Inspirational quotes with pulses.
For axioms in philosophy are not axioms until they are proved upon our pulses.
I jump for joy every day. My body pulses with joy, and my vibration soars. I feel amazing.
My heart pulses with love. I am open to its healing and joyful effects.
Let me feel how thy pulses beat.
Whenever Richard Cory went down town,We people on the pavement looked at him:He was a gentleman from sole to crown,Clean favored, imperially slim.And he was always quietly arrayed,And he was always human when he talked;But still he fluttered pulses when he said,'Good-morning,' and he glittered when he walked.And he was rich--yes, richer than a king--And admirably schooled in every grace:In fine, we thought that he was everythingTo make us wish that we were in his place.So on we worked, and waited for the light,And went without the meat, and cursed the bread;And Richard Cory, one calm summer night,Went home and put a bullet through his head.
O may I join the choir invisibleOf those immortal dead who live againIn minds made better by their presence; liveIn pulses stirred to generosity,In deeds of daring rectitude...
The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.''Oh my God... said Jonathan, his mouth stalling the open position.'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")
Thanks to this availability of suitable wild mammals and plants, early peoples of the Fertile Crescent could quickly assemble a potent and balanced biological package for intensive food production. That package comprised three cereals, as the main carbohydrate sources; four pulses, with 20—25 percent protein, and four domestic animals, as the main protein sources, supplemented by the generous protein content of wheat; and flax as a source of fiber and oil (termed linseed oil: flax seeds are about 40 percent oil). Eventually, thousands of years after the beginnings of animal domestication and food production, the animals also began to be used for milk, wool, plowing, and transport. Thus, the crops and animals of the Fertile Crescent's first farmers came to meet humanity's basic economic needs: carbohydrate, protein, fat, clothing, traction, and transport.
In the darkest and strangest of places with the most macabre of company, this music moves her and her life pulses hard... And even for Julie's safety, I can't bring myself to smother it.
Your heart has a powerful little antenna and its pulses and vibrations can be felt throughout the universe.
The last few strokes filled me with searing heat, electric pulses surging through my body and my soul, as our orgasms burst forth together, a million nerve endings suddenly flashing like twin rockets exploding fireworks, the multitude of sparks joining with a billion stars in the heavens above.
The last few strokes filled me with searing heat, and electric pulses traveled through my body and my soul, as our orgasms burst forth together, a million nerve endings suddenly flashing like twin rockets exploding fireworks, the multitude of sparks joining with a billion stars in the heavens above.
A bay is a noun only if water is dead. When bay is a noun, it is defined by humans, trapped between its shores and contained by the word. But the verb wiikwegamaa—to be a bay—releases the water from bondage and lets it live. “To be a bay” holds the wonder that, for this moment, the living water has decided to shelter itself between these shores, conversing with cedar roots and a flock of baby mergansers. Because it could do otherwise—become a stream or an ocean or a waterfall, and there are verbs for that, too. To be a hill, to be a sandy beach, to be a Saturday, all are possible verbs in a world where everything is alive. Water, land, and even a day, the language a mirror for seeing the animacy of the world, the life that pulses through all things, through pines and nuthatches and mushrooms. This is the language I hear in the woods; this is the language that lets us speak of what wells up all around us.[…]This is the grammar of animacy.
And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice, or piggyback races on the weedy lawn, and it's your voice you hear, essentially, under the glimmerglass sky, and you look at the things in the room, offscreen, unwebbed, the tissued grain of the deskwood alive in light, the thick lived tenor of things, the argument of things to be seen and eaten, the apple core going sepia in the lunch tray, and the dense measures of experience in a random glance, the monk's candle reflected in the slope of the phone, hours marked in Roman numerals, and the glaze of the wax, and the curl of the braided wick, and the chipped rim of the mug that holds your yellow pencils, skewed all crazy, and the plied lives of the simplest surface, the slabbed butter melting on the crumbled bun, and the yellow of the yellow of the pencils, and you try to imagine the word on the screen becoming a thing in the world, taking all its meanings, its sense of serenities and contentments out into the streets somehow, its whisper of reconciliation, a word extending itself ever outward, the tone of agreement or treaty, the tone of repose, the sense of mollifying silence, the tone of hail and farewell, a word that carries the sunlit ardor of an object deep in drenching noon, the argument of binding touch, but it's only a sequence of pulses on a dullish screen and all it can do is make you pensive--a word that spreads a longing through the raw sprawl of the city and out across the dreaming bournes and orchards to the solitary hills.Peace.
