Vertical Line Quotes

Was the line between enemy and friend horizontal or vertical? Was it a great plain to lumber across or was it a high, high wall—either to be scaled or kicked down in one big blow?

But genius, and even great talent, springs less from seeds of intellect and social refinement superior to those of other people than from the faculty of transforming and transposing them. To heat a liquid with an electric lamp requires not the strongest lamp possible, but one of which the current can cease to illuminate, can be diverted so as to give heat instead of light. To mount the skies it is not necessary to have the most powerful of motors, one must have a motor which, instead of continuing to run along the earth's surface, intersecting with a vertical line the horizontal line which it began by following, is capable of converting its speed into lifting power. Similarly, the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consisting in reflecting power and not int he intrinsic quality of the scene reflected.

The vertical lines that run down his forearms are the most disturbing, thick and jagged as if someone took a razor to his skin. I wish I could run my fingers along them and remove the pain and memories that are attached to them.

He is only happy when he can maintain himself - mentally and spiritually - at the intersection between a vertical line and horizontal one, in a state of perfect balance. For this, he needs to know where he is located every moment, both in his relationship to the divine and to his family here on earth. If he loses that balance, he loses his power.

But I am I now; and so many other millions are so irretrievably their own special variety of 'I' that I can hardly bear to think of it. I: how firm a letter; how reassuring the three strokes: one vertical, proud and assertive, and then the two short horizontal lines in quick, smug succession. The pen scratching on the paper…I…I…I…I…I…I.

There must be some other possibility than death or lifelong penance ... some meeting, some intersection of lines; and some cowardly, hopeful geometer in my brain tells me it is the angle at which two lines prop each other up, the leaning-together from the vertical which produces the false arch. For lack of a keystone, the false arch may be as much as one can expect in this life. Only the very lucky discover the keystone.

What do you mean, 'Angle of Repose?' she asked me when I dreamed we were talking about Grandmother's life, and I said it was the angle at which a man or woman finally lies down. I suppose it is; and yet ... I thought when I began, and still think, that there was another angle in all those years when she was growing old and older and very old, and Grandfather was matching her year for year, a separate line that did not intersect with hers. They were vertical people, they lived by pride, and it is only by the ocular illusion of perspective that they can be said to have met. But he had not been dead two months when she lay down and died too, and that may indicate that at that absolute vanishing point they did intersect. They had intersected for years, for more than he especially would ever admit.

The poet gives his whole life such a voluntarily steep incline that it is impossible for it to exist in the vertical line of biography where we expect to meet it. It is not to be found under his own name and must be sought under those of others, in the biographical columns of his followers. The more self-contained the individuality from which the life derives, the more collective, without any figurative speaking, is its story.

God can turn any negative of life into a positive. If life takes us into the minus of negative experiences, heaven sends down a vertical line to intersect it and make all things positive. Let

She feels a splash of water on her hand and, turning, sees that the sky has become overcast with a blanket of ominous dark rose-colored cloud, and of a sudden the light fades from the lawn and the cedars. Steerpike, who is on his way back to the Earl's bedroom, stops a moment at a staircase window to see the first decent of the rain. It is falling from the sky in long, upright, and seemingly motionless lines of rosy silver that stand rigidly upon the ground as though there were a million harp strings strung vertically between the solids of earth and sky.

I went first. The card I drew was "Watergate." "Oh, come on," I said. "This is ridiculous." "Don't whine," said Carter, his grin annoyingly smug. "We all take a random chance here." They started the timer. I drew some remedial waves that immediately got a "Water!" from Cody. That was promising. Then, I drew what I hoped looked like a wall with a door in it. Apparently, I did too good a job. "Wall," said Hugh. "Door," said Cody. I added some vertical lines to the door to emphasize the gate aspect. After a moment's thought, I drew a plus sign between the water and wall to show their connection. "Aqueduct," said Cody. "A bridge over troubled water," guessed Hugh. "Oh my God," I groaned. Unsurprisingly, my time ran out before my teammates could figure it out, though not before they guessed "Hoover Dam" and "Hans Brinker." With a groan, I flounced onto the couch. The other team then got a shot at it. "Watergate," said Carter right away. Hugh turned on me, face incredulous. "Why didn't you just draw a gate?

From time to time, Musk will send out an e-mail to the entire company to enforce a new policy or let them know about something that’s bothering him. One of the more famous e-mails arrived in May 2010 with the subject line: Acronyms Seriously Suck: There is a creeping tendency to use made up acronyms at SpaceX. Excessive use of made up acronyms is a significant impediment to communication and keeping communication good as we grow is incredibly important. Individually, a few acronyms here and there may not seem so bad, but if a thousand people are making these up, over time the result will be a huge glossary that we have to issue to new employees. No one can actually remember all these acronyms and people don’t want to seem dumb in a meeting, so they just sit there in ignorance. This is particularly tough on new employees. That needs to stop immediately or I will take drastic action—I have given enough warnings over the years. Unless an acronym is approved by me, it should not enter the SpaceX glossary. If there is an existing acronym that cannot reasonably be justified, it should be eliminated, as I have requested in the past. For example, there should be no “HTS” [horizontal test stand] or “VTS” [vertical test stand] designations for test stands. Those are particularly dumb, as they contain unnecessary words. A “stand” at our test site is obviously a *test* stand. VTS-3 is four syllables compared with “Tripod,” which is two, so the bloody acronym version actually takes longer to say than the name! The key test for an acronym is to ask whether it helps or hurts communication. An acronym that most engineers outside of SpaceX already know, such as GUI, is fine to use. It is also ok to make up a few acronyms/contractions every now and again, assuming I have approved them, eg MVac and M9 instead of Merlin 1C-Vacuum or Merlin 1C-Sea Level, but those need to be kept to a minimum.

The discovery by Hubel and Wiesel of cells that respond to linear stimuli with specific axes of orientation may partly explain our response to Mondrian’s work, but it does not explain the artist’s focus on horizontal and vertical lines to the exclusion of oblique lines. Vertical

There was no room for dust devils in the laws of physics, as least in the rigid form in which they were usually taught. There is a kind of unspoken collusion going on in mainstream science education: you get your competent but bored, insecure and hence stodgy teacher talking to an audience divided between engineering students, who are going to be responsible for making bridges that won’t fall down or airplanes that won’t suddenly plunge vertically into the ground at six hundred miles an hour, and who by definition get sweaty palms and vindictive attitudes when their teacher suddenly veers off track and begins raving about wild and completely nonintuitive phenomena; and physics students, who derive much of their self-esteem from knowing that they are smarter and morally purer than the engineering students, and who by definition don’t want to hear about anything that makes no fucking sense. This collusion results in the professor saying: (something along the lines of) dust is heavier than air, therefore it falls until it hits the ground. That’s all there is to know about dust. The engineers love it because they like their issues dead and crucified like butterflies under glass. The physicists love it because they want to think they understand everything. No one asks difficult questions. And outside the windows, the dust devils continue to gambol across the campus.

He turned to face her. The two vertical lines above his nose were deep clefts between red wales. "I don't give a damn about your honesty," he told her, trying to make himself speak calmly. "I don't care what kind of tricks you're up to, what your secrets are, but I've got to have something to show that you know what you're doing." "I do know. Please believe that I do, and that it's all for the best, and--" "Show me," he ordered. "I'm willing to help you. I've done what I could so far. If necessary I'll go ahead blindfolded, but I can't do it without more confidence in you than I've got now. You've got to convince me that you know what it's all about, that you're not simply fiddling around by guess and by God, hoping it'll come out all right somehow in the end.

I’ve been giving it a lot of thought since yesterday and I’ve come up with a few ideas.” “Like what?” “Like, for starters, we have got to do something about your wardrobe.” I glanced down at myself. I was wearing a pair of flare jeans and a gray t-shirt that said, “BOOK NERD”, where every straight vertical line of each letter was the spine of a book. I thought it was clever. “What’s wrong with my wardrobe?” “Honestly, nothing…if you weren’t trying to attract the attention of Matt Fisher. Which, by the way, is confusing to me. What about him makes you so hot and bothered? It can’t just be his good looks because I’m good-looking too and you hate me.

I have seen Fuji, the most dainty and graceful of all mountains; and also Kinchinjunga: only Michael Angelo among men could have conceived such grandeur. But give me Erebus for my friend. Whoever made Erebus knew all the charm of horizontal lines, and the lines of Erebus are for the most part nearer the horizontal then the vertical. And so he is the most restful mountain in the world, and I was glad when I knew that our hut would lie at his feet. And always there floated from his crater the lazy banner of his cloud of steam.

You don’t think me a handsome man?” She shrugged. “I’ve only seen your hands and eyes. For all I know, you’re hiding the face of a sun spirit in that hood.” Brishen scoffed at the idea. “Hardly.” He’d never lacked female company, and his people thought him well-favored. Certainly nothing as wretched as a sun spirit. He slid the hood back to his shoulders. The woman’s eyes rounded. She inhaled a harsh breath and clasped one hand to her chest. Her mollusk skin went a far more attractive shade of ash. She remained silent and stared at him until he raised a hand in question. “Well?” She exhaled slowly. The space between her eyebrows stitched into a single vertical frown line. “Had you crawled out from under my bed when I was a child, I would have bludgeoned you to death with my father’s mace.

Vertical and horizontal lines represented for Mondrian the two opposing life forces: the positive and the negative, the dynamic and the static, the masculine and the feminine. This

All vertical lines, her face riven, the dark pleats of her skirt.

