What Color Represents Quotes

I am the happiest man in the world and here's why: I walk down a street and I see a woman, not tall but well-proportioned, very dark-haired, very neat in her dress, wearing a dark skirt with deep pleats that swing with the rhythm of her rather quick steps; her stockings, of dark color, are carefully, impeccably smooth; her face is not smiling, this woman walks down the street without trying to please, as if she were unconscious of what she represented: a good carnal image of woman, a physical image, more than a sexy image, a sexual image. --Francois Truffaut, "Is Truffaut the Happiest Man on Earth? Yes," 1970

Before job interviews, I think: What color tie best represents me as a person this company would be interested in?

Psilocybes gave our hominid ancestors “access to realms of supernatural power,” “catalyzed the emergence of human self-reflection,” and “brought us out of the animal mind and into the world of articulated speech and imagination.” This last hypothesis about the invention of language turns on the concept of synesthesia, the conflation of the senses that psychedelics are known to induce: under the influence of psilocybin, numbers can take on colors, colors attach to sounds, and so on. Language, he contends, represents a special case of synesthesia, in which otherwise meaningless sounds become linked to concepts. Hence, the stoned ape: by giving us the gifts of language and self-reflection psilocybin mushrooms made us who we are, transforming our primate ancestors into Homo sapiens.

Reading was only part of the thrill that a book represented. I got a dizzy pleasure from the weight and feel of a new book in my hand, a sensual delight from the smell and crispness of the pages. I loved the smoothness and bright colors of their jackets. For me, a stacked, unread pyramid of books was one of the sexiest architectural designs there was, because what I loved most about books was their promise, the anticipation of what lay between the covers, waiting to be found.

The famous field altar came from the Jewish firm of Moritz Mahler in Vienna, which manufactured all kinds of accessories for mass as well as religious objects like rosaries and images of saints. The altar was made up of three parts, lberally provided with sham gilt like the whole glory of the Holy Church. It was not possible without considerable ingenuity to detect what the pictures painted on these three parts actually represented. What was certain was that it was an altar which could have been used equally well by heathens in Zambesi or by the Shamans of the Buriats and Mongols. Painted in screaming colors it appeared from a distance like a coloured chart intended for colour-blind railway workers. One figure stood out prominently - a naked man with a halo and a body which was turning green, like the parson's nose of a goose which has begun to rot and is already stinking. No one was doing anything to this saint. On the contrary, he had on both sides of him two winged creatures which were supposed to represent angels. But anyone looking at them had the impression that this holy naked man was shrieking with horror at the company around him, for the angels looked like fairy-tale monsters and were a cross between a winged wild cat and the beast of the apocalypse. Opposite this was a picture which was meant to represent the Holy Trinity. By and large the painter had been unable to ruin the dove. He had painted a kind of bird which could equally well have been a pigeon or a White Wyandotte. God the Father looked like a bandit from the Wild West served up to the public in an American film thriller. The Son of God on the other hand was a gay young man with a handsome stomach draped in something like bathing drawers. Altogether he looked a sporting type. The cross which he had in his hand he held as elegantly as if it had been a tennis racquet. Seen from afar however all these details ran into each other and gave the impression of a train going into a station.

The 1970s-80s social movement called U.S. third world feminism functioned as a central locus of possibility, an insurgent social movement that shattered the construction of any one ideology as the single most correct site where truth can be represented. Indeed, without making this kind of metamove, any 'liberation' or social movement eventually becomes destined to repeat the oppressive authoritarianism from which it is attempting to free itself, and become trapped inside a drive for truth that ends only in producing its own brand of dominations. What U.S. third world feminism thus demanded was a new subjectivity, a political revision that denied any one ideology as the final answer, while instead positing a tactical subjectivity with the capactiy to de- and recenter, given the forms of power to be moved. These dynamics are what were required in the shift from enacting a hegemonic oppositional theory and practice to engaging in the differential form of social movement, as performed by U.S. feminists of color during the post-World War II period of great social transformation. p. 58-59.

I said earlier that being white was not just about skin color, but about security. That’s what white privilege represents. White really means: safe.

The piano keys represent the genome. We each get different keys, and the keys don’t change throughout our life: we die with the same piano keys, or genome, we’re born with. What changes is the sheet music: the epigenetics. That sheet of music determines what tune is played—what genes are expressed—and those genes determine our traits—everything from IQ to hair color.

I have seen how in our history, people of color have been enslaved by “Bible-quoting” Christians. When slavery was finally threatened with being relegated to the dustbins of history in America, it was that section of this country known as “the Bible Belt” that rose to defend the enslavement of black people in the bloodiest war of American history. When slavery finally died as a legal option on the battlefields of Gettysburg, Antietam and Appomattox, the Christians of the Bible Belt, once again quoting their scriptures for justification, instituted laws of segregation with the full support of the federal government. When those segregation laws finally began to fall in the 1950s and 1960s, I watched the Bible being quoted to justify the use of lead pipes, police dogs, fire hoses and even the bombing of black churches in which little girls in their Easter finery were killed—all in an attempt to preserve “white supremacy.” I notice that even today the political party in America that most claims to represent what is called “the Christian vote” is still working to impede the political process for black people, to make voting so difficult as to prevent them from casting their ballot.

Certainly travelers had returned from the heart and tried to represent what they had seen, but love was in the end like a species of rare colored butterfly, often sighted, but rarely conclusively identified.

When I got to Crude Sciences at the end of the day, Dante was waiting for me at our table. This time, with no Latin book, no journal. “Hello,” he said, pulling my chair out for me. Surprised, I sat down next to him, trying not to stare at his perfectly formed arms. “Hi,” I said, with an attempt at nonchalance. “How are you?” I could feel his eyes on me. “Fine,” I said carefully, as Professor Starking handed out our lab assignments. Dante frowned. “Not very talkative today, I see.” I thrust a thermometer into the muddy water of the fish tank in front of us, which was supposed to represent an enclosed ecosystem. “So now you want to talk? Now that you’ve finished your Latin homework?” After a prolonged period of silence, he spoke. “It was research.” “Research on what?” “It doesn’t matter anymore.” I threw him a suspicious look. “Why’s that?” “Because I realized I wasn’t paying attention to the right thing.” “Which is?” I asked, looking back at the board as I smoothed out the hem of my skirt. “You.” My lips trembled as the word left his mouth. “I’m not a specimen.” “I just want to know you.” I turned to him, wanting to ask him a million questions. I settled for one. “But I can’t know anything about you?” Dante leaned back in his chair. “My favorite author is Dante, obviously,” he said, his tone mocking me. “Though I’m partial to the Russians. I’m very fond of music. All kinds, really, though I especially enjoy Mussorgsky and Stravinsky or anything involving a violin. They’re a bit dark, no? I used to like opera, but I’ve mostly grown out of it. I have a low tolerance for hot climates. I’ve never enjoyed dessert, though I once loved cherries. My favorite color is red. I often take long walks in the woods to clear my head. As a result, I have a unique knowledge of the flora and fauna of North American. And,” he said, his eyes burning through me as I pretended to focus on our lab, “I remember everything everyone has ever told me. I consider it a special talent.” Overwhelmed by the sudden influx of information, I sat there gaping, unsure of how to respond. Dante frowned. “Did I leave something out?

foundations have a corrosive influence on a democratic society; they represent relatively unregulated and unaccountable concentrations of power and wealth which buy talent, promote causes, and in effect, establish an agenda of what merits society’s attention. They serve as “cooling-out” agencies, delaying and preventing more radical, structural change. They help maintain an economic and political order, international in scope, which benefits the ruling-class interests of philanthropists.

One thing in the school was captivating, lovely. Pictures of birds. Rose didn’t know if the teacher had climbed up and nailed them above the blackboard, too high for easy desecration, if they were her first and last hopeful effort, or if they dated from some earlier, easier time in the school’s history. Where had they come from, how had they arrived there, when nothing else did, in the way of decoration, illustration? A red-headed woodpecker; an oriole; a blue jay; a Canada goose. The colors clear and long-lasting. Backgrounds of pure snow, of blossoming branches, of heady summer sky. In an ordinary classroom they would not have seemed so extraordinary. Here they were bright and eloquent, so much at variance with everything else that what they seemed to represent was not the birds themselves, not those skies and snows, but some other world of hardy innocence, bounteous information, privileged lightheartedness. No stealing from lunch pails there; no slashing coats; no pulling down pants and probing with painful sticks; no fucking; no Franny.

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

The composition responds to the spirituality that lay at the heart of the Blue Rider group. Real life is represented in the top half, only to fuse with the ethereal world that Klee has laid out on the bottom half of the picture: internal and external worlds expressed and combined through color. Klee, like Kandinsky, believed art wasn’t there to “reproduce the visible; rather, it makes [life] visible.

The only nonhuman existence is what we call our human life. If we live our human life and none other, directly, then we subject ourselves to the most inhuman of all conditionsČ slavery to family and national taboos, wars, illness, poverty, deatah. Even the phrase "earning our living" is inhuman. Without religion or art or analysis to transpose the stark horror, we fall into the malady of our age with its great devotion to naturalism. A painting in a house is there to represent a color, a form, a realm we may not have been able to possess. A book opens a realm which our need to earn a living may have made unattainable. Everything that helps us to transpose the unbearable into a myth also helps the creation of distance from our inhuman life, to allow us to mix a little objectivity with the harsh, violent torments of our human bondage.

our genome is less like a static blueprint and more like a piano. The piano keys represent the genome. We each get different keys, and the keys don’t change throughout our life: we die with the same piano keys, or genome, we’re born with. What changes is the sheet music: the epigenetics. That sheet of music determines what tune is played—what genes are expressed—and those genes determine our traits—everything from IQ to hair color.

Orchids are considered the most highly evolved flowering plants on earth. They are unusual in form, uncommonly beautiful in color, often powerfully fragrant, intricate in structure, and different from any other family of plants. The reason for their unusualness has always been puzzled over. One guess is that orchids might have evolved in soil that was naturally irradiated by a meteor or mineral deposit, and that the radiation is what mutated them into thousands of amazing forms... In 1678 the botanist Jakob Breyne wrote: "The manifold shape of these flowers arouses our highest admiration. They take on the form of little birds, of lizards, of insects. They look like a man, like a woman, sometimes like an austere, sinister figure, sometimes like a clown who excites our laughter. They represent the image of a lazy tortoise, a melancholy toad, an agile, ever-chattering monkey." Orchids have always been thought of as beautiful but strange. A wildflower guide published in 1917 called them "our queer freaks.

