Unique Picture Quotes

I've called in the oracles and they were communing with the Fates. But you know how they are. I'm sure it'll come back as 'When the sky is green,m and the earth turns black, the Daimons will give you lots of flack. To kill the great awful one you seek, you'll have to find something unique.' Or some bullshit like that. I really hate Oracles. If I wanted to play mind games, I'd buy a Rubik's Cube. (Acheron) I don't know, Ash, you're pretty good at that. Sure you don't want to take up an Oracle position? (Kyrian) Picture this, General, my middle finger is extended all the way up, and aimed right at you. Now let me work. I have Daimons to track, Dark-Hunters to antagonize, and women to seduce. (Acheron)

It’s a strange and uniquely painful thing when you try to reach someone and instead you pass right through them, like a ghost; it makes you feel not all the way there yourself.

Consider a small child sitting on his mother's lap while she reads him a picture book. The picture book opens to a width that effectively places the child at the center of a closed circle - that of mother's body, arms, and the picture book... That circle, so private and intimate, is a place apart form the demands and stresses of daily life, a sanctuary in and from which the child can explore the many worlds offered in picture books. Despite all of our society's technological advances, it still just takes one child, one book, and one reader, to create this unique space, to work this everyday magic.

We live" writes Pursewarden somewhere, "lives based upon selected fictions. Our view of reality is conditioned by our position in space and time - not by our personalities as we like to think. Thus every interpretation of reality is based upon a unique position. Two paces east or west and the whole picture is changed.

No one would have guessed that the jagged pieces of our soul fit the puzzle in this box. We were considered the left over remnants that had no place, except the picture we wanted to create together.

To have a museum chronicling the great crime that was African slavery in the United States of America would be to acknowledge that the evil was here. Americans prefer to picture the evil that was there, and from which the United States-a unique nation, one without any certifiably wicked leaders throughout its entire history-is exempt. That this country, like every other country, has its tragic past does not sit well with the founding, and still all-powerful belief in American exceptionalism.

If a painting really works down in your heart and changes the way you see, and think, and feel, you don't think, 'oh, I love this picture because it's universal.' 'I love this painting because it speaks to all mankind.' That's not the reason anyone loves a piece of art. It's a secret whisper from an alleyway. Psst, you. Hey kid. Yes, you. ... You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entirely, an that's not even to mention the people separated from us by time -four hundred years before us, four hundred years after we're gone- it'll never strike anybody the same way and the great majority of people it'll never strike in any deep way at all but- a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

when someone else shows or tries to show an overly positive image of himself or herself to them, people generally tend to dissociate. They start thinking of the other person as someone different, someone they don’t actually know and can never completely trust.

I was too tired to think. I merely felt the town as a unique unreality. What was it? I knew -- the moon's picture of a town. These streets with their houses did not exist, they were but a ludicrous projection of the moon's sumptuous personality. This was a city of Pretend, created by the hypnotism of moonnight. -- Yet when I examined the moon she too seemed but a painting of a moon and the sky in which she lived a fragile echo of color. If I blew hard the whole shy mechanism would collapse gently with a neat soundless crash. I must not, or lose all.

Perspective has two definitions. Context: a sense of the larger picture of the world, not just what is immediately in front of us Framing: an individual’s unique way of looking at the world, a way that interprets its events

A skillful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no words written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished because undisturbed: and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.

What - what - what are you doing?" he demanded. "I am almost six hundred years old," Magnus claimed, and Ragnor snorted, since Magnus changed his age to suit himself every few weeks. Magnus swept on. "It does seem about time to learn a musical instrument." He flourished his new prize, a little stringed instrument that looked like a cousin of the lute that the lute was embarrassed to be related to. "It's called a charango. I am planning to become a charanguista!" "I wouldn't call that an instrument of music," Ragnor observed sourly. "An instrument of torture, perhaps." Magnus cradled the charango in his arms as if it were an easily offended baby. "It's a beautiful and very unique instrument! The sound box is made from an armadillo. Well, a dried armadillo shell." "That explains the sound you're making," said Ragnor. "Like a lost, hungry armadillo." "You are just jealous," Magnus remarked calmly. "Because you do not have the soul of a true artiste like myself." "Oh, I am positively green with envy," Ragnor snapped. "Come now, Ragnor. That's not fair," said Magnus. "You know I love it when you make jokes about your complexion." Magnus refused to be affected by Ragnor's cruel judgments. He regarded his fellow warlock with a lofty stare of superb indifference, raised his charango, and began to play again his defiant, beautiful tune. They both heard the staccato thump of frantically running feet from within the house, the swish of skirts, and then Catarina came rushing out into the courtyard. Her white hair was falling loose about her shoulders, and her face was the picture of alarm. "Magnus, Ragnor, I heard a cat making a most unearthly noise," she exclaimed. "From the sound of it, the poor creature must be direly sick. You have to help me find it!" Ragnor immediately collapsed with hysterical laughter on his windowsill. Magnus stared at Catarina for a moment, until he saw her lips twitch. "You are conspiring against me and my art," he declared. "You are a pack of conspirators." He began to play again. Catarina stopped him by putting a hand on his arm. "No, but seriously, Magnus," she said. "That noise is appalling." Magnus sighed. "Every warlock's a critic." "Why are you doing this?" "I have already explained myself to Ragnor. I wish to become proficient with a musical instrument. I have decided to devote myself to the art of the charanguista, and I wish to hear no more petty objections." "If we are all making lists of things we wish to hear no more . . . ," Ragnor murmured. Catarina, however, was smiling. "I see," she said. "Madam, you do not see." "I do. I see it all most clearly," Catarina assured him. "What is her name?" "I resent your implication," Magnus said. "There is no woman in the case. I am married to my music!" "Oh, all right," Catarina said. "What's his name, then?" His name was Imasu Morales, and he was gorgeous.

Any relationship with long-term potential has a honeymoon period, however brief, marked by the happy illusion that one's lover might be uniquely perfect. This fool's paradise is sustained by the elaborate deception artfully employed in every courtship: the diplomatic dodging of difficult issues, the careful concealing of unflattering flaws, and the strategic stressing of charming virtues. But as trust increases and each person grows weary of maintaining this initial beguilement, the blissfully blurry lens through which the other is perceived eventually refocuses to a clearer picture.

The players are connected. Each player, interpreting the music individually, constantly modulates and is modulated by the others. There is no final or “master” interpretation; the music is collectively created, and every performance is unique. This is Edelman’s picture of the brain, as an orchestra, an ensemble, but without a conductor, an orchestra which makes its own music.

Last night meant as much to me as it did to her and she painted it, capturing it in a way unique to Echo. […] Up close all those colors would look like chaos, but when viewed as a whole it creates this beautiful picture. In the end, that’s the best way to describe me and Echo, our relationship. Our love.

If you are lucky enough to have a childhood friend, try your hardest to grow old with them. These friends are a unique, irreplaceable breed. These friends lived through curfews and Polaroid pictures with you. These friends know your parents and siblings because they had to call your house first to speak with you. Your memories are not frozen in time on social media, but live on nonetheless. Most importantly, they remember the person you were before the world got ahold of you, so they have this crazy ability to love you no matter what. They are the living, breathing reflection of where you have been. And so, just when you think you’ve lost yourself for good, they are there to bring you face-to-face with your true self, simply by sharing a cup of coffee with them. As your world grows and becomes larger and more complicated than your backyard, even if you establish a life elsewhere, I hope your childhood friends remain lifelong allies, because mine have saved my life on more than one occasion.

Don’t compare the insides of your marriage to the outsides of other people’s marriages. Pictures don’t tell the truth. Smiling faces on Christmas cards don’t reveal the pain behind the scenes. While your struggles are very personal and often very painful, but they are not unique.

It is the simple truth that man does differ from the brutes in kind and not in degree; and the proof of it is here; that it sounds like a truism to say that the most primitive man drew a picture of a monkey and that it sounds like a joke to say that the most intelligent monkey drew a picture of a man. Something of division and disproportion has appeared; and it is unique. Art is the signature of man.

