Staged Series Quotes

They were still in the happier stage of love. They were full of brave illusions about each other, tremendous illusions, so that the communion of self with self seemed to be on a plane where no other human relations mattered. They both seemed to have arrived there with an extraordinary innocence as though a series of pure accidents had driven them together, so many accidents that at last they were forced to conclude that they were for each other. They had arrived with clean hands, or so it seemed, after no traffic with the merely curious and clandestine.

They say grief occurs in five stages. First there's denial followed by anger. Then comes bargaining, depression and acceptance. But grief is a merciless master. Just when you think you're free you realize you never stood a chance.

Whatever plane our consciousness may be acting in, both we and the things belonging to that plane are, for the time being, our only realities. As we rise in the scale of development we perceive that during the stages through which we have passed we mistook shadows for realities, and the upward progress of the Ego is a series of progressive awakenings, each advance bringing with it the idea that now, at last, we have reached "reality"; but only when we shall have reached the absolute Consciousness, and blended our own with it, shall we be free from the delusions produced by Maya [illusion].

How do you turn catastrophe into art? Nowadays the process is automatic. A nuclear plant explodes? We'll have a play on the London stage within a year. A President is assissinated? You can have the book or the film or the filmed book or booked film. War? Send in the novelists. A series of gruesome murders? Listen for the tramp of the poets. We have to understand it, of course, this catastrophe; to understand it, we have to imagine it, so we need the imaginative arts. But we also need to justify it and forgive it, this catastrophe, however minimally. Why did it happen, this mad act of Nature, this crazed human moment? Well, at least it produced art. Perhaps, in the end, that's what catastrophe is for.

A work is never completed except by some accident such as weariness, satisfaction, the need to deliver, or death: for, in relation to who or what is making it, it can only be one stage in a series of inner transformations.

Life is a series of lessons. Crises can be seen as the homework. They aren’t there to defeat us but to help us grow—to graduate us into the next stage of life.

The fact is that when you admit that you can’t blame anyone or anything else, you begin to blame yourself. The human mind gives up trying to find an executioner, but still it must blame someone. Anger that is not expressed tends to turn inward and, instead, attacks the very one who feels it. You move from anger and guilt into depression.

The power to guess the unseen from the seen, to trace the implication of things, to judge the whole piece by the pattern, the condition of feeling life, in general, so completely that you are well on your way to knowing any particular corner of it-this cluster of gifts may almost be said to constitute experience, and they occur in country and in town, and in the most differing stages of education.

All the world's a stage, Timmy Quinn, but it's not the only one…" The Turtle Boy (The Timmy Quinn Series (Book One)

Working hypotheses, young man, must be based upon accurately determined facts; not upon mere guesses, superstitions, or figments of personal prejudices.

Swords, Lances, arrows, machine guns, and even high explosives have had far less power over the fates of nations than the typhus louse, the plague flea, and the yellow-fever mosquito. Civilizations have retreated from the plasmodium of malaria, and armies have crumbled into rabbles under the onslaught of cholera spirilla, or of dysentery and typhoid bacilli. Huge areas have bee devastated by the trypanosome that travels on the wings of the tsetse fly, and generations have been harassed by the syphilis of a courtier. War and conquest and that herd existence which is an accompaniment of what we call civilization have merely set the stage for these more powerful agents of human tragedy.

So many people are afraid of the ending of their life on earth. Then there are others who are afraid of not being able to leave after their bodies have long failed them. There's nothing at all to be afraid of. Death is the last lesson in the school of life. It is the final stage of growth. Death is the one event that is designed to remove all of your remaining fears. Someday you will find that the things you were most afraid of, like death, were only illusions.

The city is not merely a repository of pleasures. It is the stage on which we fight our battles, where we act out the drama of our own lives. It can enhance or corrode our ability to cope with everyday challenges. It can steal our autonomy or give us the freedom to thrive. It can offer a navigable environment, or it can create a series of impossible gauntlets that wear us down daily. The messages encoded in architecture and systems can foster a sense of mastery or helplessness.

The 'Manifesto' being our joint production, I consider myself bound to state that the fundamental proposition which forms its nucleus belongs to Marx. That proposition is: that in every historical epoch, the prevailing mode of economic production and exchange, and the social organization necessarily following from it, form the basis upon which is built up, and from which alone can be explained, the political and intellectual history of that epoch; that consequently the whole history of mankind (since the dissolution of primitive tribal society, holding land in common ownership) has been a history of class struggles, contests between exploiting and exploited, ruling and oppressed classes; that the history of these class struggles forms a series of evolution in which, nowadays, a stage has been reached where the exploited and the oppressed class—the proletariat—cannot attain its emancipation from the sway of the exploiting and ruling class—the bourgeoisie—without, at the same time, and once for all, emancipating society at large from all exploitation, oppression, class distinctions and class struggles. This proposition, which, in my opinion, is destined to do for history what Darwin's theory has done for biology, we, both of us, had been gradually approaching for some years before 1845.

Alright. Let's get realistic now. You know and I know that the function of that number was just to provide some sort of warm-up trash before we do something HEAVY. Something a little bit harder to listen to, but which is probably better for you in the LONG RUN. The item in this instance, which will be better for you in the LONG RUN, and if we only had a little more space up here we could make it visual for you, is "Some Ballet Music," which we've played at most of our concert series in Europe. Generally in halls where we had a little bit more space and Motorhead and Kansas could actually fling themselves across the stage, and give you their teenage interpretation of the art of The Ballet. I don't think it's too safe to do it here, maybe they can just hug each other a little bit and do some calisthenics in the middle of the stage.

Creation takes place through words, a series of 'And God Saids' bringing each new stage of life into being. Language is God's divine power made manifest in the world.

We are meant to be learning at every stage of life. Think about life as a series of classrooms or ashrams in which we learn various lessons.

The act of living one's own destiny includes a series of stages that are far beyond our understanding, whose objective is always to... make us learn the lessons necessary to fulfill our own destiny.

Survivors often feel like prisoners in their own homes during the later stages of the relationship. They are told what they should and should not be doing and treated like children who need guidance.

The Thirties had seen the first generation of American industrial designers; until the Thirties, all pencil sharpeners looked like pencil sharpeners—your basic Victorian mechanism, perhaps with a curlicue of decorative trim. After the advent of the designers, some pencil sharpeners looked as though they’d been put together in wind tunnels. For the most part, the change was only skin-deep; under the streamlined chrome shell, you’d find the same Victorian mechanism. Which made a certain kind of sense, because the most successful American designers had been recruited from the ranks of Broadway theater designers. It was all a stage set, a series of elaborate props for playing at living in the future.

If you have not resolved your grief, it will affect your future relationships including the one you have with yourself. Including the one you have with me. It will keep us all in a holding pattern, putting a straightjacket on your love and chaining you to the past instead of moving you forward into the future.

The Africans and the underdeveloped peoples, contrary to what is commonly believed, are quick to build a social and political consciousness. The danger is that very often they reach the stage of social consciousness before reaching the national phase. In this case the underdeveloped countries’ violent calls for social justice are combined, paradoxically enough, with an often primitive tribalism. The underdeveloped peoples behave like a starving population—which means that the days of those who treat Africa as their playground are strictly numbered. In other words, their power cannot last forever. A bourgeoisie that has only nationalism to feed the people fails in its mission and inevitably gets tangled up in a series of trials and tribulations. If nationalism is not explained, enriched, and deepened, if it does not very quickly turn into a social and political consciousness, into humanism, then it leads to a dead end. A bourgeois leadership of the underdeveloped countries confines the national consciousness to a sterile formalism. Only the massive commitment by men and women to judicious and productive tasks gives form and substance to this consciousness.

Another form of bargaining, which many people do, and she did too, is to replay the final painful moments over and over in her head as if by doing so she could eventually create a different outcome. It is natural to replay in your mind the details. Deep in your heart you know what is true. Your mouth speaks the words, “My cat has died,” but you still don’t really want to believe it. You go over and over and over it in your mind. Your heart replays the scene for you for the express purpose of teaching you to accept what has happened. While your heart tries to “rewire” your mind to accept it, your mind keeps looking for a different answer. It doesn’t like the truth. Like anything else, when you hear it enough, you finally accept that it is true.

