Tool Music Quotes

Tell me something boss. What do you think is the highest form of art? 'Literature," he answered without hesitation. 'Painters and sculptors require elaborate supplies and tools. Dancers must have music. Musicians must have instruments. Literature needs nothing but a voice to speak it or sand to scrawl it in.

To believe in a child is to believe in the future. Through their aspirations they will save the world. With their combined knowledge the turbulent seas of hate and injustice will be calmed. They will champion the causes of life's underdogs, forging a society without class discrimination. They will supply humanity with music and beauty as it has never known. They will endure. Towards these ends I pledge my life's work. I will supply the children with tools and knowledge to overcome the obstacles. I will pass on the wisdom of my years and temper it with patience. I shall impact in each child the desire to fulfill his or her dream. I shall teach.

I’ve come to think that flourishing consists of putting yourself in situations in which you lose self-consciousness and become fused with other people, experiences, or tasks. It happens sometimes when you are lost in a hard challenge, or when an artist or a craftsman becomes one with the brush or the tool. It happens sometimes while you’re playing sports, or listening to music or lost in a story, or to some people when they feel enveloped by God’s love. And it happens most when we connect with other people. I’ve come to think that happiness isn’t really produced by conscious accomplishments. Happiness is a measure of how thickly the unconscious parts of our minds are intertwined with other people and with activities. Happiness is determined by how much information and affection flows through us covertly every day and year.

I should perhaps warn you that I am about to faint from anxiety and general depression, though. The film I saw last night was especially grueling, a teen-age beach musical. I almost collapsed during the singing sequence on surfboard.

One of the strangest things is the act of creation. You are faced with a blank slate—a page, a canvas, a block of stone or wood, a silent musical instrument. You then look inside yourself. You pull and tug and squeeze and fish around for slippery raw shapeless things that swim like fish made of cloud vapor and fill you with living clamor. You latch onto something. And you bring it forth out of your head like Zeus giving birth to Athena. And as it comes out, it takes shape and tangible form. It drips on the canvas, and slides through your pen, it springs forth and resonates into the musical strings, and slips along the edge of the sculptor’s tool onto the surface of the wood or marble. You have given it cohesion. You have brought forth something ordered and beautiful out of nothing. You have glimpsed the divine.

when I was four years old they tried to test my I.Q. they showed me a picture of 3 oranges and a pear they said, which one is different? it does not belong they taught me different is wrong but when I was 13 years old I woke up one morning thighs covered in blood like a war like a warning that I live in a breakable takeable body an ever-increasingly valuable body that a woman had come in the night to replace me deface me see, my body is borrowed yeah, I got it on loan for the time in between my mom and some maggots I don't need anyone to hold me I can hold my own I got highways for stretchmarks see where I've grown I sing sometimes like my life is at stake 'cause you're only as loud as the noises you make I'm learning to laugh as hard as I can listen 'cause silence is violence in women and poor people if more people were screaming then I could relax but a good brain ain't diddley if you don't have the facts we live in a breakable takeable world an ever available possible world and we can make music like we can make do genius is in a back beat backseat to nothing if you're dancing especially something stupid like I.Q. for every lie I unlearn I learn something new I sing sometimes for the war that I fight 'cause every tool is a weapon - if you hold it right.

Kids don't care about rock and roll as much as they used to, as the other generations have. It's already turned into nothing but a fashion statement and an identity for kids to use as a tool for them to fuck and have a social life.

This idea comes to you, you can see it, but to accomplish it you need what I call a "setup." For example, you may need a working shop or a working painting studio. You may beed a working music studio. Or a computer room where you can write something. It's crucial to have a setup, so that, at any given moment, when you get an idea, you have the place and the tools to make it happen. If you don't have a setup, there are many times when you get the inspiration, the idea, but you have no tools, no place to put it together. And the idea just sits there and festers. Overtime, it will go away. You didn't filfill it--and that's just a heartache.

Music is my one necessary tool. I put on music that fits the mood of what I'm writing, to help me stay in the zone and get the emotional tone right.

There were details like clothing, hair styles and the fragile objects that hardly ever survive for the archaeologist—musical instruments, bows and arrows, and body ornaments depicted as they were worn. … No amounts of stone and bone could yield the kinds of information that the paintings gave so freely.

You have a lot to learn, young man. Philosophy. Theology. Literature. Poetry. Drama. History. Archeology. Anthropology. Mythology. Music. These are your tools as much as brush and pigment. You cannot be an artist until you are civilized. You cannot be civilized until you learn. To be civilized is to know where you belong in the continuum of our art and your world. To surmount the past, you must know the past.

I had not until then fully realized that I was odd, that there was anything strange about growing up with a single-parent genius. I thought all homes had equations scrawled with disc-marker across all the cabinets and walls, and clean laundry in the freezer, and defrosting chicken in the tool drawer. I thought everyone read a book a day and listened to hours of ancient music.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. Its a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. Its not just words or music-it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

I wasn’t convinced anyone felt the exact same way I did. That’s the rub about being human, I guess. You have all these tools to express yourself, art and music and poetry and stuff, but no one will ever truly know how you feel unless you somehow manage to create a projection of your brain and play it on to the wall. Even then it might not be as vivid. Even then it might not be as close.

Once you familiarize yourself with your tools, you should forget about them. It will only throw you off-balance. In all these ‘rolling shit into little balls’ types who spend hours of time and reams of paper saying nothing, literary masturbators, they concentrate on the vehicle more than what they want to produce. That impedes the end result and defeats the purpose. You must lose consciousness of the medium or mechanics to do the impossible. Like Nijinsky who explained how he gave the impression of hovering in mid-air – ‘I just pause when I get there.’ In a child-like way, real magicians innocently do the simplest thing. The objective is all they think about. I just want to make music the way I hear it. The ends justify the means, and the means become inconsequential.

This body, this body holding me. Be my reminder here that I am not alone in this body, this body holding me. Feeling eternal. All this pain is an illusion.

Books and music are so similar, don’t you think? They bring wisdom, courage, and healing to our lives. Created by human beings as tools that bring comfort and inspiration to ourselves.

Public libraries seem to me a powerful example of the way that gift economies can coexist with market economies, at a larger scale. . . To me, they embody the civic-scale practice of a gift economy and the notion of common property. Libraries are models of gift economies, providing free access not only to books but also music, tools, seeds, and more. We don't each. have to own everything. The books at the library belong to everyone, serving the public with free books. . . Take the books, enjoy them, bring them back so someone else can enjoy them, with literary abundance for all. And all you need is a library card, which is a kind of agreement to respect and take care of the common good.

There were no ideas in music, only touch and instinct and sometimes grace—the mechanical tools—and that among those who were given the tools, only a few, a scant few, would be able to tell you something true.

Then one night Blake had saved them all. Blake made the old organ into a tool. You could see right into his soul through the notes he played. Beckett knew why Blake had Jesus’ eyes. Kindness, hope, and light filled the music he played.