The Elder Wand,’ he said, and he drew a straight vertical line upon the parchment. ‘The Resurrection Stone,’ he said, and he added a circle on top of the line. ‘The Cloak of Invisibility,

In English, consciousness and unconsciousness are part of a vertical plane, so that we wake up ↑ and we fall ↓ asleep and we sink ↓ into a coma. Chinese uses the horizontal line, so that to wake is to cross a border towards consciousness → and to faint is to go back ← . Meanwhile, time itself is vertical so that last year is “the year above” ↑ and next year is “the year below” ↓. The day before yesterday is the day “in front” ↑ and the day after tomorrow is the day “behind” ↓. This means that future generations are not the generations ahead, but the ones behind. Therefore, to look into the future one must turn around...

If you watch the curve of science and everything we know, it shoots up like a rocket. We’re on this rocket and we’re going perfectly vertical into the stars. But the emotional intelligence of humankind is equally if not more important than our intellectual intelligence. We’re just as emotionally illiterate as we were 5,000 years ago; so emotionally our line is completely horizontal. The problem is the horizontal and the vertical are getting farther and farther apart. And as these things grow apart, there’s going to be some kind of consequence of that.

We therefore find that the triangles and rectangles herein described, enclose a large majority of the temples and cathedrals of the Greek and Gothic masters, for we have seen that the rectangle of the Egyptian triangle is a perfect generative medium, its ratio of five in width to eight in length 'encouraging impressions of contrast between horizontal and vertical lines' or spaces; and the same practically may be said of the Pythagorean triangle

All the honors of men in a state of sleep are as nothing. You must ‘repent.’ It has nothing to do with the so-called judgment of God. It is only a dream and man is reacting to the dream and he does not know that he is the dreamer and causing all the dream. The literal meaning of the Greek word translated as repent means ‘a change of mind.’ It has nothing to do with the moral picture. The churches introduced that, but it has nothing to do with it. I don’t care what a man has done, if he changes his mind in this meaning of the word ‘repent’ things will change, for he is then on the line of vertical line of states. He stands at a point on the states. There are infinite states and we must learn to distinguish between the state and the individual occupying the state. But I can now change and move into another state. I can in Time, do it in a split second and rise on the vertical line of the states.

The Silver Samarsanda stood above the Jardeen, behind a line of tall pencil cypress: an irregular bulk of masonry, plastered and whitewashed, with a wide, many-slanted roof of mossy tiles. Beside the entrance five colored lanterns hung in a vertical line: deep green, a dark, smoky scarlet, a gay light green, violet, and once more dark scarlet; and at the bottom, slightly to the side, a small, steady yellow lamp, the purport of all being: Never neglect the wonder of conscious existence, which too soon comes to an end!

The Lady Vader has come. We would hear her words.' 'Then you will hear them in prison.' The dynast gestured, and two more of the official guard left their line, heading purposefully toward the steps. It was, Leia judged, the right moment. Glancing down at her belt, she reached out through the Force with all the power and control she could manage-- And her lightsaber leaped from her belt, breaking free from its quick-release and jumping up in front of her. Her eyes and mind found the switch, and with a snap-hiss the brilliant green-white blade flashed into existence, carving out a vertical line between her and the line of dynasts. There was a sound like a hissing gasp from the crowd. The two Noghri who had been moving toward the maitrakh froze in mid stride...and as the gasp vanished into utter silence, Leia knew that she'd finally gotten their complete attention. 'I am not merely the daughter of the Lord Vader,' she said, putting an edge of controlled anger into her voice. 'I am the Mal'ary'ush: heir to his authority and his power. I have come through many dangers to reveal the treachery that has been done to the Noghri people.' She withdrew as much of her concentration as she could risk from the floating lightsaber to look slowly down the line of dynasts. 'Will you hear me? Or will you instead choose death?

So what about love?” I asked. She had started toward the kitchen but stopped, turned back, glasses in her hands. “What about it?” When Olivia frowned, two vertical lines sliced between her eyebrows and cut into her rounded forehead. I flushed red, but I wanted to know. If only I could ask without falling all over myself like a clown in size fourteen shoes. “Don’t you believe in it?” “I don’t believe in it the way people believe in God or the tooth fairy. It’s more like the National Enquirer. A big headline and a very dull story.

I think of two landscapes- one outside the self, the other within. The external landscape is the one we see-not only the line and color of the land and its shading at different times of the day, but also its plants and animals in season, its weather, its geology… If you walk up, say, a dry arroyo in the Sonoran Desert you will feel a mounding and rolling of sand and silt beneath your foot that is distinctive. You will anticipate the crumbling of the sedimentary earth in the arroyo bank as your hand reaches out, and in that tangible evidence you will sense the history of water in the region. Perhaps a black-throated sparrow lands in a paloverde bush… the smell of the creosote bush….all elements of the land, and what I mean by “the landscape.” The second landscape I think of is an interior one, a kind of projection within a person of a part of the exterior landscape. Relationships in the exterior landscape include those that are named and discernible, such as the nitrogen cycle, or a vertical sequence of Ordovician limestone, and others that are uncodified or ineffable, such as winter light falling on a particular kind of granite, or the effect of humidity on the frequency of a blackpoll warbler’s burst of song….the shape and character of these relationships in a person’s thinking, I believe, are deeply influenced by where on this earth one goes, what one touches, the patterns one observes in nature- the intricate history of one’s life in the land, even a life in the city, where wind, the chirp of birds, the line of a falling leaf, are known. These thoughts are arranged, further, according to the thread of one’s moral, intellectual, and spiritual development. The interior landscape responds to the character and subtlety of an exterior landscape; the shape of the individual mind is affected by land as it is by genes. Among the Navajo, the land is thought to exhibit sacred order…each individual undertakes to order his interior landscape according to the exterior landscape. To succeed in this means to achieve a balanced state of mental health…Among the various sung ceremonies of this people-Enemyway, Coyoteway, Uglyway- there is one called Beautyway. It is, in part, a spiritual invocation of the order of the exterior universe, that irreducible, holy complexity that manifests itself as all things changing through time (a Navajo definition of beauty).

Yet why must it be that men always seek out the depths, the abyss? Why must thought, like a plumb line, concern itself exclusively with vertical descent? Why was it not feasible for thought to change direction and climb vertically up, ever up, towards the surface? Why should the area of the skin, which guarantees a human being’s existence in space, be most despised and left to the tender mercies of the senses? I could not understand the laws governing the motion of thought—the way it was liable to get stuck in unseen chasms whenever it set out to go deep; or, whenever it aimed at the heights, to soar away into boundless and equally invisible heavens, leaving the corporeal form undeservedly neglected.

Look at this poem. How it travels down the page in lines, not sentences. How its beauty is vertical, like a body.

it’s not the destination; it’s the perspective.

Built-in bookshelves line the walls, spilling with books that are stuffed and stacked into every available space. Vertically, horizontally, on top of each other

Look at that symbol,’ she said, pointing to the top of a page. Above what Harry assumed was the title of the story (being unable to read runes, he could not be sure), there was a picture of what looked like a triangular eye, its pupil crossed with a vertical line. ‘I never took Ancient Runes, Hermione.’ ‘I know that, but it isn’t a rune and it’s not in the syllabary, either. All along I thought it was a picture

He wandered to the window. In that blast of snow, the shaft of the Plymouth National Bank Building was aspiring as a cathedral; twenty gray stories, with unbroken vertical lines swooping up beyond his vision into the snowy fog. It had nobility, but it seemed cruel, as lone and contemptuous of friendly human efforts as a forgotten tower on the Siberian steppes. How indifferently it would watch him starve and freeze!

Most of the church landscape in my lifetime has been heavily invested in trying to do something for Jerry or Sherri or some other icon of unchurchness. The problem is that they have been only about themselves from the moment they could wail for their mothers, and the decision to give them at church what they can find in any self-help book appears now as a choice to abandon the One in whose honor the church gathers. What they need is to be set free from themselves with finality and to be lost in the awesome wonder of the manifest presence of God. It was never God’s desire that He would sit on the sideline and watch us frantically devise impressive ways to reach people or simply hold the line on orthodoxy as though faithfulness can exist in a vacuum apart from fruitfulness. God is the Matter of first importance! Can you say that about your current weekly encounter with church?

As for free will, there is such a narrow crack of it for man to move in, crushed as he is from birth by environment, heredity, time and event and local convention. If I had been born of Italian parents in one of the caves in the hills I would be a prostitute at the age of 12 or so because I had to live (why?) and that was the only way open. If I was born into a wealthy New York family with pseudo-cultural leanings, I would have had my coming-out party along with the rest of them, and be equipped with fur coats, social contacts, and a blase pout. How do I know? I don't; I can only guess. I wouldn't be I. But I am I now; and so many other millions are so irretrievably their own special variety of "I" that I can hardly bear to think of it. I: how firm a letter; how reassuring the three strokes: one vertical, proud and assertive, and then the two short horizontal lines in quick, smug succession. The pen scratches on the paper... I... I... I... I... I... I.

The Theorem reste upon the validity of my longstanding argument that the world contains precisely two kinds of people: Dumpers and Dumpees. Everyone is predisposed to being either one or the other, but of course not all people are COMPLETE Dumpers and Dumpees. Hence the bell curve:" The majority of people fall somewhere close to the vertical dividing line with the occasional statisticaly outliner (e.g., me) representing a tiny percentage of overall individuals. The numerical expression of the graph can be something like 5 being extreme Dumper, and 0 being me. Ergo, if the Great One was a 4 and I am a 0, total size of the Dumper/Dumpee differetial = -4 (Assuming negative numbers if the guy is more of a Dumpee; positive if the girl is.)

