Spontaneous Pictures Quotes

Despite the variety and the differences, and however much we proclaim the contrary, what the media produce is neither spontaneous nor completely “free:” “news” does not just happen, pictures and ideas do not merely spring from reality into our eyes and minds, truth is not directly available, we do not have unrestrained variety at our disposal. For like all modes of communication, television, radio, and newspapers observe certain rules and conventions to get things across intelligibly, and it is these, often more than the reality being conveyed, that shape the material delivered by the media.

I also suspected he was on the cover of the Denver Firefighters calendar, picture used for the month of July, he was that hot. If the firefighters merged with the police officers and they did a group shot that included Lawson and Jury, the paper might spontaneously combust.

do not take pictures to please the public, the photo should be spontaneous and free

The Necrotelicomnicon was written by a Klatchian necromancer known to the world as Achmed the Mad, although he preferred to be called Achmed the I Just Get These Headaches. It is said that the book was written in one day after Achmed drank too much of the strange thick Klatchian coffee which doesn't just sober you up, but takes you through sobriety and out the other side, so that you glimpse the real universe beyond the clouds of warm self-delusion that sapient life usually generates around itself to stop it turning into a nutcake. Little is known about his life prior to this event, because the page headed 'About The Author' spontaneously combusted shortly after his death. However, a section headed 'Other Books By the Same Author' indicates that his previous published work was Achmed the I Just Get These Headaches's Book of Humorous Cat Stories, which might explain a lot.

He places a firm hand on my thigh to steady himself as he takes a picture of the scenery, because he wants me to spontaneously combust, apparently.

While he can interact with others who have no idea that anything is wrong, Ron lives without spontaneity, going through the motions, doing what he thinks people expect him to do, glad that he is able to at least appear normal throughout the day and maintain a job. He studied drama briefly while in college, and remains enamored of Shakespeare and literature, but an emerging self-consciousness eventually robbed him of his ability to act. Now he feels as if all of his life is an act—just an attempt to maintain the status quo. Recalling literature he once loved, he sometimes pictures himself as Camus’s Meursault, in The Stranger: an emotionless character who plods through life in a meaningless universe with apathy and indifference. He’s tired of living this way but terrified of death.

It was partly the war, the revolution did the rest. The war was an artificial break in life-- as if life could be put off for a time-- what nonsense! The revolution broke out willy-nilly like a sigh suppressed too long. Everyone was revived, reborn, changed, transformed. You might say that everyone has been through two revolutions-- his own, personal revolution as well as the general one. It seems to me that socialism is the sea, and all these separate streams, these private, individual revolutions, are flowing into it-- the sea of life, the sea of spontaneity. I said life, but I mean life as you see it in a great picture, transformed by genius, creatively enriched. Only now people have decided to experience it not in books and pictures, but in themselves, not as an abstraction but in practice.

the architecture student from number eleven presses his face to the glass and looks at the way the light falls through the water, he thinks about a place where he worked in the spring, an office where they had a stack of empty watercooler bottles against the window, and how he would sit and watch the sun mazing its way through the layers of refraction, the beauty of it, he called it spontaneous maths and he wanted to build architecture like he that, he looks at the row of houses opposite and he pictures them built entirely of plastic and glass, he imagines how people's lives might change if their dwellings shook with endless reflections of light, he does not know if it's possible but he thinks it's a nice idea

The Joy of Sex!—Elaine brought home that dreary tract one day, those tidings of comfort and joy by some Californicated Englishman, and we studied the ghastly pictures, the two hundred different positions. What a joyless book. That poor fucker the instructor-model, performing his gymnastic routines over and over, with slight variations, for three hundred pages, each and every time upon the same woman. No wonder he has that look on his soft hairy degenerate face of a bored he-dog hooked up on the street with an exhausted bitch, longing to leave but unable to extricate himself from what breeders call a “tie.” The woman in the book looks only slightly happier; somebody out of mercy should have emptied a bucket of ice water on the miserable couple. Technique, technique, technical engineering, curse of the modern world, debasing what should be a wild, free, spontaneous act of violent delight into an industrial procedure. Comfort’s treatise is a training manual, a workbook which might better have been entitled The Job of Sex.

remember... the picture should tell a story in itself, and should have a spontaneous approach

I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation.