In cases of organized and multi-perpetrator abuse when the abuse occurs in the context of rituals and ceremonies, some elements of the experience may have been staged specifically with the intention of encouraging the disbelief of others if the victim were to report the crime. For example, someone reporting such a crime may mention that the devil was present, or that someone well-known was there, or that acts of magic were performed. These were tricks and deceptions by the abusers-often experienced by the victims after being given medication or hallucinogenic drugs - that render the account unbelievable, make the witness sound unreliable, and protect the perpetrators. (page 120, Chapter 9, Some clinical implications of believing or not believing the patient)

The Hawaiian creation myth relates that the present cosmos is only the last of a series, having arisen in stages from the wreck of the previous universe. In this account, the octopus is the lone survivor of the previous, alien universe.

We need to be those that revere Apollo, yet do not ignore Dionysus. We must give Dionysus his due, but always in a subordinate sense to Apollo. As things stand, we live in a primitive Dionysian world where Apollo scarcely gets a look in. We need an Apollonian world by day (work hard, intelligently, rationally and logically) and a Dionysian world by night (play hard, satisfying our deepest needs in sublimated, ritualistic, and staged ways, avoiding the horror of the untamed, bestial Dionysian).

the writing of fiction is akin to the work of a stage magician, a feat of sustained deception in which by imagery and language the trickster leads the audience to believe in the existence or possibility of a series of nonexistent or impossible things.

Adrian, we’re focusing on Jil here. This isn’t about your personal entertainment.” “Not true,” he said, green eyes sparkling. “Everything’s about my personal entertainment. The world is my stage. Keep it up—you’re becoming a star performer in the show.

After being maligned for his lack of offense for much of his career, [César] Gerónimo batted .280 with two home runs, a triple, three runs, and three RBIs vs. Boston during the 1975 World Series, and then he batted .308 with two doubles, two steals, and three runs vs. New York during the 1976 World Series. The man who’s defense Sparky Anderson called 'ungodly' became an offensive star on baseball’s biggest stage.

We say it is "explanation" but it is only in "description" that we are in advance of the older stages of knowledge and science. We describe better we explain just as little as our predecessors. We have discovered a manifold succession where the naive man and investigator of older cultures saw only two things "cause" and "effect " as it was said we have perfected the conception of becoming but have not got a knowledge of what is above and behind the conception. The series of "causes" stands before us much more complete in every case we conclude that this and that must first precede in order that that other may follow - but we have not grasped anything thereby. The peculiarity for example in every chemical process seems a "miracle " the same as before just like all locomotion nobody has "explained" impulse. How could we ever explain We operate only with things which do not exist with lines surfaces bodies atoms divisible times divisible spaces - how can explanation ever be possible when we first make everything a conception our conception It is sufficient to regard science as the exactest humanizing of things that is possible we always learn to describe ourselves more accurately by describing things and their successions. Cause and effect: there is probably never any such duality in fact there is a continuum before us from which we isolate a few portions - just as we always observe a motion as isolated points and therefore do not properly see it but infer it. The abruptness with which many effects take place leads us into error it is however only an abruptness for us. There is an infinite multitude of processes in that abrupt moment which escape us. An intellect which could see cause and effect as a continuum which could see the flux of events not according to our mode of perception as things arbitrarily separated and broken - would throw aside the conception of cause and effect and would deny all conditionality.

All reading matter, fiction or nonfiction, inspirational or factual—no matter where the stage is set whether the books were printed a hundred or more years ago or only yesterday, whether or not we like what we read—is a journey for the mind. We find ourselves in strange countries and walk in them with strange people, for a time. Often we do not like what we see and hear and encounter; often we do not comprehend it. It's like arriving someplace at night, and then in the morning looking out of the windows, not understanding what we see. However, whether we travel with pleasure or repulsion, comprehension or bewilderment, these journeys expand the mind and enlarge our grasp of the world that once was or that which is now, or even that which may sometime be.

Maybe unhappiness is the continuum through which a human life moves, and joy just a series of blips, of islands in the stream. Or if not unhappiness, then at least melancholy... In the eternal struggle between the world’s beauty and its cruelty, cruelty was gaining ground by the day...[And yet] The future, even when it was only a question-shrouded glimmer, would not be eclipsed by the past; even when death moved towards the centre of the stage, life went on fighting for equal rights.

It is important to know these are master manipulators who could fool just about anyone. People who haven’t experienced this will never fully understand. When others hear the stories, they wonder why the survivor stayed for so long. It all begins with the love-bombing stage, which lays the foundation and sets everything in motion.

Society itself falls apart into class and intraclass groups; individual life-sequences are directly linked with these and together both individual life and subgroups are opposed to the whole. Thus in the early stages of slaveholding society and in feudal society, individual life-sequences are still rather tightly interwoven with the common life of the most immediate social group. But nevertheless they are separate, even here. The course of individual lives, of groups, and of the sociopolitical whole do not fuse together, they are dispersed, there are gaps; they are measured by different scales of value; each of these series has its own logic of development, its own narratives, each makes use of and reinterprets the ancient motifs in its own way. Within the boundaries of individual life-series, an interior aspect makes itself apparent. The process of separating out and detaching individual life-sequences from the whole reaches its highest point when financial relations develop in slaveholding society, and under capitalism. Here the individual sequence takes on its specific private character and what is held in common becomes maximally abstract. The ancient motifs that had passed into the individual life-narratives here undergo a specific kind of degeneration. Food, drink, copulation and so forth lose their ancient "pathos" (their link, their unity with the laboring life of the social whole); they become a petty private matter; they seem to exhaust all their significance within the boundaries of individual life. As a result of this severance from the producing life of the whole and from the collective struggle with nature, their real links with the life of nature are weakened-if not severed altogether.

Surveying a series of news events in the first week of January 1983, David Nyhan of the Boston Globe wrote: “There is something brewing in the land that bodes ill for those in Washington who ignore it. People have moved from the frightened state to the angry stage and are acting out their frustrations in ways that will test the fabric of civil order.” He

I was walking this far off the ground,' Rogers said, smiling at the memory and holding his hand a foot above the floor. 'You know, there are special times and there are extra special times. I feel that the real drama of life is never center stage, it's always in the wings. It's never with the spotlight on, it's usually something that you don't expect at all.

Ok, so lastly all we needed to do was to dodge the stage; no way on planet Earth was I going to get up on that stage dressed as a human ostrich and dance. Ever.

Moreover, all this applies only to units of time. Rocks are divided into quite separate units known as systems, series and stages.

four stages of learning: unconscious incompetence, conscious incompetence, conscious competence, and unconscious competence.

I plant a gentle parting kiss on his lips, our strategy is well and truly screwed at this stage anyway. We barely lasted a day.

I CAN’T WAIT TO GO TO SCHOOL. THIS WILL PROBABLY BE A ONE-TIME-ONLY FEELING.

Stage one is called the incipient or smoldering stage. Stage two is the growth stage. Stage three is the fully developed or steady burning stage. Stage four is the decay stage.

Take the average man who has to stage in his own way the life drama of his own worth and significance. As a youth he, like everyone else, feels that deep down he has a special talent, an indefinable but real something to contribute to the richness and success of life in the universe. But, like almost everyone else, he doesn’t seem to hit on the unfolding of this special something; his life takes on the character of a series of accidents and encounters that carry him along, willy-nilly, into new experiences and responsibilities. Career, marriage, family, approaching old age – all these happen to him, he doesn’t command them. Instead of his staging the drama of his own significance, he himself is staged, programmed by the standard scenario laid down by his society.

Both outer and inner phenomena arise as a result of causes and conditions. Outer phenomena, the things of the physical world, arise in a series of seven steps. The texts use the example of a seed giving rise to a plant that gives rise to a fruit. The seven steps are: seed, sprout, leaflets, stemmed plant, bud, flower, fruit. Each stage succeeds the previous one in time and in order, each giving rise to the next.

local reporters going out on the press-bus each day for the carefully staged “player interviews,” that Dolphin tackle Manny Fernandez described as “like going to the dentist every day to have the same tooth filled,

People feeling strong at some stage of their life sometimes easily allow themselves to offend the weak, being more than sure they will stay unpunished for their behavior. But in due time, the reckoning comes for everything.

They were still in the happier stage of love. They were full of brave illusions about each other, tremendous illusions, so that the communion of self with self seemed to be on a plane where no other human relations mattered. They both seemed to have arrived there with an extraordinary innocence as though a series of pure accidents had driven them together, so many accidents that at last they were forced to conclude that they were for each other.

