Textures In Nature Quotes

Symbolic of life, hair bolts from our head[s]. Like the earth, it can be harvested, but it will rise again. We can change its color and texture when the mood strikes us, but in time it will return to its original form, just as Nature will in time turn our precisely laid-out cities into a weed-way.

Design that mimics the sensual continuity of nature's subtle connections of color, light and texture invite the viewer's receptivity.

I know you're in a world of pain, but that pain will lessen. At the beginning you can't see that. You can only see your pain and you think it will never go away. But the nature of pain is that it changes— it changes like a sunset. At first, it's this intense red-orange in the sky, and then it starts getting softer and soften. The texture of pain changes as you work through it. And then one day, you wake up and realize that life isn't just about working through your incest; it's about living, too. - survivor of child sexual abuse

What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is the possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

The world of the everyday suddenly seemed nothing but an inverted magic act, lulling its audience into believing in the usual, familiar conceptions of space and time, while the astonishing truth of quantum reality lay carefully guarded by nature's sleights of hand.

The variety of shapes, colours and textures under her feet was, she believed, literally infinite. It must be. Each shell, each pebble, each stone had been made what it was by aeons of submarine or subglacial massage. The indiscriminate, eternal devotion of nature to its numberless particles had an emotional importance for Isserley; it put the unfairness of human life into perspective.

Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

Rather than letting our negativity get the better of us, we could acknowledge that right now we feel like a piece of shit and not be squeamish about taking a good look. That’s the compassionate thing to do. That’s the brave thing to do. We could smell that piece of shit. We could feel it; what is its texture, color, and shape? We can explore the nature of that piece of shit. We can know the nature of dislike, shame, and embarrassment and not believe there’s something wrong with that.

Any woman with kinky textured hair - can wear it, love it and manage it. She only needs the right tools, inspiration and motivation.

That overzealous new natural is not intentionally trying to cause you pain. She just lovingly wants her sister to know the freedom of accepting, loving and nurturing her natural hair texture. Once that level of freedom is achieved, one can truly know that we are not our hair.

world is sensation. We drift in an ocean of sensory stimuli: motion, color, texture, shape, heat, cold, natural symphonies of sound, an infinite number of scents, tastes beyond the human ability to catalogue. Nothing but sensation endures. Living things all die. Great cities do not last.

The tides of time should be able to imprint the passing of the years on an object. The physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.

The natural-hair hierarchy means it is easier for those with 'good' hair to go 'natural', and to then be praised as 'natural queens'. Meanwhile, women with the hair texture that is most stigmatised might be more likely to use wigs and weave, and then face discrimination.

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient -- nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one's body aged, was it not a sign that this was not the natural order of things, if one's heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one's socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

The word God can mean whatever you believe it to mean, for me it is the conscious stream of life from which we all come, and to which we can stay connected throughout our lives as a source of peace, wisdom, love, support, knowing, inspiration, vitality, security, balance, and inner strength. I think that awareness is paramount, because in awareness we gain understanding, which then enables us to regain our feeling of empowerment. We need to feel empowered to make our choices conciously, about how to deal with changes in life, rather than reacting in fear (which tends to make us blind and weak). If we are aware, we can be realistic yet postive, and we can properly focus our intentions. Awareness can be quite sensual (which can add to your sense of feeling empowered). Think about how your body moves as you live your life, how amazing it is; think about nature, observe the intricate beautiful details of natural thngs, and of things we create, and breathe deeply to soak it all in.. Focus on the taste of food, the feel of textures in cloth, the feel of you partner's hand in yours; smell the sea breeze, listen to the wind in the trees, witness the colours of the leaves, the children playing; and be thankful for this life we are experiencing - this life we can all help to keep wonderful. Feel the wonder of being alive flood into you anytime you want, by taking a deep breath and letting the experience of these things fill you, even just by remembering. We all have that same stream of life within us, so you are a part of everything. Each one of us has the power to make a difference to everything. Breathe in that vital connection to the life source and sensual beauty everywhere, Feel loved and strong.

He understands the texture and meaning of the visible universe, and 'sees into the life of things,' not by the help of mechanical instruments, but of the improved exercise of his faculties, and an intimate sympathy with Nature. The meanest thing is not lost upon him, for he looks at it with an eye to itself, not merely to his own vanity or interest, or the opinion of the world. Even where there is neither beauty nor use—if that ever were—still there is truth, and a sufficient source of gratification in the indulgence of curiosity and activity of mind. The humblest printer is a true scholar; and the best of scholars - the scholar of Nature.

There comes a hush between darkness and day. Like expectation of a caress. A murmur of silence. Tree crests peeked down at Paulette through slowly lifting fog. Bark felt around for its texture again. Morning gathered and drifted through mere hints; through vague hopeful nuances of ‘Just maybe’. - From "The Gardens of Ailana" handbook for healers & mystics

Sense of beauty, perception, and the mathematical universe are all part of the same texture.

She wept, and Lazlo drew her into an embrace as though it were the most natural thing in the world that he should draw a mournful goddess against his shoulder, enfold her in his arms, breathe the scent of the flowers in her hair, and even lightly stroke her temple with the edge of his thumb. And though there was a layer of his mind that knew this was a dream, it was momentarily shuffled under by other, more compelling layers, and he experienced the moment as though it were absolutely real. All the emotion, all the sensation. The texture of her skin, the scent of her hair, the heat of her breath through his linen shirt, and even the moisture of tears seeping through it. But far more intense was the utter, ineffable tenderness he felt, and the solemnity. As though he had been entrusted with something infinitely precious. As though he had taken an oath, and his very life stood surety to it. He would recognize this later as the moment his center of gravity shifted: from being one of one—a pillar alone, apart—to being half of something that would fall if either side were cut away.

The boys asked themselves, naturally, if they could kill someone. Geraint had been brought up on tales of knights-at-arms and Icelandic warriors, but he did not imagine blood. Charles had disappointed his father by taking no pleasure in foxhunting or shooting. He rather thought he could not. Philip was not really listening to the conversation. He was looking at the juxtaposition of textures in the grass, the flowers, and the silks, and the very rapid colour changes that were taking place as the sky darkened. Browning and vanishing of red, efflorescence and deepening of blues. Tom imagines the thud and suck of a bomb, the flying stone and mortar, and could not quite imagine the crushing or burning of flesh. He thought of his own skull and his own ribs. Bone under skin and tendons. No one was safe

God desires for us to have intimacy with them and with each other. God wants consummation that is replete with love and depth of knowing; true intimacy, which penetrates deeper than the texture of a thigh or the color of a nipple.

To be an antiracist is not to reverse the beauty standard. To be an antiracist is to eliminate any beauty standard based on skin and eye color, hair texture, facial and bodily features shared by groups. To be an antiracist is to diversify our standards of beauty like our standards of culture or intelligence, to see beauty equally in all skin colors, broad and thin noses, kinky and straight hair, light and dark eyes. To be an antiracist is to build and live in a beauty culture that accentuates instead of erases our natural beauty.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep black space high up among many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of the dots. At length, I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at the very moment with great emotion, in intricate detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which whole worlds of feeling and energy were wrapped, in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water…I saw may apples in forest, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided and apples grew striped and spotted in the fall. Mountains kept their cool caves, and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wilds ducks flew, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remembered the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “Yes, that’s how it was then, that part there we called ‘France’”. I was filled with the deep affection of nostalgia- and then I opened my eyes.

I grew silent and reserved as the nature of the world in which I lived became plain and undeniable; the bleakness of the future affected my will to study. Granny had already thrown out hints that it was time for me to be on my own. But what had I learned so far that would help me to make a living? Nothing. I could be a porter like my father before me, but what else? And the problem of living as a Negro was cold and hard. What was it that made the hate of whites for blacks so steady, seemingly so woven into the texture of things? What kind of life was possible under that hate? How had this

The tides of time should be able to imprint the passing of the years on an object. They physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.

What if, however, humans exceed animals in their capacity for violence precisely because they speak? As Hegel was already well aware, there is something violent in the very symbolisation of a thing, which equals its mortification. This violence operates at multiple levels. Language simplifies the designated thing, reducing it to a single feature. It dismembers the thing, destroying its organic unity, treating its parts and properties as autonomous. It inserts the thing into a field of meaning which is ultimately external to it. When we name gold “gold,” we violently extract a metal from its natural texture, investing into it our dreams of wealth, power, spiritual purity, and so on, which have nothing whatsoever to do with the immediate reality of gold.

Clouds are the most transient of nature's creations. They come out of a clear sky, disintegrate before your eyes, vanish. You never see the same cloud twice. Every moment of its brief existence brings a change, a change of form or tint or texture; but its beauty remains constant to the end. The beauty of the clouds is there for us to see every day, if we are not too busy to look up....

These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse.  Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable.  The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature.  The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs.  He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

What makes Travels with Charley so readily accessible to even the most casual reader is the deft evocation of the natural world, the colors and textures of leaves on the trees, the rich smells of earth, the slur of rain on pavement, the sharp rays of the sun as they pillar through a scud of clouds. Indeed, one can hardly open a page of this book without stumbling upon some bright image from nature.

As a society, we've become suspicious of such acts. Out of ignorance or laziness or timidity, we've turned the Luddites into caricatures, emblems of backwardness. We assume that anyone who rejects a new tool in favor of an older one is guilty of nostalgia, of making choices sentimentally rather than rationally. But the real sentimental fallacy is the assumption that the new thing is always better suited to our purposes and intentions than the old thing. That's the view of a child, naive and pliable. What makes one tool superior to another has nothing to do with how new it is. What matters is how it enlarges us or diminishes us, how it shapes our experience of nature and culture and one another. To cede choices about the texture of our daily lives to a grand abstraction called progress is folly.

That particular fear has the texture you can neither forget nor describe. It is like the fear of the victims of an earthquake, of people who have lost faith in the stillness of the earth. And yet it is not the same. It is without analogy for it is not comparable to the fear of nature, which is the most universal of human fears, nor to the fear of violence of the state, which is the commonest of modern fears. It is the fear that comes from the knowledge that normalcy is utterly contingent, that spaces that surround one, the streets that one inhabits, can become, suddenly and without warning, as hostile as a desert in a flash flood. It is this that sets apart the thousand million people who inhabit the subcontinent from the rest of the world - not language, not food, not music - it is the special quality of loneliness that grows out of the fear of the war between oneself and one's image in the mirror.

Watching him then, I simply couldn’t think of him doing anything other than winning. Loss wasn’t the norm, it couldn’t be. I didn’t have the words for it then, what it felt like to watch my cousin, whom I love and whose worries are our worries and whose pain is our pain, manage to be so good at something, to triumph so completely. More than a painful life, more than a culture or a society with the practice and perfection of violence as a virtue and a necessity, more than a meanness or a willingness to sacrifice oneself, what I felt—what I saw—were Indian men and boys doing precisely what we’ve always been taught not to do. I was seeing them plainly, desperately, expertly wanting to be seen for their talents and their hard work, whether they lost or won. That old feeling familiar to so many Indians—that we can’t change anything; can’t change Columbus or Custer, smallpox or massacres; can’t change the Gatling gun or the legislative act; can’t change the loss of our loved ones or the birth of new troubles; can’t change a thing about the shape and texture of our lives—fell away. I think the same could be said for Sam: he might not have been able to change his sister’s fate or his mother’s or even, for a while, his own. But when he stepped in the cage he was doing battle with a disease. The disease was the feeling of powerlessness that takes hold of even the most powerful Indian men. That disease is more potent than most people imagine: that feeling that we’ve lost, that we’ve always lost, that we’ve already lost—our land, our cultures, our communities, ourselves. This disease is the story told about us and the one we so often tell about ourselves. But it’s one we’ve managed to beat again and again—in our insistence on our own existence and our successful struggles to exist in our homelands on our own terms. For some it meant joining the U.S. Army. For others it meant accepting the responsibility to govern and lead. For others still, it meant stepping into a metal cage to beat or be beaten. For my cousin Sam, for three rounds of five minutes he gets to prove that through hard work and natural ability he can determine the outcome of a finite struggle, under the bright, artificial lights that make the firmament at the Northern Lights Casino on the Leech Lake Reservation.

Grover: Oh, um—well, it’s a little embarrassing. I got this request once from a muskrat who wanted to hear “Muskrat Love.” Well ... Ilearned it, and I have to admit I enjoy playing it. Honestly, it’s not just for muskrats anymore! It’s a very sweet love story. I get misty-eyed every time I play it. So does Percy, but I think that’s because he’s laughing at me. Who would you least like to meet in a dark alley—a Cyclops or an angry Mr. D? Grover: Blah-hah-hah! What kind of question is that? Um—well... I’d much rather meet Mr. D, obviously, because he’s so . . . er, nice. Yes, kind and generous to all us satyrs. We all love him. And I’m not just saying that because he’s always listening, and he would blast me to pieces if I said anything different. In your opinion, what’s the most beautiful spot in nature in all of America? Grover: It’s amazing there are any nice spots left, but I like Lake Placid in upstate New York. Very beautiful, especially on a winter day! And the dryads up there—wow! Oh, wait, can you edit that part out? Juniper will kill me. Are tin cans really that tasty? Grover: My old granny goat used to say, “Two cans a day keep the monsters away.” Lots of minerals, very filling, and the texture is wonderful. Really, what’s not to like? I can’t help it if human teeth aren’t built for heavy-duty dining. Interview with PERCY JACKSON, Son of Poseidon What’s your favorite part about summers at

The sensation was part of the general strangeness that made him feel like a man waking from a long sleep to find himself in an unknown country among people of alien tongue. We live in our own souls as in an unmapped region, a few acres of which we have cleared for our habitation; while of the nature of those nearest us we know but the boundaries that march with ours. Of the points in his wife's character not in direct contact with his own, Glennard now discerned his ignorance; and the baffling sense of her remoteness was intensified by the discovery that, in one way, she was closer to him than ever before. As one may live for years in happy unconsciousness of the possession of a sensitive nerve, he had lived beside his wife unaware that her individuality had become a part of the texture of his life, ineradicable as some growth on a vital organ; and he now felt himself at once incapable of forecasting her judgment and powerless to evade its effects.

More delicately, more intricately fashioned than any grasses of the field, more subtle in texture than any seaweed of the sea, more thickly woven, and with a sort of intimate passionate patience, by the creative spirit within it, than any forest leaves or any lichen upon any tree trunk, this sacred moss of Somersetshire would remain as a perfectly satisfying symbol of life if all other vegetation were destroyed out of that country. There is a religious reticence in the nature of moss.

Experts in the fashion industry say the first clothes that people are drawn to are instinctual. Think of your favorite clothes as a child. Then as you mature, you focus deeper into the self. Now you favor clothes that involve sexuality, yours and other people's. You begin to reflect your profession, your mental state, then address your personal affectations. Your personhood. And then you start to look into the world. At society and history and nature. You feel for texture and you create contrasts and distance.

