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He considered recording it. His suit would be able to make a simple visual file and stream the data out in real time. But no. This was his moment. His and Julia’s. The rest of humanity could guess what it had been like if they cared.
--
Chapter 48 (p. 488)

 

Daniel Abraham

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In general we look for a new law by the following process. First we guess it. Then we compute the consequences of the guess to see what would be implied if this law that we guessed is right. Then we compare the result of the computation to nature, with experiment or experience, compare it directly with observation, to see if it works. If it disagrees with experiment it is wrong. In that simple statement is the key to science. It does not make any difference how beautiful your guess is. It does not make any difference how smart you are, who made the guess, or what his name is – if it disagrees with experiment it is wrong. That is all there is to it.

 

Richard Feynman

 

And the brain has been trained to record because then in that recording there is safety, there is security, there is strength, a vitality, and therefore in that recording the mind creates the image about oneself. Right? And that image will constantly get hurt. So is it possible to live without a single image? Go into it, sir. Don't please go to sleep. Single image about yourself, about your husband, wife, children, friend and so on, about the politicians, about the priests, about the ideals, not a single shadow of an image? We are saying it is possible, must be, otherwise you will always be getting hurt, always living in a pattern. In that there is no freedom. And when you call me an idiot, to be so attentive at that moment. Right? When you give complete attention there is no recording. It is only when there is not attention, inattention, you record. I wonder if you capture this. Is it getting too difficult? Too abstract? That is, you flatter me. I like it. The liking at that moment is inattention. In that moment there is no attention. Therefore recording takes place. But when you flatter me, instead of calling me an idiot, now you have gone to the other extreme, flatter me, to listen to it so completely, without any reaction, then there is no centre which records.

 

Jiddu Krishnamurti

 

I know the moment isn't right
To tell the girl a comical line
To keep the conversation light
I guess I'm just frightened out of my mind.
But if that's how I feel
Then it's the best feeling I've ever known
It's undeniably real
Leave a tender moment alone.

 

Billy Joel

 

What is palpable and distinctive about Rivera-Ortiz’ photographs is their profound humanity. The heart knows. And Rivera-Ortiz’ heart instructs him to recognize in a street corner of a remote village, the universal within the specific. He sculpts out of the landscape a look, a sky, a river, spices on the roadside, mother and child, a man missing an arm. Manuel Rivera-Ortiz makes it possible for us to journey with him and see what is not always readily apparent to the human eye. He goes beyond recording these simple truths. He has the courage to first experience them as his own, and then the will to bring them home to the rest of us—a compelling invitation to open up our own hearts.

 

Manuel Rivera-Ortiz

 

Lindbergh believed all the elements of the earth and heavens are connected, through space and time. The configurations of molecules in each moment help create the next. Thus he considered his defining moment just another step in the development of aviation and exploration — a summit built on all those that preceded it and a springboard to all those that would follow. Only by looking back, Lindbergh believed, could mankind move forward. "In some future incarnation from our life stream," he wrote in later years, "we may understand the reason for our existence in forms of earthly life."

 

Charles Lindbergh