Snapshots Nature Quotes

Just consider a child who, absorbed in play, forgets himself—this is the moment to take a snapshot; when you wait until he notices that you are taking a picture, his face congeals and freezes, showing his unnatural self-consciousness rather than his natural graciousness. Why do most people have that stereotyped expression on their faces whenever they are photographed? This expression stems from their concern with the impression they are going to leave on the onlooker. It is "cheese" that makes them so ugly. Forgetting themselves, the photographer, and the future onlooker would make them beautiful.

I do not know a single woman who has ever thought she looked her best in an amateur snapshot. However, it is her own fault, because in seeking to be a good sport and to behave naturally, she has not been willing to pose like a professional model.

We perceive our environment in three dimensions, but we don’t actually live in a 3-D world. 3-D is static. A snapshot. We have to add a fourth dimension to begin to describe the nature of our existence. The 4-D tesseract doesn’t add a spatial dimension. It adds a temporal one. It adds time, a stream of 3-D cubes, representing space as it moves along time’s arrow. This is best illustrated by looking up into the night sky at stars whose brilliance took fifty light-years to reach our eyes. Or five hundred. Or five billion. We’re not just looking into space, we’re looking back through time. Our path through this 4-D spacetime is our worldline (reality), beginning with our birth and ending with our death. Four coordinates (x, y, z, and t [time]) locate a point within the tesseract. And we think it stops there, but that’s only true if every outcome is inevitable, if free will is an illusion, and our worldline is solitary. What if our worldline is just one of an infinite number of worldlines, some only slightly altered from the life we know, others drastically different? The Many-Worlds interpretation of quantum mechanics posits that all possible realities exist. That everything which has a probability of happening is happening. Everything that might have occurred in our past did occur, only in another universe. What if that’s true? What if we live in a fifth-dimensional probability space? What if we actually inhabit the multiverse, but our brains have evolved in such a way as to equip us with a firewall that limits what we perceive to a single universe? One worldline. The one we choose, moment to moment. It makes sense if you think about it. We couldn’t possibly contend with simultaneously observing all possible realities at once. So how do we access this 5-D probability space? And if we could, where would it take us? —

I am not trying to say that a passport photo of himself can cure a gloomy man of a gloom for which there is no ground; for true gloom is by nature groundless; such gloom, ours at least, can be traced to no identifiable cause, and with its almost riotous gratuitousness this gloom of ours attained a pitch of intensity that would yield to nothing. If there was any way of making friends with our gloom, it was through the photos, because in these serial snapshots we found an image of ourselves which, though not exactly clear, was - and that was the essential - passive and neutralized. They gave us a kind of freedom in our dealings with ourselves; we could drink beer, torture our blood sausages, make merry and play. We bent and folded the pictures, and cut them up with little scissors we carried about with us for this precise purpose. We juxtaposed old and new pictures, made ourselves one-eyed or three-eyed, put noses on our ears, made our exposed right ears into organs of speech or silence, combined chins and foreheads. And it was not only each with his own likeness that we made these montages; Klepp borrowed features from me and I from him: thus we succeeded in making new, and we hoped, happier creatures.

In “The Chinese Written Character as a Medium for Poetry” Pound had found the inspiration of a moving syntax (as contrasted with the categorical syntax of Joyce, where parts of speech are things). “A true noun, an isolated thing,” we read in the Fenollosa essay, “does not exist in nature. Things are only the terminal points, or rather the meeting points of actions, cross-sections cut through actions, snap-shots. Neither can a pure verb, an abstract motion, be possible in nature. The eye sees noun and verb as one: things in motion, motion in things, and so the Chinese conception tends to represent them.

The taste for the spontaneous, natural, lifelike snapshot kills spontaneity, drives away the present. Photographed reality immediately takes on a nostalgic character, of joy fled on the wings of time, a commemorative quality, even if the picture was taken the day before yesterday. And the life that you live in order to photograph it is already, at the outset, a commemoration of itself." - from "The Adventure of a Photographer

For all the violence that remains in the world, we are living in an extraordinary age. Perhaps it is a snapshot in a progression to an even greater peace. Perhaps it is a bottoming out to a new normal, with the easy reductions all plucked and additional ones harder and harder to reach. Perhaps it is a lucky confluence of good fortune that will soon unravel. But regardless of how the trends extrapolate into the future, something remarkable has brought us to the present. One

