Short Public Domain Quotes

We’re taught early in life to keep our emotions hidden and we’re especially taught that negative emotions have no place in a public domain.

The 1950s and 1960s: philosophy, psychology, myth There was considerable critical interest in Woolf ’s life and work in this period, fuelled by the publication of selected extracts from her diaries, in A Writer’s Diary (1953), and in part by J. K. Johnstone’s The Bloomsbury Group (1954). The main critical impetus was to establish a sense of a unifying aesthetic mode in Woolf ’s writing, and in her works as a whole, whether through philosophy, psychoanalysis, formal aesthetics, or mythopoeisis. James Hafley identified a cosmic philosophy in his detailed analysis of her fiction, The Glass Roof: Virginia Woolf as Novelist (1954), and offered a complex account of her symbolism. Woolf featured in the influential The English Novel: A Short Critical History (1954) by Walter Allen who, with antique chauvinism, describes the Woolfian ‘moment’ in terms of ‘short, sharp female gasps of ecstasy, an impression intensified by Mrs Woolf ’s use of the semi-colon where the comma is ordinarily enough’. Psychological and Freudian interpretations were also emerging at this time, such as Joseph Blotner’s 1956 study of mythic patterns in To the Lighthouse, an essay that draws on Freud, Jung and the myth of Persephone.4 And there were studies of Bergsonian writing that made much of Woolf, such as Shiv Kumar’s Bergson and the Stream of Consciousness Novel (1962). The most important work of this period was by the French critic Jean Guiguet. His Virginia Woolf and Her Works (1962); translated by Jean Stewart, 1965) was the first full-length study ofWoolf ’s oeuvre, and it stood for a long time as the standard work of critical reference in Woolf studies. Guiguet draws on the existentialism of Jean-Paul Sartre to put forward a philosophical reading of Woolf; and he also introduces a psychobiographical dimension in the non-self.’ This existentialist approach did not foreground Woolf ’s feminism, either. his heavy use of extracts from A Writer’s Diary. He lays great emphasis on subjectivism in Woolf ’s writing, and draws attention to her interest in the subjective experience of ‘the moment.’ Despite his philosophical apparatus, Guiguet refuses to categorise Woolf in terms of any one school, and insists that Woolf has indeed ‘no pretensions to abstract thought: her domain is life, not ideology’. Her avoidance of conventional character makes Woolf for him a ‘purely psychological’ writer.5 Guiguet set a trend against materialist and historicist readings ofWoolf by his insistence on the primacy of the subjective and the psychological: ‘To exist, for Virginia Woolf, meant experiencing that dizziness on the ridge between two abysses of the unknown, the self and

Neoliberal economics, the logic of which is tending today to win out throughout the world thanks to international bodies like the World Bank or the International Monetary Fund and the governments to whom they, directly or indirectly, dictate their principles of ‘governance’,10 owes a certain number of its allegedly universal characteristics to the fact that it is immersed or embedded in a particular society, that is to say, rooted in a system of beliefs and values, an ethos and a moral view of the world, in short, an economic common sense, linked, as such, to the social and cognitive structures of a particular social order. It is from this particular economy that neoclassical economic theory borrows its fundamental assumptions, which it formalizes and rationalizes, thereby establishing them as the foundations of a universal model. That model rests on two postulates (which their advocates regard as proven propositions): the economy is a separate domain governed by natural and universal laws with which governments must not interfere by inappropriate intervention; the market is the optimum means for organizing production and trade efficiently and equitably in democratic societies. It is the universalization of a particular case, that of the United States of America, characterized fundamentally by the weakness of the state which, though already reduced to a bare minimum, has been further weakened by the ultra-liberal conservative revolution, giving rise as a consequence to various typical characteristics: a policy oriented towards withdrawal or abstention by the state in economic matters; the shifting into the private sector (or the contracting out) of ‘public services’ and the conversion of public goods such as health, housing, safety, education and culture – books, films, television and radio – into commercial goods and the users of those services into clients; a renunciation (linked to the reduction in the capacity to intervene in the economy) of the power to equalize opportunities and reduce inequality (which is tending to increase excessively) in the name of the old liberal ‘self-help’ tradition (a legacy of the Calvinist belief that God helps those who help themselves) and of the conservative glorification of individual responsibility (which leads, for example, to ascribing responsibility for unemployment or economic failure primarily to individuals, not to the social order, and encourages the delegation of functions of social assistance to lower levels of authority, such as the region or city); the withering away of the Hegelian–Durkheimian view of the state as a collective authority with a responsibility to act as the collective will and consciousness, and a duty to make decisions in keeping with the general interest and contribute to promoting greater solidarity. Moreover,

We can now see how the expansion of blockspace is on track to give us a cryptographically verifiable macrohistory, or cryptohistory for short. This is the log of everything that billions of people choose to make public: every decentralized tweet, every public donation, every birth and death certificate, every marriage and citizenship record, every crypto domain registration, every merger and acquisition of an on-chain entity, every financial statement, every public record — all digitally signed, timestamped, and hashed in freely available public ledgers.26 The thing is, essentially all of human behavior has a digital component now. Every purchase and communication, every ride in an Uber, every swipe of a keycard, and every step with a Fitbit — all of that produces digital artifacts. So, in theory you could eventually download the public blockchain of a network state to replay the entire cryptographically verified history of a community.25 That’s the future of public records, a concept that is to the paper-based system of the legacy state what paper records were to oral records.

The words looped in my head. Download it for free. Cheerful, triumphant. Download it for free! What a freaking bargain. “I’m sorry,” I said. “She found what?” "That website. Meems, what was the name again? Bongo or something?” Mimi looked up from her iPad. “What are you talking about?” “That website where you found Sarah’s book.” "Oh,” she said. “Bingo. Haven’t you heard of it? It’s like an online library. You can download almost anything for free. It’s amazing.” My hands were shaking. I set down Jen’s phone, and then I set down the wineglass next to it. Without a coaster. "You mean a pirate site,” I said. “Oh God, no! I would never. It’s an online library.” "That’s what they call it. But they’re just stealing. They’re fencing stolen goods. Easy to do with electronic copies.” "No. That’s not true.” Mimi’s voice rose a little. Sharpened a little. “Libraries lend out e-books.” “Real libraries do. They buy them from the publisher. Sites like Bingo just upload unauthorized copies to sell advertising or put cookies on your phone or whatever else. They’re pirates.” There was a small, shrill silence. I lifted my wineglass and took a long drink, even though my fingers were trembling so badly, I knew everyone could see the vibration. "Well,” said Mimi. “It’s not like it matters. I mean, the book’s been out for years and everything, it’s like public domain.” I put down the wineglass and picked up my tote bag. “So I don’t have time to lecture you about copyright law or anything. Basically, if publishers don’t get paid, authors don’t get paid. That’s kind of how it works.” "Oh, come on,” said Mimi. “You got paid for this book.” "Not as much as you think. Definitely not as much as your husband gets paid to short derivatives or whatever he does that buys all this stuff.” I waved my hand at the walls. “And you know, fine, maybe it’s not the big sellers who suffer. It’s the midlist authors, the great names you never hear of, where every sale counts … What am I saying? You don’t care. None of you actually cares. Sitting here in your palaces in the sky. You never had to earn a penny of your own. Why the hell should you care about royalties?” I climbed out of my silver chair and hoisted my tote bag over my shoulder. “It’s about a dollar a book, by the way. Paid out every six months. So I walked all the way over here, gave up an evening of my life, and even if every single one of you had actually bought a legitimate copy, I would have earned about a dozen bucks for my trouble. Twelve dollars and a glass of cheap wine. I’ll see myself out.