Hair has been a lightning rod for enforcement of White standards of beauty. And reactions to Black women’s natural hair help illustrate the broader disdain for Black appearance. While Black hair can have a variety of textures, most tends to be curly, coily, or nappy. It grows out and up and not down. It may not shine. It may be cottony or wiry. It is likely more easily styled in an Afro puff than a smooth chignon. For centuries, Black women have been told that these qualities make their hair unsightly, unprofessional, and uniquely difficult to manage.

This basic evolutionary concept has been developed over the years into what we now know as biophilic design, which offers a set of three core design principles that aim to improve our connection with nature: Nature in the space: bringing real forms of nature and ways to connect to natural systems into your space... Natural analogues: including references to- or representations of- nature, taking inspiration from its forms, shapes, colors, patterns, and textures... Nature of the space: mimicking the spatial qualities of natural environments to enhance or evoke human responses.

Whatever he touched burst into bloom, scattering the snow with leaves like beaten emeralds, red berries, pussy willows and seed cones, a riot of color and texture crackling through that white world. Soon enough our little wilderness path could have been a grand avenue decked out for a returning general's triumphant procession. Birds hunkered down for the long winter crept out of their burrows, chirruping their alarmed delight as they grew drunk on berries. A narrow fox darted across our path, a starling clutched in its mouth, sparing us a dismissive glance as it slunk back into the velvet shadow.

...the assessment of psychological drift, that is the way in which an undirected pedestrian tends to move about in a particular quarter of the town, tending to establish natural connections between places, the zones of influence of particular institutions and public services, and so forth. It may well be objected that these techniques are un-scientific, disorderly and too subjective, but the fact remains that the Situationists are studying the actual texture of towns and their relationship to human beings more intensively than most architects and in a more down-to-pavement manner than most town planners.

Opacities can coexist and converge, weaving fabrics. To understand these truly one must focus on the texture of the weave and not on the nature of its components. For the time being, perhaps, give up this old obsession with discovering what lies at the bottom of natures. There would be something great and noble about initiating such a movement referring not to Humanity but to the exultant divergence of humanities. Thought of self and thought of other here become obsolete in their duality…. What is here is open, as much as this there. I would be incapable of projecting from one to the other. This-here is the weave and it weaves no boundaries.

She was a tall and slender woman, possibly in her early thirties. Her skin had the extraordinary fineness of grain, and the translucence you see in small children and fashion models. In her fine long hands, delicacy of wrists, floating texture of dark hair, and in the mobility of the long narrow sensitive structuring of her face there was the look of something almost too well made, too highly bred, too finely drawn for all the natural crudities of human existence. Her eyes were large and very dark and tilted and set widely. She wore dark Bermuda shorts and sandals and a crisp blue and white blouse, no jewelry of any kind, a sparing touch of lipstick.

If we put aside the self-awareness standard -- and really, how arbitrary and arrogant is that, to take the attribute of consciousness we happen to possess over all creatures and set it atop the hierarchy,  proclaiming it the very definition of consciousness (Georg Christoph Lichtenberg wrote something wise in his notebooks, to the effect of: only a man can draw a self-portrait, but only a man wants to) -- it becomes possible to say at least the following: the overwhelming tendency of all this scientific work, of its results, has been toward more consciousness. More species having it, and species having more of it than assumed. This was made boldly clear when the 'Cambridge Declaration on Consciousness' pointed out that those 'neurological substrates' necessary for consciousness (whatever 'consciousness' is) belong to 'all mammals and birds, and many other creatures, including octopuses.' The animal kingdom is symphonic with mental activity, and of its millions of wavelengths, we’re born able to understand the minutest sliver. The least we can do is have a proper respect for our ignorance. "The philosopher Thomas Nagel wrote an essay in 1974 titled, 'What Is It Like To Be a Bat?,' in which he put forward perhaps the least overweening, most useful definition of 'animal consciousness' ever written, one that channels Spinoza’s phrase about 'that nature belonging to him wherein he has his being.' Animal consciousness occurs, Nagel wrote, when 'there is something that it is to be that organism -- something it islike for the organism.' The strangeness of his syntax carries the genuine texture of the problem. We’ll probably never be able to step far enough outside of our species-reality to say much about what is going on with them, beyond saying how like or unlike us they are. Many things are conscious on the earth, and we are one, and our consciousness feels likethis; one of the things it causes us to do is doubt the existence of the consciousness of the other millions of species. But it also allows us to imagine a time when we might stop doing that.

food processor with the honey. Blend while slowly adding milk to thin the mixture. Watch carefully, as you may need more or less than the ½ cup of milk. You are looking for the texture of soft-serve ice cream. Once this texture is achieved, transfer to a bowl and place in the freezer for at least 3 hours or overnight. Before serving, add mix-ins, if desired, like chopped nuts, dark chocolate chips, or peanut butter. Top with fresh berries. Chef Tips: • For chocolate ice cream, add 2 tablespoons of natural (non-alkalized) cocoa powder at the end before you chill the “ice cream.” As you blend the mixture, make sure there are no lumps. You may have to first pass the cocoa powder through a sieve

The challenge was that many would-be naturals found little support in traditional places for beauty advice, including beauty magazines (even ones catering to Black women) and professional stylists. Often, even mothers and grandmothers were of no help; the hair care that many Black women learned from their fore-mothers was solely focused on “fixing” or “taming” natural hair, not on celebrating its innate qualities. Many Black women had not seen or managed their natural texture in decades. Black beauty magazines such as Essence continued to mostly feature models with straightened hair. And, until the recent renaissance, education for beauticians included little to no training about the care of natural Black hair. Stylists were tested only on their ability to handle straightened Black tresses.33

Were the earth as smooth as a ball bearing, it might be beautiful seen from another planet, as the rings of Saturn are. But here we live and move; we wander up and down the banks of the creek, we ride a railway through the Alps, and the landscape shifts and changes. Were the earth smooth, our brains would be smooth as well; we would wake, blink, walk two steps to get the whole picture and lapse into dreamless sleep. Because we are living people, and because we are on the receiving end of beauty, another element necessarily enters the question. The texture of space is a condition of time. Time is the warp and matter the weft of woven texture of beauty in space, and death is the hurtling shuttle… What I want to do, then, is add time to the texture, paint the landscape on an unrolling scroll, and set the giant relief globe spinning on it stand.

Witnessing the panoply of beauty in all of nature takes us out of our shell of self-absorption and makes us realize that we are merely bit players in the game of life. Witnessing the majesty of beauty confirms that the real show lies outside us to observe and appreciate and not inside us to transfix us. True beauty charms us into seeing the grandeur of goodness that surrounds us and by doing so, the pristine splendor of nature releases us from wallowing in the poverty of our self-idealization. The bewitching spell cast by the exquisiteness of nature levitates our souls and transforms our psyche. When we see, hear, taste, smell, or touch what is beautiful, we cannot suppress the urge to replicate its baffling texture by singing, dancing, painting, or writing. Opening our eye to the loveliness of a single flower is how we stay in touch with the glorious pageantry of living.

The key to this risotto is Japanese peppers of all things?!" "It's sharp, refreshing aroma highlights the mellow body of the cheese... while making the eel's umami flavor flash like an explosion!" "And that one key ingredient that quietly ties it all together... ... is garlic!" "Garlic?! In traditional Japanese cuisine?! That's almost unheard of!" "Those are special smoked garlic chips a junior of mine made. They were smoked using wood from a walnut tree, which is known to emphasize seafood flavors well. By lightly crushing those chips and sprinkling them on as a topping, I added a pleasantly crunchy texture to the dish. But the most critical feature of my dish... is that I broiled the eel using the Kansai region Kabayaki style. Unlike the Kanto region style, there's no steaming step. Leaving all that oil in gives the eel a more fragrant aroma with a heavier texture and stronger flavor... ... meaning it pairs much more naturally with a flavor as powerful as garlic. *Steaming the eel makes much of its natural oil seep out, leaving the flesh light and fluffy.* But what makes these chips so extraordinary... is that they're infused with Ibusaki's earnest passion and the pure sweat of his helpers, Aoki and Sato. There's no way they could not be delicious!" "Ew! Don't say they're infused with sweat! That's gross!" "This much alone is already an impressively polished gourmet course. What's in store for us in that teapot?" "That is eel-liver broth, my lady. I dressed the eel's liver and then sautéed it in olive oil with some smoked garlic chips. Then I poured the sake Sakaki and Marui made over the top and let the alcohol cook off before adding bonito stock to make a broth. It matches beautifully with the cheese that Yoshino and Nikumi made, creating a soft flavor with a splendid aftertaste.

This texture... you used an aspic." "Bingo! Those golden cubes under the egg... are a chicken aspic! So what's an "aspic"? Easy! It's a jelly made from the chilled broth of gelatin-rich meats and fishes. I simmered chicken wings in bonito broth seasoned with saké and light soy sauce. This drew the chicken's natural savory flavor and gelatin into the broth. I quickly chilled the resulting broth until it gelled, and then cut it into small cubes." "It was the aspic he was making in that enormous pot." "Sprinkle the cubes over piping-hot rice... and the rich chicken aspic will melt and coat the egg curds with a "ploop"!" I see. In other words... the aspic is really a thick, rich and savory chicken soup! The full-bodied and salty flavor of the aspic broth... brings out the soft, mild sweetness of the egg curds perfectly. Not only that, each bite is a heaven of fluffy smoothness. In every way, the aspic is emphasizing and magnifying the deliciousness of the eggs!

The middle boy always reminded Thomas Hudson of an otter. He had the same color hair as an otter’s fur and it had almost the same texture as that of an underwater animal and he browned all over in a strange dark gold tan. He always reminded his father of the sort of animal that has a sound and humorous life by itself. Otters and bears are the animals that joke most and bears, of course, are very close to men. This boy would never be wide enough and strong enough to be a bear and he would never be an athlete, nor did he want to be; but he had a lovely small-animal quality and he had a good mind and a life of his own. He was affectionate and he had a sense of justice and was good company. He was also a Cartesian doubter and an avid arguer and he teased well and without meanness although sometimes he teased toughly. He had other qualities no one knew about and the other two boys respected him immensely although they tried to tease him and tear him down on any point where he was vulnerable. Naturally they had rows among themselves and they teased each other with considerable malice, but they were well mannered and respectful with grown-ups.

Human beings innate complexities resist reduction into simple sentences and neat paragraphs. The stories that come nearest to expressing the ambivalent nature of people are textured and occasionally inconsistent and express waves of inner uncertainty. A simile and a metaphor are not literally true. A figure of speech, symbols, and allegories are mere expressions that when interlinked with other text assist explain facts, ideas, and emotions. Useful facts are elusive; we must look for them, and then express them using whatever mechanism proves most authoritative. We can never directly describe emotions; we resort to metaphors to describe emotions and other illusive thoughts. Ideas by virtue of their untested nature are often untrue or at best rough approximations of truth. Lyrical writing is equivocal; it is never exactly true or precisely false. Lyrical language attempts to express and connect sentiments through extrapolation and misdirection. The writer’s task is to melt away durable facts, breakdown the symbolic depictions of solid reality, and discover the liquidity of a passionate inner life that provides the hot breath to our steamy humanness.

As Crehan is arguing, based on Gramsci, we need to be able to formulate a new common sense to combat the existing one and open up the possibilities of different imaginaries. “The value of Gramsci’s concept of common sense is that it offers us a way of thinking about the texture of everyday life that encompasses its givenness [that is, the way in which we’re thrown into it at birth]—how it both constitutes our subjectivity, the way we think about ourselves, and confronts us as an external and solid reality” (2016). This is back to Giddens’s notion of structuration (1984). The way the world works doesn’t seem to have been created by us. It simply seems to confront us as a kind of materiality that we have no say in changing. This is what we really need to be combating. “But that also acknowledges its contradictions, fluidity and flexibility. For all its apparent solidity, it [that is, common sense] is continually being modified by how actual people in actual places live it” (Giddens 1984). So it’s important, it’s vitally important, to understand the sort of fluid nature of common sense, that it is not solid in the way that it’s constantly being told to us.

There are, among one’s most generative extrapolations of trajectory, instances of exceptional beauty—or rather, instances of perception of exception to unexceptional beauty. And one loses therein a sense of time because a prediction of ‘now’ is interleaved rather often with those models of ‘then’ and ‘thereafter.’ Thus, we have these outlier instances in which purpose appears firmly rooted in ‘Something’; yet, so abbreviated are these that one is often left inexorably with the trauma of thinking of them as flukes, mere flashes of faulty wiring that have managed somehow to manifest a resemblance to a Something rather ‘spiritual’ in both flavor and texture; it is only natural for a kind of discomfiture to emerge out of this realization for this sidereal specter has passed all too quickly and with much of its purported grandeur now sinking with absurd melodrama into that cosmic abyss scraped by its wake, thitherto descending into nebulous depths and evading any hope of recapture and restoration. There are, in other words, these momentous waves of probabilistic ‘Something’ which curl in void and crash to a convergence of semblance and are soon thereafter to be strewn into fathomless Nihility.

Pauline Trio One could sing October rain, and one had a gift for plain chant and prayer, a domain unsettled by love or its intimate other. What fits with this theology no one dares to say. These twins so perfectly in tune must know "the modesty of nature," the perfect art and texture that sustains the other name. Paris could not be the frame for loyal Romans, their shame worn upon their bodies light as air, and nothing is quite as endurable as death. Those who have taken this path move with an abiding breath. Such a common dance this dense intention of love's expense. Keep this for that special hour when the Roman drops his sour gift for abandoned splendour; et c'est la nuit, the footfall that troubles that other Paul. I have learned the felicity of fire, how in its wake something picks at buried seed. Think this a most festive deed, nature's mistake, borrowed flare of a village dance, satire of the sun's course, light you read through waste, repair. Death had freed that first opaque habitation (what a widening gyre), an aspen ache, a lustrous scar that might lead to a hidden grove, or breed astonishment in its loss; all entire, a shaping breath proposes its own pyre. Solitude guides me through this minor occasion; moon is my mentor, one on a spree. This notion, night's philanthropy, courts my favor. Devotion, love's predecessor, sings its tidy discretion. Such gentility reins all vigor, all caution.