Norway, Iceland, Australia, Canada, Sweden, Switzerland, Belgium, Japan, the Netherlands, Denmark, and the United Kingdom are among the least religious societies on [E]arth. According to the United Nations' Human Development Report (2005) they are also the healthiest, as indicated by life expectancy, adult literacy, per capita income, educational attainment, gender equality, homicide rate, and infant mortality. Insofar as there is a crime problem in Western Europe, it is largely the product of immigration. Seventy percent of the inmates of France's jails, for instance, are Muslim. The Muslims of Western Europe are generally not atheists. Conversely, the fifty nations now ranked lowest in terms of the United Nations' [H]uman [D]evelopment [I]ndex are unwaveringly religious. Other analyses paint the same picture: the United States is unique among wealthy democracies in its level of religious adherence; it is also uniquely beleaguered by high rates of homicide, abortion, teen pregnancy, sexually transmitted disease, and infant mortality. The same comparison holds true within the United States itself: Southern and Midwestern states, characterized by the highest levels of religious literalism, are especially plagued by the above indicators of societal dysfunction, while the comparatively secular states of the Northeast conform to European norms.

God has a plan for everyone he created and none of his creations is meant to be purposeless. Every human being for that matter was brought forth with a specific and unique duty to uptake while he lives on earth.

I went to heaven, - 'Twas a small town, Lit with a ruby, Lathed with down. Stiller than the fields At the full dew, Beautiful as pictures No man drew. People like the moth, Of mechlin, frames, Duties of gossamer, And eider names. Almost contented I could be 'Mong such unique Society.

I think it was Alfred Hitchcock who said 90 percent of successful moviemaking is in the casting. The same is true in life. Who you are exposed to, who you choose to surround yourself with, is a unique variable in all of our experiences and it is hugely important in making us who we are. Seek out interesting characters, tough adversaries and strong mentors and your life can be rich, textured, highly entertaining and successful, like a Best Picture winner. Surround yourself with dullards, people of vanilla safety and unextraordinary ease, and you may find your life going straight to DVD.

To go through life and call it yours - your life - you first have to get your own pain. Pain that's unique to you. You can't just dip into the common bin and say 'That's enough!

Your names and your photos give you a unique identity. Make and maintain a good name in the hearts of people. Paint good photos in their minds.

Every one of us is like the pieces of a puzzle. Each one unique and with our own special place where only we can fit, and without every one of us, the picture wouldn’t be complete.

Words present us with little pictures, clear and familiar, like those that are hung on the walls of schools to give children an example of what a workbench is, a bird, an anthill, things conceived of as similar to all others of the same sort. But names present a confused image of people--and of towns, which they accustom us to believe are individual, unique like people--an image which derives from them, from the brightness or darkness of their tone, the color with which it is painted uniformly, like one of those posters, entirely blue or entirely red, in which, because of the limitations of the process used or by a whim of the designer, not only the sky and the sea are blue or red, but the boats, the church, the people in the streets.

The root cause of impostor syndrome is an unhelpful picture of what people at the top of society are really like. We feel like impostors not because we are uniquely flawed, but because we can’t imagine how equally flawed the elite must necessarily also be underneath their polished surfaces.

What is aura? A peculiar web of space and time: the unique manifestation of a distance, however near it may be. To follow, while reclining on a summer’s noon, the outline of a mountain range on the horizon or a branch, which casts its shadow on the observer until the moment or  the hour partakes of their presence—this is to breathe in the aura of these mountains, of this branch. Today, people have as passionate an inclination to bring things close to themselves or even more to the masses, as to overcome uniqueness in every situation by reproducing it. Every day the need grows more urgent to possess an object in the closest proximity, through a picture or, better, a reproduction. And the reproduction, as the illustrated newspaper and weekly readily prove, distinguishes itself unmistakably from the picture. Uniqueness and permanence are as closely intertwined in the latter as transitoriness and reproducibility in the former.

You are not a one dimensional human being. You are not your social media etiquette, a picture, a few things said under stress or through misunderstanding. You are much more. You are a fearless and wonderful soul who loves greatly. The people that matter are the ones that see all the dimensions of your soul, not just the superficial. They will climb inside that box with you not because they are not sure if they will ever find your uniqueness in another person. They do so because they feel safe enough to share their uniqueness with you. They see your faults and know that they have them also. They feel the walls lowered and the freedom of being themselves. Honesty is never guarded or regretted. That is what makes that box home.

As a genealogist, I have seen the Big Picture as very few have. Most people now living have no clue who they are or where they come from. We are all descended from the ancient kings of our various cultures. There is nothing unique about it. And let's be honest, most of those kings were pretty ruthless individuals. What's important for us today is that we wake up to the fact that we are all literally cousins. How would our world change if we honored that relationship and started treating one another as family?

...even those who care deeply for us cannot always see our big picture, the Grand Story Line that is destined to unfold before us. They are on their own journeys. And though their paths may run parallel to ours, each is singular in its curves and mileposts, unique in its destination. As much as others want the best for us, they do not necessarily understand God's best. He alone does.

And yet love obstinately answers that no loved one is standardized. A body, love insists, is neither a spirit nor a machine; it is not a picture, a diagram, a chart, a graph, an anatomy; it is not an explanation; it is not a law. It is precisely and uniquely what it is. It belongs to the world of love, which is a world of living creatures, natural orders and cycles, many small, fragile lights in the dark.

Quantum physicists discovered that physical atoms are made up of vortices of energy that are constantly spinning and vibrating; each atom is like a wobbly spinning top that radiates energy. Because each atom has its own specific energy signature (wobble), assemblies of atoms (molecules) collectively radiate their own identifying energy patterns. So every material structure in the universe, including you and me, radiates a unique energy signature. If it were theoretically possible to observe the composition of an actual atom with a microscope, what would we see? Imagine a swirling dust devil cutting across the desert’s floor. Now remove the sand and dirt from the funnel cloud. What you have left is an invisible, tornado-like vortex. A number of infinitesimally small, dust devil–like energy vortices called quarks and photons collectively make up the structure of the atom. From far away, the atom would likely appear as a blurry sphere. As its structure came nearer to focus, the atom would become less clear and less distinct. As the surface of the atom drew near, it would disappear. You would see nothing. In fact, as you focused through the entire structure of the atom, all you would observe is a physical void. The atom has no physical structure—the emperor has no clothes! Remember the atomic models you studied in school, the ones with marbles and ball bearings going around like the solar system? Let’s put that picture beside the “physical” structure of the atom discovered by quantum physicists. No, there has not been a printing mistake; atoms are made out of invisible energy not tangible matter! So in our world, material substance (matter) appears out of thin air. Kind of weird, when you think about it. Here you are holding this physical book in your hands. Yet if you were to focus on the book’s material substance with an atomic microscope, you would see that you are holding nothing. As it turns out, we undergraduate biology majors were right about one thing—the quantum universe is mind-bending. Let’s look more closely at the “now you see it, now you don’t” nature of quantum physics. Matter can simultaneously be defined as a solid (particle) and as an immaterial force field (wave). When scientists study the physical properties of atoms, such as mass and weight, they look and act like physical matter. However, when the same atoms are described in terms of voltage potentials and wavelengths, they exhibit the qualities and properties of energy (waves). (Hackermüller, et al, 2003; Chapman, et al, 1995; Pool 1995) The fact that energy and matter are one and the same is precisely what Einstein recognized when he concluded that E = mc2. Simply stated, this equation reveals that energy (E) = matter (m, mass) multiplied by the speed of light squared (c2). Einstein revealed that we do not live in a universe with discrete, physical objects separated by dead space. The Universe is one indivisible, dynamic whole in which energy and matter are so deeply entangled it is impossible to consider them as independent elements.

Look everywhere. There are miracles and curiosities to fascinate and intrigue for many lifetimes: the intricacies of nature and everything in the world and universe around us from the miniscule to the infinite; physical, chemical and biological functionality; consciousness, intelligence and the ability to learn; evolution, and the imperative for life; beauty and other abstract interpretations; language and other forms of communication; how we make our way here and develop social patterns of culture and meaningfulness; how we organise ourselves and others; moral imperatives; the practicalities of survival and all the embellishments we pile on top; thought, beliefs, logic, intuition, ideas; inventing, creating, information, knowledge; emotions, sensations, experience, behaviour. We are each unique individuals arising from a combination of genetic, inherited, and learned information, all of which can be extremely fallible. Things taught to us when we are young are quite deeply ingrained. Obviously some of it (like don’t stick your finger in a wall socket) is very useful, but some of it is only opinion – an amalgamation of views from people you just happen to have had contact with. A bit later on we have access to lots of other information via books, media, internet etc, but it is important to remember that most of this is still just opinion, and often biased. Even subjects such as history are presented according to the presenter’s or author’s viewpoint, and science is continually changing. Newspapers and TV tend to cover news in the way that is most useful to them (and their funders/advisors), Research is also subject to the decisions of funders and can be distorted by business interests. Pretty much anyone can say what they want on the internet, so our powers of discernment need to be used to a great degree there too. Not one of us can have a completely objective view as we cannot possibly have access to, and filter, all knowledge available, so we must accept that our views are bound to be subjective. Our understanding and responses are all very personal, and our views extremely varied. We tend to make each new thing fit in with the picture we have already started in our heads, but we often have to go back and adjust the picture if we want to be honest about our view of reality as we continually expand it. We are taking in vast amounts of information from others all the time, so need to ensure we are processing that to develop our own true reflection of who we are.