The color-patches of vision part, shift, and reform as I move through space in time. The present is the object of vision, and what I see before me at any given second is a full field of color patches scattered just so. The configuration will never be repeated. Living is moving; time is a live creek bearing changing lights. As I move, or as the world moves around me, the fullness of what I see shatters. “Last forever!” Who hasn’t prayed that prayer? You were lucky to get it in the first place. The present is a freely given canvas. That it is constantly being ripped apart and washed downstream goes without saying; it is a canvas, nevertheless. But there is more to the present than a series of snapshots. We are not merely sensitized film; we have feelings, a memory for information and an eidetic memory for the imagery of our pasts. Our layered consciousness is a tiered track for an unmatched assortment of concentrically wound reels. Each one plays out for all of life its dazzle and blur of translucent shadow-pictures; each one hums at every moment its own secret melody in its own unique key. We tune in and out. But moments are not lost. Time out of mind is time nevertheless, cumulative, informing the present. From even the deepest slumber you wake with a jolt- older, closer to death, and wiser, grateful for breath. But time is the one thing we have been given, and we have been given to time. Time gives us a whirl. We keep waking from a dream we can’t recall, looking around in surprise, and lapsing back, for years on end. All I want to do is stay awake, keep my head up, prop my eyes open, with toothpicks, with trees.

We perceive our environment in three dimensions, but we don’t actually live in a 3-D world. 3-D is static. A snapshot. We have to add a fourth dimension to begin to describe the nature of our existence. The 4-D tesseract doesn’t add a spatial dimension. It adds a temporal one. It adds time, a stream of 3-D cubes, representing space as it moves along time’s arrow. This is best illustrated by looking up into the night sky at stars whose brilliance took fifty light-years to reach our eyes. Or five hundred. Or five billion. We’re not just looking into space, we’re looking back through time. Our path through this 4-D spacetime is our worldline (reality), beginning with our birth and ending with our death. Four coordinates (x, y, z, and t [time]) locate a point within the tesseract. And we think it stops there, but that’s only true if every outcome is inevitable, if free will is an illusion, and our worldline is solitary. What if our worldline is just one of an infinite number of worldlines, some only slightly altered from the life we know, others drastically different? The Many-Worlds interpretation of quantum mechanics posits that all possible realities exist. That everything which has a probability of happening is happening. Everything that might have occurred in our past did occur, only in another universe. What if that’s true? What if we live in a fifth-dimensional probability space? What if we actually inhabit the multiverse, but our brains have evolved in such a way as to equip us with a firewall that limits what we perceive to a single universe? One worldline. The one we choose, moment to moment. It makes sense if you think about it. We couldn’t possibly contend with simultaneously observing all possible realities at once. So how do we access this 5-D probability space? And if we could, where would it take us? — Leighton

EXERCISE 10: DEVELOPING A GRAND VISION You may want to do this exercise alone, out in a natural setting somewhere. 1. See Your Interests, Values, and Abilities. The next step is to discover how your interests and your deep values connect into and form your mission. It can be accomplished by seeing a grand, whole, meaningful image of what purpose you could dedicate your life to. This will be formed from your interests, values, and present goals. Begin to play with the images that you see, which represent some kind of direction that you want to take. As you get a sense of what your mission can be, see various snapshots of yourself doing what you love to do, snapshots of your abilities. 2. Focus on Heroes and Heroines. Take a look at what your favorite heroes or heroines do. See yourself doing things that give you the same feeling you get when you think of them. See snapshots of the person you want to become. Any images you don’t like can fade away. 3. Direct a Movie of Yourself. See yourself the way you want to be—doing the things you love to do. Whatever you choose to put on the screen, you’re the Spielberg, you’re the director. See the images that you feel passionate about. You can play with the images in front of you. Pretend that you’re in the middle of an inner, three-dimensional movie theater. It’s a place where you can see and hear and feel with great fidelity. Notice how much you can see, letting the wisdom from within guide the visual display that you see in front of you. Visualize it, feel it, enjoy it. The images are often up close and in full, rich color. See yourself living out a scenario that gives you tingles in your spine. You can zoom in on that glorious, fun-filled, exciting future that you see. It allows you to do what you love to do and accomplish what you believe in. 4. Recall Your Deep Values. List your deep values as you watch your mission scenario. Notice how your values and your images can fit together with a remarkable consistency. 5. Ask for Help from Your Inner Wisdom. Ask for your inner wisdom, the higher powers, or God to guide your grand vision. This vision is going to be more of a discovery than a creation. Let it come to you. Ask and it will come. Take the time to see and hear those aspects of life that unify into a whole that you feel a powerful passion for. See some more images. See some time going by. See various bright, radiant, up-close, colorful images of what it is that you could create in your life. They can begin going in a certain direction, coalescing and representing many of your current goals, some of the things that you want. See them develop into a kind of grand visionary collection of images that represents your purpose and your mission. 6. Do What It Takes. Take whatever time you need—five minutes, an hour, a whole afternoon. This is your life, your future that you are creating. When you finish, write it down. Your images are so attractive, you have some glimpses of what your mission is. Now you can develop it more fully. Ask the visionary in you to give you the gift of this grand vision. Now that you can see your grand vision of what you want to contribute to, you can make that vision into a cause to work for—a specific direction to channel your efforts to.