Today the Director opened his remarks by telling us what we must always do when the author, the director, and the others who are working on a production, leave out things we need to know. We must have, first of all, an unbroken series of supposed circumstances in the midst of which our exercise is played. Secondly we must have a solid line of inner visions bound up with those circumstances, so that they will be illustrated for us. During every moment we are on the stage, during every moment of the development of the action of the play, we must be aware either of the external circumstances which surround us (the whole material setting of the production), or of an inner chain of circumstances which we ourselves have imagined in order to illustrate our parts. Out of these moments will be formed an unbroken series of images, something like a moving picture. As long as we are acting creatively, this film will unroll and be thrown on the screen of our inner vision, making vivid the circumstances among which we are moving. Moreover, these inner images create a corresponding mood, and arouse emotions, while holding us within the limits of the play.

Yet Malone, remarkably, was a model of restraint compared with others, such as John Payne Collier, who was also a scholar of great gifts, but grew so frustrated at the difficulty of finding physical evidence concerning Shakespeare’s life that he began to create his own, forging documents to bolster his arguments if not, ultimately, his reputation. He was eventually exposed when the keeper of mineralogy at the British Museum proved with a series of ingenious chemical tests that several of Collier’s “discoveries” had been written in pencil and then traced over and that the ink in the forged passages was demonstrably not ancient. It was essentially the birth of forensic science. This was in 1859.

A work is never completed except by some accident such as weariness, satisfaction, the need to deliver, or death: for, in relation to who or what is making it, it can only be one stage in a series of inner transformations." —Paul Valery

All vampires use self-hypnosis to avoid seeing themselves as they really are, but Histrionics are virtuosos of self-deception. Like stage magicians, they divert their own awareness away from the strings and wires that hold their personalities together. They simply do not see anything in themselves that they consider inappropriate or unlovable. Their image of themselves is like a series of attractive still photos, scenes from a movie with no overall plot to hold them together.

Deception. What follows digitalization is deception, a period during which exponential growth goes mostly unnoticed. This happens because the doubling of small numbers often produces results so minuscule they are often mistaken for the plodder’s progress of linear growth. Imagine Kodak’s first digital camera with 0.01 megapixels doubling to 0.02, 0.02 to 0.04, 0.04 to 0.08. To the casual observer, these numbers all look like zero. Yet big change is on the horizon. Once these doublings break the whole-number barrier (become 1, 2, 4, 8, etc.), they are only twenty doublings away from a millionfold improvement, and only thirty doublings away from a billionfold improvement. It is at this stage that exponential growth, initially deceptive, starts becoming visibly disruptive.

So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.

him. I also recall the great poster for Ana Christie with Greta Garbo, based on a Eugene O’Neill play. ‘Garbo Talks’ it said. In that film, a series of inns were shown to stimulate our expectations, then there was mist, then a horse in the mist, then finally a woman arrived from Sweden and walked across the stage. Ferrari. Was it Greta Garbo? Borges. Yes, she arrived at the bar and slowly strolled past a very long table. We all expected her to talk—we were waiting to hear Greta Garbo’s voice, her never-heard-before voice. What we did hear was a hoarse voice that said, ‘Give me a whisky.’ It made us shiver with emotion. That was her first talkie.

It is my thesis that the physical functioning of the living individual and the operation of some of the newer communication machines are precisely parallel in their analogous attempts to control entropy through feedback. Both of them have sensory receptors as one stage in their cycle of operation: that is, in both of them there exists a special apparatus for collecting information from the outer world at low energy levels, and for making it available in the operation of the individual or of the machine. In both cases these external messages are not taken neat, but through the internal transforming powers of the apparatus, whether it be alive or dead.

The mind, even although not controlled and directed by the Will, has a wonderful range, but, nevertheless, Man finds himself traveling around and around in a circle, and realizes that he is confronted continually by the Unknown. This disturbs him, and the higher the stage of "book learning" he attains, the more disturbed does he become.

With a series of dreams we can have more confidence in our interpretations, for the later dreams correct the mistakes we have made in handling those that went before. We are also better able, in a dream series, to recognize the important contents and basic themes, and I therefore urge my patients to make a careful record of their dreams and the interpretations given them. I also show them how to work up their dreams in the way I have just indicated, so that they can bring me in writing the dream and the material that forms the context of the dream. In later stages of analysis I let them work out the interpretations as well. The patient learns in this way how to consult the unconscious without the doctor's help.

Judge the powerful by their actions, not their rhetoric; by their deeds, not their words. If democracy is so desirable and wonderful, why aren’t markets, CEOs, managers, bankers, entrepreneurs, monarchs, religious leaders, media moguls, and so on, democratically elected? If they’re not, those in charge don’t rate democracy at all but are advocates of something utterly different. To what is that those who rule us actually subscribe? It’s authoritarian, dictatorial plutocracy – rule by the entrenched, rich elites. That’s the principle by which the world is truly run. Democracy is just a stage show for the marks and suckers, the gullible sheeple that have been so dumbed down that they believe every lie the rich sell them.

No one shines more luridly on this faux-real stage than a woman. Whether it’s a modeling competition, a chance to compete for love, a weight-loss challenge, or a look into the lives of an aging magazine publisher’s harem, women are often the brightly polished trophies in the display case of reality television. The genre has developed a very successful formula for reducing women to an awkward series of stereotypes about low self-esteem, marital desperation, the inability to develop meaningful relationships with other women, and an obsession with an almost pornographic standard of beauty. When it comes to reality television, women, more often than not, work very hard at performing the part of woman, though their scripts are shamefully, shamefully warped.

Izima's elaborate stagings of these exotic murder scenes had their genesis through a series of processes, from inspirational idea through imagination, to intention, and then initiation. The ascendant 'i' here might well be symbolic of Izima's 'I,' or ego, as he both composes and conducts these visual compositions, the sole purpose of which is to transfix and seduce the viewer's 'eye.

In other words, a major transformation is taking place. It reaches the surface, where it sets off a series of reactions and eventually takes form where we can see it with our own eyes. I'm no artist, but I can grasp the basic idea behind that process. Outstanding ideas in the business world, too, emerge through a similar series of stages. The best ideas are thoughts that appear, unbidden, from out of the dark.

The alienated audiences was one that was aware of the performance as an arbitrary construction of the real, of the difference between players and characters, and was therefore aware that the people and incidents on stage were there to perform social an ideological actions that could only be understood in terms of their relationship to the dominant ideology. Alienation produced a thinking, interrogative socially aware audience.

This novel was in a sense developed in stages. First published as a series in St. Nicholas Magazine in 1887 as Sara Crewe, or What Happened at Miss Minchin’s, it proved extremely popular and Burnett followed this with an equally popular dramatisation of the serial, re-named The Little Princess. Burnett was then persuaded to re-write the fictional version under the new name, whilst including the numerous amendments she had made to the story in the play.

Like here it was that I entered that stage when a child overcomes naivite enough to realize an adult's emotional reaction as somethimes freakish for its inconsistencies, so can, on his own reasoning canvas, paint those early pale colors of judgement, resulting from initial moments of ability to critically examine life's perplexities, in tentative little brain-engine stirrings, before they faded to quickly join that train of remembered experience carrying signals indicating existence which itself far outweighs traction effort by thinking's soon slipping drivers to effectively resist any slack-action advantage, for starting so necessitates continual cuts on the hauler - performed as if governed lifelong by the tagwork of a student-green foreman who, crushed under on rushing time always building against his excessive load of emotional contents, is forever a lost ball in the high weeds of personal developments - until, with ever changing emphasis through a whole series of grades of consciousness (leading up from root-beginnings of obscure childish inconscious soul within a world), early lack - for what child sustains logic? - reaches a point of late fossilization, resultant of repeated wrong moves in endless switching of dark significances crammed inside the cranium, where, through such hindering habits, there no longer is the flexibility for thought transfer and unloading of dead freight that a standard gauge would afford and thus, as Faustian Destiny dictates, is an inept mink, limited, being in existence firmly tracked just above the constant "T" biased ballast supporting wherever space yearnings lead the worn rails of civilized comprehension, so henceforth is restricted to mere pickups and setouts of drab distortion, while traveling wearily along its familiar Western Thinking right-of-way. But choo-choo nonsense aside, ...