Immortal existence..Sometimes Living is not such an easy task..Being here or there..The spirit is the same.. Only changes the place where shows..Here, the make-up is of meat.. There is infinite LIGHT..In the flesh, or out of it , what does order is what thinks and what creates..Each thought, a vibration..Each action, a reaction..That doesn't change with the death of the body.. Because actually nobody dies..We are immortal divine existences.. Believing or not..So many lives.. So many experiences..So many faces.. So many dreams..To each life new opportunities.. New learnings..The soul Request.. Thirsty to experiment, feels, develop, evolve, grow and so it goes..The spirit Obeys.. Enters and exit the perishable bodies..Gets right and misses.. rehearses, Conquers and proceeds..The spirit is a gift of the architect of the universe for the benefit of all..It's light.. it's love.. it's eternal..In the Astral or in the Earth.. There is to educate the thought and to clean the energies around yourself..Gives some work to do that spiritual maintenance, but it is worthwhile.It is Light that cleans the Light!So never forget you are imperishable consciousness..May a light circle involves and illuminate each soul..Much light and love in each heart that pulses in the heart of the whole..Namaste,Dave
Sadness pulses out of us as we walk. I almost expect the trees to lower their branches when we pass, the stars to hand down some light. I breathe in the horsy scent of eucalyptus, the thick sugary pine, aware of each breath I take, how each one keeps me in the world a few seconds longer. I taste the sweetness of the summer air on my tongue and want to just gulp and gulp and gulp it into my body--this living, breathing, heart-beating body of mine.
I am touched by her life, how it moves forward, pulses and springs. There is no fragmentation, nothing stunted or wedged. I circle back, I regress, the past doesn't let go. It might as well be a malfunction, a scene repeating itself, a scratched vinl record, a stutter.
The past is a presence between us. In all my mother does and says, the past continually discloses itself in the smallest ways. She sees it directly; I see its shadow. Still, it pulses in my fingertips, feeds on my consciousness. It is a backdrop for each act, each drama of our lives. I have absorbed a sense of what she has suffered, what she has lost, even what her mother endured and handed down. It is my emotional gene map.
See life and feel its pulses with the eyes of a compassionate mother.
At this moment, in this place, the shifting action potential in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper.At another time, in another place, light strikes the marks, reflects into a pair of high-precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up the optic nerves, cross the chiasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts.The entire system seems fragile, preposterous, science fictional.
But I look into her eyes and she looks into my eyes and we recognize it—the excitement of being here, the excitement of being now. And maybe I’m realizing what a part of it she is and maybe she’s realizing what a part of it I am, because suddenly we’re not crashing as much as we’re combining. The chords swirling around us are becoming a tornado, and we are at the center of each other. My wrist touches hers right at the point of our pulses, and I swear I can feel it. That thrum. We are moving to the music and at the same time we are a stillness. I am not losing myself in the barrage. I am finding her. And she is—yes, she is finding me. The crowd is pressing in on us and the bassline is revealing everything and we are two people who are part of a lot more people, and at the same time we’re our own part. There isn’t loneliness, only this intense twoliness.
He was following the Earth through its days, drifting with the rhythms of its myriad pulses, seeping through the webs of its life, swelling with its tides, turning with its weight.
His brow is seamed with line and scar;His cheek is red and dark as wine;The fires as of a Northern starBeneath his cap of sable shine.His right hand, bared of leathern glove,Hangs open like an iron gin,You stoop to see his pulses move,To hear the blood sweep out and in.He looks some king, so solitaryIn earnest thought he seems to stand,As if across a lonely seaHe gazed impatient of the land.Out of the noisy centuriesThe foolish and the fearful fade;Yet burn unquenched these warrior eyes,Time hath not dimmed, nor death dismayed.
That—this—is Orion’s secret. It’s not that the ship isn’t working, that we’re never going to make it.It’s that the ship has already arrived.We’re already here! There—there—is the planet that will be our home!It floats, so bright that it hurts my eyes. Giant green landmasses spread out across blue water, with swirls and wisps of clouds twirling over top. At the edge of the planet, where it turns away from the suns and starts to darken, I can see bright flashes of light—bursts of whiteness in the darkness—and I think: Is that lightning? In the center, where the light of the suns makes the planet seem to glow from within, I can see, very distinctly, a continent. A continent. On one edge, it’s cracked and broken like an egg, dark lines snaking deep into the landmass. Rivers. Lots of them. Maybe something too big to be rivers if I can see it from here. Fingers of land stretch out into the sea, and dots of islands are just out of their grasp. That area will be cool all the time, I think. Boats can go along the rivers, up and down. We can swim in the water.Because already, I can see myself living there. Being there.On a planet that looks up at a million suns every night, and at two every day.I want to scream, shout with joy. But the air is so thin now.Too thin.I’ve spent too long looking at Orion’s secret.The boop . . . boop . . . boop . . . fades away. There’s nothing to warn about now.Because there’s no air left.My sight is rimmed with black. My head pulses with my heartbeat, which sounds as loud to me as the alarm once did. I turn from the planet—my planet—and start pulling, hand over hand, against the tether, toward the hatch. The ship bobs in and out of my vision as my whole body jerks. I’m panicked now and fighting to stay awake. I try to suck in air, but there’s nothing there to suck. I’m drowning in nothing.
My pulses quicken. The thunderous sound of my heart beating fills my eardrums. I’m jealous of a dead girl. Why? Because I think I’m in love with her boyfriend.
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