Triangle Shape Quotes

I think you are seriously overestimating my dancing abilities. My kind of dancing usually ends up on the Internet, where people watch it so they can stop feeling sorry about their own lives. You know how people say they have two left feet? It's like I have no feet and my stumps are attached to wheels shaped like triangles.

Besides, don’t you know basic geometry, Strategist Sima?” I make a triangle with my fingers and look through it. “A triangle is the strongest shape.

Something that’s bothered me for a while now is the current profligacy in YA culture of Team Boy 1 vs Team Boy 2 fangirling. [...] Despite the fact that I have no objection to shipping, this particular species of team-choosing troubled me, though I had difficulty understanding why. Then I saw it applied to Suzanne Collins’s The Hunger Games trilogy – Team Peeta vs Team Gale – and all of a sudden it hit me that anyone who thought romance and love-triangles were the main event in that series had utterly missed the point. Sure, those elements are present in the story, but they aren’t anywhere near being the bones of it, because The Hunger Games, more than anything else, is about war, survival, politics, propaganda and power. Seeing such a strong, raw narrative reduced to a single vapid argument – which boy is cuter? – made me physically angry. So, look. People read different books for different reasons. The thing I love about a story are not necessarily the things you love, and vice versa. But riddle me this: are the readers of these series really so excited, so thrilled by the prospect of choosing! between! two! different! boys! that they have to boil entire narratives down to a binary equation based on male physical perfection and, if we’re very lucky, chivalrous behaviour? While feminism most certainly champions the right of women to chose their own partners, it also supports them to choose things besides men, or to postpone the question of partnership in favour of other pursuits – knowledge, for instance. Adventure. Careers. Wild dancing. Fun. Friendship. Travel. Glorious mayhem. And while, as a woman now happily entering her fourth year of marriage, I’d be the last person on Earth to suggest that male companionship is inimical to any of those things, what’s starting to bother me is the comparative dearth of YA stories which aren’t, in some way, shape or form, focussed on Girls Getting Boyfriends, and particularly Hot Immortal Or Magical Boyfriends Whom They Will Love For All Eternity. Blog post: Love Team Freezer

Three’s my new favorite number because it includes me. Baylee, our baby, and me. One, two, three. Love doesn’t come in the shape of a heart, it clearly comes in triangles.

Know why they call it a love triangle?” Well, I wasn’t stupid. “Triangles have three sides and there’s three people involved.” Bea nodded. “Yeah, that, but also because they’re shaped like shark teeth and shark teeth can rip people to shreds.” How poetic.

Every shape of affection can maim but a triangle’s formed most like a blade.

Thank God I don’t have a triangle-shaped asshole.

My memory of my sister is a triangle, made up of bold lines but also sharp angles, and everyone else wants to remember her as a boring simple circle.

The shape she loved was a triangle. Always black. Mauma put black triangles on about every quilt she sewed.

Though blessed with the enviable properties of a mink coat—graceful, unreasonable, and impractical no matter what she was draped over—she was nevertheless one of those people whose personality proved to be the bane of modern mathematicians. She was neither a flat nor solid shape. She showed no symmetry at all. Trigonometry, Calculus and Statistics all proved useless. Her Pie Chart was a muddle of arbitrary wedges, her Line Graph, the silhouette of the Alps. And just when one listed her under Chaos Theory—Butterfly Effects, Weather Predictions, Fractals, Bifurcation diagrams and whatnot—she showed up as an equilateral triangle, sometimes even a square.

There is an object blocking my view of the Petrova line. It’s right next to my ship. Maybe a few hundred meters away. It’s roughly triangle-shaped and it has gable-like protrusions along its hull.

Love triangles are for those that believe in shapes.

He was only five-foot-ten, but people frequently mistook him for being over six feet, at least in part because his gigantic Afro made him appear larger than life. His thin, angular frame, which was shaped like an inverted triangle, furthered this illusion; he had narrow hips, a small waist, but impossibly wide shoulders and arms. His fingers were abnormally long and sinuous, and like the rest of him, they were a rich caramel color. His bandmates jokingly called him “The Bat” because of his preference for covering his windows and sleeping during the day, but the nickname also fit his penchant for wearing capes, which furthered his superhero appearance.

On what may be the last page he wrote in his notebooks, Leonardo drew four right triangles with bases of differing lengths (fig. 143). Inside of each he fit a rectangle, and then he shaded the remaining areas of the triangle. In the center of the page he made a chart with boxes labeled with the letter of each rectangle, and below it he described what he was trying to accomplish. As he had done obsessively over the years, he was using the visualization of geometry to help him understand the transformation of shapes. Specifically, he was trying to understand the formula for keeping the area of a right triangle the same while varying the lengths of its two legs. He had fussed with this problem, explored by Euclid, repeatedly over the years. It was a puzzle that, by this point in his life, as he turned sixty-seven and his health faded, might seem unnecessary to solve. To anyone other than Leonardo, it may have been.

Head Prerogative Packers Foreman,” said his secretary, Wendal Avard, as Packers walked through the open door of the conference room and prepared to take his seat near the head of the conference table. The table was shaped as a long, narrow triangle.

Straining to see the world through triangle-shaped lenses, Pythagoreans argued that in heredity too a triangular harmony was at work. The mother and the father were two independent sides and the child was the third—the biological hypotenuse to the parents’ two lines. And just as a triangle’s third side could arithmetically be derived from the two other sides using a strict mathematical formula, so was a child derived from the parents’ individual contributions: nature from father and nurture from mother. A

It was Jaenelle's voice, but... She was medium height, slender, and fair-skinned. Her gold mane--not quite hair and not quite fur--was brushed up and back from her exotic face and didn't hide the delicately pointed ears. In the center of her forehead was a tiny, spiral horn. A narrow strip of gold fur traced her spine, ending in a small gold and white fawn tail that flicked over her bare buttocks. The legs were human and shapely, but changed below the calf. Instead of feet, she had dainty horse's hooves. Her human hands had sheathed claws like a cat's. As she shifted position to slip another shard into place, he saw the small, round breasts, the feminine curve of waist and hips, the dark-gold triangle of hair between her legs. Who...? But he knew. Even before she walked over and looked at him, even before he saw the feral intelligence in those ancient, haunted sapphire eyes, he knew. Terrifying and beautiful. Human and Other. Gentle and violent. Innocent and wise. *I am Witch,* she said, a small, defiant quiver in her voice. *I know.* His voice had a seductive throb in it, a hunger he couldn't control or mask.

me back. I look his upside-down triangle-shape head, and he look me back. Then I sticked out my tongue and pull my two ears and say, “Why are you not inside bicycle shop when your head is like bicycle seat?” The class, that day, it was shaking with all the laughters from the childrens, and I was feeling very clever with myself until Teacher slap her ruler on the table three times and say: “Quiet!