I had put it off and put it off and got extension after extension (all sorts of other things were going on at the time, like the stage show and the TV series), but eventually the managing director of Pan said, 'We've given you all these extensions and we have got to have it: sudden death or else, we have to have it in four weeks. Now, how far have you got with it?' I didn't like to tell him I hadn't started it; it seemed unfair on the poor chap's heart." —Douglas Adams

The Hindu doctrine teaches that a human cycle, to which it gives the name Manvantara, is divided into four periods marking so many stages during which the primordial spirituality becomes gradually more and more obscured; these are the same periods that the ancient traditions of the West called the Golden, Silver, Bronze, and Iron Ages. We are now in the fourth age, the Kali-Yuga or “dark age”, and have been so already, it is said, for more than six thousand years, that is to say since a time far earlier than any known to “classical” history. Since that time, the truths which were formerly within reach of all have become more and more hidden and inaccessible; those who possess them grow fewer and fewer, and although the treasure of “nonhuman” (that is, supra-human) wisdom that was prior to all the ages can never be lost, it nevertheless becomes enveloped in more and more impenetrable veils, which hide it from men’s sight and make it extremely difficult to discover. This is why we find everywhere, under various symbols, the same theme of something that has been lost—at least to all appearances and as far as the outer world is concerned—and that those who aspire to true knowledge must rediscover; but it is also said that what is thus hidden will become visible again at the end of the cycle, which, because of the continuity binding all things together, will coincide with the beginning of a new cycle. (The Dark Age, p. 3)

A group of giant insectoid creatures floated to the area near the stage. One of them spoke in a series of clicks that the language master knew instantly. "Play hard and fast hairless monkeys!" Greeg shouted, "We're Transmitted Infections from the inner-worlds and this is punk fucking rock!" Crash hit a crunching , distorted guitar note. the Slugs spit in happiness at the sound of the guitar. Greeg liked a species with a love for badass music. He was sure this would be a great show.

Physically speaking we all evolve through a number of stages between birth and death — Shakespeare’s ‘seven ages of man’. But it also seems obvious that we evolve through a series of personalities. How often have we met a child after several years and been amazed that he no longer seems to be the same person? But our personal evolution is not as inevitable as our physical growth: it is the result of effort. If life becomes too difficult we cease to make efforts and cease to evolve. This,

Side by side with the limitless possibilities opened up by the new technologies, reflection about international order must include the internal dangers of societies driven by mass consensus, deprived of the context and foresight needed on terms compatible with their historical character. In every other era, this has been considered the essence of leadership; in our own, it risks being reduced to a series of slogans designed to capture immediate short-term approbation. Foreign policy is in danger of turning into a subdivision of domestic politics instead of an exercise in shaping the future. If the major countries conduct their policies in this manner internally, their relations on the international stage will suffer concomitant distortions. The search for perspective may well be replaced by a hardening of differences, statesmanship by posturing. As diplomacy is transformed into gestures geared toward passions, the search for equilibrium risks giving way to a testing of limits.

Of all the major developments in the history of science, there may be no better example than that of the periodic system to argue against Thomas Kuhn’s thesis that scientific progress occurs through a series of sharp revolutionary stages.20 Indeed, Kuhn’s insistence on the centrality of revolutions in the development of science and his efforts to single out revolutionary contributors has probably unwittingly contributed to the retention of a Whiggish history of science, whereby only the heroes count while blind alleys and failed attempts are written out of the story.21

So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling "hands" were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.

they had to do it anyway. They had to try. They had taken an oath, and they would be faithful to the end. On the bank of surveillance monitors in front of her, she saw a dozen of her best agents—guns drawn—suddenly rush the convention stage, surround the president, grab him by the arms, and literally carry him away, his feet barely touching the ground. Sanchez then bolted out of the command post and met the president’s protective detail backstage and ordered them downstairs, into the makeshift bunker. “Go, go, go,” she yelled as they raced the president down one corridor after another, into a heavily guarded stairwell, and down five flights, eventually bursting into the basement, where all the convention center’s HVAC systems were housed. They turned one corner and then another, ducking pipes and ducts along the way. A moment later, they raced the president into a large storage freezer, slammed the door shut behind them, and worked feverishly to put him in a protective suit, gloves, and mask, pre-positioned there by the army’s nuclear, biological, and chemical fast-reaction team. That done, Sanchez and her agents began to suit up themselves. But just then, Sanchez felt the

On the labour front in 1919 there was an unprecedented number of strikes involving many millions of workers. One of the lager strikes was mounted by the AF of L against the United States Steel Corporation. At that time workers in the steel industry put in an average sixty-eight-hour week for bare subsistence wages. The strike spread to other plants, resulting in considerable violence -- the death of eighteen striking workers, the calling out of troops to disperse picket lines, and so forth. By branding the strikers Bolsheviks and thereby separating them from their public support, the Corporation broke the strike. In Boston, the Police Department went on strike and governor Calvin Coolidge replaced them. In Seattle there was a general strike which precipitated a nationwide 'red scare'. this was the first red scare. Sixteen bombs were found in the New York Post Office just before May Day. The bombs were addressed to men prominent in American life, including John D. Rockefeller and Attorney General Mitchell Palmer. It is not clear today who was responsible for those bombs -- Red terrorists, Black anarchists, or their enemies -- but the effect was the same. Other bombs pooped off all spring, damaging property, killing and maiming innocent people, and the nation responded with an alarm against Reds. It was feared that at in Russia, they were about to take over the country and shove large cocks into everyone's mother. Strike that. The Press exacerbated public feeling. May Day parades in the big cities were attacked by policemen, and soldiers and sailors. The American Legion, just founded, raided IWW headquarters in the State of Washington. Laws against seditious speech were passed in State Legislatures across the country and thousands of people were jailed, including a Socialist Congressman from Milwaukee who was sentenced to twenty years in prison. To say nothing of the Espionage and Sedition Acts of 1917 which took care of thousands more. To say nothing of Eugene V. Debs. On the evening of 2 January 1920, Attorney General Palmer, who had his eye on the White House, organized a Federal raid on Communist Party offices throughout the nation. With his right-hand assistant, J. Edgar Hoover, at his right hand, Palmer effected the arrest of over six thousand people, some Communist aliens, some just aliens, some just Communists, and some neither Communists nor aliens but persons visiting those who had been arrested. Property was confiscated, people chained together, handcuffed, and paraded through the streets (in Boston), or kept in corridors of Federal buildings for eight days without food or proper sanitation (in Detroit). Many historians have noted this phenomenon. The raids made an undoubted contribution to the wave of vigilantism winch broke over the country. The Ku Klux Klan blossomed throughout the South and West. There were night raidings, floggings, public hangings, and burnings. Over seventy Negroes were lynched in 1919, not a few of them war veterans. There were speeches against 'foreign ideologies' and much talk about 'one hundred per cent Americanism'. The teaching of evolution in the schools of Tennessee was outlawed. Elsewhere textbooks were repudiated that were not sufficiently patriotic. New immigration laws made racial distinctions and set stringent quotas. Jews were charged with international conspiracy and Catholics with trying to bring the Pope to America. The country would soon go dry, thus creating large-scale, organized crime in the US. The White Sox threw the Series to the Cincinnati Reds. And the stage was set for the trial of two Italian-born anarchists, N. Sacco and B. Vanzetti, for the alleged murder of a paymaster in South Braintree, Mass. The story of the trial is well known and often noted by historians and need not be recounted here. To nothing of World War II--

India is the Country of the No. That “no” is your test. You have to get past it. It is India’s Great Wall; it keeps out foreign invaders. Pursuing it energetically and vanquishing it is your challenge. In the guru—shishya tradition, the novice is always rebuffed multiple times when he first approaches the guru. Then the guru stops saying no but doesn’t say yes either; he suffers the presence of the student. When he starts acknowledging him, he assigns a series of menial tasks, meant to drive him away. Only if the disciple sticks it out through all these stages of rejection and ill treatment is he considered worthy of the sublime knowledge.

