Switched Movie Quotes

Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.

Fifteen minutes later, Betsy came thundering down the stairs. "I'm going to the mall with Sierra to see a movie." Michael leaned forward, switched off the television. "Can you please rephrase that in the form of a question?" "Sure. Can I have some money?

Unfortunately, I can’t be Tina, because it’s very difficult to lure her into a Freaky Friday– type situation where we could switch bodies, even though in the movies they make it look so easy. Believe me, I’ve tried.

I walk toward what I think is the school, getting lost again and again until at last the moldering, vacant storefronts switch to juice bars and dog salons and I glimpse the Ivy Bubble. The towers upon which Ava and I have sat like gargoyles. Everyone on the street suddenly goes from looking like an extra in a zombie movie to the star of a French New Wave film.

Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.

When I was cooking I enjoyed a sense of being ‘out’ of myself. The action of dicing vegetables and warming oil made my hands tingle and my thoughts switch to a different hemisphere, right brain rather than left, or left rather than right. In my mind there were many rooms and, just as I still got lost in the labyrinth of corridors at college, I often found myself lost, with a sense of déjà vu, in some obscure part of my cerebral cortex, the part of the brain that plays a key role in perceptual awareness, attention and memory. Everything I had lived through or imagined or dreamed appeared to have been backed up on a video clip and then scattered among those alien rooms. I could stumble into any number of scenes, from the horrifically sexual, horror-movie sequences that were crude and painful, to visualizing Grandpa polishing his shoes.

What do you want to do tonight?” she asked. I shrugged, running my fingers up through the soft tangle of her hair. “This. Be married. Maybe put on a movie. Order some dinner. Go to bed and fuck for a while.” “Can I switch up the order of that a little?” she asked, fingers sliding just under the waistband of my boxers.

My story is about all I got to my name right now, and that's why I feel robbed. But a story's a whole lot more than most people got. All you people watching out there, you're listening to what I say because I have something you don't: I got plot. Bought and paid for. That's what all you people want, and why you're sucking off me. You want my plot. I know how you feel too, since hey, I used to feel the same way. TV and video games and movies and computer screens... On April 8th, 1999, I jumped into the screen, I switched to watchee. Ever since, I've known what my life is about. I give good story. It may have been kinda gory, but admit it, you all loved it. You ate it up. Nuts, I ought to be on some government payroll. Without people like me, the whole country would jump off a bridge, 'cause the only thing on TV is some housewife on Who Wants to Be a Millionaire? winning $64,000 for remembering the name of the president's dog.

It still comes as a shock to me how irreversible life is. How there's no going back to whatever version of me existed before I saw that movie – the kind that switches me on to new streaks of consciousness by showing me a woman I feel strangely, formerly, acquainted with.

Everyone had what they called a coffee bar name. Instead of Nooput, the girl is Natalie. Instead of Tarick, the boy is Ricky. And Hardik wants to be called Harry because he says Americans think his name means he is in the dirty movies.

you were last seen walking through a field of pianos. no. a museum of mouths. in the kitchen of a bustling restaurant, cracking eggs and releasing doves. no. eating glow worms and waltzing past my bedroom. last seen riding the subway, literally, straddling its metal back, clutching electrical cables as reins. you were wearing a dress made out of envelopes and stamps, this was how you travelled. i was the mannequin in the storefront window you could have sworn moved. the library card in the book you were reading until that dog trotted up and licked your face. the cookie with two fortunes. the one jamming herself through the paper shredder, afraid to talk to you. the beggar, hat outstretched bumming for more minutes. the phone number on the bathroom stall with no agenda other than a good time. the good time is a picnic on water, or a movie theatre that only plays your childhood home videos and no one hushes when you talk through them. when they play my videos i throw milk duds at the screen during the scenes i watch myself letting you go – lost to the other side of an elevator – your face switching to someone else’s with the swish of a geisha’s fan. my father could have been a travelling salesman. i could have been born on any doorstep. there are 2,469,501 cities in this world, and a lot of doorsteps. meet me on the boardwalk. i’ll be sure to wear my eyes. do not forget your face. i could never.

Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences—red spot, green spot—smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience,' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?

The switch from sales ladies behind each counter in five-and-dime stores to checkout lines, from waiter-served to self-service and fast-food restaurants, from full-service to self-service gasoline stations are among the responses to higher labor costs. So, too, are the absence of movie theater ushers and the wide use by restaurants of plastic utensils and paper plates, because they do not require dishwashing.

You'll have heard the same talk. How maybe, after the fourth donation, even if you've technically completed, you're still conscious in some sort of way; how then you find there are more donations, plenty of them, on the other side of that line; how there are no more recovery centres, no carers, no friends; how there's nothing to do except watch your remaining donaitions until they switch you off. It's horror movie stuff, and most of the time people don't want to think about it. Not the whitecoats, not the carers---and usually not the donors.

