Slide Design For Quotes

I recall when we opened in New York how the designer locks were impossible to slide shut, often leading to a difficult encounter no matter which side of the door you were on.

If you and your slides are saying the same thing, one of you is not needed.

We don’t begin every new sentence in a conversation by restating our names, so why would you bombard people with your company logo on every slide?

three days after a presentation, most people only remember approximately 10% of what they heard. However, if you add a picture, recall shoots up to 65%.

What’s the first thing you should do when creating a PowerPoint presentation? If you’re like many people you’ll say, “Open PowerPoint.” Wrong answer. You should plan the story first. Just as a movie director storyboards the scenes before he begins shooting, you should create the story before you open the tool. You’ll have plenty of time to design pretty slides once the story is complete, but if the story is boring, you’ve lost your audience before you’ve spoken a word.

The three-second rule states that your audience should understand your slide within three seconds of seeing it.

place the holes for your pegs? In the legs? That’s good. How about in a wide front apron? That’s better. In a sliding deadman? Much better.

Things I Used to Get Hit For: Talking back. Being smart. Acting stupid. Not listening. Not answering the first time. Not doing what I’m told. Not doing it the second time I’m told. Running, jumping, yelling, laughing, falling down, skipping stairs, lying in the snow, rolling in the grass, playing in the dirt, walking in mud, not wiping my feet, not taking my shoes off. Sliding down the banister, acting like a wild Indian in the hallway. Making a mess and leaving it. Pissing my pants, just a little. Peeing the bed, hardly at all. Sleeping with a butter knife under my pillow. Shitting the bed because I was sick and it just ran out of me, but still my fault because I’m old enough to know better. Saying shit instead of crap or poop or number two. Not knowing better. Knowing something and doing it wrong anyway. Lying. Not confessing the truth even when I don’t know it. Telling white lies, even little ones, because fibbing isn’t fooling and not the least bit funny. Laughing at anything that’s not funny, especially cripples and retards. Covering up my white lies with more lies, black lies. Not coming the exact second I’m called. Getting out of bed too early, sometimes before the birds, and turning on the TV, which is one reason the picture tube died. Wearing out the cheap plastic hole on the channel selector by turning it so fast it sounds like a machine gun. Playing flip-and-catch with the TV’s volume button then losing it down the hole next to the radiator pipe. Vomiting. Gagging like I’m going to vomit. Saying puke instead of vomit. Throwing up anyplace but in the toilet or in a designated throw-up bucket. Using scissors on my hair. Cutting Kelly’s doll’s hair really short. Pinching Kelly. Punching Kelly even though she kicked me first. Tickling her too hard. Taking food without asking. Eating sugar from the sugar bowl. Not sharing. Not remembering to say please and thank you. Mumbling like an idiot. Using the emergency flashlight to read a comic book in bed because batteries don’t grow on trees. Splashing in puddles, even the puddles I don’t see until it’s too late. Giving my mother’s good rhinestone earrings to the teacher for Valentine’s Day. Splashing in the bathtub and getting the floor wet. Using the good towels. Leaving the good towels on the floor, though sometimes they fall all by themselves. Eating crackers in bed. Staining my shirt, tearing the knee in my pants, ruining my good clothes. Not changing into old clothes that don’t fit the minute I get home. Wasting food. Not eating everything on my plate. Hiding lumpy mashed potatoes and butternut squash and rubbery string beans or any food I don’t like under the vinyl seat cushions Mom bought for the wooden kitchen chairs. Leaving the butter dish out in summer and ruining the tablecloth. Making bubbles in my milk. Using a straw like a pee shooter. Throwing tooth picks at my sister. Wasting toothpicks and glue making junky little things that no one wants. School papers. Notes from the teacher. Report cards. Whispering in church. Sleeping in church. Notes from the assistant principal. Being late for anything. Walking out of Woolworth’s eating a candy bar I didn’t pay for. Riding my bike in the street. Leaving my bike out in the rain. Getting my bike stolen while visiting Grandpa Rudy at the hospital because I didn’t put a lock on it. Not washing my feet. Spitting. Getting a nosebleed in church. Embarrassing my mother in any way, anywhere, anytime, especially in public. Being a jerk. Acting shy. Being impolite. Forgetting what good manners are for. Being alive in all the wrong places with all the wrong people at all the wrong times.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

People are only capable of absorbing a very small amount of material at a time. Therefore, it is counterproductive to throw up a slide with lots of text or complicated diagrams. Each change on the screen should relate to one simple new thought that should be expanded and explained by the presenter.

Their ascent was accomplished via a wide spiral staircase that sat within the reflective tube. Each of the metal steps were welded to its core. But even here in this elegant construct, the infernal touch hadn’t been neglected. Each of the steps was set not at ninety degrees to the core, but at ninety-seven, or a hundred, or a hundred and five, each one different from the one before but all sending out the same message: nothing was certain here; nothing was safe. There was no railing to break the slide should someone lose their footing, only step after disquieting step designed to make the ascent as vertiginous as possible.

CHEMISTRY IS CHANGE, she wrote. Whenever you start doubting yourself, she said, turning back to the audience, whenever you feel afraid, just remember. Courage is the root of change - and change is what we’re chemically designed to do. So when you wake up tomorrow, make this pledge. No more holding yourself back. No more subscribing to others’ opinions of what you can and cannot achieve. And no more allowing anyone to pigeonhole you into useless categories of sex, race, economic status, and religion. Do not allow your town slide dormant, ladies. Design your own future. When you go home today, ask yourself what you will change. And then get started.

If you need to put eight-point or ten-point fonts up there, it’s because you do not know your material. If you start reading your material because you do not know your material, the audience is very quickly going to think that you are a bozo. They are going to say to themselves ‘This bozo is reading his slides. I can read faster than this bozo can speak. I will just read ahead.

Similarly, at Microsoft, many employees enjoy their own private offices, yet they come with sliding doors, movable walls, and other features that allow occupants to decide when they want to collaborate and when they need private time to think. These kinds of diverse workspaces benefit introverts as well as extroverts, the systems design researcher Matt Davis told me, because they offer more spaces to retreat to than traditional open-plan offices.

Grace." He drew out the word so it became a long, deep, guttural growl. A sound as primitive as a lion's roar for its mate. Her skin prickled with animal awareness and the breath caught in her throat. Every drop of moisture evaporated from her mouth. Low in her belly, blood began to beat slow and hard with anticipation. Her face must have betrayed her unfurling arousal. Or perhaps, like her, he reacted to the sudden charge in the air, as electric as the pause before a lightning strike. Still without shifting his fierce focus, he set down the box he carried. Then he reached to close the doors and slide the bolt across. Any doubt as to his purpose fled. A delicious thrill rippled through her. The summerhouse was raised on a platform so the windows opened above eye height. With the doors locked, it was a bower designed for private sin. Sin was clearly his aim. Now she looked more closely, she realized it wasn't anger that tightened the skin over the bones of his face. It was incendiary hunger. She should protest. Question. Demand he tell her why he was here. But overwhelming need kept her silent and pinned to the window seat.

I had these made special. The design is raised instead of carved in. Can you feel it?" Dillon asked. Hunter ran his fingertip over the outside of the ring. He nodded as a tear formed in the corner of his eye. "Can you tell me what it is?" Dillon asked quietly. Hunter nodded and his voice choked. "Two people…" "Two men," Dillon corrected. "Two men," Hunter said, "pulling each other into the center of a circle." Dillon watched his single tear slip and start sliding down his cheek. "Would you step into that circle with me, Hunter?" Hunter nodded, a small sound escaping him. "Yes.

So he'd waited. Counted the minutes. It had been worth it. Seeing her claw her way onto the landing, panting, hair curling with the sweat sliding down her face- completely worth his generally shit day. Nesta was still sprawled on the hall floor when she hissed, 'Whoever designed those stairs was a monster.' 'Would you believe that Rhys, Az, and I had to climb up and down them as punishment when we were boys?' Her eyes shimmered with temper- good. Better than the vacant ice. 'Why?' 'Because we were young and stupid and testing boundaries with a High Lord who didn't understand practical jokes regarding public nudity.' He nodded toward the stairs. 'I got so dizzy on the hike down that I puked on Az. he then puked on Rhys, and Rhys puked all over himself. It was the height of summer, and by the time we made the trek back up, the heat was unbearable, we all reeked, and the scent of the vomit on the stairs had become horrific. We all puked again as we walked through it.' He could have sworn the corners of her mouth were trying to twitch upward. He didn't hold back his own grin at the memory. Even if they'd still had to hike back down and mop it all up.

His hair was mussed, and his teeth were very white in his swarthy, dust-streaked face. With his autocratic facade stripped away, and his eyes sparkling with enjoyment, his grin was so unexpectedly engaging that Lillian experienced a curious melting sensation inside. Hanging over him, she felt her own lips curving in a reluctant smile. A loose lock of her hair dangled free of its tether, sliding silkily over his jaw. “What’s a trebuchet?” she asked. “A catapult. I have a friend who has a keen interest in medieval weaponry. He…” Westcliff hesitated, a new tension seeming to spread through his taut body as he lay beneath her. “He recently built a trebuchet using an ancient design…and enlisted me to help fire it…” Lillian was entertained by the idea that the normally reserved Westcliff was capable of such boyish antics. Realizing that she was straddling him, she colored and began to wriggle off him. “Your aim was off?” she asked, striving to sound casual. “The owner of the stone wall we demolished seemed to think so.” The earl caught his breath sharply as her body slid away from his, and remained sitting on the ground even after she had gotten to her feet.

