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Everything posted by bignosedcopperking

  1. I will share my writings with this forum

    It would be nice to know music because I would love to be able to write the background music for this poem as a song AND one as a rap. Too bad, eh? One thing I would like to mention about it. There is a line that goes, "I love my love". I would like to pay tribute to the source of that line. It is Victor Hugo and he wrote it in Les Miserables. The English translation I read it in has it as "I love my loves". If I recall correctly it is show on a paper, repeated and repeated for the whole paper. It is by Fantine. It is a declaration of her devotion. Normally such a "poem" would not be moving but since one knows what has happened to Fantine, the phrase becomes a tear jerker, a violent declaration of her desperate devotion to Cosette. It is evident how I use it. On one tier of this poem it means: an artist's devotion to his muse; for example, in the case of Ayn Rand, the devotion to the projection of the ideal man. Your Walking Away By Jose Gainza Long legs swiftly marching, distracting me— Fruit-like curves dancing, enticing me— And dainty cheeks speeding past too fast— And a smile that tends to rescue me at last, Able to redeem an earth that seems to be in doom. His spirit that observes me can hit me with a boom, That trembles in me but destroying obstacles: Those fleeting sadness times from doomsday oracles. I smile when I see you. Blood flows because of you. Right I think to impress you. I feel strong to attain you. But I smile when you have flown Leaving me smiling, all alone, Coz I know that I am sown At least that much inside your own. Sweetcheeks hurrying away too now, Lucky hair locks brushing his fair brow, Black leather flapping like a hero cape, For a purpose to be met without escape; Flying through this city with great soul, Bestowing people with his charming roll; Those writing verses all for his pearl smile, Or running all this earth mile by mile. He’s the muse of your great soul, The cause of your fair roll, When men do dance with gods, And battles won against all odds. I love my love … I love my love … I love my love … I love my love … The tracks will speak for me! And the train on which he flies! The floor will feel for me, And tickle his cute feet, Have him smiling coz of me; Perhaps not knowing on the tracks Are the beats enriching me: “I-love— my-love … I-love—my-love … I-love— my-love … I-love—my-love …” Thu-thump—thu-thump— Thu-thump—thu-thump— Thu-thump—thu-thump— Thu-thump—thu-thump: The beating of my heart! The train: a zephyr dart; The tracks: a road to him. The knocks to capture him!
  2. I will share my writings with this forum

    A sort of artistic credo in verse. THE AESTHETICS OF THE APPLE--By Jose Gainza. I worship the detailed vision that I see. I want to reproduce it by some means. I want to make that apple look so real. I want to make you have to take a feel And yet this precious apple isn’t. And yet you’ve never seen one the same kind— And never will. It’s not the apple of the great temptation. It’s not the morning’s apple for your health. Its reds and greens will never be the same. Its grand perfection is my delicious aim. Maybe it’s some apple poison filled. Maybe it’s the apple after sweaty sex— But it is mine. Maybe it’s the only object that you ever stole. It might be the last meal of your greatest love. It might be of the orchard of your dedication. It might stand for the rotting of your education. But what it is it has to be important. And has to find a way among your values. Maybe: a proper theme of life.
  3. I will share my writings with this forum

    I noticed an error. In the last line of the first stanza, the word should be "plane" not "pane". Jose Gainza.
  4. I will share my writings with this forum