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

Inflation is continuous and eternal, with big bangs happening all the time, with universes sprouting from other universes. In this picture, universes can “bud” off into other universes, creating a “multiverse.” In this theory, spontaneous breaking may occur anywhere within our universe, allowing an entire universe to bud off our universe. It also means that our own universe might have budded from a previous universe. In the chaotic inflationary model, the multiverse is eternal, even if individual universes are not. Some universes may have a very large Omega, in which case they immediately vanish into a big crunch after their big bang. Some universes only have a tiny Omega and expand forever. Eventually, the multiverse becomes dominated by those universes that inflate by a huge amount. In retrospect, the idea of parallel universes is forced upon us.

Your hair grows by itself, your heart beats by itself, and your breath happens pretty much by itself. Your glands secrete the essences by themselves and you do not have voluntary control over these things, and so we say they happen spontaneously. So, when you go to bed and try to go to sleep you interfere with the spontaneous process of going to sleep. If you try to breathe real hard you will find you get balled-up in your breathing. So if you are to be human, you just have to trust yourself to go to sleep, to digest your food, and to have bowel movements. Of course if something goes seriously wrong and you need a surgeon that is another matter, but by and large the healthy human being does not from the start of life need surgical interference. One lets it happen by itself, and so with the whole picture that is fundamental to it. You have to let go and let it happen, because if you don’t then you are constantly going to be trying to do what happens easily only if you do not try. When you think a bit about what people really want to do with their time, and you ask what they do when they are not being pushed around or somebody is telling them what to do, you find they like to make rhythms. They listen to music and they dance or they sing, or perhaps they do something of a rhythmic nature like playing cards, bowling, or raising their elbows. Given the chance, everybody wants to spend their time swinging.

But if we are to grasp the full value of the materials, we must note that myths are not exactly comparable to dream. Their figures originate from the same sources -- the unconscious wells of fantasy-- and their grammar is the same, but they are not the spontaneous products of sleep. On the contrary their patterns are consciously controlled. And their understood function is to serve as powerful picture language for the communication of traditional wisdom.

We're accustomed to thinking in terms of centralized control, clear chains of command, the straightforward logic of cause and effect. But in huge, interconnected systems, where every player ultimately affects every other, our standard ways of thinking fall apart. Simple pictures and verbal arguments are too feeble, too myopic. That's what plagues us in economics when we try to anticipate the effect of a tax cut or a change in interest rates, or in ecology, when a new pesticide backfires and produces dire, unintended consequences that propagate through the food chain.

...for a piece of famous fluffiness that doesn't just pretend about what real lives can be like, but moves on into one of the world's least convincing pretences about what people themselves are like, consider the teased and coiffed nylon monument that is 'Imagine': surely the My Little Pony of philosophical statements. John and Yoko all in white, John at the white piano, John drifting through the white rooms of a white mansion, and all the while the sweet drivel flowing. Imagine there's no heaven. Imagine there's no hell. Imagine all the people, living life in - hello? Excuse me? Take religion out of the picture, and everybody spontaneously starts living life in peace? I don't know about you, but in my experience peace is not the default state of human beings, any more than having an apartment the size of Joey and Chandler's is. Peace is not the state of being we return to, like water running downhill, whenever there's nothing external to perturb us. Peace between people is an achievement, a state of affairs we put together effortfully in the face of competing interests, and primate dominance dynamics, and our evolved tendency to cease our sympathies at the boundaries of our tribe.

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.

One story sums up their magical quality. On June 30th 1968, at the height of Apple optimism, Paul McCartney and Derek Taylor were driving back to London from Saltaire, Yorkshire, where they had been recording the Black Dyke Mills Band on a song of Paul’s called ‘Thingummybob’. They were in Bedfordshire. Let’s pick a village on the map and pay it a visit, said Beatle Paul. He found a village called Harrold, which they found quite hilarious, and turned off the A5. Harrold turned out to be a picture-perfect village, with a picture-perfect pub at its heart. The pub was closed, but when the villagers saw there was a Beatle at the door they opened it up. Soon the whole village was in the pub, listening to Paul McCartney on the pub piano playing the as-yet-unreleased ‘Hey Jude’. Every Harrold resident danced and sang along, and the revelry went on until 3 a.m. It was beautiful, perfect, spontaneous and full of love. Harrold. You couldn’t make it up.