I try on the absurdly skinny threadbare designer jeans and almost begin to sob when I can button them. I have come full circle. Or maybe I’m the snake that perpetually eats itself, but here’s what I mean: I no longer have my life stretched before me, where anything is possible. I am facing joint replacement, mental decline, the shriveling, wilting decay of old age. But I face it wearing the exact same jeans I wore when I was seventeen and felt electricity flash and slide along my skin, when I burned inside to make something of myself, something big, something loud and powerful and strong, something you couldn’t look away from or ignore.

To avoid corrosion of the steel structure, the designers have implemented a clever air-conditioning system that circles 45,000m³ of warm air per-hour within the vicinity of the shelter’s cladding. “There are steel structures that have lasted 100 years, such as the Eiffel Tower, but they last because they’re continually repainted,” said Dr Eric Schmieman, a senior technical advisor from Pacific Northwest National Laboratory in the US, to Wired magazine in 2013. “We’re not able to do that once we slide this into place - the radiation levels are so high we can’t send people in. So what are we going to do? We are going to condition the air that goes into that space. We’re going to keep the relative humidity in there at less than 40 percent.”278

The day we visited, mothers were chatting comfortably on one of the benches while their children ran around happily exploring and playing games. The beauty of natural playgrounds is that they tap directly into children’s passions. In traditional playspaces constructed of metal and plastic, decisions about what to play are made by the designers. First you swing. Then you go down the slide. Too often, the result is competition, with kids arguing over who gets to do what, followed by frustration and tears. Conversely, in natural play areas, the child is boss. Imaginations are fired up as kids invent games with the available loose parts. Studies show that interactions tend to be more cooperative as well. Bullying is greatly decreased, and both vandalism and aggressive behavior also go down if there is a tree canopy. And with greater engagement comes longer play intervals, about three times longer compared with old-style play equipment.

I select the right practice gun, the one about the size of a pistol, but bulkier, and offer it to Caleb. Tris’s fingers slide between mine. Everything comes easily this morning, every smile and every laugh, every word and every motion. If we succeed in what we attempt tonight, tomorrow Chicago will be safe, the Bureau will be forever changed, and Tris and I will be able to build a new life for ourselves somewhere. Maybe it will even be a place where I trade my guns and knives for more productive tools, screwdrivers and nails and shovels. This morning I feel like I could be so fortunate. I could. “It doesn’t shoot real bullets,” I say, “but it seems like they designed it so it would be as close as possible to one of the guns you’ll be using. It feels real, anyway.” Caleb holds the gun with just his fingertips, like he’s afraid it will shatter in his hands. I laugh. “First lesson: Don’t be afraid of it. Grab it. You’ve held one before, remember? You got us out of the Amity compound with that shot.” “That was just lucky,” Caleb says, turning the gun over and over to see it from every angle. His tongue pushes into his cheek like he’s solving a problem. “Not the result of skill.” “Lucky is better than unlucky,” I say. “We can work on skill now.” I glance at Tris. She grins at me, then leans in to whisper something to Christina. “Are you here to help or what, Stiff?” I say. I hear myself speaking in the voice I cultivated as an initiation instructor, but this time I use it in jest. “You could use some practice with that right arm, if I recall correctly. You too, Christina.” Tris makes a face at me, then she and Christina cross the room to get their own weapons. “Okay, now face the target and turn the safety off,” I say. There is a target across the room, more sophisticated, than the wooden-board target in the Dauntless training rooms. It has three rings in three different colors, green, yellow, and red, so it’s easier to tell where the bullets it. “Let me see how you would naturally shoot.” He lifts up the gun with one hand, squares off his feet and shoulders to the target like he’s about to lift something heavy, and fires. The gun jerks back and up, firing the bullet near the ceiling. I cover my mouth with my hand to disguise my smile. “There’s no need to giggle,” Caleb says irritably. “Book learning doesn’t teach you everything, does it?” Christina says. “You have to hold it with both hands. It doesn’t look as cool, but neither does attacking the ceiling.” “I wasn’t trying to look cool!” Christina stands, her legs slightly uneven, and lifts both arms. She stares the target for a moment, then fires. The training bullet hits the outer circle of the target and bounces off, rolling on the floor. It leaves a circle of light on the target, marking the impact site. I wish I’d had this technology during initiation training. “Oh, good,” I say. “You hit the air around your target’s body. How useful.” “I’m a little rusty,” Christina admits, grinning.

Arin had bathed. He was wearing house clothes, and when Kestrel saw him standing in the doorway his shoulders were relaxed. Without being invited, he strode into the room, pulled out the other chair at the small table where Kestrel waited, and sat. He arranged his arms in a position of negligent ease and leaned into the brocaded chair as if he owned it. He seemed, Kestrel thought, at home. But then, he had also seemed so in the forge. Kestrel looked away from him, stacking the Bite and Sting tiles on the table. It occurred to her that it was a talent for Arin to be comfortable in such different environments. She wondered how she would fare in his world. He said, “This is not a sitting room.” “Oh?” Kestrel mixed the tiles. “And here I thought we were sitting.” His mouth curved slightly. “This is a writing room. Or, rather”--he pulled his six tiles--“it was.” Kestrel drew her Bite and Sting hand. She decided to show no sign of curiosity. She would not allow herself to be distracted. She arranged her tiles facedown. “Wait,” he said. “What are the stakes?” She had given this careful consideration. She took a small wooden box from her skirt pocket and set it on the table. Arin picked up the box and shook it, listening to the thin, sliding rattle of its contents. “Matches.” He tossed the box back onto the table. “Hardly high stakes.” But what were appropriate stakes for a slave who had nothing to gamble? This question had troubled Kestrel ever since she had proposed the game. She shrugged and said, “Perhaps I am afraid to lose.” She split the matches between them. “Hmm,” he said, and they each put in their ante. Arin positioned his tiles so that he could see their engravings without revealing them to Kestrel. His eyes flicked to them briefly, then lifted to examine the luxury of his surroundings. This annoyed her--both because she could glean nothing from his expression and because he was acting the gentleman by averting his gaze, offering her a moment to study her tiles without fear of giving away something to him. As if she needed such an advantage. “How do you know?” she said. “How do I know what?” “That this was a writing room. I have never heard of such a thing.” She began to position her own tiles. It was only when she saw their designs that she wondered whether Arin had really been polite in looking away, or if he had been deliberately provoking her. She concentrated on her draw, relieved to see that she had a good set. A tiger (the highest tile); a wolf, a mouse, a fox (not a bad trio, except the mouse); and a pair of scorpions. She liked the Sting tiles. They were often underestimated. Kestrel realized that Arin had been waiting to answer her question. He was watching her. “I know,” he said, “because of this room’s position in your suite, the cream color of the walls, and the paintings of swans. This was where a Herrani lady would pen her letters or write journal entries. It’s a private room. I shouldn’t be allowed inside.” “Well,” said Kestrel, uncomfortable, “it is no longer what it was.

It is often said that a strategy is a choice or a decision. The words “choice” and “decision” evoke an image of someone considering a list of alternatives and then selecting one of them. There is, in fact, a formal theory of decisions that specifies exactly how to make a choice by identifying alternative actions, valuing outcomes, and appraising probabilities of events. The problem with this view, and the reason it barely lightens a leader’s burden, is that you are rarely handed a clear set of alternatives. In the case at hand, Hannibal was certainly not briefed by a staff presenting four options arranged on a PowerPoint slide. Rather, he faced a challenge and he designed a novel response. Today, as then, many effective strategies are more designs than decisions—are more constructed than chosen. In these cases, doing strategy is more like designing a high-performance aircraft than deciding which forklift truck to buy or how large to build a new factory. When someone says “Managers are decision makers,” they are not talking about master strategists, for a master strategist is a designer.

Zaphod's attention however was elsewhere. His attention was riveted on the ship standing next to Hotblack Desiato's limo. His mouths hung open. "That," he said, "that ... is really bad for the eyes ..." Ford looked. He too stood astonished. It was a ship of classic, simple design, like a flattened salmon, twenty yards long, very clean, very sleek. There was just one remarkable thing about it. "It's so ... black!" said Ford Prefect, "you can hardly make out its shape ... light just seems to fall into it!" Zaphod said nothing. He had simply fallen in love. The blackness of it was so extreme that it was almost impossible to tell how close you were standing to it. "Your eyes just slide off it ..." said Ford in wonder. It was an emotional moment. He bit his lip. Zaphod moved forward to it, slowly, like a man possessed - or more accurately like a man who wanted to possess. His hand reached out to stroke it. His hand stopped. His hand reached out to stroke it again. His hand stopped again. "Come and feel the surface," he said in a hushed voice. Ford put his hand out to feel it. His hand stopped. "You ... you can't ..." he said. "See?" said Zaphod, "it's just totally frictionless. This must be one mother of a mover ..." He turned to look at Ford seriously. At least, one of his heads did - the other stayed gazing in awe at the ship. "What do you reckon, Ford?" he said. "You mean ... er ..." Ford looked over his shoulder. "You mean stroll off with it? You think we should?" "No." "Nor do I." "But we're going to, aren't we?" "How can we not?

