Faith is not a meritorious cause of election, but it is constantly attested as the sole condition of salvation. Faith merely receives the merit of atoning grace, instead of asserting its own merit. God places the life-death option before each person, requiring each to choose. The ekletos are those who by grace freely believe. God does not compel or necessitate their choosing. Even after the initial choice of faith is made, they may grieve and quench the Spirit (1 Thessalonians 5:19).Faith is the condition under which God primordially wills the reception of salvation by all. “He chooses us, not because we believe, but that we may believe; lest we should say that we first chose Him” (Augustine). Faith receives the electing love of God not as if it had already become efficacious without faith, but aware that God’s prescience foreknows faith like all else.In accord with ancient ecumenical consent, predestination was carefully defined in centrist Protestant orthodoxy as:'The eternal, divine decree, by which God, from His immense mercy, determined to give His Son as Mediator, and through universal preaching , to offer Him for reception to all men who from eternity He foresaw would fall into sin; also through the Word and Sacraments to confer faith upon all who would not resist; to justify all believers, and besides to renew those using the means of grace; to preserve faith in them until the end of life, and in a word, to save those believing to the end' (Melanchthon).

If I walk along a shore towards a ship which has run aground, and the funnel or masts merge into the forest bordering on the sand dune, there will be a moment when these details suddenly become part of the ship, and indissolubly fused with it. As I approached, I did not perceive resemblances or proximities which finally came together to form a continuous picture of the upper part of the ship. I merely felt that the look of the object was on the point of altering, that something was imminent in this tension, as a storm is imminent in storm clouds.Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression.

“Not too long ago thousands spent their lives as recluses to find spiritual vision in the solitude of nature. Modern man need not become a hermit to achieve this goal, for it is neither ecstasy nor world-estranged mysticism his era demands, but a balance between quantitative and qualitative reality. Modern man, with his reduced capacity for intuitive perception, is unlikely to benefit from the contemplative life of a hermit in the wilderness. But what he can do is to give undivided attention, at times, to a natural phenomenon, observing it in detail, and recalling all the scientific facts about it he may remember. Gradually, however, he must silence his thoughts and, for moments at least, forget all his personal cares and desires, until nothing remains in his soul but awe for the miracle before him. Such efforts are like journeys beyond the boundaries of narrow self-love and, although the process of intuitive awakening is laborious and slow, its rewards are noticeable from the very first. If pursued through the course of years, something will begin to stir in the human soul, a sense of kinship with the forces of life consciousness which rule the world of plants and animals, and with the powers which determine the laws of matter. While analytical intellect may well be called the most precious fruit of the Modern Age, it must not be allowed to rule supreme in matters of cognition. If science is to bring happiness and real progress to the world, it needs the warmth of man's heart just as much as the cold inquisitiveness of his brain.”

In the face of an obstacle which it is impossible to overcome, stubbornness is stupid. If I persist in beating my fist against a stone wall, my freedom exhausts itself in this useless gesture without succeeding in giving itself a content. It debases itself in a vain contingency. Yet, there is hardly a sadder virtue than resignation. It transforms into phantoms and contingent reveries projects which had at the beginning been set up as will and freedom. A young man has hoped for a happy or useful or glorious life. If the man he has become looks upon these miscarried attempts of his adolescence with disillusioned indifference, there they are, forever frozen in the dead past. When an effort fails, one declares bitterly that he has lost time and wasted his powers. The failure condemns that whole part of ourselves which we had engaged in the effort. It was to escape this dilemma that the Stoics preached indifference. We could indeed assert our freedom against all constraint if we agreed to renounce the particularity of our projects. If a door refuses to open, let us accept not opening it and there we are free. But by doing that, one manages only to save an abstract notion of freedom. It is emptied of all content and all truth. The power of man ceases to be limited because it is annulled. It is the particularity of the project which determines the limitation of the power, but it is also what gives the project its content and permits it to be set up. There are people who are filled with such horror at the idea of a defeat that they keep themselves from ever doing anything. But no one would dream of considering this gloomy passivity as the triumph of freedom

As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in.In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say "primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece.