The United States, almost alone today, offers the liberties and the privileges and the tools of freedom. In this land the citizens are still invited to write their plays and books, to paint their pictures, to meet for discussion, to dissent as well as to agree, to mount soapboxes in the public square, to enjoy education in all subjects without censorship, to hold court and judge one another, to compose music, to talk politics with their neighbors without wondering whether the secret police are listening, to exchange ideas as well as goods, to kid the government when it needs kidding, and to read real news of real events instead of phony news manufactured by a paid agent of the state. This is a fact and should give every person pause.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

I know the pieces fit 'cause I watched them fall away.

It is a tragedy to die with your song unsung.

Ducks are a lot like lightning, I thought to myself as I played my electric guitar. Or was it a harp? I get those two farm tools mixed up.

Human tool-makers always make tools that will help us get what we want, and what we want hasn't changed for thousands of years because as far as we can tell the human template hasn't changed either. We still want the purse that will always be filled with gold, and the Fountain of Youth. We want the table that will cover itself with delicious food whenever we say the word, and that will be cleaned up afterwards by invisible servants. We want the Seven-League Boots so we can travel very quickly, and the Hat of Darkness so we can snoop on other people without being seen. We want the weapon that will never miss, and the castle that will keep us safe. We want excitement and adventure; we want routine and security. We want to have a large number of sexually attractive partners, and we also want those we love to love us in return, and be utterly faithful to us. We want cute, smart children who will treat us with the respect we deserve. We want to be surrounded by music, and by ravishing scents and attractive visual objects. We don't want to be too hot or too cold. We want to dance. We want to speak with the animals. We want to be envied. We want to be immortal. We want to be gods. But in addition, we want wisdom and justice. We want hope. We want to be good.

Over thinking, over analyzing separates the body from the mind. Withering my intuition leaving all these opportunities behind. Feed my will to feel this moment urging me to cross the line. Reaching out to embrace the random. Reaching out to embrace whatever may come. I embrace my desire to feel the rhythm, to feel connected enough to step aside and weep like a widow to feel inspired, to fathom the power, to witness the beauty, to bathe in the fountain, to swing on the spiral of our divinity and still be a human. With my feet upon the ground I lose myself between the sounds and open wide to suck it in. I feel it move across my skin. I'm reaching up and reaching out. I'm reaching for the random or what ever will bewilder me. And following our will and wind we may just go where no one's been. We'll ride the spiral to the end and may just go where no one's been. Spiral out. Keep going...

All too often people say to artists, 'To be an artist is fine if your art can be used for evangelism.' And art has often become a tool for evangelism. But let's be precise. As such there is nothing against this. But we must be aware that art cannot be used to show the validity of Christianity; it should rather be the reverse. Christianity is true; things and actions and human endeavor only get their meaning from their relationship to God; if Christ came to make us human, the humanity and the reality of art find their foundation in him. So art should not be used to preach even if it can help. Yet there is another way that art can be or is meaningful.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

That was the rub of being human. You had all these tools to express yourself, art and music and poetry and stuff, but no one would ever truly know how you felt unless you somehow managed to create a projection of your brain and played it on a wall. Even then, it might not be as vivid. Even then, it might not be as close.

I discovered the profound impact of music as a tool for navigating through my grief.

Dan and I both believed music was more than just entertainment; it was a bridge between people, a universal language as well as a tool for peace.

It was a lie, of course, and she was prepared to confess it to her priest. But she’d be damned if she’d tell him she’d been playing with his music. Her pride was worth the penance. He felt a quiver in his heart that he took for sympathy. “There, Brenna darling. Have you gone and fallen in love on me?” She jerked, whirled, gaped at him. He was watching her with such—such bloody affection, such patience and sympathy. She could have beaten him black and blue. Instead, she just shoved clear of him and snatched up her toolbox. “Shawn Gallagher, you are truly a great idiot of a man.” With her nose in the air and her tools clanking, she stalked out. He only shook his head, then went back to his cleaning up. With that little quiver around his heart again, he wondered who it was that O’Toole had set her sights on. Whoever, Shawn thought, slamming a cupboard door just a little too forcefully, the man had better be worthy of her.

Creativity is more than the capacity to be inventive or innovative; it’s more than the ability to create great works of art, music, or dance. Creativity is an inherent tool that’s needed for wellness.

How thoroughly the chimps and bonobos have erased the list of purported human distinctions!-self-awareness, language, ideas and their association, reason, trade, play, choice, courage, love and altruism, laughter, concealed ovulation, kissing, face-to-face sex, female orgasm, division of labor, cannibalism, art, music, politics, and featherless bipedalism, besides tool using, tool making, and much else. Philosophers and scientists confidently offer up traits said to be uniquely human, and the apes casually knock them down--toppling the pretension that humans constitute some sort of biological aristocracy among the beings of Earth. Instead, we are more like the nouveau riche, incompletely accommodated to our recent exalted state, insecure about who we are, and trying to put as much distance as possible between us and our humble origins. It's as if our nearest relatives, by their very existence, refute all our explanations and justifications. So as counterweights to human arrogance and pride, it is good for us that there are still apes on Earth.

To help someone, or make them feel special; all it needs is to offer the tools which are thrust, and guidance, and show that you believe in the persons potential. The product is musical notes floating everywhere.” Katia M. S.

I looked out through the narrow door. The traffic ceaselessly passed; men and women hurried along with set faces. Phantasms of horror, all of them: infernal realms wherein they dwelt. Outside, men lived under the tyranny of things. Their every action was determined by the orders of mere matter, by money, and the tools of their trade and the unthinking laws of habit and convention. But here I seemed to be safe from things, living at a remove from actuality; here where a bearded old man, improbable survival from some other time, indomitably played the music of romance, despite the fact that the phantasms of horror might occasionally drown the sound of it with their clamour.

Potential literature is what we might call language in the hands of a crafty reader, the way potential music is sound to a crafty listener. Reading, no matter what you're reading, presupposes a belief in the potential of the text - to speak to you, enlighten you, stir your imagination or temporarily distract you - just as living, if it is to have any sense, presupposes a belief in the potential of your life. [...] To live your life craftily, whether you read it as a labyrinth or a puzzle or simply a long combinatorial succession of evenings and mornings, is to move through it with the purpose and the security that come from knowing you hold the tools to give it shape and meaning.

Books and music are so similar, don't you think? They bring wisdom, courage, and healing to our lives. Created by human beings as tools that bring comfort and inspiration to ourselves. And yet, there is a major difference between the two.

I didn’t sleep at all that night. Soon after leaving the station, the lights were out. It was just an old passenger train from Dixie to the Midwest, with no amenities of any kind. No lights, no reading, nothing to do but make friends with the sounds of the night train. The wheels on the track made endless patterns, and I was caught up in it almost at once. Years later, studying with Alla Rakha, Ravi Shankar’s great tabla player and music partner, I practiced the endless cycles of 2s and 3s that form the heart of the Indian tal system. From this I learned the tools by which apparent chaos could be heard as an unending array of shifting beats and patterns. But on this memorable night, I was innocent of all that.