Before I was shot, I always thought that I was more half-there than all-there—I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television—you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television

When it comes to government as it is – and all that government ever could be – we are never really talking about two sides of the table. You get a letter in the mail informing you that your property taxes are going to increase 5% – there is no negotiation; no one offers you an alternative; your opinion is not consulted beforehand, and your approval is not required afterwards, because if you do not pay the increased tax, you will, after a fairly lengthy sequence of letters and phone calls, end up without a house. It is certainly true that your local cable company may also send you a notice that they’re going to increase their charges by 5%, but that is still a negotiation! You can switch to satellite, or give up on cable and rent DVDs of movies or television shows, or reduce some of the extra features that you have, or just decide to get rid of your television and read and talk instead. None of these options are available with the government – with the government, you either pay them, give up your house, go to jail, or move to some other country, where the exact same process will start all over again.

He’d have known, too, he was raising questions to which even the doctors had no certain answers. You’ll have heard the same talk. How maybe, after the fourth donation, even if you’ve technically completed, you’re still conscious in some sort of way; how then you find there are more donations, plenty of them, on the other side of that line; how there are no more recovery centres, no carers, no friends; how there’s nothing to do except watch your remaining donations until they switch you off. It’s horror movie stuff, and most of the time people don’t want to think about it. Not the whitecoats, not the carers—and usually not the donors.

Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.

Many potential readers will skip the shopping cart or cash-out clerk because they have seen so many disasters reported in the news that they’ve acquired a panic mentality when they think of them. “Disasters scare me to death!” they cry. “I don’t want to read about them!” But really, how can a picture hurt you? Better that each serve as a Hallmark card that greets your fitful fevers with reason and uncurtains your valor. Then, so gospeled, you may see that defeating a disaster is as innocently easy as deciding to go out to dinner. Remove the dread that bars your doors of perception, and you will enjoy a banquet of treats that will make the difference between suffering and safety. You will enter a brave new world that will erase your panic, and release you from the grip of terror, and relieve you of the deadening effects of indifference —and you will find that switch of initiative that will energize your intelligence, empower your imagination, and rouse your sense of vigilance in ways that will tilt the odds of danger from being forever against you to being always in your favor. Indeed, just thinking about a disaster is one of the best things you can do —because it allows you to imagine how you would respond in a way that is free of pain and destruction. Another reason why disasters seem so scary is that many victims tend to see them as a whole rather than divide them into much smaller and more manageable problems. A disaster can seem overwhelming when confronted with everything at once —but if you dice it into its tiny parts and knock them off one at a time, the whole thing can seem as easy as eating a lavish dinner one bite at a time. In a disaster you must also plan for disruption as well as destruction. Death and damage may make the news, but in almost every disaster far more lives are disrupted than destroyed. Wit­ness the tornado that struck Joplin, Missouri, in May 2011 and killed 158 people. The path of death and destruction was less than a mile wide and only 22 miles long —but within thirty miles 160,000 citizens whose property didn’t suffer a dime of damage were profoundly disrupted by the carnage, loss of power and water, suspension of civic services, and inability to buy food, gas, and other necessities. You may rightfully believe your chances of dying in a disaster in your lifetime may be nearly nil, but the chances of your life being disrupted by a disaster in the next decade is nearly a sure thing. Not only should you prepare for disasters, you should learn to premeditate them. Prepare concerns the body; premeditate concerns the mind. Everywhere you go, think what could happen and how you might/could/would/should respond. Use your imagination. Fill your brain with these visualizations —run mind-movies in your head —develop a repertoire —until when you walk into a building/room/situation you’ll automatically know what to do. If a disaster does ambush you —sure you’re apt to panic, but in seconds your memory will load the proper video into your mobile disk drive and you’ll feel like you’re watching a scary movie for the second time and you’ll know what to expect and how to react. That’s why this book is important: its manner of vivifying disasters kickstarts and streamlines your acquiring these premeditations, which lays the foundation for satisfying your needs when a disaster catches you by surprise.