After a few weeks Jobs finally had enough. “Stop!” he shouted at one big product strategy session. “This is crazy.” He grabbed a magic marker, padded to a whiteboard, and drew a horizontal and vertical line to make a four-squared chart. “Here’s what we need,” he continued. Atop the two columns he wrote “Consumer” and “Pro”; he labeled the two rows “Desktop” and “Portable.” Their job, he said, was to make four great products, one for each quadrant. “The room was in dumb silence,” Schiller recalled.

Why must it be that men always seek out the depths, the abyss? Why must thought, like a plumb line, concern itself exclusively with vertical descent? Why was it not feasible for thought to change direction and climb vertically up, ever up, towards the surface?

One of my greatest concerns for the young women of the Church is that they will sell themselves short in dating and marriage by forgetting who they really are--daughters of a loving Heavenly Father. . . . Unfortunately, a young woman who lowers her standards far enough can always find temporary acceptance from immature and unworthy young men. . . . At their best, daughters of God are loving, caring, understanding, and sympathetic. This does not mean they are also gullible, unrealistic, or easily manipulated. If a young man does not measure up to the standards a young woman has set, he may promise her that he will change if she will marry him first. Wise daughters of God will insist that young men who seek their hand in marriage change before the wedding, not after. (I am referring here to the kind of change that will be part of the lifelong growth of every disciple.) He may argue that she doesn't really believe in repentance and forgiveness. But one of the hallmarks of repentance is forsaking sin. Especially when the sin involves addictive behaviors or a pattern of transgression, wise daughters of God insist on seeing a sustained effort to forsake sin over a long period of time as true evidence of repentance. They do not marry someone because they believe they can change him. Young women, please do not settle for someone unworthy of your gospel standards. On the other hand, young women should not refuse to settle down. There is no right age for young men or young women to marry, but there is a right attitude for them to have about marriage: "Thy will be done" . . . . The time to marry is when we are prepared to meet a suitable mate, not after we have done all the enjoyable things in life we hoped to do while we were single. . . . When I hear some young men and young women set plans in stone which do not include marriage until after age twenty-five or thirty or until a graduate degree has been obtained, I recall Jacob's warning, "Seek not to counsel the Lord, but to take counsel from his hand" (Jacob 4:10). . . . How we conduct ourselves in dating relationships is a good indication of how we will conduct ourselves in a marriage relationship. . . . Individuals considering marriage would be wise to conduct their own prayerful due diligence--long before they set their hearts on marriage. There is nothing wrong with making a T-square diagram and on either side of the vertical line listing the relative strengths and weaknesses of a potential mate. I sometimes wonder whether doing more homework when it comes to this critical decision would spare some Church members needless heartache. I fear too many fall in love with each other or even with the idea of marriage before doing the background research necessary to make a good decision. It is sad when a person who wants to be married never has the opportunity to marry. But it is much, much sadder to be married to the wrong person. If you do not believe me, talk with someone who has made that mistake. Think carefully about the person you are considering marrying, because marriage should last for time and for all eternity.

1.  Position one blank sheet of paper to your right and another to your left; then take a pencil in each hand. Simultaneously, draw a vertical line on the right sheet and a circle on the left sheet. Repeat three times, alternating figures on the right and left sheets.  2.  Draw a triangle on one sheet while drawing a square on the other. Then switch: draw the square on the first sheet and the triangle on the other.  3.  Draw a circle on one sheet while drawing a triangle on the other. Switch figures and do it again.  4.  Draw two circles on one sheet while drawing one square on the other. Then switch.  5.  Draw two squares on one sheet while drawing one triangle on the other. Then switch.  6.  Draw a triangle on one sheet while drawing a square on the other and also tracing a circle on the floor with one leg. Then switch hands (and switch to the other leg).  7.  Draw a circle with one hand and a triangle with the other while tracing a square on the floor with one leg. Then switch all.  8.  Draw a triangle with one hand and two squares with the other while tracing a circle on the floor with one leg. Then switch all.  9.  Draw a triangle with one hand and a square with the other while tracing a circle on the floor with one leg and nodding your head twice forward and twice backward. 10.  Draw a triangle with one hand and a square with the other while tracing a vertical line with the leg on the same side as the hand that is drawing the triangle, and a horizontal line with leg on the same side as the hand that is drawing the square. Then switch all.

The day came: a Monday at the end of September. The night before he had realized that it was almost exactly a year since the beating, although he hadn’t planned it that way. He left work early that evening. He had spent the weekend organizing his projects; he had written Lucien a memo detailing the status of everything he had been working on. At home, he lined up his letters on the dining room table, and a copy of his will. He had left a message with Richard’s studio manager that the toilet in the master bathroom kept running and asked if Richard could let in the plumber the following day at nine – both Richard and Willem had a set of keys to his apartment – because he would be away on business. He took off his suit jacket and tie and shoes and watch and went to the bathroom. He sat in the shower area with his sleeves pushed up. He had a glass of scotch, which he sipped at to steady himself, and a box cutter, which he knew would be easier to hold than a razor. He knew what he needed to do: three straight vertical lines, as deep and long as he could make them, following the veins up both arms. And then he would lie down and wait. He waited for a while, crying a bit, because he was tired and frightened and because he was ready to go, he was ready to leave. Finally he rubbed his eyes and began. He started with his left arm. He made the first cut, which was more painful than he had thought it would be, and he cried out. Then he made the second. He took another drink of the scotch. The blood was viscous, more gelatinous than liquid, and a brilliant, shimmering oil-black. Already his pants were soaked with it, already his grip was loosening. He made the third. When he was done with both arms, he slumped against the back of the shower wall. He wished, absurdly, for a pillow. He was warm from the scotch, and from his own blood, which lapped at him as it pooled against his legs – his insides meeting his outsides, the inner bathing the outer. He closed his eyes. Behind him, the hyenas howled, furious at him. Before him stood the house with its open door. He wasn’t close yet, but he was closer than he’d been: close enough to see that inside, there was a bed where he could rest, where he could lie down and sleep after his long run, where he would, for the first time in his life, be safe.

Even in the matter of moustaches I was going to surpass Nietzsche! Mine would not be depressing, catastrophic, burdened by Wagnerian music and mist. No! It would be line-thin, imperialistic, ultra-rationalistic, and pointing towards heaven, like the vertical mysticism, like the vertical Spanish syndicates.

If you plot perceived value on a graph, with the horizontal axis as time and the present as zero, then you will see the line representing value curve sharply upward the closer it comes to the zero point, reaching its zenith as it hits the vertical axis. By comparison, value in the far future goes low quickly, changing hardly at all between a year and two years distant. A hyperbola. When humans and most living creatures consider the value of something, they tend to see its future value diminish hyperbolically. In other words, our system of evaluation isn't exponentioally logical, it's hyperbolically illogical.

Monet Refuses the Operation" Doctor, you say that there are no halos around the streetlights in Paris and what I see is an aberration caused by old age, an affliction. I tell you it has taken me all my life to arrive at the vision of gas lamps as angels, to soften and blur and finally banish the edges you regret I don’t see, to learn that the line I called the horizon does not exist and sky and water, so long apart, are the same state of being. Fifty-four years before I could see Rouen cathedral is built of parallel shafts of sun, and now you want to restore my youthful errors: fixed notions of top and bottom, the illusion of three-dimensional space, wisteria separate from the bridge it covers. What can I say to convince you the Houses of Parliament dissolve night after night to become the fluid dream of the Thames? I will not return to a universe of objects that don’t know each other, as if islands were not the lost children of one great continent. The world is flux, and light becomes what it touches, becomes water, lilies on water, above and below water, becomes lilac and mauve and yellow and white and cerulean lamps, small fists passing sunlight so quickly to one another that it would take long, streaming hair inside my brush to catch it. To paint the speed of light! Our weighted shapes, these verticals, burn to mix with air and changes our bones, skin, clothes to gases. Doctor, if only you could see how heaven pulls earth into its arms and how infinitely the heart expands to claim this world, blue vapor without end.

Quality isn’t a substance. Neither is it a method. It’s outside of both. If one builds a house using the plumb-line and spirit-level methods he does so because a straight vertical wall is less likely to collapse and thus has higher Quality than a crooked one. Quality isn’t method. It’s the goal toward which method is aimed.

Knowledge extends in promontories and bays; or to put it vertically rather than horizontally, the strata from remote to recent never lie so unbroken that we cannot find some line of unconformity where the imagination must make a leap. There are so many horizons, geological and human, where the evidence is missing or incomplete.

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

To mount the skies it is not necessary to have the most powerful of motors, one must have a motor which, instead of continuing to run along the earth's surface, intersecting with a vertical line the horizontal which it began by following, is capable of converting its speed into lifting power. Similarly, the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consisting in reflecting power and not the intrinsic quality of the scene reflected.