Outside the window of the balcony room, three metal guys were building a new patio for the defunct pool. The pool was slowly filling with red dust carried across the highway by intermittent breezes. At some point I stood up from the table and pulled back the curtain a bit and watched the half naked bodies of the guys climbing in and out of their trucks for tools or to turn up the volume of the music. I felt like a detective with only the window glass and the curtains camouflaging my desire. For a moment I was afraid the intensity of my sexual fantasies would become strangely audible; the energy of the thought images would become so loud that all three guys would turn simultaneously like witnesses to a nearby car crash.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

Music can be appreciated from several points of view: the listener, the performer, the composer. In mathematics there is nothing analogous to the listener; and even if there were, it would be the composer, rather than the performer, that would interest him. It is the creation of new mathematics, rather than its mundane practice, that is interesting. Mathematics is not about symbols and calculations. These are just tools of the tradequavers and crotchets and five-finger exercises. Mathematics is about ideas. In particular it is about the way that different ideas relate to each other. If certain information is known, what else must necessarily follow? The aim of mathematics is to understand such questions by stripping away the inessentials and penetrating to the core of the problem. It is not just a question of getting the right answer; more a matter of understanding why an answer is possible at all, and why it takes the form that it does. Good mathematics has an air of economy and an element of surprise. But, above all, it has significance.

Then read from the treasured volume The poem of thy choice. And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.

Music is for souls & hearts to dance & sing. Art is for expressing your visionary being. Words are tools for exploring & celebrating. Time is a pool to swim & dream & create in. Waste not one jot of what you are given! Use everything you've got to maximise living.

Cooking is like playing a violin. The bow is a tool used to play, as is the knives and other tools you use to prepare. (a chef's knife is even held in the same manner) Spices are the notes used in the score. The way the food is cooked and prepared is the rhythm and tempo. The ingredients are the violin themselves, ready to be played upon. The finished dish is the music played to its best melody. All of these things must be applied together at the right pace, manner, and time in order to create a flavourful rush of artwork and beauty.

Poetry (and other forms of writing) can be useful as a tool for finding the way into or through the dark. Or a device with which to admire the complexity of the stories in which we have become entangled. Sometimes the only way out is by voice, following the music into the impossible.

California nurse Jared Axen was holding a dying hospice patient’s hand when he began to sing an old hymn. The woman, who didn’t speak English, hadn’t been responsive in days. But when Axen sang to her, she squeezed his hand, a response that soothed the woman’s family. Six years later, Axen, a classically trained musician, sings to some of his patients every day. “It gives them their humanity back,” he said. “Music is a common language that helps me connect with my patients.” Many patients also claim to feel better and to need fewer pain medications, Axen said. “It’s become a vital tool for my patients and their families.

Public libraries seem to me a powerful example of the way that gift economies can coexist with market economies, at a larger scale. . . to me, they embody the civic-scale practice of a gift economy and the notion of common property. Libraries are models of gift economies, providing free access not only to books but also music, tools, seeds, and more. We don't each have to own everything. The books at the library belong to everyone. . . Take the books, enjoy them, bring them back so someone else can enjoy them, with literary abundance for all. And all you need is a library card, which is a kind of agreement to respect and take care of the common good.

It was all connected, this poetics of listening, word making, and dancing. There was power to transform, to lighten the heaviness of the burden of being human. That's how I came to understand the power of poetry and music. It was a tool, but more than a tool. Words and music evoked a state of mind that lifted us up when racial and historical despair threatened.

The music of a civilization has far-reaching consequences on consciousness and, thus, influences the basic nature of a society. Music and its rhythms divert and compel the awareness, describing the limits within which a consciousness, thus fascinated, may operate. Control the music, then, and you own a powerful tool with which to shape the society. ―The Dosadi Analysis, BuSab Documents

That’s why analogies can be such a useful tool in storytelling. They create a shorthand for complicated concepts—a bridge directly to a common experience. That’s another thing I learned from Steve Jobs. He’d always say that analogies give customers superpowers. A great analogy allows a customer to instantly grasp a difficult feature and then describe that feature to others. That’s why “1,000 songs in your pocket” was so powerful. Everyone had CDs and tapes in bulky players that only let you listen to 10–15 songs, one album at a time. So “1,000 songs in your pocket” was an incredible contrast—it let people visualize this intangible thing—all the music they loved all together in one place, easy to find, easy to hold—and gave them a way to tell their friends and family why this new iPod thing was so cool.

Whether we like it or not, it really is a jungle out there in the world of business, and it’s crawling with predators. In my work I often use the image “dance with the tiger,” because the tiger is viewed or even worshiped around the world as the ultimate predator. To dance well—to negotiate well—we must hear the music, we must feel the music, we must be tuned in to our partner—our “adversary”—at all times,

When I work with Godfrey, I don’t spend a lot of time looking at the image. I look at it once. Maybe twice, but not more than twice. Then I depend on the inaccuracy of my memory to create the appropriate distance between the music and the image. I knew right away that the image and the music could not be on top of each other, because then there would be no room for the spectators to invent a place for themselves. Of course, in commercials and propaganda films, the producers don’t want to leave a space: the strategy of propaganda is not to leave a space, not to leave any question. Commercials are propaganda tools in which image and music are locked together in order to make an explicit point, like “Buy these shoes” or “Go to this casino.” The strategy of art is precisely the opposite. I would describe it this way: When you listen to a piece of music and you look at an image at the same time, you are metaphorically making a journey to that image. It’s a metaphorical distance, but it’s a real one all the same, and it’s in that journey that the spectator forms a relationship to the music and the image. Without that, it’s all made for us and we don’t have to invent anything. In works like Godfrey’s, and in works, for that matter, like Bob Wilson’s, the spectators are supposed to invent something. They are supposed to tell the story of Einstein. In Godfrey’s movies Koyaanisqatsi and Powaqqatsi, the words in the title are the only words there are. The journey that we make from the armchair to the image is the process by which we make the image and the music our own. Without that, we have no personal connection. The idea of a personal interpretation comes about through traversing that distance.

Whatever the evolutionary precursors of drug use are, a permanently “drug-free” human culture has yet to be discovered. Like music, language, art, and tool use, the pursuit of altered states of consciousness is a human universal. With access to few alternatives, Siberian shamans imbibe reindeer and human urine to maximize the psychedelic yield of Amanita muscaria mushrooms (the metabolite that is excreted may be stronger than the substance initially ingested); on nearly the opposite side of the world, New Zealanders party with untested “research chemicals” synthesized by Chinese chemists. Drug use spans time and culture. It is a rare human who has never taken a drug to alter her mood; statistically, it is non-users who are abnormal. Indeed, today, around two thirds of Americans over 12 have had at least one drink in the last year, and 1 in 5 are current smokers. (In the 1940s and ’50s, a whopping 67% of men smoked.) Among people ages 21 to 25, 60% have taken an illegal drug at least once—overwhelmingly marijuana—and 20% have taken one in the past month. Moreover, around half of us could suffer from physical withdrawal symptoms if denied our daily coffee. While Americans are relatively prodigious drug users—topping the charts in the use of many substances—we are far from alone in our psychoactive predilections.

