here it comes, in plain view, the onslaught sent by Zeus for my own terror. Oh holy Mother Earth, oh sky whose light revolves for all, you see me. You see the wrongs I suffer. here it comes, in plain view, the onslaught sent by Zeus for my own terror. Oh holy Mother Earth, oh sky whose light revolves fo

Notice how words like "Gravity" and "stillness" associated with civility and virtue -- however heaviness, gravity, and stillness has a connotation of death, not life.

Is Iago somehow a villain that brings life? Not a villain, but a hero? An anti-hero?

Make some changes

05:00 Onizuka is an attainable hero model (that speaks more to people)

https://xeiaso.net/blog/site-update-hero-images

Yesterday, I was at a thrift store with my wife, Jayne, and as I usually do, I went straight to the books section. I happened upon a couple books. One was entitled Elephant Reflections and included high praise from Jane Goodall. Another was The Writer’s Journey: Mythic Structure for Writers.

While in the store, I was checking my email and noticed there was something from the Design Science Studio.

Tomorrow’s visiting Visionary, Catherine Connors will be speaking on New Narratives: Storytelling ARTchitecture!

As I was flipping through the book in the checkout line, I noticed the preface to the second edition:

“I’m not trying to copy Nature. I’m trying to find the principles she’s using”

— R. Buckminster Fuller

A book goes out like a wave rolling over the surface of the sea. Ideas radiate from the author’s mind and collide with other minds, triggering new waves that return to the author. These generate further thoughts and emanations, and so it goes. The concepts described in The Writer’s Journey have radiated and are now echoing back interesting challenges and criticisms as well as sympathetic vibrations. This is my report on the waves that have washed back over me from publication of the book, and on the new waves I send back in response.

On the back of the book, the description includes the following introduction.

Christopher Vogler explores the powerful relationship between mythology and storytelling in his clear, concise style that's made i this book required reading for movie executives, screenwriters, playwrights, fiction and non-fiction writers, scholars, and fans of pop culture all over the world.

1. Can you see if we can do a left right layout for these two. Therefore deep automation text on the left hand side and image on the right for instance. And then you scroll down and go to the next one - single source of truth for everyone
2. If we do left to right as suggested, then how many sentences are we looking at approximately. 6-7 lines?

a) We need not have 4 banners. Just one overarching banner of the product. Learn more can be an anchor link to the capabilities listed in section 3. And below each is a product link, so the journey is good. Product is also there in top nav

Created an account. Sadly it seems to be a massive data farm that either wants subscription money or your shared, and possibly copyright infringing data.

Interesting. This acts as evidence for the hypothesis that environments/conditions are powerful forcing functions.

It also acts as evidence against the argument of the "lone genius".

Bhattarai, A. (n.d.). Grocery workers say morale is at an all-time low: ‘They don’t even treat us like humans anymore’. Washington Post. Retrieved 14 August 2020, from https://www.washingtonpost.com/business/2020/08/12/grocery-workers-coronavirus/

      In the play Much Ado About Nothing, the concepts of love and romance are concretized in two different forms, represented by the relationship between Claudio and Hero, and the relationship between Beatrice and Benedick. These two couples express their love in contrasting ways, with Claudio and Hero’s relationship representing the more traditional lust filled romance, and that of Beatrice and Benedick representing a much more unconventional relationship. At first, this unconventional romance seems to lack love but in the end, it endures longer than Claudio and Hero’s does. The issue with the latter relationship is that it seems to be forced by tradition and even though there is much love or. lust at the surface of the relationship, it’s substance proves to be quite shallow. This is why trust quickly becomes a major issue. In Beatrice and Benedick’s lackluster relationship, the key factor is that although there seems to be less love in the romantic sense, there is much more thinking which overpowers the emotional aspect. This is why the shallow issues which usually befall a conventional couple are not a problem for Beatrice and Benedick. In a sense, Shakespeare is using irony to make the statement that conventional love, filled only with emotion is what leads to a faulty relationship. 

Bhishma's action reflect the core of Hinduism, getting rid of our vanities and connecting more with the spiritual world. Bhishma teaches us about the abounding flaws of humanity and the ways we can rise above them. Bhishma shows us that we can live a fulfilling life if we abandon our mundane habits. It also teaches us that love can blind us and that good deed are always rewarded. CC BY-NC-ND .

Because of his many virtues and sacrifices, Bhishma was and continues to be a role model in Indian culture. The story of Bhishma narrated in the epic of Mahabharata , the most influential book in hinduism; reflects an idealized version of the male. He is Kind, cares about others and kept his word until his final breath even after the sons of Satyavati were born which is more amazing.

Bhishma's weakness is his love for his father. He gave up all carnal desires and right to the throne for the lust of Shantanu, which place into perspective this noble action. As a result of his vow he puts at risk the future of his beloved empire, goes against his beliefs and is forced to do things that he knew were wrong. CC BY-NC-ND

Devavrata become Bhishma because of his promise of celibacy. Bhishma was such a good son that he did not only gave up his rightful throne but also the right to have family and carnal pleasure. This in what makes Bhishma a hero. CC BY-NC-ND

Contrary to Hyppolytus and Siyavash, Joseph had a long lasting life and had a family something that the Greek and Persian version did not have. We can argue that the reason why Joseph lived longer was because of his faith in God. A God who always helped him get through the toughest of circumstances. The gods in the Greek version did not help Hippolytus on the contrary it was the reason why he died, while in Siyavash there is no divine powers involved. CC BY-NC-ND .