Still others assert that they have grown enormously as a result of their traumatic experience, discovering a maturity and strength of character that they didn’t know they had—for example, reporting having found “a growth and a freedom to…give fuller expression to my feelings or to assert myself.” A new and more positive perspective is a common theme among those enduring traumas or loss, a renewed appreciation of the preciousness of life and a sense that one must live more fully in the present. For example, one bereaved person rediscovered that “having your health and living life to the fullest is a real blessing. I appreciate my family, friends, nature, life in general. I see a goodness in people.”12 A woman survivor of a traumatic plane crash described her experience afterward: “When I got home, the sky was brighter. I paid attention to the texture of sidewalks. It was like being in a movie.”13 Construing benefit in negative events can influence your physical health as well as your happiness, a remarkable demonstration of the power of mind over body. For example, in one study researchers interviewed men who had had heart attacks between the ages of thirty and sixty.14 Those who perceived benefits in the event seven weeks after it happened—for example, believing that they had grown and matured as a result, or revalued home life, or resolved to create less hectic schedules for themselves—were less likely to have recurrences and more likely to be healthy eight years later. In contrast, those who blamed their heart attacks on other people or on their own emotions (e.g., having been too stressed) were now in poorer health.

But the one piece of this dish that plays the biggest role of all... is this wrapping around the chicken breast... the Croûte!" Croûte! A base of bread or pie dough seasoned with savory spices, croûte can refer either to the dough itself or a dish wrapped in it. It's a handy addition that can boost the aroma, textures and presentation of a dish without overpowering its distinctive flavors! "You are correct. Therein lies the greatest secret of my dish. Given the sudden measurements to the original plan and my need to create an entirely different dish... ... the Croûte I had intended to use to wrap the chicken breast required two very specific additions. Those two ingredients were... FINELY MINCED SQUID LEGS... ... AND PEANUT BUTTER." "NO WAY! SQUID LEGS AND PEANUT BUTTER?!" "Yes! Squid legs and peanut butter! Appetizer and main dish! There is no greater tie that could bind our two dishes together!" Peanut butter's mild richness adds subtle depth to the natural body of the chicken, making it an excellent secret seasoning. And the moderately salty bitterness of the squid legs is extremely effective in tying the Croûte's flavor together with the meaty juiciness of the chicken! "Even an abominable mash-up that Yukihira has tinkered with for ages... ... can be transformed into elegant gourmet beauty when put in my capable hands. The Jidori chicken breasts and the squid and peanut butter Croûte... those are the two pillars of my dish! To support them, I revised all the seasonings for the sauces and garnishes... ... so that after you tasted Soma Yukihira's dish... ... the deliciousness of my own dish would ring across your tongues as powerfully as possible!

The broth... it's made with a mix of soy milk and charred miso. But how could you get a flavor this robust with just those?" "I mixed in grated ebi taro root. It's a strongly flavored tuber that mashes easily into a smooth, thick paste. Adding that to the broth gave it a creamy texture and a richer flavor." "Weird. All of a sudden I'm starting to feel warm." "That's the chili oil and grated raw garlic and ginger taking effect. The soy milk took the edge off of the spicy bite... so now it just gently warms the body without burning the tongue." "The rest of the ingredients are also a parade of detailed work. Thin slices of lotus root and burdock deep-fried to a crispy golden brown. Chunky strips of carrot and turnip grilled over an open flame until lightly charred and then seasoned with just a little rock salt to bring out their natural sweetness. Like a French buffet, each side ingredient is cooked in exactly the best way to bring out its full flavor! But the keystone to it all... ... is the TEMPEH!" TEMPEH Originating in Indonesia, tempeh is made of soybeans fermented into a cake form. Soybeans are lightly cooked and then wrapped in either banana or hibiscus leaves. When stored, the naturally occurring bacteria in the leaves causes the soybeans to ferment into tempeh. Traditional food with a history over four hundred years long, tempeh is well-known and often used in Indonesian cuisine. "Mm! Wow! It's really light, yet really filling too! Like fried rice." "It has a texture a lot like that of a burger patty, so vegetarians and people on macrobiotic diets use it a lot as a meat substitute. I broiled these teriyaki style in a mix of soy sauce and sake.

How delicious! Layer upon layer of exquisitely delicate sweetness blooms in the mouth like the unfurling petals of a flower! And it's different from the cake Sarge presented in one very distinct way!" ?! The flavors explode not like a bomb but a firecracker! What a silky-smooth, mild sweetness! "How were you able to create such a uniquely beautiful flavor?" "See, for the cake, I used Colza oil, flour, baking powder... and a secret ingredient... Mashed Japanese mountain yam! That gave the batter some mild sweetness along with a thick creaminess. Simply mashing it instead of pureeing it gave the cake's texture some soft body as well. Then there're the two different frostings I used! The white cream I made by blending into a smooth paste banana, avocado, soy milk, rice syrup and some puffed rice I found at the convenience store. I used this for the filling. *Rice syrup, also called rice malt, is a sweetener made by transforming the starch in rice into sugars. A centuries-old condiment, it's known for being gentle on the stomach. * I made the dark cream I used to frost the cake by adding cocoa powder to the white cream." "I see. How astonishing. This cake uses no dairy or added sugar. Instead, it combines and maximizes the natural sweetness of its ingredients to create a light and wonderfully delicious cake!" "What?!" "He didn't put in any sugar at all?!" "But why go to all that time and effort?!" "For the people patiently waiting to eat it, of course. This cake was made especially for these people and for this season. When it's hot and humid out... even if it's a Christmas Cake, I figured you'd all prefer one that's lighter and softer instead of something rich and heavy. I mean, that's the kind of cake I'd want in this weather.

Thick and creamy egg, fragrant roast quail... and the rice! It all makes such a hearty, satisfying combination! Wait, something just crunched? "See, there are five parts to a good chicken-and-egg rice bowl. Chicken... eggs... rice... onions... and warishita. *Warishita is a sauce made from a combination of broth, soy sauce and sugar.* "I seared the quail in oil before putting it in the oven to roast. That made the skin nice and crispy... while leaving the meat inside tender and juicy. For the eggs, I seasoned them with salt and a generous pinch of black pepper to give them some bite and then added cream to make them thick and creamy! It's the creaminess of the soft-boiled egg that makes or breaks a good chicken-and-egg bowl, y'know. Some milk made the risotto extra creamy. I then mixed in onions as well as ground chicken that was browned in butter. I used the Suer technique on the onions. That should have given some body to their natural sweetness. For the sauce, I sweetened some Madeira wine with sugar and honey and then added a dash of soy sauce. Like warishita in a regular chicken-and-egg rice bowl, this sauce ties all the parts of the dish together. Try it with the poached egg. It's seriously delicious! Basically I took the idea of a Japanese chicken-and-egg rice bowl... ... and rebuilt it using only French techniques!" "Yukihira! I wanna try it too!" "Oh, uh, sorry. I only made that one." "Awww! You've gotta make one for me someday!" "There is one thing I still don't understand. When you stuff a bird, out of necessity the filling has to remain firm to stay in place. Something soft and creamy like risotto should have fallen right back out! "How did you make this filling work?!" "I know! The crunch!" "Yep! It's cabbage! I quickly blanched a cabbage leaf, wrapped the risotto in it... ... and then stuffed it inside the quail!" "Aha! Just like during the Camp Shokugeph!" It's the same idea behind the Chou Farci Shinomiya made! The cabbage leaf is blanched perfectly too. He brought out just enough sweetness while still retaining its crispy texture. And it's that very sweetness that softly ties the fragrant quail meat together with the creamy richness of the risotto filling!

I’d met Madison, as I’ve already mentioned, two months earlier, in Budapest. I’d been at a conference. She’d been there with some girlfriends. We’d got talking in the hotel bar. An anthropologist, she’d said; that’s … exotic. Not at all, I’d replied; I work for an incorporated business, in a basement. Yes, she said, but … But what? I asked. Dances, and masks, and feathers, she eventually responded: that’s the essence of your work, isn’t it? I mean, even if you’re writing a report on workplace etiquette, or how to motivate employees or whatever, you’re seeing it all through a lens of rituals, and rites, and stuff. It must make the everyday all primitive and strange—no? I saw what she was getting at; but she was wrong. For anthropologists, even the exotic’s not exotic, let alone the everyday. In his key volume Tristes Tropiques, Claude Lévi-Strauss, the twentieth century’s most brilliant ethnographer, describes pacing the streets, all draped with new electric cable, of Lahore’s Old Town sometime in the nineteen-fifties, trying to piece together, long after the event, a vanished purity—of local colour, texture, custom, life in general—from nothing but leftovers and debris. He goes on to describe being struck by the same impression when he lived among the Amazonian Nambikwara tribe: the sense of having come “too late”—although he knows, from having read a previous account of life among the Nambikwara, that the anthropologist (that account’s author) who came here fifty years earlier, before the rubber-traders and the telegraph, was struck by that impression also; and knows as well that the anthropologist who, inspired by the account that Lévi-Strauss will himself write of this trip, shall come back in fifty more will be struck by it too, and wish—if only!—that he could have been here fifty years ago (that is, now, or, rather, then) to see what he, Lévi-Strauss, saw, or failed to see. This leads him to identify a “double-bind” to which all anthropologists, and anthropology itself, are, by their very nature, prey: the “purity” they crave is no more than a state in which all frames of comprehension, of interpretation and analysis, are lacking; once these are brought to bear, the mystery that drew the anthropologist towards his subject in the first place vanishes. I explained this to her; and she seemed, despite the fact that she was drunk, to understand what I was saying. Wow, she murmured; that’s kind of fucked. 2.8 When I arrived at Madison’s, we had sex. Afterwards,

The Scientific Revolution was revolutionary in a way that is hard to appreciate today, now that its discoveries have become second nature to most of us. The historian David Wootton reminds us of the understanding of an educated Englishman on the eve of the Revolution in 1600: He believes witches can summon up storms that sink ships at sea. . . . He believes in werewolves, although there happen not to be any in England—he knows they are to be found in Belgium. . . . He believes Circe really did turn Odysseus’s crew into pigs. He believes mice are spontaneously generated in piles of straw. He believes in contemporary magicians. . . . He has seen a unicorn’s horn, but not a unicorn. He believes that a murdered body will bleed in the presence of the murderer. He believes that there is an ointment which, if rubbed on a dagger which has caused a wound, will cure the wound. He believes that the shape, colour and texture of a plant can be a clue to how it will work as a medicine because God designed nature to be interpreted by mankind. He believes that it is possible to turn base metal into gold, although he doubts that anyone knows how to do it. He believes that nature abhors a vacuum. He believes the rainbow is a sign from God and that comets portend evil. He believes that dreams predict the future, if we know how to interpret them. He believes, of course, that the earth stands still and the sun and stars turn around the earth once every twenty-four hours.7 A century and a third later, an educated descendant of this Englishman would believe none of these things. It was an escape not just from ignorance but from terror. The sociologist Robert Scott notes that in the Middle Ages “the belief that an external force controlled daily life contributed to a kind of collective paranoia”: Rainstorms, thunder, lightning, wind gusts, solar or lunar eclipses, cold snaps, heat waves, dry spells, and earthquakes alike were considered signs and signals of God’s displeasure. As a result, the “hobgoblins of fear” inhabited every realm of life. The sea became a satanic realm, and forests were populated with beasts of prey, ogres, witches, demons, and very real thieves and cutthroats. . . . After dark, too, the world was filled with omens portending dangers of every sort: comets, meteors, shooting stars, lunar eclipses, the howls of wild animals.8 To the Enlightenment thinkers the escape from ignorance and superstition showed how mistaken our conventional wisdom could be, and how the methods of science—skepticism, fallibilism, open debate, and empirical testing—are a paradigm of how to achieve reliable knowledge. That knowledge includes an understanding of ourselves.

There is no fault that can’t be corrected [in natural wine] with one powder or another; no feature that can’t be engineered from a bottle, box, or bag. Wine too tannic? Fine it with Ovo-Pure (powdered egg whites), isinglass (granulate from fish bladders), gelatin (often derived from cow bones and pigskins), or if it’s a white, strip out pesky proteins that cause haziness with Puri-Bent (bentonite clay, the ingredient in kitty litter). Not tannic enough? Replace $1,000 barrels with a bag of oak chips (small wood nuggets toasted for flavor), “tank planks” (long oak staves), oak dust (what it sounds like), or a few drops of liquid oak tannin (pick between “mocha” and “vanilla”). Or simulate the texture of barrel-aged wines with powdered tannin, then double what you charge. (““Typically, the $8 to $12 bottle can be brought up to $15 to $20 per bottle because it gives you more of a barrel quality. . . . You’re dressing it up,” a sales rep explained.) Wine too thin? Build fullness in the mouth with gum arabic (an ingredient also found in frosting and watercolor paint). Too frothy? Add a few drops of antifoaming agent (food-grade silicone oil). Cut acidity with potassium carbonate (a white salt) or calcium carbonate (chalk). Crank it up again with a bag of tartaric acid (aka cream of tartar). Increase alcohol by mixing the pressed grape must with sugary grape concentrate, or just add sugar. Decrease alcohol with ConeTech’s spinning cone, or Vinovation’s reverse-osmosis machine, or water. Fake an aged Bordeaux with Lesaffre’s yeast and yeast derivative. Boost “fresh butter” and “honey” aromas by ordering the CY3079 designer yeast from a catalog, or go for “cherry-cola” with the Rhône 2226. Or just ask the “Yeast Whisperer,” a man with thick sideburns at the Lallemand stand, for the best yeast to meet your “stylistic goals.” (For a Sauvignon Blanc with citrus aromas, use the Uvaferm SVG. For pear and melon, do Lalvin Ba11. For passion fruit, add Vitilevure Elixir.) Kill off microbes with Velcorin (just be careful, because it’s toxic). And preserve the whole thing with sulfur dioxide. When it’s all over, if you still don’t like the wine, just add a few drops of Mega Purple—thick grape-juice concentrate that’s been called a “magical potion.” It can plump up a wine, make it sweeter on the finish, add richer color, cover up greenness, mask the horsey stink of Brett, and make fruit flavors pop. No one will admit to using it, but it ends up in an estimated 25 million bottles of red each year. “Virtually everyone is using it,” the president of a Monterey County winery confided to Wines and Vines magazine. “In just about every wine up to $20 a bottle anyway, but maybe not as much over that.

write animal stories. This one was called Dialogues Between a Cow and a Filly; a meditation on ethics, you might say; it had been inspired by a short business trip to Brittany. Here’s a key passage from it: ‘Let us first consider the Breton cow: all year round she thinks of nothing but grazing, her glossy muzzle ascends and descends with impressive regularity, and no shudder of anguish comes to trouble the wistful gaze of her light-brown eyes. All that is as it ought to be, and even appears to indicate a profound existential oneness, a decidedly enviable identity between her being-in-the-world and her being-in-itself. Alas, in this instance the philosopher is found wanting, and his conclusions, while based on a correct and profound intuition, will be rendered invalid if he has not previously taken the trouble of gathering documentary evidence from the naturalist. In fact the Breton cow’s nature is duplicitous. At certain times of the year (precisely determined by the inexorable functioning of genetic programming) an astonishing revolution takes place in her being. Her mooing becomes more strident, prolonged, its very harmonic texture modified to the point of recalling at times, and astonishingly so, certain groans which escape the sons of men. Her movements become more rapid, more nervous, from time to time she breaks into a trot. It is not simply her muzzle, though it seems, in its glossy regularity, conceived for reflecting the abiding presence of a mineral passivity, which contracts and twitches under the painful effect of an assuredly powerful desire. ‘The key to the riddle is extremely simple, and it is that what the Breton cow desires (thus demonstrating, and she must be given credit here, her life’s one desire) is, as the breeders say in their cynical parlance, “to get stuffed”. And stuff her they do, more or less directly; the artificial insemination syringe can in effect, whatever the cost in certain emotional complications, take the place of the bull’s penis in performing this function. In both cases the cow calms down and returns to her original state of earnest meditation, except that a few months later she will give birth to an adorable little calf. Which, let it be said in passing, means profit for the breeder.’ * The breeder, of course, symbolized God. Moved by an irrational sympathy for the filly, he promised her, starting from the next chapter, the everlasting delight of numerous stallions, while the cow, guilty of the sin of pride, was to be gradually condemned to the dismal pleasures of artificial fertilization. The pathetic mooing of the ruminant would prove incapable of swaying the judgment of the Great Architect. A delegation of sheep, formed in solidarity, had no better luck. The God presented in this short story was not, one observes, a merciful God.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep blank space high up above many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of dots. At length I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at that very moment with great emotion, in intricate, detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which wholly worlds of feeling and energy were wrapped in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water. I saw white-faced cattle lowing and wading in creeks. I saw May apples in forests, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided, and apples grew spotted and striped in the fall. Mountains kept their cool caves and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wild ducks flew with outstretched necks, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remember the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “yes, that’s how it was then, that part there was called France.” I was filled with the deep affection of nostalgia- and then I opened my eyes. We all ought to be able to conjure up sights like these at will, so that we can keep in mind the scope of texture’s motion in time.