Once music is detached from function, once it becomes a repertory art, it explicitly strives to define itself, out of itself, to become "mathemat- ical"—that is to say, to begin from premises and proceed to conclusions by interpreting its own universe, finding its own laws. Systems of harmony and counterpoint become tools for elaborate musical explorations. A great deal of Western music is as much a manifestation of idealism as is mathematics.

I should perhaps warn you that I am about to faint from anxiety and general depression, though. The film I saw last night was especially grueling, a teenage beach musical. I almost collapsed during the singing sequence on surfboard. In addition, I suffered through two nightmares last night, one involving a Scenicruiser bus. The other involved a girl of my acquaintance. It was rather brutal and obscene. If I described it to you, you would no doubt become frightened.

Dolphins are strategists. They’re also highly social chatterboxes who recognize themselves in the mirror, count, cheer, giggle, feel despondent, stroke each other, adorn themselves, use tools, make jokes, play politics, enjoy music, bring presents on a date, introduce themselves, rescue one another from dangerous situations, deduce, infer, manipulate, improvise, form alliances, throw tantrums, gossip, scheme, empathize, seduce, grieve, comfort, anticipate, fear, and love—just like us.

While the universality of the creative process has been noticed, it has not been noticed universally. Not enough people recognize the preverbal, pre-mathematical elements of the creative process. Not enough recognize the cross-disciplinary nature of intuitive tools for thinking. Such a myopic view of cognition is shared not only by philosophers and psychologists but, in consequence, by educators, too. Just look at how the curriculum, at every educational level from kindergarten to graduate school, is divided into disciplines defined by products rather than processes. From the outset, students are given separate classes in literature, in mathematics, in science, in history, in music, in art, as if each of these disciplines were distinct and exclusive. Despite the current lip service paid to “integrating the curriculum,” truly interdisciplinary courses are rare, and transdisciplinary curricula that span the breadth of human knowledge are almost unknown. Moreover, at the level of creative process, where it really counts, the intuitive tools for thinking that tie one discipline to another are entirely ignored. Mathematicians are supposed to think only “in mathematics,” writers only “in words,” musicians only “in notes,” and so forth. Our schools and universities insist on cooking with only half the necessary ingredients. By half-understanding the nature of thinking, teachers only half-understand how to teach, and students only half-understand how to learn.

From time to time the Chief of Staff, the President, and so on, dressed in sequins and feathers, will entertain the leaders, i.e., the perverts, of all the other countries at balls and parties. Quarrels of any sort could easily be straightened out in the men’s room of the redecorated United Nations. Ballets and Broadway musicals and entertainments of that sort will flourish everywhere and will probably make the common folk happier than did the grim, hostile, fascistic pronouncements of their former leaders.

They played a Dave Matthews track, I have no idea which one as they all sound the same. It’s the kind of guitar based elevator music that people with beards and beanies listen to while drinking Pabst Blue Ribbon and vaping in their friend Steve’s bedroom. They nod along as they flick through mountain biking magazines and discuss CamelBak® water bottles and spoke tightening tools. Thankfully the song was killed halfway through and with a few words, a clank and whirring noises, Simon’s coffin lowered into the platform and was gone.

These men, and the boys following in their footsteps, were socialized in childhood to exhibit the ideal masculine traits, including stoicism, aggressiveness, extreme self-confidence, and an unending competitiveness. Those who do not conform are punished by their fathers in the form of physical and emotional abuse, and then further socialized by the boys in their school and community who have been enduring their own abuse at home. If that isn’t enough, our culture then reflects those expectations in its television shows, movies, music, and especially in advertising, where products like construction-site-quality trucks, power tools, beer, gendered deodorant, and even yogurt promise to bestow masculinity for the right price. The masculinity that’s being sold, that’s being installed via systemic abuse, is fragile because, again, it is unattainable. Humans are not intended to suppress their emotions indefinitely, to always be confident and unflinching. Traditional masculinity, as we know it, is an unnatural state, and, as a consequence, men are constantly at war with themselves and the world around them.

Not to mention that God speaks in a language more difficult than Portuguese or Mandarin or HTML; He speaks in silence. I remember saying ‘bullshit’ the first time someone told me that, but I’ve come to realize that if you are still enough you can listen to silence like listening to music, you can read silence like reading a book. Moreover, if more than 80 percent of the way humans communicate is nonverbal, couldn't that mean that the majority of communication with the Divine is nonverbal as well? Prayer, meditation, listening - each was a tool for reading God's body language.

In this section I have tried to demonstrate that Darwinian thinking does live up to its billing as universal acid: it turns the whole traditional world upside down, challenging the top-down image of designs flowing from that genius of geniuses, the Intelligent Designer, and replacing it with the bubble-up image of mindless, motiveless cyclical processes churning out ever-more robust combinations until they start replicating on their own, speeding up the design process by reusing all the best bits over and over. Some of these earliest offspring eventually join forces (one major crane, symbiosis), which leads to multicellularity (another major crane), which leads to the more effective exploration vehicles made possible by sexual reproduction (another major crane), which eventually leads in one species to language and cultural evolution (cranes again), which provide the medium for literature and science and engineering, the latest cranes to emerge, which in turn permits us to “go meta” in a way no other life form can do, reflecting in many ways on who and what we are and how we got here, modeling these processes in plays and novels, theories and computer simulations, and ever-more thinking tools to add to our impressive toolbox. This perspective is so widely unifying and at the same time so generous with detailed insights that one might say it’s a power tool, all on its own. Those who are still strangely repelled by Darwinian thinking must consider the likelihood that if they try to go it alone with only the hand tools of tradition, they will find themselves laboring far from the cutting edge of research on important phenomena as diverse as epidemics and epistemology, biofuels and brain architecture, molecular genetics, music, and morality.

Here's my suggestion to musicians: When you're about to reach for whatever musical tools you use, virtual or real, guitar or computer, ask yourself if you're doing so to save time or because you don't feel like straining your brain. Or, more important, ask yourself if you have anything to say yet. If not, keep working (or playing) upstairs, in your brain. Sure, it's okay to react to what happens when playing with the tools -- or the way a chord sounds, a loop, or even an accident. But make sure you express what you wanted to say or what you imagined. Don't let your tools make you their bitch.

As I rode back to Detroit, a vision of Henry Ford's industrial empire kept passing before my eyes. In my ears, I heard the wonderful symphony which came from his factories where metals were shaped into tools for men's service. It was a new music, waiting for the composer with genius enough to give it communicable form. I thought of the millions of different men by whose combined labor and thought automobiles were produced, from the miners who dug the iron ore out of the earth to the railroad men and teamsters who brought the finished machines to the consumer, so that man, space, and time might be conquered, and ever-expanding victories be won against death.

She had driven him downtown in the old Plymouth, and while she was at the doctor's seeing about her arthritis, Ignatius had bought some sheet music at Werlein's for this trumpet and a new string for his lute. Then he had wandered into the Penny Arcade on Royal Street to see whether any new games had been installed. He had been disappointed to find the miniature mechanical baseball game gone. Perhaps it was only being repaired. The last time he had played it the batter would not work and, after some argument, the management had returned his nickel, even though the Penny Arcade people had been base enough to suggest that Ignatius had himself broken the baseball machine by kicking it.

