sex life (drones, cameras, his rooftop pool) while she ate all my fried fish and left her own plate untouched. I took her for a walk along the Thames, where I showed her how to skip a stone and she nearly punctured a hole in a passing pontoon boat. We went to my favorite curry place. Twice. In one day. She'd gotten this look on her face when she took her first bite of their pakora, this blissful lids-lowered look, and two hours later I decided that it made up for the embarrassment I felt that night, when I found her instructing my sister, Shelby on the best way to bleach out bloodstains, using the curry dribble on my shirt as a test case. In short, it was both the best three days I'd ever had, my mother notwithstanding, and a fairly standard week with Charlotte Holmes.

The girl was undeniably beautiful. She was tall, with a spectacular figure. Her white dress, shimmering with crystal beads, was cut low enough to prove the authenticity of her remarkable cleavage. Her long hair was almost white in its blondeness. But it was her face that held Anne’s attention, a face so naturally beautiful that it came as a startling contrast to the theatrical beauty of her hair and figure. It was a perfect face with a fine square jaw, high cheekbones and intelligent brow. The eyes seemed warm and friendly, and the short, straight nose belonged to a beautiful child, as did the even white teeth and little-girl dimples. It was an innocent face, a face that looked at everything with breathless excitement and trusting enthusiasm, seemingly unaware of the commotion the body was causing. A face that glowed with genuine interest in each person who demanded attention, rewarding each with a warm smile. The body and its accouterments continued to pose and undulate for the staring crowd and flashing cameras, but the face ignored the furor and greeted people with the intimacy of meeting a few new friends at a gathering.

Helen is scrutinizing her eyes in a lacquered hand-mirror. She plucks a stray hair from her brow-line with the ruthlessness she always applies to her own body. Even thirty feet away, hovering in the air like an invisible angel, I find this violence unnerving. I realize that I have only been fully at ease with my wife while watching her through the viewfinder of a camera – even within the private space of our various hotel rooms I prefer her seen through a lens, emblematic of my own needs and fantasies rather than existing in her own right. At one time this rightly outraged her, but recently she has begun to play along with my obsession. For hours I watch her, picking her nose and arguing with me about something as I lie on the bed with a camera to my eye, fascinated by the shifting geometries of her thighs and shoulders, the diagrams of her face.

Perhaps the most extraordinary survival yet found was that of a Streptococcus bacterium that was recovered from the sealed lens of a camera that had stood on the Moon for two years. In short, there are few environments in which bacteria aren’t prepared to live. “They are finding now that when they push probes into ocean vents so hot that the probes actually start to melt, there are bacteria even there,” Victoria Bennett told me.

At least she was good at archaeology, she mused, even if she was a dismal failure as a woman in Tate’s eyes. “She’s been broody ever since we got here,” Leta said with pursed lips as she glanced from Tate to Cecily. “You two had a blowup, huh?” she asked, pretending innocence. Tate drew in a short breath. “She poured crab bisque on me in front of television cameras.” Cecily drew herself up to her full height. “Pity it wasn’t flaming shish kebab!” she returned fiercely. Leta moved between them. “The Sioux wars are over,” she announced. “That’s what you think,” Cecily muttered, glaring around her at the tall man. Tate’s dark eyes began to twinkle. He’d missed her in his life. Even in a temper, she was refreshing, invigorating. She averted her eyes to the large grass circle outlined by thick corded string. All around it were make-shift shelters on poles, some with canvas tops, with bales of hay to make seats for spectators. The first competition of the day was over and the winners were being announced. A woman-only dance came next, and Leta grimaced as she glanced from one warring face to the other. If she left, there was no telling what might happen. “That’s me,” she said reluctantly, adjusting the number on her back. “Got to run. Wish me luck.” “You know I do,” Cecily said, smiling at her. “Don’t disgrace us,” Tate added with laughter in his eyes. Leta made a face at him, but smiled. “No fighting,” she said, shaking a finger at them as she went to join the other competitors. Tate’s granitelike face had softened as he watched his mother. Whatever his faults, he was a good son.

The silence of the image is equalled only by the silence of the masses and the silence of the desert. The dream would be to be a photographer without a lens, to move through the world without a camera, in short, to pass beyond photography and see things as though they had themselves passed beyond the image, as though you had already photographed them, but in a past life. And perhaps we have indeed already passed through the image phase, in the way we pass through different animal phases, the mirror phase being a mere reverberation of all this in our individual lives.

Get used to the idea of significant portion of the population walking around with high-speed Internet connections on their person, with sophisticated video cameras built in. They will be shooting all kinds of events all the time. Crime. Crashes. Speeches. Sports. And the footage won't be the short, sanitized and safe versions we usually see on television, courtesy of the old media gatekeepers. The user-generated pictures and video will be raw and real. It will be disturbing, yet illuminating. And it will be shared over the 'Net almost as it happens, and available for everyone to see.

It’s the photos that hit me the hardest, though. A woman cradling her husband’s limp body. A crowd looking on, emotionless, as police shine a flashlight on a woman’s bloodied corpse. A couple, half on the ground and half tangled in their moped, their blank faces turned toward the camera and sprays of blood on the pavement behind their heads. Sisters gathered around their baby brother’s body lying in its small casket. A body with its head covered in a dirty cloth left in a pile of garbage on the side of the street. Grayish-green corpses stacked like firewood in an improvised morgue. There’s even a short video of grainy security cam footage in which a masked motorcyclist pulls up next to a man in an alleyway, shoots him point-blank in the side of the head, then drives away. In high definition, I see the victims’ wounds, their oddly twisted limbs, their blood and brain matter sprayed across familiar-looking streets. In every dead body, I see Jun. I want to look away. But I don’t. I need to know. I need to see it. These photographers didn’t want to water it down. They wanted the audience to confront the reality, to feel the pain that’s been numbed by a headline culture.

That day in Chartres they had passed through town and watched women kneeling at the edge of the water, pounding clothes against a flat, wooden board. Yves had watched them for a long time. They had wandered up and down the old crooked streets, in the hot sun; Eric remembered a lizard darting across a wall; and everywhere the cathedral pursued them. It is impossible to be in that town and not be in the shadow of those great towers; impossible to find oneself on those plains and not be troubled by that cruel and elegant, dogmatic and pagan presence. The town was full of tourists, with their cameras, their three-quarter coats, bright flowered dresses and shirts, their children, college insignia, Panama hats, sharp, nasal cries, and automobiles crawling like monstrous gleaming bugs over the laming, cobblestoned streets. Tourist buses, from Holland, from Denmark, from Germany, stood in the square before the cathedral. Tow-haired boys and girls, earnest, carrying knapsacks, wearing khaki-colored shorts, with heavy buttocks and thighs, wandered dully through the town. American soldiers, some in uniform, some in civilian clothes, leaned over bridges, entered bistros in strident, uneasy, smiling packs, circled displays of colored post cards, and picked up meretricious mementos, of a sacred character. All of the beauty of the town, all the energy of the plains, and all the power and dignity of the people seemed to have been sucked out of them by the cathedral. It was as though the cathedral demanded, and received, a perpetual, living sacrifice. It towered over the town, more like an affliction than a blessing, and made everything seem, by comparison with itself, wretched and makeshift indeed. The houses in which the people lived did not suggest shelter, or safety. The great shadow which lay over them revealed them as mere doomed bits of wood and mineral, set down in the path of a hurricane which, presently, would blow them into eternity. And this shadow lay heavy on the people, too. They seemed stunted and misshapen; the only color in their faces suggested too much bad wine and too little sun; even the children seemed to have been hatched in a cellar. It was a town like some towns in the American South, frozen in its history as Lot's wife was trapped in salt, and doomed, therefore, as its history, that overwhelming, omnipresent gift of God, could not be questioned, to be the property of the gray, unquestioning mediocre.

Every now and then, a small plane arrives from nowhere – as tiny as the head of a match-stick – it flies around my head, buzzing, like a pesky little fly, then disappears into my ear. Later, it lands on my throbbing heart. Excited tourists get out of the plane, constantly clicking their cameras, watching the narrow chasms open-mouthed. After some time, the pilot tells the passengers to get back on the plane. The storms are unpredictable here, he warns. So the small plane flies out of my ear, and as I watch them leave, I wish I could go with them. But I know that's impossible. My fear of heights keeps me in the deep.

Shortly after the Gulf War in 1992 I happened to visit a July Fourth worship service at a certain megachurch. At center stage in this auditorium stood a large cross next to an equally large American flag. The congregation sang some praise choruses mixed with such patriotic hymns as “God Bless America.” The climax of the service centered on a video of a well-known Christian military general giving a patriotic speech about how God has blessed America and blessed its military troops, as evidenced by the speedy and almost “casualty-free” victory “he gave us” in the Gulf War (Iraqi deaths apparently weren’t counted as “casualties” worthy of notice). Triumphant military music played in the background as he spoke. The video closed with a scene of a silhouette of three crosses on a hill with an American flag waving in the background. Majestic, patriotic music now thundered. Suddenly, four fighter jets appeared on the horizon, flew over the crosses, and then split apart. As they roared over the camera, the words “God Bless America” appeared on the screen in front of the crosses. The congregation responded with roaring applause, catcalls, and a standing ovation. I saw several people wiping tears from their eyes. Indeed, as I remained frozen in my seat, I grew teary-eyed as well - but for entirely different reasons. I was struck with horrified grief. Thoughts raced through my mind: How could the cross and the sword have been so thoroughly fused without anyone seeming to notice? How could Jesus’ self-sacrificial death be linked with flying killing machines? How could Calvary be associated with bombs and missiles? How could Jesus’ people applaud tragic violence, regardless of why it happened and regardless of how they might benefit from its outcome? How could the kingdom of God be reduced to this sort of violent, nationalistic tribalism? Has the church progressed at all since the Crusades? Indeed, I wondered how this tribalistic, militaristic, religious celebration was any different from the one I had recently witnessed on television carried out by Taliban Muslims raising their guns as they joyfully praised Allah for the victories they believed “he had given them” in Afghanistan?