In here like in the Persian version, Hyppolitus has a tragic end. In this image we see the position in how he died. His ankles are tied and while his horse is running. Is indeed a terrible ending for someone who was not to blame for anything, all thanks to the god Poseidon. Interestingly, the Persian version has not such things as divine beings, there is not even mention of them. This once proves that in order for some things to appeal to other cultures things such as religion, politics and lifestyle need to take part. CC BY-NC-ND

the destiny of the Greek version of the story, Hyppolitus,is to die and his life ends here. A god is involved. Compared to Syawash's story where no divine intervention or supernatural power was involved. "Theseus returns and discovers his wife's dead body. Because the chorus is sworn to secrecy, they cannot tell Theseus why she killed herself. Theseus discovers a letter on Phaedra's body, which falsely asserts that she was raped by Hippolytus. Enraged, Theseus curses his son either to death or at least exile. To execute the curse, Theseus calls upon his father, the god Poseidon, who has promised to grant his son three wishes. Hippolytus enters and protests his innocence but cannot tell the truth because of the binding oath that he swore. Taking his wife's letter as proof, Theseus exiles his son." (https://en.wikipedia.org/wiki/Hippolytus_(play), acess 5/7/19). However, Ferdowsi, in Shahnameh portrayes the Persian hero's fate differently. CC BY-NC-ND

To me the real hero of the story is not Gilgamesh but Inkidu. Gilgamesh full of human vices despite being a demigod. But Inkidu was the reason why Gilgamesh started to live. Gilgamesh would have being nothing without his partner, he would not have suffer in like without Inkidu's death, and would have not turn his life around either. This is why Inkidu is the hero. CC BY-NC-ND

In this older version , the translation is clear and more explicit. While in other versions these actions are cover under a bunch of metaphors and wordiness. So it looks like when we, ourselves, became more civilize the amount of censorship we created for ourselves also grew. Just think about that Inkidu and Gilgamesh were lovers, and this was not something new, other cultures also practice this. But later became taboo with the help of Christianity. It is just now that we are starting to accept that everyone does not have the same sexual preference, everyone should be free of choosing a partner regardless of sex. Uncivilized does not mean close minded. CC BY-NC-ND

The story of Gilgamesh dates back to thousands of years but it was first written between 2150 - 1400 BCE. Gilgamesh is narrating his dream to his mother so that she could later interpreted. He says that something like a meteor fell him. This dream would become his reality when he encounter his complement , Inkidu.However, when we see the translation by Stephen Langdon, the thing become a person. Why is this? CC BY-NC-ND

In the modern version of Gilgamesh the women who civilizes by having intimacy with Inkidu is now a prostitute (harlot) not a priestess. What does this says about our current relation with sexuality? CC BY-NC-ND

In the old Babylonian version what fell from the sky was something not a person. But yet, in this 18th century translation by Langdon says "He". We later know that, that he was Inkidu but Langdon takes all of the excitement and mystery out of it. Maybe is because during that era people were not as imaginative and patient. CC BY-NC-ND

When Rama finds his sons by coincidence he wants to take the boy with him, but not Sita. So he suggest another trial to confirm her purity. The only reason why he seems to "Care" about his songs is because they are boy, I am sure that if they were girls Rama would not have care. But he wants a successor and now he has it. Thought out the story Sita needs to prove herself but no Rama. Sita's Value depends on how valuable Rama think she is. And right now she is garbage to him. Now that he has his songs there is no more use for her. CC BY-NC-ND

Cabe destacar que esta metodología viene de varios años de investigación, tiene mediciones tanto cualitativas como cuantitativas y está validada científicamente.

I feel so inspired by these words. It reminds me of the those posters that say change begins with you, Words that if you woke up to in the morning you wouldn't feel mad that you woke up early and inspire for greatness.

There are so many narratives that could have happened here. The obvious story is that there is this savage attacking a defenseless woman and child until a strong and powerful spaniard came to the rescue. On one hand, this is right and just and must happen to keep the savages at bay. But there are two sides to every story. Here could be a man driven from his home by the spanish. He could have watched his family murdered before his eyes and is out for vengeance. Without first hand account for this, who knows what the guidelines could be.

Nick says that he will go see Ole Andreson, even though the others tell him that he does not have to if he does not want to.

This fits with Hemingways "code hero", because: He is put in a difficult situation where he has to decide which could result in either succes or fail. So here he has a "moment of truth." He is very manly and courageous to go and talk to him even though it is dangerous. He shows "grace under pressure".

Defeated but not destroyed?

Nick might not be so much of a hero. He tries to escape reality by moving, instead of trying to change it.

Ole accepts death, and faces it like a true hero. Destroyed but not defeated?

George shows grace under pressure (since he wishes to warn Ole Andreson asap)

Ole shows grace under pressure when he's about to experience the moment of truth.

Even though Ole knows he's going to die, he is still graceful towards Nick. So Ole might be a bit of a hero himself

Ole experience the moment of truth

What does this tell us about the narrator of the story?