In any group of dolphins you’ll find cliques and posses, duos and trios and quartets, mothers and babies and spinster aunts, frisky bands of horny teenage males, wily hunters, burly bouncers, sage elders—and their associations are anything but random. Dolphins are strategists. They’re also highly social chatterboxes who recognize themselves in the mirror, count, cheer, giggle, feel despondent, stroke each other, adorn themselves, use tools, make jokes, play politics, enjoy music, bring presents on a date, introduce themselves, rescue one another from dangerous situations, deduce, infer, manipulate, improvise, form alliances, throw tantrums, gossip, scheme, empathize, seduce, grieve, comfort, anticipate, fear, and love—just like us.

Sometimes Cookies Are the Best Medicine For hospice patients at death’s door, big existential conversations aren’t always the needed medicine. One oddly powerful alternative is baking cookies together. “Just the basic joy of smelling a cookie. It smells freaking great. [And it’s like the snowball.] You’re rewarded for being alive and in the moment. Smelling a cookie is not on behalf of some future state. It’s great in the moment, by itself, on behalf of nothing. And this is another thing back to art. Art for its own sake. Art and music and dance. Part of its poignancy is its purposelessness, and just delighting in a wacky fact of perhaps a meaningless universe and how remarkable that is. One way for all of us to live until we’re actually dead is to prize those little moments.

Because of the tragic way that Chris Cornell’s life ended, there’s a propensity to view his story as a tragedy. That would be a mistake. Chris Cornell lived his life to the fullest. He overcame seemingly insurmountable challenges time and time again in the pursuit of a dream too enormous to fathom. He used the tools at his disposal—his one-of-a-kind voice, his guitar, and his imagination—to craft era-defining music that many turned to time and again in moments of sadness, anger, joy, anguish, fear, doubt, and love. He lifted the hearts and minds of countless people from all walks of life on nearly every continent on the planet with his unique and unparalleled artistry. He did what he loved, and along the way created a musical legacy that will endure for generations. Chris Cornell kept his promise.

they want their children to believe in God, to go to church, and to do what is right, but the primary focus of their parental energy is on producing children who are mannerly, do well at school, and succeed in sports and music. So they try to control all of the behaviors that will get in the way of these goals. Because of this they do not focus on the heart and what rules the heart. And because they fail to think about the heart, they miss those wonderful moments of grace where God is revealing the heart of the child so that his parents can be God’s tools of rescue, leading our children to insight, confession, and repentance. They are left with trying to get their children to do what is right without addressing the heart, failing to understand that if they could do that, Jesus wouldn’t have had to invade earth on his mission of rescue.

Living with audacity isn’t just about strength. I’ve learned that there’s bravery in being vulnerable, too. In the past, I’ve run from challenges, withdrawn from loved ones and cheated on partners, all because I didn’t have the courage I needed to face tough situations properly. Accepting who I used to be, admitting I was wrong and apologising for the mistakes I’ve made hasn’t been easy, but you’ve got to forgive yourself and fix up if you want to move forward. I love the wild child who still exists in my stand-up and is woven through my writing. I tried to kill her a hundred thousand times before accepting that the angry-baby-musical-theatre-kid-weirdo is not only an inescapable part of who I am, but that it’s maybe the best part. She’s certainly got the most unique tools and is probably the entire reason I’ve been able to pursue this incredible life authentically. Having

Men like my father, and men like him who attend Trump rallies, join misogynistic subcultures, populate some of the most hateful groups in the world, and are prisoners of toxic masculinity, an artificial construct whose expectancies are unattainable, thus making them exceedingly fragile and injurious to others, not to mention themselves. The illusion convinces them from an early age that men deserve to be privileged and entitled, that women and men who don’t conform to traditional standards are second-class persons, are weak and thus detestable. This creates a tyrannical patriarchal system that tilts the world further in favor of men, and, as a side effect, accounts for a great deal of crimes, including harassment, physical and emotional abuse, rape, and even murder. These men, and the boys following in their footsteps, were socialized in childhood to exhibit the ideal masculine traits, including stoicism, aggressiveness, extreme self-confidence, and an unending competitiveness. Those who do not conform are punished by their fathers in the form of physical and emotional abuse, and then further socialized by the boys in their school and community who have been enduring their own abuse at home. If that isn’t enough, our culture then reflects those expectations in its television shows, movies, music, and especially in advertising, where products like construction-site-quality trucks, power tools, beer, gendered deodorant, and even yogurt promise to bestow masculinity for the right price. The masculinity that’s being sold, that’s being installed via systemic abuse, is fragile because, again, it is unattainable. Humans are not intended to suppress their emotions indefinitely, to always be confident and unflinching. Traditional masculinity, as we know it, is an unnatural state, and, as a consequence, men are constantly at war with themselves and the world around them.

As humans we spend our time seeking big, meaningful experiences. So the afterlife may surprise you when your body wears out. We expand back into what we really are—which is, by Earth standards, enormous. We stand ten thousand kilometers tall in each of nine dimensions and live with others like us in a celestial commune. When we reawaken in these, our true bodies, we immediately begin to notice that our gargantuan colleagues suffer a deep sense of angst. Our job is the maintenance and upholding of the cosmos. Universal collapse is imminent, and we engineer wormholes to act as structural support. We labor relentlessly on the edge of cosmic disaster. If we don’t execute our jobs flawlessly, the universe will re-collapse. Ours is complex, intricate, and important work. After three centuries of this toil, we have the option to take a vacation. We all choose the same destination: we project ourselves into lower-dimensional creatures. We project ourselves into the tiny, delicate, three-dimensional bodies that we call humans, and we are born onto the resort we call Earth. The idea, on such vacations, is to capture small experiences. On the Earth, we care only about our immediate surroundings. We watch comedy movies. We drink alcohol and enjoy music. We form relationships, fight, break up, and start again. When we’re in a human body, we don’t care about universal collapse—instead, we care only about a meeting of the eyes, a glimpse of bare flesh, the caressing tones of a loved voice, joy, love, light, the orientation of a house plant, the shade of a paint stroke, the arrangement of hair. Those are good vacations that we take on Earth, replete with our little dramas and fusses. The mental relaxation is unspeakably precious to us. And when we’re forced to leave by the wearing out of those delicate little bodies, it is not uncommon to see us lying prostrate in the breeze of the solar winds, tools in hand, looking out into the cosmos, wet-eyed, searching for meaninglessness.