At the same time that he was devising a response to the Afghanistan incursion, Carter had to confront a much more acute crisis in Iran, where he had brought the greatest disaster of his presidency down upon himself. In November 1977, he welcomed the shah of Iran to the White House, and on New Year’s Eve in Tehran, raising his glass, he toasted the ruler. Though the shah was sustained in power by a vicious secret police force, Carter praised him as a champion of “the cause of human rights” who had earned “the admiration and love” of the Iranian people. Little more than a year later, his subjects, no longer willing to be governed by a monarch imposed on them by the CIA, drove the shah into exile. Critically ill, he sought medical treatment in the United States. Secretary of State Cyrus Vance warned that admitting him could have repercussions in Iran, and Carter hesitated. But under pressure from David Rockefeller, Henry Kissinger, and the head of the National Security Council, Zbigniew Brzezinski, he caved in. Shortly after the deposed shah entered the Mayo Clinic, three thousand Islamic militants stormed the US embassy compound in Tehran and seized more than fifty diplomats and soldiers. They paraded blindfolded US Marine guards, hands tied behind their backs, through the streets of Tehran while mobs chanted, “Death to Carter, Death to the Shah,” as they spat upon the American flag and burned effigies of the president—scenes recorded on camera that Americans found painful to witness.

Charlie Pop is 15 years old. He has 2 dogs: Bruno and Rex. He lives with his parents Kath and Ron. Today is the 22nd April 2025. Charlie and his friends have been going to the Landfawcett space bowling club all their lives. Charlie’s friends are called Harry Em, Eric Tweet, Paul Key, Robert Storm, Chris Leaf, Jay Laugh, Darren Rain and Tom Breeze. They all have short hair and dress casually especially Ben Steps and George Sing. Jake Train is the cleverest of them all. He has invented a secret waterproof wireless finger camera that takes photographs; it is attached to Charlie and his friend’s fingers. Rex and Bruno have a camera attached to the fur on their heads. Images are shared with each other from the app recording onto their phones and laptops. It is their space bowling tournament today.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

As the steak sizzled, she removed an envelope from her apron pocket. “While that’s cooking, I wanted to share with you all a letter I received from Nanette Harrison in Long Beach. Nanette writes, ‘Dear Mrs. Zott, I’m a vegetarian. It’s not for religious reasons—it’s just that I don’t think it’s very nice to eat living things. My husband says the body needs meat and I’m being stupid, but I just hate thinking an animal has given up its life for me. Jesus did that and look what happened to him. Sincerely yours, Mrs. Nanette Harrison, Long Beach, California.’ “Nanette, you’ve brought up an interesting point,” Elizabeth said. “What we eat has consequences for other living things. However, plants are living things too, and yet we rarely consider that they are still alive even as we chop them to bits, crush them with our molars, force them down our esophagi, and then digest them in our stomachs filled with hydrochloric acid. In short, I applaud you, Nanette. You think before you eat. But make no mistake, you’re still actively taking life to sustain your own. There is no way around this. As for Jesus, no comment.” She turned and, jabbing the steak out of the pan, the dripping juices a bloody red, looked directly into the camera. “And now a word from our sponsor.

And don’t get me started on Canadians. It’s a whole thing. Remember when the feds busted in on that Mormon polygamist cult in Texas a few years back? And the dozens of wives were paraded in front of the camera? And they all had this long mouse-colored hair with strands of gray, no hairstyle to speak of, no makeup, ashy skin, Frida Kahlo facial hair, and unflattering clothes? And on cue, the Oprah audience was shocked and horrified? Well, they’ve never been to Seattle. There are two hairstyles here: short gray hair and long gray hair. You go into a salon asking for hair color, and they flap their elbows and cluck, “Oh, goody, we never get to do color!” But what really happened was I came up here and had four miscarriages. Try as I might, it’s hard to blame that one on Nigel Mills-Murray. Oh, Paul. That last year in L.A. was just so horrible. I am so ashamed of my behavior. I’ve carried it with me to this day, the revulsion at how vile I became, all for a stupid house. I’ve never stopped obsessing about it. But just before I completely self-immolate, I think about Nigel Mills-Murray. Was I really so bad that I deserved to have three years of my life destroyed for some rich prick’s practical joke? So I had some cars towed, yes. I made a gate out of trash doorknobs. I’m an artist. I won a MacArthur grant, for fuck’s sake. Don’t I get a break? I’ll be watching TV and see Nigel Mills-Murray’s name at the end. I’ll go nuts inside. He gets to keep creating, and I’m the one who’s still in pieces?

By the time Bond had taken in these details, he had come to within fifty yards of the two men. He was reflecting on the ranges of various types of weapon and the possibilities of cover when an extraordinary and terrible scene was enacted. Red-man seemed to give a short nod to Blue-man. With a quick movement Blue-man unslung his blue camera case. Blue-man, and Bond could not see exactly as the trunk of a plane-tree beside him just then intervened to obscure his vision, bent forward and seemed to fiddle with the case. Then with a blinding flash of white light there was the ear-splitting crack of a monstrous explosion and Bond, despite the protection of the tree-trunk, was slammed down to the pavement by a solid bolt of hot air which dented his cheeks and stomach as if they had been made of paper. He lay, gazing up at the sun, while the air (or so it seemed to him) went on twanging with the explosion as if someone had hit the bass register of a piano with a sledgehammer. When, dazed and half-conscious, he raised himself on one knee, a ghastly rain of pieces of flesh and shreds of blood-soaked clothing fell on him and around him, mingled with branches and gravel. Then a shower of small twigs and leaves. From all sides came the sharp tinkle of falling glass. Above in the sky hung a mushroom of black smoke which rose and dissolved as he drunkenly watched it. There was an obscene smell of high explosive, of burning wood, and of, yes, that was it – roast mutton. For fifty yards down the boulevard the trees were leafless and charred. Opposite, two of them had snapped off near the base and lay drunkenly across the road. Between them there was a still smoking crater. Of the two men in straw hats, there remained absolutely nothing. But there were red traces on the road, and on the pavements and against the trunks of the trees, and there were glittering shreds high up in the branches. Bond felt himself starting to vomit. It was Mathis who got to him first, and by that time Bond was standing with his arm round the tree which had saved his life.

But nothing in my previous work had prepared me for the experience of reinvestigating Cleveland. It is worth — given the passage of time — recalling the basic architecture of the Crisis: 121 children from many different and largely unrelated families had been taken into the care of Cleveland County Council in the three short months of the summer of 1987. (p18) The key to resolving the puzzle of Cleveland was the children. What had actually happened to them? Had they been abused - or had the paediatricians and social workers (as public opinion held) been over-zealous and plain wrong? Curiously — particularly given its high profile, year-long sittings and £5 million cost — this was the one central issue never addressed by the Butler-Sloss judicial testimony and sifting of internal evidence, the inquiry's remit did not require it to answer the main question. Ten years after the crisis, my colleagues and I set about reconstructing the records of the 121 children at its heart to determine exactly what had happened to them... (p19) Eventually, though, we did assemble the data given to the Butler-Sloss Inquiry. This divided into two categories: the confidential material, presented in camera, and the transcripts of public sessions of the hearings. Putting the two together we assembled our own database on the children each identified only by the code-letters assigned to them by Butler-Sloss. When it was finished, this database told a startlingly different story from the public myth. In every case there was some prima fade evidence to suggest the possibility of abuse. Far from the media fiction of parents taking their children to Middlesbrough General Hospital for a tummy ache or a sore thumb and suddenly being presented with a diagnosis of child sexual abuse, the true story was of families known to social services for months or years, histories of physical and sexual abuse of siblings and of prior discussions with parents about these concerns. In several of the cases the children themselves had made detailed disclosures of abuse; many of the pre-verbal children displayed severe emotional or behavioural symptoms consistent with sexual abuse. There were even some families in which a convicted sex offender had moved in with mother and children. (p20)

Among the many people Chris met while doing charity work was Randy Cupp, who invited him and Bubba out to shoot with him come deer season. When Chris passed away, Randy made it clear to me that the offer not only still stood, but that he would love to give Bubba a chance to kill his first buck. With deer season upon us, the kids and I decided to take him up on the offer. Angel, Bubba, and I went out to his property on a beautiful morning. Setting out for the blind, I felt Chris’s presence, as if he were scouting along with us. We settled into our spots and waited. A big buck came across in front of us a short time later. It was an easy shot--except that Bubba had neglected to put his ear protection in. He scrambled to get it in, but by the time he was ready, the animal had bounded off. Deer--and opportunities--are like that. We waited some more. Another buck came out from the trees not five minutes later. And this one was not only in range, but it was bigger than the first: a thirteen pointer. Chris must have scared that thing up. “That’s the one,” said Randy as the animal pranced forward. Bubba took a shot. The deer scooted off as the gunshot echoed. My son thought he’d missed, but Randy was sure he’d hit him. At first, we didn’t see a blood trail--a bad sign, since a wounded animal generally leaves an easily spotted trail. But a few steps later, we found the body prone in the woods. Bubba had killed him with a shot to the lungs. Like father, like son. While Bubba left to dress the carcass, I went back to the blind with Angel to wait for another. She was excited that she might get a deer just like her brother. But when a buck walked within range, tears came to her eyes. “I can’t do it,” she said, putting down her gun. “It’s okay,” I told her. “I just can’t.” “Do you want me to?” I asked. She nodded. I took aim. Even though I was married to a hard-core hunter, I had never shot a deer before. I lined up the scope, walking him into the crosshairs. A slow breath, and I squeezed the trigger. The shot surprised me--just as Chris said it should. The deer fell. He was good meat; we eat what we kill, another of Chris’s golden rules. “You know, Angel, you’re going to be my hunting partner forever,” I told her later. “You’re just so calm and observant. And good luck.” We plan to do that soon. She’ll be armed with a high-powered camera, rather than a rifle.