    The Senses of Adultery (?) By Jose Gainza We, you and I, each and every one of us, ………….Are a five-tooled set. Don’t count clairvoyance, which is a tool as well ...………..But out of the box. Every utensil inside serves so to open our door. ………….Look inside. Catch all the words from there pitched—go do pen! — ………….On paper to see. Look how your cursive assists the speed of the catch. ………….A query mark? Go past the door to the carpenter’s space. ………….Hear the buzzing? See how a door is created, tools in hand. ………….A long wooden pane … It is flat, on a hinge, so it can oscillate. ……….That’s a door. Be it green, be it steel, be it glass, ………It can be accessed. Intuition can spark the attention of sense— ………Or of mind. But only mind built on sense can confirm. ………Know your doors. Clairvoyant entry intents can transform ………Doors into walls. So please strap on the belt of your tools— ………The handy five! To use doors to your splendour, forever, ………Continually adjust. Have you seen past the doors of the Objectivist sage? ………See how rich? Seen past the doors of the grand physicist? ……... See how real? Seen in the den of the immense number men? …….. See how much? Heard in the hall of the fine music lyres? ………Hear the soar? Touched in the place where are sculptor’s hands? ………Feel how smooth? Seen through the lens of the savvy scientist? ………Know how small? You have seen what your tools can restore. ………Philosophy. They have all entered in with the help of their tools— ………Those that know. They have all found the realm that can make them men— …… .. Those that know. They have seen all the doors that their concepts are. ……... Past the doors Are the classes of things by the sameness they share. ………Watch trap doors That may grant you your wish or just crush you to bits. ……….How absurd! To think that a woodman would build ………His own guillotine! If beforehand he knew of the risk— ………Shame if he does! To think that a thinker would dare ………To misclassify! To think that he furnishes it with things ………That were not sensed, (Or connected at least not too far ………From his handy five.) Or imagine the grand guess that was wrong: ………The world of Forms— The audacity to claim, smug and all, ………That senses defraud … Look at existence exist ………Via the senses. ………Via the senses See zeroes be dismissed. Concepts get promised, kissed, ………Via the senses. Pain enacts with pleasure ………Via the senses. ………Via the senses Men purpose, endure. Witness Man, the ideal measure, ………Via the senses. Growing years observe go by, Inventive action watch it fly ………Via the senses. One day long gone affects one now; One day recalled finds the way how. One willed, years ago, this happy height ………Via the senses. The moral types of men are seen ………Via the senses. ………Via the senses Data to encode appears. Our place is not of fears. Our joy should not demean to shame ………Via the senses. Our Forms enrolled in mind ………Beyond the senses, ………Where stored is sense, Ideals one can there find. The truth, O, is not blind And beyond the senses. Our truths are consciousness. ............Grown from our senses. ………The hunger of senses Seeks good with tenderness. But the mind must harness ………Our adulterous senses. Always gawking at things! Always sniffing around! Always eavesdropping on life! Always caressing this earth! Always with savoury tongue! Always—and always—and always! But they always—always— ………Come back to sense ……….Me!
  5. The West Wing

    Since MASH, I love Alda. One should take into consideration his character-role, his involvment in production, and the MASH atmosphere, to remember Alda's individualistic views. Alan Alda, the man, is not an idiot, and given his role in MASH, is a very deep person (as evinced in his character, Hawkeye). I mean, if he is going to take this role, there has to be some personal sincerity in the ideals. Yes, I saw many parts of the "debate". All the right answers but there are holes. Finally, this show has the potential to propogate an advocacy of Capitalism. How dramatic the show actually is, I cannot say. The Sunday move has alienated me from the story line. But now I have to watch--given my beloved Alda. I hope he (Alda) does not just prove to be a man who begins with an Individualist passion and compromises into a "socialist". Dramatically, he must continue with WestWing interest, unless he appeases the character portrayed by Mr. Sheen. The pleasure that the show can bring to Objectivists must be dependent on Alda's personal ideals, if they do, indeed, match ours. To be such a great actor and not embrace pro-capitalist ideals, personally, will be surprising, and to (a big Hawkeye fan), tragic. All the best to Alda, Jose Gainza. P.S. If Schmitz wins, then Alda's pro-Capitalism is just a ratings ploy ... perhaps, only to be winned in some future season. Oh God!
  6. I will share my writings with this forum