Elizabeth’s concern that Ian might insult them, either intentionally or otherwise, soon gave way to admiration and then to helpless amusement as he sat for the next half-hour, charming them all with an occasional lazy smile or interjecting a gallant compliment, while they spent the entire time debating whether to sell the chocolates being donated by Gunther’s for $5 or $6 per box. Despite Ian’s outwardly bland demeanor, Elizabeth waited uneasily for him to say he’d buy the damned cartload of chocolates for $10 apiece, if it would get them on to the next problem, which she knew was what he was dying to say. But she needn’t have worried, for he continued to positively exude pleasant interest. Four times, the committee paused to solicit his advice; four times, he smilingly made excellent suggestions; four times, they ignored what he suggested. And four times, he seemed not to mind in the least or even notice. Making a mental note to thank him profusely for his incredible forbearance, Elizabeth kept her attention on her guests and the discussion, until she inadvertently glanced in his direction, and her breath caught. Seated on the opposite side of the gathering from her, he was now leaning back in his chair, his left ankle propped atop his right knee, and despite his apparent absorption in the topic being discussed, his heavy-lidded gaze was roving meaningfully over her breasts. One look at the smile tugging at his lips and Elizabeth realized that he wanted her to know it. Obviously he’d decided that both she and he were wasting their time with the committee, and he was playing an amusing game designed to either divert her or discomfit her entirely, she wasn’t certain which. Elizabeth drew a deep breath, ready to blast a warning look at him, and his gaze lifted slowly from her gently heaving bosom, traveled lazily up her throat, paused at her lips, and then lifted to her narrowed eyes. Her quelling glance earned her nothing but a slight, challenging lift of his brows and a decidedly sensual smile, before his gaze reversed and began a lazy trip downward again. Lady Wiltshire’s voice rose, and she said for the second time, “Lady Thornton, what do you think?” Elizabeth snapped her gaze from her provoking husband to Lady Wiltshire. “I-I agree,” she said without the slightest idea of what she was agreeing with. For the next five minutes, she resisted the tug of Ian’s caressing gaze, firmly refusing to even glance his way, but when the committee reembarked on the chocolate issue again, she stole a look at him. The moment she did, he captured her gaze, holding it, while he, with an outward appearance of a man in thoughtful contemplation of some weighty problem, absently rubbed his forefinger against his mouth, his elbow propped on the arm of his chair. Elizabeth’s body responded to the caress he was offering her as if his lips were actually on hers, and she drew a long, steadying breath as he deliberately let his eyes slide to her breasts again. He knew exactly what his gaze was doing to her, and Elizabeth was thoroughly irate at her inability to ignore its effect. The committee departed on schedule a half-hour later amid reminders that the next meeting would be held at Lady Wiltshire’s house. Before the door closed behind them, Elizabeth rounded on her grinning, impenitent husband in the drawing room. “You wretch!” she exclaimed. “How could you?” she demanded, but in the midst of her indignant protest, Ian shoved his hands into her hair, turned her face up, and smothered her words with a ravenous kiss. “I haven’t forgiven you,” she warned him in bed an hour later, her cheek against his chest. Laughter, rich and deep, rumbled beneath her ear. “No?” “Absolutely not. I’ll repay you if it’s the last thing I do.” “I think you already have,” he said huskily, deliberately misunderstanding her meaning.

Quote from "The Dish Keepers of Honest House" ....TO TWIST THE COLD is easy when its only water you want. Tapping of the toothbrush echoes into Ella's mind like footsteps clacking a cobbled street on a bitter, dry, cold morning. Her mind pushes through sleep her body craves. It catches her head falling into a warm, soft pillow. "Go back to bed," she tells herself. "You're still asleep," Ella mumbles, pushes the blanket off, and sits up. The urgency to move persuades her to keep routines. Water from the faucet runs through paste foam like a miniature waterfall. Ella rubs sleep-deprieved eyes, then the bridge of her nose and glances into the sink. Ella's eyes astutely fixate for one, brief millisecond. Water becomes the burgundy of soldiers exiting the drain. Her mouth drops in shock. The flow turns green. It is like the bubbling fungus of flockless, fishless, stagnating ponds. Within the iridescent glimmer of her thinking -- like a brain losing blood flow, Ella's focus is the flickering flashing of gray, white dust, coal-black shadows and crows lifting from the ground. A half minute or two trails off before her mind returns to reality. Ella grasps a toothbrush between thumb and index finger. She rests the outer palm against the sink's edge, breathes in and then exhales. Tension in the brow subsides, and her chest and shoulders drop; she sighs. Ella stares at pasty foam. It exits the drain as if in a race to clear the sink of negativity -- of all germs, slimy spit, the burgundy of imagined soldiers and oppressive plaque. GRASPING THE SILKY STRAND between her fingers, Ella tucks, pulls and slides the floss gently through her teeth. Her breath is an inch or so of the mirror. Inspections leave her demeanor more alert. Clouding steam of the image tugs her conscience. She gazes into silver glass. Bits of hair loosen from the bun piled at her head's posterior. What transforms is what she imagines. The mirror becomes a window. The window possesses her Soul and Spirit. These two become concerned -- much like they did when dishonest housekeepers disrupted Ella's world in another story. Before her is a glorious bird -- shining-dark-as-coal, shimmering in hues of purple-black and black-greens. It is likened unto The Raven in Edgar Allan Poe's most famous poem of 1845. Instead of interrupting a cold December night with tapping on a chamber door, it rests its claws in the decorative, carved handle of a backrest on a stiff dining chair. It projects an air of humor and concern. It moves its head to and fro while seeking a clearer understanding. Ella studies the bird. It is surrounded in lofty bends and stretches of leafless, acorn-less, nearly lifeless, oak trees. Like fingers and arms these branches reach below. [Perhaps they are reaching for us? Rest assured; if they had designs on us, I would be someplace else, writing about something more pleasant and less frightening. Of course, you would be asleep.] Balanced in the branches is a chair. It is from Ella's childhood home. The chair sways. Ella imagines modern-day pilgrims of a distant shore. Each step is as if Mother Nature will position them upright like dolls, blown from the stability of their plastic, flat, toe-less feet. These pilgrims take fate by the hand. LIFTING A TOWEL and patting her mouth and hands, Ella pulls the towel through the rack. She walks to the bedroom, sits and picks up the newspaper. Thumbing through pages that leave fingertips black, she reads headlines: "Former Dentist Guilty of Health Care Fraud." She flips the page, pinches the tip of her nose and brushes the edge of her chin -- smearing both with ink. In the middle fold directly affront her eyes is another headline: "Dentist Punished for Misconduct." She turns the page. There is yet another: "Dentist guilty of urinating in surgery sink and using contaminated dental instruments on patients." This world contains those who are simply insane! Every profession has those who stray from goals....

A word of explanation about how the information in this book was obtained, evaluated and used. This book is designed to present, as best my reporting could determine, what really happened. The core of this book comes from the written record—National Security Council meeting notes, personal notes, memos, chronologies, letters, PowerPoint slides, e-mails, reports, government cables, calendars, transcripts, diaries and maps. Information in the book was supplied by more than 100 people involved in the Afghanistan War and national security during the first 18 months of President Barack Obama’s administration. Interviews were conducted on “background,” meaning the information could be used but the sources would not be identified by name. Many sources were interviewed five or more times. Most allowed me to record the interviews, which were then transcribed. For several sources, the combined interview transcripts run more than 300 pages. I have attempted to preserve the language of the main characters and sources as much as possible, using their words even when they are not directly quoted, reflecting the flavor of their speech and attitudes. Many key White House aides were interviewed in-depth. They shared meeting notes, important documents, recollections of what happened before, during and after meetings, and assisted extensively with their interpretations. Senior and well-placed military, intelligence and diplomatic officials also provided detailed recollections, read from notes or assisted with documents. Since the reporting was done over 18 months, many interviews were conducted within days or even hours after critical discussions. This often provided a fresher and less-calculated account. Dialogue comes mostly from the written record, but also from participants, usually more than one. Any attribution of thoughts, conclusions or feelings to a person was obtained directly from that person, from notes or from a colleague whom the person told. Occasionally, a source said mid-conversation that something was “off-the-record,” meaning it could not be used unless the information was obtained elsewhere. In many cases, I was able to get the information elsewhere so that it could be included in this book. Some people think they can lock up and prevent publication of information by declaring it “off-the-record” or that they don’t want to see it in the book. But inside any White House, nearly everyone’s business and attitudes become known to others. And in the course of multiple, extensive interviews with firsthand sources about key decision points in the war, the role of the players became clear. Given the diversity of sources, stakes and the lives involved, there is no way I could write a sterilized or laundered version of this story. I interviewed President Obama on-the-record in the Oval Office for one hour and 15 minutes on Saturday, July 10, 2