Editing is the most obvious way of manipulating vision. And yet, the camera sometimes sees what you don’t - a person in the background, for example, or an object moving in the wind. I like these accidents. My first full-length film, Esperanza, was about a woman I befriended on the Lower East Side when I was a film student at NYU. Esperanza had hoarded nearly all the portable objects she had touched every day for thirty years: the Chock Full O’Nuts paper coffee cups, copies of the Daily News, magazines, gum wrappers, price tags, receipts, rubber bands, plastic bags from the 99-cent store where she did most of her shopping, piles of clothes, torn towels, and bric-a-brac she had found in the street. Esperanza’s apartment consisted of floor-to-ceiling stacks of stuff. At first sight, the crowded apartment appeared to be pure chaos, but Esperanza explained to me that her piles were not random. Her paper cups had their own corner. These crenellated towers of yellowing, disintegrating waxed cardboard stood next to piles of newspapers … One evening, however, while I was watching the footage from a day’s filming, I found myself scrutinizing a pile of rags beside Esperanza’s mattress. I noticed that there were objects carefully tucked in among the fraying bits of coloured cloth: rows of pencils, stones, matchbooks, business cards. It was this sighting that led to the “explanation.” She was keenly aware that the world at large disapproved of her “lifestyle,” and that there was little room left for her in the apartment, but when I asked her about the objects among the rags, she said that she wanted to “keep them safe and sound.” The rags were beds for the things. “Both the beds and the ones that lay down on them,” she told me, “are nice and comfy.” It turned out that Esperanza felt for each and every thing she saved, as if the tags and town sweaters and dishes and postcards and newspapers and toys and rags were imbued with thoughts and feelings. After she saw the film, my mother said that Esperanza appeared to believe in a form of “panpsychism.” Mother said that this meant that mind is a fundamental feature of the universe and exists in everything, from stones to people. She said Spinoza subscribed to this view, and “it was a perfectly legitimate philosophical position.” Esperanza didn’t know anything about Spinoza … My mother believed and I believe in really looking hard at things because, after a while, what you see isn’t at all what you thought you were seeing just a short time before. looking at any person or object carefully means that it will become increasingly strange, and you will see more and more. I wanted my film about this lonely woman to break down visual and cultural cliches, to be an intimate portrait, not a piece of leering voyeurism about woman’s horrible accumulations.

He hated them, he absolutely hated them, the golden boys. He hated their blondness, their insincere smiles, their designer sunglasses, their designer swimmers and their designer sports gear. They made him feel dark and short and dirty. He detested them and he couldn't wait till he was wearing those sunglasses. till he had those brand names across his sweatshirt, impatient for when those microphones and those cameras were going to be in his face

Claudette Colbert was not Hollywood’s greatest beauty, but her trim little figure, round, kitten-like face, and obviously intelligent good humor made her a bit of a sex symbol, much to her own surprise. By 1934 she’d adopted the hairstyle she kept for life: a short, auburn bob with a fringe of bangs. Although a partygoer and social animal, Claudette was also known as a tough-as-nails professional, overseeing her lighting and camera angles. Her right profile was known as “the dark side of the moon,” and scenes had to be staged so as not to show it. She was also self-conscious about her short neck—directing her in a 1956 TV show, Noël Coward reportedly snapped, “If only Claudette Colbert had a neck, I’d wring it!” “When it comes to details, I’m a horror,” she admitted cheerfully, though downplaying the profile story. “Why not have your good side showing?

What Goodby unveiled at the Crowne Plaza was unlike anything Kalinske and his colleagues had ever seen before. Quick cuts. Crazy zooms. Wild camera angles. It felt less like watching a regular commercial than like fast-forwarding through one on the VCR. Loud punk music. Intense lens flares. Aggressive close-ups. It looked sort of like a music video, but only if that music video was suffering from manic-depression and had just ingested a cocktail of heroin, cocaine, and speed. Weird lighting, unpretty actors, nonlinear storytelling—the whole thing was off-putting, migraine-inducing, and offensive to the senses, but it was absolutely incredible. And to tie it all together, at the end of every spot some maniac shouted, “Sega!” “And just remember,” Goodby said as the video presentation came to an end, “we’re only a short drive away.” He then played a short video clip of himself, Silverstein, and a few other guys whacking golf balls off the roof of their office building. Except whenever they hit the ball, the real reaction shot was replaced with footage of golf balls hitting Sega of America headquarters. During the ground-shaking applause that followed, Nilsen subtly elbowed Kalinske. “What did you think?” Kalinske blinked for a second, then replied, “I think vidspeak just became a dead language. Sorry, hedgy wedgy.” He was practically in a state of shock. This was it—everything he had wanted. The tone was edgy, but not too sharp. It cut, but only deep enough to leave a cool scar.

O Lucky! How can you desire to be uncivil while all around are Google Cameras. Says Bhutta(After 20 dozen moons)

Jep has turned into an excellent cameraman. He shoots our Duckman videos and does a lot editing. Phil brags about how no one can capture ducks like Jep does. You have to be a hunter to do it, and Jep knows exactly how ducks fly and where he needs to be at all times to capture them on film. Plus, Jep isn’t as outgoing as Jase and me, so he works well behind a camera. He loves to hunt but doesn’t mind being a guy who sits and watches the action, and that’s something Jase and I could never do. Plus, I really like hanging out with Jep. He and I share a love for cooking and coming up with new recipes. He’s the brother I would always choose first to accompany me on a road trip for a hunt or business deal. He’s quieter than the rest of us, but his sense of humor is epic, and he is an awesome deer hunter. He accompanies me on many trips for deer and gets everything set up for me. I guess I have kind of prided myself on seeing value in people, no matter how big or small. When people are more outspoken about their talents, anyone can see the value, but for others you have to help them along to really unleash their potential. And hey, life is too short to spend it with boring people. Jep and I have the same spirit of adventure. When we travel, Jase and Phil will just sit in their rooms, eat some ham and cheese, and do nothing. Jep and I always need to kick it up a notch.

went after the Captain’s Table?” “Sure. I went with everybody else to the Top Hat.” “And what time did you leave?” “I don’t know what time it was,” Joe said, looking at the floor. “Do you remember who you left with?” “No, damn it, I don’t. You know where I just came from. I don’t remember anything after going to the Top Hat.” “Where did you sleep last night, Mr. Garrett?” Julie interrupted; she didn’t like the way this interview was going. “He slept here, Officer Williams. I can testify to that.” “I’m afraid you can only place him here at five this morning, Ms. O’Hara. That’s when Miguel, your cabin steward, says you came back.” Joe turned to her, puzzled. “You weren’t here?” “I was angry,” said Julie. “I slept on a chaise by the spa. It doesn’t matter now.” “I’m afraid it does matter, Ms. O’Hara,” Clyde Williams said, looking at Julie with sympathy. “We have a three-hundred-sixty degree camera in the Top Hat.  Mr. Garrett and Adrienne Paradis were the last guests to leave the club shortly after two o’clock and, as far as we know, that was the last time she was seen on this ship. “So my question, Mr. Garrett, is: What happened between two and five?” * * * * *     CHAPTER 13 A longer question and answer period with Clyde Williams, sans the muscle, followed in the Mystral’s security office. The parrying back and forth produced no results, and finally Williams got down to his real concern. “Mr. Garrett.

Life is so fast it's a camera flash

He was reminded of his family's moves every time he visited another refugee camp, every time he watched a family combing through rubble for their possessions. In the end, that was life: a few plates, a favorite comb, a pair of slippers, a child's string of beads. He wanted to believe that he was different, that in ten minutes he could be on his way to anywhere in the world. But he knew that it was impossible, wherever he landed, not to form attachments. He would miss the short, tinted wine glasses in his Trastevere cupboards, the shrinking trapezoid of sunlight cast on his bed in the afternoons. And he knew that in his own way, with his camera, he was dependent on the material world, stealing from it, hoarding it, unwilling to let it go. The move to Asia was official now.