Vanity is by far my favorite of all sins, and the camera lens is the ultimate vanity mirror. The camera captures all moods and nuances; immortalizes the soft and silky continuum that is humanity. Those still life moments seem so fluid, so representative of continuity. They are a single moment captured, yet an eternity expressed. All your youth; all your ages, captured and expressed in a single click. Of all the indulgences, vanity is certainly my favorite which we should otherwise resist, but are inexplicably captivated by and addicted. What other animal would spend so much time pouting and preening for its reflection? Only humanity would participate in such self-adoration. You would think we have the most colorful feathers or softest of manes. Rather, we are a naked biped that feels incomplete without some decorative element, accessory, or embellishment of the self. We are intoxicated by the image of the body, no different than we are seduced by fine wines, foods, or mind altering elements. We devour the skin, and peel away clothes as if they were the skin of some tropical fruit, covering a colorful and juicy interior. We hunt for bodily pleasures, and collect them as prizes; show them off in social situations as if our companions were some sort of extended adornment to ourselves. We are revealed in our sensuality. To touch beneath the surface; to connect beyond facades, that unattainable discourse between individuals is put tentatively within reach in intimacy. To capture those moments is to capture the essence of what makes us human, and what ultimately sets us above and aside from the rest of nature. Capturing humanity in its most extravagant expressions is intoxicating. Vanity is by far my favorite sin, and it is an endless tale as infinite as humanity. Every person is but a stitch in a giant tapestry.

Six Thinking Hats: describes six different roles we play on teams and shows the benefits of each role. Each is represented by a different colored hat. Most people have one dominant hat color, with one or two other colors close behind. A person who is drawn to the facts and is very logical wears the white hat. A person most comfortable generating new ideas wears the green hat. A person who uses intuition to make decisions wears the red hat. A person who is very organized and process-oriented wears the blue hat. A "devil's advocate", who uncovers what won't work wears the black hat. A person eager to make everyone happy wears the yellow hat.

The painter knows, sadly enough, that experience does not suffice unto itself, has no proportion, dimension, perspective, mournfully he eats his life but is not allowed to digest it, this being reserved for others, not knowing, but who must somehow, at any sacrifice be made to know, then punished for the sight of this knowledge, by aiding it on its journey from brain to brain. It does not seem unreasonable that we invent colors, lines, shapes, capable of being, representative of existence, therefore it is not unreasonable that they, in turn, later, invent us, our ideas, directions, motivations, with great audacity, since we, ourselves having them upon our walls. What rude guests they prove to be, indeed: although paintings differ from life by energy a painter can never be a substitute for his paintings, so complete so independent as reality are they. Imagine the please they enjoy at this. They by conversion into an idea of the person, do, instantaneously destroy him. A tragic gesture that actually leads to tragedy but diabolically exists only in an absence of tragedy, nevertheless procreating it, however, they are unreasonably enough, insufficient, because they are not made of ideas, they are made of paint, all else is really us. Paintings are metaphors for reality, but instead of being an aid to realisation obscure the reality which is far more profound. The only way to circumvent painting is by absolute death.

What on earth did we do wrong? What harm did we inflict? What did we do to you? Who are you to judge us? Who gave you the right? Are you the representatives of mankind, or what? Who appointed you? Was it God? Yourselves? You don't care if someone loves to go bowling or shooting! You don't care if someone wants to be a doctor or a flight attendant! So why can't we love someone of the same gender? What makes you say that the way we love is wrong? Because we're not "normal"? Because we don't abide by the provisions of God? The laws of nature? Well, fuck you. What a load of bullshit. You want to create a land for God? Good. Then let's bring back the regulations on sex positions first! Don't use condoms, and only fuck in the missionary position, damn it! Since sex should only be for childbirth, and any other pleasure is against the will of God, am I right? Come to think of it, you guys are fucking disgusting. I mean, I know you all fuck doggy-style and blow each other! So I guess you're all going to hell as well! The same goes for singles who don't copulate at all! If the union of man and woman is what is "normal", singles are the most abnormal of all! You're all going to hell, too! On, and let's just kill all the ugly people, fat people, and poor people while we're at it. Then it'll be heaven on earth, with no abnormal beings! Where the normal are free to kill the abnormal! If you ask me, you uneducated, narrow-minded scumbags are the ones that degrade human nobility! You're fucking revolting! Ignorant morons! Do you feel good? Or pissed off? Mad? Then come at me! Instead of being fucking cowards, bashing someone that's all tied up. Won't it be more fun to beat up a person of color? Kill me before I infect your brains and turn all of you into homosexuals! Kill me first! Stupid scumbags!

Juneja had noticed that the white activists were very focused on rules. “They ask questions I’ve not ever heard from women-of-color organizations, like ‘Do we need permits to canvas?’ They are very hierarchy-oriented, very rules-oriented in a way I have not seen when organizing with people of color.” She suggested that one of the reasons the town-hall format had caught on in 2017 was that “white people, even white women, have faith that if they voice their opinions to their representatives, that they will be heard, that they will have influence, that they have a political voice to which officials will be responsive.” Black and brown people, Juneja said, know that they have representatives, and know how government works. “But there is no faith that politicians will see that there is any cost to disappointing black and brown people. But these women believe that you work through making calls and going to town halls because you assume that they will care what you have to say.

A lot of us don’t see ourselves in our bookshelves, our libraries, or our bookstores. Our bookshelves tend to be disproportionately white and disproportionately male and do not represent who we are in this country or who we are becoming. Long histories of bias, racism, and exclusion created and perpetuate these dismal inequalities. And none of this will change unless we work actively, mindfully, and collectively to dismantle the often-obscure structures of power that exist both within us and without. Our bookshelves need to look like the future and not the past; they should be brimming with writers of color, women of color writers, indigenous writers, immigrant writers, women writers, LGBTQIA writers. If the Law of the Old Bookshelf was cruel exclusion, the Law of the New Bookshelf should be Radical Joyous Inclusion. This is what we mean when we say “decolonize our bookshelves.” The only thing decolonizing seeks to exclude are the forces, systems and habits that have excluded so many of us for so long—forces, systems and habits that continue to have too much power in this world, and in our hearts.

In fact, the entire range of human variation for some genetic traits can be found on the African continent.77 A person from the Congo, a person from South Africa, and a person from Ethiopia are more genetically different from each other than from a person from France.78 This seems astonishing because we are so used to focusing on a tiny set of physical features, especially skin color, to assign people to racial categories. It turns out that the genes contributing to these phenotypic differences represent a minute and relatively insignificant fraction of our genotypes and do not reflect the total picture of genetic variation among groups.79 What’s more, these phenotypic differences do not even fall neatly into the categories known as races. Rather, the physical features are “discordant” among groups—they are assorted randomly and do not come assembled in racial packages. “Sub-Saharan Africa is home to both the tallest (Maasai) and the shortest (pygmies) people, and dark skin is found in all equatorial populations, not just in the ‘Black race’ as defined in the United States,” writes Richard S. Cooper, a physician epidemiologist at Loyola University.80 And most genetic variation is found within any human population.81

The wounding legacy of segregation and growing up knowing adults who had worked for civil rights and equal opportunities for African Americans was part of what made me understand that many kids in my community and around the world were still treated differently because of the color of their skin.  My mothers work on behalf of girls and women, first in Arkansas and later around the world, helped me understand how being born a girl is often seen as a reason to deny someone the right to go to school or make her own decisions, or even about who or when to marry.  One of the unique things about SEWA [Self-Employed Women's Association] is that it brings together Muslim and Hindu women in a part of the world where fighting between people from different religious backgrounds has cost countless lives, both between countries and within India.  Women from all different backgrounds told us how they'd learned how much more they had in common than they'd first thought because of their different religions. Their support for each other gave them the confidence to stand up to bullying and harassment, and the relationships they'd built helped prevent violence between Hindus and Muslims, because they saw each other as friends and real people, not only as representatives of different religions.

With our desire to have more, we find ourselves spending more and more time and energy to manage and maintain everything we have. We try so hard to do this that the things that were supposed to help us end up ruling us. We eventually get used to the new state where our wishes have been fulfilled. We start taking those things for granted and there comes a time when we start getting tired of what we have. We're desperate to convey our own worth, our own value to others. We use objects to tell people just how valuable we are. The objects that are supposed to represent our qualities become our qualities themselves. There are more things to gain from eliminating excess than you might imagine: time, space, freedom and energy. When people say something is impossible, they have already decided that they don't want to do it. Differentiate between things you want and things you need. Leave your unused space empty. These open areas are incredibly useful. They bring us a sense of freedom and keep our minds open to the more important things in life. Memories are wonderful but you won't have room to develop if your attachment to the past is too strong. It's better to cut some of those ties so you can focus on what's important today. Don't get creative when you are trying to discard things. There's no need to stock up. An item chosen with passion represents perfection to us. Things we just happen to pick up, however, are easy candidates for disposal or replacement. As long as we stick to owning things that we really love, we aren't likely to want more. Our homes aren't museum, they don't need collections. When you aren't sure that you really want to part with something, try stowing it away for a while. Larger furniture items with bold colors will in time trigger visual fatigue and then boredom. Discarding things can be wasteful. But the guilt that keeps you from minimizing is the true waste. The real waste is the psychological damage that you accrue from hanging on to things you don't use or need. We find our originality when we own less. When you think about it, it's experience that builds our unique characteristics, not material objects. I've lowered my bar for happiness simply by switching to a tenugui. When even a regular bath towel can make you happy, you'll be able to find happiness almost everywhere. For the minimalist, the objective isn't to reduce, it's to eliminate distractions so they can focus on the things that are truly important. Minimalism is just the beginning. It's a tool. Once you've gone ahead and minimized, it's time to find out what those important things are. Minimalism is built around the idea that there's nothing that you're lacking. You'll spend less time being pushed around by something that you think may be missing. The qualities I look for in the things that I buy are: - the item has a minimalistic kind of shape and is easy to clean - it's color isn't too loud - I'll be able to use it for a long time - it has a simple structure - it's lightweight and compact - it has multiple uses A relaxed moment is not without meaning, it's an important time for reflection. It wasn't the fallen leaves that the lady had been tidying up, it was her own laziness that she had been sweeping away. We are what we repeatedly do. Excellence, then, is not an act but a habit. With daily cleaning, the reward may be the sense of accomplishment and calmness we feel afterward. Cleaning your house is like polishing yourself. Simply by living an organized life, you'll be more invigorated, more confident and like yourself better. Having parted with the bulk of my belongings, I feel true contentment with my day-to-day life. The very act of living brings me joy. When you become a minimalist, you free yourself from all the materialist messages that surround us. All the creative marketing and annoying ads no longer have an effect on you.