Dark gray, flexible, and infinitely tough. Seven-foot membranous wings of same color, found folded, spread out of furrows between ridges. Wing framework tubular or glandular, of lighter gray, with orifices at wing tips. Spread wings have serrated edge. Around equator, one at central apex of each of the five vertical, stave-like ridges are five systems of light gray flexible arms or tentacles found tightly folded to torso but expansible to maximum length of over three feet. Like arms of primitive crinoid. Single stalks three inches diameter branch after six inches into five substalks, each of which branches after eight inches into small, tapering tentacles or tendrils, giving each stalk a total of twenty-five tentacles. At top of torso blunt, bulbous neck of lighter gray, with gill-like suggestions, holds yellowish five-pointed starfish-shaped apparent head covered with three-inch wiry cilia of various prismatic colors. Head thick and puffy, about two feet point to point, with three-inch flexible yellowish tubes projecting from each point. Slit in exact center of top probably breathing aperture. At end of each tube is spherical expansion where yellowish membrane rolls back on handling to reveal glassy, red-irised globe, evidently an eye. Five slightly longer reddish tubes start from inner angles of starfish-shaped head and end in saclike swellings of same color which, upon pressure, open to bell-shaped orifices two inches maximum diameter and lined with sharp, white tooth like projections - probably mouths. All these tubes, cilia, and points of starfish head, found folded tightly down; tubes and points clinging to bulbous neck and torso. Flexibility surprising despite vast toughness. At bottom of torso, rough but dissimilarly functioning counterparts of head arrangements exist. Bulbous light-gray pseudo-neck, without gill suggestions, holds greenish five-pointed starfish arrangement. Tough, muscular arms four feet long and tapering from seven inches diameter at base to about two and five-tenths at point. To each point is attached small end of a greenish five-veined membranous triangle eight inches long and six wide at farther end. This is the paddle, fin, or pseudofoot which has made prints in rocks from a thousand million to fifty or sixty million years old. From inner angles of starfish-arrangement project two-foot reddish tubes tapering from three inches diameter at base to one at tip. Orifices at tips. All these parts infinitely tough and leathery, but extremely flexible. Four-foot arms with paddles undoubtedly used for locomotion of some sort, marine or otherwise. When moved, display suggestions of exaggerated muscularity. As found, all these projections tightly folded over pseudoneck and end of torso, corresponding to projections at other end.

Because without a true understanding of who I wanted to be and how I wanted to live my life, I defined myself by what I wasn’t, because what I wasn’t was very apparent to me. Without a strong foundation to steady you and a set of values to guide you, you stop being someone with limitless potential and become someone defined only by your pain. Unfortunately pain often screams louder than potential in our minds.

There is an object blocking my view of the Petrova line. It’s right next to my ship. Maybe a few hundred meters away. It’s roughly triangle-shaped and it has gable-like protrusions along its hull. Yes. I said hull. It's not an asteroid- the lines are too smooth; too straight. This object was made. Fabricated. Constructed. Shapes like that don't occur in nature. It's a ship. Another ship. There's another ship in this system with me. Those flashes of light- those were its engines. It's Astrophage-powered. Just like the Hail Mary. But the design, the shape- it's nothing like any spacecraft I've ever seen. The whole thing is made of huge, flat surfaces- the worst possible way to make a pressure vessel. No one in their right mind would make a ship that shape. No one on Earth would, anyway. I blink a few times at what I'm seeing. I gulp. This... this is an alien spacecraft. Made by aliens. Aliens intelligent enough to make a spacecraft. Humanity isn't alone in the universe. And I've just met our neighbours. 'Holy fucking shit!

But it wouldn’t have half the power of a story in which Jamie and Claire truly conquer real evil and thus show what real love is. Real love has real costs—and they’re worth it. I’ve always said all my books have a shape, and Outlander’s internal geometry consists of three slightly overlapping triangles. The apex of each triangle is one of the three emotional climaxes of the book: 1) when Claire makes her wrenching choice at the stones and stays with Jamie, 2) when she saves Jamie from Wentworth, and 3) when she saves his soul at the abbey. It would still be a good story if I’d had only 1 and 2—but (see above), the Rule of Three. A story that goes one, two, three, has a lot more impact than just a one–two punch.

We didn’t talk any more about Boris’s love interest, at least not that day, but then a few days later when I came out of math I saw him looming over this girl by the lockers. While Boris wasn’t especially tall for his age, the girl was tiny, despite how much older than us she seemed: flat-chested, scrawny-hipped, with high cheekbones and a shiny forehead and a sharp, shiny, triangle-shaped face. Pierced nose. Black tank top. Chipped black fingernail polish; streaked orange-and-black hair; flat, bright, chlorine-blue eyes, outlined hard, in black pencil. Definitely she was cute – hot, even; but the glance she slid over me was anxiety-provoking, something about her of a bitchy fast-food clerk or maybe a mean babysitter.

Most of Leonardo’s drawings for Pacioli’s book, which was finished in 1498, are variations of the five shapes known as Platonic solids. These are polyhedrons that have the same number of faces meeting at each vertex: pyramids, cubes, octahedrons (eight faces), dodecahedrons (twelve), and icosahedrons (twenty). He also illustrated more complex shapes, such as a rhombicuboctahedron, which has twenty-six facets, eight of them equilateral triangles that are bordered by squares (fig. 58). He pioneered a new method for making such shapes understandable: instead of drawing them as solids, he made them see-through skeletons, as if constructed of wooden beams. His sixty illustrations for Pacioli were the only drawings he published during his lifetime. Fig.

Moving on, while he wondered, the dark through which Mr. Lecky's light cut grew more beautiful with scents. Particles of solid matter so minute, gases so subtle, that they filtered through stopping and sealing, hung on the unstirred air. Drawn in with Mr. Lecky's breath came impalpable dews cooked out of disintegrating coal. Distilled, chemically split and reformed, they ended in flawless simulation of the aromas of gums, the scent of woods and the world's flowers. The chemists who made them could do more than that. Loose on the gloom were perfumes of flowers which might possibly have bloomed but never had, and the strong-smelling saps of trees either lost or not yet evolved. Mixed in the mucus of the pituitary membrane, these volatile essences meant more than synthetic chemistry to Mr. Lecky. Their microscopic slime coated the bushed-out ends of the olfactory nerve; their presence was signaled to the anterior of the brain's temporal lobe. At once, thought waited on them, tossing down from the great storehouse of old images, neglected ideas - sandalwood and roses, musk and lavender. Mr. Lecky stood still, wrung by pangs as insistent and unanswerable as hunger. He was prodded by the unrest of things desired, not had; the surfeit of things had, not desired. More than anything he could see, or words, or sounds, these odors made him stupidly aware of the past. Unable to remember it, whence he was, or where he had previously been, all that was sweet, impermanent and gone came back not spoiled by too much truth or exact memory. Volatile as the perfumes, the past stirred him with longing for what was not - the only beloved beauty which you will have to see but which you may not keep. Mr. Lecky's beam of light went through glass top and side of a counter, displayed bottles of colored liquid - straw, amber, topaz - threw shadows behind their diverse shapes. He had no use for perfume. All the distraction, all the sense of loss and implausible sweetness which he felt was in memory of women. Behind the counter, Mr. Lecky, curious, took out bottles, sniffed them, examined their elaborately varied forms - transparent squares, triangles, cones, flattened ovals. Some were opaque, jet or blue, rough with embedded metals in intricate design. This great and needless decoration of the flasks which contained it was one strange way to express the inexpressible. Another way was tried in the names put on the bottles. Here words ran the suggestive or symbolic gamut of idealized passion, or festive night, of desired caresses, or of abstractions of the painful allure yet farther fetched. Not even in the hopeful, miracle-raving fancy of those who used the perfumes could a bottle of liquid have any actual magic. Since the buyers at the counters must be human beings, nine of every ten were beyond this or other help. Women, young, but unlovely and unloved, women, whatever they had been, now at the end of it and ruined by years or thickened to caricature by fat, ought to be the ones called to mind by perfume. But they were not. Mr. Lecky held the bottle in his hand a long while, aware of the tenth woman.

