Vertical Inspiring Quotes

It's been a long, hard day, and bit by bit you have been transformed into a single, vertical, barely ambulatory ache. All that awaits you now is another long, lonely night on the hard, cold ground. "What am I doing out here?" you ask yourself. "I must be mad!" Indeed, you are mad. Otherwise right now you could be warm and cozy and stretched out in front of your beloved TV, munching popcorn and swigging down ice-cold brew, just like a civilized person. "Oh well," you sigh to yourself. "I'd better stop and get a fire going.

Maybe dream chasing is like climbing a mountain. You know, finding the trail, stepping onto it. At first you're energetic and it's easy. Then you trip over a root, face a huge boulder, or a steep incline. So you stand up after the fall, find your way around the boulder, and trudge up the vertical. Eventually, you're on top of the mountain with an expansive view of the world." ~ Michael Stlis in "A Stop in the Park

By now you will not be surprised to learn that Gaston Bachelard had a few things to say about the element of air. In a book called "Air and Dreams". he points out that we categorize many of our emotions by their relative weight; they make us feel heavier or lighter. Perhaps because uprightness is the human quality, we imagine human emotions arranged on a vertical scale from ground to sky. So sadness is weighed down and earthbound. joy is aerial, and the sensation of freedom defies the bonds of gravity. "Air," Bachelard writes, "is the very substance of our freedom, the substance of superhuman joy." Elation, effervescence, elevation, levity, inspiration: air words all, alveolated with vowels, leavening the dough of everyday life.

Remember, if you speak from your mind, you will reach a mind; if you speak from your heart, you will reach a heart; if you speak from your life, you will reach a life.

Any day I'm vertical is a good day.

She turned it so the sharp edge was vertical, and, as she did, it occurred to her that this was the first time that she was deciding the course of her own life.

A butterfly has landed on a patch of milk parsley. Wings held vertically so it’s not going anywhere - for the time being. Once he would have leant across and seized it. Now he’ll let it fly.

If someone says, "You can make it!" down a vertical mountain when you don't ski very well, think about it before launching. This can be a turning point in your life. It sure was in mine when I slammed into the mountain. I wish I'd said, "F'getabout it, sucka," and gone to the Kiddie Corral. Would have saved a lot of pain and surgery. Think about this. What are you really up for? Is the thrill worth the cost?

The root of the trouble lies usually in the mistaken attitude of the beginner. Instead of looking at an easy scramble close to the ground and thinking "I could do that", he looks at some forbidding vertical wall which he knows has been climed, and feels "I could never do that". When told that an impossible-looking building is a field for climbers, he is apt to feel, like a child watching a conjurer, that there is magic in it and it is not for him. So he shies, and perhaps never makes a start.

This time, there’s no question of freeing yourself from artifice to taste simple joys. Instead there is the promise of meeting a freedom head-on as an outer limit of the self and of the human, an internal overflowing of a rebellious Nature that goes beyond you. Walking can provoke these excesses: surfeits of fatigue that make the mind wander, abundances of beauty that turn the soul over, excesses of drunkenness on the peaks, the high passes (where the body explodes). Walking ends by awakening this rebellious, archaic part of us: our appetites become rough and uncompromising, our impulses inspired. Because walking puts us on the vertical axis of life: swept along by the torrent that rushes just beneath us. What I mean is that by walking you are not going to meet yourself. By walking, you escape from the very idea of identity, the temptation to be someone, to have a name and a history. Being someone is all very well for smart parties where everyone is telling their story, it’s all very well for psychologists’ consulting rooms. But isn’t being someone also a social obligation which trails in its wake – for one has to be faithful to the self-portrait – a stupid and burdensome fiction? The freedom in walking lies in not being anyone; for the walking body has no history, it is just an eddy in the stream of immemorial life.