The constant needle and edge in their working relationship is matched by a cloak of secrecy the warring offices throw around their rival operations. Diana had to use all her guile to tease out information from her husband’s office before she flew to Pakistan on her first major solo overseas tour last year. She was due to stopover in Oman where Prince Charles was trying to woo the Sultan to win funding for an architectural college. Curious by nature, Diana wanted to know more but realized that a direct approach to Prince Charles or his senior advisers would receive a dusty response. Instead she penned a short memo to the Prince’s private secretary, Commander Richard Aylard and asking innocently if there was anything in the way of briefing notes she needed for the short stopover in Oman. The result was that, as she was travelling on official Foreign Office business, the Prince was forced to reveal his hand. In this milieu of sullen suspicion, secrecy is a necessary and constant companion. Caution is her watchword. There are plenty of eyes and ears as well as police video cameras to catch the sound of a voice raised in anger or the sight of an unfamiliar visitor. Tongues wag and stories circulate with electrifying efficiency. It is why, when she was learning about her bulimic condition, she hid books on the subject from prying eyes. She dare not bring home tapes from her astrology readings nor read the satirical magazine Private Eye with its wickedly accurate portrayal of her husband in case it attracts unfavourable comment. The telephone is her lifeline, spending hours chatting to friends: “Sorry about the noise, I was trying to get my tiara on,” she told one disconcerted friend.

In the meantime, Pat was enjoying his first solo conversation with Diana. Previously, he’d seen her only twice at our flat in London in 1980 and again at the prewedding ball in 1981. Pat had been waiting on the palace driveway by our car. Diana’s butler had come out and asked, “Are you Mr. Robertson?” Then he graciously said, “Please come inside.” Pat expected to be shown into the entrance hall to wait more comfortably. He was pleasantly surprised to be led upstairs into Diana’s elegant drawing room. There, Diana’s butler gave him coffee and the newspaper to read while Diana and I finished our tete-a-tete. Pat was caught unawares when Diana breezed in to see him. Pat is six feet three inches tall, but he was struck by Diana’s height and by her natural good looks and vitality. He stood up, saying “Gosh, I don’t know what to call you.” Diana, unassuming and direct as always, replied, “Diana’s just fine.” They sat down together and had a short visit. Pat recalls that they talked about children, hers and ours, and our travel plans for Wales and Scotland. He couldn’t get over how unaffected and natural she was. He was thrilled finally to visit with the wonderful Diana I’d been talking about for years. Pat asked if we’d taken any photographs yet. Diana said, “Yes, but would you like to take another one outside in the garden?” I had finished my coffee and the children had returned from their tour, so we all walked downstairs and out onto the front courtyard and lawn. With my camera, Pat took a picture of Diana standing with the children and me. Then Diana asked one of her staff, who was standing nearby, to use my camera so that Pat could be in a photograph. Then with hugs and good wishes all around, we returned to our car and drove slowly from Kensington Palace. I hated to leave Diana, not knowing when, or even if, we’d see her again.

In Florida we got to hang out with some of America’s finest at Eglin Air Force Base. The army Rangers there had been clearing a section of bush for doing operations and had encountered a huge eastern diamondback rattlesnake. Diamondbacks grow to be the largest rattlers anyway, but this one was big for another reason: She was pregnant. Not long after the Rangers’ reptile handlers had transported her back to a holding facility, she gave birth. We watched as the newborn rattlers worked their way out, lay still for a short moment, and then immediately began striking at everything and anything nearby. Although it was a great defense mechanism, in case a predator was about to eat them, it appeared pretty comical. Bite, bite, bite, strike, strike, strike. Then they would curl up and hide for a while. Soon enough it was back on the offensive: bite, strike, bite. They were all fang, and trying to look tough. An interesting way to greet the world. Steve and I scooped up the baby rattlesnakes and held them until they went through their strike phase. We made sure to set them down before they went back to their frenzied biting. “What happens if you’re bitten by a venomous snake while you are breastfeeding?” Steve asked. “I don’t know,” I answered. “I’d probably have to stop breastfeeding, right?” “Just be sure not to get bitten,” Steve said. “Deal,” I said. I scooped up a little wet rattler, talked to the camera, then set the snake back down. Boing, boing, boing went the baby rattler, jumping madly around, trying to bite everything. Even the Rangers laughed. Once the Rangers had completed their training mission, all the dangerous wildlife they collected (including the rattlers) would go right back where they came from. We were very proud to have worked with some of America’s heroes.

My fellow Americans, it has come to my attention that some of you are frightened by the idea of … an infectious outbreak. I must tell you that some of our allied countries have suffered an outbreak of an unknown sickness, but the results are minor and surely do not cause,” he sighed, “hostile reanimated corpses. There have been some precautionary methods to help prevent the spread of this illness into our fair country. Air and sea travel have been halted for a short time. Some malicious websites attempting to spread panic and lies have been temporarily disabled.”     His eyes kept glancing away from the camera. “My fellow Americans, there is nothing to concern yourselves with at this time. Please continue to go to work and enjoy your free time as normal. The only disaster would be to dig ourselves into a financial hole trying to hide from something that doesn’t pose a threat. I can assure you that,” he spoke before being interrupted by the sound of gunfire.

I strive to create an atmosphere that welcomes surprises, that embraces the unexpected, that celebrates the occasional misstep, that honors flaws of all kinds; in short, I want to stand behind the camera and make sure there's something alive going on in front of it, something recognizably human.

When Chen Guangcheng was released in September 2009, he had served his full term. There were no more charges against him. And yet he returned to Dongshigu village to find that the local government had prepared for his arrival. They had installed steel shutters on the windows of his house, floodlights around the dirt yard, and cameras to keep an eye on the place twenty-four hours a day. They formed a revolving crew of guards to work in shifts. At one point, Cohen and Chen did their best to estimate the cost of the guards, meals, and other expenses required to keep the blind lawyer isolated from the world around him, and it came to seven million dollars. But as far as Chen was concerned, most of the punishment was mental: now and then, the guards would carry every object from the house out into the courtyard and leave them there for him and his family to bring back in. The guards confiscated his phone and computer and bent the prongs of the television plug so that it was unusable. At one point, Chen managed to smuggle out a short video describing his conditions, but when that was discovered, the guards punished him by rolling him in a blanket and beating him.

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what seemed like seconds. The whole time, something was clawing at my head. Thud. I landed hard and threw the creature off my face. It yowled, and I knew it was a cat. Candy pelted me with the force of driving hail, like busted piñata guts. A sharp pain shot through my ankle. It didn’t feel broken, but I figured I’d better wait a few minutes before standing on it again. Everything was pitch black. The only sound, the soft echo of the cat hissing. Carefully, I felt around for the camera. The floor was cold, metal, and sticky with a thin layer of goo. The floor was barren except for fun-sized candy bars and Smarties scattered across the floor. I found the camera battery first. It had a large crack along its case. I figured I'd be lucky if it worked. Once I located the camera, I wiped the gunk off my hands onto my jeans and snapped the battery back into place. The spotlight flickered on. The cat hissed again. It stood, fur on end, a few feet away from me in a corner. Actually, it wasn't a corner—this dungeon had no corners. We were in some sort of round holding tank. This better not be part of Chris's plan.

Those vestal virgins found guilty of being unchaste”—their leader’s voice ricochets off the surrounding walls—“were whipped to death in the public square.” She pauses so they can take photos and ask questions. “Public deaths were popular,” I hear her answer someone. “As were blood shows—known as munera. After lunch we will see the slave quarters beneath the Colosseum.” There are collective oohhs and aahhs, and I wonder if they would watch one, or if I would. The ripping of flesh, the breaking of man. Suddenly I get a cramp. When was the last time I had my period? Three, five weeks ago? I can’t remember. I should have been recording it in that damn diary. One of the tour members is watching the couple, who are back at it. Our eyes meet, and I feel myself blush. He’s short and hefty, wearing pleated pants and a sweat-stained polo shirt. His hand rests on a camera that hangs around his neck. He smiles, waggles his eyebrows. Yes, hi, hello. I give him a polite grimace and turn so I can sit more comfortably. Then slowly, out of the corner of my eye I see him raise his camera and click. I don’t know if he’s taking a picture of me or the couple or the ruins. Maybe all three. When the cramp subsides, the tour has moved on. The couple too. At the entrance, I flag down a cab, feeling more spent than I should. “Signora, signora.” The cabby rattles off something in Italian. Usually a migraine precedes my period, and I think I feel one coming on. “Where to?” he finally asks in English.

The camera has a short memory. But the pen remembers forever.

When thinking about how to incorporate lecture videos, many online faculty imagine posting videos of their classroom lectures in the course. This is certainly one way to do it, and some institutions are investing in elaborate lecture-capture systems to facilitate this process. But lecture capture requires expensive tech and a team of skilled professionals. The small teaching way is to record short narrated slideshow videos or webcam-style videos speaking directly to the camera on your computer monitor. The key word here is short. “Traditional in-person lectures usually last an hour, but students have much shorter attention spans when watching educational videos online,” writes Philip Guo in a blog post about a study he and his colleagues conducted (Guo, 2013). The researchers compiled data from 6.9 million video-watching sessions to track engagement patterns of online students. Their findings led to a strong recommendation that online class videos should be no longer than six minutes.