I stared through the front door at Barrons Books and Baubles, uncertain what surprised me more: that the front seating cozy was intact or that Barrons was sitting there, boots propped on a table, surrounded by piles of books, hand-drawn maps tacked to the walls. I couldn’t count how many nights I’d sat in exactly the same place and position, digging through books for answers, occasionally staring out the windows at the Dublin night, and waiting for him to appear. I liked to think he was waiting for me to show. I leaned closer, staring in through the glass. He’d refurnished the bookstore. How long had I been gone? There was my magazine rack, my cashier’s counter, a new old-fashioned cash register, a small flat-screen TV/DVD player that was actually from this decade, and a sound dock for my iPod. There was a new sleek black iPod Nano in the dock. He’d done more than refurnish the place. He might as well have put a mat out that said WELCOME HOME, MAC. A bell tinkled as I stepped inside. His head whipped around and he half-stood, books sliding to the floor. The last time I’d seen him, he was dead. I stood in the doorway, forgetting to breathe, watching him unfold from the couch in a ripple of animal grace. He crammed the four-story room full, dwarfed it with his presence. For a moment neither of us spoke. Leave it to Barrons—the world melts down and he’s still dressed like a wealthy business tycoon. His suit was exquisite, his shirt crisp, tie intricately patterned and tastefully muted. Silver glinted at his wrist, that familiar wide cuff decorated with ancient Celtic designs he and Ryodan both wore. Even with all my problems, my knees still went weak. I was suddenly back in that basement. My hands were tied to the bed. He was between my legs but wouldn’t give me what I wanted. He used his mouth, then rubbed himself against my clitoris and barely pushed inside me before pulling out, then his mouth, then him, over and over, watching my eyes the whole time, staring down at me. What am I, Mac? he’d say. My world, I’d purr, and mean it. And I was afraid that, even now that I wasn’t Pri-ya, I’d be just as out of control in bed with him as I was then. I’d melt, I’d purr, I’d hand him my heart. And I would have no excuse, nothing to blame it on. And if he got up and walked away from me and never came back to my bed, I would never recover. I’d keeping waiting for a man like him, and there were no other men like him. I’d have to die old and alone, with the greatest sex of my life a painful memory. So, you’re alive, his dark eyes said. Pisses me off, the wondering. Do something about that. Like what? Can’t all be like you, Barrons. His eyes suddenly rushed with shadows and I couldn’t make out a single word. Impatience, anger, something ancient and ruthless. Cold eyes regarded me with calculation, as if weighing things against each other, meditating—a word Daddy used to point out was the larger part of premeditation. He’d say, Baby, once you start thinking about it, you’re working your way toward it. Was there something Barrons was working his way toward doing? I shivered.

Last year, I was teaching a group of executives who were arguing about whether it was possible to do creative work with people who had poor social skills and who preferred to work alone. One executive from a computer hardware firm squirmed and turned red, finally blurting out, “These are exactly the kind of people I manage.” He went on to say: They hide in their offices, and don’t come out. We divide the work so they each have a separate part. We slide their assignment under the door and run away. They ignore us when we tell them it is good enough—they won’t let us build it until it meets their standards for elegant designs—they don’t care what we think.

consider experimenting with programs like Prezi, Powtoon, Emaze and Focusky among others. Here are some tips to help you make your presentation slide: It would be recommended to use images and photos. If you would watch TED-style talks, most of the speakers use images to convey a point.

No more than six words on a slide.

The flip side of this is that if the slides can stand by themselves, why the heck are you up there in front of them?

Attempting to have slides serve both as projected visuals and as stand-alone handouts makes for bad visuals and bad documentation.

When you look at your slide, notice where your eye is drawn first, second, and so on. What path does your eye take?

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People make decisions based on emotions, and then justify their actions using logic.

law of diffusion of innovation,

We're not making slides, we design it.

Here’s a key concept that is completely counterintuitive, but unbelievably powerful: “Say it, then show it,” rather than “Show it, then say it.” The vast majority of presenters put up a slide on the screen, glance at it, and then read it out loud to the audience. This is completely and disastrously wrong. The right way (but difficult until you’ve practiced enough to get comfortable with it) is to start talking about the next point while you are still on the previous slide, and only then bring up the new slide.

• What will the display really show your audience? • How will it help them to see your point? • What is the essence of the point this particular chart helps to make? • Are any elements in this slide nonessential?

Then what John considers maybe the worst type, because it can cunningly masquerade as patience and humble frustration. You've got the Complacent type, who improves radically until he hits a plateau, and is content with the radical improvement he's made to get to the plateau, and doesn't mind staying at the plateau because it's comfortable and familiar, and he doesn't worry about getting off it, and pretty soon you find he's designed a whole game around compensating for the weaknesses and chinks in the armor the given plateau represents in his game, still — his whole game is based on this plateau now. And little by little, guys he used to beat start beating him, locating the chinks of the plateau, and his rank starts to slide, but he'll say he doesn't care, he says he's in it for the love of the game, and he always smiles but there gets to be something sort of tight and hangdog about his smile, and he always smiles and is real nice to everybody and real good to have around but he keeps staying where he is while other guys hop plateaux, and he gets beat more and more, but he's content. Until one day there's a quiet knock at the door.

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Q: Why We Drive is a unique book, combining cartoons, text-form journalism, and photographs. How did it come about? After I did the book CARtoons in 2001, I got invitations to speak at various venues including The Village Building Convergence, bookstores and a few universities. Being a visual artist, I gradually developed a slide talk about the social, environmental, economic and political problems of transportation design in America. I used a mixture of cartoons, photographs and maps because I found it was helpful to give people real-world examples of good and bad urban design. When I got positive feedback from the talk, I became interested in turning it into a book and an interactive website. I still have to build the interactive website but Microcosm helped me create, edit and publish the book. My goal was to explain transportation design issues and politics in a simple way to college students and the general public, as well as put forward a few ideas about why I believe we’re not making more political progress at reforming our transportation system. (2015 interview with Microcosm Publishing)2015

From Microsoft OneNote, Google Keep, and Apple Notes to Notion and Evernote, digital notes apps have four powerful characteristics that make them ideal for building a Second Brain. They are: Multimedia: Just like a paper notebook might contain drawings and sketches, quotes and ideas, and even a pasted photo or Post-it, a notes app can store a wide variety of different kinds of content in one place, so you never need to wonder where to put something. Informal: Notes are inherently messy, so there’s no need for perfect spelling or polished presentation. This makes it as easy and frictionless as possible to jot things down as soon as they occur to you, which is essential to allow nascent ideas to grow. Open-ended: Taking notes is a continuous process that never really ends, and you don’t always know where it might lead. Unlike more specialized kinds of software that are designed to produce a specific kind of output (such as slide decks, spreadsheets, graphics, or videos), notes are ideal for free-form exploration before you have a goal in mind. Action-oriented: Unlike a library or research database, personal notes don’t need to be comprehensive or precise. They are designed to help you quickly capture stray thoughts so you can remain focused on the task at hand.

Like a clap of thunder, at a high decibel level yet with a suddenly squeaky voice, as high as it was loud, with his flying white hair in the light of the slide projector and therefore magnified a hundredfold as filaments gone haywire over the exquisitely painted van Eyck, Professor Schapiro shouted out, “He’s pissing! He’s pissing!

There are signs, however, that a good time was had all last night. Jo might have found herself caught in the middle of a love triangle, but she clearly didn't mind staying around when she thought that one of the angles had been dispensed with. The remains of dinner still grace the table---dirty dishes, rumpled napkins, a champagne flute bearing a lipstick mark. There's even one of the Chocolate Heaven goodies left in the box---which is absolute sacrilege in my book, so I pop it in my mouth and enjoy the brief lift it gives me. I huff unhappily to myself. If they left chocolate uneaten, that must be because they couldn't wait to get down to it. Two of the red cushions from the sofa are on the floor, which shows a certain carelessness that Marcus doesn't normally exhibit. They're scattered on the white, fluffy sheepskin rug, which should immediately make me suspicious---and it does. I walk through to the bedroom and, of course, it isn't looking quite as pristine as it did yesterday. Both sides of the bed are disheveled and I think that tells me just one thing. But, if I needed confirmation, there's a bottle of champagne and two more flutes by the side of the bed. It seems that Marcus didn't sleep alone. Heavy of heart and footstep, I trail back through to the kitchen. More devastation faces me. Marcus had made no attempt to clear up. The dishes haven't been put into the dishwasher and the congealed remnants of last night's Moroccan chicken with olives and saffron-scented mash still stand in their respective saucepans on the cooker. Tipping the contents of one pan into the other, I then pick up a serving spoon and carry them both through the bedroom. I slide open the wardrobe doors and the sight of Marcus's neatly organized rows of shirts and shoes greet me. Balancing the pan rather precariously on my hip, I dip the serving spoon into the chicken and mashed potatoes and scoop up as much as I can. Opening the pocket of Marcus's favorite Hugo Boss suit, I deposit the cold mash into it. To give the man credit where credit is due, his mash is very light and fluffy. I move along the row, garnishing each of his suits with some of his gourmet dish, and when I've done all of them, find that I still have some food remaining. Seems as if the lovers didn't have much of an appetite, after all. I move onto Marcus's shoes---rows and rows of lovely designer footwear---casual at one end, smart at the other. He has a shoe collection that far surpasses mine. Ted Baker, Paul Smith, Prada, Miu Miu, Tod's... I slot a full spoon delicately into each one, pressing it down into the toe area for maximum impact. I take the saucepan back into the kitchen and return it to the hob. With the way I'm feeling, Marcus is very lucky that I don't just burn his flat down. Instead, I open the freezer. My boyfriend---ex-boyfriend---has a love of seafood. (And other women, of course.) I take out a bag of frozen tiger prawns and rip it open. In the living room, I remove the cushions from the sofa and gently but firmly push a couple of handfuls of the prawns down the back. Through to the bedroom and I lift the mattress on Marcus's lovely leather bed and slip the remaining prawns beneath it, pressing them as flat as I can. In a couple of days, they should smell quite interesting. As my pièce de résistance, I go back to the kitchen and take the half-finished bottle of red wine---the one that I didn't even get a sniff at---and pour it all over Marcus's white, fluffy rug. I place my key in the middle of the spreading stain. Then I take out my lipstick, a nice red one called Bitter Scarlet---which is quite appropriate, if you ask me---and I write on his white leather sofa, in my best possible script: MARCUS CANNING, YOU ARE A CHEATING BASTARD.