IRELAND Spenserian Sonnet abab, bcbc, cdcd, ee What is it about the Kelly velvet hillsides and the hoary avocado sea, The vertical cliffs where the Gulf Stream commences its southern bend, Slashing like a sculptor gone mad or a rancorous God who’s angry, Heaving galaxies of lichen shrouded stones for potato farmers to tend, Where the Famine and the Troubles such haunting aspects lend, Music and verse ring with such eloquence in their whimsical way, Let all, who can hear, rejoice as singers’ intonations mend, Gaelic souls from Sligo and Trinity Green to Cork and Dingle Bay, Where fiddle, bodhran, tin whistle, and even God, indulge to play, Ould sod to Beckett, Wilde and Yeats, Heaney and James Joyce, In this verdant, welcoming land, ‘tis the poet who rules the day. Where else can one hear a republic croon in so magnificent a voice? Primal hearts of Celtic chieftains pulse, setting inspiration free, In genial confines of chic caprice, we’re stirred by synchronicity.

Helen was bewildered to find herself surrounded by air as warm as the breath of summer. Slowly she walked into a large gallery, constructed of thousands of flashing, glittering glass panes in a network of wrought-iron ribs. It was a glasshouse, she realized in bewilderment. On a rooftop. The ethereal construction, as pretty as a wedding cake, had been built on a sturdy brickwork base, with iron pillars and girders welded to vertical struts and diagonal tiers. "This is for my orchids," she said faintly. Rhys came up behind her, his hands settling at her waist. He nuzzled gently at her ear. "I told you I'd find a place for them." A glass palace in the sky. It was magical, an inspired stroke of romantic imagination, and he had built it for her. Dazzled, she took in the view of London at sunset, a red glow westering across the leaden sky. The clouds were torn in places, gold light spilling through the fire-colored fleece.

The society’s ‘look’ is a self-publicizing one. The American flag itself bears witness to this by its omnipresence, in fields and built-up areas, at service stations, and on graves in the cemeteries, not as a heroic sign, but as the trademark of a good brand. It is simply the label of the finest successful international enterprise, the US. This explains why the hyperrealists were able to paint it naively, without either irony or protest (Jim Dine in the sixties), in much the same way as Pop Art gleefully transposed the amazing banality of consumer goods on to its canvases. There is nothing here of the fierce parodying of the American anthem by Jimi Hendrix, merely the light irony and neutral humour of things that have become banal, the humour of the mobile home and the giant hamburger on the sixteen-foot long billboard, the pop and hyper humour so characteristic of the atmosphere of America, where things almost seem endowed with a certain indulgence towards their own banality. But they are indulgent towards their own craziness too. Looked at more generally, they do not lay claim to being extraordinary; they simply are extraordinary. They have that extravagance which makes up odd, everyday America. This oddness is not surrealistic (surrealism is an extravagance that is still aesthetic in nature and as such very European in inspiration); here, the extravagance has passed into things. Madness, which with us is subjective, has here become objective, and irony which is subjective with us has also turned into something objective. The fantasmagoria and excess which we locate in the mind and the mental faculties have passed into things themselves. Whatever the boredom, the hellish tedium of the everyday in the US or anywhere else, American banality will always be a thousand times more interesting than the European - and especially the French - variety. Perhaps because banality here is born of extreme distances, of the monotony of wide-open spaces and the radical absence of culture. It is a native flower here, asis the opposite extreme, that of speed and verticality, of an excess that verges on abandon, and indifference to values bordering on immorality, whereas French banality is a hangover from bourgeois everyday life, born out of a dying aristocratic culture and transmuted into petty-bourgeois mannerism as the bourgeoisie shrank away throughout the nineteenth century. This is the crux: it is the corpse of the bourgeoisie that separates us. With us, it is that class that is the carrier of the chromosome of banality, whereas the Americans have succeeded in preserving some humour in the material signs of manifest reality and wealth. This also explains why Europeans experience anything relating to statistics as tragic. They immediately read in them their individual failure and take refuge in a pained denunciation of the merely quantitative. The Americans, by contrast, see statistics as an optimistic stimulus, as representing the dimensions of their good fortune, their joyous membership of the majority. Theirs is the only country where quantity can be extolled without compunction.