God is after the bigger picture of your life. He is writing your story. I'm about to say something that may seem antithetical to this book, but need you to hear this: your story has far more to do with finding God's unique calling and purpose for your life than it does with finding the love of your life.

Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling… but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.

Let me sum up what I’ve learned about creativity from the world of Wholehearted living and loving: “I’m not very creative” doesn’t work. There’s no such thing as creative people and non-creative people. There are only people who use their creativity and people who don’t. Unused creativity doesn’t just disappear. It lives within us until it’s expressed, neglected to death, or suffocated by resentment and fear. The only unique contribution that we will ever make in this world will be born of our creativity. If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing—it doesn’t matter. As long as we’re creating, we’re cultivating meaning. Literally

The kiss is the greatest of gifts, a miracle, uniquely human. A kiss beneath the mistletoe. A kiss after midnight. A kiss before dying. The devil's kiss. As a picture tells a thousand words, so a kiss says everything that's important. I am told prostitutes never kiss their clients. It is too personal, too human. We kiss to say I love you. We kiss the rings of the self-important. The feet of conquerors. The rich dark earth when we reach the promised land. We kiss our hands and wave as loved ones begin a journey. We kiss strangers before dawn in the first hours of a New Year because our wintry lips are incomplete until they are oiled by a kiss.

The Idiot. I have read it once, and find that I don't remember the events of the book very well--or even all the principal characters. But mostly the 'portrait of a truly beautiful person' that dostoevsky supposedly set out to write in that book. And I remember how Myshkin seemed so simple when I began the book, but by the end, I realized how I didn't understand him at all. the things he did. Maybe when I read it again it will be different. But the plot of these dostoevsky books can hold such twists and turns for the first-time reader-- I guess that's b/c he was writing most of these books as serials that had to have cliffhangers and such. But I make marks in my books, mostly at parts where I see the author's philosophical points standing in the most stark relief. My copy of Moby Dick is positively full of these marks. The Idiot, I find has a few... Part 3, Section 5. The sickly Ippolit is reading from his 'Explanation' or whatever its called. He says his convictions are not tied to him being condemned to death. It's important for him to describe, of happiness: "you may be sure that Columbus was happy not when he had discovered America, but when he was discovering it." That it's the process of life--not the end or accomplished goals in it--that matter. Well. Easier said than lived! Part 3, Section 6. more of Ippolit talking--about a christian mindset. He references Jesus's parable of The Word as seeds that grow in men, couched in a description of how people are interrelated over time; its a picture of a multiplicity. Later in this section, he relates looking at a painting of Christ being taken down from the cross, at Rogozhin's house. The painting produced in him an intricate metaphor of despair over death "in the form of a huge machine of the most modern construction which, dull and insensible, has aimlessly clutched, crushed, and swallowed up a great priceless Being, a Being worth all nature and its laws, worth the whole earth, which was created perhaps solely for the sake of the advent of this Being." The way Ippolit's ideas are configured, here, reminds me of the writings of Gilles Deleuze. And the phrasing just sort of remidns me of the way everyone feels--many people feel crushed by the incomprehensible machine, in life. Many people feel martyred in their very minor ways. And it makes me think of the concept that a narrative religion like Christianity uniquely allows for a kind of socialized or externalized, shared experience of subjectivity. Like, we all know the story of this man--and it feels like our own stories at the same time. Part 4, Section 7. Myshkin's excitement (leading to a seizure) among the Epanchin's dignitary guests when he talks about what the nobility needs to become ("servants in order to be leaders"). I'm drawn to things like this because it's affirming, I guess, for me: "it really is true that we're absurd, that we're shallow, have bad habits, that we're bored, that we don't know how to look at things, that we can't understand; we're all like that." And of course he finds a way to make that into a good thing. which, it's pointed out by scholars, is very important to Dostoevsky philosophy--don't deny the earthly passions and problems in yourself, but accept them and incorporate them into your whole person. Me, I'm still working on that one.

The widely disseminated picture of our human exceptionalism is grounded in the assertion that we possess a unique form of intelligence due to our unique, hypertrophic brain.

Books are not fixed objects: they transmit words and ideas. Their effect on each reader is unique. They put pictures in our minds. They take root. You

Make a good gallery! Your names and your photos give you a unique identity. Make and maintain a good name in the hearts of people. Paint good photos in their minds.

There is no exquisite beauty without some strangeness.

the bigger the picture, the more unique the potential human contribution. Our greatest strength is the exact opposite of narrow specialization. It is the ability to integrate broadly.

The best way to explain in modern terms what a deity is, is to understand deity as a unique vortex of energy. Sometimes that energy vortex takes recognizable anthropomorphic form (for instance, in meditation visions). Sometimes that energy is felt through the sound vibrations, called mantra, or through the geometric pictures, called yantras, that map the way that energy looks in “blueprint” form.

We all think of doing something distinctive in life. We all do dream of becoming great and leaving distinctive footprints but, when we get that dream, we must get a clear understanding of what it takes to be great. We must get the real picture of what it takes to live and leave distinctive footprints. We need to understand the real reasons why we must pursue to the end notwithstanding how arduous the journey to greatness may be and the tangible and intangible costs we may have to pay. We must have a nimble mind, move with tenacity and dare without retreating. Though we may be ignorant of the certainty, uncertainty and serendipity we may meet, we must think ahead! Vision shall always be a vision until we take that step of fortitude to make it a reality. When you dream of what is distinctive, make it happen!

An incomplete picture of vultures leads to the conjecture that they are ugly creatures. But a miniature lecture on their nature punctures this posture as amazing features of their unique signature is revealed.

Edelman, who once planned to be a concert violinist, uses musical metaphors as well. In a BBC radio interview, he said: Think: if you had a hundred thousand wires randomly connecting four string quartet players and that, even though they weren’t speaking words, signals were going back and forth in all kinds of hidden ways [as you usually get them by the subtle nonverbal interactions between the players] that make the whole set of sounds a unified ensemble. That’s how the maps of the brain work by reentry. The players are connected. Each player, interpreting the music individually, constantly modulates and is modulated by the others. There is no final or “master” interpretation; the music is collectively created, and every performance is unique. This is Edelman’s picture of the brain, as an orchestra, an ensemble, but without a conductor, an orchestra which makes its own music.

Perhaps if we were consciously able to use our bodies as fluently and expressively as we use language, we would find the physical reaction to each successful picture to be as particular and unique as our verbal formulations.

Of all the languages that have existed upon the Earth, the Hebrew language is unique and extraordinary in its ability to paint vivid pictures with words that lodge within the heart conveying deep and profound Truth". ~R. Alan Woods [2012]

... [O]ne of the most influential approaches to thinking about memory in recent years, known as connectionism, has abandoned the idea that a memory is an activated picture of a past event. Connectionist or neural network models are based on the principle that the brain stores engrams by increasing the strength of connections between different neurons that participate in encoding an experience. When we encode an experience, connections between active neurons become stronger, and this specific pattern of brain activity constitutes the engram. Later, as we try to remember the experience, a retrieval cue will induce another pattern of activity in the brain. If this pattern is similar enough to a previously encoded pattern, remembering will occur. The "memory" in a neural network model is not simply an activated engram, however. It is a unique pattern that emerges from the pooled contributions of the cue and the engram. A neural network combines information in the present environment with patterns that have been stored in the past, and the resulting mixture of the two is what the network remembers... When we remember, we complete a pattern with the best match available in memory; we do not shine a spotlight on a stored picture.

