Transfer Farewell Quotes

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So when Jesus comes along and says to us, “Love your enemy,” we instinctively feel how radical it is. He’s not just giving individuals a personal ethic; he is striking at the very foundation of the world! The world was founded on hating enemies, and now Jesus says, “Don’t do it!” When Jesus said, “Turn the other cheek,” he wasn’t just trying to produce kinder, gentler people; he was trying to refound the world! Instead of retaliatory violence; the world is to be refounded on cosuffering love. Jesus understood that the world had built its societal structures upon shared hatred, scapegoating, and what René Girard calls “sacred violence.” In challenging “sacred violence” (which Israel cherished in their war stories), Jesus was challenging the world at its most basic level. We cherish, honor, and salute sacred violence. We have to! We have a dark instinct that we must honor Cain’s war against Abel—and our own wars upon our hated enemies—or our whole system will fall apart. But Jesus testified against it—that those deeds were evil. This is where the tension begins to build. What Jesus called evil are the very things our cultures and societies have honored in countless myths, memorials, and anthems. It was this deep insight into the dark foundations of the world that Jesus possessed and his brothers did not. James and the rest of Jesus’s brothers and disciples could testify against symptomatic evil of greed and immorality, but they could not testify against the systemic evil of hating national enemies. This is why the world hates Jesus in a way it could not hate his brothers. Ultimately, Jesus’s brothers belonged to the same system as Caesar, Herod, and Caiaphas—the system of hating and seeking to kill one’s national or ethnic enemy. Jesus’s call to love our enemies presents us with a problem—a problem that goes well beyond the challenge we find in trying to live out an ethic of enemy love on a personal level. How can a nation exist without hating its enemies? If nations can’t hate and scapegoat their enemies, how can they cohere? If societies can’t project blame onto a hated “other,” how can they keep from turning on themselves? Jesus’s answer is as simple as it is revolutionary: instead of an arrangement around hate and violence, the world is now to be arranged around love and forgiveness. The fear of our enemy and the pain of being wronged is not to be transferred through blame but dispelled through forgiveness.
Brian Zahnd (A Farewell to Mars: An Evangelical Pastor's Journey Toward the Biblical Gospel of Peace)
The pipeline was designed to pass about a mile north of the Standing Rock Sioux tribal nation. The Energy Transfer Partners engineers planned to run the 30-inch-diameter steel pipe 90 to 110 feet under the Missouri River.31 This land was ceded to the Sioux under the 1868 Treaty of Fort Laramie, which, like some four hundred treaties the U.S. government signed with Native American communities, was promptly violated by Washington.32 The Missouri River provides the tribe’s drinking water. The area is rich in farmland, ancient burial grounds, and artifacts.
Chris Hedges (America: The Farewell Tour)
Fines, often in the thousands of dollars, are assessed against many prisoners when they are sentenced. There are twenty-two fines that can be imposed in New Jersey, including the Violent Crime Compensation Assessment (VCCA), the Law Enforcement Officers Training & Equipment Fund (LEOT), and Extradition Costs (EXTRA). The state takes a percentage each month out of a prisoner’s wages to pay for penalties. It can take decades to pay fines. Some 10 million Americans owe $50 billion in fees and fines because of their arrest or imprisonment, according to a 2015 report by the Brennan Center. If a prisoner who is fined $10,000 at sentencing relies solely on a prison salary, he or she will owe about $4,000 after making monthly payments for twenty-five years. Prisoners often leave prison in debt to the state. And if they cannot continue to make regular payments—difficult because of high unemployment among ex-felons—they are sent back to prison. High recidivism is part of the design. Most of the prison functions once handled by governments have become privatized. Corporations run prison commissaries and, since the prisoners have nowhere else to shop, often jack up prices by as much as 100 percent. Corporations have taken over the phone systems and grossly overcharge prisoners and their families. They demand exorbitant fees for money transfers from families to prisoners. And corporations, with workshops inside prisons, pay little more than a dollar a day to prison laborers. Food and merchandise vendors, construction companies, laundry services, uniform companies, prison equipment vendors, cafeteria services, manufacturers of pepper spray, body armor, and the array of medieval-looking instruments used for the physical control of prisoners, and a host of other contractors feed like jackals off prisons. Prisons, in America, are big business.
Chris Hedges (America: The Farewell Tour)
The ruling elites grasp that the twin forces of deindustrialization and climate change make the future precarious. They sweep up our email correspondence, tweets, web searches, phone records, file transfers, live chats, financial data, medical data, criminal and civil court records, and information on dissident movements. They store this information in sophisticated computer systems. Surveillance cameras, biosensors, scanners, and face recognition technologies track our movements. When a government watches you twenty-four hours a day you cannot use the word “liberty.” This is the relationship between a master and a slave. Full surveillance, as political philosopher Hannah Arendt wrote, is not a means to discover or prevent crimes, but a device to have “on hand when the government decides to arrest a certain category of the population.
Chris Hedges (America: The Farewell Tour)
Entirely in agreement with Salieri when he rails against God for having given humanity the gift of Mozart's divine music, for the sole purpose of making us look ridiculous and plunging us into despair. Salieri sets himself up as Man's champion against divine injustice. It is the same problem as that of the Grand Inquisitor in the Brothers Karamazov. When Christ returns to earth he says to him: 'We manage humanity for its greatest happiness. It has paid for this with its mediocrity. Don't come disturbing this fragile balance with insane promises. ' And he condemns Christ to death once again. Salieri is not mean-spirited: it took pride, not to become jealous of Mozart, but to challenge God and ask: 'Tell it to me plainly, why am I not Mozart?' For God mocked us by throwing Mozart among us in the guise of a vulgar being, who did not even bear the exceptional marks of grace. God is toying with us, and that is unbearable. Mozart must be destroyed. All that challenges God is noble in spirit and superior to gaping, unconditional admiration of His works. We will not have the same problem with Changeux's Neuronal Man, emerging on the horizon like Nietzsche's Last Man, with his cortical and synaptic flatness. Farewell Mozart, farewell Salieri, no more grace, but no more challenges either, such is the solution offered by modern science to the insoluble despair of the difference between men. Signs, signs? Is that all you have to say? People act and people dream, they speak or they don't - none of that is unreal. Shut up and watch. See the philosophical beauty of these closing years of the century, the stars in the sky falling lower as the fateful date approaches, and the interactive horizon of couples in love - all this is beyond doubt, and it moves me to tears . . . The age, the coming age is like a metropolis deserted by its population, cut off from its sources of energy. Are you going to say that, are you going to go on with these twilight rantings? Every century throws the reality principle into question as it closes, but it's over today, finished, done. Everybody works these days. Narrative and moral passions, the philosophical animal spirits, are literally blocking the electronic animal spirits, a thousand times more lively and insignificant. Videos and advertisements, credits, news reports and sports flashes, Dallas, that's television, all that transfers easily, with the minimum of energy, on ephemeral film. But pure television, like pure painting or pure speed, is hard to bear.
Jean Baudrillard (Cool Memories)
Ebru, or water marbling, is formed by drawing designs with dye on the surface of water and then transferring the whirled image onto paper placed on the water.
Ayşe Kulin (Farewell: A Mansion in Occupied Istanbul)