    This one was written eight years ago, and from time to time over the years, I remembered it. Most recently I found it, looking for something else. I believe it will be understood. J.G. The Laughter of Judgment - By Jose Gainza Time ran out; run out as the Pontiff knelt before his private altar, praying to whom he no longer knew. Eighty years ran out for this gray haired soul offering himself up for sacrifice to a paternalistic unknown. This hero of born sinners, unpunished by the virtue of mercy, kept living by the grace of god. Who? What? Where? When? Why? He despised the lust for power, never desiring to be the highest authority of his dear great book. It was not his purpose as a child reading the pages, literally, but being told to look for another meaning; ordered to dismiss the contradictions to reality, used as evidence to prove the book profound. If it didn’t make sense -- as he looked for reason -- his elders advised him that if it didn’t make sense, then it says more than “you” can ever know--that it says more than “you” will ever know. There he knelt with the burden of having to know, and advise those ordered to listen about the steps they mustn’t take, and what doors they mustn’t open. Sermon after sermon, preaching the law enforced by his servants: that their soul doesn’t belong on earth, their bodies controlled by a pulled noose’s tension; the requirement for an unconditional love. Selfless because the soul belongs to God. Yourself belongs in god’s kingdom. Here on earth you have no self, your body is guided by this man dying old, kneeling before a naked man nailed to boards made by other men, blood running down from his sores, a crown of thorns, tears of unearned guilt. That was this Pontiff's sign of virtue, the ultimate sacrifice, giving up the passions of the body, caused by anything but his own soul, unless stolen by an angel exiled below. The clock ticked behind him, caused by a motor inside a complex mechanism, reminding him of the time being spent. He didn’t want to be at the hierarchy’s crest, but chosen with no choice to refuse, he obeyed. Somehow this had to be the course of his determined life: given a sign that he hardly had time left, there he was on the ground praying for his soul; waiting to cash-in on the sacrifice of a virgin mother’s son; a passkey for the door into heaven; a paradise impossible on earth; a pleasure forbidden to the body in existence, guaranteed to the spirit that must temper the corpse’s joy. The Pope lived with a sense of a malevolent universe, the domain of irrationality, only ordered by his dogma, God’s revelation. There he lay kissing the dirt on the floor as the sole interpreter of words that rule. Filth on his lips, forced clean by water from his first sacrament, that washed away the dust of original sin, and the desire to know forbidden tastes. Little John was forced to receive the sacrifice of his human messiah, his body, his blood, as he looked at his father’s smile of pride on his wrinkled face. There was no explicit force to confirm his reception of god’s grace, a holy spirit, god in him. Johnny accepted for that reason, for that privilege, and the influence of community opinion. Never considering free will when god gave him a soul, his soul, his self, a self. The Pope pictured god’s view of his body as it would lay colder than the floor he was then kissing; the body being carried away; the ascension of his invisible soul. Considering the woman he never loved, or the child he never conceived, the thoughts and actions he made taboo, he heard the laughter of an unknown observer.
  7. I will share my writings with this forum

    Yes. So, I wrote the above three poems eight years ago, when I first acknowledged that I wanted to be a writer, and first won the courage. I was looking for an old essay and stumbled across these poems which I almost ... forgot. They represent my promise, my sensitivity ... and how far I have come. Enjoy, Jose Gainza.
  8. I will share my writings with this forum

    THE HOUSE WHERE I BELONG By Jose Gainza I walk by it everyday Even though it’s out of my way. Its attractive forces I couldn’t fight As it was love at first sight. With freedom I collide As I imagine the treasures inside. Just a glimpse would suffice To calm this curiosity that’s my vice. But the view is obstructed by a curtain, The door is locked I am certain. Where is the proprietor Who holds the key to the door? I wish to enter and I must be patient, Pay the rent. Earn my way; If I do, I could stay. Then I could leave when I must, And come back when I lust. For this is the place where I belong! This is the place that will keep me strong! A VOYAGE INTO ANOTHER SOUL By Jose Gainza It is on an ocean so deep that changes colours with the sun and the sky, enveloping life in its depths. Where only the most able at heart can go to see a world Unconscious to most. This ocean is calm in the darkness of night, Its sailors guided by the moon and Polaris; Those in dread of its impulse to attract the storms, that scare the unworthy and keep them at bay. But they default the life in the depths of its waters That I must not fear to explore; For the riches I will encounter Will bring triumph to my struggle. This ocean is my home, its caprice is my labour. I long to explore as deep as I must, as long as I can; With the freedom to worship in a solitary, selfish ritual Inspiring me to face my fears. It is a soul I will judge, The only other I will choose to know. It will be a part of my soul, vital to my life; And our waters will merge with purpose TRULY By Jose Gainza When I grasp that I truly love you, truly, truly, love you. And consider that you truly love me, truly, truly, love me; And then Consider that you simply love me, or that you only care, or that you’re merely aware; Or Consider that you just don’t love me, And Consider that you just don’t care; But To imagine that he who will love me, truly, truly, love me, is the one that will always care; Who Indulges in the pleasure of my presence, In front of his eyes or In his mind: In imagination or a memory; Who must struggle to suppress the thought of me; As I do with you... And then To imagine when that day will come, When the one who will truly love me, Truly, truly, love me, Will awake to find me Listening To his heart beat. Then To believe Or delude, That you truly, truly, love me; And then hope that it wil come true. And then imagine that it might not be you; And to imagine... And you’re just not there (In my mind) ...Anymore. Tears run down my cheeks Truly, Truly
  9. Disagreements about films

    I reviewed the other posts more closely and there is more I want to say, but right now, I 'll agree with Stephen's clarification. One can understand a work on different levels and that doesn't mean that the lower levels are wrong. It's a reflection of the spiral theory of knowledge: as one examines a work (or a science) one will have increasing levels where the knowledge is fuller. And yes, of course, Ayn Rand's 1958 course, edited into The Art Of Fiction, should be the primary source. Jose Gainza.
  10. The Cosby Show (1984)