Picture yourself, Jack, a confirmed homebody, a sedentary fellow who finds himself walking in a deep wood. You spot something out of the corner of your eye. Before you know anything else, you know that this thing is very large and that it has no place in your ordinary frame of reference. A flaw in the world picture. Either it shouldn't be here or you shouldn't. Now the thing comes into full view. It is a grizzly bear, enormous, shiny brown, swaggering, dripping slime from its bared fangs. Jack, you have never seen a large animal in the wild. The sight of this grizzer is so electrifyingly strange that it gives you a renewed sense of yourself, a fresh awareness of the self— the self in terms of a unique and horrific situation. You see yourself in a new and intense way. You rediscover yourself. You are lit up for your own imminent dismemberment. The beast on hind legs has enabled you to see who you are as if for the first time, outside familiar surroundings, alone, distinct, whole. The name we give this complicated process is fear. [...] Fear is self-awareness raised to a higher level. (p. 218)

It even seems as if the ego has not been produced by nature to follow its own arbitrary impulses to an unlimited extent, but to help to make real the totality-the whole psyche. It is the ego that serves to light up the entire system, allowing it to become conscious and thus to be realized. If, for example, I have an artistic talent of which my ego is not conscious, nothing will happen to it. The gift may as well be non-existent. Only if my ego notices it can I bring it into reality. The inborn but hidden totality of the psyche is not the same thing as a wholeness that is fully realized and lived. One could picture this in the following way: The seed of a mountain pine contains the whole future tree in a latent form; but each seed falls at a certain time onto a particular place, in which there are a number of special factors, such as the quality of the soil and the stones, the slope of the land, and its exposure to the sun and wind. The latent totality of the pine in the seed reacts to these cicumstances by avoiding the stones and inclining toward the sun, with the result that the tree's growth is shaped. Thus an individual pine slowly comes into existence, constituting the fulfillment of its totality, its emergence into the realm of reality. Without the living tree, the image of the pine is only a possibility or an abstract idea. Again, the realization of this uniqueness in the individual man is the goal of the process of individuation.

He was, simultaneously, the impassioned happy man lying at the feet of his beloved and also the morose clown standing in the background of the picture. Being in love pitched him, moment by moment, between waves of ecstasy and misery. Like every other person, he believed his predicament was unique.

No institution of learning of Ingersoll's day had courage enough to confer upon him an honorary degree; not only for his own intellectual accomplishments, but also for his influence upon the minds of the learned men and women of his time and generation. Robert G. Ingersoll never received a prize for literature. The same prejudice and bigotry which prevented his getting an honorary college degree, militated against his being recognized as 'the greatest writer of the English language on the face of the earth,' as Henry Ward Beecher characterized him. Aye, in all the history of literature, Robert G. Ingersoll has never been excelled -- except by only one man, and that man was -- William Shakespeare. And yet there are times when Ingersoll even surpassed the immortal Bard. Yes, there are times when Ingersoll excelled even Shakespeare, in expressing human emotions, and in the use of language to express a thought, or to paint a picture. I say this fully conscious of my own admiration for that 'intellectual ocean, whose waves touched all the shores of thought.' Ingersoll was perfection himself. Every word was properly used. Every sentence was perfectly formed. Every noun, every verb and every object was in its proper place. Every punctuation mark, every comma, every semicolon, and every period was expertly placed to separate and balance each sentence. To read Ingersoll, it seems that every idea came properly clothed from his brain. Something rare indeed in the history of man's use of language in the expression of his thoughts. Every thought came from his brain with all the beauty and perfection of the full blown rose, with the velvety petals delicately touching each other. Thoughts of diamonds and pearls, rubies and sapphires rolled off his tongue as if from an inexhaustible mine of precious stones. Just as the cut of the diamond reveals the splendor of its brilliance, so the words and construction of the sentences gave a charm and beauty and eloquence to Ingersoll's thoughts. Ingersoll had everything: The song of the skylark; the tenderness of the dove; the hiss of the snake; the bite of the tiger; the strength of the lion; and perhaps more significant was the fact that he used each of these qualities and attributes, in their proper place, and at their proper time. He knew when to embrace with the tenderness of affection, and to resist and denounce wickedness and tyranny with that power of denunciation which he, and he alone, knew how to express.

This mania which Swann had for finding likenesses to people in pictures was defensible, for even what we call individual expression is—as we so painfully discover when we are in love and would fain believe in the unique reality of the beloved—something diffused and general, which can be found existing at different periods.

including thousands of paintings in his unique, semi-cartoonish style, often densely packed with animals and figures—Elvis, George Washington, angels—and set fancifully in apocalyptic landscapes. In short order, he was appearing on Johnny Carson’s Tonight Show and creating album covers for R.E.M. and Talking Heads. Upon entry to the garden, I was greeted by a giant self-portrait of a smirking Finster in a burgundy suit, affixed to a cinderblock wall. At the bottom are the words “I began painting pictures in Jan-1976—without any training. This is my painting. A person don’t know what he can do unless he tryes. Trying things is the answer to find your talent.

And while he spoke of my mother often and fondly to me, he always did so incompletely, in a strangely peripheral way, so that I grew up with a picture of her that was really little more than an outline. Was this unfair, an injustice to me? It must seem so, and I suppose in a way it was. And yet we all have within ourselves those private spaces that are uniquely our own and that we cannot share. This was my father's: the heart of his grief, which he chose not to expose. It was only now, in these last months before his death, that the outline was filled in, that without preliminary or explanation, my father suddenly began to talk of my mother as he had never talked before, in words and phrases lit with a bursting lyrical warmth and love that had been stored up and held within him all this time, and that was now released because, I think, he knew his own time was so short, and because he did not for a moment doubt that very soon now he would be joined to her again... So there was a feeling of joy here.

Perspective has two definitions. Context: a sense of the larger picture of the world, not just what is immediately in front of us Framing: an individual’s unique way of looking at the world, a way that interprets its events Both matter, both can be effectively injected to change a situation that previously seemed intimidating or impossible.

Understanding Jesus as a sacrificial lamb, in effect, is to understand the very heart of Christianity. All of His magnificent sermons, all of His miracles and the sum total of His wonderful teachings taken together would not save the best of His disciples (Peter actually denied Him when the chips were down, after having witnessed all these things). But His blood saves us all. His sacrifice pays off our debts to God in full. Acting like Jesus won’t get you salvation. Emulating His moral character, His unique way of doing things or His high principles will make you a better human being, to the degree that you are able to mimic Jesus. But it is His blood that cleanses, and that’s all. That’s the simple difference between genuine Christianity and a great deal of religion that merely goes by the name of Christianity. In the simplest terms, our realization that we need to be cleansed and our going directly to Him for that cleansing results in our salvation. Passover is a living picture of how salvation is properly obtained, as we shall see.

A soul mate is an ongoing connection with another individual that the soul picks up again in various places and times over lifetimes. We are attracted to another person at a soul level not because that person is our unique compliment, but because by being with that unique individual, we are somehow provided with an impetus to become whole ourselves. –Edgar Cayce

I find it really fascinating that while in an attempt to look beautiful we tend to go for what's easily acceptable. But when it comes to portraits, it is only our facial flaws that make that picture worth its while, setting it apart. Isn't it amazing to find that beauty is something that makes us alike? While our flaws are the real contributors to our uniqueness.

Since Liz’s adolescence, when viewing television commercials that celebrated the ostensibly unconditional love of mothers for their children, or on spotting merchandise in stores that honored this unique bond with poems or effusive declarations—picture frames, magnets, oven mitts—she had felt like a foreign exchange student observing the customs of another country.

Now we can see what makes mathematics unique. Only in mathematics is there no significant correction-only extension. Once the Greeks had developed the deductive method, they were correct in what they did, correct for all time. Euclid was incomplete and his work has been extended enormously, but it has not had to be corrected. His theorems are, every one of them, valid to this day. Ptolemy may have developed an erroneous picture of the planetary system, but the system of trigonometry he worked out to help him with his calculations remains correct forever. Each great mathematician adds to what came previously, but nothing needs to be uprooted. Consequently, when we read a book like A History of Mathematics, we get the picture of a mounting structure, ever taller and broader and more beautiful and magnificent and with a foundation, moreover, that is as untainted and as functional now as it was when Thales worked out the first geometrical theorems nearly 26 centuries ago. Nothing pertaining to humanity becomes us so well as mathematics. There, and only there, do we touch the human mind at its peak.

The bigger the picture, the more unique the potential human contribution. Our greatest strength is the exact opposite of narrow specialization. It is the ability to integrate broadly. According to Gary Marcus, a psychology and neuroscience professor, who sold his machine learning company to Uber, "In narrow enough worlds, humans may not have much to contribute much longer.