There, on the short, firm turf, are bushes, dark leaved, and against their darkness I see a shape, white, but not of stone, moving, perhaps alive. But it is not you, it is not you, it is not you; not Percival, Susan, Jinny, Neville or Louis. When the white arm rests upon the knee it is a triangle; now it is upright–a column; now a fountain, falling. It makes no sign, it does not beckon, it does not see us. Behind it roars the sea. It is beyond our reach. Yet there I venture. There I go to replenish my emptiness, to stretch my nights and fill them fuller and fuller with dreams. And for a second even now, even here, I reach my object and say, “Wander no more. All else is trial and make-believe. Here is the end.” But these pilgrimages, these moments of departure, start always in your presence, from this table, these lights from Percival and Susan, here and now. Always I see the grove over your heads, between your shoulders, or from a window when I have crossed the room at a party and stand looking down into the street.

There was a fire in the grate, too far away for Lara to feel its heat. Goose bumps rose on her chilled skin. Gritting her teeth, she forced herself to obey, taking one step, then another, the fine Aubusson carpet prickling beneath her bare feet. As she came near him, the firelight shone through the transparent black silk. She knew he could see everything, the flashes of ivory skin, the shape of her body, the dark triangle between her legs. Her face burned as she stopped before him. Hunter sat like a statue, his face and hair dappled with light from the dancing flames. "Oh, Lara," he said softly. "You're so damned beautiful, I..." He stopped and swallowed, as if it were difficult for him to speak. His faint smile had died away, and he set aside the wine bottle as if his fingers had become nerveless. He barely seemed to breathe as his gaze swept from her bare feet to her breasts, lingering at the pink tips that strained against the delicate lace. The room no longer seemed cold, but Lara continued to tremble. "I made a promise not to touch you," he said hoarsely, "but I'll be damned if I can keep it.

In 1931, amid that incredible transformation, a brilliant young Russian psychologist named Alexander Luria recognized a fleeting “natural experiment,” unique in the history of the world. He wondered if changing citizens’ work might also change their minds. When Luria arrived, the most remote villages had not yet been touched by the warp-speed restructuring of traditional society. Those villages gave him a control group. He learned the local language and brought fellow psychologists to engage villagers in relaxed social situations—teahouses or pastures—and discuss questions or tasks designed to discern their habits of mind. Some were very simple: present skeins of wool or silk in an array of hues and ask participants to describe them. The collective farmers and farm leaders, as well as the female students, easily picked out blue, red, and yellow, sometimes with variations, like dark blue or light yellow. The most remote villagers, who were still “premodern,” gave more diversified descriptions: cotton in bloom, decayed teeth, a lot of water, sky, pistachio. Then they were asked to sort the skeins into groups. The collective farmers, and young people with even a little formal education, did so easily, naturally forming color groups. Even when they did not know the name of a particular color, they had little trouble putting together darker and lighter shades of the same one. The remote villagers, on the other hand, refused, even those whose work was embroidery. “It can’t be done,” they said, or, “None of them are the same, you can’t put them together.” When prodded vigorously, and only if they were allowed to make many small groups, some relented and created sets that were apparently random. A few others appeared to sort the skeins according to color saturation, without regard to the color. Geometric shapes followed suit. The greater the dose of modernity, the more likely an individual grasped the abstract concept of “shapes” and made groups of triangles, rectangles, and circles, even if they had no formal education and did not know the shapes’ names. The remote villagers, meanwhile, saw nothing alike in a square drawn with solid lines and the same exact square drawn with dotted lines. To Alieva, a twenty-six-year-old remote villager, the solid-line square was obviously a map, and the dotted-line square was a watch. “How can a map and a watch be put together?” she asked, incredulous. Khamid, a twenty-four-year-old remote villager, insisted that filled and unfilled circles could not go together because one was a coin and the other a moon.

Suddenly, a rock hits the other side of the hex. It stays there. It's just a few inches away from me. It's roughly triangular, kind of a dark brown, and has rough, jagged edges. Like you might see on the tip of a spear from a caveman. Have I met spacefaring cavemen? Stop being stupid, Ryland. Why did they put a rock there? And is it sticky? Are they trying to block my view? If so, they're doing a terrible job. The little triangle is only a couple of inches wide at the thickest point and the hex is a good 8 inches across. And it gets sillier. Now the rock is bending at articulated joints, and there are two similar rocks that do the same thing, and there's a larger rock attached to them that- That's not a rock. It's a claw! It's a claw with three fingers! ... The alien's claw-er... I'll call it a hand. That's less scary. The alien's hand has three triangular fingers, each one with articulation points. Knuckles, I guess. They can close up in to a raindrop shape of widen out to a sort of three-legged starfish. The skin is weird. It looks like brownish-black rock. It's irregular and bumpy, like someone carved the hand out of granite and hasn't gotten around to smoothing it out yet. Natural armour, maybe? Like a turtle shell, but less organised? There's an arm, too. I can barely see it from this angle, no matter how hard I stupidly press my face in to the Hot Wall of Pain. But there's definitely an arm leading away from the hand. I mean, there'd have to be, right? Not just a magic floating hand.

We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.

The trajectory curves produced by the ball thrown into the air or the orbital curves of the planets orbiting the sun were of great interest to mathematicians. Treating algebraic systems was developed by medieval Islam scholars. Descartes showed how to use the algebraic term (x, y) to describe a geometric shape, showing what is known as Cartesian coordinates and how they were drawn using x, y and graphs. A straight line graph has characteristics that are easy to calculate. 카톡【AKR331】텔레【RDH705】라인【SPR331】위커【SPR705】 저희는 7가지 철칙을 바탕으로 거래를 합니다. 고객들과 지키지못할약속은 하지않습니다 1.정품보장 2.총알배송 3.투명한 가격 4.편한 상담 5.끝내주는 서비스 6.고객님 정보 보호 7.깔끔한 거래 포폴,에토미,수면제 팔아요 The known formula from the Babylonian times was able to calculate the area under the straight line. This slope (the rate of change represented by the slope of the straight line) is the value of the y coordinate divided by the change of the associated x coordinate. However, these values ​​are more difficult to calculate in the curve. Before Newton, mathematicians realized that one way to do this was to calculate an approximation. Calculate the curve as continuous straight lines, and the area under the curve as continuous squares and triangles. Using more or less rectangles and triangles, you can get a more accurate approximation, but this is still only an approximation. Newton began challenging this problem before he reached Ulussof. In February 1665 he was still in the third year of college. He knew that the French mathematician Fermat and his mentor Bera both explained the formula for a particular curve. He began to wonder if they could be generalized to all curves. "I got a hint about this method from how to draw Fermat's tangents and generalized it," he later said. The key to this problem was his ability to use infinite water. Newton realized this. Instead of adding to infinity, the sum associated with an infinite series is similar to a finite set of goals or limits. And we could use this to find the curve as a rectangle. Effective using infinite numbers and giving small squares to the area under the curve. This is 'integral'.