Question 2: How Do You Want to Grow? When you watch how young children soak up information, you realize how deeply wired we are to learn and grow. Personal growth can and should happen throughout life, not just when we’re children. In this section, you’re essentially asking yourself: In order to have the experiences above, how do I have to grow? What sort of man or woman do I need to evolve into? Notice how this question ties to the previous one? Now, consider these four categories from the Twelve Areas of Balance: 5.​YOUR HEALTH AND FITNESS. Describe how you want to feel and look every day. What about five, ten, or twenty years from now? What eating and fitness systems would you like to have? What health or fitness systems would you like to explore, not because you think you ought to but because you’re curious and want to? Are there fitness goals you’d like to achieve purely for the thrill of knowing you accomplished them (whether it’s hiking a mountain, learning to tap dance, or getting in a routine of going to the gym)? 6.​YOUR INTELLECTUAL LIFE. What do you need to learn in order to have the experiences you listed above? What would you love to learn? What books and movies would stretch your mind and tastes? What kinds of art, music, or theater would you like to know more about? Are there languages you want to master? Remember to focus on end goals—choosing learning opportunities where the joy is in the learning itself, and the learning is not merely a means to an end, such as a diploma. 7.​YOUR SKILLS. What skills would help you thrive at your job and would you enjoy mastering? If you’d love to switch gears professionally, what skills would it take to do that? What are some skills you want to learn just for fun? What would make you happy and proud to know how to do? If you could go back to school to learn anything you wanted just for the joy of it, what would that be? 8.​YOUR SPIRITUAL LIFE. Where are you now spiritually, and where would you like to be? Would you like to move deeper into the spiritual practice you already have or try out others? What is your highest aspiration for your spiritual practice? Would you like to learn things like lucid dreaming, deep states of meditation, or ways to overcome fear, worry, or stress?

Cassidy had been created by Clarence Mulford, writer of formula western novels and pulpy short stories. In the stories, Cassidy was a snorting, drinking, chewing relic of the Old West. Harry Sherman changed all that when he bought the character for the movies. Sherman hired Boyd, a veteran of the silent screen whose star had faded, to play a badman in the original film. But Boyd seemed more heroic, and Sherman switched the parts before the filming began. As Cassidy, Boyd became a knight of the range, a man of morals who helped ladies cross the street but never stooped to kiss the heroine. He was literally black and white, his silver hair a vivid contrast to his black getup. He did not smoke, believed absolutely in justice, honor, and fair play, and refused to touch liquor. Boyd’s personal life was not so noble. Born in Ohio in 1898, he had arrived in Hollywood for the first golden age, working with Cecil B. DeMille in a succession of early silents. By the mid-1920s he was a major star. Wine, women, and money were his: he drank and gambled, owned estates, married five times. But it all ended when another actor named William Boyd was arrested for possession of whiskey and gambling equipment.

Ever seen a movie where the hero gets punched right in the face? A gruesome slow-mo close-up, where a spray of sweat and blood flies through the air? Notice how you wince, or flinch, or turn away even though you know it’s only a movie? Even though you know it’s make-believe, you can’t help relating to it on some level. How ironic is it that we can so easily relate to the nonexistent pain of a fictitious movie character, but we often completely forget about the very real pain of the people we love? Humans are social animals. When it comes to affairs of the heart, most of us are pretty similar. We want to be loved, respected, and cared for. We want to get along with others and generally have a good time with them. When we fight with, reject, or distance ourselves from the people we love, we don’t feel good. And when they fight with, reject, or distance themselves from us, we feel even worse. So when you fight with your partner, you both get hurt. Your partner may not reveal his pain to you; he may just get angry, or storm out of the house, or quietly switch on the TV and start drinking, but deep inside he hurts just like you. Your partner may refuse to talk to you, she may criticize you in scathing tones, or go out on the town with her friends, but deep inside, she hurts just as you are. It is so important to recognize and remember this. We tend to get so caught up in