    As I watch more and more episodes I realize there is so much to say about this show. (Weekdays on TBS at 1300 hours; Weedays on Prime (Canada) at 1400 hours). However, one moment I can't get out of my head is from the male pregnancy episode. The show begins with Cliff dreaming and then we are faced with the monstrosity of Cliff pregnant; it's not a pretty picture and one almost wants to not watch it. One just knows that he's going to mimick female's pregant and that might just be hard to stomach. No, it's actually quite funny. But the funniest thing is when we catch Cliff, along with the othe pregnant men--Theo, Elvin, and Denise's husband (?)--jazzercizing with their big bellies and varying degrees of co-ordination. The ending is just silly but funny. But one thing I want to say before I go about this show is the wonderful characters that have been gradually added to the cast over the years. They all manage to fuse well with the primary cast. My favorites are Charmaine (Pam's friend [Claire's cousin]) whose blunt honesty with her whiney Brooklyn accent and he almost pompous elegance is precious. She actually expresses some obviously moral and agreeable values. And then there is Bud who starts off as LITTLE Rudy's "slave", whose opinion's are his older brother's (who walks around with a bathrobe and give the worst advise on women). His actual name is Kenny but Rudy changed it in the first episode. And then there's Olivia ....
  11. A History of Philosophy

    This series is the best resource I currently own that gives me a good and indepth interpretation of a philosopher when I don't want or don't have time to read him actually. Jose Gainza.
  12. Disagreements about films