A prime example of intimidation at the polls that reveals the Obama administration’s disappointing attitude toward election crimes occurred in the 2008 federal election when two members of the New Black Panther Party stood in a doorway of a polling place in Philadelphia. They were in black paramilitary uniforms and one of them carried and brandished a nightstick. They argued with passersby and shouted racial insults at poll watchers. They attempted to block a poll watcher from entering the polling place and were recorded by a poll watcher with his video camera. At the time, Robert Popper was a deputy chief in the Voting Section of the Civil Rights Division of the US Justice Department. He was assigned to prosecute a civil action against these men for intimidation and attempted intimidation under the relevant federal statute, Section 11(b) of the Voting Rights Act. The case against the defendants was strong, and they subsequently defaulted by refusing even to answer the charges against them. But the case was abruptly curtailed and all but shut down by the newly appointed officials of the Obama administration. In the end, they ordered Popper to settle the case for a short, limited, and toothless injunction against only one of the four defendants. There was never a convincing explanation from Eric Holder or the administration as to why the case was cut short. Popper believes that it was a partisan abuse of what are supposed to be neutral law enforcement efforts to enforce the Voting Rights Act. This was only the beginning of the Obama administration’s abuse of its power over elections. The damage to the reputation of the Justice Department was enormous and enduring, and the damage to the public’s perception of the integrity of elections was incalculable.

The first wave of flying creatures dived on the air pods. The cameras caught and recorded the images. They looked reptilian, with grayish, scaled skin. They had delta-shaped wings that spanned at least ten meters, short, sleek bodies and elongated heads with rows of pointed teeth. Carnivores, definitely.

I got you some stuff,” he said gruffly and set the food and drinks down at his feet before walking over to stand directly in front of me. I watched as he opened the first bag and began pulling out deodorant, a toothbrush and toothpaste, a hairbrush and ponytail holders, girly shampoo, conditioner, a razor, and soap—since whatever I’d been using was definitely meant for men. The next bag opened and he pulled out large packs of men’s undershirts and boxer-briefs. I raised an eyebrow at first when he sat them down next to me, but I didn’t say anything. “There’s no way in hell I was going to be able to pick out a bra for you, and women have too many different kinds of underwear. This was easiest, but they might be too big on you.” I couldn’t even complain. My throat was closing up, my eyes were burning, and it was taking everything in me not to reach out and run my hands over it all. I hadn’t brushed my teeth since the night before I was taken, and I hadn’t put deodorant on or brushed my hair since the same time. Even though I was able to take showers every day, I had to put my old underwear, sleep shirt, and little shorts on once I was done; and it felt like I was never getting clean. If I could have clean clothes, even men’s clothes, I didn’t care. The last bag opened, and a shaky smile crossed my face for the first time since I’d had the unfortunate pleasure of meeting Taylor, as he pulled out different colored nail polishes. “I don’t know if you like these colors, but I watched you pick off what you had on your nails. So . . . here.” A package of pens followed, and the smile fell as confusion set in; but then he brought out a journal, and my stomach dropped. “I had to watch you for a long time, I don’t know what you wrote about, but I know you used to write every day. Anyway, that’s it,” he said and took a step away from the mattress. I picked up the journal and ran my hand over the front of it as tears fell down my cheeks. I knew sometime later I would be creeped out and put Taylor in the same zone Blake had been in, since Blake had people following me, and somehow had gotten cameras into our apartment. But right now, all I could think about was that I was going to be able to write to my parents again. It’d been over four and a half years since my parents died, and for four years I’d been writing in journals to them every day. Not being able to talk to them had been about as hard as not being with Kash. My

Rishikesh is one of the most wanted places for adventure lovers. Rishikesh is also well-known among Hindus for its pilgrimage. The free of charge graceful river and also Substring Mountains make this place beautiful for travelers. It is really one of the best locations for people wanting onward to get tons of adventure, and fun. It's also a precious knowledge for nature lovers. The major fair activity in Rishikesh is White Water Rafting. It has grown to a well-liked and daring spot for white water rafting enthusiast as the place offers an impressive experience of average to very tough and rough rapids in the region of River Ganges. Uttarakhand adventure is well known rafting company in Rishikesh. Many adventurous tourists both from India and overseas stay this place to experience the real challenge of white water rafting. All services for white water rafting Rishikesh is available here, and there are preparation guides for rafting from whom a tourist can take help in this sport. River rafting in Rishikesh is one of the majority popular sport activities because of free flowing rivers from Himalayas. Rafting, camping, trekking, and Rock Climbing, Bungee jumping is some of the sports education that a traveler can consider. We are best rafting company in Rishikesh. Important and Helpful Information and Rafting Safety Tips for All Rafting Users • Important Equipments Shell Be take for River Rafting and Camping • Sunglasses and water glasses with retaining cord, Battery Torch • Swimming costume and quick drying shorts for river • Odomos, Antiseptic Cream and Sunscreen Lotion, First Aid Box • Only Use River Sandals & old Sneakers , no flip flops • River Rafting Guide & Splash life jackets. • Other required safety accessories • Waterproof disposable camera with Extra Battery (Full Battery Charge). • Mobile Phone with Extra Mobile Batteries (Electricity may be off) • We provide River Rafting Gears & Assistance • Helmets & river rafting gears • Trekking Shoes

7 Outstanding Tips for Banner Printing Choosing to produce a printed banner is a fantastic way to maximize your promotional requirements, it helps you to give maximum stand out and showcase your brand. There are a range of options from large PVC banners to simple roller banner solutions to suit all purposes of banner printing. Let’s look at some important points that can help you to make the most out of your printed banner. 1. Use High resolution images While going for banner printing, having good quality images is imperative. If you carry your own camera, then your camera should be able to take decent quality images, but be careful with images from the internet. Not only could you infringe copyright law but the quality is usually quite poor. 2. Clever use of color Your banner printing should be such that maximizes the use of color. Imagine the environment, where will your banner be positioned? What does your competition look like? Then, you can use color to ensure that you stand out from the crowd. If you are an established business, be sure to use your brand colors and clearly position your logo towards the top of the banner, this will make sure you develop a consistent brand identity throughout your marketing material. 3. Count your words Using a large amount of written text can look busy, messy and be off putting to your audience. Try to work out on your key message or brand values and make the banner big and bold. A short & striking message or a graphic will work a hundred times better than a hundred words. The banner printing is meant to grab attention of the viewer, not bore them. 4. Reveal your benefit Succinctly convey your key benefit in your banner headline. Do you have the best price? The best service? The best quality product? Whatever it is, make your banner printing known, specific to your audience and make it centralized. 5. Include an offer Make a time – limited offer to motivate customers to respond quickly. Your offer might even be included in your headline to simplify your banner. 6. Create a memorable call to action Make it clear what customers should do next in order to take advantage of your special offer. Your call to action should be succinct as well as memorable, such as an easy-to-remember URL or phone number. Remember that potential customers will only have a few seconds to digest your banner, so they must be able to retain the action step at a glance. 7. Less is more It is a simple rule but one that makes all the difference. It is very tempting to use a banner to get across every possible message and cram it full of content and images, however from an end user perspective big, bold and simple messaging and graphics is the most effective way to grab attention as well as looking professional and confident.

Naval’s Laws The below is Naval’s response to the question “Are there any quotes you live by or think of often?” These are gold. Take the time necessary to digest them. “These aren’t all quotes from others. Many are maxims that I’ve carved for myself.” Be present above all else. Desire is suffering (Buddha). Anger is a hot coal that you hold in your hand while waiting to throw it at someone else (Buddhist saying). If you can’t see yourself working with someone for life, don’t work with them for a day. Reading (learning) is the ultimate meta-skill and can be traded for anything else. All the real benefits in life come from compound interest. Earn with your mind, not your time. 99% of all effort is wasted. Total honesty at all times. It’s almost always possible to be honest and positive. Praise specifically, criticize generally (Warren Buffett). Truth is that which has predictive power. Watch every thought. (Always ask, “Why am I having this thought?”) All greatness comes from suffering. Love is given, not received. Enlightenment is the space between your thoughts (Eckhart Tolle). Mathematics is the language of nature. Every moment has to be complete in and of itself. A Few of Naval’s Tweets that are Too Good to Leave Out “What you choose to work on, and who you choose to work with, are far more important than how hard you work.” “Free education is abundant, all over the Internet. It’s the desire to learn that’s scarce.” “If you eat, invest, and think according to what the ‘news’ advocates, you’ll end up nutritionally, financially, and morally bankrupt.” “We waste our time with short-term thinking and busywork. Warren Buffett spends a year deciding and a day acting. That act lasts decades.” “The guns aren’t new. The violence isn’t new. The connected cameras are new, and that changes everything.” “You get paid for being right first, and to be first, you can’t wait for consensus.” “My one repeated learning in life: ‘There are no adults.’ Everyone’s making it up as they go along. Figure it out yourself, and do it.” “A busy mind accelerates the passage of subjective time.