Picture yourself being with your family not as you think you “should” be but in ways that fill you with happiness. What are you doing and saying? What wonderful experiences are you having together? What values do you want to embody and pass along? What can you contribute to your family that is unique to you? Keep in mind that your family doesn’t have to be a traditional family—ideas along those lines are often Brules. “Family” may be cohabiting partners, a same-sex partner, a marriage where you decided not to have children, or a single life where you consider a few close friends as family. Don’t fall into society’s definition of family. Instead, create a new model of reality and think of family as those whom you truly love and want to spend time with.

Let me sum up what I’ve learned about creativity from the world of Wholehearted living and loving: “I’m not very creative” doesn’t work. There’s no such thing as creative people and non-creative people. There are only people who use their creativity and people who don’t. Unused creativity doesn’t just disappear. It lives within us until it’s expressed, neglected to death, or suffocated by resentment and fear. The only unique contribution that we will ever make in this world will be born of our creativity. If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing—it doesn’t matter. As long as we’re creating, we’re cultivating meaning.

They say a picture is worth a thousand words, but a word is worth a million pictures. A billion. As many as there are people who know the word. Each has their own picture, their own meaning of it, in their heads. It's theirs. It's unique. And yet they share it with everyone else. And every time they use a word, a single word, they contribute to the creation of the soul of us all.

Power in the hands of independent humans, be they men or women, does corrupt. Mack, don’t you see how filling roles is the opposite of relationship? We want male and female to be counterparts, face-to-face equals, each unique and different, distinctive in gender but complementary, and each empowered uniquely by Sarayu, from whom all true power and authority originate. Remember, I am not about performance and fitting into man-made structures; I am about being. As you grow in relationship with me, what you do will simply reflect who you really are.” “But you came in the form of a man. Doesn’t that say something?” “Yes, but not what many have assumed. I came as a man to complete a wonderful picture in how we made you. From the first day we hid the woman within the man, so that at the right time we could remove her from within him. We didn’t create man to live alone; she was purposed from the beginning. By taking her out of him, he birthed her in a sense. We created a circle of relationship, like our own, but for humans. She, out of him, and now all the males, including me, birthed through her, and all originating, or birthed, from God.

Neurons on the two ends of the log-normal distribution of activity organize themselves differently. Fast-firing neurons are better connected with each other and burst more than slow-firing neurons. The more strongly connected faster firing neurons form a “rich club” with better access to the entire neuronal population, share such information among themselves, and, therefore, generalize across situations. In contrast, slow firing neurons keep their independent solitude and elevate their activity only in unique situations. The two tails of the distribution are maintained by a homeostatic process during non-REM sleep. The emerging picture is that a simple measure, such as the baseline firing frequency, can reveal a lot about a neuron’s role in computation and its wiring properties. The

Rather than use what you see as unique about yourself as an exemption from further examination, a more fruitful approach would be to ask yourself, “I am white and I have had X experience. How did X shape me as a result of also being white?” Setting aside your sense of uniqueness is a critical skill that will allow you to see the big picture of the society in which we live; individualism will not.

You no longer have to wait for the gods of corporate America, or universities, or media, or investors, to come down from the clouds and choose you for success. In every single industry, the middleman is being taken out of the picture, causing more disruption in employment but also greater efficiencies and more opportunities for unique ideas to generate real wealth. You can develop those ideas, execute on them, and choose yourself for success.

Who you are exposed to, who you choose to surround yourself with, is a unique variable in all of our experiences and it is hugely important in making us who we are. Seek out interesting characters, tough adversaries and strong mentors and your life can be rich, textured, highly entertaining and successful, like a Best Picture winner. Surround yourself with dullards, people of vanilla safety and unextraordinary ease, and you may find your life going straight to DVD.

I also like the constant tension in those pictures, a tension between document and fabrication, between capturing a unique fleeting instant and staging an instant. She wrote somewhere that photographs create their own memories, and supplant the past. In her pictures there isn’t nostalgia for the fleeting moment, captured by chance with a camera. Rather, there’s a confession: this moment captured is not a moment stumbled upon and preserved but a moment stolen, plucked from the continuum of experience in order to be preserved.

If a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ 'I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock…A really great painting is fluid enough to work its way into the mind and heart through all kind of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

And is one to be sorry that the doctors brought her back to life and operated, or not? She, who did not want to lose a single day, “won” thirty: they brought her joys; but they also brought her anxiety and suffering. Since she did escape from the martyrdom that I sometimes thought was hanging over her, I cannot decide for her. For my sister, losing Maman the very day she saw her again would have been a shock from which she would scarcely have recovered. And as for me? Those four weeks have left me pictures, nightmares, sadnesses that I should never have known if Maman had died that Wednesday morning. But I cannot measure the disturbance that I should have felt since my sorrow broke out in a way that I had not foreseen. We did derive an undoubted good from this respite; it saved us, or almost saved us, from remorse. When someone you love dies you pay for the sin of outliving her with a thousand piercing regrets. Her death brings to light her unique quality; she grows as vast as the world that her absence annihilates for her and whose whole existence was caused by her being there; you feel that she should have had more room in your life—all the room, if need be. You snatch yourself away from this wildness: she was only one among many. But since you never do all you might for anyone—not even within the arguable limits that you have set yourself—you have plenty of room left for self reproach. With regard to Maman we were all guilty, these last years, of carelessness, omission, and abstention. We felt that we atoned for this by the days that we gave up to her, by the peace that our being there gave her, and by the victories gained over fear and pain. Without our obstinate watchfulness she would have suffered far more.

In the midst of so many brown heads her fairness alone was arresting. It was an autumn evening, misty and cold, and the room was not too well lighted. I had the impression that what light there was in the dining hall clustered around her, reviving and renewing itself as it played upon her fair hair. In looking back I think that she must have been beautiful; yet the detailed picture of her obstinately eludes me, I can recall only an impression of a face unique, neither gay nor melancholy, but endued with a peculiar quality of apartness, the look of a person dedicated to some accepted destiny.

But any picture could deal with the problem of light. The problem with this picture is greater than that of reflective surfaces - it's one of death. You invite a profound theme into your work when you choose cut flowers. You are talking about mortality and time moving forward. You are saying that everything, everything we see and experience and love happens uniquely and happens only once. When you take a picture of a flower in a glass you are, paradoxically, capturing evanescence. You are also showing the indifference of Nature. There is no mourning in a flower photograph, only a shrugging of the shoulders.

Le culte des sens a été souvent décrié, et à juste titre : un instinct naturel inspire aux hommes la terreur de passions et de sensations qui leur semblent plus fortes qu'eux-mêmes, et qu'ils ont conscience de partager avec les formes inférieures du monde organique. Mais Dorian Gray estimait que la vraie nature des sens n'avait jamais été bien comprise, qu'ils avaient gardé leur animalité sauvage uniquement parce qu'on avait voulu les soumettre par la famine ou les tuer à force de souffrance, au lieu de chercher à en faire les éléments d'une spiritualité nouvelle, ayant pour trait dominant une sûre divination de la beauté. Quand il considérait la marche de l'homme à travers l'Histoire, il était poursuivi par une impression d'irréparable dommage. Que de choses on avait sacrifiées, et combien vainement ! Des privations sauvages, obstinées, des formes monstrueuses de martyre et d'immolation de soi, nées de la peur, avaient abouti à une dégradation plus épouvantable que la dégradation tout imaginaire qu'avaient voulu fuir de pauvres ignorants : la Nature, dans sa merveilleuse ironie, avait amené les anachorètes à vivre dans le désert, mêlés aux animaux sauvages ; aux ermites, elle avait donné pour compagnons les bêtes des champs.

If you’re going to make an error in life, err on the side of overestimating your capabilities (obviously, as long as it doesn’t jeopardize your life). By the way, this is something that’s hard to do, since the human capacity is so much greater than most of us would ever dream. In fact, many studies have focused on the differences between people who are depressed and people who are extremely optimistic. After attempting to learn a new skill, the pessimists are always more accurate about how they did, while the optimists see their behavior as being more effective than it actually was. Yet this unrealistic evaluation of their own performance is the secret of their future success. Invariably the optimists eventually end up mastering the skill while the pessimists fail. Why? Optimists are those who, despite having no references for success, or even references of failure, manage to ignore those references, leaving unassembled such cognitive tabletops as “I failed” or “I can’t succeed.” Instead, optimists produce faith references, summoning forth their imagination to picture themselves doing something different next time and succeeding. It is this special ability, this unique focus, which allows them to persist until eventually they gain the distinctions that put them over the top. The reason success eludes most people is that they have insufficient references of succeeding in the past. But an optimist operates with beliefs such as, “The past doesn’t equal the future.” All great leaders, all people who have achieved success in any area of life, know the power of continuously pursuing their vision, even if all the details of how to achieve it aren’t yet available. If you develop the absolute sense of certainty that powerful beliefs provide, then you can get yourself to accomplish virtually anything, including those things that other people are certain are impossible.