    Disagreement over the value of a particular movie, among men who understand a philosophy that adheres to reality, is a result of an insufficient understanding of a proper literary aesthetics. If one looks through Ayn Rand’s early letters, she describes a writing process called (writing in tiers). My understanding of it is that to write a high-class and well-integrated story, will necessarily have inferior tiers of enjoyment and comprehension for the viewer, according to the different classes of intellectuality. An Aesthetician will have a more involved appraisal than the honest Ford plant worker, though they can still share enjoyment in the same object. The magnificence of movies first struck me in an unprecedented way while reading Schiller’s WALLENSTEIN. There is a scene where he is in the room of a palace (he is a General), and he looks out the window, and the dialogue names a battle below. In a movie this battle can be SHOWN. Movies are an outgrowth of the stage. And the removal of the stage and the venue, which a playwright must always consider, if his work is meant to be produced, is the locus of what differentiates a movie from a play. Since the camera is a sort of omnipresent consciousness, its capacity for grandeur is limitless. And given animation today, this statement applies more so. But both genres are still of the same class and most intimate. A novel is the highest class of literary art because it uses words for every aspect of its effect, whereas a movie has the advantage of being highly perceptual, thus the former is the most conceptual medium of literary art. However, a movie is a symbol of the ease, speed, and intensity with which a human can experience this earth through art. A movie, for various reasons, e.g. music, color, and sound, will hit the emotions quicker. I think this is the source of its charm. One viewer of the same movie may appreciate the plot of a movie, while another viewer (with the same philosophy) will appreciate the accidental qualities more; and thus judge good accordingly. The man who prefers a movie merely because of its accidental qualities does not have as good of an aesthetic judgment as a man who judges it for more essential and fundamental elements. Any accidental effects, possible because of the nature of movies, will just be random sources of joy without a plot that ties it together. A movie with a bad plot is a bad movie. A movie with a flawed plot is a flawed movie. Any beautiful music, cinematography, and acting, is wasted on a movie with a badly constructed story. The rules of plot are certainly covered by Ayn Rand in her writing, as well as Aristotle, and others. The movies, because of their magnificence, can save a naturalistic movie, for example. In a movie like this, the situation is more superficial, the conflict is not as intense, because the characters cannot be drawn deep enough. Movies can do wonders for a story. Add to a good plot, a good, positive theme, and you have a better movie. If the message is still vague at the end, usually because of characterization and some plot problem, then this is not as good a movie, though still good. Because a literary work is a fusion, the source of an error in one of the primary elements, will be found in another. A movie without a theme will probably have an unsophisticated plot. At most it can be a good melodrama. A script may be integrated rightly with the plot and theme, and thus as such, exhibit wonderful and proper characterization, as evinced in the dialogue. Literarily and in the history of literature, it can be judged as great. Now bring in other human beings. You need a good and sympathetic director, good actor, a good music man, good camera and computer people. If a movie with a good script turns out bad, it is the fault of the movie production and not the original artist. A viewer cannot judge a movie by how well it adheres to the script of the author. It is the plot, theme, and dialogue where the spirit and virtuosity of the author is found. Regardless, a viewer with the right literary principles will be best able to judge the movie by its plot and theme. Yes, so Debra Hemming was wonderful for those two scenes, her best performance yet … so what? But nothing happened before and nothing happened after. The music was profound but the acting sucked. The cinematography was like a series of canvasses at a museum but I didn’t really know why things happened and why the characters acted so. The camera, the music, the costumes, the location, the scenery, is what makes movies— movies. But one cannot forget that a movie is essentially literary and it is by literary standards that one must judge a movie as art qua art. When the “rules” of story writing have been met, and the director and actors are good, then all these differentiating characteristic of a movie, are what can make the movie the once in a life-time experience that we hope for. A movie is still drama—it is the drama of the twentieth century and the third millennium. Maybe in some other future, the story can be plugged right in to our imagination centers as we see the story in our brains? Those special movie elements are just wasted on a bad story. Here are some loose categories of viewers from most right to most wrong: 1. The romantic, objectivist, aesthetician, who has applied the appropriate principles to movie making. 2. The romantic aesthetician, who has …. 3. The aesthetician, who has… 4. The Objectivist of some industry who shares in category 1. 5. The Objectivist of some industry who shares in category 2. 6. The Objectivist of some industry who shares in category 3. 7. The average man who expects to be moved emotionally in a positive way. 8. The average man who expects to be moved emotionally in a negative way. 9. The collectivist who wants from a movie the right propaganda. A movie about the successes of a mafia family will be utterly horrific without a good plot. Put an Objectivist hero clashing with the idea of a dominant mafia … and winning. Focus on the mafia boss who holds an unprecedented Mafioso philosophy that makes all predecessors obsolete … will he win? Focus on the mafia boss who never wanted to be a criminal but somehow kept on getting himself involved until he rose … and then fell. Focus on the story of one gang just like its rival essentially … and how one wins the war. Focus on the rise of a young thug, who didn’t have it in him to be anything honest and good, until he reaches the status of under boss who rats out the big cheese … an almost anti-climax, showing the essence of the Mafioso. The special movie elements can do a lot for all these stories. But even now one can judge which story has the promise to be a better movie. A man, who has conscious literary principles when he comes to the viewing of a movie, will necessarily have an appropriate aesthetic psycho-epistemology, if they are indeed literary principles. And since there are a variety of literary principles available, a movie will be judged differently according to these literary principles. If these principles are genuine, they will be part of the viewer’s emotional mechanism and psycho-epistemology. But if they are not, then a man will necessarily have a conflict between his conscious appraisal and his emotional reaction. It is possible that Claudius’ reaction in Hamlet, to the play that Hamlet arranged, was not a revelation of his crime, but of his literary taste. How different the story would ensue had that been the case. An besides, the special elements of a movie can be applied to a wedding video. Make it on an estate in Miami. Record the events with purpose and a theme. Record the key figures mainly. Record commentary on people's stories about the lovers and how they got to this event. Then take it and add profound music. Edit the colour. Highlight the most genuine characters; and expose the frauds. It can be a cintematic masterpiece too, perhaps. One difference is that a motion picture is a re-creation of reality. The other thing is the script and the acting. You still have to fundamentally ask: what is re-created? What is the story? Execution: How's the acting? You can still have a moving movie without all the innovative cinematography, music, and special effects. Of course, these comments are not sacrosanct. To jot down a little treatise was an enjoyable activity provided by the posing of this question. Thank-you Stephen. Jose Gainza.
  13. My Life and Work

    Here are some more quotes: 10. “During the first several months I was in the night shift at the electric-light plant—which gave me very little time for experimenting—but after that I was in the day shift and every night and all of every Saturday night I worked on the new motor. I cannot say that it was hard work. No work with interest is ever hard. I always am certain of results. They always come if you work hard enough. But it was a very great thing to have my wife even more confident that I was. She has always been that way.” (P.30) 11. “Nearly all of these various features had been planned in advance. That is the way I have always worked. I draw a plan and work out every detail on the plan before starting to build. For otherwise one will waste a great deal of time in makeshifts as the work goes on and the finished article will not have coherence. It will not be rightly proportioned. Many inventors fail because they do not distinguish between planning and experimenting. The largest building difficulties that I had were in obtaining the proper materials. The next were the tools. There had to be some adjustments and changes in details of the design, but what held me up most was that I had neither the time nor the money to search for the best material of each part. But in the spring of 1893 the machine was running to my partial satisfaction and giving an opportunity further to test out the design and material on the road.” (P.32) 12. “And also I noticed a tendency among many men in business to feel that their lot was hard—they worked against a day when they might retire and live on an income—get out of the strife. Life to them was a battle to be ended as soon a possible. That was another point I could not understand, for as I reasoned, life is not a battle except with our own tendency to stage with the downpull of “getting settled”. If to petrify is success, all one has to do is to humour the lazy side of the mind; but if to grow is success, then one must wake up anew every morning and keep awake all day. I saw great business become but the ghost of a name because someone thought they could be managed just as they were always managed, and though the management may have been most excellent in its day, its excellence consisted in its alertness to its day, and not in slavish following of its yesterdays. Life, as I see it is not a location, but a journey. Even the man who most feels himself “settled” is not settled—he is probably sagging back. Everything is in flux, and was meant to be. Life flows. We may live at the same number of the street, but it is never the same man who lives there.” (P. 42)
  14. My Life and Work