There is one in this tribe too often miserable - a child bereaved of both parents. None cares for this child: she is fed sometimes, but oftener forgotten: a hut rarely receives her: the hollow tree and chill cavern are her home. Forsaken, lost, and wandering, she lives more with the wild beast and bird than with her own kind. Hunger and cold are her comrades: sadness hovers over, and solitude besets her round. Unheeded and unvalued, she should die: but she both lives and grows: the green wilderness nurses her, and becomes to her a mother: feeds her on juicy berry, on saccharine root and nut. There is something in the air of this clime which fosters life kindly: there must be something, too, in its dews, which heals with sovereign balm. Its gentle seasons exaggerate no passion, no sense; its temperature tends to harmony; its breezes, you would say, bring down from heaven the germ of pure thought, and purer feeling. Not grotesquely fantastic are the forms of cliff and foliage; not violently vivid the colouring of flower and bird: in all the grandeur of these forests there is repose; in all their freshness there is tenderness. The gentle charm vouchsafed to flower and tree, - bestowed on deer and dove, - has not been denied to the human nursling. All solitary, she has sprung up straight and graceful. Nature cast her features in a fine mould; they have matured in their pure, accurate first lines, unaltered by the shocks of disease. No fierce dry blast has dealt rudely with the surface of her frame; no burning sun has crisped or withered her tresses: her form gleams ivory-white through the trees; her hair flows plenteous, long, and glossy; her eyes, not dazzled by vertical fires, beam in the shade large and open, and full and dewy: above those eyes, when the breeze bares her forehead, shines an expanse fair and ample, - a clear, candid page, whereon knowledge, should knowledge ever come, might write a golden record. You see in the desolate young savage nothing vicious or vacant; she haunts the wood harmless and thoughtful: though of what one so untaught can think, it is not easy to divine. On the evening of one summer day, before the Flood, being utterly alone - for she had lost all trace of her tribe, who had wandered leagues away, she knew not where, - she went up from the vale, to watch Day take leave and Night arrive. A crag, overspread by a tree, was her station: the oak-roots, turfed and mossed, gave a seat: the oak-boughs, thick-leaved, wove a canopy. Slow and grand the Day withdrew, passing in purple fire, and parting to the farewell of a wild, low chorus from the woodlands. Then Night entered, quiet as death: the wind fell, the birds ceased singing. Now every nest held happy mates, and hart and hind slumbered blissfully safe in their lair. The girl sat, her body still, her soul astir; occupied, however, rather in feeling than in thinking, - in wishing, than hoping, - in imagining, than projecting. She felt the world, the sky, the night, boundlessly mighty. Of all things, herself seemed to herself the centre, - a small, forgotten atom of life, a spark of soul, emitted inadvertent from the great creative source, and now burning unmarked to waste in the heart of a black hollow. She asked, was she thus to burn out and perish, her living light doing no good, never seen, never needed, - a star in an else starless firmament, - which nor shepherd, nor wanderer, nor sage, nor priest, tracked as a guide, or read as a prophecy? Could this be, she demanded, when the flame of her intelligence burned so vivid; when her life beat so true, and real, and potent; when something within her stirred disquieted, and restlessly asserted a God-given strength, for which it insisted she should find exercise?

War, imprisonment, and "the street" have decimated the ranks of Black males of marriageable age. The fury of many Black heterosexual women against white women who date Black men is rooted in this unequal sexual equation within the Black community, since whatever threatens to widen that equation is deeply and articulately resented. But this is essentially unconstructive resentment because it extends sideways only. It can never result in true progress on the issue because it does not question the vertical lines of power or authority, nor the sexist assumptions which dictate the terms of that competition. And the racism of white women might be better addressed where it is less complicated by their own sexual oppression. In this situation it is not the non-Black woman who calls the tune, but rather the Black man who turns away from himself in his sisters or who, through a fear borrowed from white men, reads her strength not as a resource but as a challenge.

why must it be that men always seek out the depths, the abyss ? Why must thought, like a plumb line, concern itself exclusively with vertical descent? Why was it not feasible for thought to change direction and climb vertically up, ever up, towards the surface? Why should the area of the skin, which guarantees a human being's existence in space, be most despised and left to the tender mercies of the senses? I could not understand the laws governing the motion of thought—the way it was liable to get stuck in unseen chasms whenever it set out to go deep; or, whenever it aimed at the heights, to soar away into boundless and equally invisible heavens, leaving the corporeal form undeservedly neglected.

1.  Position one blank sheet of paper to your right and another to your left; then take a pencil in each hand. Simultaneously, draw a vertical line on the right sheet and a circle on the left sheet. Repeat three times, alternating figures on the right and left sheets. 2.  Draw a triangle on one sheet while drawing a square on the other. Then switch: draw the square on the first sheet and the triangle on the other. 3.  Draw a circle on one sheet while drawing a triangle on the other. Switch figures and do it again. 4.  Draw two circles on one sheet while drawing one square on the other. Then switch. 5.  Draw two squares on one sheet while drawing one triangle on the other. Then switch. 6.  Draw a triangle on one sheet while drawing a square on the other and also tracing a circle on the floor with one leg. Then switch hands (and switch to the other leg). 7.  Draw a circle with one hand and a triangle with the other while tracing a square on the floor with one leg. Then switch all. 8.  Draw a triangle with one hand and two squares with the other while tracing a circle on the floor with one leg. Then switch all. 9.  Draw a triangle with one hand and a square with the other while tracing a circle on the floor with one leg and nodding your head twice forward and twice backward. 10.  Draw a triangle with one hand and a square with the other while tracing a vertical line with the leg on the same side as the hand that is drawing the triangle, and a horizontal line with leg on the same side as the hand that is drawing the square. Then switch all.

Patriotism comes from the same Latin word as father. Blind patriotism is collective transference. In it the state becomes a parent and we citizens submit our loyalty to ensure its protection. We may have been encouraged to make that bargain from our public school education, our family home, religion, or culture in general. We associate safety with obedience to authority, for example, going along with government policies. We then make duty, as it is defined by the nation, our unquestioned course. Our motivation is usually not love of country but fear of being without a country that will defend us and our property. Connection is all-important to us; excommunication is the equivalent of death, the finality we can’t dispute. Healthy adult loyalty is a virtue that does not become blind obedience for fear of losing connection, nor total devotion so that we lose our boundaries. Our civil obedience can be so firm that it may take precedence over our concern for those we love, even our children. Here is an example: A young mother is told by the doctor that her toddler is allergic to peanuts and peanut oil. She lets the school know of her son’s allergy when he goes to kindergarten. Throughout his childhood, she is vigilant and makes sure he is safe from peanuts in any form. Eighteen years later, there is a war and he is drafted. The same mother, who was so scrupulously careful about her child’s safety, now waves goodbye to him with a tear but without protest. Mother’s own training in public school and throughout her life has made her believe that her son’s life is expendable whether or not the war in question is just. “Patriotism” is so deeply ingrained in her that she does not even imagine an alternative, even when her son’s life is at stake. It is of course also true that, biologically, parents are ready to let children go just as the state is ready to draft them. What a cunning synchronic-ity. In addition, old men who decide on war take advantage of the timing too. The warrior archetype is lively in eighteen-year-olds, who are willing to fight. Those in their mid-thirties, whose archetype is being a householder and making a mark in their chosen field, will not show an interest in battlefields of blood. The chiefs count on the fact that young braves will take the warrior myth literally rather than as a metaphor for interior battles. They will be willing to put their lives on the line to live out the collective myth of societies that have not found the path of nonviolence. Our collective nature thus seems geared to making war a workable enterprise. In some people, peacemaking is the archetype most in evidence. Nature seems to have made that population smaller, unfortunately. Our culture has trained us to endure and tolerate, not to protest and rebel. Every cell of our bodies learned that lesson. It may not be virtue; it may be fear. We may believe that showing anger is dangerous, because it opposes the authority we are obliged to appease and placate if we are to survive. This explains why we so admire someone who dares to say no and to stand up or even to die for what he believes. That person did not fall prey to the collective seduction. Watching Jeopardy on television, I notice that the audience applauds with special force when a contestant risks everything on a double-jeopardy question. The healthy part of us ardently admires daring. In our positive shadow, our admiration reflects our own disavowed or hidden potential. We, too, have it in us to dare. We can stand up for our truth, putting every comfort on the line, if only we can calm our long-scared ego and open to the part of us that wants to live free. Joseph Campbell says encouragingly, “The part of us that wants to become is fearless.” Religion and Transference Transference is not simply horizontal, from person to person, but vertical from person to a higher power, usually personified as God. When

didn’t talk soothingly to the rat, or stroke her, but firmly grabbed her behind the neck, mimicking a playful nip, and then ran his fingers up and down her rib cage, tickling her. She squirmed briefly, but stopped when he turned her over and tickled her belly. (Like humans, rats have “tickle-skin.”) That was when she began to laugh, calls that we heard through the bat detector as quick, high-pitched chirps, and saw on the computer monitor in a sonogram rendition as a vertical series of wavy lines. Compared to a sonogram of various kinds of human laughs, a rat’s chirps may be closest to a giggle. “There, she’s laughing already,” Panksepp said, tickling her some more. “Chup, chup, chup,” I wrote in my notebook, trying to approximate the bat-detector’s translation of her rat laughter. When Panksepp stopped tickling, she jumped up and bunny-hopped around the bin, while making more of her laughing play-chirps.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

We stopped talking about Zampanô then. She paged her friend Christina who took less than twenty minutes to come over. There were no introductions. We just sat down on the floor and snorted lines of coke off a CD case, gulped down a bottle of wine and then used it to play spin the bottle. They kissed each other first, then they both kissed me, and then we forgot about the bottle, and I even managed to forget about Zampanô, about this, and about how much that attack in the tattoo shop had put me on edge. Two kisses in one kiss was all it took, a comfort, a warmth, perhaps temporary, perhaps false, but reassuring nonetheless, and mine, and theirs, ours, all three of us giggling, insane giggles and laughter with still more kisses on the way, and I remember a brief instant then, out of the blue, when I suddenly glimpsed my own father, a rare but oddly peaceful recollection, as if he actually approved of my play in the way he himself had always laughed and played, always laughing, surrendering to its ease, especially when he soared in great updrafts of light, burning off distant plateaus of bistre & sage, throwing him up like an angel, high above the red earth, deep into the sparkling blank, the tender sky that never once let him down, preserving his attachment to youth, propriety and kindness, his plane almost, but never quite, outracing his whoops of joy, trailing him in his sudden turn to the wind, followed then by a near vertical climb up to the angles of the sun, and I was barely eight and still with him and yes, that the thought that flickered madly through me, a brief instant of communion, possessing me with warmth and ageless ease, causing me to smile again and relax as if memory alone could lift the heart like the wind lifts a wing, and so I renewed my kisses with even greater enthusiasm, caressing and in turn devouring their dark lips, dark with wine and fleeting love, an ancient memory love had promised but finally never gave, until there were too many kisses to count or remember, and the memory of love proved not love at all and needed a replacement, which our bodies found, and then the giggles subsided, and the laughter dimmed, and darkness enfolded all of us and we gave away our childhood for nothing and we died and condoms littered the floor and Christina threw up in the sink and Amber chuckled a little and kissed me a little more, but in a way that told me it was time to leave.