The fundamental problem with learning mathematics is that while the number sense may be genetic, exact calculation requires cultural tools—symbols and algorithms—that have been around for only a few thousand years and must therefore be absorbed by areas of the brain that evolved for other purposes. The process is made easier when what we are learning harmonizes with built-in circuitry. If we can’t change the architecture of our brains, we can at least adapt our teaching methods to the constraints it imposes. For nearly three decades, American educators have pushed “reform math,” in which children are encouraged to explore their own ways of solving problems. Before reform math, there was the “new math,” now widely thought to have been an educational disaster. (In France, it was called les maths modernes and is similarly despised.) The new math was grounded in the theories of the influential Swiss psychologist Jean Piaget, who believed that children are born without any sense of number and only gradually build up the concept in a series of developmental stages. Piaget thought that children, until the age of four or five, cannot grasp the simple principle that moving objects around does not affect how many of them there are, and that there was therefore no point in trying to teach them arithmetic before the age of six or seven.

According to their sacred texts, the earth was created in seven stages. First, the sky came into being—this was an inverted bowl of beautiful stone. Second, the water was created at the bottom of the sky shell, and then third, the earth that floated on water. To this the gods added one plant, one animal, and a bull, and then in the sixth stage, man. Fire was added in the seventh stage, pervading the entire world and residing in seen and unseen places. As a final act of creation the gods assembled and performed the first sacrifice. The primordial plant, the bull, and the man were crushed and from them the vegetable, animal, and human realms were created and populated the earth. New life and death were created, and the world was set in motion.

In the toils of orgasm—she said, she said—she’d be whelmed in a warm green sea through which, dulled by the murk of it, pass a series of small suns like the footlights of a revolving stage, an electric carousel wheeling in a green ether. Envy’s color is the color of her pleasuring, and what is the color of grief? Is it black as they say? And anger always red? The color of that sad shade of ennui called blue is blue but blue unlike the sky or sea, a bitter blue, rue-tinged, discolored at the edges. The color of a blind man’s noon is white, and is his nighttime too? And does he feel it with his skin like a fish? Does he have blues, are they bridal and serene, or yellows, sunlike or urinous, does he remember? Neural colors like the fleeting tones of dreams. The color of this life is water.

And when he came to our runthrough on the stage, it just so happened that Simon had to be doing an impression of him. Simon was like, “Oh my God.” He did the scene and then immediately turned to Professor Hawking and said, “I’m so sorry! They made me do it!” And everyone cracked up. But then a buzzer on his wheelchair went off, and we saw his handlers come in to move and check things, and we were so concerned. My first thought was, Oh my God, Simon, you killed Stephen Hawking! But his handler assured us, “No, he was laughing!” The only way he could communicate was off of his glasses with a sensor on his cheek, so the buzzer would go off when he laughed. We were like, “Thank God!” He just had the best time seeing behind the scenes of our world and how it was done. I still can’t believe it.

Enthusiasm and adventure In all cases, propaganda of agitation tries to stretch energies to the utmost, obtain substantial sacrifices, and induce the in­dividual to bear heavy ordeals. It takes him out of his everyday life, his normal framework, and plunges him into enthusiasm and adventure; it opens to him hitherto unsuspected possibilities, and suggests extraordinary goals that nevertheless seem to him completely within reach. Propaganda of agitation thus unleashes an explosive movement; it operates inside a crisis or actually provokes the crisis itself. On the other hand, such propaganda can obtain only effects of relatively short duration. If the proposed objective is not achieved fast enough, enthusiasm will give way to discour­agement and despair. Therefore specialists in agitation propa­ganda break up the desired goals into a series of stages to be reached one by one.

THE SCHOOL FOR Wives criticised was first brought out at the theatre of the Palais Royal, on the 1st of June, 1663. It can scarcely be called a play, for it is entirely destitute of action. It is simply a reported conversation of “friends in council; but we cannot be surprised that it had a temporary success on the stage. It was acted as a pendant to The School for Wives, and the two were played together, with much profit to the company, thirty-two consecutive times. Molière, in the Preface to The School for Wives, mentions that the idea of writing The School for Wives criticised was suggested to him by a person of quality, who, it is said, was the Abbé Dubuisson, the grand introducteur des ruelles or, in other words, the Master of the Ceremonies to the Précieuses. Our author had also just been inscribed on the list of pensions which Louis XIV. allowed to eminent literary men, for a sum of a thousand livres.

PSEUDO-CHRYSOSTOM. (Comm. in Matt. Prolog.) Matthew has arranged his narrative in a regular series of events. First, the birth, secondly, the baptism, thirdly, the temptation, fourthly, the teachings, fifthly, the miracles, sixthly, the passion, seventhly, the resurrection, and lastly, the ascension of Christ; desiring by this not only to set forth the history of Christ, but to teach the order of evangelic life. It is nought that we are born of our parents, if we be not reborn again of God by water and the Spirit. After baptism we must resist the Devil. Then being as it were superior to all temptation, he is made fit to teach, and if he be a priest let him teach, and commend his teaching, as it were, by the miracles of a good life; if he be lay, let him teach faith by his works. In the end we must take our departure from the stage of this world, and there remains that the reward of resurrection and glory follow the victory over temptation.

Select people find themselves early on in life, while other people undergo painful stages of vast changes. Some people never exhibit a centralizing persona and they tend to undergo a series of crisis throughout their lives. I observed some friends, family members, and other acquaintances at various stages in their lives and they seem virtually the same person years later. I am a person who cyclically turns himself inside out after crashing and burning, failing, and then reassembling the seeds of defeat into new victories, only to run aground again. I mentally and emotionally resist change and must consciously force a personal metamorphosis. Could I radically change again? Did I possess the internal reserves to weather a period of reconstitution and then make myself over into a new prototype? Can I will myself to becoming the person I aspire to be? Can I take advantage of human consciousness to broker a way out of self-defeat and a misery-ridden life?

You have to have approached a place from all four cardinal points if you want to take it in, and what’s more, you also have to have left it from all these points. Otherwise it will quite unexpectedly cross your path three or four times before you are prepared to discover it. One stage further, and you seek it out, you orient your-self by it. The same thing with houses. It is only after having crept along a series of them in search of a very specific one that you come to learn what they contain. From the arches of gates, on the frames of house doors, in letters of varying size, black, blue, yellow, red, in the shape of arrows or in the image of boots or freshly-ironed laundry or a word stoop or a stairway’s solid landing, the life leaps out at you, combative, determined, mute. You have to have traveled the streets by streetcar to realize how this running battle con-tinues up along the various stories and finally reaches its decisive pitch on the roofs.

The man in this stage of consciousness thinks of his "I" as a mental thing, having a lower companion, the body. He feels that he has advanced, but yet his "I" does not give him the answer to the riddles and questions that perplex him. And he becomes most unhappy. Such men often develop into Pessimists, and consider the whole of life as utterly evil and disappointing—a curse rather than a blessing. Pessimism belongs to this plane, for neither the Physical Plane man or the Spiritual Plane man have this curse of Pessimism. The former man has no such disquieting thoughts, for he is almost entirely absorbed in gratifying his animal nature, while the latter man recognizes his mind as an instrument of himself, rather than as himself, and knows it to be imperfect in its present stage of growth. He knows that he has in himself the key to all knowledge—locked up in the Ego—and which the trained mind, cultivated, developed and guided by the awakened Will, may grasp as it unfolds.

Services are a series of interactions between customers and the service system through many different touchpoints during the customer journey. As the sole way that customers relate to your services, you would think that interactions would be centre stage for all service providers. So, why are so many services so bad? When Demos, a UK think tank, talk of a fundamental disconnection between services and people, one of the main reasons they give is the poor consideration of the interactions between the service provider and the customer – the interaction design. To value your customer, you need to spend some time understanding the interactions they have with your service, and that means two things. Firstly, viewing your service through the customers’ eyes, and secondly, designing in such a way that customers receive consistent experiences over time which they consider valuable. It’s strange, but repeatedly we see companies ignoring both of these aspects, with the consequence that customers feel ignored and value is lost. One

At this stage in the discussion one has to mention the specter of communism. What is the threat of communism to this system? For a clear and cogent answer, one can turn to an extensive study of the Woodrow Wilson Foundation and National Planning Association called the Political Economy of American Foreign Policy, a very important book. It was compiled by a representative segment of the tiny elite that largely sets public policy for whoever is technically in office. In effect, it’s as close as you can come to a manifesto of the American ruling class. Here they define the primary threat of communism as “the economic transformation of the communist powers in ways which reduce their willingness or ability to complement the industrial economies of the West.” That is the primary threat of communism. Communism, in short, reduces the willingness and ability of underdeveloped countries to function in the world capitalist economy in the manner of, for example, the Philippines which has developed a colonial economy of a classic type, after 75 years of American tutelage and domination. It is this doctrine which explains why British economist Joan Robinson describes the American crusade against communism as a crusade against development.