By the time Columbus discovered America, the Indians were already using beads for decoration. Beads were made from shells, bones, claws, stones, and minerals. The Algonquin and Iroquois tribes of the eastern coast made beads from clam, conch, periwinkle, and other seashells. These beads were used as a medium of exchange by the early Dutch and English colonists. They were called “wampum,” a contraction of the Algonquin “wampumpeak” or “wamponeage,” meaning string of shell beads. The purple beads had twice the value of the white ones. The explorer, followed by the trader, missionary and settler, soon discovered that he had a very good trade item in glass beads brought from Europe. The early beads that were used were about 1/8 inch in diameter, nearly twice as large as beads in the mid-1800’s. They were called pony beads and were quite irregular in shape and size. The colors most commonly used were sky-blue, white, and black. Other less widely used colors were deep bluff, light red, dark red, and dark blue. The small, round seed beads, as they are called, are the most generally used for sewed beadwork. They come in a variety of colors. Those most commonly used by the Indians are red, orange, yellow, light blue, dark blue, green, lavender, and black. The missionaries’ floral embroidered vestments influenced the Woodland tribes of the Great Lakes to apply beads in flower designs. Many other tribes, however, are now using flower designs. There are four main design styles used in the modern period. Three of the styles are largely restricted to particular tribes. The fourth style is common to all groups. It is very simple in pattern. The motifs generally used are solid triangles, hourglasses, crosses, and oblongs. This style is usually used in narrow strips on leggings, robes, or blankets. Sioux beadwork usually is quite open with a solid background in a light color. White is used almost exclusively, although medium or light blue is sometimes seen. The design colors are dominated by red and blue with yellow and green used sparingly. The lazy stitch is used as an application. The Crow and Shoshoni usually beaded on red trade or blanket cloth, using the cloth itself for a background. White was rarely used, except as a thin line outlining other design elements. The most common colors used for designs are pale lavender, pale blue, green, and yellow. On rare occasions, dark blue was used. Red beads were not used very often because they blended with the background color of the cloth and could not be seen. The applique stitch was used. Blackfoot beadwork can be identified by the myriad of little squares or oblongs massed together to make up a larger unit of design such as triangles, squares, diamonds, terraces, and crosses. The large figure is usually of one color and the little units edging it of many colors. The background color is usually white, although other light colors such as light blue and green have been used. The smallness of the pattern in Blackfoot designs would indicate this style is quite modern, as pony trading beads would be too large to work into these designs. Beadwork made in this style seems to imitate the designs of the woven quill work of some of the northwestern tribes with whom the Blackfoot came in contact.

There are only a limited number of sporadic groups, and one of them does indeed have the geometric interpretion with the highest number of dimensions. It's the Monster Group, and the shape it corresponds to can exist only in 196,883 dimensions. This boggles my mind. As you travel up past hundreds of thousands of dimensions, with only a few predictable infinite families of shapes to keep you company, suddenly, out of the blurred monotony, a shape flashes into existence for a single dimensional space. It wasn't there in 196,882D and has gone again by 196,884D. In that one tiny window, a shape beyond any human comprehension exists. It is a real mathematical object, as much as a triangle or a cube. The title of Griess's 1982 paper gives the Monster its other, more affectionate name: the Friendly Giant. We will never be able to picture the Friendly Giant, but we know it exists.

Plato argued that the material world of visible things was but a shadow of the true reality of eternal forms. He proceeds to explain the nether world of eternal blueprints most completely in the case of the elements of matter: earth, air, fire, and water. These he represents by geometrical solids: the earth by a cube, water by an icosahedron, air by an octahedron, and fire by a tetrahedron. His position is that ultimately the elements are just these solid geometrical shapes not simply that they possess geometrical shapes as one of their properties. The transmutation of elements one into the other is then explained by the merger and dissolution of triangles. This strictly mathematical description characterizes Plato's discussion of many other physical problems, For him, mathematics is a pointer to the ultimate reality of the world of forms that overshadows the visible world of sense data. The better we can grasp it, the closer we can come to true knowledge. Thus, for Plato, mathematics is more fundamental, truer, closer to the eternal forms of which the visible world is an imperfect reflection, than the objects of physical science. Because the world is mathematical at its deepest level, all visible phenomena will have mathematical aspects and be describable by mathematics to a greater or lesser extent, determined by their closeness to their underlying forms.

Without a strong foundation to steady you and a set of values to guide you, you stop being someone with limitless potential and become someone defined only by your pain. Unfortunately pain often screams louder than potential in our minds.

One of the most common treats associated with the holiday is a triangle-shaped pastry known as ‘Haman’s ears,’ which people eat in celebration of the destruction of Haman, enemy of the Jews

The structure of this facility is shaped like the Durga triangle. Each leg adds to a sum of twenty,

Now when I meditate, I spend half of my time receiving love and half of my time giving love back to the universe. I think about what it is I need from the universe, and I give that very thing back. For example, if I wake up heartbroken over a failed work project, not only do I ask for the strength and guidance to overcome the hurdle, but I also send love to everyone else waking up heartbroken who may be feeling just like me because of their failed work project. I think about those who need help and how I might possibly help them. I declare that part of my purpose is to serve the world around me. I set my intention of being a good partner to the universe.

The only thing you can control in this life is the relationship you have with yourself. Prioritize it, nurture it, make it the foundation of who you are. That way, no matter what new hurdles come your way each day, you can always come home to a relationship with yourself.

THERE is a place in front of the Royal Exchange where the wide pavement reaches out like a promontory. It is in the shape of a triangle with a rounded apex. A stream of traffic runs on either side, and other streets send their currents down into the open space before it. Like the spokes of a wheel converging streams of human life flow into this agitated pool. Horses and carriages, carts, vans, omnibuses, cabs, every kind of conveyance cross each other's course in every possible direction. Twisting in and out by the wheels and under the horses' heads, working a devious way, men and women of all conditions wind a path over. They fill the interstices between the carriages and blacken the surface, till the vans almost float on human beings. Now the streams slacken, and now they rush amain, but never cease; dark waves are always rolling down the incline opposite, waves swell out from the side rivers, all London converges into this focus. There is an indistinguishable noise—it is not clatter, hum, or roar, it is not resolvable; made up of a thousand thousand footsteps, from a thousand hoofs, a thousand wheels—of haste, and shuffle, and quick movements, and ponderous loads; no attention can resolve it into a fixed sound. Blue carts and yellow omnibuses, varnished carriages and brown vans, green omnibuses and red cabs, pale loads of yellow straw, rusty-red iron cluking on pointless carts, high white wool- packs, grey horses, bay horses, black teams; sunlight sparkling on brass harness, gleaming from carriage panels; jingle, jingle, jingle! An intermixed and intertangled, ceaselessly changing jingle, too,of colour; flecks of colour champed, as it were, like bits in the horses' teeth, frothed and strewn about, and a surface always of dark-dressed people winding like the curves on fast-flowing water. This is the vortex and whirlpool, the centre of human life today on the earth. Now the tide rises and now it sinks, but the flow of these rivers always continues. Here it seethes and whirls, not for an hour only, but for all present time, hour by hour, day by day, year by year.

Look for geometric shapes in your environment. Pay attention to the patterns in objects, but also their influence in the abstract. How does it feel when people are in pairs, lines, circles, or triangles? When are bridges in effect? Try to get in touch with the archetypical energies of different shapes in different circumstances.