When a liberal professor takes enormous intellectual liberties by openly promoting an ideological agenda to his students, the cry of academic freedom rings across the quads. But when a conservative professor is punished for publishing an article in a politically incorrect journal, there is no defense of intellectual diversity. What is billed as academic neutrality turns out to be a smoke screen for the relativistic liberal agenda. Today's relativists could not have gotten away with their double standards in a culture that prized truth. But a gradual, sustained assault on truth has been carried out through the soft underbelly of Western culture: the arts. In film, music, and television, the themes of sensual pleasure and individual choice have drowned out the tried-and-true virtues of faith, family, self-sacrifice, duty, honor, patriotism, and fidelity in marriage. Cultural mechanics have wielded their tools to dull the public's sense of reasonable limits. In an Age of Consent, the silly and the profound are becoming indistinguishable.

Alex Honnold, free solo climbing phenom: The Last of the Mohicans soundtrack Rolf Potts, author of Vagabonding and others: ambitones like The Zen Effect in the key of C for 30 minutes, made by Rolfe Kent, the composer of music for movies like Sideways, Wedding Crashers, and Legally Blonde Matt Mullenweg, lead developer of WordPress, CEO of Automattic: “Everyday” by A$AP Rocky and “One Dance” by Drake Amelia Boone, the world’s most successful female obstacle course racer: “Tonight Tonight” by the Smashing Pumpkins and “Keep Your Eyes Open” by NEEDTOBREATHE Chris Young, mathematician and experimental chef: Paul Oakenfold’s “Live at the Rojan in Shanghai,” Pete Tong’s Essential Mix Jason Silva, TV and YouTube philosopher: “Time” from the Inception soundtrack by Hans Zimmer Chris Sacca: “Harlem Shake” by Baauer and “Lift Off” by Jay Z and Kanye West, featuring Beyoncé. “I can bang through an amazing amount of email with the Harlem Shake going on in the background.” Tim Ferriss: Currently I’m listening to “Circulation” by Beats Antique and “Black Out the Sun” by Sevendust, depending on whether I need flow or a jumpstart.

God walked with me, I thought he did. You would imagine that I asked Him to show Himself and put an end to the events at Brosscroft: the slammings of doors in the night, the great gusts of wind that roared through the rooms. But my idea of God was different. He was not a magician and should not be treated in that way; should not be asked to alter things and fix things, like some plumber or carpenter, like my grandad with his tools rolled in their canvas cradles. I had come to my own understanding of grace, the seeping channel between persons and God: the slow, green, and silted canal, between a person and the god inside them. Every sense is graceful, an agent of grace: touch, smell, taste. The grace of music is not for a child who says, “What?” My mother never plays the piano now, my father seldom; Jack is never seen to sit down to it, no doubt because he’s C of E. And I can’t carry a tune; I’m told brutally about this. I can’t sing fa sol la ti do without singing flat. You can pray for grace, but it is a thing that creeps in unexpectedly, like a draft. It is a thing you can’t plan for. By not asking for it, you get it. For one year, I carried this knowledge, and carried a simple space for God inside me: a jagged space surrounded by light, a waiting space cut out of my solar plexus. I subsisted in this watchful waiting, a readiness. But what came wasn’t God at all. Sometimes you come to a thing you can’t write. You’ve

He sat up in bed, and the dictionary was in front of him more often than the book. He looked up so many new words that when they recurred, he had forgotten their meaning and had to look them up again. He devised the plan of writing the definitions in a note book, and filled page after page with them. And still he could not understand. He read until three in the morning, and his brain was in a turmoil, but not one essential thought in the text had he grasped. He looked up, and it seemed that the room was lifting, heeling, and plunging like a ship upon the sea. Then he hurled the "Secret Doctrine" and many curses across the room, turned off the gas, and composed himself to sleep. Nor did he have much better luck with the other three books. It was not that his brain was weak or incapable; it could think these thoughts were it not for lack of training in thinking and lack of the thought tools with which to think. He guessed this, and for a while entertained the idea of reading nothing but the dictionary until he had mastered every word in it. Poetry, however, was his solace, and he read much of it, finding his greatest joy in the simpler poets, who were more understandable. He loved beauty, and there he found beauty. Poetry, like music, stirred him profoundly, and, though he did not know it, he was preparing his mind for the heavier work that was to come. The pages of his mind were blank, and, without effort, much he read and liked, stanza by stanza, was impressed upon those pages, so that he was soon able to extract great joy from chanting aloud or under his breath the music and the beauty of the printed words he had read.

What we need is a Tools to Help You Co-habit With Your Suffering Day. I don’t think that’s going to happen any time soon. In the meantime, though, here are my tools. Share. They might help others. Talk. Don’t keep it to yourself. There’s a great saying in Narcotics Anonymous: an addict alone is in bad company. Let people in. It’s scary and sometimes it can go wrong, but when you manage to connect with people, it’s magic. Let people go. (The toxic ones.) They don’t need to know – just gently withdraw. Learn to say no. I struggled so much with this, but when I started to do it, it was one of the most liberating things that ever happened to me. Learn to say yes. As I’ve got older, I’ve become quite ‘safe’. I am trying more and more to take myself out of my comfort zone. Find purpose. It can be anything – a charity, volunteering … Accept that Life is a roller coaster. Ups and downs. Accept yourself. Even the bits you really don’t like – you can work on those. No one is perfect. Try not to judge. If I’m judging people, it says more about where I am than about them. It’s at that point that I probably need to talk to someone … Music is a mood-altering drug. Some songs can make you cry, but some can make you really euphoric. I choose to mostly listen to the latter. Exercise. There is science to back me up here. Exercise is a no-brainer for mood enhancement. Look after something. Let something need you for its survival. It doesn’t have to be kids. It can be an animal, a houseplant, anything. And last but not least … Faith. I’m not sure what I believe in, but I do feel that when I pray, my prayers are being heard. Not always answered, but heard. And that’s enough.

Lloyd moved to the blackboard and wrote ‘Maneater, Hall and Oates’ at the bottom of a long list of songs and artists. The blackboard in the kitchen had once been installed as a way of communication for the house. It had turned into a list of Songs That You Would Never See In The Same Light Again. This was basically a list of songs that our serial killing landlord had blared at one time or another at top volume to cover the sound of his heavy electric power tools. It was a litany of 70’s and 80’s music. Blondie, Heart of Glass was on the list. So was Duran Duran’s ‘Hungry like the Wolf’. Sam had jokingly given him an Einstürzende Neubauten CD on the premise that his tools would blend right in to the music, and he’d returned it the next day, saying it was too suspicious-sounding and made him very nervous for some reason. The next weekend, we had gone right back to the 80’s with the Missing Persons and Dead or Alive. I tried not to think about why he was playing the music, but it was a little hard not to think about. The strange thumps sometimes suggested that he’d gotten a live one downstairs and was merrily bashing in their skull in the name of his psoriasis to the tune of ‘It’s My Life’ by Talk Talk. Other times I listened in horror as my favorite Thomas Dolby songs were accompanied by an annoying high-pitched buzzsaw whine that altered as if it had entered some sort of solid tissue. He never borrowed music from us again – he claimed our music was too disturbing and dark, and shunned our offerings of Ministry and Nine Inch Nails in favor of some­thing nice and happy by Abba. You’ve never had a restless night from imagining someone deboning a human body while blaring ‘Waterloo’ or ‘Fernando’. It’s not fun.