Luke could've easily cut this scene between Mary and Elizabeth without disrupting the narrative. But he gives space for us to hear prophetic words from both these women--words that have echoed through the centuries--because Mary and Elizabeth are not only the biological mothers of Jesus and John. They also act as prophetesses in their own right. When it comes to women's unique ability to bear children, it's easy to make one of two mistakes: to overvalue childbearing, as if it's the primary reason why women exist, or to undervalue it, as if creating new life doesn't matter. The full-orbed picture Luke gives us of these two pregnant women helps us not to fall into either trap.

Shapers are people who can go from visualization to actualization. I wrote a lot about the people I call “shapers” in the first part of this book. I use the word to mean someone who comes up with unique and valuable visions and builds them out beautifully, typically over the doubts of others. Shapers get both the big picture and the details right. To me, it seems that Shaper = Visionary + Practical Thinker + Determined. I’ve found that shapers tend to share attributes such as intense curiosity and a compulsive need to make sense of things, independent thinking that verges on rebelliousness, a need to dream big and unconventionally, a practicality and determination to push through all obstacles to achieve their goals, and a knowledge of their own and others’ weaknesses and strengths so they can orchestrate teams to achieve them. Perhaps even more importantly, they can hold conflicting thoughts simultaneously and look at them from different angles. They typically love to knock things around with other really smart people and can easily navigate back and forth between the big picture and the granular details, counting both as equally important. People wired with enough of these ways of thinking that they can operate in the world as shapers are very rare. But they could never succeed without working with others who are more naturally suited for other things and whose ways of thinking and acting are also essential.

The color-patches of vision part, shift, and reform as I move through space in time. The present is the object of vision, and what I see before me at any given second is a full field of color patches scattered just so. The configuration will never be repeated. Living is moving; time is a live creek bearing changing lights. As I move, or as the world moves around me, the fullness of what I see shatters. “Last forever!” Who hasn’t prayed that prayer? You were lucky to get it in the first place. The present is a freely given canvas. That it is constantly being ripped apart and washed downstream goes without saying; it is a canvas, nevertheless. But there is more to the present than a series of snapshots. We are not merely sensitized film; we have feelings, a memory for information and an eidetic memory for the imagery of our pasts. Our layered consciousness is a tiered track for an unmatched assortment of concentrically wound reels. Each one plays out for all of life its dazzle and blur of translucent shadow-pictures; each one hums at every moment its own secret melody in its own unique key. We tune in and out. But moments are not lost. Time out of mind is time nevertheless, cumulative, informing the present. From even the deepest slumber you wake with a jolt- older, closer to death, and wiser, grateful for breath. But time is the one thing we have been given, and we have been given to time. Time gives us a whirl. We keep waking from a dream we can’t recall, looking around in surprise, and lapsing back, for years on end. All I want to do is stay awake, keep my head up, prop my eyes open, with toothpicks, with trees.

Maxwell's greatest work shows two unique characteristics which stem from his philosophical insight. The first is the way he could return to a subject, often after a gap of several years and take it to new heights using an entirely fresh approach. He did this twice with electromagnetism. The second is even more remarkable. His electromagnetic theory embodied the notion that things we can measure directly, like mechanical force, are mery the outward manifestations of deeper processes, involving entities like electric field strength, which are beyond our powers of visualization. This presages the view that twentieth century scientists came to. As Banesh Hoffmann puts it in The Strange Story of the Quantum: "There is simply no way at all of picturing the fundamental atomic processes of nature in terms of space, time and causality.

Words present to us little pictures of things, lucid and normal, like the pictures that are hung on the walls of schoolrooms to give children an illustration of what is meant by a carpenter’s bench, a bird, an ant-hill; things chosen as typical of everything else of the same sort. But names present to us — of persons and of towns which they accustom us to regard as individual, as unique, like persons — a confused picture, which draws from the names, from the brightness or darkness of their sound, the colour in which it is uniformly painted, like one of those posters, entirely blue or entirely red, in which, on account of the limitations imposed by the process used in their reproduction, or by a whim on the designer’s part, are blue or red not only the sky and the sea, but the ships and the church and the people in the streets.

Move when it’s time We were touring the ruins at Hovenweep National Monument in the southwestern United States. A sign along the interpretive trail told about the Anasazi who had lived along the small, narrow canyon so long ago. The archaeologists have done their best to determine what these ancient Indians did and how they lived their lives. The signs told about the strategic positioning of the buildings perched precariously on the edge of a cliff, and questioned what had caused this ancient group to suddenly disappear long ago. “Maybe they just got tired of living there and moved,” my friend said. We laughed as we pictured a group of wise ancients sitting around the campfire one night. “You know,” says one of them, “I’m tired of this desert. Let’s move to the beach.” And in our story they did. No mystery. No aliens taking them away. They just moved on, much like we do today. It’s easy to romanticize what we don’t know. It’s easy to assume that someone else must have a greater vision, a nobler purpose than just going to work, having a family, and living a life. People are people, and have been throughout time. Our problems aren’t new or unique. The secret to happiness is the same as it has always been. If you are unhappy with where you are, don’t be there. Yes, you may be here now, you may be learning hard lessons today, but there is no reason to stay there. If it hurts to touch the stove, don’t touch it. If you want to be someplace else, move. If you want to chase a dream, then do it. Learn your lessons where you are, but don’t close off your ability to move and to learn new lessons someplace else. Are you happy with the path that you’re on? If not, maybe it’s time to choose a new one. There need not be a great mysterious reason. Sometimes it’s just hot and dry, and the beach is calling your name. Be where you want to be. God, give me the courage to find a path with heart. Help me move on when it’s time.

Yes, in the very beginning of her life the girl-child is full of herself. Her days are meaningful and unfold according to a deep wisdom that resides within her. It faithfully orchestrates her movements from crawling to walking to running, her sounds from garbles to single words to sentences, and her knowing of the world through her sensual connection to it. Her purpose is clear: to live fully in the abundance of her life. With courage, she explores her world. Her ordinary life is interesting enough. Every experience is filled with wonder and awe. It is enough to listen to the rain dance and count the peas on her plate. Ordinary life is her teacher, challenge, and delight. She says a big YES to Life as it pulsates through her body. With excitement, she explores her body. She is unafraid of channeling strong feelings through her. She feels her joy, sadness, anger, and fear. She is pregnant with her own life. She is content to be alone. She touches the depths of her uniqueness. She loves her mind. She expresses her feelings. She likes herself when she looks in the mirror. She trusts her vision of the world and expresses it. With wonder and delight, she paints a picture, creates a dance, and makes up a song. To give expression to what she sees is as natural as her breathing. And when challenged, she is not lost for words. She has a vocabulary to speak about her experience. She speaks from her heart. She voices her truth. She has no fear, no sense that to do it her way is wrong or dangerous. She is a warrior. It takes no effort for her to summon up her courage, to arouse her spirit. With her courage, she solves problems. She is capable of carrying out any task that confronts her. She has everything she needs within the grasp of her mind and imagination. With her spirit, she changes what doesn’t work for her. She says “I don’t like that person” when she doesn’t, and “I like that person” when she does. She says no when she doesn’t want to be hugged. She takes care of herself.

—if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you.” Fingertip gliding over the faded-out photo—the conservator’s touch, a touch-without-touching, a communion wafer’s space between the surface and his forefinger. “An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

Madam, you can’t be more desperate than I.” He wound his arms around her and grunted. “The evidence is drooling on your stomach. I have not lost this erection for five days. Doral looks at me and winces. You have obliterated my dignity in front of my staff. I have become a laughingstock, a by-word for ‘pussy-whipped male’. Every time I walk into a room, the conversation dies. I entered the mess hall, yesterday—530 officers and enlisted men. Silence, Fleur. Dead silence.” She sniffed. By the gods, this must be a unique experience for him. I’m certain he has never been the butt of the joke before. “I don’t think you appreciate the torture and humiliation you inflict. Do you know how uncomfortable it is to ride a horse when I’m like this? Do you know how disconcerting it is to discuss cavalry deployment with Major Truillo while I’m sporting a cockstand to rival a stud horse? I couldn't get the man to look me in the face. Worse, he thought I reacted to him.” She nuzzled her face into Ari’s chest and tried to contain her amusement. Her imagination supplied the picture of the very handsome, very homosexual, very short Major Truillo standing with covetous eyes riveted to Ari’s substantial erection, all the while discussing the dry topic of cavalry placement. “For half an hour all I saw was the top of his head.” He paused for a moment then threw out, “He has a bald spot.

