There is light in the shadow just as there is shadow in the light and although many disclaim these shadows as everything unpleasant in the world, it cannot be so, it is not so. Just as there is beauty in the light, the shadow hold it's own muted allure and of both shades, there are songs and dances and revelry and sorrow. They are one and the same, different sides of the same coin, a mirror image looking at itself. The only thing that sets them apart, and will continue to divide these two spectrums, is our perception of the 'fact' that one is light and one is shadow.

Humans are most imaginative when they need a means of self-destruction. If the world existed in an overflowing amount of happiness; a utopian state, then the suicide rate would dwarf any extinction level threat. Humans cannot be trusted with their own survival. Their minds have been trained to be blindly and unconsciously subjugated. In a time related to Heaven-on-Earth, the smallest amount of worry, will drive a human into the arms of death. This is how weak and fragile the human mind and will is. It's funny, because the best friend of humanity, is none other than Chaos itself.

The movie Koyaanisqatsi shows non-commented time-lapse footage and focuses our attention on the very rhythm of our civilized modern life and nature. A marijuana high can do something for a user similar to what this time-lapse footage does. The enhancement of episodic memory and the acceleration of associative streams of memories can alter and enhance our recognition of patterns in our lives in various ways. If we are presented with quick associative chains of past experiences, we can see a pattern in a body of information that is usually not at once presented to our “inner eye” as such.

The destruction of sight, wherever the injuries be sustained, follows the same law: all colours are affected in the first place, and lose their saturation. Then the spectrum is simplified, being reduced to four andsoon to two colours; finally a grey monochrome stage is reached, although the pathological colour is never identifiable with any normal one. Thus in central as in peripheral lesions ‘the loss of nervous substance results not only in a deficiency of certain qualities, but in the change to a less differentiated and more primitive structure’.

The dial of the clock wears out unevenly; Most worn Is the area round eight. As it is stared at with abrasive glancesunfailingly twice a day, It is weathered away. On the other side The area at two Is only half as worn, For closed eyes at nightPass without stopping. If there is one who possesses a flat watch evenly worn, It is he who, failing at the start, is running one lap behind. Thus the world is always A lap fast--The world he thinks he sees Has not yet begun. Illusory time, When the hands stand vertically on the dial; Without the bell announcing the raising of the curtain, The play has come to an end.

There are no telegraphs on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message-- describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.

Think outside the box? Indeed. But to add balance to that, one should not in the process forget what the inside of the box looks like as well. Those who are best at thinking outside the box do it not to puff themselves up, but to see how small they really are. As a contented fish in its fish tank appears to have a small, boring existence to us, imagine a larger, more perceptive kingdom (even by scientific taxonomy) to whom our contented existences may appear to be small and boring. This is where true creativity and massive perceptive abilities spawn a sense of intellectual humility; the kind which God adores.

When our poor, faultily sensitive vision can perceive a thing, we say that it is visible. When the nerves of touch can feel it, we say that it is tangible. Yet I tell you there are beings intangible to our physical sense, yet whose presence is felt by the spirit, and invisible to our eyes merely because those organs are not attuned to the light as reflected from their bodies. But light passed through the screen, which we are about to use has a wavelength novel to the scientific world, and by it you shall see with the eyes of the flesh that which has been invisible since life began. Have no fear! ("Unseen - Unfeared")

What if the differences between social strata stem not from genomics or inherent xcellence or even dollars, but merely differences in knowledge? Would this not mean the whole Pyramid is built on shifting sands?" I speculated such a suggestion could be seen as a serious deviancy. Melphi seemed delited. "Try this for deviancy: fabricants are mirrors held up to purebloods' consciences; what purebloods see reflected there sickens them. So they blame you for holding up the mirror." I hid my shock by asking when purebloods might blame themselves. Melphi relplied, "History suggests, not until they are made to.

The world' is man's experience as it appears to, and is moulded by, his ego. It is that less abundant life, which is lived according to the dictates of the insulated self. It is nature denatured by the distorting spectacles of our appetites and revulsions. It is the finite divorced from the Eternal. It is multiplicity in isolation from its non-dual Ground. It is time apprehended as one damned thing after another. It is a system of verbal categories taking the place of the fathomlessly beautiful and mysterious particulars which constitute reality. It is a notion labelled 'God'. It is the Universe equated with the words of our utilitarian vocabulary.

At times I feel as if I had lived all this before and that I have already written these very words, but I know it was not I: it was another woman, who kept her notebooks so that one day I could use them. I write, she wrote, that memory is fragile and the space of a single life is brief, passing so quickly that we never get a chance to see the relationship between events; we cannot gauge the consequences of our acts, and we believe in the fiction of past, present, and future, but it may also be true that everything happens simultaneously. ... That's why my Grandmother Clara wrote in her notebooks, in order to see things in their true dimension and to defy her own poor memory.

It is true that our everyday view of the world is not quite naively realistic, but that is what it would like to be. Common-sense is naively realistic wherever it does not think that there is some positive reason why it should cease to be so. And this is so in the vast majority of its perceptions. When we see a tree we think that it is really green and really waving about in precisely the same way as it appears to be. We do not think of our object of perception being 'like' the real tree, we think that what we perceive is the tree, and that it is just the same at a given moment whether it be perceived or not, except that what we perceive may be only a part of the real tree.

How thin the air felt at the forest's edge, how ghostly the trees that guarded their realm.... The whole world seemed as delicate as a dandelion seed, and as fleeting.... How sad to know that the figment village of my imagination would not vanish when I ended, to understand that it was not I who had invented the moon the first time I realized how lovely it was. To admit that it was not my breath that made the winds blow.... [M]y heart, my heart knew that when I closed my eyes I invented the night sky and the stars too. Wasn't the whole dome of the sky the same shape as the inside of my skull? Didn't I create the sun and the day when I raised my eyelids every morning?

Habitualization devours objects, clothes, furniture, one's wife, and the fear of war. If all the complex lives of many people go on unconsciously, then such lives are as if they had never been. Art exists to help us recover the sensation of life; it exists to make us feel things, to make the stone stony. The end of art is to give a sensation of the object seen, not as recognized. The technique of art is to make things 'unfamiliar,' to make forms obscure, so as to increase the difficulty and the duration of perception. The act of perception in art is an end in itself and must be prolonged. In art, it is our experience of the process of construction that counts, not the finished product.

[H]e initially conceived of Olivier as a man of the greatest promise destroyed by a fatal flaw, the unreasoning passion for a woman dissolving into violence, desperately weakening everything he tried to do. For how could learning and poetry be defended when it produced such dreadful results and was advanced by such imperfect creatures? At least Julien did not see the desperate fate of the ruined lover as a nineteenth-century novelist or a poet might have done, recasting the tale to create some appealing romantic hero, dashed to pieces against the unyielding society that produced him. Rather, his initial opinion -- held almost to the last -- was of Olivier as a failure, ruined by a terible weakness.