Outlawing drugs in order to solve drug problems is much like outlawing sex in order to win the war against AIDS. We recognize that people will continue to have sex for nonreproductive reasons despite the laws and mores. Therefore, we try to make sexual practices as safe as possible in order to minimize the spread of the AIDS viruses. In a similar way, we continually try to make our drinking water, foods, and even our pharmaceutical medicines safer. The ubiquity of chemical intoxicants in our lives is undeniable evidence of the continuing universal need for safer medicines with such applications. While use may not always be for an approved medical purpose, or prudent, or even legal, it is fulfilling the relentless drive we all have to change the way we feel, to alter our behavior and consciousness, and, yes, to intoxicate ourselves. We must recognize that intoxicants are medicines, treatments for the human condition. Then we must make them as safe and risk free and as healthy as possible. Dream with me for a moment. What would be wrong if we had perfectly safe intoxicants? I mean drugs that delivered the same effects as our most popular ones but never caused dependency, disease, dysfunction, or death. Imagine an alcohol-type substance that never caused addiction, liver disease, hangovers, impaired driving, or workplace problems. Would you care to inhale a perfumed mist that is as enjoyable as marijuana or tobacco but as harmless as clean air? How would you like a pain-killer as effective as morphine but safer than aspirin, a mood enhancer that dissolves on your tongue and is more appealing than cocaine and less harmful than caffeine, a tranquilizer less addicting than Valium and more relaxing than a martini, or a safe sleeping pill that allows you to choose to dream or not? Perhaps you would like to munch on a user friendly hallucinogen that is as brief and benign as a good movie? This is not science fiction. As described in the following pages, there are such intoxicants available right now that are far safer than the ones we currently use. If smokers can switch from tobacco cigarettes to nicotine gum, why can’t crack users chew a cocaine gum that has already been tested on animals and found to be relatively safe? Even safer substances may be just around the corner. But we must begin by recognizing that there is a legitimate place in our society for intoxication. Then we must join together in building new, perfectly safe intoxicants for a world that will be ready to discard the old ones like the junk they really are. This book is your guide to that future. It is a field guide to that silent spring of intoxicants and all the animals and peoples who have sipped its waters. We can no more stop the flow than we can prevent ourselves from drinking. But, by cleaning up the waters we can leave the morass that has been the endless war on drugs and step onto the shores of a healthy tomorrow. Use this book to find the way.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Harvard pointed. “You know, right there is when the stuntman catches the sword out of frame.” “I know.” Aiden did know. Harvard always told him this fact at this precise moment. Aiden had watched this movie without Harvard once—on a date. Seeing the sword fly without the familiar murmur had upset Aiden enough to turn off the movie. Tonight, Harvard was here with him. They were both lying on their stomachs with their legs kicked up and their hands cupped in their chins, as though they were six years old. They weren’t. Aiden tangled their legs together slightly, deliberately. It felt far more dangerous than crossing swords. Aiden couldn’t imagine a match with so much at stake. “During a date when you stay in,” Aiden said, teaching, “you should try to see if the other person is receptive to you getting closer.” Harvard gave Aiden a look out of the corner of his eye, and let their legs stay tangled, resting with light pressure against one another. Love was a delusion, nothing but an electrical impulse in the brain, but there were many impulses running electric under Aiden’s skin right now. The man in black smiled beneath his mask and switched his sword to his right hand. The clash of swords rang over the sound of the sea. Aiden sneaked another look at Harvard, the shine of his dark eyes and white teeth in the silvery glow from the screen. Harvard caught him looking, but he returned Aiden’s look with a look of his own, warmly affectionate and never suspicious at all. Harvard never suspected a thing. Because Aiden was his best friend, and Harvard trusted him. And Harvard could trust him. Aiden would never do anything to hurt Harvard, not anything at all. Aiden moved in still closer, his arm set against Harvard’s, solid muscle under the thin material of his shirtsleeve. He could put his arm around Harvard’s shoulders or slip an arm around his waist or lean in. He was allowed, just for tonight.

In a stunning 1971 paper, Twenty Things to Do with a Computer, Seymour Papert and Logo co-creator Cynthia Solomon proposed educative computer-based projects for kids. They included composing music, controlling puppets, programming, movie making, mathematical modeling, and a host of other projects that schools should aspire to more than 40 years later. Papert and Solomon also made the case for 1:1 computing and stressed the three game changers discussed later in this book. The school computer should have a large number of output ports to allow the computer to switch lights on and off, start tape recorders, actuate slide projectors and start and stop all manner of little machines. There should also be input ports to allow signals to be sent to the computer. In our image of a school computation laboratory, an important role is played by numerous “controller ports” which allow any student to plug any device into the computer… The laboratory will have a supply of motors, solenoids, relays, sense devices of various kids, etc. Using them, the students will be able to invent and build an endless variety of cybernetic systems.

Excerpted From Chapter One “Rock of Ages” floated lightly down the first floor corridor of the Hollywood Hotel’s west wing. It was Sunday morning, and Hattie Mae couldn’t go to church because she had to work, so she praised the Lord in her own way, but she praised Him softly out of consideration for the “Do Not Disturb” placards hanging from the doors she passed with her wooden cart full of fresh linens and towels. Actually Sundays were Hattie Mae’s favorite of the six days she worked each week. For one thing, her shift ended at noon on Sundays. For another, this was the day Miss Lillian always left a “little something” in her room to thank Hattie Mae for such good maid service. Most of the hotel’s long-term guests left a little change for their room maids, but in Miss Lillian’s case, the tip was usually three crinkly new one dollar bills. It seemed like an awful lot of money to Hattie Mae, whose weekly pay was only nineteen dollars. Still, Miss Lillian Lawrence could afford to be generous because she was a famous actress in the movies. She was also, Hattie Mae thought, a very fine lady. When Hattie Mae reached the end of the corridor, she knocked quietly on Miss Lillian’s door. It was still too early for most guests to be out of their rooms, but Miss Lillian was always up with the sun, not like some lazy folks who laid around in their beds ‘til noon, often making Hattie Mae late for Sunday dinner because she couldn’t leave until all the rooms along her corridor were made up. After knocking twice, Hattie Mae tried Miss Lillian’s door. It opened, so after selecting the softest towels from the stacks on her cart, she walked in. With the curtains drawn the room was dark, but Hattie Mae didn’t stop to switch on the overheard light because her arms were full of towels. The maid’s eyes were on the chest of drawers to her right where Miss Lillian always left her tip, so she didn’t see the handbag on the floor just inside the door. Hattie Mae tripped over the bag and fell headlong to the floor, landing inches from the dead body of Lillian Lawrence. In the dim light Hattie Mae stared into a pale face with a gaping mouth and a trickle of blood from a small red dot above one vacant green eye. Hattie Mae screamed at the top of her lungs and kept on screaming.