These are the intricacies of probability as the hallmark of Nature and we, observers, can be very easily misled when looking at partial snapshots of the whole Reality -- particularly with our innate desire to find rock-solid patterns and laws. But… then… is there any relation at all between the new notion of Statistical Entropy and the Anisotropy of Time for which we presented so much evidence in Records of the Future? Clearly, as we just saw, not when we rely on the Statistical Entropy of a single perfectly isolated system!

At the level of economic theory, the great fallacy in the logic of David Ricardo, the father of free-trade theory, was to view the gains and losses of trade in a static fashion, as a snapshot at a single point in time. In Ricardo’s theory, whose variants are espoused by free-market economists to this day, if nineteenth-century Britain offered better and cheaper manufactured goods, the US should buy them and export something where it could compete—say, raw cotton and lumber—even if that meant the US never developed an industrial economy. By the same token, if twentieth-century America made the best cars, machine tools, and steel, Japan and Korea should import those, and continue to export cheap toys and rice. And if other nations subsidized US industries, Americans, rather than being fearful of displacement, should accept the “gift.” What Ricardo missed—and what leaders from Alexander Hamilton and Abraham Lincoln to Teddy Roosevelt grasped (likewise statesmen in nations from Japan to Brazil), as well as dissenting economists like the German Friedrich List and the Americans Paul Krugman and Dani Rodrik—was that the dynamic gains of economic development over time far surpass the static gains at a single point in time. Economic advantage is not something bestowed by nature. Advantage can be deliberately created—an insight for which Krugman won a Nobel Prize. Policies of economic development often required an active role for the state, in violation of laissez-faire.

By nature, we want to be liked. We want to be accepted. But, most of the time, we allow our worth to be decided by the people on the sidelines. By people that see snapshots of our life but have no clue what the whole picture looks like.

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First things first: studies show policing is hard. At a minimum, they prove many LEO’s struggle to cope with what they are exposed to. For example, research indicates that while 8.2% of the general population suffers from an active alcohol or substance abuse addiction, up to 23% of public safety personnel, including law enforcement officers, are engaged in the same struggle. Furthermore, due to the constant exposure to violence, conflict, death, pain and suffering, coupled with the extremely stressful and draining nature of their work, police run a significant risk of experiencing Post-Traumatic Stress Injuries (PTSI)/Post-Traumatic Stress Disorder (PTSD). Lastly, research by Dr. John Violanti in 2004 indicates a combination of alcohol use and PTSD produces a tenfold increase in the risk of suicide. This small snapshot of research paints a grim picture on how policing can negatively impact those that take up its calling.

This would be the first croc research trip where both Bindi and Robert were old enough to participate. Robert was two and a half, and walking and talking like a serious little man. Bindi, of course, had been involved in croc research trips before. But now she had new motivation. We were in the middle of filming her own nature show, Bindi the Jungle Girl. This was important for Steve. “There’d be nothing that would make me happier than having Bindi just take over filming and I could take it easy and run the zoo, do my conservation work, and let Bindi have the limelight,” Steve would say. It might have seemed like an unusual thing to say about a kid who just turned eight, but Bindi was no ordinary kid. She had a calling. I would sense it when I was around her, just as I sensed it when I first met Steve. Although Bindi was a regular kid most of the time--playing and being goofy, with me making her eat her vegetables, brush her teeth, and go to school on time--there were many moments when I’d see someone who’d been here before. Bindi would participate in the filming in such a way that she always made sure a certain conservation message came through, or she’d want to do a take again to make sure her words got the message across properly. I continued to marvel at the wise being in this little person’s body. I kept catching glimpses, like snapshots through the window of a moving train, of this person who knew she was working toward making the world a better place. Watching her evolve was truly special.

that skill, which seemed so natural to children. They didn’t have to work at having fun.