Red: Maintaining health, bodily strength, physical energy, sex, passion, courage, protection, and defensive magic. This is the color of the element of fire. Throughout the world, red is associated with life and death, for this is the color of blood spilled in both childbirth and injury. Pink: Love, friendship, compassion, relaxation. Pink candles can be burned during rituals designed to improve self-love. They’re ideal for weddings and for all forms of emotional union. Orange: Attraction, energy. Burn to attract specific influences or objects. Yellow: Intellect, confidence, divination, communication, eloquence, travel, movement. Yellow is the color of the element of air. Burn yellow candles during rituals designed to heighten your visualization abilities. Before studying for any purpose, program a yellow candle to stimulate your conscious mind. Light the candle and let it burn while you study. Green: Money, prosperity, employment, fertility, healing, growth. Green is the color of the element of earth. It’s also the color of the fertility of the earth, for it echoes the tint of chlorophyll. Burn when looking for a job or seeking a needed raise. Blue: Healing, peace, psychism, patience, happiness. Blue is the color of the element of water. This is also the realm of the ocean and of all water, of sleep, and of twilight. If you have trouble sleeping, charge a small blue candle with a visualization of yourself sleeping through the night. Burn for a few moments before you get into bed, then extinguish its flame. Blue candles can also be charged and burned to awaken the psychic mind. Purple: Power, healing severe diseases, spirituality, meditation, religion. Purple candles can be burned to enhance all spiritual activities, to increase your magical power, and as a part of intense healing rituals in combination with blue candles. White: Protection, purification, all purposes. White contains all colors. It’s linked with the moon. White candles are specifically burned during purification and protection rituals. If you’re to keep but one candle on hand for magical purposes, choose a white one. Before use, charge it with personal power and it’ll work for all positive purposes. Black: Banishing negativity, absorbing negativity. Black is the absence of color. In magic, it’s also representative of outer space. Despite what you may have heard, black candles are burned for positive purposes, such as casting out baneful energies or to absorb illnesses and nasty habits. Brown: Burned for spells involving animals, usually in combination with other colors. A brown candle and a red candle for animal protection, brown and blue for healing, and so on.

The painter knows, sadly enough, that experience does not suffice unto itself, has no proportion, dimension, perspective, mournfully he eats his life but is not allowed to digest it, this being reserved for others, not knowing, but who must somehow, at any sacrifice be made to know, then punished for the sight of this knowledge, by aiding it on its journey from brain to brain. It does not seem unreasonable that we invent colors, lines, shapes, capable of being, representative of existence, therefore it is not unreasonable that they, in turn, later, invent us, our ideas, directions, motivations, with great audacity, since we, ourselves having them upon our walls. What rude guests they prove to be, indeed: although paintings differ from life by energy a painter can never be a substitute for his paintings, so complete so independent as reality are they. Imagine the pleasure they enjoy at this. They by conversion into an idea of the person, do, instantaneously destroy him. A tragic gesture that actually leads to tragedy but diabolically exists only in an absence of tragedy, nevertheless procreating it, however, they are unreasonably enough, insufficient, because they are not made of ideas, they are made of paint, all else is really us. Paintings are metaphors for reality, but instead of being an aid to realization obscure the reality which is far more profound. The only way to circumvent painting is by absolute death.

Yet another study by the Brain Research Institute of the University of Zurich in 2011 exposed baby mice to stressful situations by separating them from their mothers. The abandoned mice experienced anxiety and depression—which, right, seems obvious. What was shocking was how this separation affected future generations of mice. When the traumatized mice had babies, and then when their babies had babies, the scientists never separated them from their parents. They led perfectly content, nurtured little mouse lives. But for three subsequent generations, the anxiety and depression persisted. There is real scientific evidence that the traumas we experience can be passed on to our children and even our grandchildren. DNA, of course, is the genetic code that determines the shape of our nose, our eye color, our likelihood to contract certain diseases. So when our body is making and remaking itself, every cell in our body actually “reads” our DNA and uses it as a blueprint for what to build. But not every cell reads the entire blueprint—the whole, long string of DNA. Inside each cell is both our DNA—or our genome—and the epigenome, a layer of chemical markers that sits on top of our DNA. The epigenome is like a SparkNotes for the cells—it flags which genes our cells really need to read. So the epigenome helps decide which genes actually get represented by our bodies. It turns certain genes on and other genes off. Both the genome and our epigenome are passed down generationally.

Humanism is something entirely different. It is a theme or rather a set of themes that have reappeared on several occasions over time in European societies; these themes always tied to value judgments have obviously varied greatly in their content as well as in the values they have preserved. Furthermore they have served as a critical principle of differentiation. In the seventeenth century there was a humanism that presented itself as a critique of Christianity or of religion in general; there was a Christian humanism opposed to an ascetic and much more theocentric humanism. In the nineteenth century there was a suspicious humanism hostile and critical toward science and another that to the contrary placed its hope in that same science. Marxism has been a humanism; so have existentialism and personalism; there was a time when people supported the humanistic values represented by National Socialism and when the Stalinists themselves said they were humanists. From this we must not conclude that everything that has ever been linked with humanism is to be rejected but that the humanistic thematic is in itself too supple too diverse too inconsistent to serve as an axis for reflection. And it is a fact that at least since the seventeenth century what is called humanism has always been obliged to lean on certain conceptions of man borrowed from religion science or politics. Humanism serves to color and to justify the conceptions of man to which it is after all obliged to take recourse.

I come from a land whose democracy from the very beginning has been tainted with race prejudice born of slavery, and whose richness has been poured through the narrow channels of greed into the hands of the few. I come to the Second International Writers Congress representing my country, America, but most especially the Negro peoples of America, and the poor peoples of America—because I am both a Negro and poor. And that combination of color and of poverty gives me the right then to speak for the most oppressed group in America, that group that has known so little of American democracy, the fifteen million Negroes who dwell within our borders. We are the people who have long known in actual practice the meaning of the word Fascism—for the American attitude towards us has always been one of economic and social discrimination: in many states of our country Negroes are not permitted to vote or to hold political office. In some sections freedom of movement is greatly hindered, especially if we happen to be sharecroppers on the cotton farms of the South. All over America we know what it is to be refused admittance to schools and colleges, to theatres and concert halls, to hotels and restaurants. We know Jim Crow cars, race riots, lynchings, we know the sorrows of the nine Scottsboro boys, innocent young Negroes imprisoned some six years now for a crime that even the trial judge declared them not guilty of having committed, and for which some of them have not yet come to trial. Yes, we Negroes in America do not have to be told what Fascism is in action. We know. Its theories of Nordic supremacy and economic suppression have long been realities to us.

the device had the property of transresistance and should have a name similar to devices such as the thermistor and varistor, Pierce proposed transistor. Exclaimed Brattain, “That’s it!” The naming process still had to go through a formal poll of all the other engineers, but transistor easily won the election over five other options.35 On June 30, 1948, the press gathered in the auditorium of Bell Labs’ old building on West Street in Manhattan. The event featured Shockley, Bardeen, and Brattain as a group, and it was moderated by the director of research, Ralph Bown, dressed in a somber suit and colorful bow tie. He emphasized that the invention sprang from a combination of collaborative teamwork and individual brilliance: “Scientific research is coming more and more to be recognized as a group or teamwork job. . . . What we have for you today represents a fine example of teamwork, of brilliant individual contributions, and of the value of basic research in an industrial framework.”36 That precisely described the mix that had become the formula for innovation in the digital age. The New York Times buried the story on page 46 as the last item in its “News of Radio” column, after a note about an upcoming broadcast of an organ concert. But Time made it the lead story of its science section, with the headline “Little Brain Cell.” Bell Labs enforced the rule that Shockley be in every publicity photo along with Bardeen and Brattain. The most famous one shows the three of them in Brattain’s lab. Just as it was about to be taken, Shockley sat down in Brattain’s chair, as if it were his desk and microscope, and became the focal point of the photo. Years later Bardeen would describe Brattain’s lingering dismay and his resentment of Shockley: “Boy, Walter hates this picture. . . . That’s Walter’s equipment and our experiment,

See how cruel the whites look. Their lips are thin, their noses sharp, their faces furrowed and dis­torted by folds. Their eyes have a staring expression; they are always seeking something. What are they seeking? The whites always want something; they are always uneasy and restless. We do not know what they want. We do not understand them. We think that they are mad." I asked him why he thought the whites were all mad. "They say that they think with their heads," he replied. "Why of course. What do you think with?" I asked him in surprise. "We think here," he said, indicating his heart. I fell into a long meditation. For the first time in my life, so it seemed to me, someone had drawn for me a picture of the real white man. It was as though until now I had seen nothing but sentimental, prettified color prints. This Indian had struck our vulnerable spot, unveiled a truth to which we are blind. I felt rising within me like a shapeless mist something unknown and yet deeply familiar. And out of this mist, image upon image detached itself: first Roman legions smashing into the cities of Gaul, and the keenly incised features of Julius Caesar, Scipio Africanus, and Pompey. I saw the Roman eagle on the North Sea and on the banks of the White Nile. Then I saw St. Augus­tine transmitting the Christian creed to the Britons on the tips of Roman lances, and Charlemagne's most glorious forced con­versions of the heathen; then the pillaging and murdering bands of the Crusading armies. With a secret stab I realized the hol­lowness of that old romanticism about the Crusades. Then fol­lowed Columbus, Cortes, and the other conquistadors who with fire, sword, torture, and Christianity came down upon even these remote pueblos dreaming peacefully in the Sun, their Father. I saw, too, the peoples of the Pacific islands decimated by firewater, syphilis, and scarlet fever carried in the clothes the missionaries forced on them. It was enough. What we from our point of view call coloniza­tion, missions to the heathen, spread of civilization, etc., has another face - the face of a bird of prey seeking with cruel in­tentness for distant quarry - a face worthy of a race of pirates and highwaymen. All the eagles and other predatory creatures that adorn our coats of arms seem to me apt psychological representatives of our true nature.