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The idea of race as a biological construct makes it easy to believe that many of the divisions we see in society are natural. But race, like gender, is socially constructed. The differences we see with our eyes—differences such as hair texture and eye color—are superficial and emerged as adaptations to geography.1 Under the skin, there is no true biological race. The external characteristics that we use to define race are unreliable indicators of genetic variation between any two people.

We must take literally what vision teaches us: namely, that through it we come in contact with the sun and the stars, that we are everywhere all at once, and that even our power to imagine ourselves elsewhere—"I am in Petersburg in my bed, in Paris, my eyes see the sun"—or to intend real beings wherever they are, borrows from vision and employs means we owe to it. Vision alone makes us learn that beings that are different, "exterior," foreign to one another, are yet absolutely together, are "simultaneity"; this is a mystery psychologists handle the way a child handles explosives. Robert Delaunay says succinctly, "The railroad track is the image of succession which comes closest to the parallel: the parity of the rails." The rails converge and do not converge; they converge in order to remain equidistant down below. The world is in accordance with my perspective in order to be independent of me, is for me in order to be without me, and to be the world. The "visual quale" gives me, and alone gives me, the presence of what is not me, of what is simply and fully. It does so because, like texture, it is the concretion of a universal visibility, of a unique space which separates and reunites, which sustains every cohesion (and even that of past and future, since there would be no such cohesion if they were not essentially relevant to the same space). Every visual something, as individual as it is, functions also as a dimension, because it gives itself as the result of a dehiscence of Being. What this ultimately means is that the proper essence of the visible is to have a layer of invisibility in the strict sense, which it makes present as a certain absence...There is that which reaches the eye directly, the frontal properties of the visible; but there is also that which reaches it from below—the profound postural latency where the body raises itself to see—and that which reaches vision from above like the phenomena of flight, of swimming, of movement, where it participates no longer in the heaviness of origins but in free accomplishments. Through it, then, the painter touches the two extremities. In the immemorial depth of the visible, something moved, caught fire, and engulfed his body; everything he paints is in answer to this incitement, and his hand is "nothing but the instrument of a distant will." Vision encounters, as at a crossroads, all the aspects of Being... There is no break at all in this circuit; it is impossible to say that nature ends here and that man or expression starts here. It is, therefore, mute Being which itself comes to show forth its own meaning. Herein lies the reason why the dilemma between figurative and nonfigurative art is badly posed; it is true and uncontradictory that no grape was ever what it is in the most figurative painting and that no painting, no matter how abstract, can get away from Being, that even Caravaggio's grape is the grape itself. This precession of what is upon what one sees and makes seen, of what one sees and makes seen upon what is—this is vision itself.

The visible present is not in time and space, nor, of course, outside of them: there is nothing before it, after it, about it, that could compete with its visibility. And yet it is not alone, it is not everything. To put it precisely, it stops up my view, that is, time and space extend beyond the visible present, and at the same time they are behind it, in depth, in hiding. The visible can thus fill me and occupy me only because I who see it do not see it from the depths of nothingness, but from the midst of itself; I the seer am also visible. What makes the weight, the thickness, the flesh of each color, of each sound, of each tactile texture, of the present, and of the world is the fact that he who grasps them feels himself emerge from them by a sort of coiling up or redoubling, fundamentally homogeneous with them; he feels that he is the sensible itself coming to itself and that in return the sensible is in his eyes as it were his double or an extension of his own flesh. The space, the time of the things are shreds of himself, of his own spatialization, of his own temporalization, are no longer a multiplicity of individuals synchronically and diachronically distributed, but a relief of the simultaneous and of the successive, a spatial and temporal pulp where the individuals are formed by differentiation. The things—here, there, now, then—are no longer in themselves, in their own place, in their own time; they exist only at the end of those rays of spatiality and of temporality emitted in the secrecy of my flesh. And their solidity is not that of a pure object which the mind soars over; I experience their solidity from within insofar as I am among them and insofar as they communicate through me as a sentient thing. Like the memory screen of the psychoanalysts, the present, the visible counts so much for me and has an absolute prestige for me only by reason of this immense latent content of the past, the future, and the elsewhere, which it announces and which it conceals. There is therefore no need to add to the multiplicity of spatio-temporal atoms a transversal dimension of essences—what there is is a whole architecture, a whole complex of phenomena "in tiers," a whole series of "levels of being," which are differentiated by the coiling up of the visible and the universal over a certain visible wherein it is redoubled and inscribed. Fact and essence can no longer be distinguished, not because, mixed up in our experience, they in their purity would be inaccessible and would subsist as limit-ideas beyond our experience, but because—Being no longer being before me, but surrounding me and in a sense traversing me, and my vision of Being not forming itself from elsewhere, but from the midst of Being—the alleged facts, the spatio-temporal individuals, are from the first mounted on the axes, the pivots, the dimensions, the generality of my body, and the ideas are therefore already encrusted in its joints. There is no emplacement of space and time that would not be a variant of the others, as they are of it; there is no individual that would not be representative of a species or of a family of beings, would not have, would not be a certain style, a certain manner of managing the domain of space and time over which it has competency, of pronouncing, of articulating that domain, of radiating about a wholly virtual center—in short, a certain manner of being, in the active sense, a certain Wesen, in the sense that, says Heidegger, this word has when it is used as a verb. In short, there is no essence, no idea, that does not adhere to a domain of history and of geography. Not that it is confined there and inaccessible for the others, but because, like that of nature, the space or time of culture is not surveyable from above, and because the communication from one constituted culture to another occurs through the wild region wherein they all have originated.

Uncolored, natural, pop-up sponges, made from all-natural cellulose have better absorbency, better texture, and a better smell than the nylon versions

Should a person devote their efforts to achieving their maximize potential, or dedicate their talent and abilities to accomplishing worldly projects that improve other people’s standard of living? Is it possible to be happy irrespective of the lack of financial remuneration obtained through personal efforts? Can a person attain happiness by discovering, developing, and honoring their aptitude and skills, working diligently to improve their own life and other people’s lives, while also striving to integrate all divergent aspects of their personality into a unifying self, i.e. integration of the id, ego, and superego? Can a person achieve a happy and meaningful life by pursing an artistic life of creation? Does granting ourselves free rein to produce artistic embodiments depicting the elemental evil underling our base nature rivaling with our preening desire to engage only in goodness inevitably give birth to our textured spiritual awareness?

if we assume the impossible point of view of looking at the universe from a safe distance, we see a universal texture of beings just not deranged by catastrophes (since man is a catastrophe only from his own standpoint, as the exception that grounds his access to beings)? In this case, we are back at the Kantian position: reality “in itself,” outside the Clearing within which it appears to us, is unknowable, we can only speculate about it the way Heidegger himself does when he plays with the idea that there is a kind of ontological pain in nature itself. Or should we take Heidegger’s speculation seriously, so that the catastrophe is not only man but already nature in itself, and in man as the being-of-speech this catastrophe that grounds reality in itself only comes to word?

Beauty is more than just pictures on a wall. It is also about colors that bring pleasure, smooth and nubby textures that reward the touch, the wafting fragrance of food in the oven that keeps us sniffing appreciatively, the comfort or excitement of music on the stereo. Beauty is found in the way we light the rooms (we keep a well-stocked shelf of candles and lighters in constant use), the books we open again and again, the way we arrange the furniture and set the table. It is found in natural objects we use for decorating potted plants, shells, autumn leaves, always fresh flowers or pine boughs brought in from our yard and open windows that draw the eye toward the beautiful outdoors.

She watched the early-morning sun filter out from the trees still glistening from frost, and imagined the way here perennial beds would be thick and wild with beauty in just a few months. And her zinnias and sunflowers and trumpet vine would cover the fence and keep Patsy out. The messy look. That is just how Patsy described it last summer. After Elizabeth dug up the boxwoods and hollies with their geometric precision, their obedient square ugliness, she planted daisies, black-eyed Susans, coneflowers, and phlox. She planted zinnias and cosmos that she had grown from seed. The border had exploded in color and texture. The plants had flowered wild and strong and generous. Every morning, Elizabeth had fingered the velvety petals.

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

Take care never to marinate with dark miso mixtures for longer than overnight, since they can dry out meat, fish or vegetables and change their natural textures. Lighter, white miso marinades are fine for long periods of marinating.

I was once a girl / but now proceeding along / the inexcusable disarray of nature’s corpse, reeling / I sing to texture, to stupor, to nothing. / Dying for centuries in victory,

Line: An artist’s tool used to illustrate the outer edges of shapes and forms. Technically, no physical lines exist in nature. For example, there is not an actual line around an apple to distinguish it from the table it’s sitting on, nor is there a physical line between the sky and the land at the horizon; therefore, lines in art are an artist’s interpretation of the boundaries between forms in a scene, or the perceived edges of shapes in a composition. Repeated lines can also be used to create values and textures in two-dimensional and three-dimensional art. Shape: The outside two-dimensional contour, outline or border of a form, figure or structure. Form: The three-dimensional representation of a shape. In drawings, paintings and other two-dimensional art, the artist creates the illusion of a three-dimensional form in space using light, shadow and other rendering techniques. In sculpture, the form is the manifestation of the object itself. Texture: The distinctive surface qualities found on all things as well as the overall visual patterns and tactile feel of objects and their surroundings. Value: The relative lightness or darkness of shapes, forms and backgrounds of two-dimensional or three-dimensional compositions. Value plays a prominent role in both black-and-white and color artworks, potentially adding dramatic contrasts and depth to an otherwise bland composition. Color: The spectrum of hues, values and intensities of natural light and man-made pigments, paints and mineral compounds that can be used in all art forms.

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient — nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one’s body aged, was it not a sign that this was NOT the natural order of things, if one’s heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one’s socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

They had left the buckets of stemmed flowers and now found themselves in the center of the indoor succulent section, an array of miniature plants with whimsical names such as burro's tail and flaming katy. Olive slowed her pace, taking her time perusing metal racks of each variety. She stooped down and plucked a container of a sweet, blossom-shaped plant. "What's that one?" Julia asked. She liked the look of its pink-edged tips, whose color reminded her of a radish. "This guy here is called roseum. It likes the sun, so I'd have to think of a spot near a window. But it's a nice touch of color among all the green. At different times of year, it develops clusters of light-pink star-shaped flowers. I like it because it adds texture next to something like, say, that jade plant, which is more like a stocky little tree. If I place them together, it adds interest." "Wow. That sounds great." Olive brightened. "Thanks. And then, see these here?" She pointed to a miniature plant with chubby, rosette-style leaves. "Yes?" Julia leaned closer and squinted to read the sign. "The one that says 'Sedum Golden Glow'?" "Yes. That one. I'm thinking of getting a few of those guys and placing them on the dining table in these cool little glass-and-gold terrariums I found online. They have delicate little panes of glass set against metal frames that catch your eye, and they're fancy enough for Mom's taste. She's okay if I do rustic, but she always wants a touch of something expensive mixed in. The terrariums do the trick, I think.

I had two great passions at the time: one magical and ethereal, which was reading, and the other mundane and predictable, which was pursuing silly love affairs. Concerning my literary ambitions, my successes went from slender to nonexistent. During those years I started a hundred woefully bad novels that died along the way, hundreds of short stories, plays, radio serials, and even poems that I wouldn't let anyone read, for their own good. I only needed to read them myself to see how much I still had to learn and what little progress I was making, despite the desire and enthusiasm I put into it. I was forever rereading Carax's novels and those of countless authors I borrowed from my parent's bookshop. I tried to pull them apart as if they were transistor radios, or the engine of a Rolls-Royce, hoping I would be able to figure out how they were built and how and why they worked. I'd read something in a newspaper about some Japanese engineers who practiced something called reverse engineering. Apparently these industrious gentlemen disassembled an engine to its last piece, analyzing the function of each bit, the dynamics of the whole, and the interior design of the device to work out the mathematics that supported its operation. My mother had a brother who worked as an engineer in Germany, so I told myself that there must be something in my genes that would allow me to do the same thing with a book or with a story. Every day I became more convinced that good literature has little or nothing to do with trivial fancies such as 'inspiration' or 'having something to tell' and more with the engineering of language, with the architecture of the narrative, with the painting of textures, with the timbres and colors of the staging, with the cinematography of words, and the music that can be produced by an orchestra of ideas. My second great occupation, or I should say my first, was far more suited to comedy, and at times touched on farce. There was a time in which I fell in love on a weekly basis, something that, in hindsight, I don't recommend. I fell in love with a look, a voice, and above all with what was tightly concealed under those fine-wool dresses worn by the young girls of my time. 'That isn't love, it's a fever,' Fermín would specify. 'At your age it is chemically impossible to tell the difference. Mother Nature brings on these tricks to repopulate the planet by injecting hormones and a raft of idiocies into young people's veins so there's enough cannon fodder available for them to reproduce like rabbits and at the same time sacrifice themselves in the name of whatever is parroted by bankers, clerics, and revolutionary visionaries in dire need of idealists, imbeciles, and other plagues that will prevent the world from evolving and make sure it always stays the same.

Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood Lying by omission turns inevitably into positive lying. The implications of literature are that human beings are controlled, if not by reason, at least by comprehensible, well-organized, avowable sentiments. Whereas the facts are quite different. Sometimes the sentiments come in, sometimes they don’t. All for love, or the world well lost; but love may be the title of nobility given to an inordinate liking for a particular person’s smell or texture, a lunatic desire for the repetition of a sensation produced by some particular dexterity. Or consider those cases (seldom published, but how numerous, as anyone in a position to know can tell!), those cases of the eminent statesmen, churchmen, lawyers, captains of industry—seemingly so sane, demonstrably so intelligent, publicly so high-principled; but, in private, under irresistible compulsion towards brandy, towards young men, towards little girls in trains, towards exhibitionism, towards gambling or hoarding, towards bullying, towards being whipped, towards all the innumerable, crazy perversions of the lust for money and power and position on the one hand, for sexual pleasure on the other. Mere tics and tropisms, lunatic and unavowable cravings—these play as much part in human life as the organized and recognized sentiments. And imaginative literature suppresses the fact. Propagates an enormous lie about the nature of men and women.

Sanibel Island is an alluring paradox. A primordial landscape, buzzing with tourists. A tropical hideaway where storybook sunsets heal souls, and violent hurricanes destroy property. A cherished corner of Old Florida, in the midst of a modernizing metamorphosis. Where unfettered wildness thrives, even as ecological challenges mount. A dream place where I can explore the boundaries between coastal textures, the rhythm of nature, and the stuff of humankind; and create art that is honest and authentic.

No one touched him so gently. Not even his mother. He was a creature made to hunt and kill, that was all. Their kind were brutal to live in the waters that tried to kill them. Gentleness wasn’t in their nature. Perhaps, if he was lucky, he would find himself a mate who knew how to control herself during a mating. She might not kill him, and then he could be gentle with his own child. Imber had never hoped to feel a female touch him like this. He hadn’t even known it existed. Groaning, he tilted his head back and let her bury her fingers in his hair. She seemed particularly interested in the gills at his neck and also the texture of the long strands of his hair. Surely she didn’t know the intimacy with which she touched him. How would she know that every stroke along his body was telling him that he should prepare himself for mating? That she wanted him. Needed him. Desired him. Another low groan echoed through his entire chest, and he felt the gills along his ribs begin to flutter. The choked sound that came out of her at the movement was intriguing. Cracking open an eye, he drew in a deep breath of a scent that fascinated him. It was coming from her. Maybe she really was touching him to prepare him to mate with her.

To a highly literate and mechanized culture the movie appeared as a world of triumphant illusions and dreams that money could buy. It was at this moment of the movie that cubism occurred, and it has been described by E. H. Gombrich (Art and Illusion) as “the most radical attempt to stamp out ambiguity and to enforce one reading of the picture — that of a man-made construction, a colored canvas.” For cubism substitutes all facets of an object simultaneously for the “point of view” or facet of perspective illusion. Instead of the specialized illusion of the third dimension on canvas, cubism sets up an interplay of planes and contradiction or dramatic conflict of patterns, lights, textures that “drives home the message” by involvement. This is held by many to be an exercise in painting, not in illusion. In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message. Is it not evident that the moment that the sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.

To begin with, though being sensory sensitive can often be painful and overwhelming, it can also come with a unique set of advantages. Autistics like me with heightened sensory awareness tend to experience the world in a deeply enriched way which allows us to notice subtleties that others usually miss. This can lead to a greater appreciation of art, music, and nature, as we can perceive nuances in color, texture, sound, and flavor that are less apparent to others. Sensory-sensitive people also often exhibit heightened emotional empathy, as our keen perception enables us to pick up on smaller emotional cues. This makes many of us excellent listeners, as well as compassionate friends and partners. Moreover, our sensitivities can foster creativity and innovation, as we have rich sensory experiences to draw from for inspiration. So, while sensory sensitivity definitely has its challenges, it also opens the door to a world rich in detail and depth of experience and can even be a regular source of Autistic joy.

her pottery also had an unusual warmth that brought a sense of comfort and solace. The slight irregularities and rough texture provided a quiet sense of calm, like the feeling of touching natural fabric, or sitting on a porch watching the clouds go by.

I have lived my nineteen years buried in an environment at utter variance with my natural instincts, where my inner life is never touched, and my sympathies rarely, if ever, appealed to. I never disclose the real desires or textures of my soul.

1. Sri Lanka’s Cultural and Historical Richness "Sri Lanka is a place where history lives in harmony with the present. From ancient temples to colonial fortresses, every corner of this island tells a story." Sri Lanka’s history stretches over 2,500 years, featuring incredible landmarks like the Sigiriya Rock Fortress and Anuradhapura's ancient ruins. The country is also home to the famous Temple of the Tooth in Kandy, an important religious site for Buddhists around the world. Each historic site tells a different story, making Sri Lanka a treasure trove of cultural and spiritual experiences. Find out more about planning a visit here. ________________________________________ 2. Nature’s Bounty and Biodiversity "In Sri Lanka, nature isn't merely observed; it's experienced with all the senses — from the scent of spice plantations to the sight of vibrant tea terraces and the sound of waves on pristine beaches." Sri Lanka’s national parks, like Yala and Udawalawe, are among the best places to see elephants, leopards, and a diverse range of bird species. The island’s ecosystems, from rainforests to coastal mangroves, create an incredible array of landscapes for nature lovers to explore. For those planning to visit these natural wonders, start your journey with a visa application. ________________________________________ 3. Sri Lankan Hospitality and Warmth "The true beauty of Sri Lanka is found in its people — hospitable, welcoming, and ready to share a smile or story over a cup of tea." The warmth of Sri Lankans is a common highlight for visitors, whether encountered in bustling cities or quiet villages. Tourists are frequently invited to join meals or participate in local festivities, making Sri Lanka a welcoming destination for international travelers. To experience this hospitality firsthand, ensure you have the right travel documents, accessible here. ________________________________________ 4. Beaches and Scenic Coastal Areas "Sri Lanka’s coastline is a place where sun meets sand, and every wave brings with it a sense of peace." With over 1,300 kilometers of beautiful coastline, Sri Lanka offers something for everyone. The south coast is famous for relaxing beaches like Unawatuna and Mirissa, while the east coast’s Arugam Bay draws surfing enthusiasts from around the globe. To enjoy these beaches, start by obtaining a Sri Lanka visa. ________________________________________ 5. Tea Plantations and the Hill Country "The heart of Sri Lanka beats in the hill country, where misty mountains and lush tea plantations stretch as far as the eye can see." The central highlands of Sri Lanka, with towns like Ella and Nuwara Eliya, are dotted with tea plantations that produce some of the world’s finest teas. Visiting a tea plantation offers a chance to see tea processing and sample fresh brews, with the cool climate adding to the serene experience. Secure your entry to the hill country with a visa application. ________________________________________ 6. Sri Lankan Cuisine: A Feast for the Senses "In Sri Lanka, food is more than sustenance — it’s an art form, a burst of flavors that range from spicy curries to sweet desserts." Sri Lankan cuisine is a rich blend of spices and textures. Popular dishes like rice and curry, hoppers, and kottu roti offer a true taste of the island. Food tours and local markets provide immersive culinary experiences, allowing visitors to discover the flavors of Sri Lanka. For a trip centered on food and culture, start your journey here.

Whatever comes under the heading of fugal form partakes in some way of the nature of a fugue. You already know, I feel sure, that in texture all fugues are polyphonic or contrapuntal (the terms are identical in meaning). Therefore, it follows that all fugal forms are polyphonic or contrapuntal in texture.

FiberΔ, such as cellulose gel, is added to low-fat milk to enrich the texture. The milk has a thicker consistency and a whiter color due to the addition of natural coloring agents. The milk has fewer calories than fat-free milk and more calcium due to enrichment.

I remember the people I’ve heard complain about the very texture of digital images, filmless film: how it lacks richness, depth. I’ve heard the same thing said about CDs. Someone once told me that it was Mark Twain who turned in the first typewritten manuscript, and this was generally thought to be a Bad Thing: Work composed on a machine would naturally lack richness, depth.

What makes one tool superior to another has nothing to do with how new it is. What matters is how it enlarges or diminishes us, how, how it shapes our experience of nature and culture and one another. To cede choices about the texture of our daily lives to a grand abstraction called progress is folly.

Blending into the tinctures and textures of the countryside. The tree which falls without any human hearing still falls, as the creatures who die without being found by a human still die.

Physical science, then, cannot formulate laws outside of maya, the very texture and structure of creation. Nature herself is maya; natural science must perforce deal with her ineluctable quiddity. In her own domain, she is eternal and inexhaustible; future scientists can do no more than probe one aspect after another of her varied infinitude. Science thus remains in a perpetual flux, unable to reach finality; fit indeed to formulate the laws of an already existing and functioning cosmos, but powerless to detect the Law Framer and Sole Operator. The majestic manifestations of gravitation and electricity have become known, but what gravitation and electricity are, no mortal knoweth.

Unlike sound waves, whose transmission requires air or other material media, light waves pass freely through the vacuum of interstellar space. Even the hypothetical ether, held as the interplanetary medium of light in the undulatory theory, can be discarded on the Einsteinian grounds that the geometrical properties of space render the theory of ether unnecessary. Under either hypothesis, light remains the most subtle, the freest from material dependence, of any natural manifestation. In the gigantic conceptions of Einstein, the velocity of light—186,000 miles per second—dominates the whole Theory of Relativity. He proves mathematically that the velocity of light is, so far as man’s finite mind is concerned, the only constant in a universe of unstayable flux. On the sole absolute of light-velocity depend all human standards of time and space. Not abstractly eternal as hitherto considered, time and space are relative and finite factors, deriving their measurement validity only in reference to the yardstick of light-velocity. In joining space as a dimensional relativity, time has surrendered age-old claims to a changeless value. Time is now stripped to its rightful nature—a simple essence of ambiguity! With a few equational strokes of his pen, Einstein has banished from the cosmos every fixed reality except that of light. In a later development, his Unified Field Theory, the great physicist embodies in one mathematical formula the laws of gravitation and of electromagnetism. Reducing the cosmical structure to variations on a single law, Einstein reaches across the ages to the rishis who proclaimed a sole texture of creation—that of a protean maya.

A person writes similar to how a blind person uses brail. We grope along the palpable corridors of the mind’s organic texture to locate an escape route from a world of obscurity. In our wintry moments, we seek to escape coldblooded suffering. We labor to build a cozy mental environment that we can occupy in peace, a warm hearth to snuggle up against with comforting thoughts. We seek inspiration while immersed in the hothouse of nature. We write stories in an effort to construct a theater where we can shock ourselves into realizing the miracle of living.

...how could he explain how long ago he had given up the idea of thought, the point at which he first understood the way things were and knew that any sense we had of existence was merely a reminder of the incomprehensible futility of existence, a futility that would repeat itself ad infinitum, to the end of time and that, no, it wasn't a matter of chance and its extraordinary, inexhaustible, triumphant, unconquerable power working to bring matters to birth or annihilation, but rather the matter of a shadowy demonic purpose, something embedded deep in the heart of things, in the texture of the relationship between things, the stench of whose purpose filled every atom, that it was a curse, a form of damnation, that the world was the product of scorn, and God help the sanity of those who called themselves thinkers, which was why he no longer thought, had learned not to think any more, not that this led anywhere, of course, because wherever he looked, whichever way he turned, there was that all-pervasive stench, the stench that was there because the last word, the word that comprehended the knowledge that futility and scorn, replete with purpose, was coextensive with the world, was the world, was something of which he had to be conscious, an eternity of futility and scorn that obtained in each and every second of life for those who had set out as thinkers, futility because as soon as you abandoned thought and tried simply to look at things, thought cropped up again in a new form, a form from which, in other words, there was no escape whatever man thought or did not think, because he remained the prisoner of thought either way, and his nose was deeply pained by the stench of it, so what could he do except console himself with the thought that events simply followed their own natural course...

Dyes, fragrances, foaming agents, heavy metals as stabilizers and texturizers, tanners, inks, alcohols, and hundreds of other potential poisons are frequently included in cosmetic formulas. Nail products, hair products, deodorants—all the ordinary products in your bathroom cabinet and makeup kit as well as the ones in your neighborhood beauty salon and nail spa have chemical

Character is nature and nurture. It is nature cultured and disciplined, so that natural tendencies are brought under the sway of the moral motive. His natural individuality marks off a man from his fellows by clear and specific differences. But this individuality may be non-moral. To produce character it must be brought under discipline, and organized into the structure of a true moral being… Above all, [character] includes a choice, a settled habit or bent of will, so that it can be seen in its outcome in conduct. Character takes up the raw material of nature and temperament, and it weaves these into the strong, well-knit texture of a fully moralized manhood

MSG (Monosodium Glutamate): MSG is a nerve toxin, lurking under a variety of different names: hydrolyzed protein, yeast extract, yeast food, autolyzed yeast, textured protein, glutamate, gelatin, natural flavorings, soy sauce, malt favoring, broth, and a number of others Artificial Food Colorings: Especially avoid blue 1 & 2, red 3, green 3, yellow 6

BBQ Grills There are a number of gas grills which might be obtainable to the market. Grill professionals from different manufactures point out that the grills can either be propane and none propane BBQ grills can be found. Once the necessity to purchase the brand new grill to switch the outdated one, one has to contemplate security components and the mobility of the grill. Gas out of doors grill are ideal for cooking out that saves the consumer an ideal deal on gas vitality giant, future-laden fuel grills have taken over the barbecue backyard what one has to keep in mind is that a better worth doesn’t guarantee performance. Gasoline grills make the most of propane or natural gasoline as gasoline. They're accessible in various textures and sizes. The commonest type of such a grill is the Cart Grill design mannequin. Infrared grills, however, produce built-in grills infrared warmth to cook dinner meals and are fueled using propane or pure gas. Charcoal bbq grills use charcoal briquettes because the gas supply and it generates high ranges of warmth. Electrical grills are much smaller in dimension and they can be simply placed in the kitchen. They offer nice convenience however are expensive to function compared to the other grill types. A grill is cooking gear that cooks by directly exposing meals to heat. The floor where the meals is placed is an open rack with a source of warmth beneath it. There are a number of forms of grills relying on the type of warmth source used.A barbeque grill is a grill that uses charcoal or wooden as the heat supply. Food produced from BBQ grills have gotten attribute grill marks made by the racks where they had been resting throughout cooking. BBQ grills are often used to cook dinner poultry meat. However they will also be used to cook dinner other forms of meat in addition to fish. Manufactures recommendation the grill customers to depart the grill open when u have completed grilling. The fueled propane grill finally ends up burning itself out after the fuel has been used up within the tank. Typically the regulator can develop a leak which may shortly empty the propane bottle. There are significant variations between the grills fueled by pure gases and the ones with propane. Selecting the best grill all is determined by your self upon the uniqueness of the product.one has to take into concern the security points associated to natural gases. Choosing a good quality barbeque grill could be quite a difficult job. Due to this fact, it is crucial that you understand the advantages and features of the different types of bbq grills. In addition, while making your alternative, you want to consider several features. Test the essential options of the grill including the heat management mechanism, ash cleanup and different points that affect the feel and taste of the food. Guantee that the grill framework accommodates a protecting coating for preventing rust.