Where is everyone?” Cat asked, looking around the deserted ship. “Shore leave,” he said laconically. “What about us?” “If it’s urgent, we’ll just have to swim.” Cat yawned and stretched languidly, feeling boneless from Travis’s loving and a long, wonderful nap. “Swim? Ha. I’d go down like a brick. Looks like you’re stuck with me.” Travis tilted her face up and kissed her swiftly. “Remember that, witch. You’re mine.” Her eyes widened into misty silver pools. She looked up at him through dense lashes that glinted red and gold. He smiled. “You really are a pirate, aren’t you?” Cat muttered. “Where you’re concerned, yes.” The sensual rasp in Travis’s voice sent echoes of ecstasy shimmering through her. His smile was rakish and utterly male, reminding her of what it was like to have him deep inside her. It was all Cat could do not to simply stand and stare at her lover. In the slanting afternoon light his eyes had a jewel-like purity of color. His skin was taught, deeply bronzed, and his beard was spun from dark gold. Beneath his faded black T-shirt and casual shorts, his body radiated ease and power. “Don’t move,” Cat ordered, heading back to the cabin. “Where are you going?” “Don’t move!” She raced below deck, grabbed the two camera cases she used most often, and ran back on deck. While Travis watched her with a lazy, sexy gleam in his eyes, she pulled out a camera and a small telephoto lens. When she retreated a few feet back along the deck, he moved as though to follow. “No,” she said. “Stay right where you are. You’re perfect.” “Cat,” he said, amusement curling in his voice, “what are you doing?” “Taking pictures of an off-duty buccaneer.” The motor drive surged quickly, pulling frame after frame of film through the camera. “You’re supposed to be taking pictures of the Wind Warrior,” Travis pointed out. “I am. You’re part of the ship. The most important part. Creator, owner, soul.” She caught the sudden intensity of his expression, an elemental recognition of her words. The motor drive whirred in response to her command. After a few more frames she lowered the camera and walked back to him. “Get used to looking into a camera lens.” Cat warned Travis. “I’ve been itching to photograph you since the first time I looked into those gorgeous, sea-colored eyes of yours.” Laughing softly, he snaked one arm around her and pulled her snugly against his side.

In contrast, technology now exists that would allow a future global totalitarian state to record every phone call, email, web search, webpage view and credit card transaction for every person on Earth, and to monitor everyone’s whereabouts through cell-phone tracking and surveillance cameras with face recognition. Moreover, machine learning technology far short of human-level AGI can efficiently analyze and synthesize these masses of data to identify suspected seditious behavior, enabling potential troublemakers to be neutralized before they have a chance to pose any serious challenge to the state.

Despite constant insistence that we lose weight for our health and track the simple arithmetic of calories in, calories out, there is no data illustrating that dieting achieves long-term weight loss. To the contrary, constant dieting may make weight loss more difficult, as our metabolisms fight back, searching for the stasis of a familiar, fatter body.57 A major study following contestants from the television show The Biggest Loser showed that despite their dramatic weight loss on camera, most contestants were unable to maintain their smaller size, despite hours of working out each day. The study’s results were staggering: after their extreme televised dieting, every contestant’s body burned fewer calories at rest than it did at the beginning of the competition—and one contestant was shown to burn eight hundred fewer calories each day than expected for a peer of the same gender and size.58 Those results aren’t limited to reality TV contestants. As one Slate writer put it, addressing dieters, “You’ll likely lose weight in the short term, but your chances of keeping it off for five years or more is about the same as your chance of surviving metastatic lung cancer: 5 percent. And when you do gain back the weight, everyone will blame you. Including you.

It’s a relief to the twenty-first-century viewer when this mercifully short sequence comes to an end, but there is also a certain satisfaction in seeing a white man in blackface experience something unusual in the long history of the form: consequences.

The story was okay, but the acting bothered Andrei. Sometimes he would watch a scene and then it would go to the next; Andrei would blink, bewildered at the time that had passed. The film just went by. Scenes would jump to the next but his mind was the same. Why? He noticed that the lead actress in her later years was extremely gorgeous, except some sharp concentration in him blocked out her beauty. This seated heart screamed for the movie to shatter him. And it drew upon him that this was another film that the world was not bothered by of its acting. In fact, they did not even see it. In its short scenes, audiences were hypnotized for an average of five to eight seconds by an actor’s beauty and if the editor timed it right, and with enough spectacle, movies could get away with doing nothing. Gorgeousness stimulated the mind. “Wow, they are so beautiful,” the audience was forced to think—and then by jumping to the next beautiful part fast enough there was something called a movie. And the movie seemed to use the actors’ appearances to drive most of the scenes. And many actors in different scenes sort of just stood there, handsome, and whispering. That was their strategy—mumbling murmurs of breath and rasp. Their indecisive bodies were unnaturally still, as though they had close-ups when the shot was wide. All of the actors’ voices were dumbly lowered to a safe natural cadence while in an unnatural situation and yet seeming real, no actual thought needed to be shown. 'Beauty is good,' says the industry. 'Sell that. Sell beauty! Make it beautiful. Ugly stories about beautiful people. It naturally turns a crap film into a decent one. The people are left with a good impression, as though having watched something fascinating. Make sure to let the camera sit on those beautiful people and their faces will give the audience something impossible to understand and give us runtime while they gaze. But having ugly people in it, people that look like people, actors that look like their audience—er, that’s not so profound,' says the industry. It was why the scenes moved without Andrei knowing: nothing was done by its actors.

Dona is not doing it because she is forced to', Jill would say to the audience, with their hats and cameras, attentively sitting along the bleachers, which would shortly be soaked in salt water. 'Dona is doing this because she actually wants to'.

Bluster and ego aside, Hunter did have talent behind the camera.  Frankly, that was the only thing he had going for him at this point.  If he were a hack director, he would have definitely been replaced by now.  Hunter’s calling card was a visually dazzling short film he directed in school.

Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive. The picture tells you how to arrange the words and the arrangement of the words tells you, or tells me, what’s going on in the picture. Nota bene. It tells you. You don’t tell it.

PACKING CHECKLIST Light, khaki, or neutral-color clothes are universally worn on safari and were first used in Africa as camouflage by the South African Boers, and then by the British Army that fought them during the South African War. Light colors also help to deflect the harsh sun and are less likely than dark colors to attract mosquitoes. Don’t wear camouflage gear. Do wear layers of clothing that you can strip off as the sun gets hotter and put back on as the sun goes down. Smartphone or tablet to check emails, send texts, and store photos (also handy as an alarm clock and flashlight), plus an adapter. If electricity will be limited, you may wish to bring a portable charger. Three cotton T-shirts Two long-sleeve cotton shirts preferably with collars Two pairs of shorts or two skirts in summer Two pairs of long pants (three pairs in winter)—trousers that zip off at the knees are worth considering Optional: sweatshirt and sweatpants, which can double as sleepwear One smart-casual dinner outfit Underwear and socks Walking shoes or sneakers Sandals/flip-flops Bathing suit and sarong to use as a cover-up Warm padded jacket and sweater/fleece in winter Windbreaker or rain poncho Camera equipment, extra batteries or charger, and memory cards; a photographer’s vest and cargo pants are great for storage Eyeglasses and/or contact lenses, plus extras Binoculars Small flashlight Personal toiletries Malaria tablets and prescription medication Sunscreen and lip balm with SPF 30 or higher Basic medication like antihistamine cream, eye drops, headache tablets, indigestion remedies, etc. Insect repellent that is at least 20% DEET and is sweat-resistant Tissues and/or premoistened wipes/hand sanitizer Warm hat, scarf, and gloves in winter Sun hat and sunglasses (Polaroid and UV-protected ones) Documents and money (cash, credit cards, etc.). A notebook/journal and pens Travel and field guide books A couple of large white plastic garbage bags Ziplock bags to keep documents dry and protect electronics from dust

point out that it was a romantic gesture aimed at him and not the couple of overweight blokes smoking and playing cards whom she had glimpsed inside the Portakabin. Thanks,” he said, taking the sandwich off the plate and biting into it without even looking at it. Crystal spared another thought for the chickens. God only knows what they had gone through in order to keep Tommy Holroyd fed. Best not to think about it. Keep your mouth shut. “Anything else, babe?” she asked. “Nah. Close the door again on the way out, will you?” The entry phone buzzed while she was still in the hallway and Tommy shouted through the door, “Get that, will you?” When Crystal peered at the monitor next to the front door she could see a girl standing in front of the camera. She was so short that only the top half of her head showed. Crystal pressed the button on the microphone and said, “Hello?” The girl held up something, a wallet or a card, Crystal couldn’t make it out. “I’m DC Reggie Chase,” she said. “I’m here with my colleague DC Ronnie Dibicki.” She indicated someone else, out of sight of the camera. “We’d like to have a chat with Mr. Holroyd. Mr. Thomas Holroyd.” Detectives? “It’s a routine inquiry,” the detective said. “Nothing to be alarmed by.” Keep