Another CSPI campaign successfully convinced movie theaters across America to switch from butter and coconut oil to partially hydrogenated oils in their popcorn poppers.

And life isn’t like the movies: There’s no ominous swell to the sound track, no fatalistic overhead shot, nothing to tell you that this moment is the one your life will turn on; instead it’s like a train silently switching tracks, sheering off midjourney into a whole other part of the night.

Despite our worries, the majority of the people I talked to after the screening said that they hadn’t even noticed that the movie had switched from full color to black and white wireframes! They were so caught up in the emotion of the story that they hadn’t noticed its flaws. This was my first encounter with a phenomenon I would notice again and again, throughout my career: For all the care you put into artistry, visual polish frequently doesn’t matter if you are getting the story right.

In one study, some people were asked to restrain their emotions while watching a sad movie about sick animals. Afterward, they exhibited less physical endurance than others who’d let the tears flow

If you flipped a switch in the back of your brain, you could watch a second go by like the frames of a movie. Once you figured out what would be happening ten frames later, you could take whatever steps you needed to turn the situation to your advantage. All at a subconscious level. In battle, you couldn't count on anyone who didn't understand how to break down time.

The movie came together easily with the exception of the music. I began by using Stravinsky, but the atonality rendered everything unfunny. The minute we switched to Prokofiev, the film came alive.

I take a drag on the joint and exhale just as Hannah comes out with the aperitifs. “Aunt Cilla!” she cries. “I can’t believe Donato got you to smoke pot!” Her amusement embarrasses me and I try to sit up taller, straighten my blouse and slacks. But twilight is finally waning, evening is almost here, and my eyes are having a hard time adjusting to the change in light. “I’m hungry,” comes Donato’s voice, and then Hannah has switched places with him, wiggling in close. “Sorry it took me so long, Papa called. I said we were seeing a movie.

It’s a special state of mind. You know, like when you switch channels on TV, and surprise, it’s your favorite movie just starting.

What does True Wireless Earbuds Mean Where are my earphones? Ahh!! There they are….and they are tangled (with irksome scream inside your head). There is nothing more frustrating than going on a search operation for your headphones and finally finding them entangled. Well thanks to the advance technology these days one of your daily struggles is gone with the arrival of wireless earphones in the market. No wire means no entanglement. ‘Kill the problem before it kills you’, you know the saying. Right! So what actually truly wireless earbuds are? Why should you replace your old headphones and invest in wireless ones? Without any further delay let’s dig deep into it. image WHAT ARE TRUE WIRELESS EARBUDS? A lot of people misunderstand true wireless earbuds and wireless earphones as the same thing. When it’s not. A true wireless earbuds which solely connects through Bluetooth and not through any wire or cord or through any other source. While wireless earphones are the ones which are connected through Bluetooth to audio source but the connection between the two ear plugs is established through a cable between them. Why true wireless earbuds? Usability: Who doesn’t like freedom! With no wire restrictions, it’s easier to workout without sacrificing your music motivation. From those super stretch yoga asanas to marathon running, from weight training to cycling - you actually can do all those without worrying about your phone safety or the dilemma of where to put them. With no wire and smooth distance connection interface, you have the full freedom of your body movement. They also comes with a charging case so you don’t have to worry about it’s battery. Good audio quality and background noise cancellation: With features like active noise cancellation, which declutter the unwanted background voice giving you the ultimate audio quality. These earbuds has just leveled up the experience of music and prevents you from getting distracted. Comfort and design: These small ear buddies are friendly which snuggles into your ear canal and don’t put too much pressure on your delicate ears as they are light weight. They are style statement maker and are comfortable to use even when you are on move, they stick to your ear and don’t fall off easily. Apart from all that you can easily answer your call on go, pause your music or whatever you are listening, switch to next by just touching your earplugs. image Convenience: You don’t necessarily have to have your phone on you like the wired ones. The farthest distance you could go was the length of the cable. But with wireless ones this is not the case, they could transmit sound waves from 8 meter upto 30 meters varying from model to model. Which allows you multi-task and make your household chores interesting. You can enjoy your podcasts or music or follow the recipe while cooking in your kitchen when your phone is lying in your living room. Voice assistance: How fascinating was it to watch all those detective/ secret agent thriller movies while they are on run and getting directions from their computer savvy buddies. Ethan Hunt from Mission Impossible….. Remember! Many wireless earphones comes with voice assistance feature which makes it easy to go around the places you are new to. You don’t have to stop and look to your phone screen for directions which makes it easier to move either on foot or while driving. Few things for you to keep in mind and compare before investing in a true wireless earphones :- Sound Quality Battery Life Wireless Range Comfort and design Warranty Price Gone are those days when true wireless earbuds were expensive possession. They are quite economical now and are available with various features depending upon different brands in your price range.