Atoms emit radiation in a spontaneous fashion, but Einstein theorized that this process could also be stimulated. A roughly simplified way to picture this is to suppose that an atom is already in a high-energy state from having absorbed a photon. If another photon with a particular wavelength is then fired into it, two photons of the same wavelength and direction can be emitted. What Einstein discovered was slightly more complex. Suppose there is a gas of atoms with energy being pumped into it, say by pulses of electricity or light. Many of the atoms will absorb energy and go into a higher energy state, and they will begin to emit photons. Einstein argued that the presence of this cloud of photons made it even more likely that a photon of the same wavelength and direction as the other photons in the cloud would be emitted.35 This process of stimulated emission would, almost forty years later, be the basis for the invention of the laser, an acronym for “light amplification by the stimulated emission of radiation.

We kept our fingers crossed and eagerly scanned the newspapers and magazines for news of an engagement between Diana and Charles. Then, late in the morning of February 24, I answered the telephone in my bedroom and heard the voice of a friend in London… “Mary, it’s Dena. Your girl made it!” I knew she meant that Diana’s engagement to Prince Charles had just been announced. I gave a big shout and literally jumped for joy, banging my head on the low dormer ceiling. I couldn’t have been prouder of Diana if I’d been her mother. I was so happy for her I could have burst! I knew how desperately she had wished for this outcome. The past fall, she had told me that she would “simply die” if the romance didn’t work out. How wonderful that her dream had come true. Almost immediately, a mischievous picture popped into my mind of the future and royal Diana, scheduled for an official day of handshaking, ribbon cutting, or tree planting and wishing she could have a friend call to cancel those tedious engagements. As Princess of Wales, she would not be able to cancel on short notice, if at all, as she had when she was baby-sitting for me. I wondered how the lively, spontaneous, and very young Diana would adjust to her official duties. I felt a bit sorry for her as I dimly realized how rigid and structured her new life might be.

The car ploughed uphill through the long squalid straggle of Tevershall, the blackened brick dwellings, the black slate roofs glistening their sharp edges, the mud black with coal-dust, the pavements wet and black. It was as if dismalness had soaked through and through everything. The utter negation of natural beauty, the utter negation of the gladness of life, the utter absence of the instinct for shapely beauty which every bird and beast has, the utter death of the human intuitive faculty was appalling. The stacks of soap in the grocers’ shops, the rhubarb and lemons in the green-grocers’! the awful hats in the milliners’! all went by ugly, ugly, ugly, followed by the plaster-and-gilt horror of the cinema with its wet picture announcements, “A Woman’s Love!”, and the new big Primitive chapel, primitive enough in its stark brick and big panes of greenish and raspberry glass in the windows. The Wesleyan chapel, higher up, was of blackened brick and stood behind iron railings and blackened shrubs. The Congregational chapel, which thought itself superior, was built of rusticated sandstone and had a steeple, but not a very high one. Just beyond were the new school buildings, expensive pink brick, and graveled playground inside iron railings, all very imposing, and mixing the suggestion of a chapel and a prison. Standard Five girls were having a singing lesson, just finishing the la-me-do-la exercises and beginning a “sweet children’s song.” Anything more unlike song, spontaneous song, would be impossible to imagine: a strange bawling yell that followed the outlines of a tune. It was not like savages: savages have subtle rhythms. It was not like animals: animals mean something when they yell. It was like nothing on earth, and it was called singing... What could possibly become of such a people, a people in whom the living intuitive faculty was dead as nails, and only queer mechanical yells and uncanny will power remained?

With practice one can follow the material as it develops and can actually speak with it, as Jung did, which means, of course, that it can speak to you. As Jung explained to a correspondent: “The point is that you start with any image . . . Contemplate it and carefully observe how the picture begins to unfold or to change. Don’t try to make it into something, just do nothing but observe what its spontaneous changes are. Any mental picture you contemplate in this way will sooner or later change through a spontaneous association that causes a slight alteration of the picture. You must carefully avoid impatient jumping from one subject to another. Hold fast to the one image you have chosen and wait until it changes by itself. Note all these changes and eventually step into the picture yourself, and if it is a speaking figure at all then say what you have to say to that figure and listen to what he or she has to say.”22