P3 - ten minutes of that movie, or indeed of any movie whose message is similarly dystopian about a post-aging world (Blade Runner), you will see that they set it up by insinuating, with exactly no justification and also no attempt at discussion (which is how they get away with not justifying it), that the defeat of aging will self-evidently bring about some new problem that we will be unable to solve without doing more harm than good. The most common such problem, of course, is overpopulation - and I refer you to literally about 1000 interviews and hundreds of talks I have given on stage and camera over the past 20 years, of which several dozen are online, for why such a concern is misplaced. The reason there are 1000, of course, is that most people WANT to believe that aging is a blessing in disguise - they find it expedient to put aging out of their minds and get on with their miserably short lives, however irrational must be the rationalizations by which they achieve that. Aubrey has been asked on numerous occasions whether humans should use future tech to extend their lifespans. Aubrey opines, "I believe that humans should (and will) use (and, as a prerequisite, develop) future technologies to extend their healthspan, i.e. their healthy lifespan. But before fearing that I have lost my mind, let me stress that that is no more nor less than I have always believed. The reason people call me an “immortalist” and such like is only that I recognize, and am not scared to say, two other things: one, that extended lifespan is a totally certain side-effect of extended healthspan, and two, that the desire (and the legitimacy of the desire) to further extend healthspan will not suddenly cease once we achieve such-and-such a number of years." On what people can do to advance longevity research, my answer to this question has radically changed in the past year. For the previous 20 years, my answer would have been “make a lot of money and give it to the best research”, as it was indisputable that the most important research could go at least 2 or 3x times faster if not funding-limited. But in the past year, with the influx of at least a few $B, much of it non-profit (and much of it coming from tech types who did exactly the above), the calculus has changed: the rate-limiter now is personnel. It’s more or less the case now that money is no longer the main rate-limiter, talent is: we desperately need more young scientists to see longevity as the best career choice. As for how much current cryopreservation technology will advance in the next 10-20 years, and whether it enough for future reanimation? No question about the timeframe for a given amount of progress in any pioneering tech can be answered other than probabilistically. Or, to put it more simply, I don’t know - but I think there's a very good chance that within five years we will have cryo technology that inflicts only very little damage on biological tissue, such that yes, other advances in rejuvenation medicine that will repair the damage that caused the cryonaut to be pronounced dead in the first place will not be overwhelmed by cryopreservation damage, hence reanimation will indeed be possible. As of now, the people who have been cryopreserved(frozen) the best (i.e. w/ vitrification, starting very shortly immediately after cardiac arrest) may, just possibly, be capable of revival by rewarming and repair of damage - but only just possibly. Thus, the priority needs to be to improve the quality of cryopreservation - in terms of the reliability of getting people the best preservation that is technologically possible, which means all manner of things like getting hospitals more comfortable with cryonics practice and getting people to wear alarms that will alert people if they undergo cardiac arrest when alone, but even more importantly in terms of the tech itself, to reduce (greatly) the damage that is done to cells and tissues by the cryopreservation process.

I believe that using a camera can draw us away from our selves. That it is a meaningfully constrained way of thinking and knowing that enables us to conjure relationships among otherwise uncooperative earthly things; new and valuable correspondences which never actually existed. That these novel sets of relationships - called “photographs” - are useful because the possess to both defy and embrace impermanence and to convey to other human beings the essence of a separate self’s fleeting and often furtive connections with the obstinate thusness of it all. In short, that such pictures can get us about as close to the ineffable as out mortal shortcomings will allow.

A man in Bermuda shorts and a bright striped shirt was standing at the base of a huge camera boom, cursing with a richness of invective wonderful to hear.

What I want, in short, is that my (mobile) image, buffeted among a thousand shifting photographs, altering with situation and age, should always coincide with my (profound) "self"; but it is the contrary that must be said: "myself" never coincides with my image; for it is the image which is heavy, motionless, stubborn (which is why society sustains it) , and "myself" which is light, divided, dispersed; like a bottle-imp, "myself" doesn't hold still, giggling in my jar: if only Photography could give me a neutral, anatomic body, a body which signifies nothing! Alas, I am doomed by (well meaning) Photography always to have an expression: my body never finds its zero degree, no one can give it to me (perhaps only my mother? For it is not indifference which erases the weight of the image-the Photomat always turns you into a criminal type, wanted by the police-but love, extreme love).

When Musk took delivery of his F1, CNN was there to cover it. “Just three years ago I was showering at the Y and sleeping on the office floor,” he told the camera sheepishly, “and now obviously, I’ve got a million-dollar car… it’s just a moment in my life.” While other McLaren F1 owners around the world—the sultan of Brunei, Wyclef Jean, and Jay Leno, among others—could comfortably afford it, Musk’s purchase had put a sizable dent in his bank account. And unlike other owners, Musk drove the car to work—and declined to insure it. As Musk drove Thiel up Sand Hill Road in the F1, the car was the subject of their chat. “It was like this Hitchcock movie,” Thiel remembered, “where we’re talking about the car for fifteen minutes. We’re supposed to be preparing for the meeting—and we’re talking about the car.” During their ride, Thiel looked at Musk and reportedly asked, “So, what can this thing do?” “Watch this,” Musk replied, flooring the accelerator and simultaneously initiating a lane change on Sand Hill Road. In retrospect, Musk admitted that he was outmatched by the F1. “I didn’t really know how to drive the car,” he recalled. “There’s no stability systems. No traction control. And the car gets so much power that you can break the wheels free at even fifty miles an hour.” Thiel recalls the car in front of them coming fast into view—then Musk swerving to avoid it. The McLaren hit an embankment, was tossed into the air—“like a discus,” Musk remembered——then slammed violently into the ground. “The people that saw it happen thought we were going to die,” he recalled. Thiel had not worn a seat belt, but astonishingly, neither he nor Musk were hurt. Musk’s “work of art” had not fared as well, having now taken a distinctly cubist turn. Post-near-death experience, Thiel dusted himself off on the side of the road and hitchhiked to the Sequoia offices, where he was joined by Musk a short while later. X.com’s CEO, Bill Harris, was also waiting at the Sequoia office, and he recalled that both Thiel and Musk were late but offered no explanation for their delay. “They never told me,” Harris said. “We just had the meeting.” Reflecting on it, Musk found humor in the experience: “I think it’s safe to say Peter wouldn’t be driving with me again.” Thiel wrung some levity out of the moment, too. “I’d achieved lift-off with Elon,” he joked, “but not in a rocket.

A pale Ford Focus arrived at one am. Eva was right. The party had been cut short. Dan saw the faces of Charlie Rowntree and Fran Pendleton as they came through the entrance. Fran Pendleton was looking around through the car windows. Her face looked stretched tight and unhappy. He couldn’t see Rowntree’s face, but Dan reckoned it would be exactly the same. They’d revealed the name of their residence to Joe the photographer, so they were probably expecting an army of press to blitz them with camera flashes. People were self-absorbed by nature. If they had something to hide, they usually worried too much about being caught and therefore they thought the very worst. 

Shortly after Evans took over, he issued orders for the cessation of all supplies delivered to the camps. He also ordered that when the last of the food ran out, the staff and the commanders of each camp would turn off the generators pumping air into the underground camps, and leave. Once the commanders were on the surface, they would order the doors to be sealed so no one could escape if they managed to make it the surface. Evans didn’t want to waste precious ammunition or bio-chemicals that could go to potential battlefields in the near future. Letting the prisoners suffocate or die from hunger was the best idea. The video cameras installed throughout the camps would give Evans the pleasure of watching everyone die, and then he would begin the final phase of his plan.

I remember the hard work in the banana plantations of Kibbutz Kinneret, in stained work clothes. I remembered the hot sun and unbearable heat of the Jordan Valley, and now here those beautiful young women dressed in short and narrow shorts, covering a little and revealing a lot more, and at the top part of their body was a piece of cloth that was barely enough to cover their breasts. If anything of their bodies was yet to appear, my fertile imagination found it, and sometimes the camera helped my imagination. I thought maybe I was in another country. I think those volunteers not only fascinated me, but they also brought a different and special spirit into the work, and perhaps the entire Kibbutz spirit.

Within several minutes, we’re at the front of the line. I assume we’re going to keep walking, but the young English couple in front of us has me take their picture, and then they offer to take ours. I open my mouth to decline, but Bruno bursts out with a “Grazie!” and unhooks the camera from my neck, handing it to the woman. He leads me to the bench and we sit, the sides of our legs touching. My stomach clenches. This is the kissing bench. Not a single couple before us has smiled for the camera. They kiss for the camera. My eyes lock on the lens like a deer in the headlights. I force a smile, a big one, with teeth. My head nearly vibrates with the strain. This is fine. We’re going to break the trend and smile. Absolutely no kissing. The woman lifts my camera to her face. “One, two--” On two, Bruno reaches behind me and cups the back of my head in his hand, turning me to face him. His other hand is on my cheek. His lips press onto mine. The camera clicks. “WOOOOOO!” echoes around us. One person claps. Bruno pulls away but stares into my eyes for a moment before hopping up and getting my camera back for me. My head is spinning. I’ve been kissed. In Italy. By an Italian! I remain seated, stupefied, until a couple shoos me away for their turn, and soon we’re walking the next section of the path along with the English couple. Bruno chats with them--heavy accent enforced--but their words turn to garble. All I hear is He kissed me. Bruno I-don’t-even-know-how-to-pronounce-his-last-name kissed me! And it was short. Too short. No. Too long. Shouldn’t have happened. Chiara will kill us if she finds out. But she won’t find out. I’ll hide the picture from her. I’ll delete the picture! No, I have to show Morgan. And I want proof for myself. I’ll just make sure Chiara doesn’t see it. It only happened because it’s what you do at the kissing bench when you’re sitting next to the hottest Italian boy you’ve ever seen. I just have to stay away from that bench.

short periods of time. The researchers wanted to understand how. So they measured subjects’ vital signs, installed video cameras inside their homes to watch their daily routines, sequenced

Wordlessly, Darren sits at the edge of the next bed, which leaves the one between him and the wall for me. I’m going to have to sleep next to Darren. For THREE nights. What if I dream about him? What if I say something during those dreams? What if he says something in his sleep? What if I roll over and bump into him? I set my camera and backpack down on the desk, dig out a pink tank top, matching pajama shorts, and my toiletry pouch, and get ready for bed in the bathroom. When I come back out, Darren’s sitting at the desk, elbow propped on it, head supported in his hand. He’s already changed into a pair of red-and-white plaid pants and a black T-shirt. For some reason, the sight of him in his PJs gives me a little thrill. He motions toward the beds. “They’re passed out.” I glance at the fully clothed spooning figures and look away before my cheeks get the better of me. The clock on the desk shows that it’s only 8:25. I know traveling wears you out but I feel completely wired. “Are you ready to go to bed or…?” I let my voice trail off and swallow. I don’t know why I’m so nervous about sleeping one bed over from him. “You want to go for a walk?” I pinch the fabric of my shorts as if to say, In these? and frown. He looks down at my bare legs, then meets my eyes. “Just throw on your sneakers.” There’s a flutter in my chest, but I imagine myself squashing the little winged creatures. No butterflies allowed. I can do this.