The psychology of the naturalistic drama, in which the characters are interpreted as social phenomena, has its origin in this urge which the spectator feels to identify himself with his social compeers. Now, however much objective truth there may be in such an interpretation of the characters in a play, it leads, when raised to the status of an exclusive principle, to a falsification of the facts. The assumption that men and women are merely social beings results in just as arbitrary a picture of experience as the view according to which every person is a unique and incomparable individual. Both conceptions lead to a stylization and romanticizing of reality. On the other hand, however, there is no doubt that the conception of man held in any particular epoch is socially conditioned and that the choice as to whether man is portrayed in the main as an autonomous personality or as the representative of a class depends in every age on the social approach and political aims of those who happen to be the upholders of culture. When a public wishes to see social origins and class characteristics emphasized in the human portraiture, that is always a sign that that society has become class-conscious, no matter whether the public in question is aristocratic or middle-class. In this context the question whether the aristocrat is only an aristocrat and the bourgeois only a bourgeois is absolutely unimportant.

Mum: I loved watching you work on it because you were concentrating so hard and it looked like you were enjoying it. Do you like it? Grace: I like the path. It’s easy to follow and stay safe. But the trees don’t look right. I just made round tops. Trees are hard to draw. Mum: Yes … Trees can be tough … Lots of artists spend their whole lives practising trees. We can look at some next time we go to the art gallery, okay? We can see all the ways that different artists draw trees. It’s okay to draw them any way you want to. And you can try different ways. Grace: Okay. I’m going to do a new picture and practise my trees. Mum: [smiling] I love how you keep practising things you want to get good at! What has Grace learned? That her Mum values ‘concentrating so hard’ and enjoying working at something. That her mother is interested in the witches of her inner world. That her mother values the work she does, but that she is the one to evaluate it. That even skilled adults practise. That her own work has some relationship to the work hanging in an art gallery. That she can try different ways and do things the ways she wants to. That whether to practise more is her own choice but will give her the results she wants in her work. That she can take joy in sharing her inner life through the creative process. Grace is accessing her unique gifts, honing them and enjoying the process of sharing them with the world. She is well on her way to developing mastery. Mastery

Can I ask you something?" Jamie reaches his hand across his chest and scratches his neck. When I nod, he asks, "What do you see when you look at pictures of yourself?" I swallow. Someone who looks too Asian to be pretty. Because being Asian means I can never be as pretty as the other girls at school—the girls like Mom. I know this because people like Henry and Adam and Mom keep telling me I don't have the right face. I know this because when I look in the mirror, I see what they see—a girl who doesn't belong here. A girl who isn't good enough. But I can't tell him that—he wouldn't understand. "Okay. Well, what do you wish you saw?" He tries again when I remain quiet for so long. Someone with bigger eyes. Lighter hair. A smaller nose. "Someone who looks more like everyone else," I say at last. Jamie runs his thumbs over the edge of his camera. "Do you know how many people would love to have your face? Yeah, you don't look like everyone else in town, but that's special. You stand out because you're unique, and people literally never stop trying to be unique." I twist my mouth. "But I don't want to stand out—not at all. I want to be normal. I want to feel like I belong in the same world as everyone else." If I looked like everyone else, it would probably be easier to make friends. I might even have a mom who cared. That last part really stings. "You might feel that way now, but it isn't like that forever. Wait until you see what the world has to offer besides that small town and your high school. People are different out there.

My Little Pony Game Helps You Get A Creator With My Little Pony games, you can enjoy many categories such as Dress Up games, Makeover games, riding games, racing games,...Each game brings you the different sentiments and it depends on your hobby that you can choose the suitable game for your free time. At our website, there are many My Little Pony games with full My Little Pony characters and you can meet them such as Twilight Sparkle, Rarity, Fluttershy, Rainbow Dash, Pinkie Pie and Applejack,,They have the good friendship and relations as well. Now, you will go to our new game called My little pony hairstyle. This is a creator game for you that you can get an opportunity to make new hair for Rainbow Dash. As you know, she has a hairstyle attached to her name. Now, you will help her to change Little about her hairstyle. Not difficult to play this game , you just use your mouse and follow step by step instruction that you can find in this game at our website. I can tell more here to help you play this game easier. In the first game, you will choose a hairstyle in six styles. Then you will choose the color for her hair. You can take one in ten colors in this game such as blue, green, red, purple, yellow, light purple,.. And you mix color as your favorite color. With each my little pony character, you can see the different personality and fashion style. My little pony Rainbow Dash has always the unique hairstyle with the mixing color. This is the creator game because you can show your fashion style about the hair. Besides the dress up game and make up games, we have others games categories such as riding, racing, caring, cooking, fighting,,,All are free here, you can enjoy them at anytime and anywhere. Please recommend our website to your friends as well, you will have the more human counterpart. You will have the good experience, adventure when you come to our website. We provide also descendants games, Elsa games, Daby games, Io games,...It depends on the age, the hobby that you can choose the game in your free time. You can enjoy the life as a child with our games and forget all the worries and stress in your life. I hope that you will like our games as well. My Little Pony Angry is a puzzle game and your task in this game is to use your mouse to drag and drop the pieces and make a complete My Little Pony pictures. In this game, you will get an opportunity to meet again six main My Little Pony such as Applejack, Rainbow Dash, Pinkie Pie, Fluttershy, Rarity, and Twilight Sparkle of the cartoon My Little Pony, they are all very aggressive and angry. We think that this way they want to scare off enemies from Ponyville. You know that My Little Pony or Friendship Is Magic has the content that tells about six main My Little Pony and other supporting characters but with My Little Pony, the content focuses primarily on Twilight Sparkle and her friends, they find out the way to rescue Equestria Land. Each My Little Pony game can give you a good lessons about family, friends, relationship...This is a cheap entertainment and designed for everyone. I hope that you can get the perfectime here and we can make the relationship thank to My Little Pony games on our website. Have fun on our site Gamesmylittlepony.com

If I walk along a shore towards a ship which has run aground, and the funnel or masts merge into the forest bordering on the sand dune, there will be a moment when these details suddenly become part of the ship, and indissolubly fused with it. As I approached, I did not perceive resemblances or proximities which finally came together to form a continuous picture of the upper part of the ship. I merely felt that the look of the object was on the point of altering, that something was imminent in this tension, as a storm is imminent in storm clouds. Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression.

I need only, to make them reappear, pronounce the names Balbec, Venice, Florence, within whose syllables had gradually accumulated the longing inspired in me by the places for which they stood. Even in spring, to come upon the name Balbec in a book sufficed to awaken in me the desire for storms at sea and for Norman Gothic; even on a stormy day the name Florence or Venice would awaken the desire for sunshine, for lilies, for the Palace of the Doges and for Santa Maria del Fiore. But if these names thus permanently absorbed the image I had formed of these towns, it was only by transforming that image, by subordinating its reappearance in me to their own special laws; and in consequence of this they made it more beautiful, but at the same time more different from anything that the towns of Normandy or Tuscany could in reality be, and, by increasing the arbitrary delights of my imagination, aggravated the disenchantment that was in store for me when I set out upon my travels. They magnified the idea that I had formed of certain places on the surface of the globe, making them more special and in consequence more real. I did not then represent to myself cities, landscapes, historical monuments, as more or less attractive pictures, cut out here and there of a substance that was common to them all, but looked on each of them as on an unknown thing, different in essence from all the rest, a thing for which my soul thirsted and which it would profit from knowing. How much more individual still was the character they assumed from being designated by names, names that were for themselves alone, proper names such as people have! Words present to us a little picture of things, clear and familiar, like the pictures hung on the walls of schoolrooms to give children an illustration of what is meant by a carpenter's bench, a bird, an anthill, things chosen as typical of everything else of the same sort. But names present to us— of persons, and of towns which they accustom us to regard as individual, as unique, like persons— a confused picture, which draws from them, from the brightness or darkness of their tone, the colour in which it is uniformly painted, like one of those posters, entirely blue or entirely red, in which, on account of the limitations imposed by the process used in their reproduction or by a whim on the designer's part, not only the sky and the sea are blue or red, but the ships and the church and the people in the streets.