There is a kind of unspoken collusion going on in mainstream science education: you get your competent but bored, insecure and hence stodgy teacher talking to an audience divided between engineering students, who are going to be responsible for making bridges that won’t fall down or airplanes that won’t suddenly plunge vertically into the ground at six hundred miles an hour, and who by definition get sweaty palms and vindictive attitudes when their teacher suddenly veers off track and begins raving about wild and completely nonintuitive phenomena; and physics students, who derive much of their self-esteem from knowing that they are smarter and morally purer than the engineering students, and who by definition don’t want to hear about anything that makes no fucking sense. This collusion results in the professor saying: (something along the lines of) dust is heavier than air, therefore it falls until it hits the ground. That’s all there is to know about dust. The engineers love it because they like their issues dead and crucified like butterflies under glass. The physicists love it because they want to think they understand everything. No one asks difficult questions. And outside the windows, the dust devils continue to gambol across the campus.

Phoebe left a note asking me to go through our family genealogy books to see if we had any Scottish ancestors. She found none on your mother's side at all, and she said you'd be disappointed if there were none on Father's side." Surprised and touched by both sisters' concern, Keir shook his head with a smile. "Dinna worry about that, Seraphina. I decided 'tis enough to be Scottish in my heart." "Still, you wouldn't mind if I told you we have some Scottish blood, would you?" she asked, her eyes twinkling. "Because I've discovered that we do in fact have a Scot in our family tree! It's been overlooked because he's not in our direct line. I had to trace the connection through some female ancestors instead of going only through the male lineage. But we are very clearly indisputably descended from a Scot who was our great-great-great-great-great... well, let's say eighteen-times-great... grandfather. And just see who it is!" Seraphina unfolded the parchment, which was inscribed with a long vertical chart of connected names. And at the top- ROBERT I King of Scots "Robert the Bruce?" Keir could feel his heart expanding in his chest. "Yes," Seraphina said gleefully, leaping up and bouncing on her heels. Keir stood, laughing, and bent to kiss her cheek. "One drop of Robert the Bruce's blood will do the job. I could no' be happier. Thank you, sister." He tried to hand the chart back to her, but she shook her head. "Keep that if you like. Isn't it wonderful news? I have to go tell Ivo we're Scottish!" She left the room triumphantly.

Laura stands, in another photograph, wearing a two-piece gown, bodice and skirt, from centuries ago. The scarlet material is trimmed in gold brocade. From her waist the skirt billows outward, broad as a spinnaker, and grazes the floor in a huge circle. It fastens in front by a series of cobalt buttons, and she is about to start closing it, but for the moment it gapes open: a vertical window, eight or ten inches wide, runs from her waist to the floor. The gold brocade lines the opening like a ceremonial decoration, a veneration of what lies within. But nothing lies within. Inside the vast regal tent of the garment is darkness. Because of the lighting and pose, Laura’s body seems to end at the belly, to have no stumps at all. The opening exposes a pure emptiness. It is unclear how she is standing, what keeps her upright. The cavern beneath the skirt is illumined just enough to suggest that she isn’t wearing her prosthetics. She stands on no legs, suspended, magical. And that magic, along with her strong jawline turned in profile, endows her with omnipotence. The cavern is at once a universe and a womb. The vertical opening is a vaginal slit, and to slip through it, to slide the body inside the scarlet walls of the tent, to wait inside while she fastens the skirt and encloses you, swallows you, would be to live out the primal fantasy of entering the vagina not only with the penis but with everything from the skull to the toes: to be ensconced, to be consumed. The photograph’s viewer, not its subject, is at risk of disintegrating, coming apart, deliquescing in the lightless world he has longed for, turning to liquid in the womb. Laura, with her half-body, will remain more than intact, more than whole.

Whenever you name something in creation as the thing that will satisfy you, you are asking that thing to be your personal savior. This means that, in a very practical, street-level way, you are looking horizontally for what will only ever be yours vertically. In other words, you are asking something in creation to do for you what only God can do. Now, the physical, created world was designed to be glorious, and it is. It is a sight-sound-touch-taste-feel symphony of multifaceted physical glories, but these glories cannot satisfy your heart. If you ask them to, your heart will be empty, and you will be frustrated and discouraged. No, the earthly glories that God created are to be like signposts that point us to the one glory that will ever satisfy our hearts. So here’s the bottom line. If you seek satisfaction, satisfaction will escape your grasp. But if you seek God, rest in his presence and grace, and put your heart in his most capable hands, he will satisfy your heart as nothing else can. You were made for him. Your heart was designed to be controlled by worship of him. Your inner security is meant to come from rest in him. Your sense of well-being is intended to come from a reliance on his wisdom, power, and love. The reality is this—God is the peace that you’re looking for. He is the satisfaction that your heart seeks. He is the rest that you crave, the joy you long for, and the comfort your heart desires. All those things that you and I say we need we don’t really need. All those things that we think will bring us contentment and joy will fail to deliver. What we need in life is him, and by grace, he is with us, in us, and for us. Our hearts can rest because, by grace, we have been given everything we could ever need, in him.

The river’s isolation and secrecy, however, were only part of what made it superlative. There was also its vertical drop. The Colorado’s watershed encompasses a series of high-desert plateaus that stretch across the most austere and hostile quarter of the West, an area encompassing one-twelfth the landmass of the continental United States, whose breadth and average height are surpassed only by the highlands of Tibet. Each winter, storms lumbering across the Great Basin build up a thick snowpack along the crest of the mountains that line the perimeter of this plateau—an immense, sickle-shaped curve of peaks whose summits exceed fourteen thousand feet. As the snowmelt cascades off those summits during the spring and spills toward the Sea of Cortés, the water drops more than two and a half miles. That amounts to eight vertical feet per horizontal mile, an angle that is thirty-two times steeper than that of the Mississippi. The grade is unequaled by any major waterway in the contiguous United States and very few long stretches of river beyond the Himalayas. (The Nile, in contrast, falls only six thousand feet in its entire four-thousand-mile trek to the Mediterranean.) Also unlike the Nile, whose discharge is generated primarily by rain, the engine that drives almost all of this activity is snow. This means that the bulk of the Colorado’s discharge tends to come down in one headlong rush. Throughout the autumn and the winter, the river might trickle through the canyonlands of southern Utah at a mere three thousand cubic feet per second. With the melt-out in late May and early June, however, the river’s flow can undergo spectacular bursts of change. In the space of a week, the level can easily surge to 30,000 cfs, and a few days after that it can once again rocket up, surpassing 100,000 cfs. Few rivers on earth can match such manic swings from benign trickle to insane torrent. But the story doesn’t end there, because these savage transitions are exacerbated by yet another unusual phenomenon, one that is a direct outgrowth of the region’s unusual climate and terrain. On

Then, on a left-hand curve 2.8 kilometres from the finish line, Marco delivers another cutting acceleration. Tonkov is immediately out of the saddle. The gap reaches two lengths. Tonkov fights his way back and is on Marco’s wheel when Marco, who is still standing on the pedals, accelerates again. Suddenly Tonkov is no longer there. Afterwards Tonkov would say he could no longer feel his hands and feet. ‘I had to stop. I lost his slipstream. I couldn’t go on.’ Marco told Romano Cenni he could taste blood. His performance on Montecampione was close to self-mutilation. Seven hundred metres from the finish line, the TV camera on the inside of the final right-hand bend, looking down the hill, picks Marco up over two hundred metres from the line and follows him for fifty metres, a fifteen-second close-up, grainy, pallid in the late-afternoon light. A car and motorbike, diffused and ghostlike, pass between the camera and Marco, emerging out of the gloom. The image cuts to another camera, tight on him as he swings round into the finishing straight, a five-second flash before the live, wide shot of the stage finish: Marco, framed between ecstatic fans on either side, and the finish-line scaffolding adorned with race sponsors‘ logos; largest, and centrally, the Gazzetta dello Sport, surrounded by branding for iced tea, shower gel, telephone services. Then we see it again in the super-slow-motion replay; the five seconds between the moment Marco appeared in the closing straight and the moment he crossed the finish line are extruded to fifteen strung-out seconds. The image frames his head and little else, revealing details invisible in real time and at standard resolution: a drop of sweat that falls from his chin as he makes the bend, the gaping jaw and crumpled forehead and lines beneath the eyes that deepen as Marco wrings still more speed from the mountain. As he rides towards victory in the Giro d‘Italia, Marco pushes himself so deeply into the pain of physical exertion that the gaucheness he has always shown before the camera dissolves, and — this must be the instant he crosses the line — he begins to rise out of his agony. The torso lifts to vertical, the arms spread out into a crucifix position, the eyelids descend, and Marco‘s face, altered by the darkness he has seen in his apnoea, lifts towards the light.