Time management also involves energy management. Sometimes the rationalization for procrastination is wrapped up in the form of the statement “I’m not up to this,” which reflects the fact you feel tired, stressed, or some other uncomfortable state. Consequently, you conclude that you do not have the requisite energy for a task, which is likely combined with a distorted justification for putting it off (e.g., “I have to be at my best or else I will be unable to do it.”). Similar to reframing time, it is helpful to respond to the “I’m not up to this” reaction by reframing energy. Thinking through the actual behavioral and energy requirements of a job challenges the initial and often distorted reasoning with a more realistic view. Remember, you only need “enough” energy to start the task. Consequently, being “too tired” to unload the dishwasher or put in a load of laundry can be reframed to see these tasks as requiring only a low level of energy and focus. This sort of reframing can be used to address automatic thoughts about energy on tasks that require a little more get-up-and-go. For example, it is common for people to be on the fence about exercising because of the thought “I’m too tired to exercise.” That assumption can be redirected to consider the energy required for the smaller steps involved in the “exercise script” that serve as the “launch sequence” for getting to the gym (e.g., “Are you too tired to stand up and get your workout clothes? Carry them to the car?” etc.). You can also ask yourself if you have ever seen people at the gym who are slumped over the exercise machines because they ran out of energy from trying to exert themselves when “too tired.” Instead, you can draw on past experience that you will end up feeling better and more energized after exercise; in fact, you will sleep better, be more rested, and have the positive outcome of keeping up with your exercise plan. If nothing else, going through this process rather than giving into the impulse to avoid makes it more likely that you will make a reasoned decision rather than an impulsive one about the task. A separate energy management issue relevant to keeping plans going is your ability to maintain energy (and thereby your effort) over longer courses of time. Managing ADHD is an endurance sport. It is said that good soccer players find their rest on the field in order to be able to play the full 90 minutes of a game. Similarly, you will have to manage your pace and exertion throughout the day. That is, the choreography of different tasks and obligations in your Daily Planner affects your energy. It is important to engage in self-care throughout your day, including adequate sleep, time for meals, and downtime and recreational activities in order to recharge your battery. Even when sequencing tasks at work, you can follow up a difficult task, such as working on a report, with more administrative tasks, such as responding to e-mails or phone calls that do not require as much mental energy or at least represent a shift to a different mode. Similarly, at home you may take care of various chores earlier in the evening and spend the remaining time relaxing. A useful reminder is that there are ways to make some chores more tolerable, if not enjoyable, by linking them with preferred activities for which you have more motivation. Folding laundry while watching television, or doing yard work or household chores while listening to music on an iPod are examples of coupling obligations with pleasurable activities. Moreover, these pleasant experiences combined with task completion will likely be rewarding and energizing.

What is WordPress? WordPress is an online, open source website creation tool written in PHP. But in non-geek speak, it’s probably the easiest and most powerful blogging and website content management system (or CMS) in existence today. Many famous blogs, news outlets, music sites, Fortune 500 companies and celebrities are using WordPress. WordPress is web software you can use to create a beautiful website, blog, or app. We like to say that WordPress is both free and priceless at the same time. There are thousands of plugins and themes available to transform your site into almost anything you can imagine. WordPress started in 2003 with a single bit of code to enhance the typography of everyday writing and with fewer users than you can count on your fingers and toes. Since then it has grown to be the largest self-hosted blogging tool in the world, used on millions of sites and seen by tens of millions of people every day. You can download and install a software script called WordPress from wordpress.org. To do this you need a web host who meets the minimum requirements and a little time. WordPress is completely customizable and can be used for almost anything. There is also a servicecalled WordPress.com. WordPress users may install and switch between different themes. Themes allow users to change the look and functionality of a WordPress website and they can be installed without altering the content or health of the site. Every WordPress website requires at least one theme to be present and every theme should be designed using WordPress standards with structured PHP, valid HTML and Cascading Style Sheets (CSS). Themes: WordPress is definitely the world’s most popular CMS. The script is in its roots more of a blog than a typical CMS. For a while now it’s been modernized and it got thousands of plugins, what made it more CMS-like. WordPress does not require PHP nor HTML knowledge unlinke Drupal, Joomla or Typo3. A preinstalled plugin and template function allows them to be installed very easily. All you need to do is to choose a plugin or a template and click on it to install. It’s good choice for beginners. Plugins: WordPress’s plugin architecture allows users to extend the features and functionality of a website or blog. WordPress has over 40,501 plugins available. Each of which offers custom functions and features enabling users to tailor their sites to their specific needs. WordPress menu management has extended functionalities that can be modified to include categories, pages, etc. If you like this post then please share and like this post. To learn more About website design in wordpress You can visit @ tririd.com Call us @ 8980010210

All the many successes and extraordinary accomplishments of the Gemini still left NASA’s leadership in a quandary. The question voiced in various expressions cut to the heart of the problem: “How can we send men to the moon, no matter how well they fly their ships, if they’re pretty helpless when they get there? We’ve racked up rendezvous, docking, double-teaming the spacecraft, starting, stopping, and restarting engines; we’ve done all that. But these guys simply cannot work outside their ships without exhausting themselves and risking both their lives and their mission. We’ve got to come up with a solution, and quick!” One manned Gemini mission remained on the flight schedule. Veteran Jim Lovell would command the Gemini 12, and his space-walking pilot would be Buzz Aldrin, who built on the experience of the others to address all problems with incredible depth and finesse. He took along with him on his mission special devices like a wrist tether and a tether constructed in the same fashion as one that window washers use to keep from falling off ledges. The ruby slippers of Dorothy of Oz couldn’t compare with the “golden slippers” Aldrin wore in space—foot restraints, resembling wooden Dutch shoes, that he could bolt to a work station in the Gemini equipment bay. One of his neatest tricks was to bring along portable handholds he could slap onto either the Gemini or the Agena to keep his body under control. A variety of space tools went into his pressure suit to go along with him once he exited the cabin. On November 11, 1966, the Gemini 12, the last of its breed, left earth and captured its Agena quarry. Then Buzz Aldrin, once and for all, banished the gremlins of spacewalking. He proved so much a master at it that he seemed more to be taking a leisurely stroll through space than attacking the problems that had frustrated, endangered, and maddened three previous astronauts and brought grave doubts to NASA leadership about the possible success of the manned lunar program. Aldrin moved down the nose of the Gemini to the Agena like a weightless swimmer, working his way almost effortlessly along a six-foot rail he had locked into place once he was outside. Next came looping the end of a hundred-foot line from the Agena to the Gemini for a later experiment, the job that had left Dick Gordon in a sweatbox of exhaustion. Aldrin didn’t show even a hint of heavy breathing, perspiration, or an increased heartbeat. When he spoke, his voice was crisp, sharp, clear. What he did seemed incredibly easy, but it was the direct result of his incisive study of the problems and the equipment he’d brought from earth. He also made sure to move in carefully timed periods, resting between major tasks, and keeping his physical exertion to a minimum. When he reached the workstation in the rear of the Gemini, he mounted his feet and secured his body to the ship with the waist tether. He hooked different equipment to the ship, dismounted other equipment, shifted them about, and reattached them. He used a unique “space wrench” to loosen and tighten bolts with effortless skill. He snipped wires, reconnected wires, and connected a series of tubes. Mission Control hung on every word exchanged between the two astronauts high above earth. “Buzz, how do those slippers work?” Aldrin’s enthusiastic voice came back like music. “They’re great. Great! I don’t have any trouble positioning my body at all.” And so it went, a monumental achievement right at the end of the Gemini program. Project planners had reached all the way to the last inch with one crucial problem still unsolved, and the man named Aldrin had whipped it in spectacular fashion on the final flight. Project Gemini was

you can’t learn a language by learning a set of rules, you have to learn it by immersing yourself in it and getting a sense of its practices.