Modern biomimicry is far more than just copying nature's shapes. It includes systematic design and problem-solving processes, which are now being refined by scientists and engineers in universities and institutes worldwide. The first step in any of these processes is to clearly define the challenge we're trying to solve. Then we can determine whether the problem is related to form, function, or ecosystem. Next, we ask what plant, animal, or natural process solves a similar problem most effectively. For example, engineers trying to design a camera lens with the widest viewing angle possible found inspiration in the eyes of bees, which can see an incredible five-sixths of the way, or three hundred degrees, around their heads. The process can also work in reverse, where the exceptional strategies of a plant, animal, or ecosystem are recognized and reverse engineered. De Mestral's study of the tenacious grip of burrs on his socks is an early example of reverse engineering a natural winner, while researchers' fascination at the way geckos can hang upside down from the ceiling or climb vertical windows has now resulted in innovative adhesives and bandages. Designs based on biomimicry offer a range of economic benefits. Because nature has carried out trillions of parallel, competitive experiments for millions of years, its successful designs are dramatically more energy efficient than the inventions we've created in the past couple of hundred years. Nature builds only with locally derived materials, so it uses little transport energy. Its designs can be less expensive to manufacture than traditional approaches, because nature doesn't waste materials. For example, the exciting new engineering frontier of nanotechnology mirrors nature's manufacturing principles by building devices one molecule at a time. This means no offcuts or excess. Nature can't afford to poison itself either, so it creates and combines chemicals in a way that is nontoxic to its ecosystems. Green chemistry is a branch of biomimicry that uses this do-no-harm principle, to develop everything from medicines to cleaning products to industrial molecules that are safe by design. Learning from the way nature handles materials also allows one of our companies, PaxFan, to build fans that are smaller and lighter while giving higher performance. Finally, nature has methods to recycle absolutely everything it creates. In natures' closed loop of survival on this planet, everything is a resource and everything is recycled-one of the most fundamental components of sustainability. For all these reasons, as I hear one prominent venture capitalist declare, biomimicry will be the business of the twenty-first century. The global force of this emerging and fascinating field is undeniable and building on all societal levels.

According to the research, the trigger for vertical growth always comes in the form of a major life challenge that cannot be resolved from the current worldview. When we face such a challenge, we can take one of two approaches: we can grow into a more complex perspective that offers a solution to our problem, or we can try to ignore the problem, sometimes clinging more strongly to our existing worldview (or even shifting back to the reassuring simplicity of an earlier worldview).

Parsecs to Go before I blink.

There is a very important inspiration given by the Egyptian Pyramids to mankind: To stay horizontal is to stay on Earth, whereas human beings must move vertically!

(PuzzleBoxGPL) Inventor, Jonathan Roy McKinney >Unique 1< >Diadem Ring Circlet 8, 6, 1< >Mana Pi Sphere Abstracter 14, 2, 6, 2< >Golden Items 5, 3< >Hexagonal Prism 9, 5< “PuzzleBoxGPL forsees rainbow facets in hash tables, prefixes, suffixes, searches, and sorts randomized glob objects in the standard normal distribution, inspired by Blizzard Entertainment’s Diablo, SNES'S Secret Of Mana, B2B/B2C Business Intelligence, Knowledge Management, and Blockchain. The five pointed star gives out the Model View Projection Matrix vertices, and halves the coins Inna three-dimensional P2P hashing scheme

Along the vertical dimension, we have a progressive level of detail. As we flesh out each major activity into sets of user tasks, we add stories for each of those tasks. The critical tasks are higher vertically than the optional tasks.

This horizontal culture of leveling has been replacing the vertical culture that preceded it — a culture that looked upward for inspiration to gods in the heavens and heroes on marble pedestals. Ancient and recent heroes of men have been posthumously diabolized by the thumbs of bored and bitchy social media mobs — accused of brand spanking new sins they never knew they were committing

The nondual approach integrates evolving theories and embodiment practices along the horizontal dimension with timeless awareness and transcendence along the vertical dimension. It fosters the therapist's authenticity, presence, spontaneous creativity and radical acceptance. While the therapist may have an impressive array of tools, effectiveness requires unlearning and resting in unknowing presence. In this way, nondual awareness deepens psychology by shifting attention from the head to the heart, creating a resonant field of loving, empathic acceptance that unveils new ways of perceiving encompassing mind, heart, and body.