The photo was published in the majority of Brazilian newspapers in a full-page spread when CNN and all the television channels of the world broadcast the scene, they froze it for a few seconds. Or minutes, hours, I don't know. For me time has infinite duration--I don't know how to measure it by normal parameters. Trying doesn't even interest me. From the World Trade Center buildings, minutes, prior to their collapse--which would appear as a perfect and planned implosion--only a grayish-blue and black vertical lines can be seen. Like a modernist painting--by whom? Which artist painted lines? Mondrian? No, not Mondrian, he painted squares, rectangles. Anyway, in the picture, the man is falling head first. his body straight, one of his legs bent. Did he jump? Slip? Did he faint and then fall? He probably lost consciousness because of the height, the smoke. He fell. He disappeared from the scene, from life, from the city. A million tons of rubble buried him soon after. Nobody knows his name. Impossible for his family to have him identified. He's an unknown who entered into history at the twenty-first century's first great moment of horror--the history of the world, the United States, communications, photography. Without anyone knowing who he is. And nobody will ever know. We'll only have suppositions, families who'll swear that he was theirs. But was he Brazilian, American, Latino, Chinese, Italian, Irish--what? He could have been anything, but now he's nothing. One among thousands gone forever. And, while we're on the subject, what about the firemen who supposedly became such heroes that day--can you name a single one?

Bach merged the horizontal Counterpoint with the vertical Harmony. Before him, Harmony was subjected to Counterpoint. After, him, it was the contrary. Thus, he merged the Line with the Color, the Old time with the New time : his Head was a tinanic Forge.

Bach merged the horizontal Counterpoint with the vertical Harmony. Before him, Harmony was subjected to Counterpoint. After, him, it is the contrary. Thus, he merged the Line with the Color, the Old time with the New time ; his Head was a titanic Forge.

Children displaced from their families, unconnected to their teachers, and not yet mature enough to relate to one another as separate beings, automatically regroup to satisfy their instinctive drive for attachment. The culture of the group is either invented or borrowed from the peer culture at large. It does not take children very long to know what tribe they belong to, what the rules are, whom they can talk to, and whom they must keep at a distance. Despite our attempts to teach our children respect for individual differences and to instill in them a sense of belonging to a cohesive civilization, we are fragmenting at an alarming rate into tribal chaos. Our very own children are leading the way. The time we as parents and educators spend trying to teach our children social tolerance, acceptance, and etiquette would be much better invested in cultivating a connection with them. Children nurtured in traditional hierarchies of attachment are not nearly as susceptible to the spontaneous forces of tribalization. The social values we wish to inculcate can be transmitted only across existing lines of attachment. The culture created by peer orientation does not mix well with other cultures. Because peer orientation exists unto itself, so does the culture it creates. It operates much more like a cult than a culture. Immature beings who embrace the culture generated by peer orientation become cut off from people of other cultures. Peer-oriented youth actually glory in excluding traditional values and historical connections. People from differing cultures that have been transmitted vertically retain the capacity to relate to one another respectfully, even if in practice that capacity is often overwhelmed by the historical or political conflicts in which human beings become caught up. Beneath the particular cultural expressions they can mutually recognize the universality of human values and cherish the richness of diversity. Peer-oriented kids are, however, inclined to hang out with one another exclusively. They set themselves apart from those not like them. As our peer-oriented children reach adolescence, many parents find themselves feeling as if their very own children are barely recognizable with their tribal music, clothing, language, rituals, and body decorations. “Tattooing and piercing, once shocking, are now merely generational signposts in a culture that constantly redraws the line between acceptable and disallowed behavior,” a Canadian journalist pointed out in 2003. Many of our children are growing up bereft of the universal culture that produced the timeless creations of humankind: The Bhagavad Gita; the writings of Rumi and Dante, Shakespeare and Cervantes and Faulkner, or of the best and most innovative of living authors; the music of Beethoven and Mahler; or even the great translations of the Bible. They know only what is current and popular, appreciate only what they can share with their peers. True universality in the positive sense of mutual respect, curiosity, and shared human values does not require a globalized culture created by peer-orientation. It requires psychological maturity — a maturity that cannot result from didactic education, only from healthy development. Only adults can help children grow up in this way. And only in healthy relationships with adult mentors — parents, teachers, elders, artistic, musical and intellectual creators — can children receive their birthright, the universal and age-honored cultural legacy of humankind. Only in such relationships can they fully develop their own capacities for free and individual and fresh cultural expression.

John Brooks.’ Immediately, I thought of the odds. First of just surviving in such a place, next of surviving and then becoming a cop. ‘Vertical ghettos, each one of them. Me and John used to say it was the only time when you had to take the elevator up when you were going to hell.’ I just nodded. This was out of my realm completely. ‘And that’s only if the elevators were working,’ he added. I realized that I never considered that Brooks might be a black man. There was no photo in the computer printouts and no reason to mention race in the stories. I had just assumed he was white and it was an assumption I would have to analyze later. At the moment, I was trying to figure out what Washington was trying to tell me by taking me here. Washington pulled into a lot next to one of the buildings. There were a couple of dumpsters coated with decades of graffiti slogans. There was a rusted basketball backboard but the rim was long gone. He put the car in park but left it running. I didn’t know if that was to keep the heat flowing or to allow us a quick getaway if needed. I saw a small group of teenagers in long coats, their faces as dark as the sky, scurry from the building closest to us, then cross a frozen courtyard and hustle into one of the other buildings. ‘At this point you’re wondering what the hell you’re doing here,’ Washington said then. ‘That’s okay, I understand. A white boy like you.’ Again I said nothing. I was letting him run out his line. ‘See that one, third on the right. That was our building. I was on fourteen with my grand-auntie and John lived with his mother on twelve, one below us. They didn’t have no thirteen, already enough bad luck ’round here. Neither of us had fathers. At least ones that showed up.’ I thought he wanted me to say something but I didn’t know what. I had no earthly idea what kind of struggle the two friends must have had to make it out of the tombstone of a building he had pointed at. I remained mute. ‘We were friends for life. Hell, he ended up marrying my first girlfriend, Edna. Then on the department, after we both made homicide and trained with senior detectives for a few years, we asked to be partnered. And damn, it got approved. Story about us in the

The Butcher appeared with four of the toughest Tonto Macoute plus the Anteater, also known as Hormigonera, or the Kid Sniffer. She was rumoured to have been brought up by wolves and had the longest nose in all of Balaal. She was semi-feral and would be paid only in raw meat. Like most of Balaal’s population, she was of an unknown age. Her limbs were stick-thin and she had a limp from where a child had stabbed her with a knife, but she possessed a great, distended belly from all the meat she had consumed, and her face was as smooth as a peach save for two vertical lines between her eyebrows. She wore a washerwoman’s rags and a pair of runner chinelos, from which her fat, filthy toes protruded like slugs.

Graphically, residuals are the vertical distances between the observed values and the fitted values. On the graph, the line represents the fitted values from the regression model. We call this line . . . the fitted line! The lines that connect the data points to the fitted line represent the residuals. The length of the line is the value of the residual.

This graph shows all the observations together with a line that represents the fitted relationship. As is traditional, the Y-axis displays the dependent variable, which is weight. The X-axis shows the independent variable, which is height. The line is the fitted line. If you enter the full range of height values that are on the X-axis into the regression equation that the chart displays, you will obtain the line shown on the graph. This line produces a smaller SSE than any other line you can draw through these observations. Visually, we see that that the fitted line has a positive slope that corresponds to the positive correlation we obtained earlier. The line follows the data points, which indicates that the model fits the data. The slope of the line equals the coefficient that I circled. This coefficient indicates how much mean weight tends to increase as we increase height. We can also enter a height value into the equation and obtain a prediction for the mean weight. Each point on the fitted line represents the mean weight for a given height. However, like any mean, there is variability around the mean. Notice how there is a spread of data points around the line. You can assess this variability by picking a spot on the line and observing the range of data points above and below that point. Finally, the vertical distance between each data point and the line is the residual for that observation.

What kind of reader are you?” I asked, notepad in hand. “I liked maths in school. Numbers always made more sense than people. That’s why my favorite books are by the ancient Greeks: Pythagoras and Heraclitus. We’re still using their work, their ideas. “I’m not like Boris and Miss Reeder. I’m not good with the public.” She slid a fourth pencil into her hair. “But I hope that in some small way, my contribution here matters. For over a decade, I’ve filled entire books with tales of generous donors and knowledgeable staff who work long hours, only I write vertical columns instead of horizontal lines.

In a slight Horizon I saw the Line on a blue patent.

But finally we were sure the line was free . . . and there was our messenger of good will, love, and faith, 2,000 feet below on the sandbar. In a sense we had delivered the first Gospel-message-by-sign-language to a people who were a quarter of a mile away vertically, fifty miles horizontally, and continents and wide seas away psychologically.

It is true that the reign of his father, Henry VII, had already seen many modifications in medieval costume. The line, instead of being vertical, was now horizontal; the shoes, instead of being excessively pointed, became broad-toed, as if to echo the new style of architecture with its flattened arch. Ladies' headdresses ceased to be replicas of Gothic pinnacles and began to resemble Tudor windows.