I have come to believe that our culture’s popular understanding of these difficult doctrines is often a caricature of what the Bible actually teaches and what mature Christian theology has historically proclaimed. To Laugh At, To Live By What do I mean by a caricature? A caricature is a cartoonlike drawing of a real person, place, or thing. You’ve probably seen them at street fairs, drawings of popular figures like President Obama, Marilyn Monroe, or your aunt Cindy. Caricatures exaggerate some features, distort some features, and oversimplify some features. The result is a humorous cartoon. In one sense, a caricature bears a striking resemblance to the real thing. That picture really does look like President Obama, Marilyn Monroe, or your aunt Cindy. Features unique to the real person are included and even emphasized, so you can tell it’s a cartoon of that person and not someone else. But in another sense, the caricature looks nothing like the real thing. Salient features have been distorted, oversimplified, or blown way out of proportion. President Obama’s ears are way too big. Aunt Cindy’s grin is way too wide. And Marilyn Monroe . . . well, you get the picture. A caricature would never pass for a photograph. If you were to take your driver’s license, remove the photo, and replace it with a caricature, the police officer pulling you over would either laugh . . . or arrest you. Placed next to a photograph, a caricature looks like a humorous, or even hideous, distortion of the real thing. Similarly, our popular caricatures of these tough doctrines do include features of the original. One doesn’t have to look too far in the biblical story to find that hell has flames, holy war has fighting, and judgment brings us face-to-face with God. But in the caricatures, these features are severely exaggerated, distorted, and oversimplified, resulting in a not-so-humorous cartoon that looks nothing like the original. All we have to do is start asking questions: Where do the flames come from, and what are they doing? Who is doing the fighting, and how are they winning? Why does God judge the world, and what basis does he use for judgment? Questions like these help us quickly realize that our popular caricatures of tough biblical doctrines are like cartoons: good for us to laugh at, but not to live by. But the caricature does help us with something important: it draws our attention to parts of God’s story where our understanding is off. If the caricature makes God look like a sadistic torturer, a coldhearted judge, or a greedy génocidaire, it probably means there are details we need to take a closer look at. The caricatures can alert us to parts of the picture where our vision is distorted.

One of the most important of these truths—a new ethic of interaction—began to surface in various places around the globe, but ultimately found clear expression in the philosophy of the ancient Greeks. Instantly I could see the Birth Visions of hundreds of individuals born into the Greek culture, each hoping to remember this timely insight. For generations they had seen the waste and injustice of mankind’s unending violence upon itself, and knew that humans could transcend the habit of fighting and conquering others and implement a new system for the exchange and comparison of ideas, a system that protected the sovereign right of every individual to hold his unique view, regardless of physical strength—a system that was already known and followed in the Afterlife. As I watched, this new way of interaction began to emerge and take form on Earth, finally becoming known as democracy. In this method of exchanging ideas, communication between humans still often degenerated into an insecure power struggle, but at least now, for the first time ever, the process was in place to pursue the evolution of human reality at the verbal rather than the physical level. At the same time, another watershed idea, one destined to completely transform the human understanding of spiritual reality, was surfacing in the written histories of a small tribe in the Middle East. Similarly I could also see the Birth Visions of many of the proponents of this idea as well. These individuals, born into the Judaic culture, knew before birth that while we were correct to intuit a divine source, our description of this source was flawed and distorted. Our concept of many gods was merely a fragmented picture of a larger whole. In truth, they realized, there was only one God, a God, in their view, that was still demanding and threatening and patriarchal—and still existing outside of ourselves—but for the first time, personal and responsive, and the sole creator of all humans. As I continued to watch, I saw this intuition of one divine source emerging and being clarified in cultures all over the world. In China and India, long the leaders in technology, trade, and social development, Hinduism and Buddhism, along with other Eastern religions, moved the East toward a more contemplative focus. Those who created these religions intuited that God was more than a personage. God was a force, a consciousness, that could only be completely found by attaining what they described as an enlightenment experience. Rather than just pleasing God by obeying certain laws or rituals, the Eastern religions sought connection with God on the inside, as a shift in awareness, an opening up of one’s consciousness to a harmony and security that was constantly available.

People have traditionally talked about civilization “spreading” from place to place and not happening by other means. This is the result, I think, of two forms of self-deception. First of these is self-congratulation. If we suppose—as people throughout history have regularly supposed—that the way we live represents the climax of human achievement, we need to represent it as unique or, at least, rare: when you find a lot of examples of something that you expect to be unique, you have to explain the effect as the result of diffusion. Yet, in reality, civilization is an ordinary thing, an impulse so widespread that it has again transformed almost every habitable environment. Peoples modest enough in the faceof nature to forgo or severely limit their interventions are much rarer than those, like us, who crush nature into an image of our approving. The attitude of these reticent cultures should therefore be considered much harder to explain than that of the civilized. The second self-deception is belief in what might be called the migrationist fallacy, which powerfully warped previous generations’ picture of the remote past. Our received wisdom about prehistoric times was formulated in the late nineteenth and early twentieth centuries, when Europe was enjoying her own great imperial age. The experience of those times convinced self-appointed imperial master-races that civilization was something which descended from superior to inferior peoples. Its vectors were conquerors, colonists, and missionaries. Left to themselves, the barbarians would be mired in cultural immobility. The self-perception of the times was projected, almost without utterance, onto the depiction of the past. Stonehenge was regarded as a marvel beyond the capabilities of the people who really built it—just as to white beholders the ruins of Great Zimbabwe (see page p. 252 ) seemed to have been left by intruders, or the cities of the Maya (see page 158 ) to have been erected under guidance from afar. Early Bronze Age Wessex, with its chieftainly treasures of gold, was putatively assigned to a Mycenean king. The sophistication of Aegean palace life (see page 292 ) was said to have been copied from the Near East. Almost every development, every major change in the prehistoric world was turned by migrationist scholarship into a kind of pre-enactment of later European colonialism and attributed to the influence of migrants or scholars or the irradiation of cultural superiority, warming barbaric darkness into civilized enlightenment. Scholars who had before their eyes the sacred history of the Jews or the migration stories of Herodotus had every reason to trust their own instincts and experience and to chart the progress of civilization on the map. The result was to justify the project of the times: a world of peoples ranked in hierarchical order, sliced and stacked according to abilities supposed to be innate.

Unconditional Love - Love Without Condition I love you as you are, as you seek to find your own special way to relate to the world. I honour your choices to learn in the way you feel is right for you. I know it is important that you are the person you want to be and not someone that I or others think you "should" be. I realise that I cannot know what is best for you, although perhaps sometimes I think I do. I have not been where you have been, viewing life from the angle you have. I do not know what you have chosen to learn, how you have chosen to learn it, with whom or in what time period. I have not walked life looking through your eyes, so how can I know what you need. I allow you to be in the world without a thought or word of judgement from me about the deeds you undertake. I see no error in the things you say and do. In this place where I am, I see that there are many ways to perceive and experience the different facets of our world. I allow without reservation the choices you make in each moment. I make no judgement of this, for if I would deny your right to your evolution, then I would deny that right for myself and all others. To those who would choose a way I cannot walk, whilst I may not choose to add my power and my energy to this way, I will never deny you the gift of love that God has bestowed within me, for all creation. As I love you, so I shall be loved. As I sow, so shall I reap. I allow you the Universal right of Free Will to walk your own path, creating steps or to sit awhile if that is what is right for you. I will make no judgement that these steps are large or small, nor light or heavy or that they lead up or down, for this is just my viewpoint. I may see you do nothing and judge it to be unworthy and yet it may be that you bring great healing as you stand blessed by the Light of God. I cannot always see the higher picture of Divine Order. For it is the inalienable right of all life to choose their own evolution and with great Love I acknowledge your right to determine your future. In humility I bow to the realisation that the way I see as best for me does not have to mean it is also right for you. I know that you are led as I am, following the inner excitement to know your own path. I know that the many races, religions, customs, nationalities and beliefs within our world bring us great richness and allow us the benefit and teachings of such diverseness. I know we each learn in our own unique way in order to bring that Love and Wisdom back to the whole. I know that if there were only one way to do something, there would need only be one person. I will not only love you if you behave in a way I think you should, or believe in those things I believe in. I understand you are truly my brother and my sister, though you may have been born in a different place and believe in another God than I. The love I feel is for all of God's world. I know that every living thing is a part of God and I feel a Love deep within for every person, animal, tree and flower, every bird, river and ocean and for all the creatures in all the world. I live my life in loving service, being the best me I can, becoming wiser in the perfection of Divine Truth, becoming happier in the joy of ... Unconditional Love

Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top