A filmmaker made a short documentary about this happy-go-lucky teenager on death row, called My Last Days. It showed Zach living happily, hanging out with his family, and playing music. Everybody loved Zach. When you see the footage, you can’t help but like him. As you watch him laugh and love and sing, you catch yourself forgetting: this kid is about to die. Zach’s family tells the camera how knowing he would die has helped them realize what matters in life and to find true meaning. “It’s really simple, actually,” Zach says. “Just try and make people happy.” As the 22-minute film closes, Zach looks into the camera, smiling, and says, “I want to be remembered as the kid who went down fighting, and didn’t really lose.” Not long after he said those words, Zach passed away. When Eli Pariser and Peter Koechley of Upworthy saw the film, they thought, This is a story that needs to be heard. Now just over a year old, Upworthy has become quite popular. In fact, it recently hit 30 million monthly visitors, making it, according to the Business Insider, the fastest-growing media company in history.* (Seven-year-old BuzzFeed was serving 50 million monthly visitors at the time.) The Zach Sobiech story illustrates how Upworthy used rapid feedback to do it: According to Upworthy’s calculations, My Last Days had the potential to reach a lot of people. But so far, few had seen it. The filmmaker had posted the documentary under the headline, “My Last Days: Meet Zach Sobiech.” Though descriptive, it was suboptimal packaging. In the ADD world of Facebook and Twitter, it’s no surprise that few people clicked. Upworthy reposted the video with a new title: “We Lost This Kid 80 Years Too Early. I’m Glad He Went Out with a Bang,” and shared it with a small number of its subscribers, then waited to see who clicked.

I drove to the bar Theodosha had called from and parked on the street. The bar was a gray, dismal place, ensconced like a broken matchbox under a dying oak tree, its only indication of gaiety a neon beer sign that flickered in one window. She was at a table in back, the glow of the jukebox lighting her face and the deep blackness of her hair. She tipped a collins glass to her mouth, her eyes locked on mine. “Let me take you home,” I said. “No, thanks,” she replied. “Getting swacked?” “Merchie and I had another fight. He says he can’t take my pretensions anymore. I love the word ‘pretensions.’” “That doesn’t mean you have to get drunk,” I said. “You’re right. I can get drunk for any reason I choose,” she replied, and took another hit from the glass. Then she added incongruously, “You once asked Merchie what he was doing in Afghanistan. The answer is he wasn’t in Afghanistan. He was in one of those other God-forsaken Stone Age countries to the north, helping build American airbases to protect American oil interests. Merchie says they’re going to make a fortune. All for the red, white, and blue.” “Who is they?” But her eyes were empty now, her concentration and anger temporarily spent. I glanced at the surroundings, the dour men sitting at the bar, a black woman sleeping with her head on a table, a parolee putting moves on a twenty-year-old junkie and mother of two children who was waiting for her connection. These were the people we cycled in and out of the system for decades, without beneficial influence or purpose of any kind that was detectable. “Let’s clear up one thing. Your old man came looking for trouble at the club today. I didn’t start it,” I said. “Go to a meeting, Dave. You’re a drag,” she said. “Give your guff to Merchie,” I said, and got up to leave. “I would. Except he’s probably banging his newest flop in the hay. And the saddest thing is I can’t blame him.” “I think I’m going to ease on out of this. Take care of yourself, kiddo,” I said. “Fuck that ‘kiddo’ stuff. I loved you and you were too stupid to know it.” I walked back outside into a misting rain and the clean smell of the night. I walked past a house where people were fighting behind the shades. I heard doors slamming, the sound of either a car backfiring or gunshots on another street, a siren wailing in the distance. On the corner I saw an expensive automobile pull to the curb and a black kid emerge from the darkness, wearing a skintight bandanna on his head. The driver of the car, a white man, exchanged money for something in the black kid’s hand. Welcome to the twenty-first century, I thought. I opened my truck door, then noticed the sag on the frame and glanced at the right rear tire. It was totally flat, the steel rim buried deep in the folds of collapsed rubber. I dropped the tailgate, pulled the jack and lug wrench out of the toolbox that was arc-welded to the bed of the truck, and fitted the jack under the frame. Just as I had pumped the flat tire clear of the puddle it rested in, I heard footsteps crunch on the gravel behind me. Out of the corner of my eye, I saw a short, thick billy club whip through the air. Just before it exploded across the side of my head, my eyes seemed to close like a camera lens on a haystack that smelled of damp-rot and unwashed hair and old shoes. I was sure as I slipped into unconsciousness that I was inside an ephemeral dream from which I would soon awake.

stoned junkies in a crack house. One said to his crew of two men, “Ten minutes, OK? We waste men, not time.” There was tension inside the van as the three men put on Kevlar vests and their Windbreakers, gas masks, and SFPD caps. They screwed the suppressors onto their M-16 automatic rifles with thirty-round magazines. When he was ready, One stepped out of the van and shot out the camera over Wicker House’s back door. The suppressor muffled the sound of the bullet. Two and Three exited the van, went to the steel-reinforced rear door, and set small, directed explosive charges on the lock and the hinges. They stood back as Two remotely detonated the charges. The soft explosions were virtually unnoticeable in the area, which was largely deserted at night. One and Two lifted the door away from the frame. Three entered the short hallway that led to the lab and started firing with his suppressed automatic rifle. Glass shattered. Blood sprayed. Once the men in the lab were down, the three men in the Windbreakers rushed the locked door to the second floor. When the lock had been shot

On December 22, 1941, both Time and Life magazines ran stories helpfully guiding readers on how to distinguish their new Chinese "friends" from the enemy "Japs." Life's story included photographs. The first featured a Chinese government official smiling humbly at the camera. The other featured a stern-looking General Hideki Tojo, the Japanese prime minister responsible for the attack on Pearl Harbor. Both portraits were covered with handwritten notes identifying defining features and racial rules. The Chinese, for example, had a "parchment yellow complexion," a "higher bridge," a "longer, narrower face," a "scant beard," and "never has rosy cheeks." In contrast, the Japanese had an "earthy yellow complexion," "flatter nose," "sometimes rosy cheeks," "heavy beard," and "broader, shorter face." Time's description of "how to tell your friends from the Japs" was even more specific. "Virtually all Japanese are short... seldom fat, [and] often dry up and grow lean as they age" whereas the Chinese "often put on weight." Chinese had more "placid, kindly, open" facial expressions, while the Japanese were "more positive, dogmatic, arrogant." Perhaps unsurprisingly, some Chinese Americans sought ways to help white Americans distinguish them from Japanese Americans and wore "I am Chinese" buttons during the war.

This,” I said, “was not how it was supposed to be.” The short sentence bounced around the cave,coming back to me Word for Word. “I just want to be honest,”I said. “it seems silly to do anything else at this point. The truth is that we’re not supposed to be here, and we all know that. We’re not supposed to be inside of a church made by old – timey people. We weren’t supposed to bring Jonah here. We weren’t supposed to hide from an Italian park ranger on horseback.” I paused and waited for my echoing voice to quiet. “Also, Maybe this is obvious, but Jonah was not supposed to die. Not yet. None of it was supposed to happen like this. Grace eyed me quizzically. “I don’t mean to be bleak,” I continued “I know it sounds that way. What I mean is that nothing ever happens the way it supposed to. Everything is messed up. Everything is flawed. And if we didn’t have imperfection, I’m not sure what we would have left.” I looked out into the light outside. What I could see of the landscape one year and went to the camera but me. “The way I see it, we have a bunch of imperfect moments all lined up, one after the next, and we feel this strange, imperfect love. Then, before we know it, it’s all over. We give everything we have, but that can never be enough to make things just the way we want them, or to keep someone with us as long as we’d like. But the struggle is worth something. And the love is worth something even though it’s imperfect. And maybe we should try to celebrate this brief, incomplete thing we’ve been given. Maybe that’s all we can do when we find ourselves in the dark.” Everyone remained quiet. I couldn’t tell by looking at them how they felt about what I was saying. Still, no one interrupted me, so I kept going. “Just because something didn’t last as long as you needed doesn’t mean it wasn’t genuine. Jonah and I had an in perfect love. So what? That doesn’t cancel it. And it’s not gone. It’s still here. And, today, I just want to bring it back. I want to make it tangible again for a little while .

How many photos do people have on hard drives and tablets that they never look at? Only a relatively short time ago, people had to develop camera film and therefore took shots sparingly whereas now the capacity was there to photograph everything, but ironically no one ever looked at them.