We perceive our environment in three dimensions, but we don’t actually live in a 3-D world. 3-D is static. A snapshot. We have to add a fourth dimension to begin to describe the nature of our existence. The 4-D tesseract doesn’t add a spatial dimension. It adds a temporal one. It adds time, a stream of 3-D cubes, representing space as it moves along time’s arrow. This is best illustrated by looking up into the night sky at stars whose brilliance took fifty light-years to reach our eyes. Or five hundred. Or five billion. We’re not just looking into space, we’re looking back through time. Our path through this 4-D spacetime is our worldline (reality), beginning with our birth and ending with our death. Four coordinates (x, y, z, and t [time]) locate a point within the tesseract. And we think it stops there, but that’s only true if every outcome is inevitable, if free will is an illusion, and our worldline is solitary. What if our worldline is just one of an infinite number of worldlines, some only slightly altered from the life we know, others drastically different? The Many-Worlds interpretation of quantum mechanics posits that all possible realities exist. That everything which has a probability of happening is happening. Everything that might have occurred in our past did occur, only in another universe. What if that’s true? What if we live in a fifth-dimensional probability space? What if we actually inhabit the multiverse, but our brains have evolved in such a way as to equip us with a firewall that limits what we perceive to a single universe? One worldline. The one we choose, moment to moment. It makes sense if you think about it. We couldn’t possibly contend with simultaneously observing all possible realities at once. So how do we access this 5-D probability space? And if we could, where would it take us?

Data could be misleading sometimes, too. In the early days, Dropbox was growing so fast that it was often hard to do analyses on what types of content people were putting in their folders. One of the simplest analyses was to randomly sample snapshots of folders, and count the file extensions. Perhaps it is not surprising to some that the most popular files were photos—lots and lots of photos, especially on mobile. Combined with the natural virality of this media type, Dropbox embarked on a road map of photos-related features, culminating in the launch of Carousel, a separate app to let consumers manage and view their photos on Dropbox. It did okay, but underperformed relative to expectations and was eventually shut down so that the company could invest in what is now its core focus: businesses.

What drives you two girls to cut from the mobile continuum of your day these temporal slices, the thickness of a second? Tossing the ball back and forth, you are living in the present, but the moment the scansion of the frames is insinuated between your acts, it is no longer the pleasure of the game that motivates you but rather that of seeing yourselves again in the future, of rediscovering yourselves in twenty years’ time, on a piece of yellowed cardboard (yellowed emotionally, even if modern printing procedures will preserve it unchanged). The taste for the spontaneous, natural, lifelike snapshot kills spontaneity, drives away the present. Photographed reality immediately takes on a nostalgic character, of joy fled on the wings of time, a commemorative quality, even if the picture was taken the day before yesterday.

The variety of creatures is the multiform expression of the goodness of God. This has one fundamental consequence: as a result of belief in creation, creatures are to be seen in a positive light. At one place in the Book of Wisdom, it says, “ Thou hast loathing for none of the things which thou hast made” (Wis 11:24). All creatures have their own value, their own kind of rightness. Every creature, whether it be a star or a stone, a plant or a tree, an animal or a human being, reflects the perfection and the goodness of God in its own particular fashion. They all have their own value and likewise their own effect on the world. [...] Evolutionism as a way of seeing the world (not as a scientific theory) has far greater difficulty with this. For this worldview, there are not really any species, for things have no existence of their own. What we regard as “species” are in fact merely “snapshots” in the great stream of evolution. Everything is just transition and a stage being passed through, and each individual is merely a fluke, which had the luck to survive because it was “more fit” than the others. This is certainly a short-sighted view of the variety of creation. The way men marvel at the variety of nature gives us a hint of something different. Above all, it seems to me, evolutionism as a worldview cannot actually offer any reason why anything has any value in itself, if everything is, so to say, merely a transitory stage in the stream of evolution.