The kingdom of poetry" This is like light. This is light, Useful as light, as charming And enchanting… …Poetry is certainly More interesting, more valuable, and certainly more charming Than Niagara Falls, the Grand Canyon, the Atlantic Ocean And other much admired natural phenomena. It is useful as light, and as beautiful It is preposterous Precisely, making it possible to say One cannot carry a mountain, but a poem can be carried all over. It is monstrous. Pleasantly, for poetry can say, seriously or in play: “Poetry is better than hope, “For poetry is patience of hope, and all hope’s vivid pictures, “Poetry is better than excitement, it is far more delightful, “Poetry is superior to success, and victory, it endures in serene blessedness “Long after the most fabulous feat like fireworks has mounted and fallen. “Poetry is far more powerful and far more enchanting animal “Than any wood, jungle, ark, circus or zoo possesses.” For poetry magnifies and heighten reality: Poetry says of reality that if it is magnificent, it is also stupid: For poetry is, in a way, omnipotent; For reality is various and rich, powerful and vivid, but it is not enough Because it is disorderly and stupid or only at times, and erratically, intelligent: For without poetry, reality is speechless or incoherent: It is inchoate, like the pomp and the bombast of thunder: Its peroration verge upon the ceaseless oration of the ocean: For reality glows and glory, without poetry, Fake, like the red operas of sunset The blue rivers and the windows of morning. The arts of poetry makes it possible to say: Pandemonium. For poetry is gay and exact. It says: “The sunset resembles a bull-fight. “A sleeping arm feels like soda, fizzing.” Poetry resurrect the past from the sepulchre, like Lazarus. It transforms a lion into a sphinx and a girl. It gives a girl the splendor of Latin. It transforms the water into wine at each marriage in Cana of Galilee. For it is true that poetry invented the unicorn, the centaur and the phoenix. Hence it is true that poetry is an everlasting Ark. An omnibus containing, bearing and begetting all the mind’s animals. Whence it is that poetry gave and gives tongue to forgiveness Therefore a history of poetry would be a history of joy, and a history of the mystery of love For poetry provides spontaneously, abundantly and freely The petnames and the diminutives which love requires and without which the mystery of love cannot be mastered. For poetry is like light, and it is light. It shines over all, like the blue sky, with the same blue justice. For poetry is the sunlight of consciousness: It is also the soil of the fruits of knowledge In the orchards of being: It shows us the pleasures of the city. It lights up the structures of reality. It is a cause of knowledge and laughter: It sharpens the whistles of the witty: It is like morning and the flutes of morning, chanting and enchanted. It is the birth and the rebirth of the first morning forever. Poetry is quick as tigers, clever as cats, vivid as oranges, Nevertheless, it is deathless: it is evergreen and in blossom; long after the Pharaohs and the Caesars have fallen, It shines and endures more than diamonds, It is because poetry is the actuality of possibility, it is The reality of the imagination, The throat of exaltation, The processions of possessions, The motion of meaning and The meaning of morning and The mastery of meaning. The praise of poetry is like the clarity of the heights of the mountains. The heights of poetry are like the exaltation of the mountains. It is the consummation of consciousness in the country of the morning!

Now then,” Falco started as he tucked the canvases back beneath the long table. “Have I proven myself, Signorina Cassandra? May I paint you?” Cass looked down at her long legs protruding from the ruffled skirt. She willed back the images of Aunt Agnese and Luca that threatened to overwhelm her. “You’re not going to display it, are you?” she asked. “I thought I’d hang it by the entrance to the Grand Canal. Call it Signorina Cassandra Caravello in Her Undergarments. What do you think?” “Very funny.” “I thought so.” Falco dragged the wooden stool and easel to the center of the room. He gestured for Cass to take her place on the divan. “Please.” He pulled a pair of lamps close, murmuring something about the insufficient lighting. “Under normal circumstances,” Falco said, “I would ask you to sit during the daytime. It’s the only way to get a clear picture. But it isn’t often I have the place to myself.” He grinned. “And you are certainly not a normal circumstance.” Cass felt herself blushing; she was sure he would have to paint her complexion a mottled red. “Make yourself comfortable,” he said. “Right now it looks as though you’re sitting on a pincushion.” Cass tried a new pose and Falco laughed. “Let me,” he said, and, reaching out, set about readjusting her. He gently eased her onto her left hip, letting the right leg fall forward in front of her. He pulled part of her hair over her shoulder so it twisted and curled around her neck. Cass sipped her drink nervously, hoping the alcohol might relax her. Each of Falco’s touches generated a tiny bolt of lightning inside her. The charge was starting to build up to dangerous levels. “Are your legs cold?” Falco asked. Cass managed to choke out a no. Her whole body was racing with heat, and she felt about two touches away from spontaneous combustion. She was seized by a fleeting impulse to run away; at the same time, she wished he would touch her forever. The costume, the posing, the mysterious alcohol that was dissolving her inhibitions. Cass felt wild and alive, even more so than she had the night they went to the brothels. That night she had been someone else, but tonight she was posing as herself, and she loved it.