    Some more good quotes from the book: 5. “The principal part of a chisel is the cutting edge. If there is a single principle on which our business rests it is that. It makes no difference how finely made a chisel is or what splendid steel it has in it or how well it is forged—if it has no cutting edge it is not a chisel. It is just a piece of metal. All of which being translated means that it is what a thing does—not what it is supposed to do—that matters. What is the use of putting a tremendous force behind a blunt chisel if a light blow on a sharp chisel will do the work? The chisel is there to cut, not to be hammered … So if we want to work why not concentrate on the work and do it in the quickest possible fashion? …” (P.18) 6. “There is an immense amount to be learned simply by tinkering around with things. It is not possible to learn from books how everything is made—and a real mechanic ought to know how nearly everything is made. Machines are to a mechanic what books are to a writer. He gets idea from them, and if he has any brains he will apply those ideas.” (P.24) 7. “To lift farm drudgery off flesh and blood and lay it on steel and motors has been my most constant ambition.” (P.26) 8. Re: Westinghouse job: “That is why I stayed only a year with that company. There was nothing more that the big steam tractors and engines could teach me and I did not want to waste time on something that would lead nowhere.” (P.27) 9. They were received with interest rather than enthusiasm and I do not recall any one who thought that the internal combustion engine could ever have more than a limited use. All the wise people demonstrated conclusively that the engine could not compete with steam. They never thought that it might carve out a career for itself. That is the way with wise people—they are so wise and practical that they always know to a dot just why something cannot be done; they always know the limitations. That is why I never employ an expert in full bloom. If ever I wanted to kill opposition by unfair means I would endow the opposition with experts. They would have so much good advice that I could be sure they would do little work.” (P.28).
  15. My Life and Work

    Here's a more intimate quote: 4. “When we talk about improvements usually we have in mind some change in a product. An “improved” product is one that has been changed. That is not my idea. I do not believe in starting to make until I have discovered the best possible thing. This, of course, does not mean that a product should never be changed, but I think that it will be found more economical in the end not even to try to produce an article until you have fully satisfied yourself that utility, design, and material are the best. If your researches do not give you that confidence, then keep right on searching until you find confidence. The place to start manufacturing is with the article. The factory, the organization, the selling, and financial plans will shape themselves to the article. You will have a cutting edge on your business chisel and in the end you will save time. Rushing into manufacturing without being certain of the product is the unrecognized cause of many business failures. People seem to think that the big thing is the factory or the store or the financial backing or the management. The big thing is the product, and any hurry in getting into fabrication before designs are completed is just so much waste time. I spent twelve years before I had a model T—which is what is known today as the Ford car—that suited me. We did not attempt to go into real production until we had a real product. That product has not been essentially changed. “We are constantly experimenting with new ideas. If you travel the roads in the neighbourhood of Dearborn you can find all sorts of models of Ford cars. They are experimental cars—they are not new models. I do not believe in letting any good idea get by me, but I will not quickly decide whether an idea is good or bad. If an idea seems good or seems even to have possibilities, I believe in doing whatever is necessary to test out the idea from every angle. But testing out the idea is something very different from making a change in the car. Where most manufacturers find themselves quicker to make a change in the product than in the method of manufacturing—we follow exactly the opposite course.” (P.16)
  16. My Life and Work