We want an even, constant flow of chi that is more horizontal than vertical. This encourages harmony

Anyone seeking to draw closer to God needs to curb the horizontal and ascend to God vertically,’ he said. ‘And this means giving oneself fully to God – with all one’s heart, body, mind and soul. There mustn’t be any dark corners.’ Skimming the surface wasn’t an option, he stressed. ‘People often tend to merely skate around the edges of religion, but what they really need is to plunge into its depths like deep-sea divers looking for treasures. Too many people nowadays make selective choices from various faiths – the New Age approach, but never embrace any one of them fully,’ said Nasr. It was true, so many people didn’t believe in organised religion but liked to take the best from every religion or spiritual teaching. ‘The most direct means of communication with God,’ he concluded, ‘are prayer and dhikr.

There is no doubt that the GR20, traversing the rugged mountains of Corsica, is one of the top trails of the world. Its reputation precedes it, and most walkers who trek the route describe it afterwards as one of the toughest they have ever completed. Others find they are unable to complete it, having seriously underestimated its nature. The GR20 climbs high into the mountains and stays there for days on end, leading ordinary walkers deep into the sort of terrain usually visited only by mountaineers. The scenery is awe-inspiring, with bare rock and vertical lines in some parts, contrasting with forests, lakes and alpine pastures in other places. Those

La grotte Pourquoi le Coran, décrivant l'état des jeunes hommes, indique qu'ils inspirent une telle crainte que "si tu les apercevais, tu leur tournerais le dos pour t'enfuir"? On explique habituellement la raison de leur aspect si terrible par leur chevelure, leurs barbes et leurs ongles qui auraient tellement poussé que ces jeunes ressembleraient aux hommes des cavernes. Cette explication n'est pas acceptable (...) quand ils sont revenus à eux-mêmes, à leur conscience normale, ils ne semblaient pas être choqués les uns par les aspects des autres et étaient persuadés de n'être restés plus d'une journée dans leur état d'inconscience. (...) "Qu'est ce que ces jeunes faisaient dans la grotte? Est-ce qu'ils dormaient? Préserver la foi et la fortifier - principal but de cette retraite - peut il se réaliser simplement par un long et profond sommeil? Est ce que la "rahma" et le "rachad" que Dieu leur a promis se ramènent simplement à dormir?" A aucun moment le texte coranique ne laisse entendre que ces gens étaient allongés. Le chien lui était allongé. Par contre ces gens, qui sont là - rappelons le- pour assumer leur "destin vertical" de liaison entre ciel et terre, semblent d'après la description du coran debout ou du moins assis. "Tu croirais qu'ils sont éveillés mais ils dorment" dit le Coran. Si les jeunes étaient allongés, tu ne croirais pas qu'ils sont éveillés. Par contre, si tu les trouves assis ou debout tu penserais qu'ils sont éveillés, surtout qu'ils ne cessent de bouger (nous les tournons à droite et à gauche). D'après la description du Coran nous imaginons une scène où des jeunes debout ou assis, remuant à droite et à gauche, apparemment ils sont donc éveillés, mais intérieurement ils sont dans un profond "sommeil" c'est à dire dans un état second, autrement dit un état extatique. C'est cet état très inhabituel qui provoquerait l'inquiétude d'un éventuel visiteur non averti, lequel penserait tout de suite qu'il s'agit d'un groupe de fous en plein délire

In those days, the ancient rainforests spread from Northern California to southeastern Alaska in a band between the mountains and the sea. Here is where the fog drips. Here is where the moisture-laden air from the pacific rises against the mountains to produce upward of one hundred inches of rain a year, watering an ecosystem rivaled nowhere else on earth. The biggest trees in the world. Trees that were born before Columbus sailed. And trees are just the beginning. The numbers of species of mammals, birds, amphibians, wildflowers, ferns, mosses, lichens, fungi, and insects are staggering. It's hard to write without running out of superlatives, for these were among the greatest forests on earth, forests peopled with centuries of past lives, enormous logs and snags that foster more life after their death than before. The canopy is a multi-layered sculpture of vertical complexity from the lowest moss on the forest floor to the wisps of lichen hanging high in the treetops, raggedy and uneven from the gaps produced by centuries of windthrow, disease, and storms. This seeming chaos belies the tight web of inter-connections between them all, stitched with filaments of fungi, silk of spiders, and silver threads of water. Alone is a word without meaning in this forest.