I once saw a striking contrast in the use made of material in Florence. I saw first in the Boboli gardens the two wonderful figures of the barbarians-you remember perhaps those antique stone statues. They are made of stone, consist of stone, represent the spirit of stone: you feel that stone has had the word! Then I went to the tombs of the Medici and saw what Michelangelo did to stone; there the stone has been brought to a super-life. It makes gestures which stone never would make; it is hysterical and exaggerated. The difference was amazing. Or go further to a man like Houdon and you see that the stone becomes absolutely acrobatic. There is the same difference between the Norman and Gothic styles. In the Gothic frame of mind stone behaves like a plant, not like a normal stone, while the Norman style is completely suggested by the stone. The stone speaks. Also an antique Egyptian temple is a most marvelous example of what stone can say; the Greek temple already plays tricks with stone, but the Egyptian temple is made of stone. It grows out of stone — the temple of Abu Simbel, for example, is amazing in that respect. Then in those cave temples in India one sees again the thing man brings into stone. He takes it into his hands and makes it jump, fills it with an uncanny sort of life which destroys the peculiar spirit of the stone. And in my opinion it is always to the detriment of art when matter has no say in the game of the artist. The quality of the matter is exceedingly important — it is all-important. For instance, I think it makes a tremendous difference whether one paints with chemical colors or with so-called natural colors. All that fuss medieval painters made about the preparation of their backgrounds or the making and mixing of their colors had a great advantage. No modern artist has ever brought out anything like the colors which those old masters produced. If one studies an old picture, one feels directly that the color speaks, the color has its own life, but with a modern artist it is most questionable whether the color has a life of its own. It is all made by man, made in Germany or anywhere else, and one feels it. So the projection into matter is not only a very important but an indispensable quality of art. Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 948-949)

As the subject watches the movies, the MRI machine creates a 3-D image of the blood flow within the brain. The MRI image looks like a vast collection of thirty thousand dots, or voxels. Each voxel represents a pinpoint of neural energy, and the color of the dot corresponds to the intensity of the signal and blood flow. Red dots represent points of large neural activity, while blue dots represent points of less activity. (The final image looks very much like thousands of Christmas lights in the shape of the brain. Immediately you can see that the brain is concentrating most of its mental energy in the visual cortex, which is located at the back of the brain, while watching these videos.) Gallant’s MRI machine is so powerful it can identify two to three hundred distinct regions of the brain and, on average, can take snapshots that have one hundred dots per region of the brain. (One goal for future generations of MRI technology is to provide an even sharper resolution by increasing the number of dots per region of the brain.) At first, this 3-D collection of colored dots looks like gibberish. But after years of research, Dr. Gallant and his colleagues have developed a mathematical formula that begins to find relationships between certain features of a picture (edges, textures, intensity, etc.) and the MRI voxels. For example, if you look at a boundary, you’ll notice it’s a region separating lighter and darker areas, and hence the edge generates a certain pattern of voxels. By having subject after subject view such a large library of movie clips, this mathematical formula is refined, allowing the computer to analyze how all sorts of images are converted into MRI voxels. Eventually the scientists were able to ascertain a direct correlation between certain MRI patterns of voxels and features within each picture. At this point, the subject is then shown another movie trailer. The computer analyzes the voxels generated during this viewing and re-creates a rough approximation of the original image. (The computer selects images from one hundred movie clips that most closely resemble the one that the subject just saw and then merges images to create a close approximation.) In this way, the computer is able to create a fuzzy video of the visual imagery going through your mind. Dr. Gallant’s mathematical formula is so versatile that it can take a collection of MRI voxels and convert it into a picture, or it can do the reverse, taking a picture and then converting it to MRI voxels. I had a chance to view the video created by Dr. Gallant’s group, and it was very impressive. Watching it was like viewing a movie with faces, animals, street scenes, and buildings through dark glasses. Although you could not see the details within each face or animal, you could clearly identify the kind of object you were seeing. Not only can this program decode what you are looking at, it can also decode imaginary images circulating in your head.

EXERCISE 10: DEVELOPING A GRAND VISION You may want to do this exercise alone, out in a natural setting somewhere. 1. See Your Interests, Values, and Abilities. The next step is to discover how your interests and your deep values connect into and form your mission. It can be accomplished by seeing a grand, whole, meaningful image of what purpose you could dedicate your life to. This will be formed from your interests, values, and present goals. Begin to play with the images that you see, which represent some kind of direction that you want to take. As you get a sense of what your mission can be, see various snapshots of yourself doing what you love to do, snapshots of your abilities. 2. Focus on Heroes and Heroines. Take a look at what your favorite heroes or heroines do. See yourself doing things that give you the same feeling you get when you think of them. See snapshots of the person you want to become. Any images you don’t like can fade away. 3. Direct a Movie of Yourself. See yourself the way you want to be—doing the things you love to do. Whatever you choose to put on the screen, you’re the Spielberg, you’re the director. See the images that you feel passionate about. You can play with the images in front of you. Pretend that you’re in the middle of an inner, three-dimensional movie theater. It’s a place where you can see and hear and feel with great fidelity. Notice how much you can see, letting the wisdom from within guide the visual display that you see in front of you. Visualize it, feel it, enjoy it. The images are often up close and in full, rich color. See yourself living out a scenario that gives you tingles in your spine. You can zoom in on that glorious, fun-filled, exciting future that you see. It allows you to do what you love to do and accomplish what you believe in. 4. Recall Your Deep Values. List your deep values as you watch your mission scenario. Notice how your values and your images can fit together with a remarkable consistency. 5. Ask for Help from Your Inner Wisdom. Ask for your inner wisdom, the higher powers, or God to guide your grand vision. This vision is going to be more of a discovery than a creation. Let it come to you. Ask and it will come. Take the time to see and hear those aspects of life that unify into a whole that you feel a powerful passion for. See some more images. See some time going by. See various bright, radiant, up-close, colorful images of what it is that you could create in your life. They can begin going in a certain direction, coalescing and representing many of your current goals, some of the things that you want. See them develop into a kind of grand visionary collection of images that represents your purpose and your mission. 6. Do What It Takes. Take whatever time you need—five minutes, an hour, a whole afternoon. This is your life, your future that you are creating. When you finish, write it down. Your images are so attractive, you have some glimpses of what your mission is. Now you can develop it more fully. Ask the visionary in you to give you the gift of this grand vision. Now that you can see your grand vision of what you want to contribute to, you can make that vision into a cause to work for—a specific direction to channel your efforts to.

Fruit of the Poisonous Tree, The True Story of Murder in a Small Town, begins on a steamy August night with two teenagers, brother and sister, on an evil mission deep in a rural Michigan forest. For one desperate moment headlights appear on the lonely access road. Will they be found out? Thus the story of one of state’s strangest criminal cases unfolds. Girl breaks up with boyfriend. He turns violent. She disappears without a trace. Then state police investigators set out on what at first looks like a fool’s journey. The story is colored by a bizarre Ouija board death prophesy and the roles of two psychics, a former practicing witch and a handsome young artist who is suspected of Satanism. The canny and elusive suspect taunts police and seems always to be one step ahead of them. When a key witness is daunted by uncharacteristic injuries, a mysterious medium tells him he is the victim of black magic practiced by the suspect’s grandmother. And when, after eight years, the suspect finally is brought to trial, he is represented by a Roman Catholic priest.

I began to tell the Lord how beautiful His creation was. Of course He was already aware of that, so I described how marvelous were the works of His hands and how utterly fantastic it was that each tiny snowflake was different. I described how wonderful the colors of the rainbow were and how they represented His covenant with man. The Lord was patient and allowed me to carry on in this fashion for several minutes, but alas, I was not really able to accurately answer His simple request. Then He spoke to me and gave me the revelation to what I was seeing. The Lord said, “My son, what you are seeing are the souls of unsaved men and women of earth who are dying and going to hell at this very moment.” Those words penetrated my spirit like a sharp two-edged sword. I fell to my knees and began to weep as a passion that I had never known began to well up from some mysterious and hidden place deep within my spirit. “Oh, God, look at all of those souls,” I said, breaking the silence. Suddenly, I was overwhelmed with a strange compulsion to watch for a long time as thousands upon thousands of tiny flakes fell through the bright sunbeam. Their short fall was full of spectacular color and glory, but when they hit the ground, it was all over. The Lord was revealing to me a prophetic picture of the brevity of our short lives on an eternal scale. Our days on earth are but a vapor! (See Psalm 39:5 and James 4:14.) I was pierced through to the very heart. “Lord!” I cried out. “What can I possibly do?” He replied, “Just do what I ask, and preach the Cross of Christ.” “I can do that Lord. I will do that, my God, but I will need Your help.” I stayed upon my knees for a long time gazing at this spectacle. During this encounter, God birthed within me a holy passion and hunger to witness souls saved and people totally healed and delivered. I was absorbed in witnessing the array of tiny cascades of colors that luxuriated in the glory of God. I contemplated the ramifications of what I had been told. What a beautiful and glorious God He is. How can we as humankind turn our backs upon Him and such a great salvation that is so easily ours? I pondered all of the events that had been unfolding over the past few days, realizing that I would never be the same. I also realized that God would have to bring all the things that He had birthed in my heart to pass. I purposed to surrender my life and destiny to His will, and to Him. I “altared” my destiny into the hands of God. It was also during this encounter that the Lord instructed me to travel to Africa as an “armor bearer,” to preach His Gospel there and to pray for the sick. I was actually terrified by the prospect of traveling to Africa. I couldn’t imagine that in reality I could go there, considering my current financial situation and my lack of training to preach or minister in healing. However, I soon learned that with God nothing is impossible. Perhaps my obedience to walk with God in minus 12 degree temperatures opened the door to Africa to me? It was still another seemingly bizarre and peculiar gesture of obedience to the Spirit of God. ENTERTAINING ANGELS IN AMERICA After my return to the United States from Canada, I was radically transformed. I could no longer settle for a form of godliness. I began to wait on God, and He began to release supernatural provision

Mass is Inertia......In physics, mass means the tendency of an object to resist changes in course or speed. It is what physicists call inertia. Inertia is a kind of "I don't like to be pushed" feeling. It represents the difficulty in getting something going and the difficulty in stopping it once it is moving, or even the difficulty in deflecting it from its path.