The basic principle of Western staff notation is that passing time is represented through a series of marks arranged from left to right on the page. Within the five lines of the staff (or stave), notes are arrayed from high to low. So a score is a kind of two-dimensional plot in which the horizontal axis is time and vertical one is pitch;

However, by eleven p.m. it’s a very different situation, as illustrated in figure 6. You’ve now been awake for fifteen hours and your brain is drenched in high concentrations of adenosine (note how the solid line in the figure has risen sharply). In addition, the dotted line of the circadian rhythm is descending, powering down your activity and alertness levels. As a result, the difference between the two lines has grown large, reflected in the long vertical double arrow in figure 6. This powerful combination of abundant adenosine (high sleep pressure) and declining circadian rhythm (lowered activity levels) triggers a strong desire for sleep. Figure 6: The Urge to Sleep

Direct response marketing is designed to evoke an immediate response and compel prospects to take some specific action, such as opting in to your email list, picking up the phone and calling for more information, placing an order or being directed to a web page. So what makes a direct response ad? Here are some of the main characteristics: It’s trackable. That is, when someone responds, you know which ad and which media was responsible for generating the response. This is in direct contrast to mass media or “brand” marketing—no one will ever know what ad compelled you to buy that can of Coke; heck you may not even know yourself. It’s measurable. Since you know which ads are being responded to and how many sales you’ve received from each one, you can measure exactly how effective each ad is. You then drop or change ads that are not giving you a return on investment. It uses compelling headlines and sales copy. Direct response marketing has a compelling message of strong interest to your chosen prospects. It uses attention-grabbing headlines with strong sales copy that is “salesmanship in print.” Often the ad looks more like an editorial than an ad (hence making it at least three times more likely to get read). It targets a specific audience or niche. Prospects within specific verticals, geographic zones or niche markets are targeted. The ad aims to appeal to a narrow target market. It makes a specific offer. Usually, the ad makes a specific value-packed offer. Often the aim is not necessarily to sell anything from the ad but to simply get the prospect to take the next action, such as requesting a free report. The offer focuses on the prospect rather than on the advertiser and talks about the prospect’s interests, desires, fears, and frustrations. By contrast, mass media or “brand” marketing has a broad, one-size-fits-all marketing message and is focused on the advertiser. It demands a response. Direct response advertising has a “call to action,” compelling the prospect to do something specific. It also includes a means of response and “capture” of these responses. Interested, high-probability prospects have easy ways to respond, such as a regular phone number, a free recorded message line, a website, a fax back form, a reply card or coupons. When the prospect responds, as much of the person’s contact information as possible is captured so that they can be contacted beyond the initial response. It includes multi-step, short-term follow-up. In exchange for capturing the prospect’s details, valuable education and information on the prospect’s problem is offered. The information should carry with it a second “irresistible offer”—tied to whatever next step you want the prospect to take, such as calling to schedule an appointment or coming into the showroom or store. Then a series of follow-up “touches” via different media such as mail, email, fax and phone are made. Often there is a time or quantity limit on the offer.

She thought she saw a bird. Out of the corner of her eye, she saw something rise past the window, eerie and bird-like but maybe not a bird. She looked and it was a bird, its flight line perfectly vertical, its streaked brown body horizontal, wings calmly stroking, a sparrow not wind-hovering but generating lift and then instantly gone. She saw it mostly in retrospect because she didn't know what she was seeing at first and had to re-create the ghostly moment, write it like a line in a piece of fiction, and maybe it wasn't a sparrow at all but a smaller bird, gray and not brown and spotted and not streaked but not as small as a hummingbird, and how would she ever know for sure unless it happened again, and even then, she thought, and even then again.

Every cross which has saving power is a cross which I carry not only on account of my own sins, but also on account of the sins of others. I should bend and bow in carrying my neighbour with his cross, and in bowing and bending I spiritually form the horizontal line, the humbling line of the cross, in order that the one whom I carry may form the vertical line as I carry him on my shoulders. Our moral weakness and powerlessness, our insufficient responsibility towards God and our neighbours, these form our cross.

There is, then, one thing which the Almighty cannot do: He cannot bestow mercy on those who do not show mercy. Nothing is left for those who turn their faces away from the needy—or who exploit the needy for their own gain—than that God will turn His face away from them. This is the grim but biblically realistic truth of Amos 8:1—10. The plumb-line hangs vertical in the unmoving hand of God, a mute summons to eternal wrath to flash forth, terrifyingly, disastrously, unendingly against those who are pitiless towards the poor, the central evidence of false religion (cf. Jas. 1:27) and dead faith (cf. Jas. 2:14-

The hallway leading to Botany is lined with cabinets full of dried plants laid out on acid-free paper. Today, I imagine them as a vertical garden, orchids and epiphytes dripping from the sides, a phantom scent of humid forest.

Entrepreneurs who lead late-stage startups must maintain balance while pursuing opportunity, which requires them to set goals for speed and scope that are sufficiently ambitious yet achievable. By “speed,” I mean the pace of expansion of the venture’s core business—that is, its original product offered solely in its home market. “Scope” is a broader concept that encompasses four dimensions. The first three—geographic reach, product line breadth, and innovation—collectively define the range of the startup’s product market: How many additional customer segments will be targeted, and which of their needs will be addressed? The fourth dimension, vertical integration, refers to the range of activities that the startup will perform in-house rather than outsourcing to third parties.

The explosion came with the birth of the skyscraper. When structures began to rise not in tier on ponderous tier of masonry, but as arrows of steel shooting upward without weight or limit, Henry Cameron was among the first to understand this new miracle and to give it form. He was among the first and the few who accepted the truth that a tall building must look tall. While architects cursed, wondering how to make a twenty-story building look like an old brick mansion, while they used every horizontal device available in order to cheat it of its height, shrink it down to tradition, hide the shame of its steel, make it small, safe and ancient—Henry Cameron designed skyscrapers in straight, vertical lines, flaunting their steel and height. While architects drew friezes and pediments, Henry Cameron decided that the skyscraper must not copy the Greeks. Henry Cameron decided that no building must copy any other.

Single press. The single press is a total upper-body movement that is the beginning progression for more advanced overhead exercises. It teaches proper alignment in the overhead position while simultaneously conditioning the arms, shoulders, and back, and it is the foundational lift for vertical pushing or pressing movements. To perform this exercise, clean a single kettlebell to your chest into the rack position (see figure 7.19a). This is the start position for the press. Before pressing up, compress your rib cage on the side of the pressing arm. As you recoil to the downward compression, press the kettlebell directly up until your elbow is completely extended in the lockout position (see figure 7.19b). In this overhead position, the optimal position of the hand and shoulder is such that your thumb is pointing directly back. A slight rotation of the palm is acceptable, but avoid overrotating so that you have the most efficient path, which is a straight line. Any additional rotation or deviation from the straight line is wasted effort and nonoptimal alignment. To lower the kettlebell, move your body back slightly so that the kettlebell can fall directly down the centerline and all the way to the hip (see figure 7.19c) and back to the rack position to complete the lift (see figure 7.19d). The drop from the overhead lockout position back to rack position should be a smooth, relaxed movement. Imagine you are being supported from a string and a puppeteer is lifting your arm and kettlebell. When the string is cut, the kettlebell just free-falls back to the rack position. With practice you will be able to absorb the force from the drop so that the kettlebell smoothly slides into place. When performing this exercise, use anatomical breathing with four breathing cycles. Starting from the rack position, inhale deeply before the initial compression, and then exhale as you drop or flex your thoracic spine. Inhale as you bump with the rib cage, and exhale as you lock out. Take one full breath cycle while in lockout and add more recovery breaths if needed. Inhale as you begin to drop the kettlebell, and exhale as it lands back in the rack position.

Volunteer Services Title: Improving Worker Administrations: A Statistical surveying Approach Presentation: Volunteer Services assume a vital part in supporting networks, non-benefit associations, and different causes around the world. In any case, to actually use volunteer assets, it's basic to grasp market elements, patterns, and inclinations. Statistical surveying gives priceless bits of knowledge to upgrading volunteer projects, improving commitment, and augmenting influence. In this complete examination, we dive into the domain of volunteer administrations, investigating market patterns, challenges, and imaginative procedures for development. Understanding the Worker Administrations Market: The worker administrations market incorporates a wide cluster of areas, including social administrations, ecological preservation, medical care, instruction, and fiasco help. As indicated by late examinations, the worldwide volunteerism rate has been consistently expanding, mirroring a developing consciousness of social obligation and local area inclusion. In any case, notwithstanding this vertical pattern, certain difficulties persevere, preventing the maximum capacity of Volunteer Services. Key Difficulties in Volunteer Administrations: Enrollment and Maintenance: One of the essential difficulties looked by associations is the enlistment and maintenance of workers. With occupied plans and contending responsibilities, people frequently battle to commit time to chipping in. Additionally, holding volunteers over the long haul requires supported commitment and significant encounters. Ability Coordinating: Compelling usage of volunteer abilities is fundamental for augmenting influence. Nonetheless, numerous associations battle to coordinate workers with jobs that line up with their

Those who master the art know that it requires special habits of attention, tricks such as slightly defocusing the eyes to permit one somehow to suppress the contribution of what one knows (the penny is circular, the table top is rectangular) so that one can observe the actual angles subtended by the lines in the drawing (the penny shape is elliptical, the table top trapezoidal). It often helps to superimpose an imaginary vertical and horizontal grid or pair of cross hairs, to help judge the actual angles of the lines seen. Learning to draw is largely a matter of learning to override the normal processes of vision in order to make one’s experience of the item in the world more like looking at a picture. It can never be just like looking at a picture, but once it has been adulterated in that direction, one can, with further tricks of the trade, more or less “copy” what one experiences onto the paper.

The early Christians, however, came to recognize that the future age was inaugurated at the resurrection of Christ (see vertical line 1 in fig. 4), although the present evil age remains temporarily until the return of Christ (vertical line 2). They were aware of living in the overlap between the present age and the age to come.