In response, teams fitted rubber skirts to the cars, but they didn’t work nearly as well because they flexed in a poorly controlled way and wore out – which is something that rubber does when it slides along the ground.

THE GLANCE-OFF is even more important than the parry in causing deflection. The guarding positions of your hands and arms, and the hunched left shoulder in your normal punching stance were designed to give the upper portion of your body a wedgelike effect. That wedging of hands, arms, shoulder and forehead should enable you to (1) keep inside an opponent's attack as you step in to lead or to counter, and (2) cause most blows to glance off to the sides or up into the air. The glance-off is more dependable than the parry because there's more solidity, if necessary, in the glance-off 1 than in the parry. The reserve solidity is there only in case your glance-off has to be turned into a block. However, the less solid the glance-off, the less your own balance is disturbed. Your glance-off movements are not the solid, chopping movements of hand or arm blocks; they are lightning, knifing or sliding movements. They interfere little with your balance, but they spin your opponent slightly out of punching position. If you watch a professional fighter punch the light bag, you'll note that more than half his bag-work comprises a rhythmic tattoo achieved like this: straight left - backhand left - straight right - backhand right -straight left - etc. You may ask, "Why this backhand striking, when the backhand blow is illegal in boxing?" The answer to that is: He's sharpening his backhand for glance-offs and blocking. If you get a chance to use the light bag, spend half your time on that tattoo. A power-backhand for glancing and blocking is almost as useful for a fighter as is a good backhand for a tennis player.

Examples of projects could include: Projects at work: Complete web-page design; Create slide deck for conference; Develop project schedule; Plan recruitment drive. Personal projects: Finish Spanish language course; Plan vacation; Buy new living room furniture; Find local volunteer opportunity. Side projects: Publish blog post; Launch crowdfunding campaign; Research best podcast microphone; Complete online course. If you are not already framing your work in terms of specific, concrete projects, making this shift will give you a powerful jump start to your productivity.

when a device as simple as a door has to have a sign telling you whether to pull, push, or slide, then it is a failure, poorly designed.

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

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The other had come from that very same taiga gryphon. They'd been young and playing on a frozen lake. Both were adults with their hunting grounds. Both were new adults with their first hunting grounds. The taiga gryphon had seen her try to pounce a bog hopper and miss. The light snow had concealed the ice underneath, and Satra had gone sliding. The taiga gryphon's name was Mignet, but Satra hadn't known that yet. Satra heard the laughing and growled - well, squeaked, her voice giving out - a challenge. Mignet had flown down and landed daintily on the ice. She'd been beautiful, graceful. While taiga gryphons included several designs and shapes, she's been the one most strangers conjured up if asked to describe the taiga pride: white with black bars and rosettes. She was Satra's first, and only, crush.

Slide (on-screen): The touch should have a low damping for a smooth slide. The lower the damping, the easier it is to move your finger and the better the experience.

Waiting impatiently for Adena to arrive, I pull the slim box from one of the many pockets on the vest she made. The lid slides off easily, allowing me to admire what lies within. The needle is slightly larger than the ones I’ve witnessed her stab each finger with. The silver gleams, even in the dull light. I’m just able to make out the intricate, half-moon designs carved across the length of it.

I exhaled in a breath of despondent irritation. “But that means I’ll have two jobs, the design side of things plus this,” I jabbed an unhappy finger at the screen. “This yuckiness. That doesn’t sound fair.” It wasn’t, come to think of it. Jared’s mouth slanted to the corner and I expounded on my point. “You run the business side, Kevin and Elspeth do designs, yet I’m doing designs plus the business shit now? That sucks.” Jared smirked. “You’re cute.” “Thank you.” I agreed with the sentiment. “As are you, but my cuteness has no bearing on this.” “I know,” he wrapped his arms around my waist and leaned back in the chair. “But I wanted to throw it out there. You’re very cute when you try to shirk your responsibilities.” “Does this new role come with a pay raise?” I drawled. Jared let one of his hands slide to my ass where he landed a light pat. “Wages are fixed for the near future, besides you get extra payments in kind almost every single day. What would Kevin and Elspeth say if they knew about the additional incentives I give you?

Any skilled con artist knows the key to deceiving your mark is to get them to believe your scheme was their idea. Translation: The key to getting people to follow you is to convince them they aren't following anyone at all. With the rise of social media empires and their spooky digital algorithms, these powerful forces now have direct access to our flows of consciousness every time we slide our thumbs across our phones. What we are led to believe are just ads, news links, retweets, and random digital flotsam are, in reality, mass behavior modification techniques intentionally designed to influence how we think, feel, believe, shop, vote, and live.

Slide (on-screen) The touch should have a low damping for a smooth slide. The lower the damping, the easier it is to move your finger and the better the experience.

Indeed, as Arum and Roksa (2011) so eloquently reveal, as far as most students are concerned, the certifying power of the degree is the sole purpose of going to college, besides, of course, the social life. Once they have that degree, they believe they can become part of the workforce, prosper, and be happy. In this context, then, educating the whole student means little more than creating a student who can slide easily into the workforce, participating in the status quo.

Jon Stone spoke thirteen languages and was fluent in six, French being one. He spoke it so well the girls thought he was a native Parisian pretending to be an American. This ability to blend with the natives was a valuable tool when Jon plied his trade. Jon eased from the bed. Floor-to-ceiling sliding glass doors lined the back of his house, ten-foot-tall, custom-designed monsters so Jon could Zen on the view. Golden lights glittered to the horizon, ruby flashes marked ghetto-bird prowlers, jets descending toward LAX were strung like pearls across a tuxedo black sky. The doors were heavy as trucks, but silent as silk when they slid open. Jon stepped out and went to the pool. Pike was a silhouette cutout, backlit by the city as Jon swaggered close. “What

I want to show you something,” I say. “But I’m afraid you’re going to be angry at me.” She’s suddenly on guard. “Why? What is it?” I turn my wrist over and point to her tattoo on my inner wrist. It’s a bare spot I’d been saving for something special. She leans toward it, and all of her breath rushes from her body. I can feel it across my hand when she exhales. “That’s my tat,” she says. She takes my hand in hers and lifts it toward her face. “Are you angry?” I ask. She looks up at me briefly and then back down at the tattoo. She’s taking in every facet of it. Her hand trembles as she holds tightly to mine. “You changed it.” “I felt like you needed a way out.” I put it on my wrist because I was intrigued by the secrets inside. It’s art, and I appreciate art in all its forms. She swallows. Hard. Then her eyes start to fill with tears. She blinks them back for as long as she can. And then she gets up and runs toward the bathroom. Shit. Now I fucked up. I made her cry. She runs by the waitress, who startles. The waitress starts in my direction, a sway in her hips, but I get up and follow Kit. I stop outside the door to the ladies’ room and press my hand against it. I don’t know what I’m waiting for. She’s in there crying, and I obviously can’t hear her to be sure she’s all right. Fuck it. I’m not leaving her in there upset. I push through the door, and I don’t see any feet in the stalls when I bend over. Where the fuck did she go? I push doors open, but the last one is locked. I stand up on my tiptoes and look over the top. She’s standing there with her forearms pressed against the wall, her head down between her arms, and her back is shaking. She’s crying. I knock on the stall door and say, “Let me in, Kit.” The door doesn’t open. I step back onto my tiptoes and look over. She’s still crying. “Let me in,” I repeat. She doesn’t move, so I walk into the stall next to hers and stand up on the toilet. I rock the partition between the stalls gently. It might hold my weight. There’s only one way to find out. I hoist myself up and over the wall, bringing my legs over the top slowly and carefully, and then I hop down. Before I can reach for her, she’s in my arms, her hands sliding around my neck. She’s still sobbing, and her body shakes against mine. I tilt her face up because I can’t see her lips to tell if she’s saying anything to me or not. I need to apologize. I didn’t expect her to get so upset. I’ll have it covered up with something else if it bothers her this much. My heart twists inside my chest. I really fucked up. “I’m sorry,” I tell her, looking down into her face. Her cheeks are soaked with tears, and she freezes, looking up at me. I can feel her like a heartbeat in my chest. She steps on the toes of my boots and then rocks onto her tiptoes. She pulls my head down with a hand at the back of my neck. Her brown eyes are smoldering, and black shit is running down her cheeks again, but I don’t care. She’s never looked more beautiful to me. I hold her face in my hands and wipe beneath her eyes with my thumbs. Her breath tickles my lips, and she leans even closer. She’s standing on my fucking boots, and I don’t care. She can do whatever it takes to get closer to me. “Why did you do it?” she asks, moving back enough that I can see her lips. I already told her: I thought she needed a way out. All I added to the tattoo was a keyhole right in the center of the guitar. It’s a simple design really. “I don’t know,” I say. I want to explain it to her, but I can’t. Not right now.