“May you find serenity and tranquility in a world you may not always understand. May the pain you have known and the conflict you have experienced give you the strength to walk through life facing each new situation with courage and optimism. Always know that there are those whose love and understanding will always be there, even when you feel most alone. May a kind word, a reassuring touch, and a warm smile be yours every day of your life, and may you give these gifts as well as receive them. May the teachings of those you admire become part of you, so that you may call upon them. Remember, those whose lives you have touched and who have touched yours are always a part of you, even if the encounters were less than you would have wished. It is the content of the encounter that is more important than its form. May you not become too concerned with material matters, but instead place immeasurable value on the goodness in your heart. Find time in each day to see beauty and love in the world around you. Realize that what you feel you lack in one regard you may be more than compensated for in another. What you feel you lack in the present may become one of your strengths in the future. May you see your future as one filled with promise and possibility. Learn to view everything as a worthwhile experience. May you find enough inner strength to determine your own worth by yourself, and not be dependent on another's judgment of your accomplishments. May you always feel loved.”

On the other hand, the moral law, although it gives no such prospect, does provide a fact absolutely inexplicable from any data of the world of sense or from the whole compass of the theoretical use of reason, and this fact points to a pure intelligible world―indeed, it defines it positively and enable us to know something of it, namely a law.This law gives to the sensible world, as sensuous nature (as this concerns rational beings), the form of an intelligible world, i.e., the form of supersensuous nature, without interfering with the mechanism of the former. Nature, in the widest sense of the word, is the existence of things under laws. The sensuous nature of rational beings in general is their existence under empirically conditioned laws, and therefore it is, from the point of view of reason, heteronomy. The supersensuous nature of the same beings, on the other hand, is their existence according to laws which are independent of all empirical conditions and which therefore belong to the autonomy of pure reason. And since the laws, according to which the existence of things depends on cognition, are practical, supersensuous nature, so far as we can form a concept of it, is nothing else than nature under the autonomy of the pure practical reason. The law of this autonomy is the moral law, and it, therefore, is the fundamental law of supersensuous nature and of a pure world of the understanding, whose counterpart must exist in the world of sense without interfering with the laws of the latter. The former could be called the archetypal world (*natura archetypa*) which we know only by reason; the latter, on the other hand, could be called the ectypal world (*natura ectypa*), because it contains the possible effect of the idea of the former as the determining ground of the will."―from_Critique of Practical Reason_. Translated, with an Introduction by Lewis White Beck, p. 44.

Bernstein was impressed by Sloan's thoughtfulness. Sloan seemed convinced that the President, whom he very much wanted to see re-elected, had known nothing of what happened before June 17; but he was as sure that Nixon had been ill-served by his surrogates before the bugging and had been put in increasing jeopardy by them ever since. Sloan believed that the prosecutors were honest men, determined to learn the truth, but there were obstacles they had been unable to overcome. He couldn't tell whether the FBI had been merely sloppy or under pressure to follow procedures that would impede an effective investigation. He believed the press was doing its job, but, in the absence of candor from the committee, it had reached unfair conclusions about some people. Sloan himself was a prime example. He was not bitter, just disillusioned. All he wanted now was to clean up his legal obligations - testimony in the trial and in the civil suit - and leave Washington forever. He was looking for a job in industry, a management position, but it was difficult. His name had been in the papers often. He would not work for the White House again even if asked to come back. He wished he were in Bernstein's place, wished he could write. Maybe then he could express what had been going through his mind. Not the cold, hard facts of Watergate necessarily - that wasn't really what was important. But what it was like for young men and women to come to Washington because they believed in something and then to be inside and see how things worked and watch their own ideals disintegrate.

When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art.

The Pirates' most advanced and widely discussed technological innovation is an online system called LiquidFeedback, which allows the party to better understand what its members think about issues of the day. Here is how it works: Any member of the party can register (with the optino of using a pseudonym) with LiquidFeedback and propose that the Pirates should do x. If more than 10 percent of other members find this proposal intriguing, it passes to the next stage, in which party members can vote for or against it.After the proposal has been submitted, and before it has moved to the voting stage, other party members can launch counterproposals on a similar subject or make suggestions about how to improve the original one. What's interesting is that party members can transfer their votes to those they consider more knowledgeable about a given subject; thus, someone recognized as an expert on transportation policy might end up casting ten votes rather than one. To prevent some such experts from accumulating and abusing power, transferred votes can be recalled to their original "ownders." The votes cast in LiquidFeedback are not bniding; they simply inform party officials about the views of the grass roots. Big policy proposals are still discussed and voted upon at the party congress. LiquidFeedback thus aims to provide the intellectual inputs to the Pirates' work; the outputs are still determined by rather conventional means.This all sounds great in theory...but the reality is much grimmer. In one German region, reports Der Spiegel, the Pirates used LiquidFeedback to gather general opinions on only two issues, while only twenty votes were cast in the controversial law on circumcision.