Due to the various pragmatic obstacles, it is rare for a mission-critical analysis to be done in the “fully Bayesian” manner, i.e., without the use of tried-and-true frequentist tools at the various stages. Philosophy and beauty aside, the reliability and efficiency of the underlying computations required by the Bayesian framework are the main practical issues. A central technical issue at the heart of this is that it is much easier to do optimization (reliably and efficiently) in high dimensions than it is to do integration in high dimensions. Thus the workhorse machine learning methods, while there are ongoing efforts to adapt them to Bayesian framework, are almost all rooted in frequentist methods. A work-around is to perform MAP inference, which is optimization based. Most users of Bayesian estimation methods, in practice, are likely to use a mix of Bayesian and frequentist tools. The reverse is also true—frequentist data analysts, even if they stay formally within the frequentist framework, are often influenced by “Bayesian thinking,” referring to “priors” and “posteriors.” The most advisable position is probably to know both paradigms well, in order to make informed judgments about which tools to apply in which situations.

Lynum had plenty of information to share. The FBI's files on Mario Savio, the brilliant philosophy student who was the spokesman for the Free Speech Movement, were especially detailed. Savio had a debilitating stutter when speaking to people in small groups, but when standing before a crowd and condemning his administration's latest injustice he spoke with divine fire. His words had inspired students to stage what was the largest campus protest in American history. Newspapers and magazines depicted him as the archetypal "angry young man," and it was true that he embodied a student movement fueled by anger at injustice, impatience for change, and a burning desire for personal freedom. Hoover ordered his agents to gather intelligence they could use to ruin his reputation or otherwise "neutralize" him, impatiently ordering them to expedite their efforts. Hoover's agents had also compiled a bulging dossier on the man Savio saw as his enemy: Clark Kerr. As campus dissent mounted, Hoover came to blame the university president more than anyone else for not putting an end to it. Kerr had led UC to new academic heights, and he had played a key role in establishing the system that guaranteed all Californians access to higher education, a model adopted nationally and internationally. But in Hoover's eyes, Kerr confused academic freedom with academic license, coddled Communist faculty members, and failed to crack down on "young punks" like Savio. Hoover directed his agents to undermine the esteemed educator in myriad ways. He wanted Kerr removed from his post as university president. As he bluntly put it in a memo to his top aides, Kerr was "no good." Reagan listened intently to Lynum's presentation, but he wanted more--much more. He asked for additional information on Kerr, for reports on liberal members of the Board of Regents who might oppose his policies, and for intelligence reports about any upcoming student protests. Just the week before, he had proposed charging tuition for the first time in the university's history, setting off a new wave of protests up and down the state. He told Lynum he feared subversives and liberals would attempt to misrepresent his efforts to establish fiscal responsibility, and that he hoped the FBI would share information about any upcoming demonstrations against him, whether on campus or at his press conferences. It was Reagan's fear, according to Lynum's subsequent report, "that some of his press conferences could be stacked with 'left wingers' who might make an attempt to embarrass him and the state government." Lynum said he understood his concerns, but following Hoover's instructions he made no promises. Then he and Harter wished the ailing governor a speedy recovery, departed the mansion, slipped into their dark four-door Ford, and drove back to the San Francisco field office, where Lynum sent an urgent report to the director. The bedside meeting was extraordinary, but so was the relationship between Reagan and Hoover. It had begun decades earlier, when the actor became an informer in the FBI's investigation of Hollywood Communists. When Reagan was elected president of the Screen Actors Guild, he secretly continued to help the FBI purge fellow actors from the union's rolls. Reagan's informing proved helpful to the House Un-American Activities Committee as well, since the bureau covertly passed along information that could help HUAC hold the hearings that wracked Hollywood and led to the blacklisting and ruin of many people in the film industry. Reagan took great satisfaction from his work with the FBI, which gave him a sense of security and mission during a period when his marriage to Jane Wyman was failing, his acting career faltering, and his faith in the Democratic Party of his father crumbling. In the following years, Reagan and FBI officials courted each other through a series of confidential contacts. (7-8)

The first stage is claiming the intention: “I am Word through this intention to do whatever you wish. Word I am Word,” “I am Word through this intention to do whatever I want. Word I am Word,” and then you fill in the blank. “I am Word through my desire to know myself more.” “I am Word through my intention to believe in my abilities.” “I am Word through my intention to create the perfect job.” “Word I am Word through these intentions. Word I am Word,” is how we present it. Now once this is stated, the energy moves and we go forward in consciousness and we create with the vibration. So the first stage is the intention. The next stage is acclimation to the frequency. Once you have stated an intention and it goes forth, then you have to acclimate to it. And that means to respect it and to believe it and to honor it. You cannot set out an intention to clean your apartment and then throw a bottle of garbage on the floor and sit back and expect it to be cleaned. You have to take the actions that correspond to the intentions. But that doesn’t mean blind action. It simply means staying conscious and present as your intention is set forth: “If I move as I am moved, I will then make the choices that are in honor of the intention I have created and set forward.” That is different than acting blindly; it is different than running around acting as if you don’t truly believe it’s so. But when we say acclimate, we simply mean you have set the intention and now you have to let it settle in, and honor it, and believe it, and trust that it is coming into fruition. That is part two. The third part is reception: “I am in my reception of my intentions, reaping the benefits of that which I have called forth into being. Word I am Word through this intention. Word I am Word.” Here we have just given you a hint that you can actually call forth your intention and then set the intention to receive the benefits of it as well, which will actually anchor it in more fully in vibration if you wish to do it this way. But you can also just trust in faith, in cosmic truth, that when you set out an intention in light it is returned to the sender in fullness. Prayer is a form of intention; however, there is a difference between begging for something and stating your own worth as the receiver of an answered prayer. However, in order to do this fully you have to believe you are supported in prayer, or in your intention, or whichever way you want to describe this process for yourself given your history and your vocabulary. If you believe that there is a God who is saying no all the time, that will be your experience.

Before time and space began, the true God existed in a realm known as the Pleroma, which means fullness, together with a female divine principle, known as Ennoia, or Thought. The true God does not create, but rather emanates, which is to say that things come forth from him. In other words, rather than the true God saying ‘Let there be light’, as the God of the Old Testament does, light comes forth from the true God as if it were breath; it is not deliberate, willed creation. A series of emanations resulted in the creation of a number of divine figures known as aeons. Central to the idea of emanation is that each successive emanation is somewhat lesser than that from which it emanated, like the ripples on the surface of a pond after a stone has been dropped into the middle of it, with the ripples in the centre of the pond being closer to the stone than the ones at the pond’s edge. Sophia, the Wisdom of God, being the youngest of the aeons, is also therefore the furthest from God, and it was through her desire to know the true God that an emanation came forth from her without the knowledge or participation of her male consort (all the aeons having partners). This emanation produced the dark chaos which was to become matter, but at this stage was a soulless place, ‘limitless darkness and bottomless water’.40 Gnostic texts describe it as an abortion. Sophia, being disturbed by the darkness, decided to create a being to rule over it and breathed life into an androgynous, lion-faced being known as Ialdabaoth, a word which could mean either ‘begetter of the heavenly powers’ (i.e., ‘creator of the world’) or ‘childish god’.

Sometimes our heart is moved to tenderness when we consider God's great wisdom with regard to each of us. At other times we can be softened only through suffering. We may then feel utterly destroyed to the point of despairing of life itself. But if, with help from on high, we gather the strength to turn to God at that point, He will find an opening so as to enter our heart with His grace. Nowadays, people are familiar with acute suffering of one kind or another. Pain and suffering have become the common language of humankind. God may well be using this to break through into our hardened and loveless world with His grace and the result would be a spiritual renaissance. He has already changed the lives of so many people, and He can easily change many more, and even extend it to the whole world. We might also be moved by the thought that our life has been nothing but a chain of errors, a chain of betrayals, a long series of failures. We see that nothing in our life is worthy of God and nothing in us is fit to look upon the Face of God. Neither can He look upon us, nor can we stand in His presence. If we turn to God with such awareness He will unfailingly find and opening for His grace. In this way, we can make a new start at any moment of our life, for we know that our God will respond. But if He is to visit man with His grace, He will first require our cooperation. He requires the presence of our human factor, little and weak though it is. He created us out of nothing, but He does not create us anew unless we consent to work with Him. Our tiny human factor is absolutely necessary to Him, so we need to align it with His infinitely great and divine factor, and the miracle of the union of our heart with His grace will then take place.