We received this prophecy twenty years ago,” the Strategos said, like a professor beginning a history lesson. It was especially annoying since the daughter of Poseidon already stated that fact. “We have spent a couple of decades deciphering it and sussing out its meaning. We believe we cracked most of the code, but there was one crucial piece missing.” A knot forged in my stomach, and my breath caught in my throat. I knew where this was going. I had read my fairy tales and my epic fantasy movies. Anyone could have pegged where this was going. I shot up another prayer to my dad or to any god that was listening. Please don’t let it be me. Please don’t let them be talking about me. “We believe that missing piece…” the Strategos took a dramatic pause. A long enough one for him to sit back up and return to leaning on his elbows. The man looked me straight in the eye, but I refused to connect. I switched to looking at the top of his head. I did whatever I could to stall the inevitable, but the Strategos’s gruff voice finished his sentence and sealed my fate. “Is you.” “Fuck,” I muttered.

One thing you can say about Twilight is that it is not boring. There are a billion characters, they’re always saying some crazy shit, and they’re SO HORNY! Twilight feels like it was written by an AI that almost gets it. Something is just 2 percent off about every line and every interaction, which, taken cumulatively, is like a window into one of those dimensions where everything is identical to ours except cats and turtles are switched and Prince never died. Twilight took me out of my body in a way that did not give me pleasure but did give me fascination, and when it was over, I couldn’t believe it, but I felt compelled to watch the next one just to continue the satisfying, itchy glitch of it all. Twilight kept me awake, which honestly is more than I can say for Top Gun, peace be upon Tony Scott (I stan Déjà Vu). For instance, this is the opening line of the movie, delivered in sullen voice-over by Bella (Kristen Stewart): “I’ve never given much thought to how I would die, but dying in the place of someone I love seems like a good way to go.” WHAT???????????????????????????????????????????? How is that a “good way to go”!? There are zero versions of that “way to go” that don’t involve some sort of violent hostage situation and/or dystopian fascist cull... If you’re picking a hypothetical “way to go,” pick something that doesn’t include your life and the life of a dear one being leveraged against each other in some zero-sum villainous endgame! What!?!? You weirdo!

Eric immediately turned around and tried to run back out the door. BONK! He bounced off the door. He tried the wall. Same result. “I’m sorry, but we’ve locked everything down,” Jevvrey said. Eric spun around. Jevvrey was looking at him through the futuristic glasses. He waved to Eric. “Bluetooth Go Wild goggles. $99.99. Available soon for pre-order.” I looked around the room. Jevvrey had added a few things since I’d last seen it. For one, he was sitting on a swivel chair in front of a six-foot-tall black rectangle in the middle of the room. It looked like one of those supercomputers from the movies with switches and buttons and blinking lights all over it. The other thing was Mr. Gregory, sitting at his desk in front of a laptop, looking miserable. “I was hoping you’d make it in time,” Jevvrey said. “In time for what?” “We’re about to find out what happens at the end of the game!” Jevvrey took out his phone and tapped on the screen. “Mark?” Eric asked. Jevvrey nodded. “He’s fading fast now.” He turned the phone around so we could see it. Mark was fading. Not like his health or anything — he was actually disappearing

Or take the heart. It was ruby red and midnight blue, a creature from the sea, a sightless fish that heard everything, vibrated to sad movies and disappointed lovers, and sent its messages in flowing movement, undulating from its core. And the whole uterus, fallopian tubes, and ovaries were one continent with a long string of islands on either side book-ended by volcanoes that erupted with a glistening egg each month in an unerringly egalitarian manner, one volcano never taking two turns in a row, a perfect Ping-Pong game across the continent. Tess knew the inside of her body, or anyone’s body, but hers in particular. The green rectangle had set up shop, had slipped in under cover of darkness. Had a switch been flipped somewhere else in the thin dolphin glands or the round star-shaped glands? She was sixty-eight. Was this going to be all she had? She