Kaleidoscope Yoga: The universal heart and the individual self. We, as humanity, make up together a mosaic of beautiful colors and shapes that can harmoniously play together in endless combinations. We are an ever-changing play of shape and form. A kaleidoscope consists of a tube (or container), mirrors, pieces of glass (or beads or precious stones), sunlight, and someone to turn it and observe and enjoy the forms. Metaphorically, perhaps the sun represents the divine light, or spark of life, within all of us. The mirrors represent our ability to serve as mirrors for one another and each other’s alignment, reflecting sides of ourselves that we may not have been aware of. The tube (or container) is the practice of community yoga. We, as human beings, are the glass, the beads, the precious stones. The facilitator is the person turning the Kaleidoscope, initiating the changing patterns. And the resulting beauty of the shapes? Well, that’s for everyone to enjoy... Coming into a practice and an energy field of community yoga over and over, is a practice of returning, again and again, to the present moment, to the person in front of you, to the people around you, to your body, to others’ bodies, to your energy, to others’ energy, to your breath, to others’ breath. [...] community yoga practice can help us, in a very real, practical, grounded, felt, somatic way, to identify and be in harmony with all that is around us, which includes all of our fellow human beings.
 We are all multiple selves. We are all infinite. We are all universal selves. We are all unique expressions of the universal heart and universal energy. We are all the universal self. We are all one another. And we are all also unique specific individuals. And to the extent that we practice this, somatically, we become more and more comfortable and fluid with this larger, more cosmic, more inter-related reality. We see and feel and breathe ourselves, more and more, as the open movement of energy, as open somatic possibility. As energy and breath. This is one of the many benefits of a community yoga practice. Kaleidoscope shows us, in a very practical way, how to allow universal patterns of wisdom and interconnectedness to filter through us. [...] One of the most interesting paradoxes I have encountered during my involvement with the community yoga project (and it is one that I have felt again and again, too many times to count) is the paradox that many of the most infinite, universal forms have come to me in a place of absolute solitude, silence, deep aloneness or meditation. And, similarly, conversely and complimentarily, (best not to get stuck on the words) I have often found myself in the midst of a huge crowd or group of people of seamlessly flowing forms, and felt simultaneously, in addition to the group energy, the group shape, and the group awareness, myself as a very cleanly and clearly defined, very particular, individual self. These moments and discoveries and journeys of group awareness, in addition to the sense of cosmic expansion, have also clarified more strongly my sense of a very specific, rooted, personal self. The more deeply I dive into the universal heart, the more clearly I see my own place in it. And the more deeply I tune in and connect with my own true personal self, the more open and available I am to a larger, more universal self. We are both, universal heart and universal self. Individual heart and individual self. We are, or have the capacity for, or however you choose to put it, simultaneous layers of awareness. Learning to feel and navigate and mediate between these different kinds and layers of awareness is one of the great joys of Kaleidoscope Community Yoga, and of life in general. Come join us, and see what that feels like, in your body, again and again. From the Preface of Kaleidoscope Community Yoga: The Art of Connecting: The First 108 Poses

Optimizing Performance Toward A Successful Fitness Guide Website Begins Now Fitness guide websites should be maintained carefully, and should be updated frequently. Stay open to the possibility of changing your approach to updating your exercise tips and information website. It can be quite easy to maintain your website if you check out our guidelines below. You should always aim to make the best exercise tips and information website that's possible even though perfection doesn't exist. Improvements could always be made, so look at your online site objectively from every angle to see where you can implement positive changes. Keep in mind, having a website up and running demands your time and attention. A site is a digital piece of art, so nurture your online site and show it the care and attention it deserves. Many company owners are not professional exercise tips and information website designers; if you are such an owner, don't hesitate to work with an expert to build a website for you. Express your vision clearly and make sure they've a detailed plan of what you want from the site. If you present them with this plan, they're going to have no reason to not give you the results you want. Hit the web and check out the newest sites that the designer has created. Make sure to align digital marketing campaigns with sales at your physical location to increase sales. When companies have both physical locations and an online store, customers have a tendency to shop with them more often. Streamline your store's branding by displaying your logo on all business signage, publicity, promotional ads, and your online presence, including social media. Customers prefer to do business with places where they know there's a face behind the exercise tips and information website. For your exercise tips and information website to be successful, you need to continuously manage it well and make certain that it is aesthetically pleasing. Weird fonts and color schemes as well as too many visuals are things that website designers want you to avoid. Meticulous proofreading is essential; be sure to catch every spelling and grammar mistake. The reputation of the site can be ruined if there are errors in spelling or grammar. The content displayed on your exercise tips and information website should correlate closely with your selected keywords. If you draw traffic to your site with keywords that do not truly represent your company's mission, products and services, your regular visitors rarely return. Your reputation is at stake with these decisions, so make sure what you offer and your keywords are closely connected. In order to be certain that you are using the best keywords for your site, have a professional website designer review your site and offer feedback. If your exercise tips and information website makes registration mandatory, it ought to be simple and hassle free. Requiring registration in order to make a purchase has become a standard business practice. Continuously offer the choice of enlistment, despite the fact that a few people may decide to not to do as such. Offer special perks to users who register, like releasing additional details about their orders. Farkas Health and Fitness For more Information, Visit us at: Health And Fitness Address: 3227 Coventry Court Gulfport, MS 39501 Phone: 228-242-9548

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

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

Assume that the Occupiers’ long roster of negations accurately described social and political reality in liberal democracies. Elected government isn’t accountable to the people, but is, in effect, a dictatorship of the corporations. While banks and businesses exploit workers and poison nature, the government they control represses freedom of expression, and murders and tortures innocents overseas. The rules of the democratic game are a trick, a ruse to conceal the oppression of women by men, of people of color by whites, of the bottom 99 by the top one percent. If that truly described life under capitalistic representative democracy, what would be a rational response? The political rebels of 2011 waffled on the question. Most were the children of the comfortable middle class, too interested in the drama of the moment to accept the implications of their own rhetoric. So they occupied a public space and they protested against the status quo, hoping that some external force—presumably, the government they so despised—would bring about change.

The facts are uncontroversial. Trump spent far less money on advertising than Clinton or his Republican opponents, yet he received a vastly greater volume of media coverage.20 The news business seemed strangely obsessed with this strange man, and lavished on him what may have been unprecedented levels of attention. The question is why. The answer will be apparent to anyone with eyes to see. Donald Trump is a peacock among the dull buzzards of American politics. The one discernible theme of his life has been the will to stand out: to attract all eyes in the room by being the loudest, most colorful, most aggressively intrusive person there. He has clearly succeeded to an astonishing degree. The data on media attention speaks to a world-class talent for self-promotion.21 Again, there can be no question that this allowed Trump to separate himself from his competitors in the Republican primaries. He appeared to be a very important person. Everyone on TV was talking about him.22 Who could say the same about Ted Cruz? Media people pumped the helium that elevated Donald Trump’s balloon, and they did so from naked self-interest. He represented high ratings and improved subscription numbers. Until the turn of the new millennium, the news media had controlled the information agenda. They could decide, on the basis of some elite standard, how much attention you deserved. In a fractured information environment, swept by massive waves of signal and noise, amid newspaper bankruptcies and many more TV news channels, every news provider approaches a story from the perspective of existential desperation. Trump understood the hunger, and knew how to feed the beast.

He took a stool two away from Enid. She didn’t look up from her drink or glance his way. On the other side of him a guy wearing a porkpie hat was bouncing his head up and down as though to music but no music was playing and he wasn’t wearing earphones. A rainbow of rusted license plates took up most of the back wall—probably plates representing all fifty states, but Simon wasn’t really up for checking. There were neon signs for Miller High Life and Schlitz. An oddly ornate chandelier hung from the ceiling. This place, like the inn, was all dark wood, but that was the only similarity, like this was the poorest of poor cousins of the inn’s rich dark wood. “What’ll you have?” The barmaid’s hair was the color and texture of the hay on that hayride and done in a quasi mullet that reminded Simon of an ’80s hockey player. She was either a hard forty-five or a soft sixty-five, and there was little question she had seen it all at least twice. “What kind of beer do you have?” he asked. “We have Pabst. And Pabst.” “You choose for me.

Much of our intellectual development is the story of how we learn to sort impressions: self or environment, rocks, trees, clouds, books, cats. It is a story of how we learn to judge and recognize colors, numbers, shapes, and abstract concepts. When we learn a new category, our internal model of the world rotates - often slightly, occasionally more.... Some shifts are emotional: holding a newborn in your hands and understanding just what a rich and varied life will come to this tiny seed of an individual, looking into the eyes of an animal and recognizing a kinship despite having traveled very different evolutionary paths. Some shifts are abstract: learning the crystalline pure beauty of a geometric proof's logic. Fractal geometry also represents a shift, both emotional and abstract...

Over time, I realized that the Bradleys may have liked me as an individual, but they loved me for what I represented. People who came from nothing, who busted their asses to get college scholarships, who hustled into a winning career. Look at me, climbing the ladder at KCN: I was a perfect example of that bootstrappy, self-reliant, equal-opportunity American spirit. (Never mind the various advantages I’d had: my skin color, my good health, my friendship with an heiress.) It allowed the Bradleys to sleep easy at night. To believe that the meritocracy functioned as it was supposed to. Their generosity was real, but Anne and Thomas took a calculated kind of pride in me, like I was proof of a successful charitable experiment...

The visible present is not in time and space, nor, of course, outside of them: there is nothing before it, after it, about it, that could compete with its visibility. And yet it is not alone, it is not everything. To put it precisely, it stops up my view, that is, time and space extend beyond the visible present, and at the same time they are behind it, in depth, in hiding. The visible can thus fill me and occupy me only because I who see it do not see it from the depths of nothingness, but from the midst of itself; I the seer am also visible. What makes the weight, the thickness, the flesh of each color, of each sound, of each tactile texture, of the present, and of the world is the fact that he who grasps them feels himself emerge from them by a sort of coiling up or redoubling, fundamentally homogeneous with them; he feels that he is the sensible itself coming to itself and that in return the sensible is in his eyes as it were his double or an extension of his own flesh. The space, the time of the things are shreds of himself, of his own spatialization, of his own temporalization, are no longer a multiplicity of individuals synchronically and diachronically distributed, but a relief of the simultaneous and of the successive, a spatial and temporal pulp where the individuals are formed by differentiation. The things—here, there, now, then—are no longer in themselves, in their own place, in their own time; they exist only at the end of those rays of spatiality and of temporality emitted in the secrecy of my flesh. And their solidity is not that of a pure object which the mind soars over; I experience their solidity from within insofar as I am among them and insofar as they communicate through me as a sentient thing. Like the memory screen of the psychoanalysts, the present, the visible counts so much for me and has an absolute prestige for me only by reason of this immense latent content of the past, the future, and the elsewhere, which it announces and which it conceals. There is therefore no need to add to the multiplicity of spatio-temporal atoms a transversal dimension of essences—what there is is a whole architecture, a whole complex of phenomena "in tiers," a whole series of "levels of being," which are differentiated by the coiling up of the visible and the universal over a certain visible wherein it is redoubled and inscribed. Fact and essence can no longer be distinguished, not because, mixed up in our experience, they in their purity would be inaccessible and would subsist as limit-ideas beyond our experience, but because—Being no longer being before me, but surrounding me and in a sense traversing me, and my vision of Being not forming itself from elsewhere, but from the midst of Being—the alleged facts, the spatio-temporal individuals, are from the first mounted on the axes, the pivots, the dimensions, the generality of my body, and the ideas are therefore already encrusted in its joints. There is no emplacement of space and time that would not be a variant of the others, as they are of it; there is no individual that would not be representative of a species or of a family of beings, would not have, would not be a certain style, a certain manner of managing the domain of space and time over which it has competency, of pronouncing, of articulating that domain, of radiating about a wholly virtual center—in short, a certain manner of being, in the active sense, a certain Wesen, in the sense that, says Heidegger, this word has when it is used as a verb. In short, there is no essence, no idea, that does not adhere to a domain of history and of geography. Not that it is confined there and inaccessible for the others, but because, like that of nature, the space or time of culture is not surveyable from above, and because the communication from one constituted culture to another occurs through the wild region wherein they all have originated.