Poetry to Wordsworth was the "spontaneous overflow of powerful feelings". He believed that it could not be composed under duress. It was a matter of feeling and mood. It flowed out naturally from the poet's heart. He further added that it could not be made to flow through artificially laid pipes. It is essentially a matter of expressing powerful feelings. felt in the heart and not generated in the mind. It is connected with feelings. A poet is not an ordinary man speaking to man. He thinks long and deeply. He differs from his fellowmen only in degree. He communicates his experience and communicates in such a way as to give pleasure. The function of poetry is to ennoble and edify. The poet is a teacher and through the medium of poetry he imparts moral lessons for the betterment of human life. Poetry, in this sense, is an instrument for the propagation of moral thoughts. It discovers truth-a truth not to be attained by any sort of intellectual elaboration, but by a purging of the eye, an intense and rare simplicity of outlook. Modern poetry, on the other hand, deals with new thoughts and new forms. There are the new values of modern art and its new ways. There is new vitality, for modern poetry has the rhythm of life its throb of joy, its hush of pain, its infinity of experience. The modern poet does not take us on a perpetual joy, because that gets on our nerves. Instead we are welcome to walk with him on the more human roads, stony and dismal like asphalt and tediously endless like life. This collection of poems is a colourful presentation of the various facets of life. It draws vivid pictures of the beauties of nature, men and women, joys and sorrows, life and its reflections and fun and laughter. It is confidently hoped that the reading of the poems will have a positive bearing on the minds of the young readers. They will begin to understand the full meaning of life.

For its effective salvation mankind will need to undergo something like a spontaneous religious conversion: one that will replace the mechanical world picture with an organic world picture, and give to the human personality, as the highest known manifestation of life, the precedence it now gives to its machines and computers. This order of change is as hard for most people to conceive as was the change from the classic power complex of Imperial Rome to that of Christianity, or, later, from supernatural medieval Christianity to the machine-modeled ideology of the seventeenth century. But such changes have repeatedly occurred all through history; and under catastrophic pressure they may occur again. Of only one thing we may be confident. If mankind is to escape its programmed self-extinction the God who saves us will not descend from the machine: he will rise up again in the human soul.

The main problem facing immigrant communities was to change the sort of sociability they practiced from an ascriptive to a voluntary form. That is, the traditional social structures they brought with them were based on family, ethnicity, geographic origin, or some other characteristic with which they were born. For the first generation that landed in the United States, they created the trust necessary for revolving credit associations, family restaurants, laundries, and grocery stores. But in subsequent generations they could become a constraint, narrowing the range of business opportunities and keeping descendants in ethnic ghettoes. For the most successful ethnic groups, the sons and daughters of first-generation immigrants had to learn a broader kind of sociability that would get them jobs in the mainstream business world or in the professions. The speed with which immigrants could make the transition from a member of an ethnic enclave to assimilated mainstream American explains how the United States could be both ethnically diverse and strongly disposed to community at the same time. In many other societies, the descendants of immigrants were never permitted to leave their ethnic ghetto. Although solidarity within the ethnic enclave remained high, the society as a whole was balkanized and conflicted. Diversity can have clear benefits for a society, but is better taken in small sips than in large gulps. It is easily possible to have too diverse a society, in which people not only fail to share higher values and aspirations but even fail to speak the same language. The possibilities for spontaneous sociability then begin to flow only within the cleavage lines established by race, ethnicity, language, and the like. Assimilation through language policy and education must balance ethnicity if broader community is to be possible. The United States presents a mixed and changing picture. If we take into account factors like America’s religious culture and ethnicity, there are ample grounds for categorizing it simultaneously as both an individualistic and a group-oriented society. Those who see only the individualism are ignoring a critical part of American social history. “Yet the balance has been shifting toward individualism rapidly in the last couple of decades, so it is perhaps no accident that Asians and others see it as the epitome of an individualistic society. This shift has created numerous problems for the United States, many of which will play themselves out in the economic sphere.