Uh oh,” my dad comes in the room but dramatically stops short. “Are we talking about boys?” I roll my eyes. “No, we’re talking about stubborn men.” “So we are talking about boys,” he says and comes over to stand beside me, helping himself to some of the veggies off the platter. “Who did what this time?” he asks Jill. She raises her hands in defense. “This time it isn’t my problem.” “Travis is not exactly being the ideal muse,” I say while I dip one of the carrots into the ranch dressing. “And you really expect him to be?” he asks, trying to hide his smile. “Well, I expected him to try a little harder,” I say defensively. “I never understand how you manage to talk him into these things,” my dad says, leaning across the counter for a piece of bruschetta. “Even Scott gave up most times. But you were always able to convince Travis to stick it out with you.” “Well, we aren’t ten anymore,” I argue. “And apparently he’s taken a card from Scott’s book.” “I don’t know,” my dad says, wiping his mouth. “He’s always been team Etty. You can’t just switch.” “Have you and Mom been watching the Twilight series again?” I accuse. My dad just raises his eyebrows but doesn’t say anything. My dad is team Jacob; Mom is team Edward; I’m team I don’t care. Not that I have anything against Twilight, it’s just when you come into the house and your parents are in the middle of a legitimate argument over what creature they would like their daughter to date… things just got weird for me. I toldScott not to drop those movies off at their house; now whenever they have to decide on something they say they are “team so-and-so”.

Beth changed her ensemble five times that morning, switching out her shoes, her necklaces, her earrings. I understood. Had I owned more than one suit, I would have done the same thing. As it was, I just sat in a battered old chair in our bedroom and watched her. She was beautiful to me. I could see that she had shaved her legs, supple and taut above the easy grip of her heels. She mussed her hair and pursed her lips at the mirror. “What do you think?” she said finally, turning to me. I stood and went to her, understanding right then that we were already growing older, that we would grow old together. “I think you’re beautiful,” I said. I kissed her. “Hey—watch the lipstick,” she said, swatting me away playfully before pulling me in close again. She set her chin on my shoulder and we slow danced that way, there in our bedroom, the worn carpeting beneath our best scuffed shoes. “I love you,” she said, “even if you’re not a rock star.” “I love you,” I said, “even though you’re not a movie star.” We kissed again and held hands as we walked downstairs, our garments good enough. The

Before they had even gotten down the entirety of the driveway Hank knew her superstitious side was getting the best of her. The house certainly did look the part of a demon house from some half baked, nineteen eighties, low budget horror movie. He chuckled a little to himself as they got to the end of the driveway. She smacked his arm with her purse and shot him a dirty

Destiny has called you to be a god. Are you hero enough for the task? Will you switch on your inner “hero program”, or slink off to the shopping mall or the sports stadium and put it off for yet another day? Maybe you’ll take in a movie. So much easier to watch others doing the heavy lifting, and the actors are just faking it anyway. Where are the real heroes? Where are YOU?!

There’s so much ‘expression’ today you can’t hear the real problems. Maybe we switch tasks. To trust our current exhibitions can do their job. It is worth a try. A generation sacrificing their pride to save the future. Granted, our art is needed and could reveal our faults, but do evil men watch movies? Something soon must die. To trust the future will take care of itself is to deny an obvious and necessary revolution.

In two years of research the best example of self-disruption I can find is Netflix. Netflix’s transition to streaming from DVD rental by mail was not nearly as smooth as many would like to remember it, but in hindsight it appears genius. Netflix was founded in 1997 as a DVD mail service and pretty rapidly rose to take huge market share from local video stores who could not compete with its vast range of titles. People soon appreciated the appeal of no late fees, the ability to have several movies out at the same time, as well as its unlimited consumption tariff. Always keen to keep abreast of the latest technology, in 2007 Netflix spent about $40 million to build data centres and to cover the cost of licensing for the initial streaming titles (Rodriguez, 2017). When internet speeds allowed, it introduced streaming as an additional service for its existing subscribers. Monthly fees remained the same, but those with more expensive tariffs were given access to more hours of streamed content. While it added something for free, it also helped give people a reason to upgrade to more expensive plans. Growth was impressive, the video libraries of streamed content rose, the share price rose impressively from $3 in 2007 to over $42 in 2011, and life was good. In September 2011 Netflix made a very bold move. It created two tariffs, and moved all its US subscribers onto two separate plans: the original DVD-by-mail service was to be called Qwikster; the other was a streaming service for a lower monthly fee. The market was shocked, and by December the stock price was below $10 and the company was in pieces. The company rapidly lost higher revenue DVD subscribers and within nine months profits were down by 50 per cent (Steel, 2015). And yet slowly things changed. First, the lower prices suddenly appealed to a much wider market, bringing in far more paying customers, allowing Netflix to buy more content and to slowly raise prices. Then Netflix started making its own original content, clearing out global streaming rights, and then at a flick of a switch it was able to expand globally. If Netflix had not disrupted itself it would be a very different company. It would rely on a massive physical distortion system, with very high costs. It would probably have lost out massively to YouTube and would have withered away as a mail-order DVD supplier. Instead, Netflix’s share price is now nearly $200, five times more than it was when it bravely self-disrupted, it operates in 190 countries, makes nearly $9 billion in revenue from over 110 million customers (Feldman, 2017). Today DVDs represent only 4 per cent of Netflix’s users. It seems that in 2011, when Wall Street was demanding the resignation of Reed Hastings for reinventing the business, they were wrong. From this you can see the pressure this approach places on leaderships, the confidence you need to have, the degree to which this antagonizes the market and everyone around you. This move takes balls. The confidence, conviction, and aggression, to change before you have to create your own future, is remarkable.