    I was happy, and naively surprised, to open up this book and find a successful and wealthy industrialist speaking about the absurdity of a concept such as Egalitarianism; that wealth comes from an honest, serviceable product (the idea of mutual self-interest); the distaste of the "easy life"; an essentializing psycho-epistemology--and this all in only the first 15 pages. So far, in reading Henry Ford in his own words, I have a model by which to say to those cynics in regards to Capitalism, "A man like Henry Ford once existed--a capitalist as he should be, and could be." So here are some quotes. Henry Ford: My Life and Work Excerpts: 1. “ There can be no greater absurdity and no greater disservice to humanity in general than to insist that all men are equal. Most certainly all men are not equal, and any democratic conception which strives to make men equal is only an effort to block progress. Men cannot be of equal service. The men of larger ability are less numerous than the men of smaller ability; it is possible for a mass of the smaller men to pull the larger ones down—but in so doing they pull themselves down. It is the larger men who give the leadership to the community and enable the smaller men to live with less effort.” (P.10) 2. “Money comes naturally as a result of service. And it is absolutely necessary to have money. But we do not want to forget that the end of money is not ease but the opportunity to perform more service. In my mind nothing could be more abhorrent than a life of ease. None of us has any right to ease. There is no place in civilization for the idler. Any scheme looking to abolishing money is only making affairs more complex, for we must have a measure.” (P.13) 3. “ … Start with an article that suits and then study to find some way of eliminating the entirely useless parts. This applies to everything—a shoe, a dress, a house, a piece of machinery, a railroad, a steamship, an airplane. As we cut out useless parts and simplify necessary ones we also cut down the cost of making …” “In transportation why put extra weight in a machine? Why not add it to the load that the machine is designed to carry? Fat men cannot run as fast as thin men but we build most of our vehicles as though dead-weight fat increased speed! A deal of poverty grows out of the carriage of excess weight.” (P.14) [All quotes from this book come from a 1926 edition].
  17. One of the best books I've ever opened is Henry Ford's book "My Life and Work", which I would like to recommend. Jose Gainza.
  18. Aristotle's Poetics

    Though I appreciate the value of Aristotle's Poetics, and I plan a detailed study of my own, I can't committ to the study group here. Simply: a story idea may come during one of those weeks and I would have to focus on that; I like to keep my weeks open for the bursts of creativity; this is my year of literary creativity. Anyways, the only suggestion I can give to study, is to read as much Greek drama before hand, that way, one is in the position of understanding the poetics in a more inductive manner; and one can SEE what he is talking about. His intimate discussions, of so few lines, on various dramas and various scenes, will be that more quickly relevant for one's study. To understand, or translate, what Aristotle is saying in the book, is not really hard. The hard part is to understand how he arrived at such a principle or opinion; and the historical and literary relevance in subsequent European and American literature. Also, the relevant rules for Romanticism that can be found in The Poetics, are in Ayn Rand's works, so for the person who wants help in creative writing via this study, Aristotle is not a priority. (His logic is actually more of a priority than his Poetics in this context). But if someone wants a grand world view of the history of literature, then a study of The Poetics will be quite enjoyable, I predict. Aristotle's adage: about "could be and should be" is important; and this should be contemplated as early as possible in any man's life. Jose Gainza.
  19. The Cosby Show (1984)

    I will say more about this show when I watch some more episodes. I remember watching this show religiously when it was on air, from the early days, and often when it came on syndication. For a while, in the more recent years I felt a blurred shame, for liking the show so much when I was a kid. But now that I've watched some more re-runs, and after already, loving Cosby's later show, COSBY, I love THE COSBY SHOW. The best thing about it is Bill Cosby. I like to watch and try to guess when he is veering off the script and adding his own line, and when Phylisia is genuinely laughing and not acting. The married love that their characters express is amazing. It's so good that one cannot help but wonder whether they are married in real life, even though Phylisia is married to Amad. I wonder, if Bill was married during the running of the show, whether his wife was jealous at seeing their chemistry on the tube. One of the funniest things is the way Cliff and Claire rant aloud, when someone upsets them. One of the best instance of this is when Sandra and Elvin come back from College and declare that they will not be a lawyer and doctor but will open up a wilderness store .... Or once when Vanessa is ashamed of an old painting in their living room because it cost $10, 000 and because her friends believe she is a spoiled rich girl, and Cliff sets the record straight, "Your mother and I are rich--not you, you have NOTHING!" Jose Gainza.
  20. Cosby Show

    I would like The Cosby Show to be rated and discussed, as it is readily available for watching. Jose Gainza.
  21. I will share my writings with this forum

    DARING OUR WRATH--By Jose Gainza (2001) How dare you smash two planes into our tallest twin towers! How dare you try to sink the source of all our powers! How dare you take our strong, our brave, our weak! How dare you say to us, “Freedom you shall not seek”! How dare you forget the wisdom by which we started! How dare you think our golden economy will remain retarded! How dare you use your “god” to stop American ambition! How dare you leave ten blocks beyond all recognition! How dare you leave our thousands buried dead! How dare you think we will betray what we have always said! How dare you slap the face of “life, freedom, and happiness”! How dare you dance proud of your damned wretchedness! How dare you not have learned our pledge to: liberty or death! How dare you make them scream before one last breath! How dare you believe that we will let you survive! How dare you not have known our history we shall revive! How dare you not have feared our knives, our guns, our bombs, our minds! How dare you evade the justice no holy war defines! And so we dare you not to dread our wrath…
  22. Great poems by the masters