Emotions are living energetic currents with life cycles of their own. They tend to survive down the vertical and horizontal lines of human relationships—through generations, through communities—until they arrive to the place where they can be fully experienced and expressed.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

GROUP FIFTEEN had its own private medical facilities attached to a well-known London teaching hospital. State-of-the-art facilities, the best doctors in the country, absolute discretion. Control watched through the window as the surgeon bent low to examine the damage that had been done to Twelve’s knee. The man—and his three colleagues—were wearing green smocks, their faces covered by surgical masks and latex gloves over their hands. Twelve had been anaesthetised and was laid out on the operating table, covered by a sheet with a long vertical slit that allowed easy access to his right leg. The surgeon had already sliced open his knee, a neat incision that began just below the quadriceps and curved around the line of his leg. The opening was held open by medical clips, and a miniature camera on an articulated arm had been positioned overhead, its feed visible on the large screen that was fixed to the wall in the observation suite.

and were eventually let in by a person of restricted growth – a little person or, indeed, vertically challenged personage. Apparently, the word ‘dwarf’ is no longer acceptable in modern, politically correct parlance. If India and Zulu are merely minor irritations, dwarf is full blown Chlamydia. I

Admittedly, the sciences so created were masterly symbolic fabrications: unfortunately those who utilized these symbols implicitly believed that they represented a higher order of reality, when in fact they expressed only a higher order of abstraction. Human experience itself remained, necessarily, multi-dimensional: one axis extends horizontally through the world open to external observation, the so-called objective world, and the other axis, at right angles, passes vertically through the depths and heights of the subjective world; while reality itself can only be represented by a figure composed of an indefinite number of lines drawn through both planes and intersecting at the center, in the mind of a living person.

It was not easy to score top marks at Orenburg. Yadkar Akbulatov, a senior instructor, said in 1961, ‘Don’t imagine that Yuri was an infallible cadet, a child prodigy. He wasn’t. He was an impetuous, enthusiastic young man who made the same slips as any other.’ His worst marks were for his landings. He was in danger of failing Orenburg completely if he could not get his aircraft down without bouncing on his tyres. Akbulatov flew with him a couple of times to see if they could iron out some faults. ‘I took him up and watched him carefully. On steep banking turns his performance wasn’t absolutely perfect, but in vertical dives and climbs he put on a show that made me see stars from the g-load. Then came the touchdown. It was faultless! I asked him, “Why can’t you always land like that?” He grinned and said, “I’ve found the solution.” He put a cushion under his seat so that he could get a better line of sight with the runway.’ From now on, Gagarin never flew any aircraft without his cushion.

knowledge of cardiovascular disease and whether such knowledge reduces behaviors that put people at risk for cardiovascular disease. Simple regression is used to analyze the relationship between two continuous variables. Continuous variables assume that the distances between ordered categories are determinable.1 In simple regression, one variable is defined as the dependent variable and the other as the independent variable (see Chapter 2 for the definitions). In the current example, the level of knowledge obtained from workshops and other sources might be measured on a continuous scale and treated as an independent variable, and behaviors that put people at risk for cardiovascular disease might also be measured on a continuous scale and treated as a dependent variable. Scatterplot The relationship between two continuous variables can be portrayed in a scatterplot. A scatterplot is merely a plot of the data points for two continuous variables, as shown in Figure 14.1 (without the straight line). By convention, the dependent variable is shown on the vertical (or Y-) axis, and the independent variable on the horizontal (or X-) axis. The relationship between the two variables is estimated as a straight line relationship. The line is defined by the equation y = a + bx, where a is the intercept (or constant), and b is the slope. The slope, b, is defined as Figure 14.1 Scatterplot or (y2 – y1)/(x2 – x1). The line is calculated mathematically such that the sum of distances from each observation to the line is minimized.2 By definition, the slope indicates the change in y as a result of a unit change in x. The straight line, defined by y = a + bx, is also called the regression line, and the slope (b) is called the regression coefficient. A positive regression coefficient indicates a positive relationship between the variables, shown by the upward slope in Figure 14.1. A negative regression coefficient indicates a negative relationship between the variables and is indicated by a downward-sloping line. Test of Significance The test of significance of the regression coefficient is a key test that tells us whether the slope (b) is statistically different from zero. The slope is calculated from a sample, and we wish to know whether it is significant. When the regression line is horizontal (b = 0), no relationship exists between the two variables. Then, changes in the independent variable have no effect on the dependent variable. The following hypotheses are thus stated: H0: b = 0, or the two variables are unrelated. HA: b ≠ 0, or the two variables are (positively or negatively) related. To determine whether the slope equals zero, a t-test is performed. The test statistic is defined as the slope, b, divided by the standard error of the slope, se(b). The standard error of the slope is a measure of the distribution of the observations around the regression slope, which is based on the standard deviation of those observations to the regression line: Thus, a regression line with a small slope is more likely to be statistically significant when observations lie closely around it (that is, the standard error of the observations around the line is also small, resulting in a larger test statistic). By contrast, the same regression line might be statistically insignificant when observations are scattered widely around it. Observations that lie farther from the

I don’t know who invented 8.5 x 11 paper as the standard on which we impose our work. If our paper were longer or wider, as it is in other countries, would many of us who write the same sort of poem, shape-wise, and fill up the same amount of space, perhaps write longer, more vertical poems? If we turned that longer sheet on its side, would our poems have longer lines and a shorter vertical movement?

Key to the Pronunciations This dictionary uses a simple respelling system to show how entries are pronounced, using the symbols listed below. Generally, only the first of two or more identical headwords will have a pronunciation respelling. Where a derivative simply adds a common suffix such as -less, -ness, or -ly to the headword, the derivative may not have a pronunciation respelling unless some other element of the pronunciation also changes. as in hat //, fashion // as in day //, rate // as in lot //, father //, barn // as in big // as in church //, picture // as in dog //, bed // as in men //, bet //, ferry // as in feet //, receive // as in air //, care // as in soda //, mother /, her // as in free //, graph //, tough // as in get //, exist // as in her //, behave // as in fit //, women // as in time /t/, hire //, sky // as in ear //, pierce // as in judge //, carriage // as in kettle //, cut //, quick // as in lap //, cellar //, cradle // as in main //, dam // as in need //, honor //, maiden // as in sing //, anger // as in go //, promote // as in law //, thought //, lore // as in boy //, noisy // as in wood //, sure // as in food //, music // as in mouse //, coward // as in put //, cap // as in run //, fur //, spirit // as in sit //, lesson //, face // as in shut //, social // as in top //, seat //, forty // as in thin //, truth // as in then //, father // as in very //, never // as in wait //, quit // as in when //, which // as in yet //, accuse // as in zipper //, musician // as in measure //, vision // Foreign Sounds as in Bach // as in en route //, Rodin / / as in hors d’oeuvre //, Goethe // as in Lully //, Utrecht // Stress Marks Stress (or accent) is represented by marks placed before the affected syllable. The primary stress mark is a short, raised vertical line // which signifies that the heaviest emphasis should be placed on the syllable that follows. The secondary stress mark is a short, lowered vertical line // which signifies a somewhat weaker emphasis than on the syllable with primary stress. Variant Pronunciations There are several ways in which variant pronunciations are indicated in the respellings. Some respellings show a pronunciation symbol within parentheses to indicate a possible variation in pronunciation; for example, in sandwich //. Variant pronunciations may be respelled in full, separated by semicolons. The more common pronunciation is listed first, if this can be determined, but many variants are so common and widespread as to be ofequal status. Variant pronunciations may be indicated by respelling only the part of the word that changes. A hyphen will replace the part of the pronunciation that has remained the same. Note: A hyphen sometimes serves to separate syllables where the respelling might otherwise look confusing, as at reinforce //.

From time to time, Musk will send out an e-mail to the entire company to enforce a new policy or let them know about something that’s bothering him. One of the more famous e-mails arrived in May 2010 with the subject line: Acronyms Seriously Suck: There is a creeping tendency to use made up acronyms at SpaceX. Excessive use of made up acronyms is a significant impediment to communication and keeping communication good as we grow is incredibly important. Individually, a few acronyms here and there may not seem so bad, but if a thousand people are making these up, over time the result will be a huge glossary that we have to issue to new employees. No one can actually remember all these acronyms and people don’t want to seem dumb in a meeting, so they just sit there in ignorance. This is particularly tough on new employees. That needs to stop immediately or I will take drastic action—I have given enough warnings over the years. Unless an acronym is approved by me, it should not enter the SpaceX glossary. If there is an existing acronym that cannot reasonably be justified, it should be eliminated, as I have requested in the past. For example, there should be no “HTS” [horizontal test stand] or “VTS” [vertical test stand] designations for test stands. Those are particularly dumb, as they contain unnecessary words. A “stand” at our test site is obviously a *test* stand. VTS-3 is four syllables compared with “Tripod,” which is two, so the bloody acronym version actually takes longer to say than the name! The key test for an acronym is to ask whether it helps or hurts communication. An acronym that most engineers outside of SpaceX already know, such as GUI, is fine to use. It is also ok to make up a few acronyms/contractions every now and again, assuming I have approved them, eg MVac and M9 instead of Merlin 1C-Vacuum or Merlin 1C-Sea Level, but those need to be kept to a minimum. This

Reacher and Neagley carried their copy to the door, where the wired-glass window let in some natural light. The American looked exactly like Klopp had described. The artist had done a fine job capturing his words. The wave of blond hair. The skin stretched tight over the skull beneath. The brow and the cheek bones, horizontal and parallel and close together, like two bars on an old-style football helmet, with the eyes flashing out from way behind. The mouth, like a gash. Plus two vertical lines, the nose like a blade, and a crease down the right cheek, as if the most the mouth ever moved was in a lopsided and sardonic smile. The guy was shown in a jacket like Reacher’s. Pale tan denim, authentic in every respect. Under it was a white T-shirt. His collar bones stood out, like his cheek bones. His neck was shown corded with sinew. A hardscrabble guy, no longer young. Neagley