Paul thought about straight people occasionally, not that he personally knew very many people he could really call straight. Straight culture, he guessed he meant. Movies, books, songs - especially songs - tv shows too, he surmised, not that he watched tv, except for X-Files, which at least switched up the butch/femme dynamic. Men and women alike confounded Paul, they were so rulebound. Straight people seemed confused by each other, so anxious to find camaraderie within their gender, so startled by differences between their bodies, always pinny explanations for the inevitable gulf between humans on chromosomes.

I actually had misunderstood her name the entire time I knew her. Instead of Alice Nell I thought her mother was calling her Alice Snail. I loved snails. I ran over to her house with the mimosa flowers. I asked her to marry me. She said yes. I kissed her on the cheek. I still remember how warm and soft that cheek was. I knew from the movies that kissing a girl would be an important skill for me to learn. At night I would practice on my pillow. It didn’t feel anything like Alice Snail’s cheek. I needed to move up to something more girl-like. I switched to the stuffed rabbit I had in my bed. It was missing an eye and an ear. But it did have a mouth of sorts so it was a step up from the pillow.

Before I was shot, I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television - you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.” – Andy Warhol

Tune into good memories Knowing this, you have to be proactive. When negative memories come back to the movie screen of the mind, many people pull up a chair, get some popcorn, and watch it all again. They’ll say: “I can’t believe they hurt me, that was so wrong.” Instead, remember this: That’s not the only movie playing. There’s another channel that is not playing back your defeats, your failures, or your disappointments. This channel features your victories, your accomplishments, and the things you did right. The good-memory channel plays back the times you were promoted, you met the right person, you bought a great house, and your children were healthy and happy. Instead of staying on that negative channel, switch over to your victory channel. You will not move forward into better days if you’re always replaying the negative things that have happened. We’ve all been through loss, disappointments, and bad breaks. So those memories will come to mind most often. The good news is you have the remote control. Just because the memory comes up doesn’t mean you have to dwell on it. Learn to change the channel.

Do you need to start changing the channel? Are you reliving every hurt, disappointment, and bad break? As long as you’re replaying the negative, you will never fully heal. It’s like a scab that’s starting to get better, but it will only get worse if you pick at it. Emotional wounds are the same way. If you’re always reliving your hurts and watching them on the movie screen of your mind--talking about them, and telling your friends--that’s just reopening the wound. You have to change the channel. When you look back over your life, can you find one good thing that has happened? Can you remember one time where you know it was the hand of God, promoting you, protecting you, and healing you? Switch over to that channel. Get your mind going in a new direction. A reporter asked me not long ago what my biggest failure has been, my biggest regret. I don’t mean to sound arrogant, but I don’t remember what my biggest failure was. I don’t dwell on that. I’m not watching that channel. We all make mistakes. We all do things we wish we had done differently. You can lean from your mistakes, but you’re not supposed to keep them in the forefront of your mind. You’re supposed to remember the things you did right: The times you succeeded. The times you overcame the temptation. The times you were kind to strangers. Some people are not happy because they remember every mistake they’ve made since 1927. They’ve got a running list. Do yourself a big favor and change the channel. Quit dwelling on how you don’t measure up and how you just should have been more disciplined, should have stayed in school, or should have spent more time with your children. You may have fallen down, but focus on the fact that you got back up. You’re here today. You may have made a poor choice, but dwell on your good choices. You may have some weaknesses, but remember your strengths. Quit focusing on what’s wrong with you and start focusing on what’s right with you. You won’t ever become all you were created to be if you’re against yourself. You have to retrain your mind. Be disciplined about what you dwell on.

I put on his movie of choice, which was Frozen. I’d heard a few Dads talk about it during galas and networkers. They hated it, but it was a pretty cool movie. I’d have to ask Tessa what her thoughts on it were. Miles fell asleep before the girl with the brown hair got to the trolls, which was a shame since that song was the best one I’d heard thus far. I picked up his little body and took him to his bed, mimicking everything I’d seen Tessa do the other night. I switched off the television in the living room and went to Tessa’s bedroom, turning the movie back on there instead, not because I liked it but because I couldn’t start watching a movie and not finish it.