Shirt" The back, the yoke, the yardage. Lapped seams, The nearly invisible stitches along the collar Turned in a sweatshop by Koreans or Malaysians Gossiping over tea and noodles on their break Or talking money or politics while one fitted This armpiece with its overseam to the band Of cuff I button at my wrist. The presser, the cutter, The wringer, the mangle. The needle, the union, The treadle, the bobbin. The code. The infamous blaze At the Triangle Factory in nineteen-eleven. One hundred and forty-six died in the flames On the ninth floor, no hydrants, no fire escapes— The witness in a building across the street Who watched how a young man helped a girl to step Up to the windowsill, then held her out Away from the masonry wall and let her drop. And then another. As if he were helping them up To enter a streetcar, and not eternity. A third before he dropped her put her arms Around his neck and kissed him. Then he held Her into space, and dropped her. Almost at once He stepped to the sill himself, his jacket flared And fluttered up from his shirt as he came down, Air filling up the legs of his gray trousers— Like Hart Crane’s Bedlamite, “shrill shirt ballooning.” Wonderful how the pattern matches perfectly Across the placket and over the twin bar-tacked Corners of both pockets, like a strict rhyme Or a major chord. Prints, plaids, checks, Houndstooth, Tattersall, Madras. The clan tartans Invented by mill-owners inspired by the hoax of Ossian, To control their savage Scottish workers, tamed By a fabricated heraldry: MacGregor, Bailey, MacMartin. The kilt, devised for workers To wear among the dusty clattering looms. Weavers, carders, spinners. The loader, The docker, the navvy. The planter, the picker, the sorter Sweating at her machine in a litter of cotton As slaves in calico headrags sweated in fields: George Herbert, your descendant is a Black Lady in South Carolina, her name is Irma And she inspected my shirt. Its color and fit And feel and its clean smell have satisfied Both her and me. We have culled its cost and quality Down to the buttons of simulated bone, The buttonholes, the sizing, the facing, the characters Printed in black on neckband and tail. The shape, The label, the labor, the color, the shade. The shirt.

must reason your way through the problem. Using line only, draw one simple geometric shape, such as a square, triangle or circle. Without overlapping or intersecting, draw a different shape. Now, draw another. Choose your favorite. Make the other 2 like your favorite. Enlarge one of the shapes. Reduce one of them. Make one shape touch one edge of the page. Make the other

track, each one mile long, laid end to end (see figure 1). The tracks are nailed down at their end points but simply meet in the middle. Now, suppose it gets hot and the railroad tracks expand, each by one inch. Since they are attached to the ground at the end points, the tracks can only expand by rising like a drawbridge. Furthermore, these pieces of track are so sturdy that they retain their straight, linear shape as they go up. (This is to make the problem easier, so stop complaining about unrealistic assumptions.) Here is your problem: Consider just one side of the track. We have a right triangle with a base of one mile, a hypotenuse of one mile plus one inch. What is the altitude? In other words, by how much does the track rise above the ground?

A curious Roman “literacy triangle” centered on three groups: the legions, easily the most literate mass institution in the late Republic; the Christians; and most bizarrely, the slaves—particularly Greek slaves—who did much of Rome’s writing, and even its reading.

Western science has made nature intelligible in terms of its symmetries and regularities, analyzing its most wayward forms into components of a regular and measurable shape. As a result we tend to see nature and to deal with it as an "order" from which the element of spontaneity has been "screened out." But this order is maya, and the "true suchness" of things has nothing in common with the purely conceptual aridities of perfect squares, circles, or triangles - except by spontaneous accident. Yet this is why the Western mind is dismayed when ordered conceptions of of the universe break down. and when the basic behavior of the physical world is found to be a "principle of uncertainty.

When a thin stream of white light passes through a prism, the light is separated into the respective colours of the rainbow on the opposite side. The human body has the energetic structure of two white equilateral triangles; one upright and one inverted, on top of each other. These triangular prisms construct the shape of a Star Tetrahedron or a 3D Star of David. If you can visualize a stream of white light shining down into your energetic structures and separating the light into the seven colors of the rainbow, then you can now understand what gives us the respective colors of the seven Primary Chakras. The white light shining down upon us represents Unconditional Love and the colors of the rainbow represent all of our collective emotions, behaviours, wants, needs and spiritual abilities. Our filters are allowing certain colors to shine more predominantly while at the same time dimming others due to inactivity. Our filters are therefore limitations that are giving us an incomplete form of existence. Those who are considered Enlightened have learned to focus on the pure white light behind our energetic structures.

we now know that UFOs apparently come in an array of shapes and sizes. They are shaped like ovals, cigars, triangles, trapezoids, disks, spheres, coins flipped on their sides, boomerangs, crescents, hexagons, Vs, lenticulars, diamonds. They are black, silver, metallic, smooth, textured, and can change colors and shapes. They range in sizes as huge as a football stadium and as small as a VW. The crafts reportedly move at incredible speeds, can hover, hang seemingly motionless in the sky, and are capable of astounding maneuvers. They usually make no sound, don’t have wings, often have a dome on top, and even lit portholes.

My fat years were when I was not human shaped. I was a 16-stone triangle, with inverted triangle legs, and no real neck. And that’s because I wasn’t doing human things. I didn’t walk or run or dance or swim or climb up stairs; the food I ate wasn’t the stuff that humans are supposed to eat. No one is supposed to eat a pound of boiled potatoes covered in Vitalite, or a fist-sized lump of cheese on the end of a fork, wielded like a lollipop. I had no connection to or understanding of my body. I was just a brain in a jar. I wasn’t a woman.

The page contained a single, unfamiliar symbol. It looked like a backward S with the diagonals of an open triangle cutting through it. A straight line bisected both shapes. Could be creepy. Could be nothing.

3. Plato, Timaeus 56c–57c. Plato’s devotion to mathematics is well-known, and this influence on Ficino is discussed below. Lindberg points out that, for Plato, “the cosmos is essentially mathematical.” Plato considered, “not that the elements have triangular shapes, but that the elements ultimately are triangular shapes.” The transformation of the elements is “the dissolution and recombination of triangles.” For Plato, “‘mathematical objects are closer to the Forms than physical [objects are]

I know for a fact the first UFOs reported in modern times, just before the crash at Roswell, were boomerang shaped and were reported as 'flying saucers' to describe the motion of their flight, like a saucer skipping over water. Yet immediately after, people saw and photographed saucer-shaped objects. Boomerang-shaped objects were rarely seen. Now people mostly report seeing large triangles instead of discs or boomerangs, because that is what they are told to expect to see.

The FRFT has a particularly interesting property when applied to 2D images. By linearly varying �along one dimension (!x or !y) while keeping it constant in the other, we may ‘carve out’ shapes, such as triangles, in the frequency space. We will exploit this property in Sect

Better.” He nodded. “When in doubt, think back to the basic shapes to guide your work—triangles, circles, rectangles—there’s a system.

Denys Overholser reported back to me on May 5, 1975, on his attempts to design the stealthiest shape for the competition. He was wearing a confident smile as he sat down on the couch in my office with a preliminary designer named Dick Scherrer, who had helped him sketch out the ultimate stealth shape that would result in the lowest radar observability from every angle. What emerged was a diamond beveled in four directions, creating in essence four triangles. Viewed from above the design closely resembled an Indian arrowhead. Denys was a hearty outdoorsman, a cross-country ski addict and avid mountain biker, a terrific fellow generally, but inexplicably fascinated by radomes and radar. That was his specialty, designing radomes—the jet’s nose cone made out of noninterfering composites, housing its radar tracking system. It was an obscure, arcane specialty, and Denys was the best there was. He loved solving radar problems the way that some people love crossword puzzles. “Boss,” he said, handing me the diamond-shaped sketch, “Meet the Hopeless Diamond.” “How good are your radar-cross-section numbers on this one?” I asked. “Pretty good.” Denys grinned impishly. “Ask me, ‘How good?’ ” I asked him and he told me. “This shape is one thousand times less visible than the least visible shape previously produced at the Skunk Works.” “Whoa!” I exclaimed. “Are you telling me that this shape is a thousand times less visible than the D-21 drone?” “You’ve got it!” Denys exclaimed. “If we made this shape into a full-size tactical fighter, what would be its equivalent radar signature… as big as what—a Piper Cub, a T-38 trainer… what?” Denys shook his head vigorously. “Ben, understand, we are talking about a major, major, big-time revolution here. We are talking infinitesimal.” “Well,” I persisted, “what does that mean? On a radar screen it would appear as a… what? As big as a condor, an eagle, an owl, a what?” “Ben,” he replied with a loud guffaw, “try as big as an eagle’s eyeball.