Governor Fielding Wright’s radio address to the “Negroes of Mississippi.” His speech was aired eighteen months after the shooting in Anguilla. He was a Sharkey County native and a lawyer, who might have represented my father. But the reason this article jumped out of the library files and into my hands was the fact that Dad was then the editor of the Deer Creek Pilot, and he was a press agent for Governor Wright, who said: This morning I am speaking primarily to the negro citizens of Mississippi … We are living in troublous times and it is vital and essential that we maintain and preserve the harmonious and traditional relationship which has existed in this state between the white and colored races. It is a matter of common knowledge to all of you who have taken an interest in public affairs that in my inaugural address as governor some four months ago, I took specific issue with certain legislative proposals then being made by President Truman … These proposals of President Truman are concerned with the enactment of certain laws embraced within the popular term of “Civil Rights.” … [O]ur opposition to such legislation is that it is a definite, deliberate and outright invasion of the rights of the states to control their own affairs and meet their own duties and responsibilities. This same radical group pressing this particular proposal is also seeking to abolish separate schools in the South, separate cars on trains, separate seats in the picture shows, and every other form of physical separation between races. Another recommendation made by the President, and one of the main objectives of the many associations claiming to represent the negroes of this nation, is the abolition of segregation. White people of Mississippi and the Southland will not tolerate such a step. The good negro does not want it. The wise of both races recognize the absolute necessity of segregation. With all of this in mind, and with all frankness, as governor of your state, I must tell you that regardless of any recommendation of President Truman, despite any law passed by Congress, and no matter what is said to you by the many associations claiming to represent you, there will continue to be segregation between the races in Mississippi. If any of you have become so deluded as to want to enter our white schools, patronize our hotels and cafes, enjoy social equality with the whites, then true kindness and true sympathy requires me to advise you to make your homes in some state other than Mississippi.

Isaac took a long swig from the unmarked bottle. He'd tasted her cider before, but this bottle was completely different, yet just as wonderful. The apple was more prominent, yet not sweet, almost funky but in a good, blue-cheese way. He held the bottle up to the light and could see the sediment swirling in the bottom. "This is amazing- so different from the other one." Sanna grinned. "You really like Olive? I wasn't sure when I blended it. Not everyone likes the murkiness." "Olive?" Sanna leaned against the counter, putting her weight on her wrist as she studied him for a long moment, her eyes squinting. She took a long drink from her own bottle. "I see colors when I make ciders. I can't explain it. Each juice has its own hue. That's what those paintings represent." She pointed at the watercolors over the fireplace. "A new color comes to me, and I blend the juices until I can re-create it in the flavor. And this one is Olive." "You color-code your ciders?" He struggled to understand what she was telling him. "No." She reached across the counter and pulled her journal toward her. She opened it and handed it to Isaac. As she sipped her cider, he studied the page, then the next page, then the next. On each was a swatch of layered color, all wildly different from one another- reds, greens, teals, colors he didn't really have names for. Next to the colors were measurements, apple varieties, percentages, and flavor notes. Scribbles filled the margins and equations contained both numbers and words. Things like sugars and acidity were measured and tested. It was part recipe book, part coloring book, and part wine label, with a hint of spell book. Looking at it was like opening a tiny door into the back of her head. She saw things that no one else did, an imaginary world of cider only she could see. "You can see the color in your head?" "It's the easiest way to explain it. A color pops into my head, and I know what it will taste like. When I blend the different raw ciders together, I know I have it right when it matches what I've imagined.

You’ll get paid. I’ll have my uncle set the money aside. You can pick it up at the castle.” “I hope you don’t mind if we wait a few days, just to make sure.” “Of course not.” The prince nodded. “And if we send a representative to pick up the money for us?” Royce asked. Alric stared at him. “One who has no idea how to find us in case he is captured?” “Oh please, aren’t you being just a tad bit too cautious now?” “No such thing,” Royce replied. “Look!” Myron shouted suddenly, pointing at the stable. All three of them jumped fearfully at the sudden outburst. “There’s a brown horse!” the monk said in amazement. “I didn’t know they came in brown!” “By Mar, monk!” Alric shook his head in disbelief, a gesture Royce and Hadrian mirrored. “Well, I didn’t,” Myron replied sheepishly. His excitement, however, was still evident when he added, “What other colors do they come in? Is there a green horse? A blue one? I would so love to see a blue one.

Man is encased, as though in a shell, in the particular ranking of the simplest values and value-qualities which represent the objective side of his *ordo amoris*, values which have not yet been shaped into things and goods. He carries this shell along with him wherever he goes and cannot escape from it no matter how quickly he runs. He perceives the world and himself through the windows of this shell, and perceives no more of the world, of himself, or of anything else besides what these windows show him, in accordance with their position, size, and color. The structure and total content of each man's environment, which is ultimately organized according to its value structure, does not wander or change, even though he himself wanders further and further in space. It is simply filled out anew with certain individual things. However, even this fulfillment must obey the law of formation prescribed by the value structure of the milieu. The goods along the route of a man's life, the practical things, the resistances to willing and acting against which he sets his will, are from the very first always inspected and "sighted," as it were, by the particular selective mechanism of his *ordo amoris*. Wherever he arrives, it is not the same men and the same things, but the same types of men and things (and this are in every case *types* of values), that attract or repulse him in accordance with certain constant rules of preference and rejection. What he actually notices, what he observes or leaves unnoticed and unobserved, is determined by this attraction and this repulsion; these already determine the material of *possible* noticing and observing. Moreover, the attraction and repulsion are felt to come from things, not from the self, in contrast to the case of so-called active attention, and are themselves governed and circumscribed by potentially effective attitudes of interest and love, experienced as readiness for being affected." —from_Ordo Amoris_

I presume this is part of your erotic art collection?" she mused out loud. "It is most beautifully done; only look at the masterful brushwork and the lush, luminous colors. Curiously enough, it reminds me of Boucher, though I suppose it was done by a less well-known artist." He lifted a brow. "I am impressed, madam, since Boucher is exactly who painted the work. You do indeed know your art. The provenance says he did this painting as a private commission for a wealthy, anonymous patron. I acquired it at an equally private auction a few years ago and have enjoyed viewing it ever since." "Well, if this painting is representative of your collection, I would guess that all the works must have scandalous, clandestine origins due to the lurid nature of the subject matter." "Actually, this is one of the less provocative pieces," he informed her. "The majority of my collection is housed in a separate gallery devoted strictly to erotic art and literature. A couple of the maids won't even go inside to clean." Esme turned her gaze on him. "Is it really that bad?" "Or that good, depending on your point of view." He grinned. "I'll show it to you sometime, if you'd like. After all, you are an art lover. Come to think, perhaps I should frame the naked sketch you did of me and add it to the collection. Or would you prefer to keep it and hang it on your bedroom wall?" "I believe I will leave it exactly where it is, else the entire house know what you look like without clothing. Although knowing you, you'd likely be as proud as Bacchus here and every bit as shameless." His grin widened. "Yes, but only because certain parts of me actually do rival the gods.

I know of a group of assorted ages and races, who are using an old wagon wheel for meditation. It is placed on the ground, appropriately painted in the four significant colors, with ancient symbols designed on the circumference. The person seated at the segment representing serenity tries to live that quality, to be serene in all the varying tests of life, what one mystic has called “the daily startle of the world,” so that the group as a whole can depend upon the serenity of the circle being steadily maintained, safe in the keeping of that person. The one sitting in the seat of truth lives truth in all the facets of personal life, so that at the meeting of the group, and in between meetings, the truth of the circle stays steady and firm. The one representing courage shows courage in the events of daily life, so that the courage of the group is steadily maintained. All these qualities can be called upon by any member of the group in need of them. From time to time the wheel is turned, so that the qualities are represented by different people.

Adults with ADHD as a group have often experienced more than their fair share of disappointments and frustrations associated with the symptoms of ADHD, in many cases not realizing the impact of ADHD has had on them. When you reflect on a history of low grades, forgetting or not keeping promises made to others, repeated exhortations from others about your unfulfilled potential and the need to work harder, you may be left with a self-view that “I’m not good enough,” “I’m lazy,” or “I cannot expect much from myself and neither can anyone else.” The end result of these repeated frustrations can be the erosion of your sense of self, what is often called low self-esteem. These deep-seated, enduring self-views, or “core beliefs” about who you are can be thought of as a lens through which you see yourself, the world, and your place in the world. Adverse developmental experiences associated with ADHD may unfairly color your lens and result in a skewed pessimistic view of yourself, at least in some situations. When facing situations in the here-and-now that activate these negative beliefs, you experience strong emotions, negative thoughts, and a propensity to fall into self-defeating behaviors, most often resignation and escape. These core beliefs might only be activated in limited, specific situations for some people with ADHD; in other cases, these beliefs color one’s perception in most situations. It should be noted that many adults with ADHD, despite feeling flummoxed by their symptoms in many situations, possess a healthy self-view, though there may be many situations that briefly shake their confidence. These core beliefs or “schema” develop over the course of time from childhood through adulthood and reflect our efforts to figure out the “rules for life” (Beck, 1976; Young & Klosko, 1994). They can be thought of as mental categories that let us impose order on the world and make sense of it. Thus, as we grow up and face different situations, people, and challenges, we make sense of our situations and relationships and learn the rubrics for how the world works. The capacity to form schemas and to organize experience in this way is very adaptive. For the most part, these processes help us figure out, adapt to, and navigate through different situations encountered in life. In some cases, people develop beliefs and strategies that help them get through unusually difficult life circumstances, what are sometimes called survival strategies. These old strategies may be left behind as people settle into new, healthier settings and adopt and rely on “healthy rules.” In other cases, however, maladaptive beliefs persist, are not adjusted by later experiences (or difficult circumstances persist), and these schema interfere with efforts to thrive in adulthood. In our work with ADHD adults, particularly for those who were undiagnosed in childhood, we have heard accounts of negative labels or hurtful attributions affixed to past problems that become internalized, toughened, and have had a lasting impact. In many cases, however, many ADHD adults report that they arrived at negative conclusions about themselves based on their experiences (e.g., “None of my friends had to go to summer school.”). Negative schema may lay dormant, akin to a hibernating bear, but are easily reactivated in adulthood when facing similar gaffes or difficulties, including when there is even a hint of possible disappointment or failure. The function of these beliefs is self-protective—shock me once, shame on you; shock me twice, shame on me. However, these maladaptive beliefs insidiously trigger self-defeating behaviors that represent an attempt to cope with situations, but that end up worsening the problem and thereby strengthening the negative belief in a vicious, self-fulfilling cycle. Returning to the invisible fences metaphor, these beliefs keep you stuck in a yard that is too confining in order to avoid possible “shocks.