March 23 MORNING “His sweat was as it were great drops of blood falling down to the ground.” — Luke 22:44 THE mental pressure arising from our Lord’s struggle with temptation, so forced his frame to an unnatural excitement, that his pores sent forth great drops of blood which fell down to the ground. This proves how tremendous must have been the weight of sin when it was able to crush the Saviour so that he distilled great drops of blood! This demonstrates the mighty power of his love. It is a very pretty observation of old Isaac Ambrose that the gum which exudes from the tree without cutting is always the best. This precious camphire-tree yielded most sweet spices when it was wounded under the knotty whips, and when it was pierced by the nails on the cross; but see, it giveth forth its best spice when there is no whip, no nail, no wound. This sets forth the voluntariness of Christ’s sufferings, since without a lance the blood flowed freely. No need to put on the leech, or apply the knife; it flows spontaneously. No need for the rulers to cry, “Spring up, O well;” of itself it flows in crimson torrents. If men suffer great pain of mind apparently the blood rushes to the heart. The cheeks are pale; a fainting fit comes on; the blood has gone inward as if to nourish the inner man while passing through its trial. But see our Saviour in His agony; He is so utterly oblivious of self, that instead of His agony driving His blood to the heart to nourish himself, it drives it outward to bedew the earth. The agony of Christ, inasmuch as it pours Him out upon the ground, pictures the fulness of the offering which He made for men. Do we not perceive how intense must have been the wrestling through which He passed, and will we not hear its voice to us? “Ye have not yet resisted unto blood, striving against sin.” Behold the great Apostle and High Priest of our profession, and sweat even to blood rather than yield to the great tempter of your

Singing a New Song He has given me a new song to sing, a hymn of praise to our God. Many will see what he has done and be amazed. They will put their trust in the LORD. PSALM 40:3 NLT For many, the New Year is a good time to reflect on the events of the past year, to review what God has done, to praise Him for deliverance and safety, and to thank Him for His provision—both individually and corporately. Some of the social networks online have software that will look at the posts and pictures an individual has made and put together a year in review, hitting the highlights and major events. But those “reviews” don’t always pick up on the praise and thanksgiving to God that should result from such an accounting. Take a moment to reflect on all that God has done in the previous months. Then proclaim the works of the Lord, be amazed at His outpouring of love, grace, and mercy. Break out in song, spontaneous and free. Praise God in hymns, praise songs, and scripture songs. Even those who can’t “carry a tune in a bucket,” as the saying goes, can praise God with a joyful noise. If God’s people don’t proclaim the glorious works of their God, how can they expect the world to ever have a right view of Him? Sing a new song of praise to God for His many and varied works, and renew your trust in Him for the new year ahead. Father, thank You for the new song of praise You have placed in my heart.

In the end, one is of course perfectly free to believe in the, so to speak, “just-there-ness” of the quantum order and of the physical laws governing it. I tend to see this as bordering upon a belief in magic, but that may be mere prejudice. What is absolutely certain is that the naturalist view of things is, as I have said, just a picture of the world, not a truth about the world that we can know, nor even a conviction that rests upon a secure rational foundation. The picture that naturalism gives us, at least at present, is twofold. On the one hand, the cosmos of space and time is a purely mechanistic reality that, if we are to be perfectly consistent, we must see as utterly deterministic: that is to say, to work a small variation on Laplace’s fantasy, if we could know the entire history of the physical events that compose the universe, from that first inflationary instant to the present, including the course of every particle, we would know also the ineluctable necessity of everything that led to and follows from the present; even what we take to be free acts of the will would be revealed as the inevitable results of physical forces reaching all the way back to the beginning of all things. On the other hand, this deterministic machine floats upon a quantum flux of ceaseless spontaneity and infinite indeterminacy. Together, these two orders close reality within a dialectical totality—a perfect union of destiny and chance, absolute determinism and pure fortuity—hermetically sealed against all transcendence. And yet, once again, the picture is radically incomplete, not only because it is unlikely that the classical Newtonian universe and the universe of quantum theory can be fitted together so seamlessly, but because neither level of reality explains the existence of the other, or of itself. And, also once again, nothing we know obliges us to find this picture more convincing than one in which higher causes (among which we might, for instance, include free will) operate upon lower, or in which all physical reality is open to a transcendent order that reveals itself in the very existence of nature.