Among the forces which sweep and play throughout the universe, untutored man is but a wisp in the wind. Our civilisation is still in a middle stage, scarcely beast, in that it is no longer wholly guided by instinct; scarcely human, in that it is not yet wholly guided by reason. On the tiger no responsibility rests. We see him aligned by nature with the forces of life — he is born into their keeping and without thought he is protected. We see man far removed from the lairs of the jungles, his innate instincts dulled by too near an approach to free-will, his free-will not sufficiently developed to replace his instincts and afford him perfect guidance. He is becoming too wise to hearken always to instincts and desires; he is still too weak to always prevail against them. As a beast, the forces of life aligned him with them; as a man, he has not yet wholly learned to align himself with the forces. In this intermediate stage he wavers — neither drawn in harmony with nature by his instincts nor yet wisely putting himself into harmony by his own free-will. He is even as a wisp in the wind, moved by every breath of passion, acting now by his will and now by his instincts, erring with one, only to retrieve by the other, falling by one, only to rise by the other — a creature of incalculable variability. We have the consolation of knowing that evolution is ever in action, that the ideal is a light that cannot fail. He will not forever balance thus between good and evil. When this jangle of free-will and instinct shall have been adjusted, when perfect understanding has given the former the power to replace the latter entirely, man will no longer vary. The needle of understanding will yet point steadfast and unwavering to the distant pole of truth. In Carrie — as in how many of our worldlings do they not? — instinct and reason, desire and understanding, were at war for the mastery. She followed whither her craving led. She was as yet more drawn than she drew.

Fanning my arms to the side, I draw my pointe shoe forward. As I make my way towards the sea, more twinkles of music unfurl with each step, adding to the present melody. I take a breath, mustering the courage to walk on water. An aquamarine ripple flecked with golden stardust flickers to life beneath me, glowing brightly. I drag my other foot forward. The ocean sparkles, as if accepting the magic I offer. When I find comfort on the water, I relevé--- bringing myself onto pointe. My arms extend in a port de bras, and I begin a series of quick bourrée steps. A ribbon of stardust unravels from my feet, kissing the ocean with that glittering aqua glow. I embrace the beauty I've created, tilting into an arabesque. When I send my arm into the sky, the night illuminates. Stars explode like a shimmering tapestry woven from my body. I smile--- proudly owning the stage--- or in this case, the sea. I ignite the ocean with a piqué manège before leaping into a grand jeté, sending shooting stars as I fly. When I land, I fall into a series of chaîné turns before transitioning into more bourrée steps. Every move leads me closer and closer to Damien. The emptiness between us disappears as I leap into his arms. He lifts me towards the sky, moonlight showering us, before I fall into a fish dive--- my face towards the sea and my legs swept into the air. I glide my fingertips through the water, painting even more color into the night. The ocean radiates with undernotes of jade and lavender, shimmers of bright cyan and pearl. He gently places me down, guiding me into a pirouette. I tether my vision to his as the symphony of the sea blooms into a crescendo. Together, we burst into an allegro--- our own medley of fast, brisk movement. I surrender to his familiar hands around my waist, feeling weightless as he lifts me, as if I'm becoming an angel myself. Damien gives me wings, and I fly across the ocean. The once-black waves have transformed entirely. Plumes of stardust swirl like milk in water, feathering out into a soft iridescence.

One of the best means of preserving the balance of political community and promoting the necessary social and political changes is by keeping the dialogue open with all the political actors who accept the basic rules of the game and are committed to preserving the basic values of the society. This ... explains why many of the thinkers studied in this book, from [Raymond] Aron and [Norberto] Bobbio to [Adam] Michnik, successfully practiced the art of dialogue across the aisle and refused to see the world in black-and-white contrasts. If they adopted the role of committed or engaged spectators, they also maintained a certain degree of detachment and skepticism in their attitudes and political judgments. Their invitation to dialogue and their willingness to speak to their critics illustrated their courage and determination not to look for 'safe spaces' and lukewarm solutions. Instead, they saw themselves as mediators whose duty was to open a line of communication with their opponents who disagreed with them. The dialogue they staged was at times difficult and frustrating, and their belief in the (real or symbolic) power of discussion was an open act of defiance against the crusading spirit of their age, marked by political sectarianism, monologue, and ideological intransigence. Aron and the other moderates studied here were convinced that we can improve ourselves not so much by seeking a fictitious harmony with our critics as by engaging in an open debate with them, as long as we all remain committed to civility and rational critique. In this regard, they all acted as true disciples of Montaigne, who once acknowledged that 'no premise shocks me, no belief hurts me, no matter how opposite they may be. ... When I am contradicted it arouses my attention not my wrath.' This is exactly how Aron and other moderates felt and behaved. They were open to being challenged and did not shy away from correcting others when they thought fit. Yet, in so doing, they did not simply seek to refute or defeat their opponents' arguments, being aware that the truth is almost never the monopoly of a single camp or group.

The Son of God dies in splendor and majesty, not in defeat and loss. The crucifixion event covers about six hours. During those six hours, the gospel writers capture a series of seven sayings of Christ from the tree of death—sometimes referred to as the Seven Last Words. The first three statements are horizontal in nature, describing Christ’s conclusion of His dealings with mankind. They are characterized by: Forgiveness: “Jesus was saying, ‘Father, forgive them; for they do not know what they are doing’” (Luke 23:34). Redemption: “He said to [the thief on the cross], ‘Truly I say to you, today you shall be with Me in Paradise’” (23:43). Compassion: “When Jesus then saw His mother, and the disciple whom He loved standing nearby, He said to His mother, ‘Woman, behold, your son!’ Then He said to the disciple, ‘Behold, your mother!’ From that hour the disciple took her into his own household” (John 19:26-27). * Even in the middle of His pain and anguish, Jesus took the time to perform the duty of the oldest son in caring for His mother. Having cared for those around Him,* the Savior turned His attention heavenward and to the ultimate task at hand. His final four statements engage His Father in the redemptive act that is occurring on the cross of Calvary. These statements express the spiritual aspects of Christ’s work as He progresses through these stages: Abandonment: “About the ninth hour Jesus cried out with a loud voice, saying, ‘Eli, Eli, lama sabachthani?’ that is, ‘My God, My God, why have You forsaken Me?’” (Matthew 27:46). Readiness: “After this, Jesus, knowing that all things had already been accomplished, to fulfill the Scripture, said, ‘I am thirsty’” (John 19:28). Fulfillment: “Therefore when Jesus had received the sour wine, He said, ‘It is finished!’ And He bowed His head and gave up His spirit” (John 19:30). Release: “Jesus, crying out with a loud voice, said, ‘Father, into Your hands I commit My spirit.’ Having said this, He breathed His last” (Luke 23:46). The charge that was placed above His head read: “this is Jesus the King of the Jews” (Matthew 27:37). Everything about His crucifixion spoke of His true majesty, not only as the King of the Jews but also as the King of kings.