We know what wood is and what earth and stone are and that they have a color and texture, a smell and even a taste, but matter as a perceptible material substance independent of the nature of the wood, earth and stone composed of it seems incomprehensible. In order for us to regard a thing as real it must possess at least some distinctive physical qualities. We must be able to experience it as a physical thing before we can decide it is real. Matter as proposed by modern science, however, has no distinctive or definite physical qualities at all. Matter is simply some unimaginable stuff possessing no conceivable definition whatsoever. The concept of matter, then, proves to be just as elusive and abstract as the concepts of spirit, soul or the life-principle.

Reading is, by its nature, a strategy for displacement, for pulling back from the circumstances of the present and immersing in the textures of a different life.

4/20, CANNABIS DAY, APRIL 20 420 FARMERS’ MARKET RISOTTO Recipe from Chef Herb Celebrate the bounty of a new growing season with a dish that’s perfectly in season on April 20. Better known as 4/20, the once unremarkable date has slowly evolved into a new high holiday, set aside by stoners of all stripes to celebrate the herb among like-minded friends. The celebration’s origins are humble in nature: It was simply the time of day when four friends (dubbed “The Waldos”) met to share a joint each day in San Rafael, California. Little did they know that they were beginning a new ceremony that would unite potheads worldwide! Every day at 4:20 p.m., you can light up a joint in solidarity with other pot-lovers in your time zone. It’s a tradition that has caught on, and today, there are huge 4/20 parties and festivals in many cities, including famous gatherings of students in Boulder and Santa Cruz. An Italian rice stew, risotto is dense, rich, and intensely satisfying—perfect cannabis comfort cuisine. This risotto uses the freshest spring ingredients for a variation in texture and bright colors that stimulate the senses. Visit your local farmers’ market around April 20, when the bounty of tender new vegetables is beginning to be harvested after the long, dreary winter. As for tracking down the secret ingredient, you’ll have to find another kind of farmer entirely. STONES 4 4 tablespoons THC olive oil (see recipe) 1 medium leek, white part only, cleaned and finely chopped ½ cup sliced mushrooms 1 small carrot, grated ½ cup sugar snap peas, ends trimmed ½ cup asparagus spears, woody ends removed, cut into 1-inch-long pieces Freshly ground pepper 3½ cups low-sodium chicken broth ¼ cup California dry white wine Olive oil cooking spray 1 cup arborio rice 1 tablespoon minced fresh flat-leaf parsley ¼ cup freshly grated Parmesan cheese Salt 1. In a nonstick skillet, heat 2 tablespoons of the THC olive oil over medium-low heat. Add leek and sauté until wilted, about 5 minutes. Stir in mushrooms and continue to cook, stirring, for 2 minutes. Add carrot, sugar snap peas, and asparagus. Continue to cook, stirring, for another minute. Remove from heat, season with pepper, and set aside. 2. In a medium saucepan over high heat, bring broth and wine to a boil. Reduce heat and keep broth mixture at a slow simmer. 3. In a large pot that has been lightly coated with cooking spray, heat the remaining 2 tablespoons THC olive oil over medium heat. Add rice and stir well until all the grains of rice are coated. Pour in ½ cup of the hot broth and stir, using a wooden spoon, until all liquid is absorbed. Continue adding the broth ½ cup at a time, making sure the rice has absorbed the broth before adding more, reserving ¼ cup of broth for the vegetables. 4. Combine ¼ cup of the broth with the reserved vegetables. Once all broth has been added to the risotto and absorbed, add the vegetable mixture and continue to cook over low heat for 2 minutes. Rice should have a very creamy consistency. Remove from heat and stir in parsley, Parmesan, and salt to taste. Stir well to combine.

It was good for me to be afflicted. (Psalm 119:71) It is a remarkable occurrence of nature that the most brilliant colors of plants are found on the highest mountains, in places that are the most exposed to the fiercest weather. The brightest lichens and mosses, as well as the most beautiful wildflowers, abound high upon the windswept, storm-ravaged peaks. One of the finest arrays of living color I have ever seen was just above the great Saint Bernard Hospice near the ten-thousand-foot summit of Mont Cenis in the French Alps. The entire face of one expansive rock was covered with a strikingly vivid yellow lichen, which shone in the sunshine like a golden wall protecting an enchanted castle. Amid the loneliness and barrenness of that high altitude and exposed to the fiercest winds of the sky, this lichen exhibited glorious color it has never displayed in the shelter of the valley. As I write these words, I have two specimens of the same type of lichen before me. One is from this Saint Bernard area, and the other is from the wall of a Scottish castle, which is surrounded by sycamore trees. The difference in their form and coloring is quite striking. The one grown amid the fierce storms of the mountain peak has a lovely yellow color of a primrose, a smooth texture, and a definite form and shape. But the one cultivated amid the warm air and the soft showers of the lowland valley has a dull, rusty color, a rough texture, and an indistinct and broken shape. Isn’t it the same with a Christian who is afflicted, storm-tossed, and without comfort? Until the storms and difficulties allowed by God’s providence beat upon a believer again and again, his character appears flawed and blurred. Yet the trials actually clear away the clouds and shadows, perfect the form of his character, and bestow brightness and blessing to his life. Amidst my list of blessings infinite Stands this the foremost, that my heart has bled; For all I bless You, most for the severe. Hugh Macmillan

Posts that get the most Number of Repins have the following Features: They are related to trending topics and so have a ninety four percent more chance of being clicked on and then repinned. They have multiple colors and get repinned at a faster pace than pins with a single dominant color. Medium light pins get pinned twenty times more frequently than dark images. It is better to stay natural than pin too light or too dark images. Smooth texture images are repinned seventeen more times than those images that have a rough texture. Images with fifty percent color saturation receive ten percent more repins as compared to those that are de-saturated. Images with a less than ten percent background are able to get two to four more repins than images that have more than forty percent of white space. The winning combination is red, brown and orange. Blue is beaten by red so these images receive two times the number of repins that the blue ones receive. Images without faces receive twenty five percent more repins. On Pinterest, only twenty percent of the whole number of images features faces.

Wheat berries: A wheat berry is the entire wheat kernel, the intact whole grain, composed of the bran, germ, and endosperm. The chewy texture of wheat berries makes them an interesting, hearty addition to a variety of salads. They can also be used as an alternative to rice. Cook in boiling water for about fifty minutes or until tender. Wild rice: This is not actually rice but the seed of a semiaquatic grass that is native to North America. Wild rice is rich in antioxidants and is a good alternative to brown rice; however, attention should be placed on finding low-arsenic wild brands or naturally-growing wild rice without arsenic. Wild rice bursts open when cooked, so it is easy to tell when it is done. Combine with mushrooms, onions, and your favorite herbs for a simple side dish or add to soups and stuffing.

There was a new strength inside him, and he was wealthy with a love for the world, for the smell of the breeze and the texture of stone, for the height of the hill and the deep moss green of the fields that spread beneath him, for the gently journeying clouds wandering far from their mother the sea. He had smelled his aunt Dotty baking bread and heard his mother singing in her garden, he had stood beside his father and his uncles, he had seen his sisters smile and heard his cousins laugh, he had felt a ball hit the sweet, sweet spot on a wooden bat, and he had held a breathing frog in his hands… These and a thousand other things made him rich.

Look here, Glory!' he said, 'when iron is taken from the smelting furnace it is crystalline and brittle; there is no thread and texture in it, but we burn it and beat it, and as we work we beat our stubborn purpose into the metal, and it is the will of the smith which goes through his arm and hammer into the iron and converts it to steel; he drives his will into the metal, and that becomes the fibre in it. You don't find it so in nature. The human soul must part with something and transfuse it into the inanimate iron, and there it will lie and last, for the will of man is divine and eternal. It is much the same with all with which we have to do. I have spent time and labour over you, and thought and purpose have been consumed in making you my wife; they are none of them lost, they are all in you, they have become fibres in your soul.

The overarching lesson that has emerged from scientific inquiry over the last century is that human experience is often a misleading guide to the true nature of reality.

I realized that they make maps in their heads – scent maps, event maps, thing maps, texture maps, sequential maps – that much of their activity on the trails is mapmaking and map following. I know why Ben whines for me to open the car windows as we drive. His mapmaking needs the scent element. A ride in the car is mapmaking in the fast lane. New places, new smells, new maps, enlarge brains. The world is a newspaper. It is my world my dogs are mapping, my world they are imprinting. Now I pay attention to their world: the tree limb, the new hole, the crushed hay where to deer slept. I begin to tread as they do. I am allowed, as I learn to pay attention, to participate, as my dogs do, in the wonders of the natural world, a world from which I had grown far apart.

Hope and fear come from feeling that we lack something; they come from a sense of poverty. We can’t simply relax with ourselves. We hold on to hope, and hope robs us of the present moment. We feel that someone else knows what’s going on, but that there’s something missing in us, and therefore something is lacking in our world. Rather than letting our negativity get the better of us, we could acknowledge that right now we feel like a piece of shit and not be squeamish about taking a good look. That’s the compassionate thing to do. That’s the brave thing to do. We could smell that piece of shit. We could feel it; what is its texture, color, and shape? We can explore the nature of that piece of shit. We can know the nature of dislike, shame, and embarrassment and not believe there’s something wrong with that. We can drop the fundamental hope that there is a better “me” who one day will emerge. We can’t just jump over ourselves as if we were not there. It’s better to take a straight look at all our hopes and fears. Then some kind of confidence in our basic sanity arises.

these sentences come naturally to me, almost involuntarily, in an eerie way, particularly when walking (slowly) or when freeing up my mind to do nothing, or nothing effortful—I could convince myself that I was hearing voices from the other side of the veil of opacity. By setting oneself totally free of constraints, free of thoughts, free of this debilitating activity called work, free of efforts, elements hidden in the texture of reality start staring at you; then mysteries that you never thought existed emerge in front of your eyes.

The natural world is more recognizable and identifiable in its unaffected replies and usual predictability. This genuineness does have residual seepage observable in the surreal world of humanity as well, in instances where nature or a natural reality is observed in experience with an impassioned, ephemeral detection and the entirety of the world is shortly exposed as still living, composed of material, substance, texture and essence beyond the normalized human exposure of chosen limits of sensitivities, of closing endpoints of understanding, of illusory trickeries of senses, bewildering connotations of truth, and prospering beliefs in a newer, grander realism of self and the world without vital appreciation of a contextual reckoning of proportionality embedded within the curving, yielding designs of universal scales.” “Aspergic tendencies can establish a lifelong process of rebellious, reciprocated self-learning and self-teaching, whether the lessons taught are from oneself or insightful others during watchful experiences seeking new, keen-sighted inspirations to be marked by patterned, humorously strange and unexpectedly connected presences. It makes an individual believe in a perceived world which exists better in the enactions of others, while the real world of behaving, sensing and seeing a differently textured reality becomes an alleged fantasy.” “To an aspergic personality, allistic normalcy can be an enthrallment contrary to a naturally minded quest for equilibrium as a relationship with all reality. There can be guilt over one’s own social inadequacy. Inane separation can come from not wanting to impose such great exertion requirements on most others for the sake of a singular attending identity.” “As with multitudes of peoples under clever and hard-fought capitulation, nature quietly must adhere and defer to the idea of the perfect fusion of mind and body as fitting the successes of humanity accidentally shaped as the dualistic and sensitive personification of celestial, god-imaged spirituality within the universe.

Kaleidoscope of colours, patterns, textures, and scents from the world of Nature, lifts my spirits, lights up my heart and life each day...

The scenery that opened before me was composed of shades of black and white, and of trees woven together in lines along the boundaries between the fields. In places where the grass had not been cut, the snow had failed to blanket the fields in a uniform plane of white. Blades of grass were poking through its cover; from a distance it looked as if a large hand had begun to sketch an abstract pattern, by practicing some short strokes, fine and subtle. I could see the beautiful geometric shapes of fields, strips and rectangles, each with a different texture, each with its own shade, sloping at different angles toward the rapid winter Dusk. And our houses, all seven, were scattered here like a part of nature, as if they had sprung up with the field boundaries, and so had the stream and little bridge across it—it all seemed carefully designed and positioned, perhaps by the very same hand that had been sketching.

I was born to walk the Earth, experience the amazing beauty of this planet, and witness the splendor and magic of all things—to be overwhelmed by a ray of sunlight, touched by an encounter with a frog, and mystified by the texture of a rock wall. I was born to splash through the creeks, sing through the canyons, laugh with the squirrels, just as I did as a small child in the woods behind our family’s home. I was born to be a kid, and not take life too seriously, or get sidetracked by a career, a project, or anything that ties me down to the life of bills, shiny new toys, status, and pavement.

These were lonely moments on my isolated farm, but I found beauty in them. Tatters of cloud shone silver agains the violet sky, shimmering in the night wind. The breeze rippled the leaves of the apple trees clustered between my place and the shore of Hood Canal, and it tinged the air with the scent of salt water. I felt the pull of the canal as a physical sensation. Its tides seemed to resonate with the tides of my own flowing blood, its life calling to the life in my veins. Sometimes the pull was so strong I had to drop what I what I was doing and go to the shore, driven by a need to touch the water, to feel its cool, salty texture on my fingers or washing over my bare feet.

I view the tapestry of human knowledge from a broader perspective than anyone ever has before; I can fill gaps in the design where scholars never even noticed a lack, and enrich the texture in places that they felt were complete. The natural sciences have the clearest patterns. Physics admits of a lovely unification, not just at the level of fundamental forces, but when considering its extent and implications. Classifications like “optics” or “thermodynamics” are just straitjackets, preventing physicists from seeing countless intersections. Even putting aside aesthetics, the practical applications that have been overlooked are legion; years ago engineers could have been artifically generating spherically symmetric gravity fields.

He felt an equanimity, a perfect certainty as to where he was and where everything else was. This feeling did not come to him as blissful or mystical, but simply as normal. It was the way he generally had felt, except in times of crisis, of agony; it was the mood of his childhood and all the best and profoundest hours of boyhood and maturity; it was his natural mode of being. These last years he had lost it, gradually but almost entirely, scarcely realizing that he had lost it. Four years ago this month, four years ago in April, something had happened that had made him lose that balance altogether for a while; and recently the drugs he had taken, the dreams he had dreamed, the constant jumping from one life-memory to another, the worsening of the texture of life the more Haber improved it, all this had sent him clear off course. Now, all at once, he was back where he belonged.