    Now I can't say whether Bjornsterjerne Bjornson is a poetic master, for I don't read any Swedish. However, the poem that follows is quite charming, and is to be found in a charming little novel called, *The Fisher Maid*. There are several poems that follow after this one that are integrated into the story, so from that I can gather that Bjornson is a poet. (I began to read this book on the explorer's premise and must say that I recommend to read all of Hugo before reading this foreign romance, though it is not bad at all.) Thanks, friend, for the warning words you say, Yet across yon sea will I seek my way, Though the winds may howl and the breakers roar, Though I never again should come back to the shore; For this is the chief of pleasures to me, To drive my keel through the unknown sea; To feel the waves dash over my prow, As I try how fast and how far I can go. (Spoken by Petra in *Smoke, Fire, and Snow*)
  23. Wanna Dance?

    What would be preferable--for a straight man, who has not found a woman he cares enough to dance with, to dance with another straight man, who's a friend, and for whom he has affection, or to dance with a stranger-woman? Is it moral and can both parties, of the same sex, find moral uplift and passionate personal value, in dancing together? Since passion has been brought up in connection with complex, sensual dance styles, it is a relevant question to ask, whether two individuals of the same sex and heterosexual, can dance together and deservedly enjoy it. It is interesting that the Argenine Tango, in its early days, was commonly danced by two men. I assume there were political circumstances, along with the machismo of olden days (that is still remnant in Latin American countries, as I have observed). Surely, a straight man would prefer to dance with a beautiful, athletic woman. But are there advantages to dancing with a man--perhaps the strength, the freedom to be supported for a turn, or a dip. And how about two women--or can one support a theory that only males can "cross the line"? The Argentine Tango: The footwork involved, and the focus on one's physical efficacy (of working those feet and legs), could surely be enjoyable with a good male friend, if one were a male, regardless of sexuality. In case you are not familiar with what I am talking about, the Argentine Tango, is not as one sees on ballroom contests. The latter Tango appears very appealing. But there is something, to me, more extraordinary in the Former form of Tango. To see an example in movies, watch Robert Duvall's "Assasination Tango" (about a professional assasin, who is hired to murder an Argentine General, and is seduced by the particular Argentine Tango, while he waits for his prey. When I fall in love, this form of Tango, is on the top of my list. Imagine dancing with a small soccer ball between both pairs of legs of you and your partner. I can dance cumbia, salsa, merengue, reggae, hip-hop, techno, along with an improvised Jazz (where I can safely say that I dance it better than Bill Cosby has exhibited on the Cosby Show--see the "Blues in Tunisia" episode--though, I would like to learn to incorporate some of his moves in my own routines; and Phylisia Rashad has a cool signature move on the show). Sincerely, Jose Gainza.
  24. Patrick Henry

    I asked John Ridpath this very question; he recommended three. I remember one called "Son of Thunder". At that time I managed to find one on line, which I think he recommended: something like, Patrick Henry: A life; or The Life of Patrick Henry. I was interested in the character of him, Jefferson, and Washington.
  25. 24 (2001)

    Actually, my first attempt to watch the show was a while back. It was a dark scene, Jack Bauer, has a machine gun, and there is shooting. I couldn't watch past this; it just didn't grab me. But the fourth season that I was fortunate enough to watch on A&E, starts of very interesting, to say the least. Jack Bauer tells the secretary of Defense's daughter that he loves her, while they are riding in a limousine and motorcade to her brother's house. The Secretary hopes to convince his son not to speak at a rally that would embarass him. Jack Bauer realizes that something is to happen at a certain time, the exact time that the secretary is to be at his son's house, and he calls his girl to warn her. Then, a missile blows up a limousine and the two people are kidnappped. As the story progesses, one learns slowly about the magnitude of the terrorist plot. But one thing that kept me watching were the characters. The most noteable was the conflicted terrorist boy, who was in conflict between his family's mission and his love for a girl (that represents his adoption of American values). I realized that it will be hard to watch the show week by week. So I would have to buy the DVD's. The interim between weekly episodes culminating in two months--that I managed to watch in one day--would have been unbearable had I watched the regular programming. The story line and my curiosity was that exciting. Jose Gainza.