Dear reader, I need you to believe me that I had already written the chapter about triangle laws where I called Heron’s Formula stupid (because it is) when I read the official HP documentation for this technique, and came across the sentence ‘The area of a triangle is given by Heron’s formula.’ I honestly just pushed back my chair, stood up, and silently left the room to go for a walk outside. The next time you print from your phone, know that both it and your printer are searching through a tetrahedron mesh and applying Heron’s now-no-longer-as-stupid Formula.

History is like this: it jigs, and it spins and turns on a reel, and the things you remember move from pillar to post; from promenade and pier to harbour wall and bridge. They jump, they flicker, they spin and reel from one place to another. Time is unreliable; it moves fast and slow. So the painter who is out today - the weather would be fine, they said - must follow a steadier line. 'I follow a slow line,' says the painter. Three lines, two people and a bridge until they form a triangle: the girls in white on the other side of the harbour and the white tower. I see the people, but they are small and insignificant. What matters is the sky and the sea, that pillar, tall and proud, the lighthouse. There is my picture. And I stand beneath the shadow of the bridge, and I see the sun crossing the sky, the gulls flying over. I see people moving around the white column looking up. We are all looking up at the sky. And the painter watches the moving shapes, and he will remember them: they are seabirds and soon they will fly off, back to their mother, the woman who waits for them along the pier.

There were four people in the room. All men. All with their mouths open in shock. There was Dr Houllier, at his desk. Two guys in suits, maybe in their forties, near the door. And one in the centre, facing me. He looked like he was in his sixties. He had an angular face with a burn scar on his left cheek. It was triangle-shaped. He had bulging eyes. Abnormally long arms and legs. Three fingers were missing from his right hand. He was using his thumb and remaining finger to pinch the bezel of his watch. I said, ‘Dendoncker?’ He didn’t react. I jumped off the tray. He fumbled in his jacket pocket. Produced a gun. A revolver. An NAA-22S. It was a tiny little thing. Less than four inches long.

What are you wearing?” I ask Andarna, who struts out from under Tairn’s wing with her head held high, boasting a contraption that reminds me of a saddle but isn’t. “The wingleader had it made for me. See? It hooks to Tairn’s.” I can’t help but smile as I see the shape of the triangle on Andarna’s back that I’m sure fits the one on Tairn’s chest. “It’s amazing.” “It’s just in case I can’t keep up. Now I can come along!

In the thicket of dark hair on his chest, her fingers entwine with Fiona’s, and a softly exhaled sigh of contentment escapes her blonde-haired lover’s lips. The symmetry of them at each side of him is imperfect, but then this is true in much of nature. Not everything is as true as a butterflies wing. She pushes her nose into his hair and basks in his scent. Nature, symmetrical or otherwise, also abhors a vacuum. It is Fiona who breaks the silence, perhaps unsurprisingly. ‘I’ve been thinking about your book.’ She murmurs, her fingers forming triangle shapes with Jutta’s beneath the cover, breaking and reforming them again in unseen silence. A game without a word between them, a twinned tickle above John’s steady heart.

jitterbug Few ingredients combine to create as much comfort as do coffee and chocolate. The Jitterbug includes this star duo while also tossing in some coconut, vanilla, and, of course, alcohol, in the form of rum. It’s essentially a vacation in a glass, but one so filled with activities that you need a little pick-me-up in order to make it through cocktail hour. Teetotalers can use rum extract mixed with water to simulate the liquor content in this drink. TIME: 5 MINUTES SERVES: 1 2 tablespoons coconut sugar 1½ teaspoons unsweetened cacao powder 1 ounce Vanilla Syrup 1½ ounces dark rum 2 ounces coconut cream 3 ounces cold-brew coffee 3 coffee beans, for garnish Mix the coconut sugar and cacao powder on a small round plate until fully combined. Fill a large coupe (10 to 12 ounces) with ice and water to chill the glass, then discard them when the glass is sufficiently cold. Using a sponge or paper towel, moisten the rim of the chilled glass with a bit of vanilla syrup. Turn the glass upside down and dip it into the chocolate coconut sugar, without twisting. Make sure the rim is thoroughly coated. Combine the rum, coconut cream, vanilla syrup, and coffee in a cocktail shaker with ice. Shake vigorously. Strain into the sugared-rim coupe. Garnish with the coffee beans to make a triangle shape. Serve and enjoy.

A triangle, the strongest of all shapes,

Flower of life: A figure composed of evenly-spaced, overlapping circles creating a flower-like pattern. Images of the Platonic solids and other sacred geometrical figures can be discerned within its pattern. FIGURE 3.14 FLOWER OF LIFE The Platonic solids: Five three-dimensional solid shapes, each containing all congruent angles and sides. If circumscribed with a sphere, all vertices would touch the edge of that sphere. Linked by Plato to the four primary elements and heaven. FIGURE 3.15 PENTACHORON The applications of these shapes to music are important to sound healing theory. The ancients have always professed a belief in the “music of the spheres,” a vibrational ordering to the universe. Pythagorus is famous for interconnecting geometry and math to music. He determined that stopping a string halfway along its length created an octave; a ratio of three to two resulted in a fifth; and a ratio of four to three produced a fourth. These ratios were seen as forming harmonics that could restore a disharmonic body—or heal. Hans Jenny furthered this work through the study of cymatics, discussed later in this chapter, and the contemporary sound healer and author Jonathan Goldman considers the proportions of the body to relate to the golden mean, with ratios in relation to the major sixth (3:5) and the minor sixth (5:8).100 Geometry also seems to serve as an “interdimensional glue,” according to a relatively new theory called causal dynamical triangulation (CDT), which portrays the walls of time—and of the different dimensions—as triangulated. According to CDT, time-space is divided into tiny triangulated pieces, with the building block being a pentachoron. A pentachoron is made of five tetrahedral cells and a triangle combined with a tetrahedron. Each simple, triangulated piece is geometrically flat, but they are “glued together” to create curved time-spaces. This theory allows the transfer of energy from one dimension to another, but unlike many other time-space theories, this one makes certain that a cause precedes an event and also showcases the geometric nature of reality.101 The creation of geometry figures at macro- and microlevels can perhaps be explained by the notion called spin, first introduced in Chapter 1. Everything spins, the term spin describing the rotation of an object or particle around its own axis. Orbital spin references the spinning of an object around another object, such as the moon around the earth. Both types of spin are measured by angular momentum, a combination of mass, the distance from the center of travel, and speed. Spinning particles create forms where they “touch” in space.

Abstraction is important, abstraction is necessary, otherwise we can't perceive the shapes—an ellipse, a triangle—that structure experience, provide its lattice, but she can be cold, the way stars are cold, beautiful cold light that bends around the sun, changing the star's apparent location, a problem of measurement, prosody, the ancient dream of conspiring (the car beeped and the lights flashed twice as I unlocked it)—a dream, not a theory. But in reality, I just mumbled something about having to get home, I'm sure your sister will show up soon. When I got into the car, he slowly raised an arm; I couldn't tell if the gesture meant goodbye or wait. Now I think it meant goodbye and wait.