Exploring new tools should never come from the thought process that you don't have enough already, but from a "this looks like something fun to explore" standpoint.

Yet somehow, in recent years educational theory has come to reject repetition as a good educational tool when it comes to mastering our multiplication tables or identifying geographic locations or learning the correct spelling of words. We accept that to be good at sports or music you must practice over and over until your fine motor skills become your gross motor skills, meaning that you can play Tchaikovsky in your sleep! Over-practice implies enough repetition to make new skills seem easy and natural. Yet contemporary educational philosophies consider large amounts of rote practice to be unnecessary in academics. And so our modern educational system is weak. The purpose of a classical education is to strengthen one’s mind, body, and character in order to develop the ability to learn anything.

sound can be defined as: mechanical pressure waves that travel through a physical medium, like air or water.

Mozart's music on a smartphone can't redeem or compensate for our lust for the ludicrous. Suckers for empty promises, false hopes, and pseudoscientific babble, we are our own worst enemies. Few people take the time to learn how brains process sensory input in misleading ways and how subconscious biases influence conscious thinking. The result is a global population teeming with easy targets for digitized nonsense and deception.

If Tivo marks the beginning of the shift from the Brand Age to the Product Age, the summer of 2020 saw the Brand Age’s end. The killing of George Floyd and subsequent protests briefly displaced the pandemic in the front and center of our national consciousness, making obvious the passing of the Brand Age into history. Seemingly every brand company did what they always do when America’s sins are pulled out from the back of the closet where we try to keep them hidden: they called up their agencies and posted inspiring words, arresting images, and black rectangles. Message: We care. Only this time, it didn’t resonate. Their brand magic fizzled. First on social media, then tumbling from there onto newspapers and evening news, activists and customers started using the tools of the new age to compare these companies’ carefully crafted brand messages with the reality of their operations. “This you?” became the Twitter meme that exposed the brand wizards. Companies who posted about their “support” for black empowerment were called out when their own websites revealed the music did not match the words. The NFL claimed it celebrates protest, and the internet tweeted back, “This you?” under a picture of Colin Kaepernick kneeling. L’Oréal posted that “speaking out is worth it” and got clapped back with stories about dropping a model just three years earlier for speaking out against racism. The performative wokeness across brands felt forced and hollow. Systemic racism is a serious issue, and a 30-second spot during The Masked Singer doesn’t prove you are serious about systemic racism. That’s always been true, about ads on any issue, but social media and the ease of access to data on the internet has made it much harder for companies to pretend.

a good melody moves away from the harmonic center of the music, building tension, and then moves back in some interesting way, releasing that tension. To tell a story is to create an arc. To rise and to fall.

Just the basic joy of smelling a cookie. It smells freaking great. [And it’s like the snowball.] You’re rewarded for being alive and in the moment. Smelling a cookie is not on behalf of some future state. It’s great in the moment, by itself, on behalf of nothing. And this is another thing back to art. Art for its own sake. Art and music and dance. Part of its poignancy is its purposelessness, and just delighting in a wacky fact of perhaps a meaningless universe and how remarkable that is. One way for all of us to live until we’re actually dead is to prize those little moments.

Stories and fiction are often criticized as escapism. But in fiction is truth. Fiction can also be a tool at the forefront of the fight to correct the problems of reality.

There, in the center of the chamber, sat a small, golden harp. Cold leached through Nesta, clarifying her thoughts enough to realize where she stood. That the music of the priestesses had lulled her into a trance, that her own bones and the stone of the mountain surrounding her had been her scrying tools, and she had drifted to this place … The Harp gleamed in the darkness, as if it possessed its own sun within the metal and strings. Play me, it seemed to whisper. Let me sing again. Join your voice with mine. Her hand reached toward the strings. Yes. The Harp sighed, a low purr rolling off it as Nesta’s hand neared. We shall open doors and pathways; we shall move through space and eons together. Our music will free us of earthly rules and borders. Yes. She’d play the Harp, and there would be nothing but music until the stars died out. Play. I have so long wished to play, it said, and she could have sworn she heard a smile within the sound. What might my song unlock in here? A cold, humorless laugh skittered along Nesta’s bones. It sang again, Play, play— The song halted, and the vision shattered. Nesta’s knees gave out as the room swept in, and she collapsed onto the pew, earning an alarmed look from Gwyn through the crowd. Her heart thundered, her mouth was dry as sand, and she forced herself to rise to her feet again. To listen to the end of the service as she pieced it all together, realized what she had discovered in her unwitting scrying.

You’re going to have to work harder to hide your guilty pleasures, now I’m living under the same roof.” “Who’s guilty?” Saint retorts, his dark eyes sparkling with mirth. “You know me, darling. I embrace all my pleasures wholeheartedly. And for the record, folklore is an underrated classic.” I laugh. “Power tools, pop music… I’m learning all kinds of new things about you, professor,” I tease.

For nearly half a millennium, words born of three hemispheres mixed and informed one another’s music. If language had been an effective colonial tool of violence and erasure, it was contrapuntally a West African means of resistance and resilience.

While Daft Punk framed technology in a paranoid light, dehumanizing at best and a tool of outright fascism at worst, Perfume sang about technology with a shrug, accepting this new world and ultimately embracing it. Nakata and the three members touched on familiar subjects while drowning them in modern sounds. They were ahead of the curve with Game, as a few years later, the overwhelming, emotional branches of electronic dance music (EDM) would be among the most popular styles in the world.

It was the co-evolution of minds, brains and hands that drove us to use sticks, knap stones, refine those flakes, and eventually, after long periods of stasis, develop our technological prowess so that we could carve statues, and musical instruments, and weapons that made resources ever-more available. Despite a few animals having similarly complex brains, none has come close to our tool skills for many millions of years.

If you want to use your body as a tool for transformation then use it as a shield against the inequalities in society, rather than fondling your crotch like a coitus-crazed canine.

Bono’s pet phrase for the Zoo philosophy has been judo, jujitsu: using your enemy’s strength against him. It’s how the band reconciled their embrace of all the tools-commercialism, glamour, stardom, ostentation-to which U2’s music and beliefs had previously stood in opposition. Art students might suss this stuff by sophomore year, but U2 are artists by instinct, not training. It took them a decade to figure it out.