As we approach parts with curiosity and compassion, they may spontaneously release burdens and polarities, returning to the wholeness of the Self, no longer believing in separateness. The conceptual framework surrounding parts may dissolve, and the very label "part" may become superfluous. This aligns with Schwartz’s belief that in a healthy, integrated, or never-burdened system, you "hardly notice your parts." As inner harmony is achieved through this work, the practices themselves may naturally fade away, including any mindfulness or self-inquiry techniques, as our direct knowing of the unified Self stabilizes. What remains is unmediated experiencing—perception without an internal judge or narrator imposing layers of meaning. Like a bird feeling the fresh raindrop, we awaken to the pure isness of the present moment. We recognize that diversity was never truly separate—all parts reside within the vastness of the Self and feel its illuminating presence infusing life with wholeness. Self-realization does not conflict with the experience of inner multiplicity. Rather, it provides the foundation for embracing our diverse parts with love and understanding. Just as clouds naturally arise within the vast expanse of the sky, the many facets of our psyche emerge from the same unitary source of consciousness. By recognizing our fundamental oneness, we can openly accept all inner voices and perspectives as inseparable expressions of our true nature. Parts work therapies like Jungian analysis, psychosynthesis, and IFS rest on the realization that our multiplicity arises from and returns to an underlying unity. Healing separation unveils the intrinsic connectedness shining through our diversity. The many are seen to be expressions of the one infinite consciousness from which we all emerge. Awakening to our true nature does not erase our finite human form but allows us to live as embodiments of the infinite while navigating the relative world. We can embrace relationships, experiences, and inner parts as manifestations of the vast depths of being itself. Our very capacity for a richly textured existence arises from the fecundity of the source—celebrating the unlimited creativity that gives rise to all multiplicities within its all-encompassing embrace. When we unravel the tendency to view parts as separate from Self, ourselves as separate from the collective, and the collective as separate from the universe, we find interconnected wholeness underneath it all, like pieces of the same puzzle fitting perfectly together. Though each piece may seem distinct, together they form a complete picture. Just as a puzzle is not whole without all its pieces, so too are we fragments without our connections to others and the greater whole. All pieces big and small fit together to create the fullness of life. From the vantage point of the infinite, life appears as a seamless whole. Yet seen through the finite lens of the mind, it fragments into countless shapes and forms. To insist that only oneness or multiplicity is real leads to a fragmented perspective, caught between mutually exclusive extremes. With curiosity and compassion, we can integrate these views into a unified vision. Like the beads in a kaleidoscope, Self appears in endless configurations—now as particle, now as wave. Though the patterns change, the beads remain the same. All possibilities are held safely within the kaleidoscope's luminous field. The essence lies in remembering that no bead stands alone. Parts require the presence of an overarching whole that encompasses them. The individual Self necessitates the existence of a vaster, universal SELF. The love that binds all parts infuses the inside and outside alike. This unifying love can be likened to the Tao, the very fabric from which life is woven.

Miles’s Quiet Supremacy had hardened over the years into an exoskeleton, growing stiffer with each honor until he looked barely capable of motion, much less spontaneity. His every gesture seemed to Alfred an act of pretense, even concealment—why else did Miles’s only genuine smiles seem to come when Trudy was taking pictures with her iPhone? Trudy was an avid Facebook poster, a touter of family vacations and toddler artworks, a coiner of sappy hashtags like #motherdaughterlove and #thankgoodnessforgrandparents that Alfred logged on to Facebook specifically to be enraged by.

The Vimalakīrti Sūtra names generosity as an essential feature of Buddhist enlightenment. The Buddha and enlightened bodhisattvas are pictured as generous above all else. They give themselves—their time, their resources, their wisdom, and their compassionate action—to all living beings. As with other human virtues, though, their generosity is not innate. It "arises dependent" upon specific causes and conditions that need to be cultivated. Bodhisattvas' ability to give is the result of a discipline of mental training. They have trained their minds to respond to others in a spirit of open generosity by visualizing the plight of suffering beings and all of the ways that they might help alleviate their suffering. Meditating repeatedly on possible acts of giving, they strive to internalize deep feelings of generosity so that when real opportunities for giving appear, generosity comes forth naturally and spontaneously.