If a connoisseur of the irony of political life is struck solemn by it, if he talks of tragic irony, then he is a ‘wet’ Machiavellian, a Christian. If he is fascinated by it, intellectually interested, he is a central Machiavellian, like the master himself. If he is amused by the irony of political life, he is an extreme Machiavellian, a cynic, a man who enjoys the sufferings and embarrassments of others. Just as Machiavellians do not understand the nature of tragedy, so Grotians are unable to understand the structure or texture of irony, which has several strands. The first is that of mere accident. Thus Cesare Borgia made many precautions against Alexander VI's death… Machiavelli recalls: ‘On the day that Julius II was elected, he told me that he had thought of everything that might occur at the death of his father, and had provided a remedy for all, except that he had never foreseen that, when the death did happen, he himself would be on the point to die... Another strand of historical irony is multiple or cumulative causation of a single result. Thus there were many mistakes in Louis XII's policy in Italy: he destroyed the small powers; aggrandized a greater power, the papacy; and called in a foreign power, Spain. He did not settle in Italy, nor send colonies to Italy, and he weakened the Venetians... A third strand is the single causation of opposite results, or paradox. Marxists like this notion: the bourgeoisie created simultaneously a single world economy and the extreme of international anarchy… A fourth strand of irony is self-frustration, or failure. Men intend one result and produce another... Japan, too, by attempting to conquer China, did much to make China instead of herself the future Great Power of the Orient... A fifth strand in historical irony is that the same policy, in different circumstances, will produce different effects... The sixth and last strand is that contrary policies, in different circumstances, can produce the same effects. This is discussed in an unintentionally amusing way in The Discourses (bk III), when Machiavelli discusses whether harsh methods or mild are the more efficacious. He lists examples where humanity, kindness, common decency, and generosity paid political dividends, including Fabricius' rejection of the offer to poison Pyrrhus. But Hannibal obtained fame and victory by exactly opposite methods: cruelty, violence, rapine, and perfidy.

Know How to use Sandstone Pool Coping Today, Sandstone pavers and tiles are one of Australia’s most trending natural stones. You can choose from a selection of colours and textures. While some homeowners love the appearance of light blue and grey Sandstone pavers, others prefer the more organic character of tan and brown Sandstone pavers.

The refreshing scent of the turnip, the succulent, natural sweetness of the flesh... The fine aftertaste of its slight bitterness... And the thing adding richness to its flavor... ...is the brown paste in the middle of it!" "Kaibara-san, what is this?!" "It's braised turnip with white mushroom paste. The important part is the dashi... or the "fond de veau," as it's called. You make an elegant and savory broth which is like an Ichiban-dashi in Japanese cooking by using the bones of a fine calf and quality beef." "I see! The mushroom paste inside gives it its punch!" "It's mashed mushroom mixed with butter and cream." "That is the importance of finesse in cooking... A mediocre cook is likely to make a mistake when getting ahold of such a fine turnip. For example, he'll do something like making some nice dashi and quickly simmering the turnip in it. But that is a mistake . Turnips have a muddy scent. And it is that scent that poses a problem! Now, the muddiness of a turnip is something to be savored... but when placed together with something that goes well with it, it becomes far more flavorful . For example, you can't expect the turnip to do much good when it is placed inside a clear soup. But when it's used inside a miso soup made with hatcho miso, the flavor of the turnip becomes lucid... As you can see from this example, it's important what you put with it. And for this dish, I decided to use white mushrooms. The white mushroom itself is an interesting kind of mushroom that can't draw out its best on its own, but will prove its worth when it is mixed with oil or dairy products and heated. Its color will turn dark when heated, but the texture turns smooth and gentle, and the fragrance hidden inside it becomes apparent, giving birth to a deep, rich flavor. When that mushroom paste combines with the flavor of the turnip... they will multiply each other's taste upon your taste buds.

People think ultranatural means ultrasafe and free from scary chemicals. The reality is that plants are complex. In its raw form, shea butter can be irritating. We recommend sticking to refined shea; you'll have a range of options for texture.

The other major domain of cultural learning is food. Animals learn from each other what to eat, and what not. Parent crows that fly daily with their offspring to the local garbage dump to look for tasty morsels instill in them a life-long preference for such sites, whereas the crow family that survives on natural foods will have offspring that carry on the same tradition when they get older. Food aversion is similarly transmitted. This was first noticed by a German rodent-control officer who set out poisoned bait, killing wild rats in large numbers. After a while, however, the remaining rats began to avoid the bait, and their offspring would do the same. Without any direct experience with the bait, young rats would eat only safe foods. An experimental psychologist, Bennett Galef, tested this in his laboratory by feeding rats two diets of different texture, taste, and smell. He then laced one of the diets with lithium chloride, which makes rats sick. This procedure led the animals to avoid the contaminated diet. The question now was how the rats' offspring would react after removal of the contamination. Both diets were again perfectly okay to eat, but adults fed exclusively on only one diet due to their bad experience with the other. It turned out that the pups acted like their parents. Of 240 pups given a choice of both diets, only one ate any of the food that adults in its colony had learned to avoid.

Eli returned to the river and paused for a moment midstream. His feet were balanced upon uneven stones. The current tumbled around him. The canyon walls were steep and jagged and solid. The colors beneath the surface stirred and glittered. He wanted to hold his face under water and breathe in their beauty. He dipped his fingers into the snow-cold transient texture and felt a tingle. He closed his eyes to see this sensation clearly. He breathed. He put his river-wet hand up to his face and felt the freshness permeate his skin. Water droplets dripped from his face and returned to the river. He opened his eyes as if they were separate from his body, separate from the tension of life, distant from any distraction. He breathed.

Imagine a room you could go to for some time out, to switch off or to meditate. What would you find there?... - Windows and natural light - Views out onto greenery (or add some window planters) - A timber-clad wall or timber furniture to make the space feel warm and rich - Artwork containing biophilic fractals - An immersive planting arrangement where you can sit among the foliage - Soft, natural fabrics and textures - Adjustable lighting (salt lamps give off a lovely warm glow) - A scent diffuser - Carefully considered colors to suit the mood you wish to create - A lock on the door if you need it - Your favorite things that help you relax: perhaps a TV, a selection of things to read, or whatever you need in order to feel as though you've given yourself a break.

There’s an unused part of the zombie pigman texture that reads “THX, XAPHOBIA.” The creator of the zombie pigman: a programmer named Xaphobia, naturally.

The second my bare feet touch stone, I become a thermometer-the mercury moves pas my toes, up through my legs and body to form a blush on my face- and what I see has already warmed me…this scooped out place in an ancient dune of sand, turned to rock, has the look of a hammock, a cradle, a papyrus raft…a space that invites me to lie down, roll over, stretch out and feel the texture of time beneath the elements. Collected in: Sisters of the Earth: Women's Prose and Poetry About Nature by Lorraine Anderson

An informed appraisal of life absolutely require(s) a full understanding of life’s arena–the universe. … By deepening our understanding of the true nature of physical reality, we profoundly reconfigure our sense of ourselves and our experience of the universe.

And, insofar as the Freudian name for this radical negativity is the death drive, Schuster is right to point out how, paradoxically, what Sade misses in his celebration of the ultimate Crime of radical destruction of all life is, precisely, the death drive: “for all its wantonness and havoc, the Sadeian will-to-extinction is premised on a fetishistic denial of the death drive. The sadist makes himself into the servant of universal extinction precisely in order to avoid the deadlock of subjectivity, the “virtual extinction” that splits the life of the subject from within. The Sadeian libertine expels this negativity outside himself in order to be able to slavishly devote himself to it; the apocalyptic vision of an absolute Crime thus functions as a screen against a more intractable internal split. What the florid imagination of the sadist masks is the fact that the Other is barred, inconsistent, lacking, that it cannot be served for it presents no law to obey, not even the wild law of its accelerating auto-destruction. There is no nature to be followed, rivalled or outdone, and it is this void or lack, the non-existence of the Other, that is incomparably more violent than even the most destructive fantasm of the death drive. Or as Lacan argues, Sade is right if we just turn around his evil thought: subjectivity is the catastrophe it fantasizes about, the death beyond death, the “second death.” While the sadist dreams of violently forcing a cataclysm that will wipe the slate clean, what he does not want to know is that this unprecedented calamity has already taken place. Every subject is the end of the world, or rather this impossibly explosive end that is equally a “fresh start,” the unabolishable chance of the dice throw.”[6] Kant characterized the free autonomous act as an act that cannot be accounted for in the terms of natural causality, of the texture of causes and effects: a free act occurs as its own cause, it opens up a new causal chain from its zero-point. So, insofar as “second death” is the interruption of the natural life-cycle of generation and corruption, no radical annihilation of the entire natural order is needed for this—an autonomous free act already suspends natural causality, and the subject as such is already this cut in the natural circuit, the self-sabotage of natural goals. The mystical name for this end of the world is “the night of the world,” while the philosophical name is “radical negativity” as the core of subjectivity. And, to quote Mallarmé, a throw of the dice will never abolish the hazard, i.e., the abyss of negativity remains forever the unsublatable background of subjective creativity. We may even risk here an ironic version of Gandhi’s famous motto “be the change you want to see in the world”: the subject is itself the catastrophe it fears and tries to avoid.

Hidden Names for Monosodium Glutamate, and Foods That Contain MSG Anything with the word “glutamate” in it Gelatin Hydrolyzed vegetable protein (HVP) Textured protein Hydrolyzed plant protein (HPP) Yeast extract Glutamate Autolyzed plant protein Yeast food or nutrient Glutamic acid Autolyzed yeast Vegetable protein extract Anything “hydrolyzed” Protease Anything “enzyme modified” Anything containing “enzymes” Umami Carrageenan Bouillon and broth Stock Any “flavors” or “flavoring” Maltodextrin Barley malt Malt extract Natural seasonings

One of the things that has always attracted me to abandoned locations is the austere beauty of the neglected or forgotten. The textures, colors, shadows, and lines speak of a life once lived within the confines, and the absence is as empty as it is filled. I can feel the wheel of time turn within these places as nature takes back what was only borrowed, infiltrating the cracks and seams with the tendrils of her vine-fingers, while spray painting the surfaces with moss, mold, and dirt.

If you look around the room you are in right now, you will observe a great diversity of items, shapes, sizes, textures, colors, and functions, with all their associated nuances and subtleties. Every career, hobby, occupation, sport, industry, philosophy, plant, animal, object, event, and sensory experience–visual and otherwise–corresponds to a specific language. Language, in a word, is all-encompassing, and there are numerous registers, dialects, idioms, metaphors, and synonyms that express the same idea in multiple ways. “Mastering” one’s native language is a lifelong pursuit. Mastering a foreign language is an even taller order.

This primitive skill displayed itself proudly in the art of weaving. Here, too, the animal showed man the way. The web of the spider, the nest of the bird, the crossing and texture of fibres and leaves in the natural embroidery of the woods, set an example so obvious that in all probability weaving was one of the earliest arts of the human race.

En effet, double est la nature de la vache bretonne. A certaines périodes de l'année,(...) une étonnante révolution se produit dans son être. Ses meuglements s'accentuent, se prolongent, leur texture harmonique elle-même se modifie jusqu'à rappeler parfois de manière stupéfiante certaines plaintes qui échappent aux fils de l'homme. Ses mouvements se font plus rapides, plus nerveux, parfois elle trottine. Il n'est jusqu'à son mufle, lequel semblait pourtant, dans sa régularité luisante, conçu pour refléter la permanence absolue d'une sagesse minérale, qui ne se contracte et se torde sous l'effet douloureux d'un désir assurément puissant. La clef de l'énigme est fort simple, et la voici : ce que désire la vache bretonne (manifestant ainsi, il faut lui rendre justice sur ce point, le seul désir de sa vie), c'est, comme le disent les éleveurs dans leur parler cynique, "se faire remplir". Aussi la remplissent-ils, plus ou moins directement : la seringue de l'insémination artificielle peut en effet, quoique au prix de certaines complications émotionnelles, remplacer pour cet office le pénis du taureau. Dans les deux cas la vache se calme et revient à son état originel de méditation attentive, à ceci près que quelques mois plus tard elle donnera naissance à un ravissant petit veau. Ce qui est, soi dit en passant, tout bénéfice pour l'éleveur.

She frowned at him and rubbed the bridge of her nose. “You’re pretty damned stubborn, aren’t you?” He thought that was evident and not worth answering, so he just let himself disappear into her eyes. She had beautiful eyes. He loved how liquid and soft they were. She started to move away and he caught her arm. “Don’t go.” “I don’t like people touching me.” He should have let go of her, but instead he rubbed the pads of his fingers up and down her bare arm. Her shirt was still half buttoned, and he was tempted to stroke her flat belly just to know the texture of her. “I don’t like it either,” he said. And it was true. Funny. He’d never admitted that to anyone. It didn’t particularly matter, he did what had to be done, but he didn’t like it— maybe not in the same way she meant. His was a matter of personal space, a natural avoidance of closeness with others. But Rikki . . . He studied her face. “I don’t think my touch bothers you that much.” She blinked. She rarely blinked, but he’d struck home. She compressed her lips and then narrowed her eyes at him. “You’re pretty arrogant for a man who can’t move with a pile of weapons sitting next to him.” “You have such a penchant for violence.” She looked outraged. “I do? You’re the one being hostile. I’m Mother Teresa here. And I don’t like sick people.” “Do you like anyone?” Amusement was creeping in again. He was beginning to like the feeling. “Anything?” “Not particularly.

The wonder is- given the errant nature of freedom and the burgeoning of texture in time-the wonder is that all the forms are not monsters, that there is beauty at all, grace gratuitous, pennies found, like mockingbird's free fall. Beauty itself is the fruit of the creator's exuberance that grew such a tangle, and the grotesques and horrors bloom from that same free growth, that intricate scramble and twine up and down the conditions of time. This, then, is the extravagant landscape of the world, given, given with pizzazz, given in good measure, pressed down, shaken together, and running over.

It is only in the context of understanding something of God's character, of his righteousness and perfection, that we begin to understand the tremendous nature of saying that God truly is love, and his love has a depth, texture, fullness, and beauty to it that we, in our present state, can only begin to wonder at.

Foie gras is a well-fattened duck or goose liver and is revered for its rich, buttery texture—something this type of liver is not typically known for. To make it, tubes are inserted into the throats of healthy geese and ducks and they are force-fed grain (usually corn). With the animals eventually consuming far more carbohydrates than they ever would in a natural setting, the livers swell with fat, growing to nearly ten times their normal size.