But Gwydion did not follow them there. Long after the last of them was snoring he still stood erect and alone in the darkened chamber, and with a slim wand traced designs at his feet by the moon’s white glow; circles he traced, and triangles, and other shapes and symbols whose power we do not know. . .

Here is a more modern approach to thinking about what the Ancients conveyed with their system of light angles. Imagine the square as representing even numbers and the triangle as representing odd numbers. It is hard to draw shapes with one or two sides; instead, they used three and four as iconic representations. The even numbers (square) represent freezing or a type of stasis. The odd numbers (triangle) represent growth or a type of expansion.

A movement in Hotel Valhalla’s garden caught my eye. I looked closer. And immediately wished I hadn’t. Legs spraddled and wearing nothing but a pair of leather short-shorts, Thor was bending, twisting, and squat-farting. Strapped to his ankle was a device shaped like a valknut, a design of three interlocking triangles. “What in the name of me is my son doing?” I asked in bewilderment. “Who, Thor?” Heimdall looked over his shoulder. “He’s warming up for a jog through the Nine Worlds.” “A jog. Through the Nine Worlds,” I repeated. “Yep. If he logs ten million steps on his FitnessKnut—that thing around his ankle—he earns a cameo appearance on a Midgard television show. That’s why I had his goats. He said they’d slow him down.” “That’s ridiculous!” “Not really. Those goats aren’t exactly speedy. Unless they’re plummeting, that is.” “Not what I meant. . . . Never mind.” I cupped my hands around my mouth. “Thor! Thor!” Heimdall tapped his ears. “He’s listening to rock.” “Rock ’n’ roll?” “No, just rock. Boulders, gravel, stones.

I grabbed the hanger and ducked back into my room to slip on my dress, and it was, indeed, flattering. The red fabric gathered at the bust, swept down my sides, and came out in a wispy trumpet shape at my knees. I put on the leather jacket, and though I never would have picked this out myself, again, Emerald was right. I didn't feel so green and scared, but rather strong and protected. No wonder so many women in New York wore leather. "You look incredible!" Emerald jumped up and down when I stepped out into the living room. Then she calmed herself by admiring her work. "Oh, the red looks so good on your skin. And the leather. It's too perfect. Keep those. They don't fit me anymore." "Wow!" Elliott said. "You look great." "One last thing," Emerald added. "Take this purse and seal the deal. It's the latest Proenza Schouler bag. The PS1 is done and now they're onto this. It won't be in stores for another year." I looked down at the purse, a blue, green, and gold rectangle with inlaid triangles and textures. Some pony hair, some leather, maybe snake or skate?

Volcanologists have a tendency to drift westward in the United States because that's where the action is tectonically. North and Central America occupy the western portion of a big slab of the earth's crust known as the North American plate, which is shaped roughly like an inverted triangle. The bottom of the triangle is in the middle of the Atlantic Ocean halfway between South America and Africa. The top two corners are north of Siberia and northwest of Greenland. This piece of the earth's crust is constantly jockeying for position with the tectonic plates that surround it. In some places, like Iceland, the North American plate is pulling away from an adjoining plate, and molten material is welling up to fill the gap. In other places, like California, the North American plate is slipping past an adjoining plate, often getting stuck and then breaking free in earthquake-inducing jolts. But the most dramatic and dangerous of these plate interactions occur in the Pacific Northwest. There, in a line from southern British Columbia to Northern California, a small piece of oceanic crust is being forced under the edge of the North American plate at the rate of a few inches per year.

If what made America great was its ingenious openness to different cultures, then the small triangle of land at the southern tip of Manhattan Island is the New World birthplace of that idea, the spot where it first took shape.

Take off your jeans.” She smiled up at him. “I can see it is dangerous. Now, why would I want to do something that is obviously going to get me in big trouble?” His hand stroked her waist, traced each rib under her satin skin. He could feel her tremble in answer. “Because I want you to. Because you want to please me.” Shea laughed out loud, her eyebrows winging upward. “Oh, really? That’s what I want to do?” He nodded solemnly. “Above all else.” She moved away from him, deliberately enticing him. “I see. I didn’t know that. Thank you for pointing it out.” “You are welcome,” he countered gravely, his eyes following her every movement. Shea was graceful and seductive, a siren beckoning him to follow. His body stirred, and ruefully he decided the pools might be a safer place to watch her. He entered the nearest hot springs, wincing as the bubbles added to the sensation of fingers stroking his sensitive skin. Her taunting laughter followed him, brushing provocatively at his nerve endings with the very tip of a flame. Shea felt an unexpected rush of power. Jacques was such an invincible being, yet she could see his body trembling, hear his heart beating even over the roar of the falls. All for her. Deliberately she slid her jeans low, exposing her slender body, the fiery red triangle beckoning him, teasing him. Her shirt floated to the ground, and she lifted her arms skyward, a seductress tempting the heavens. Jacques’ body tightened in anticipation. His black gaze didn’t miss one graceful sway, not one rhythmic movement of her shapely form. Shea waded into the pool slowly, allowed the bubbling water to lap at her body like a sensuous tongue. She moved out into the middle of the water and finally slipped under the surface like a sleek, gleaming otter. Jacques sat on the edge of a rock, his legs under the water, bubbles lapping around his hips. He watched her swim toward him, away, her body flashing in the water, breaking the surface, disappearing once again.

was also evident in the two leaders’ declaration that a closer US-India partnership was not just important for their countries but “indispensable” for the peace, prosperity, and stability of the Indo-Pacific. But left unsaid and unseen was a crucial factor that had been driving this partnership: China.

Another middle-sized (six thousand) Southern university on the move. Conservative by national standards, although it severed its ties to the ultraconservative Southern Baptists in 1986. ACC athletics and Greek parties shape the social scene. The strategic central North Carolina location is accessible to mountains, beaches, and the famous research triangle. (Rising Stars - Wake Forest University)

Research conducted by Egyptian architect Dr. Ibrahim Karim over thirty years has demonstrated the amazing effects of geometrical shapes. One study, led by the Egyptian National Research Centre, showed that simple shapes could stop the replication of bacteria. Most frequently, he surrounded the subjects of his experiments with materials formed into various shapes, such as triangles, squares, or circles; he has also created an extensive index of thought-provoking shapes that integrate other shapes, such as spirals and lines, each of which promotes different changes, such as the healing of heart disease or the growth of new cells in the body.

When that triangular-shaped mountain, with its base spread so wide, loomed closer, Satoru said, “That’s Mt. Fuji.” On TV and in photos, it looks just like a triangle that has flopped down onto the earth. But when you see it in real life, it feels overwhelming. Like it’s closing in on you.

David S. Young, Chapter: Foresight, the Lead that the Leader Has. Through foresight we help congregations shape an incremental, measurable three-year plan. This is a very artistic process. I use a triangle and have the church members put their vision on the top, the strengths on the lower angle, and the need on the other angle. I put foresight in the center.

Shape-shifting your physical boundaries into a circle keeps others’ illnesses, work, and malignancies out of your energetic fields and encourages connection. Shaping them into a square provides immediate protection and repels vampirism and psychic attacks of any sort; establishing new boundaries in a square is especially beneficial if you are a no-boundary or psychically sensitive person. Using a triangle invites a new response or outcome. Invoke more power from these shapes by wearing jewelry with the noted shape and color, or even drawing the desired symbol on a part of your body.