Cat worked tirelessly, absorbed in the subtle changes of light and texture and composition. She darted around Travis like a fire, taking photos of the captain and his ship from various angles. Travis didn’t interfere or require her conversation. He could sense the excitement of creation flooding through her as clearly as he felt it in himself when elusive details of hull design would condense in his mind. Smiling, he watched his lover, enjoying her intense concentration on her work. She handled cameras and lenses with the same total familiarity he handled wind and sail. When her determination to catch the sunlight on the rigging made her forget he was alive, he sat cross-legged on the deck and began splicing rope, not at all upset at being ignored. When Cat realized that Travis wasn’t nearby anymore, she lowered her camera and looked around for him. She found him halfway back on the deck, sitting in a pool of sunlight. His head was bent over some task. Sun glinted over his tawny hair like a miser running fingers through gold. Her heart hesitated, then beat with redoubled strength. She set aside her camera and went to Travis. Without a word she took the rope out of his hands and started pulling off his T-shirt. “What are you doing?” he asked, surprised. “Taking off your shirt.” He blinked, then relaxed beneath Cat’s hands with a pirate’s smile of anticipation. She smiled in return, the serene smile of a sorceress, and threw his T-shirt aside. Then she put rope back into the hands that were reaching for her and picked up her camera once more. “Come back here and finish what you started,” Travis said. “I’m finished. “What about my pants?” “They make a nice contrast with the deck.” “Well, damn.” Disappointed, Travis made a face at the camera, then resumed splicing rope. Cat photographed him as he worked, seated like a god in the center of a golden cataract of light. He watched her with intense, blue-green eyes, measuring her progress around him while she climbed the rigging and the sailing in search of a perfect angle. At one point she miscalculated. He came to his feet in a single motion and snatched her off her perch before she could fall. She laughed and let herself slide down his body, her hands savoring his supple, sun-warmed skin.

He skimmed his knuckles over her jaw before roaming lower to the satiny column of her neck, then back up again. "Surely you could stay for dinner? You said yourself your aunt is away. I can't believe you would prefer eating alone." Her frown increased. "No, but-" "Then stay. My cook sets an excellent table. Delicious fare designed to tempt any palate. Tell me your favorites and I'll send word to her to make them especially for you." Sliding his arm around her back, he bent and pressed his mouth to the base of her throat. "Do you like roast beef?" "Ahh, I..." "Too heavy, you're right," he stated, dropping kisses against her skin in a leisurely pattern. "What about venison? Unless you are worried it might be gamey. Hmm, I agree." Her eyelids fluttered, one hand coming up to catch in the fabric of his coat. Working his way up, he paused and breathed a gentle gust of warm, brandy-scented air into her ear. She shuddered, a tiny moan escaping her lips. "Partridge, perhaps? In a sweet vermouth with plump raisins and orange peel. How does that sound?" "Delightful." He smiled, wondering if she was referring to the food or his kisses. He definitely hoped the latter. "Or I know," he whispered, brushing his mouth ever so lightly against hers. "Lobster and oysters. Light and delicate, with a taste as fresh as the sea. Shall we try that? I could feed them to you bite by delectable bite.

Boger knew that stories have to be accessible and that what investors want most from them is affirmation, so he molded Vertex’s slide show not as a disquisition on science or business strategy, but as a quest. The grail—the object of the quest—was structure-based design and its transcendent prize of safer, smarter, more profitable drugs. The impetus, as always in such stories, was a combination of righteousness and greed; Vertex had a better way to discover drugs than screening and biotechnology (both of which, Boger would say, were terminally limited) and was intent on capturing the spoils of its victory whole. The rationale for the quest was the company’s unique melding of disciplines and technologies, which he represented as a kind of circular flying wedge, and its scientists, who, he noted, all came from the world’s most powerful research institutions. Harvard, naturally, was a key supporting element, as was Merck, and on the financial side, Benno Schmidt. FK-506 and immunosuppression were the story’s set pieces, meant to illustrate its correctness.

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Benefits of Using Frosted Film Tint The 1st step, clear the glass on which the movie is to be applied to. By removing an dried [paint spots and washing it with soapy water that's clean. It is because the any filth will give the glass an unpleasant look. Nonetheless, a point to note is to not use any kind of window cleansing spray as it'll harm the film. Place the film on a flat ground and then peel it back on itself. You will then have to spray the glass with dish washing answer as well as your fingers to enable you to slide the film perfectly in place. Carefully choose the movie by its corners and with the sticky facet going through the glass and punctiliously place it not permitting it to wrinkle or crease. Wrap a chunk of material on a bank card and use it to carefully smooth down the movie from the middle shifting in the direction of its edges. Then wipe the excess water since if left there may make the laminate transfer.If there is any extra movie, trim it down with a sharp object. After you're executed and there are still bubbles beneath the film, use a hair drier to push them out. If they persist fastidiously prick them and press again the film. Today, many individuals are overwhelmed when it comes to selecting the ideal window tinting as a result of they do come in useful. One has the choice of choosing various tints and their types. Individuals do select to install window tints as a result of they've advantages which you may not get if your home lacks it. In most family, the well-known tints in use are the frosted tints. They're greatest suited to residing and bed rooms. Window tints are design in another way depending on the place they're to be put in that's the reason you need the assistance of Window Frosting Service professionals to assist you in making sound resolution. The very best Window Frosting Sydney thing about window frosting is that they don't possess the inconveniences usually associated with traditional window coverings. Furthermore, as it is not reliant on obstructing the pure passage of light for creating privateness, you are free to have an area that, inspite of being airy and light, might be your own private chamber. Nonetheless, you should also concentrate on the fact that you might be provided minimal safety against UV rays by the sort of window tint.

Were these slides the visual support for a live oral presentation? If so, I sympathized with the audience. Since when can an audience read and listen to someone talk at the same time (even if they could actually see the 12-point text on the screen well enough to read it)? Were the slides used merely as a kind of document printed in PowerPoint? If so, I pitied both the author and the reader because PowerPoint is not a tool for document creation. Boxes of bullet points and logos do not make for a good handout or report.

Research supports the concept that it is indeed more difficult for audiences to process information when it is presented in spoken and written form at the same time. So perhaps it would be better to just remain silent and let people read the slides. But this raises the issue: Why are you there? A good oral presentation is different from a well-written document, and attempts to merge them result in poor presentations and poor documents,

For a presentation assignment, you might pick a day 2 weeks in advance of the actual presentations and ask students to bring their laptops to class. In the final 10 minutes of a class in which you present some new material to them, ask them to pair up and work together on the creation of a single slide designed to teach an audience about Concept A. In the following class sessions, allot the final 10 minutes of each class to asking a handful of students to stand up and give a 2-minute presentation of the slide they created. Better yet, as in the writing example, make it the final 15 minutes and spend the first 5 of those reminding them that reading text directly from slides can produce something called the redundancy effect, which can reduce learning, but that too much difference between what's on the slide and what they say also has been shown to reduce learning. So they should be searching for what Michelle Miller described as the “‘Goldilocks’ principle with respect to the discrepancy between the narration and the visually presented slide”—they should clearly reference and highlight the key components of what they have put on the slide, but not simply read it out directly (Miller 2014, p. 154). Giving students the opportunity to create several practice slides and then to work on speaking those slides to an audience would go a long way toward improving the majority of student presentations I have seen.

What do we talk about when we talk about architecture? As with any metaphor, describing software through the lens of architecture can hide as much as it can reveal. It can both promise more than it can deliver and deliver more than it promises. The obvious appeal of architecture is structure, and structure is something that dominates the paradigms and discussions of software development—components, classes, functions, modules, layers, and services, micro or macro. But the gross structure of so many software systems often defies either belief or understanding—Enterprise Soviet schemes destined for legacy, improbable Jenga towers reaching toward the cloud, archaeological layers buried in a big-ball-of-mud slide. It’s not obvious that software structure obeys our intuition the way building structure does.

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A good architecture will allow a system to be born as a monolith, deployed in a single file, but then to grow into a set of independently deployable units, and then all the way to independent services and/or micro-services. Later, as things change, it should allow for reversing that progression and sliding all the way back down into a monolith.