We say “universe” and the word makes us think of a possible unification of things. One can be a spiritualist, a materialist, a pantheist, just as one can be indifferent to philosophy and satisfied with common sense: the fact remains that one always conceives of one or several simple principles by which the whole of material and moral things might be explained. This is because our intelligence loves simplicity. It seeks to reduce effort, and insists that nature was arranged in such a way as to demand of us, in order to be thought, the least possible labor. It therefore provides itself with the exact minimum of elements and principles with which to recompose the indefinite series of objects and events. But if instead of reconstructing things ideally for the greater satisfaction of our reason we confine ourselves purely and simply to what is given us by experience, we should think and express ourselves in quite another way. While our intelligence with its habits of economy imagines effects as strictly proportioned to their causes, nature, in its extravagance, puts into the cause much more than is required to produce the effect. While our motto is Exactly what is necessary, nature’s motto is More than is necessary,—too much of this, too much of that, too much of everything. Reality, as James sees it, is redundant and superabundant. Between this reality and the one constructed by the philosophers, I believe he would have established the same relation as between the life we live every day and the life which actors portray in the evening on the stage. On the stage, each actor says and does only what has to be said and done; the scenes are clear-cut; the play has a beginning, a middle and an end; and everything is worked out as economically as possible with a view to an ending which will be happy or tragic. But in life, a multitude of useless things are said, many superfluous gestures made, there are no sharply-drawn situations; nothing happens as simply or as completely or as nicely as we should like; the scenes overlap; things neither begin nor end; there is no perfectly satisfying ending, nor absolutely decisive gesture, none of those telling words which give us pause: all the effects are spoiled. Such is human life.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

Beginning in 2011, SpaceX won a series of contracts from NASA to develop rockets that could take humans to the International Space Station, a task made crucial by the retirement of the Space Shuttle. To fulfill that mission, it needed to add to its facilities at Cape Canaveral’s Pad 40, and Musk set his sights on leasing the most storied launch facility there, Pad 39A. Pad 39A had been center stage for America’s Space Age dreams, burned into the memories of a television generation that held its collective breath when the countdowns got to “Ten, nine, eight…” Neil Armstrong’s mission to the moon that Bezos watched as a kid blasted off from Pad 39A in 1969, as did the last manned moon mission, in 1972. So did the first Space Shuttle mission, in 1981, and the last, in 2011. But by 2013, with the Shuttle program grounded and America’s half-century of space aspirations ending with bangs and whimpers, Pad 39A was rusting away and vines were sprouting through its flame trench. NASA was eager to lease it. The obvious customer was Musk, whose Falcon 9 rockets had already launched on cargo missions from the nearby Pad 40, where Obama had visited. But when the lease was put out for bids, Jeff Bezos—for both sentimental and practical reasons—decided to compete for it. When NASA ended up awarding the lease to SpaceX, Bezos sued. Musk was furious, declaring that it was ridiculous for Blue Origin to contest the lease “when they haven’t even gotten so much as a toothpick to orbit.” He ridiculed Bezos’s rockets, pointing out that they were capable only of popping up to the edge of space and then falling back; they lacked the far greater thrust necessary to break the Earth’s gravity and go into orbit. “If they do somehow show up in the next five years with a vehicle qualified to NASA’s human rating standards that can dock with the Space Station, which is what Pad 39A is meant to do, we will gladly accommodate their needs,” Musk said. “Frankly, I think we are more likely to discover unicorns dancing in the flame duct.” The battle of the sci-fi barons had blasted off. One SpaceX employee bought dozens of inflatable toy unicorns and photographed them in the pad’s flame duct. Bezos was eventually able to lease a nearby launch complex at Cape Canaveral, Pad 36, which had been the origin of missions to Mars and Venus. So the competition of the boyish billionaires was set to continue. The transfer of these hallowed pads represented, both symbolically and in practice, John F. Kennedy’s torch of space exploration being passed from government to the private sector—from a once-glorious but now sclerotic NASA to a new breed of mission-driven pioneers.

The Tale of Human Evolution The subject most often brought up by advocates of the theory of evolution is the subject of the origin of man. The Darwinist claim holds that modern man evolved from ape-like creatures. During this alleged evolutionary process, which is supposed to have started 4-5 million years ago, some "transitional forms" between modern man and his ancestors are supposed to have existed. According to this completely imaginary scenario, four basic "categories" are listed: 1. Australopithecus 2. Homo habilis 3. Homo erectus 4. Homo sapiens Evolutionists call man's so-called first ape-like ancestors Australopithecus, which means "South African ape." These living beings are actually nothing but an old ape species that has become extinct. Extensive research done on various Australopithecus specimens by two world famous anatomists from England and the USA, namely, Lord Solly Zuckerman and Prof. Charles Oxnard, shows that these apes belonged to an ordinary ape species that became extinct and bore no resemblance to humans. Evolutionists classify the next stage of human evolution as "homo," that is "man." According to their claim, the living beings in the Homo series are more developed than Australopithecus. Evolutionists devise a fanciful evolution scheme by arranging different fossils of these creatures in a particular order. This scheme is imaginary because it has never been proved that there is an evolutionary relation between these different classes. Ernst Mayr, one of the twentieth century's most important evolutionists, contends in his book One Long Argument that "particularly historical [puzzles] such as the origin of life or of Homo sapiens, are extremely difficult and may even resist a final, satisfying explanation." By outlining the link chain as Australopithecus > Homo habilis > Homo erectus > Homo sapiens, evolutionists imply that each of these species is one another's ancestor. However, recent findings of paleoanthropologists have revealed that Australopithecus, Homo habilis, and Homo erectus lived at different parts of the world at the same time. Moreover, a certain segment of humans classified as Homo erectus have lived up until very modern times. Homo sapiens neandarthalensis and Homo sapiens sapiens (modern man) co-existed in the same region. This situation apparently indicates the invalidity of the claim that they are ancestors of one another. Stephen Jay Gould explained this deadlock of the theory of evolution although he was himself one of the leading advocates of evolution in the twentieth century: What has become of our ladder if there are three coexisting lineages of hominids (A. africanus, the robust australopithecines, and H. habilis), none clearly derived from another? Moreover, none of the three display any evolutionary trends during their tenure on earth. Put briefly, the scenario of human evolution, which is "upheld" with the help of various drawings of some "half ape, half human" creatures appearing in the media and course books, that is, frankly, by means of propaganda, is nothing but a tale with no scientific foundation. Lord Solly Zuckerman, one of the most famous and respected scientists in the U.K., who carried out research on this subject for years and studied Australopithecus fossils for 15 years, finally concluded, despite being an evolutionist himself, that there is, in fact, no such family tree branching out from ape-like creatures to man.

So why haven’t we been visited? Maybe the probability of life spontaneously appearing is so low that Earth is the only planet in the galaxy—or in the observable universe—on which it happened. Another possibility is that there was a reasonable probability of forming self-reproducing systems, like cells, but that most of these forms of life did not evolve intelligence. We are used to thinking of intelligent life as an inevitable consequence of evolution, but what if it isn’t? The Anthropic Principle should warn us to be wary of such arguments. It is more likely that evolution is a random process, with intelligence as only one of a large number of possible outcomes. It is not even clear that intelligence has any long-term survival value. Bacteria, and other single-cell organisms, may live on if all other life on Earth is wiped out by our actions. Perhaps intelligence was an unlikely development for life on Earth, from the chronology of evolution, as it took a very long time—two and a half billion years—to go from single cells to multi-cellular beings, which are a necessary precursor to intelligence. This is a good fraction of the total time available before the Sun blows up, so it would be consistent with the hypothesis that the probability for life to develop intelligence is low. In this case, we might expect to find many other life forms in the galaxy, but we are unlikely to find intelligent life. Another way in which life could fail to develop to an intelligent stage would be if an asteroid or comet were to collide with the planet. In 1994, we observed the collision of a comet, Shoemaker–Levy, with Jupiter. It produced a series of enormous fireballs. It is thought the collision of a rather smaller body with the Earth, about sixty-six million years ago, was responsible for the extinction of the dinosaurs. A few small early mammals survived, but anything as large as a human would have almost certainly been wiped out. It is difficult to say how often such collisions occur, but a reasonable guess might be every twenty million years, on average. If this figure is correct, it would mean that intelligent life on Earth has developed only because of the lucky chance that there have been no major collisions in the last sixty-six million years. Other planets in the galaxy, on which life has developed, may not have had a long enough collision-free period to evolve intelligent beings. A third possibility is that there is a reasonable probability for life to form and to evolve to intelligent beings, but the system becomes unstable and the intelligent life destroys itself. This would be a very pessimistic conclusion and I very much hope it isn’t true. I prefer a fourth possibility: that there are other forms of intelligent life out there, but that we have been overlooked. In 2015 I was involved in the launch of the Breakthrough Listen Initiatives. Breakthrough Listen uses radio observations to search for intelligent extraterrestrial life, and has state-of-the-art facilities, generous funding and thousands of hours of dedicated radio telescope time. It is the largest ever scientific research programme aimed at finding evidence of civilisations beyond Earth. Breakthrough Message is an international competition to create messages that could be read by an advanced civilisation. But we need to be wary of answering back until we have developed a bit further. Meeting a more advanced civilisation, at our present stage, might be a bit like the original inhabitants of America meeting Columbus—and I don’t think they thought they were better off for it.