11:25. they prophesied. What exactly do they do? Prophecy in the Bible does not primarily involve prediction. It is not that they are going about telling the future. What is happening that makes it obvious to Moses, Joshua, and apparently everyone that they are doing something that is associated with prophets? Some suggest that they are in some sort of trance, but trance behavior is not generally part of what is pictured in the fifteen books of the prophets in the Tanak or in the cases of prophecy in the Tanak's narrative books. What is typical of prophecy, as opposed to historical narrative, in the Bible is that prophecy is in poetry (or in combinations of poetry and prose). Biblical prophecy has the characteristics of oral formulaic poetry. That is, the prophet composes it on the spot, using lines that he or she has already composed and memorized, and mixing these "formulas" with new lines that occur to him or her spontaneously. When such poems occurred to the ancient poets, the poets must have truly felt inspired. And the people who watched and listened to them must have perceived them to be inspired as well. When we a man spontaneously says: They'll beat their swords into plowshares and their spears into pruning hooks. A nation won't lift a sword against a nation, and they won't learn anymore. we can easily imagine him and his audience feeling that it is God moving through him.

When the red sea of rage washes over me, I picture a house on a hill, far away from the rest of the world, a band of oak trees around it, full of greenery, a singular whisper of smoke drifting up into the sky—a place where nobody will get hurt. It’s where I like to go, my safe place, that house on the hill, my skull vibrating with dark thoughts. (Battle Not With Monsters)

of a theory scientific rather than artistic in its origin. We see him in an early portrait an imitator of Goya, but without Goya’s wit or spontaneity. In his large composition we see him produce a work as cleverly eclectic and as sophisticated as some Italian pictures of the seventeenth century. And lastly we have his purely theoretic experiments which are unintelligible to the eye and the mind. Forgetting that these are meant to represent anything, we see very little abstract beauty of colour or design in most of them, although the still life is an exception. They depress us as if they were diagrams of a science about which we know nothing; and whereas in “La Femme au Pot de Moutarde” a human form is obscurely discernible, it seems, but for the obscurity, to be commonplace. He has every right to make his experiments, and they may perhaps prove useful to other artists in the future. He is, in fact, such a scientific experimentor as Paolo Uccello might have been if he had had no original talent of his own, or if in him a slight original talent had been overlaid by intellectual curiosity.

Our Lord’s complaint against the church at Ephesus is “you have abandoned the love you had at first.” Literally translated, the text reads: “You have abandoned your love, the first.” Emphasis is placed on the adjective first, so the love they abandoned refers to their love as it was first expressed at the beginning of their life together as a church body. Jesus doesn’t say, ‘You have no love.” He says, “You have abandoned the love you had at first.” Their love was not what it used to be. While they still had some measure of love because they were, for the most part, true Christians and enduring hardship for his “name’s sake” (Rev. 2:3), they no longer possessed the kind of love they had in their early years as a church. They still loved the Lord, but not like they did at first. They still loved one another, but not like before. Their love for Christ and for one another had once motivated all they did. It brought joy, creativity, freshness, spontaneity, and energy to their life and work. But now their energy source was depleted. Their work had become mundane, mechanical, and routine, and their lives the picture of self-satisfaction. Instead of their love abounding, it had been lacking. Instead of being motivated by love from the heart, their works had become perfunctory. Even certain “works,” which sprang from their former love, vanished. For this, Jesus rebukes them and calls them to do those works again (Rev. 2:5). The object of their lost love is not stated. The text does not say love for Christ or love for fellow believers. It is best, then, to understand Jesus to mean Christian love in general, which would include love for God, love for one another in the church, and love for the lost. According to our Lord, love for God and neighbor are inseparable companions (Mark 12:29-31; Luke 10:27). It is impossible to love God and not love his people or to love his people and not love God (1 John 4:7-5:3). Jesus uses strong words in his complaint against the Ephesians. Jesus squarely places the responsibility at their feet when he says, “you have abandoned” or “given up”3 the love they once had. They can’t blame anyone else for this loss. They have had every advantage provided by years of good teaching, access to almost all of the New Testament Scriptures, and the power of the indwelling Holy Spirit. No wonder Christ expresses extreme displeasure with the situation in Ephesus. Their loss of love is their fault. They have failed to “keep” themselves in the love of God (Jude 21). They must now face this fact and respond to Christ’s criticism and counsel.

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