The old order types were simple and straightforward and mainly sensible. The new order types that accompanied the explosion of high-frequency trading were nothing like them, either in detail or spirit. When, in the summer of 2012, the Puzzle Masters gathered with Brad and Don and Ronan and Rob and Schwall in a room to think about them, there were maybe one hundred fifty different order types. What purpose did each serve? How might each be used? The New York Stock Exchange had created an order type that ensured that the trader who used it would trade only if the order on the other side of his was smaller than his own order; the purpose seemed to be to prevent a high-frequency trader from buying a small number of shares from an investor who was about to crush the market with a huge sale. Direct Edge created an order type that, for even more complicated reasons, allowed the high-frequency trading firm to withdraw 50 percent of its order the instant someone tried to act on it. All of the exchanges offered something called a Post-Only order. A Post-Only order to buy 100 shares of Procter & Gamble at $80 a share says, “I want to buy a hundred shares of Procter & Gamble at eighty dollars a share, but only if I am on the passive side of the trade, where I can collect a rebate from the exchange.” As if that weren’t squirrely enough, the Post-Only order type now had many even more dubious permutations. The Hide Not Slide order, for instance. With a Hide Not Slide order, a high-frequency trader—for who else could or would use such a thing?—would say, for example, “I want to buy a hundred shares of P&G at a limit of eighty dollars and three cents a share, Post-Only, Hide Not Slide.” One of the joys of the Puzzle Masters was their ability to figure out what on earth that meant. The descriptions of single order types filed with the SEC often went on for twenty pages, and were in themselves puzzles—written in a language barely resembling English and seemingly designed to bewilder anyone who dared to read them. “I considered myself a somewhat expert on market structure,” said Brad. “But I needed a Puzzle Master with me to fully understand what the fuck any of it means.” A Hide Not Slide order—it was just one of maybe fifty such problems the Puzzle Masters solved—worked as follows: The trader said he was willing to buy the shares at a price ($80.03) above the current offering price ($80.02), but only if he was on the passive side of the trade, where he would be paid a rebate. He did this not because he wanted to buy the shares. He did this in case an actual buyer of stock—a real investor, channeling capital to productive enterprise—came along and bought all the shares offered at $80.02. The high-frequency trader’s Hide Not Slide order then established him as first in line to purchase P&G shares if a subsequent investor came into the market to sell those shares. This was the case even if the investor who had bought the shares at $80.02 expressed further demand for them at the higher price. A Hide Not Slide order was a way for a high-frequency trader to cut in line, ahead of the people who’d created the line in the first place, and take the kickbacks paid to whoever happened to be at the front of the line.

In a 1963 performance entitled "Who R U?" at the San Francisco Museum of Art, Stern and Callahan added highway sounds to the mix, moving them from speaker to speaker in the showroom. They also had individuals placed in booths around a central auditorium, miked their conversations, and replayed them simultaneously in an eighteen-channel remix. By 1965 this show had morphed into a program called "We R All One," in which USCO deployed slide and film projections, oscilloscopes, music, strobes, and live dancers to create a sensory cacophony. At the end of the performance, the lights would go down, and for ten minutes the audience would hear multiple "Om's" from the speakers. According to Stern, the show was designed to lead viewers from "overload to spiritual meditation."19 In the final moments, the audience was to experience the mystical unity that ostensibly bound together USCO's members.

It is often said that a strategy is a choice or a decision. The words “choice” and “decision” evoke an image of someone considering a list of alternatives and then selecting one of them. There is, in fact, a formal theory of decisions that specifies exactly how to make a choice by identifying alternative actions, valuing outcomes, and appraising probabilities of events. The problem with this view, and the reason it barely lightens a leader’s burden, is that you are rarely handed a clear set of alternatives. In the case at hand, Hannibal was certainly not briefed by a staff presenting four options arranged on a PowerPoint slide. Rather, he faced a challenge and he designed a novel response. Today, as then, many effective strategies are more designs than decisions—are more constructed than chosen. In these cases, doing strategy is more like designing a high-performance aircraft than deciding which forklift truck to buy or how large to build a new factory. When someone says “Managers are decision makers,” they are not talking about master strategists, for a master strategist is a designer. THE

It was right about then that a drink dropped down in front of me on the table, Brant sliding into the open chair to my side. "You know I can't have..." I started, big-eying him so I didn't have to say it. "Raspberry mocha shake with skim milk but full fat whipped cream," he explained, popping the little piece of paper topper off the straw. "Not a damn bit of actual coffee in it," he said, looking disgusted at the very prospect. "Oh, and here," he said, pulling my phone out of his pocket. "You know, you can't pull the 'pregnancy' card every time your phone has an issue and you don't want to go to Verizon." "True," I agreed, taking a long sip of the shake he made and closing my eyes on a sigh. "But I can for the next eight or so months," I concluded, giving him a saucy smile. He chuckled at that, reaching for the piece of paper I had in front of me with the design for the macaron wedding cake. "Macarons, huh?" he asked, looking excited. It didn't matter how many different recipes I came up with, he never seemed to get sick of them. "It's not too soon," he informed me, reading my thoughts as I looked down at the perfect princess cut ring. "It hasn't even been a year," I had insisted, shaking my head. "Sweetheart, I knew this was where we were heading that first time you moaned like a porn star over your break-up frappe." I looked around my mother's and mine and Brant's little shop, feeling it down to my soul: peace. Then I looked over at Brant, feeling it down to my bones: love. And finally, to the plate at the center of the table where Brant and I reached toward simultaneously and grabbed one each: macarons. It was all I would ever need.

Marcos explained that our bodies were designed to change and it isn't possible to be stagnant. He showed me a slide of himself at the beginning of the year and of the new lines on his face that had deepened since. He said our interaction with each other, with the outside world, and with intangible elements such as time made us different people every season. His conclusion was that the human body displayed physical evidence that we are not the same person we were when we were kids, or even a season before. He said we think we are the same person, but we aren't. 'People get stuck, thinking they are one kind of person, but they aren't.' For instance, Marcos said, 'The human body essentially recreates itself every six months. Nearly ever cell of hair and skin and bone dies and another is directed to its former place. You are not who you were in February,' he told me. I thought about Marcos's conclusions and wondered [...] if he wasn't right, that we were designed to live through something rather than to attain something, and the thing we were meant to live through was designed to change us. The point of a story is the character arc, the change.

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We took all the old-world systems and digitized them. Skeuomorphism, the design concept of making digital items resemble their real-world counterparts, was a way to aid the transition into the new era. Mail became e-mail, with ‘addresses’ and inboxes. We made ‘folders’ and ‘trash’ and ‘desktops’ as digital equivalents. PowerPoint had ‘slides’ like early slide projectors and floppy disks represented ‘saving’, which is wonderfully anachronistic, as is ‘return’ which stands for ‘carriage return’ from typewriters – and don’t even start me on ‘cc’ for carbon copy.

Mr Locke...took a long, slender pick from the unrolled bag and, bending over slightly, inserted it into the lock. It was a steel-cased lock with a smooth, brass knob of around three inches wide and a brass plate around the singular keyhole. Mounted into the door frame was another steel fixture, forming the second half of the lock. Recognising the type of lock, Percy knew the key’s function was to throw the lock’s bolt into dead lock, thus securing the door. Such a design would also include an internal, smaller knob sliding back and forth, drawing back the bolt. A snib, jutting out from the case on the internal side of the door, could be compressed to keep the bolt in an open position, thus allowing one to open and close the door freely. “Do be so kind as to keep an eye out for the return of our friend the constable.” Locke pulled his pocket watch out with his other hand to glance upon it. “We have nine minutes.” “This is breaking and entering!” Mr Maxwell cried, hurrying up the steps. “Miss Trent said such was forbidden by the Society.” “Unless there is a sufficiently justifiable reason for doing so,” Mr Locke replied, inserting a second pick into the lower half of the lock. “The welfare of our client is a sufficiently justifiable reason; do you not think so, Mr Maxwell?” “His welfare?” Mr Maxwell enquired, confused. Miss Dexter, wholly fascinated by what the illusionist was doing, stepped closer still. She softly enquired, “Do you suspect some harm may have come to Mr Dorsey, Mr Locke?” “I do not know but Mr Colby was very keen we should not speak with him. Furthermore, Miss Trent’s note stated her telephone conversation with Mr Dorsey was abruptly ended, by him, when another—angry—voice spoke,” Mr Locke explained. There was a sharp click as the bolt sprang back into the lock’s casing. Mr Locke smiled broadly. “Our constable friend is back.” Mr Maxwell looked panic sticken. “It’s only been a minute.” “Ah, that will be the Bow Street police station,” Locke replied as he turned the door knob. “Also, they tend to keep a closer eye upon the more affluent residences; greater targets for thieves, you know,” Mr Locke stated as he pushed the door open and ushered both Mr Maxwell and Miss Dexter inside. He’d just closed the door, after slipping in himself, when the constable reached the bottom of the steps and peered up at the porch. Mr Locke stood to the side of the door and watched as the constable, seemingly satisfied all was well, walked away. A glance down at the internal part of the lock confirmed Mr Locke’s earlier assumptions about it. His slender hand slid the smaller brass knob along to lock the bolt in place once more.