In 1965, Daniel Patrick Moynihan, then an official in the U.S. Department of Labor, called the inner cities after the arrival of the southern migrants “a tangle of pathology.” He argued that what had attracted southerners like Ida Mae, George, and Robert was welfare: “the differential in payments between jurisdictions has to encourage some migration toward urban centers in the North,” he wrote, adding his own italics. Their reputation had preceded them. It had not been good. Neither was it accurate. The general laws of migration hold that the greater the obstacles and the farther the distance traveled, the more ambitious the migrants. “It is the higher status segments of a population which are most residentially mobile,” the sociologists Karl and Alma Taeuber wrote in a 1965 analysis of census data on the migrants, published the same year as the Moynihan Report. “As the distance of migration increases,” wrote the migration scholar Everett Lee, “the migrants become an increasingly superior group.” Any migration takes some measure of energy, planning, and forethought. It requires not only the desire for something better but the willingness to act on that desire to achieve it. Thus the people who undertake such a journey are more likely to be either among the better educated of their homes of origin or those most motivated to make it in the New World, researchers have found. “Migrants who overcome a considerable set of intervening obstacles do so for compelling reasons, and such migrations are not taken lightly,” Lee wrote. “Intervening obstacles serve to weed out some of the weak or the incapable.” The South had erected some of the highest barriers to migration of any people seeking to leave one place for another in this country. By the time the migrants made it out, they were likely willing to do whatever it took to make it, so as not to have to return south and admit defeat. It would be decades before census data could be further analyzed and bear out these observations. One myth they had to overcome was that they were bedraggled hayseeds just off the plantation. Census figures paint a different picture. By the 1930s, nearly two out of every three colored migrants to the big cities of the North and West were coming from towns or cities in the South, as did George Starling and Robert Foster, rather than straight from the field. “The move to northern cities was dominated by urban southerners,” wrote the scholar J. Trent Alexander. Thus the latter wave of migrants brought a higher level of sophistication than was assumed at the time. “Most Negro migrants to northern metropolitan areas have had considerable previous experience with urban living,” the Taeuber study observed. Overall, southern migrants represented the most educated segment of the southern black population they left, the sociologist Stewart Tolnay wrote in 1998. In 1940 and 1950, colored people who left the South “averaged nearly two more years of completed schooling than those who remained in the South.” That middle wave of migrants found themselves, on average, more than two years behind the blacks they encountered

This knowledge all stems from the Human Genome Project work that defined what makes you you. Four chemicals—represented by the four letters A, C, G, and T—come in base pairs to determine everything about you, from hair color to disease predisposition. Your individual sequence? About 3.2 billion letters in those 22,500 genes. That’s your individual code. That code is housed in 23 pairs of chromosomes—one of each pair from each parent. Each chromosome contains hundreds to thousands of genes that contain code that directs the manufacture of proteins and controls cell growth, function, and survival.

Computer vision (CV) is the subbranch of AI that focuses on the problem of teaching computers to see. The word “see” here does not mean just the act of acquiring a video or image, but also making sense of what a computer sees. Computer vision includes the following capabilities in increasing complexity: Image capturing and processing—use cameras and other sensors to capture real-world 3D scenes in a video. Each video is composed of a sequence of images, and each image is a two-dimensional array of numbers representing the color, where each number is a “pixel.” Object detection and image segmentation—divide the image into prominent regions and find where the objects are. Object recognition—recognizes the object (for example, a dog), and also understands the details (German Shepherd, dark brown, and so on). Object tracking—follows moving objects in consecutive images or video. Gesture and movement recognition—recognize movements, like a dance move in an Xbox game. Scene understanding—understands a full scene, including subtle relationships, like a hungry dog looking at a bone.

*I’ve always had an alternative reading of the Body Snatchers movies (Siegel’s, Kaufman’s, and Ferrara’s). Each movie presents the Pod People in a sinister light. Yet really, almost nothing they do on screen really bears out this sinister interpretation. If you’re one who believes that your soul is what makes you you, then I suppose the Pod People are murdering the Earthlings they duplicate and replace. However, if you’re more of the mind that it is your intellect and your consciousness that make you who you are, then the Pod People transformation is closer to a rebirth than a murder. You’re reborn as straight intellect, with a complete possession of your past and your abilities, but unburdened by messy human emotions. You also possess a complete fidelity to your fellow beings and a total commitment to the survival of your species. Are they inhuman? Of course, they’re vegetables. But the movies try to present their lack of humanity (they don’t have a sense of humor, they’re unmoved when a dog is hit by a car) as evidence of some deep-seated sinisterness. That’s a rather species-centric point of view. As human beings it may be our emotions that make us human, but it’s a stretch to say it’s what makes us great. Along with those positive emotions—love, joy, happiness, amusement—come negative emotions—hate, selfishness, racism, depression, violence, and rage. For instance, with all the havoc that Donald Sutherland causes in the Kaufman version, including the murder of various Pod People, there never is a thought of punishment or vengeance on the Pod People’s part, even though he’s obviously proven himself to be a threat. They just want him to become one of them. Imagine in the fifties, when the Siegel film was made, that instead of some little town in Northern California (Santa Mira) that the aliens took root in, it was a horribly racist, segregated Ku Klux Klan stronghold in the heart of Mississippi. Within weeks the color lines would disappear. Blacks and whites would be working together (in genuine brotherhood) towards a common goal. And humanity would be represented by one of the racist Kluxers whose investigative gaze notices formerly like-minded white folks seemingly enter into a conspiracy with some members of the county’s black community. Now picture his hysterical reaction to it (“Those people are coming after me! They’re not human! You’re next! You’re next!”). *Solving the problems, both large and small, of your actors—lead actors especially—is the job of a film director.

Planters were more than willing to play their role in the drama. Enfranchised by the creation of a popularly elected territorial legislature, they achieved far more power than they ever had under Spanish or even French rule, and they were quick to turn it on the free people of color. In 1806, within three years of American accession, the planter-dominated legislature contained the growth of the free black population, severely circumscribing the rights of slaves to initiate manumission. Thereafter slaves could be freed only by special legislative enactment. That done, the legislature struck at the privileges free people of color had enjoyed under Spanish rule, issuing prohibitions against carrying guns, punishing free black criminals more severely than white ones, and authorizing slaves to testify in court against free blacks but not whites. In an act that represented the very essence of the planters' contempt for people of color, the territorial legislature declared that 'free people of color ought never to insult or strike white people, nor presume to conceive themselves equal to whites, but on the contrary . . . they ought to yield to them on every occasion and never speak or answer them but with respect.' With planters now in control, the free people's position in the society of the lower Mississippi Valley slipped sharply. Claiborne slowly reduced the size of the black militia, first placing it under the control of white officers and then deactiviting it entirely when the territorial legislature refused to recommission it. The free black population continued to grow, but - with limitations on manumission and self-purchase - most of the growth derived from the natural increase and immigration. The dynamism of the final decades of the eighteenth century, when the free black population grew faster than either the white or slave population, dissipated, prosperity declined, and the great thrust toward equality was blunted as the new American ruler turned its back on them. In the years that followed, as white immigrants flowed into the Mississippi Valley and the Gulf ports grew whiter, American administrators found it easier to ignore the free people of color or, worse yet, let the planters have their way. Occasionally, new crises arose, suddenly elevating free people to their old importance. In 1811, when slaves revolted in Pointe Coupee, and in 1815, when the British invaded Louisiana, free colored militiamen took up their traditional role as the handmaiden of the ruling class in hopes that their loyalty would be rewarded. But long-term gains were few. Free people of color were forced to settle for a middling status, above slaves but below whites. The collapse of the free people's struggle for equality cleared the way for the expansion of slavery. The Age of Revolution had threatened slavery in the lower Mississippi Valley, as it had elsewhere on the mainland. Planters parried the thrust with success. As in the Upper and Lower South, African-American slavery grew far more rapidly than freedom in the lower Mississippi Valley during the post-revolutionary years. The planters' westward surge out of the seaboard regions soon connected with their northward movement up the Mississippi Valley to create what would be the heartland of the plantation South in the nineteenth century. As the Age of Revolution receded, the plantation revolution roared ahead, and with it the Second Middle Passage.

Adams disagreed. “I told Calhoun I could not see things in the same light.” And as he later reflected on the day’s discussion, he realized how thoroughly he disagreed with nearly everything Calhoun and the other Southerners said by way of defense of slavery. “It is, in truth, all perverted sentiment—mistaking labor for slavery, and dominion for freedom. The discussion of this Missouri question has betrayed the secret of their souls. In the abstract, they admit that slavery is an evil, they disclaim all participation in the introduction of it, and cast it all upon the shoulders of our old Grandam Britain. But when probed to the quick upon it, they show at the bottom of their souls pride and vainglory in their condition of masterdom. They fancy themselves more generous and noble-hearted than the plain freemen who labor for subsistence. They look down upon the simplicity of a Yankee’s manners, because he has no habit of overbearing like theirs and cannot treat negroes like dogs. It is among the evils of slavery that it taints the very sources of moral principle. It establishes false estimates of virtue and vice; for what can be more false and heartless than this doctrine which makes the first and holiest rights of humanity to depend upon the color of the skin? It perverts human reason, and reduces man endowed with logical powers to maintain that slavery is sanctioned by the Christian religion, that slaves are happy and contented in their condition, that between master and slave there are ties of mutual attachment and affection, that the virtues of the master are refined and exalted by the degradation of the slave; while at the same they vent execrations upon the slave-trade, curse Britain for having given them slaves, burn at the stake negroes convicted of crimes for the terror of the example, and write in agonies of fear at the very mention of human rights as applicable to men of color.” Adams had never pondered slavery at such length, and the experience made him fear for the future of the republic. “The impression produced upon my mind by the progress of this discussion is that the bargain between freedom and slavery contained in the Constitution of the United States is morally and politically vicious, inconsistent with the principles upon which alone our Revolution can be justified; cruel and oppressive, by riveting the chains of slavery, by pledging the faith of freedom to maintain and perpetuate the tyranny of the master; and grossly unequal and impolitic, by admitting that slaves are at once enemies to be kept in subjection, property to be secured or restored to their owners, and persons not to be represented themselves, but for whom their masters are privileged with nearly a double share of representation. The consequence has been that this slave representation has governed the Union.