Bethany Cocco jewelry designs are characterized by juxtapositions: precious metals take on the textures and patterns of natural objects or mimic the eroding surfaces of manmade ones.

The snare of “long-life” foods can directly affect our health. Take the average loaf of bread available today. To adapt the production of bread to the food industry’s goal of a large market for cheaply and efficiently produced foodstuffs, the wheat germ, which contains the natural oils that give bread its true, wholesome flavor and make it nutritious, has to be removed, since it causes bread to rot within a day. To make up for this loss of flavor and texture, the wheat, after it is heavily processed into white flour, is made into a bread-like product that contains preservatives and additives such as the infamous high fructose corn syrup (HFCS).42 Or, in the case of many organic packaged breads that last for days, organic sugars and other strange-sounding ingredients are added.

Heartiness: Do you want something really filling and substantial, or do you want something light? Temperature: Do you want something warm? Or, are you more in the mood for something cool? Texture: Do you want to spoon something creamy and smooth, or munch something a little more complex and crunchy? Flavor: Are you in the mood for something sweet, savory, salty, sour? What flavor intensity are you desiring? Something really robust and flavorful, or do you want something a little more mellow or bland?

Another had more kinds of flour than the whole baking aisle at the Walmart back home- she saw all-purpose flour, cake flour, bread flour, pastry flour, doppio zero flour, and something darker, probably buckwheat. Rosie wished she could run over and open the tubs, and rub the flour between her fingers. She'd never seen or felt doppio zero in real life, but knew it was supposed to be the secret to tender pasta. Next to the flour was something she wanted to explore even more- sugar. Granulated sugar, caster sugar, confectioners' sugar, pearl sugar, cane sugar, demerara, turbinado, muscovado, light and dark brown- Rosie's mind boggled at the possibilities of all the different things she could make with these sugars, how each choice would fundamentally alter the nature of whatever she baked: change the crumb structure, the color, the texture, everything.

Round shapes do just the opposite. A circular or elliptical coffee table changes a living room from a space for sedate, restrained interactions to a lively center for conversation and impromptu games. A large rubber exercise ball used instead of a desk chair does more than improve core strength and posture. It can also create a sense of playfulness in an office, especially if several workers choose to use them. Pom-poms sewn along the edges of curtains or pillows make them irresistibly playful and tactile, while polka dots and penny tiles do double duty, mixing play with abundance. Even flowers can be playful: a bouquet of pom-pom dahlias or yellow, ball-shaped billy buttons brings play together with the natural textures of the freedom aesthetic.

On Saturday morning, he'd chosen his favorite place in Taipei to show me, Chung-shan Park. We wandered on a beautiful walking path around a lake with spraying fountains, surrounded by trees, and under the shadow of Taipei's iconic skyscraper, which was called Taipei 101. It was a great place for people-watching, with young couples on romantic walks, parents pushing babies in strollers, older people practicing tai chi, kids riding bikes, and nature lovers snapping photos of flowers. Best of all were the baobing- delicious shaved ices with a super-thin texture and condensed milk that added an extra sweet flavor. I topped my baobing with mango chunks, while Uncle Masa chose sweet potato chunks on his, an addition I never imagined could be delicious until I sampled his for myself.

Easy Ways To Make Your Favorite Foods Healthier So you have decided that it is time to eat healthy. The only thing you know is that it's hard to change something that you have been doing all your life. The tips that you will find in this article will help you lead a nutritious life and to keep with it. To avoid eating too much food at mealtime when dieting, use smaller plates, bowls and cups. It is instinct to fill up your plate so if you use smaller dishes, you will eat less food. Your mind will also let your stomach know you are full since you see a full plate when eating. A great nutritional tip is to subscribe to a magazine devoted to nutrition. There are plenty of publications out there that offer interesting recipes, as well as, the latest information regarding health and nutrition. Having a nutrition magazine like this, can make cooking at home, a lot more exciting. To stay away from sodas and other sugary drinks, you need to find an alternative. It is natural to have cravings for something sweet: why not try fruit juice? Or better yet, mix fruit juice and water. Buy some oranges and squeeze them yourself. You can do the same with a lot of fruits, and combine different kind of juices for flavor. Try buying your fruits and vegetables at a farmer's market near you. Not only do locally-grown foods have a minimal impact on the environment, but they are also better for you, since small farms generally use less harmful chemicals. It's fun to walk around and sample all the delicious fruits and vegetables. Converse with the farmers to ensure you know exactly where and how the food was produced. A good nutrition tip is to stay away from muffins and bagels when you're eating breakfast. Muffins and bagels tend to be high in sugar, and their glycemic index is pretty high. This means that they'll more than likely be stored as fat. Try eating oatmeal instead. Salad is one of the best things that you can put into your body, and can limit the amount of fat that you consume. Instead of eating a hearty meal that is filled with calories and carbohydrates, eat a salad. This will go a long way in your quest for the perfect body. If you are a big coffee drinker, try switching to decaf coffee. Decaf coffee is low in calories and can help you with your coffee cravings. If you need to add items to your coffee, such as sugar or milk, be sure to use the healthiest options available: for example, skim milk or sugar substitute. Liven up your homemade omelet, by including fresh or frozen vegetables. Omelets have an irresistible attraction when they contain fresh or frozen vegetables. Vegetables add interest, as well as, texture, color, flavor and vital nutrients. Just slice some up, saute and then add them to the omelet just before you flip and close it up. As you can see with these tips, switching over to a nutritious lifestyle is not as hard as it first seems. With the simple ideas presented in this article, you will be able to live a healthy and nutritious life. So no matter what kinds of foods you were eating before, if you follow these tips, you will succeed.

These are the events which share the immediacy of the immediately present discerned events. These are the events whose characters together with those of the discerned events comprise all nature present for discernment. They form the complete general fact which is all nature now present as disclosed in that sense-awareness. It is in this second classification of events that the differentiation of space from time takes its origin. The germ of space is to be found in the mutual relations of events within the immediate general fact which is all nature now discernible, namely within the one event which is the totality of present nature. The relations of other events to this totality of nature form the texture of time.

I went with something simple- whitefish slow cooked in butter on low heat! That way the fish keeps all its delicate texture with added moisture and buttery flavor! Well? Whaddya think?!" "The natural flavors of the ingredients are adequately retained, yes." "YEAH! AIN'T THEY?" "However... while cooking in butter on low heat does give the fish extra juiciness, the flavor becomes too thick and heavy. Did it not even occur to you to add something tangy like wine vinegar to properly rebalance the flavors? That is an egregious failing. Not only that, you used Vin Juane and Macvin du Jura wines in the sauce, correct? That you neglected to come up with some means of accenting the nutty bouquet unique to those yellow wines is another failing. As for your garnish, the hints of buckwheat flour in the Crozet pasta do not at all go with the Comté cheese. More negative points.

Gluten is a three-dimensional network of protein molecules that forms when we knead dough with water. By adding water, we cause the proteins in the flour to unravel from their natural coiled position and form cross-links to each other. This sets up the molecular scaffold that supports the other ingredients. If the scaffold is strong, with many connections, the resulting texture is tough. High-gluten flour is great for bread, because for that we need a sturdy texture, but it is not suitable for cakes or cookies.

The world of the everyday suddenly seemed nothing but an inverted magic act, lulling its audience into believing in the usual, familiar conceptions of space and time, while the astonishing truth of quantum reality lay carefully guarded by nature’s sleights of hand.

In principle the war effort is always so planned as to eat up any surplus that might exist after meeting the bare needs of the population. In practice the needs of the population are always underestimated, with the result that there is a chronic shortage of half the necessities of life; but this is looked on as an advantage. It is deliberate policy to keep even the favoured groups somewhere near the brink of hardship, because a general state of scarcity increases the importance of small privileges and thus magnifies the distinction between one group and another. By the standards of the early twentieth century, even a member of the Inner Party lives an austere, laborious kind of life. Nevertheless, the few luxuries that he does enjoy – his large well-appointed flat, the better texture of his clothes, the better quality of his food and drink and tobacco, his two or three servants, his private motor-car or helicopter – set him in a different world from a member of the Outer Party, and the members of the Outer Party have a similar advantage in comparison with the submerged masses whom we call ‘the proles’. The social atmosphere is that of a besieged city, where the possession of a lump of horseflesh makes the difference between wealth and poverty. And at the same time the consciousness of being at war, and therefore in danger, makes the handing-over of all power to a small caste seem the natural, unavoidable condition of survival. War,

Nature does weird things. It lives on the edge. But it is careful to bob and weave from the fatal punch of logical paradox.

Within all of these species, of course, there still exist tremendous variations in taste, color and texture. Each season produces new tastes, much like a wine from, say, Burgundy does. For most of their natural history, salmon have been wild foods, so their taste, texture and color resist the homogeneity demanded by industrial food production. Every single wild salmon is different. This is part of the gastronomic beauty of the fish, even though it frustrates consumers with palates trained by corporate food to expect conformity. This fact, too, has been written by evolution and the currents of deep time, processes that privilege diversity over uniformity, chaos over control.

To be an antiracist is not to reverse the beauty standard. To be an antiracist is to eliminate any beauty standard based on skin and eye color, hair texture, facial and bodily features shared by groups. To be an antiracist is to diversify our standards of beauty like our standards of culture or intelligence, to see beauty equally in all skin colors, broad and thin noses, kinky and straight hair, light and dark eyes. To be an antiracist is to build and live in a beauty culture that accentuates instead of erases our natural beauty. —

Chinese founders no longer had to tailor their startup pitches to the tastes of foreign VCs. They could now build Chinese products to solve Chinese problems. It was a sea change that altered the very texture of the nation’s cities and signaled a new era in the development of the Chinese internet. It also led to an overnight boom in production of the natural resource of the AI age.

Every act, seen from the perspective not of the agent but of the process in whose framework it occurs and whose automatism it interrupts, is a ‘miracle’—that is, something which could not be expected. . . . It is in the very nature of every new beginning that it breaks into the world as an ‘infinite improbability,’ and yet it is precisely this infinitely improbable which actually constitutes the very texture of everything we call real. Our who existence, rests, after all, on a chain of miracles.

You’ll need 1 tablespoon Epsom salts 1 teaspoon baking soda 1½ cups distilled water, warmed 1 teaspoon lemon juice 1 teaspoon argan oil Directions Combine the Epsom salts, baking soda, and warm water in a bottle. Shake gently to mix. Next, add the lemon juice and argan oil. Mix gently. Wash and rinse hair as usual. Apply a generous amount of the Epsom salt rinse to your hair and work it from the scalp to the tips. For extra texture, don’t rinse your hair. For less texture and more shine, rinse gently with warm water. Style

As the earth traced its annual loop around the sun and pirouettes daily on its axis, we co-travelers are subject to a host of natural cycles. We can't feel the earth's movements directly, but we see it in the oscillations of light and color, temperature and texture, that sweep through our surroundings. The blossoming of trees, the rising of the sun, the flow of the rides: these recurring events remind us of time's circular nature and create an underlying cadence of joy that we can rely on.

When reading this unusual novel, then, with its oddly unsettling and sometimes strained combination of Christian and pagan, sacred and profane attributes—its earthiness and surreality, violence and pastoralism, pantheism and anthropomorphism, naturalism and lyricism—it is helpful to remember that Steinbeck invested his essential self in it, which is to say, he wrote it more like an extensive poem, or extended dream sequence, than like a traditionally mimetic or realistic novel. “I have the instincts of a minstrel rather than those of a scrivener,” he informed Grove Day in late 1929. Thus, while To a God Unknown has an urgent, breathless fairy-tale quality, and is, as critic Howard Levant asserts, more “a series of detached... scenes” than “a unified... organic whole,” it is not an incoherent concoction—“a rambling and improbable history,” as Warren French calls It—that flies in the face of all sensible literary convention. During its long gestation through different versions and multiple drafts, Steinbeck worked hard to create a palpable factual dimension that gives this otherwise arcane book a recognizable texture in regard to its geographical setting and landmarks (the moss-covered rock actually existed in the northern California town of Laytonville), its unusual characters (some of whom, such as the seer, Steinbeck claimed were based on living persons), and in its feel for telling details of nature and social life in Monterey County in the early part of this century.

The “moss” is many different mosses, of widely divergent forms. There are fronds like miniature ferns, wefts like ostrich plumes, and shining tufts like the silky hair of a baby. A close encounter with a mossy log always makes me think of entering a fantasy fabric shop. Its windows overflow with rich textures and colors that invite you closer to inspect the bolts of cloth arrayed before you. You can run your fingertips over a silky drape of Plagiothecium and finger the glossy Brotherella brocade. There are dark wooly tufts of Dicranum, sheets of golden Brachythecium, and shining ribbons of Mnium. The yardage of nubbly brown Callicladium tweed is shot through with gilt threads of Campylium. To pass hurriedly by without looking is like walking by the Mona Lisa chatting on a cell phone, oblivious

be an antiracist is not to reverse the beauty standard. To be an antiracist is to eliminate any beauty standard based on skin and eye color, hair texture, facial and bodily features shared by groups. To be an antiracist is to diversify our standards of beauty like our standards of culture or intelligence, to see beauty equally in all skin colors, broad and thin noses, kinky and straight hair, light and dark eyes. To be an antiracist is to build and live in a beauty culture that accentuates instead of erases our natural beauty.

Finally, the qualitative component of the disgust affect program is a particular feeling of aversion, the all-too-familiar experience of revulsion and repulsion. From a subjective point of view, feelings of disgust can vary in intensity and texture from instance to instance, and more intense episodes are phenomenologically similar to nausea. In fact, this is no accident, as the disgust response includes many physiological concomitants of nausea (Ekman 1992). The connection between the digestive system and the affect program of disgust suggested by the previously mentioned increase in salivation that accompanies disgust, together with these similarities with nausea, has been further elucidated with brain imaging techniques. Evidence gathered using fMRI technology links disgust to the anterior insular cortex, which is thought to be involved in gustatory responses on independent grounds (Phillips et al. 1997). Indeed, the anterior insula is often called the “gustatory cortex” and is active in processing offensive tastes in both humans and other primates (Kinomura et al. 1994; Rolls and Baylis1994). This connection to the gustatory cortex also marks disgust as having a neural substrate distinct from other affect programs like fear and anger, which are more closely associated with amygdala.

My reflection--- or Zelda's reflection--- stared back at me. Technically speaking, my body and my face were essentially the same as they'd always been. I still had the same smattering of freckles across the bridge of my nose, that same star-shaped birthmark just beneath my right ear that no amount of concealer--- or magic--- had ever been able to completely hide. I'd stopped dyeing my hair garish colors a few years back to let my natural auburn shine through, but my hair itself was the still the same wavy texture and thickness it had been in the seventeenth century and every decade since. Yet despite everything about me that had not changed, the person I used to be would hardly recognize the person staring back at her now.

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