What an impact! Wrapped together in strips of piecrust... ... the two distinct layers of stuffing each amplify the deliciousness of the other! The top layer is a chicken mousse! Tender, juicy cooked chicken... ... put through a food processor with heavy cream and seasonings until it was a silky-smooth puree! Its thick yet gentle savory flavor, accented with a touch of sweetness, slides across the tongue like satin! And the bottom layer is a beef meat loaf! Its flavors are perfectly paired with both the creamy chicken mousse and the demi-glace. What a frighteningly defined dish!" "Okay, but he used convenience store food for all that?! There's no way it could be that delicious..." "Oh, but it is. His skill elevated the ingredients to new heights." "Um, i-it really wasn't all that much. All I did was, well... To give the chicken mousse a more luxuriant texture, I carefully mixed in some egg whites beaten into a stiff meringue... And then added a little mushroom paste (Duxelles) to boost its richness. Canned mushrooms have a mild funk to them, so to get rid of that smell, I minced and sautéed them until nearly all their moisture was gone. I also reduced some red wine as far as I could, leaving behind just its umami components, and added that to the demi-glace. It isn't the best, but I had only cheap ingredients to work with. What about that isn't "all that much"?! "The main common ingredients he used were a precooked hamburger patty, chicken salad and a frozen piecrust. They're prepackaged foods anyone can buy, designed to be tasty right out of the box. In other words... They're average foods with completely average flavors! Use them as they are and you'll never pass this trial! Out of all of them, he singled out the ones that could stand up to haute cuisine cooking... ... and melded them together into a harmonious whole that brought out their best qualities while eliminating anything inferior! It's a level of quality only someone of Eishi Tsukasa's skill could reach!

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There is a good reason why you cannot imagine one of the Pilgrim Fathers kicking back at Six Flags, or Daniel Boone going down a water slide. It is not that their lives were busier than ours, or that they were more serious people. We are all busy in our own ways, whether we are hunting down dinner in a forest or laboring through the crowds at our local market. The difference is in our attitudes towards leisure time. Today reading a novel or going to see a play is just a way to pass the time, and a fairly admirable one at that, given the alternatives of video games and reality television. Two hundred years ago, however, a decent man or woman would not have wasted God-given time with people and events that had never taken place, and in a manner designed to artfully stimulate the emotions. The theater is “wholly useless,” a minister told his flock in 1825. “Can it teach the mechanic industry, or the merchant more economy and skill?” Surely not, he declared. Even at its very best, the theater is “mere recreation.

This slide of people [refugees] has freighted the concept of citizenship and altered our perceptions of space - public and private. The strain has been marked by a plethora of hyphenated designations of national identity.

We armed ourselves with pistols, shotguns, and assault rifles. We knew that the government had us impossibly outgunned but nevertheless felt obliged to not only prepare ourselves for the upcoming collapse of society as we had known it, but also to do whatever it took to speed the day when that collapse occurred. The government was illegitimate; a puppet regime manipulated by a shadowy and sinister force that was hellbent on our destruction. The supposed democracy that seated traitorous politicians had been tainted by mass media that poisoned the minds and souls of our people to not only blind them against what was happening, but also to con them into complicity in their own downfall. Our guns served many purposes. In addition to the simple purpose they were designed for-to kill people-our firearms endowed with us a sense of destiny befitting an epic struggle against fearsome odds. The deadly seriousness of the situation was underlined, italicized, and emboldened by the smell of gun oil and the clack of magazines sliding into position as we recruited new soldiers into our movement. According to the founding Fathers, it was not only our right, but our duty to bear arms against the tyrants who had usurped our beloved nation. I spent 7 years immersed in that world. A reality where I was constantly looking over my shoulder to reveal the handiwork of the enemy. Every aspect of our culture faced a relentless assault. Everything that was good about America-Life, Liberty, And The Pursuit of Happiness-had been denigrated and disparaged by those that sought to impose Marxist equality. I hated them for that. I hated them with the passion of a patriot. That hate was fueled by what I truly believed was a love for my race. Oops! Did I say "race?" I meant a love for my country, Or was it a love of Christ? Or Allah? It could have been any of a number of allegiances-any number of ways to identify myself-that I built walls around and bristled at those outside, and it was all in the name of love. Roads to a lot of really bad places are paved with that kind of bizarro love. A vampiric, soul-depleting love-substitute that beckons to those who never know the real thing. I was very lucky to realize the true love of a little girl-my daughter-otherwise I'd likely be dead or in prison like so many of my former comrades. Simply by playing with other children, she taught me that the walls and guns and hate that had seemed to give me purpose were in fact unnecessary constructs that threatened to separate us. The children she shared toys, laughs, and smiles with also shared the same need for love and compassion that we all do-regardless of the color of our skin, our family's choice of spirituality, or the part of the world we come from. I made a decision to cast aside the fear that masqueraded as love, and to live my life in wonderful affection for diversity instead of scorn for it.

What about you, prince?” he purred enticingly, diverting the topic once again. “How many daring lovers have you encountered in the course of duty?” Miysis smiled—a heated smile that caught Lyre off guard. Bracing his hand on the cushion beside Lyre’s head, the griffin leaned down until their faces were close. “I’ve found a few here and there.” Lyre looked into those darkening green eyes and wondered who was playing who. Letting sensuousness slide into his body language, he touched a finger to the pattern inked on Miysis’s stomach, then slowly traced the circular design. The griffin didn’t so much as twitch. Hmm. His poker face was damn good. “I thought you were expected elsewhere,” Lyre crooned softly. “They can wait.” Miysis leaned closer. “What if I’ve decided I want your company after all?” Lyre pressed his palm flat against Miysis’s stomach.

There is a good reason why you cannot imagine one of the Pilgrim Fathers kicking back at Six Flags, or Daniel Boone going down a water slide. It is not that their lives were busier than ours, or that they were more serious people. We are all busy in our own ways, whether we are hunting down dinner in a forest or laboring through the crowds at our local market. The difference is in our attitudes towards leisure time. Today reading a novel or going to see a play is just a way to pass the time, and a fairly admirable one at that, given the alternatives of video games and reality television. Two hundred years ao, however, a decent man or woman would not have wasted God-given time with people and events that had never taken place, and in a manner designed to artfully stimulate the emotions. The theater is “wholly useless,” a minister told his flock in 1825. “Can it teach the mechanic industry, or the merchant more economy and skill?” Surely not, he declared. Even at its very best, the theater is “mere recreation.

they mistrusted those who were not educated or well-born or well-to-do. More specifically, they feared the people’s power because, possessing, and esteeming, property, they wanted the rights of property protected against those who did not possess it. In the notes he made for a speech in the Constitutional Convention, James Madison wrote of the “real or supposed difference of interests” between “the rich and poor”—“those who will labor under all the hardships of life, and secretly sigh for a more equal distribution of its blessings”—and of the fact that over the ages to come the latter would come to outnumber the former. “According to the equal laws of suffrage, the power will slide into the hands of the latter,” he noted. “Symptoms, of a leveling spirit, as we have understood, have sufficiently appeared in certain quarters to give notice of the future danger.” But the Framers feared the people’s power also because they hated tyranny, and they knew there could be a tyranny of the people as well as the tyranny of a King, particularly in a system designed so that, in many ways, the majority ruled. “Liberty may be endangered by the abuses of liberty as well as by the abuses of power,” Madison wrote. These abuses were more likely because the emotions of men in the mass ran high and fast, they were “liable to err … from fickleness and passion,” and “the major interest might under sudden impulses be tempted to commit injustice on the minority.” So the Framers wanted to check and restrain not only the people’s rulers, but the people; they wanted to erect what Madison called “a necessary fence” against the majority will. To create such a fence, they decided that the Congress would have not one house but two, and that while the lower house would be designed to reflect the popular will, that would not be the purpose of the upper house. How, Madison asked, is “the future danger”—the danger of “a leveling spirit”—“to be guarded against on republican principles? How is the danger in all cases of interested coalitions to oppress the minority to be guarded against? Among other means by the establishment of a body in the government sufficiently respectable for its wisdom and virtue, to aid on such emergencies, the preponderance of justice by throwing its weight into that scale.” This body, Madison said, was to be the Senate. Summarizing in the Constitutional Convention the ends that would be served by this proposed upper house of Congress, Madison said they were “first to protect the people against their rulers; secondly to protect the people against the transient impressions into which they themselves might be led.

When you tapped the zoom button on our iPad demo, the keyboard you were looking at (say, mine) transitioned to the other one (his), much like clicking to go to the next slide in presentation software like Keynote or PowerPoint. The image of one keyboard disappeared to nothingness to reveal the other underneath. Bas added scaling to his animation—the keys of the departing keyboard changed size to match the one coming into view. He also tuned the timing of the animation, so it started slowly and sped up as it went, making you feel you had definitively landed once the animation finished. These effects were subtle, given that his animation was a mere fraction of a second, but Bas had a way of making these details count. When you looked at this zoom key animation, it appeared as if the keyboards were undergoing a complex morph. They weren’t. From an engineering perspective, this was significant, since the simplicity of the design meant I could write the code for his animation in just a couple hours. The magic was in the overall effect. The animation didn’t look like clicking from one slide to another in a presentation deck. When you tapped on the zoom button, it made you feel like one keyboard was becoming the other. The effect registered viscerally. It was exactly the kind of self-explanatory touch that made Apple software easy to use.

Sadly, you will meet people whose desperate search for something that seems to them like happiness takes them down the slippery slopes of sin. Beware of that slimy slide! Any pleasure in sin is only fleeting, and its haunting memories are smeared by gnawing and grinding guilt. The sinful warping of the embrace divinely designed to unite husband and wife is but a hollow counterfeit. Each unlawful experience is stripped of deep meaning and sweet memory.