Management sometimes exploits this situation by making it appear that the salesperson is an ally of the customer-that the salesperson and, by extension, the store, is your friend. The training manual given to new sales representatives by the retail giant United Colors of Benetton, for example, teaches this: "Selling is actually a way of serving others. By helping your customers find what they want and need, you are creating solutions to existing problems."33 One doubts that the stockholders for Benetton share this altruistic vision of their organization. Ironically, however, the salesmen's very naivete and inexperience may make it seem their message really is delivered in the spirit of education.

So the epigenome helps decide which genes actually get represented by our bodies. It turns certain genes on and other genes off. Both the genome and our epigenome are passed down generationally. The stuff we think of when we think about DNA—nose shape, eye color—only comprises about 2 percent of our total DNA. The other 98 percent is called noncoding DNA, and it is responsible for our emotions, personality, and instincts. The epigenome on top of noncoding DNA is very sensitive to stress and the environment. When a body adapts to constant, overwhelming stress—not a car accident or a bad flu, but long-lasting trauma—the epigenome changes. Trauma can turn on a gene that responds to the smell of cherry blossoms, for example. Or turn off a gene that regulates our emotions. It might turn on a gene for fear.

Just don’t talk about it,” hissed Hugh. Twoflower was already thumbing through his book. “What’s he doing?” said Broadman, arms akimbo. “It tells him what to say. I know it sounds ridiculous,” muttered Hugh. “How can a book tell a man what to say?” “I wish for an accommodation, a room, lodgings, the lodging house, full board, are your rooms clean, a room with a view, what is your rate for one night?” said Twoflower in one breath. Broadman looked at Hugh. The beggar shrugged. “He’s got plenty money,” he said. “Tell him it’s three copper pieces, then. And that Thing will have to go in the stable.” “?” said the stranger. Broadman held up three thick red fingers and the man’s face was suddenly a sunny display of comprehension. He reached into his pouch and laid three large gold pieces in Broadman’s palm. Broadman stared at them. They represented about four times the worth of the Broken Drum, staff included. He looked at Hugh. There was no help there. He looked at the stranger. He swallowed. “Yes,” he said, in an unnaturally high voice. “And then there’s meals, o’course. Uh. You understand, yes? Food. You eat. No?” He made the appropriate motions. “Fut?” said the little man. “Yes,” said Broadman, beginning to sweat.

Indeed, today there is an enormous danger that the Left has lost the ability to offer a genuinely useful critique of America’s emerging role and has degenerated into what is dangerously close to a full-fledged fantasy ideology. The danger here is the danger that arises with any criticism that has become too obviously tendentious or even merely spiteful: it stops being listened to. Under the present circumstances, this is a risk that the Left has been running more and more, both in America and in the world community, with the result that the culture war threatens to position the American academic Left not as a constructive critic, or even as a usefully carping one, but rather as an outright enemy. This was apparent both before, during, and after the Iraq war, so strikingly that it even led one liberal Left critic to write an astonishing article, in which he confessed to the Schadenfreude he felt at each apparent hint of a prospective disaster for the forces of his own country, made up of his fellow citizens. The problem with this reaction is that it represents a radical imbalance in our civic ecology: if criticism is to push in the right direction, it must not seem to be coming from those who have absolutely nothing in common with us. When the Left-wing intellectual seems to have contempt for everything that the average American holds dear, how seriously do you think his advice will be taken? That is why the intellectual, conservative, liberal, or radical, must submit his own “natural” point of view to the same kind of critique that Marxists have traditionally applied to all other forms of ideological distortion and disguise. For it is not only our economic class that colors how we see the world, but our particular vocation within that class.

Vishnu is the god who sustains and maintains what Brahma creates and what Shiva seeks to destroy. He is also pure consciousness. His name means “pervader.” Vishnu pervades and enlivens all things. For devotees of Vishnu, Vishnu’s blue color indicates that he is as pervasive and intangible as the sky, while his consort Laxmi’s red sari represents earth’s all-containing fertility. He is the protector; she is the provider:

Painting. Art. This was her specialty, what she loved and understood and what could so easily entrap her in a world of expression. Without hesitation she commenced her exploration of color, leaving behind every thought and emotion unconnected to the work in front of her. Reds, oranges, blues, purples, greens - a rainbow of hues came together in swirls and precision, creating a masterpiece fit to represent an art event.

Now, a small bluish patch of color is not, strictly speaking, a tree; but for us it represents the tree. Suppose that we walk toward the tree. Do we continue to see what we saw before? Of course, we say that we continue to see the same tree; but it is plain that what we immediately perceive, what is given in consciousness, does not remain the same as we move. Our blue patch of color grows larger and larger; it ceases to be blue and faint; at the last it has been replaced by an expanse of vivid green, and we see the tree just before us. During our whole walk we have been seeing the tree. This appears to mean that we have been having a whole series of visual experiences, no two of which were just alike, and each of which was taken as a representative of the tree. Which of these representatives is most like the tree? Is the tree really a faint blue, or is it really a vivid green? Or is it of some intermediate color? Probably

appear “crazed or ugly or victims or just stupid.”4 Let’s step back for a moment from Charlottesville and try to figure out who these marchers are and what they represent. The ideologies motivating them are white power and white supremacy, ideologies that include a foundational belief in the evil nature of the Jews, Muslims, and people of color. According to the supremacists, these minorities are intent on harming “regular Americans.” They find one another at white power gatherings. They visit websites that promote neo-Nazism, white nationalism, and antisemitism.5 Many of them adhere to Christian Identity, a racist interpretation of Christianity that posits that there were two creations—one that failed, which explains the existence of people of color, and one that produced Adam and Eve.

committed a small oversight, and yet one that almost destroyed their venture. They had assumed that they would deliver the kerosene in bulk to various localities, and that the eager customers would line up with their own receptacles to be filled. The customers were expected to use old Standard Oil tin cans. But they did not. Throughout the Far East, Standard’s blue oil tins had become a prized mainstay of the local economies, used to construct everything from roofing to birdcages to opium cups, hibachis, tea strainers, and egg beaters. They were not about to give up such a valuable product. The whole scheme was now threatened—not by the machinations of 26 Broadway or by the politics of the Suez Canal, but by the habits and predilections of the peoples of Asia. A local crisis was created in each port, as the kerosene went unsold, and despairing telegrams began to flow into Houndsditch. In the quickness and ingenuity of his response to the crisis, Marcus proved his entrepreneurial genius. He sent out a chartered ship, filled with tinplate, to the Far East, and simply instructed his partners in Asia to begin manufacturing tin receptacles for the kerosene. No matter that no one knew how to do so; no matter that no one had the facilities. Marcus persuaded them they could do it. “How do you stick on the wire handles?” the agent in Singapore wrote to Samuel’s representative in Japan. Instructions were sent. “What color do you suggest?” cabled the agent in Shanghai. Mark gave the answer—“Red!

When admitting you are wrong, you gain back the control others took away from you when making you lose it. That's why you must say sorry. It represents a change of attitude but not really a change of personality; The changes on the personality come later on, when, by controlling yourself better, you don't express anger. Because saying sorry means nothing but anger means a lot. You should not want to be an angry person. When you get angry, those who make you angry, win; They win control over your emotional state, your thoughts, your words and your behaviors. They may then accuse you of always being angry and never apologizing, but that's not where you should focus your attention. The main point here, is that you’re living on the basis of instinctive reaction and not awareness or consciousness. So, when you say sorry, you are acknowledging that there is no excuse for losing control over yourself. You should not be sorry for being angry. That's an emotion; and you can't feel sorry for feeling. When you’re angry, you are feeling. When you insult, however, you are losing, yourself, your self-control, your self-respect, and even your capacity to use what you know. More knowledge, makes you more aware, more frustrated, having more and higher expectations on others, and more angry too, more often as well. But that's your problem! No other people's problem! They are just being themselves. Most people really think they are perfect as they are, and that the problems they experience are all outside themselves. And by realizing that, you say sorry as if saying sorry for not being who you really are. And when doing it, you get back the control another person took away from you. It is actually not good when someone needs to say sorry too often to someone else, especially if it’s always the same individual. But that someone else often likes it, as it makes them feel superior. That’s because their ego needs that. They have low self-esteem. Most people do! And that’s why most people's behavior is wired to their ego. Their likes and dislikes are connected to a sense of self-importance and a desperate need to feel important, which they project on their idols, the famous and most popular among them. They admire what they seek the most. When they think they are not important, they offend, to get aggression, which is a desperate need for attention; and to feel like victims of life, which is a deeper state of need, in this case, related to sympathy; and they then blame the other for what he does, for his reactions; and when that other says sorry, they think they have power over that insane cycle in which they now live, and in which they incorporate anyone else, and which they now perfectly master. Their pride is built on arrogance, an arrogance emerged out of ignorance, ignorance composed from delusional cycles within a big illusion; but an illusion that makes sense to them, as if they were succeeding at merging truth with lie, darkness with light. Because the arrogant, the abusive and the violent are desperate. God made them blind after witnessing their crimes against moral and ethics - His own laws. And they want to see again, and feel the same pleasure they once felt when witnessing the true colors of the world during childhood. The arrogant want to reaffirm their sanity by acting insanely because they know no other way. And when you say sorry, you are saying to them that you don't belong there, to their world, and that you are sorry for playing their games. That drama belongs to them only, and not you. And yet, people interpret the same paradox as they choose. That is their experience of truth and how they put sense on a life without any. And when so much nonsense becomes popular, we call it common sense. When common sense becomes a reality, we call it science. And when science is able to theorize common sense, we call it wisdom. Then, we wonder why the wisdom of those we name wise, does not help.

The different colors represent the husband and the wife. What will happen when they’re kneaded together? The colors could mix; they could divide neatly down the middle; one color could completely overwhelm the other—whatever happens, the two smaller balls are going to smash together and recreate themselves as a one, slightly bigger ball. That’s my take on marriage.

You can't walk on the yellow brick road without having your red shoes on. The color represents what I've been forgiven of and what I'm washed in but keeps my robe white as snow. See it started in '13 and I would call it a well-knitted finding of marketing and money handling, pass-porting through the port as I ass through the deceit that creates defeat, a price tag on each heartbeat. But I desire to be different for my desiring in life is in contrast to the cattle of life.