If your problems are physical, you can also intuitively picture a square around the entirety of the field; this shape will keep you safe until you heal. If your challenges are relational in nature, use a circle, and if they’re mental, try a triangle.

In addition to evaluating the colors of our emotional boundary, use your psychic vision to look for shapes stuck in your field. A warped or entrenched square indicates depression or repressed emotions. A broken circle tells you the causal issue originated in a relationship, and a deformed triangle suggests anxiety. An X indicates an energy marker or perhaps the location of a cord or curse. The spiritual section of this chapter discusses how to deal with these types of interference. In general, fixing the misshapen symbol boosts your emotional field and helps you become clearer about the true nature of your feelings and thoughts.

Noa sleeps with the curtains open, allowing as much moonlight as possible to flood her bedroom, allowing her to see each and every picture on the walls, if only as a pale glimmer. It took Noa weeks to perfect the art display. Reproductions of Monet's gardens at Giverny blanket one wall: thousands of violets- smudges of purples and mauves- and azaleas, poppies, and peonies, tulips and roses, water lilies in pastel pinks floating on serene lakes reflecting weeping willows and shimmers of sunshine. Turner's sunsets adorn another: bright eyes of gold at the center of skies and seas of searing magenta or soft blue. The third wall is splashed with Jackson Pollocks: a hundred different colors streaked and splattered above Noa's bed. The fourth wall is decorated by Rothko: blocks of blue and red and yellow blending and bleeding together. The ceiling is papered with the abstract shapes of Kandinsky: triangles, circles, and lines tumbling over one another in energetic acrobatics.

These are the 57 PIECES FOR THE INITIAL BASIC WARDROBE IN TRANS-SEASONAL FABRIC (best if KNITTED with stretch) See the List below in linear order with Cycles. The 27 for Cycle 2 are starred [*] with details listed for each. Later you can add 2 more seasons to this INITIAL WARDROBE FOR YOUR WORK & FULL LIFESTYLE. 6 - (3 SETS) UNDER SHAPERS of stretch to hold the body tight. (Cycle 1) *2 - JACKET LONG AND LEAN, 2 for each season, plus Holiday and Resort. (Cycle 1 & 2) *2 - TROUSERS (easy fit) flattering on your shape either:fitted, flared or straight. 2 for each season plus Holiday and Resort (Cycles 1 & 2) *1 - PENCIL SKIRT or a fitted, flared, or stitched-down-pleats, flattering Silhouette. (Cycle 1 & 2) *1 - JEAN, dark navy denim or black knit, both with stretch. (Cycle 1 & 2) 7 - TANKS, for the bottom necessary layer (Cycle 1) *3 - TOPS/BLOUSES/SHIRTS (Cycle 1 & 2) *1 - DAY-DRESS (Cycle 1 & 2) 1 – L.B.D. (Cycle 1, then as needed) 1 - EVENING BLACK JERSEY GOWN (Cycle 1, then as needed) 2 - RAINCOAT WITH ZIP OUT LINING AND AN UMBRELLA THAT IS FOLDABLE (Cycle 1 = 2) then, a WINTER COAT (Cycle 2 = 1, other Cycles select a jacket/sweater coat/art piece coat)

*1 - WOOL COAT in black (Cycle 2) *2 - NOVELTY SHOES (Cycle 2) *2 - STATEMENT NECKLACES (Cycles 1 & 2) *2 - EARRINGS (Cycles 1 & 2) *1 - SCARF (Cycle 2) 1 - SHAWL (Cycle 1) 1 - BELT (Cycle 1) *3 - BLACK OPAQUES, hosiery/socks/tights. (Cycle 1 & 2) 1 - BLACK FLATS (Cycle 1) 1 - BLACK HIGHER HEELED STILETTOS (Cycle 1) 1 - BLACK HIGHER HEELED STILETTOS TALL BOOTS (Cycle 1) 1 - BLACK LOW FAT BOOT IN A POINTED-TOE (Cycle 1) 6 - (3 SETS OF 2) UNDER GARMENTS (Cycle 1) *4 - (2 SETS OF 2) WORK-OUT (Cycles 1 & only 2 in Cycle 2) *1 - DAY BAG (all Cycles) 1 - EVENING BAG (Cycle 1, then as needed) *1 - ROBE, such as terry cloth then later a warmer or cooler one. (Cycles 1 & 2, then as needed) *1 - PJ (Cycle 1 & 2, then as needed) *1 - SLIPPERS/FLIP-FLOPS (Cycle 1 slippers & Cycle 2 flip flops hence forth 1 casual or sandal) 1 - SWIMSUIT (Cycle 1, then as needed) 1 - COVER-UP (Cycle 1, then as needed)

Discontinuity, bursts of noise, Cantor dusts—phenomena like these had no place in the geometries of the past two thousand years. The shapes of classical geometry are lines and planes, circles and spheres, triangles and cones. They represent a powerful abstraction of reality, and they inspired a powerful philosophy of Platonic harmony. Euclid made of them a geometry that lasted two millennia, the only geometry still that most people ever learn. Artists found an ideal beauty in them, Ptolemaic astronomers built a theory of the universe out of them. But for understanding complexity, they turn out to be the wrong kind of abstraction.

Power can be shaped.” Her hands move quickly, pulling at pieces of air, then using her fingers to form invisible shapes. Circles? Squares? Was that a triangle? It’s hard to tell when we can’t see. “Every shape has meaning. The points where we tie the power change that meaning. All of which you will need to memorize.” She reaches into the air again, then creates…a rhombus? “The shapes we combine layer the meanings, changing the rune. Will it activate immediately? Sit in suspended state? How many times can it activate before the rune depletes? It’s all decided here.” She seems to flip whatever she’s working on, then pulls another string and does…something. “Fucking weird,” Ridoc mumbles under his breath. “It’s like when you’re little and you ask your parents to drink from the teacup, knowing there’s no actual tea in it.” Rhiannon shushes him. “Once it’s ready”—Professor Trissa bends and grabs the board, then stands—“we place the rune. Until it’s placed, it has no meaning, no purpose, and will fade quickly. It’s tempering the rune that makes it an active magic.” She grabs what I assume is the rune she’s been tempering with her right hand, then pushes her palm into the wooden board. “This particular one is a simple heating rune.” “That was simple?” Sawyer asks. The board smokes, and I lean forward, my eyes widening. “And there you have it.” She turns the front of the board toward the fliers, then shows us. “Once you understand which shapes combine to make what symbols, the combinations are nearly limitless.” My jaw hangs open for a moment. The shapes have been burned into what I would have said was a decorative rune about ten minutes ago. I glance down at the illustration in my hands and wonder what the hell the dagger on my hip is supposed to do.

Something horrible will often lead to something great, whether it’s a lesson, a skill learned, or a layer of resilience.

Change the conversation from “I’m such a stupid person” to “I’m someone currently struggling to figure out a problem I’ve never experienced before.

The cube is a great 3D shape, and it’s so great partly because it’s so regular. In 2D, if you remember, we had our regular polygons which had all angles and edges the same, and now we can extend this to 3D. The 3D equivalent of a polygon is a polyhedron, and it’s made by joining polygons together in the third dimension. A cube is a polyhedron made by joining six square polygons together. A tetrahedron is a polyhedron made from four triangle polygons. Whereas polygons have only corners and edges, a polyhedron also has vertices where the polygon corners meet. A regular polyhedron is one made only from identical regular polygons and in which all the vertices are also exactly the same.