They WERE walking alongside the road, they WERE hit by a car, and now they ARE dead. It doesn't work. Are is present tense. Dead is - well, dead is past, isn't it? Present tense modifying past; being modifying non-being. Language, in this instance" - and here Miriam makes a garbled noise in her throat- "fails.
When we finally had a cast and could see what they could do, here was an opportunity to go back and modify things. We didn't actually do that much modifying, but we did enough to make it feel as if they fit in their own skin, and we got a lot of good input from them. They're a terrific cast. They worked really hard.
It seems to me that the evidence ... is opposed to the view that the spirals are individual galaxies comparable with our own. In fact, there appears as yet no reason for modifying the tentative hypothesis that the spirals are not composed of typical stars at all, but are truly nebulous objects.
The most controversial issues of the twenty-first century will pertain to the ends and means of modifying human behavior and who shall determine them. The first educational question will not be 'what knowledge is of the most worth?' but 'what kinds of human beings do we wish to produce?' The possibilities virtually defy our imagination.
I know this is going to sound cheesy and like I'm trying to be Miss America, but the most important responsibility a celebrity has is to set an example and be a role model. I want to make sure that no matter how long I go through this, I don't fall into the trap of changing and modifying how I do things that aren't a positive example. I want to remain somebody that the entire family can listen to or watch.
Today we can say that at last the director writes the film. The image--its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism--has at its disposal more means of manipulating reality and of modifying it from within. The film-maker is no longer the competitor of the painter and the playwright, he is, at last the equal of the novelist
Education may well be, as of right, the instrument whereby every individual, in a society like our own, can gain access to any kind of discourse. But we well know that in its distribution, in what it permits and in what it prevents, it follows the well-trodden battle-lines of social conflict. Every educational system is a political means of maintaining or of modifying the appropriation of discourse, with the knowledge and the powers it carries with it.
I've been a bit of an electronics enthusiast and maker for a long time. I actually started the forum called ModRetro. It's an electronics enthusiast community that focuses on modifying vintage game consoles, and it's actually one of the larger game console modification forums on the Internet.
Every experience in life, everything with which we have come in contact in life, is a chisel which has been cutting away at our life statue, molding, modifying, shaping it. We are part of all we have met. Everything we have seen, heard, felt or thought has had its hand in molding us, shaping us.
Orison Swett Marden
If one had to worry about one's actions in respect of other people's ideas, one might as well be buried alive in an antheap or married to an ambitious violinist. Whether that man is the prime minister, modifying his opinions to catch votes, or a bourgeois in terror lest some harmless act should be misunderstood and outrage some petty convention, that man is an inferior man and I do not want to have anything to do with him any more than I want to eat canned salmon.
Men have their virtues and their vices, their heroisms and their perversities; men are neither wholly good nor wholly bad, but possess and practice all that there is of good and bad here below. Such is the general rule. Temperament, education, the accidents of life, are modifying factors. Outside of this, everything is ordered arrangement, everything is chance. Such has been my rule of expectation and it has usually brought me success.
Physiologically, man in the normal use of technology (or his variously extended body) is perpetually modified by it and in turn finds ever new ways of modifying his technology. Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms. The machine world reciprocates man's love by expediting his wishes and desires, namely, in providing him with wealth.
Verily has man freewill to control his actions. That my Father-Mother has given to man as his inheritance. But the control of the ractions to those actions man has never had. This my Father-Mother holds inviolate. These cannot become man's except through modifying his actions until the reactions are their exact equal and opposite in equilibrium.
Imagine a society that subjects people to conditions that make them terribly unhappy then gives them the drugs to take away their unhappiness. Science fiction It is already happening to some extent in our own society. Instead of removing the conditions that make people depressed modern society gives them antidepressant drugs. In effect antidepressants are a means of modifying an individual's internal state in such a way as to enable him to tolerate social conditions that he would otherwise find intolerable.
Theodore J. Kaczynski
I understand the mechanism of my own thinking. I know precisely how I know, and my understanding is recursive. I understand the infinite regress of this self-knowing, not by proceeding step by step endlessly, but by apprehending the limit. The nature of recursive cognition is clear to me. A new meaning of the term "self-aware." Fiat logos. I know my mind in terms of a language more expressive than any I'd previously imagined. Like God creating order from chaos with an utterance, I make myself anew with this language. It is meta-self-descriptive and self-editing; not only can it describe thought, it can describe and modify its own operations as well, at all levels. What Ge¶del would have given to see this language, where modifying a statement causes the entire grammar to be adjusted. With this language, I can see how my mind is operating. I don't pretend to see my own neurons firing; such claims belong to John Lilly and his LSD experiments of the sixties. What I can do is perceive the gestalts; I see the mental structures forming, interacting. I see myself thinking, and I see the equations that describe my thinking, and I see myself comprehending the equations, and I see how the equations describe their being comprehended. I know how they make up my thoughts. These thoughts.
What Kant took to be the necessary schemata of reality, ' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go-or, to put it the other way, how far one may cultivate fictional patterns or paradigms-is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'-'what is past and passing and to come'-and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End, ' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.