------I Think This Film Is Pretty In A Generic Way. Some Of The Best Dialogue Came Through Without Any

------“I think this film is pretty in a generic way. Some of the best dialogue came through without any words, and that felt really classic to me.”

The talent (Ancient Greek: τάλαντον, talanton, Latin talentum) was a unit of weight used in the ancient world, often used for weighing gold and silver, but also mentioned in connection with other metals, ivory,[1] and frankincense. In Homer's poems, it is always used of gold and is thought to have been quite a small weight of about 8.5 grams (0.30 oz), approximately the same as the later gold stater coin or Persian daric.

In later times in Greece, it represented a much larger weight, approximately 3000 times as much: an Attic talent was approximately 26.0 kilograms (57 lb 5 oz).[2] The word also came to be used as the equivalent of the middle eastern kakkaru or kikkar. A Babylonian talent was 30.2 kg (66 lb 9 oz).[3] Ancient Israel adopted the Babylonian weight talent, but later revised it.[4] The heavy common talent, used in New Testament times, was 58.9 kg (129 lb 14 oz).[4] A Roman talent (divided into 100 librae or pounds) was 1+1⁄3 Attic talents, approximately 32.3 kg (71 lb 3 oz). An Egyptian talent was 80 librae,[2] approximately 27 kg (60 lb).[2]

Translation of the Hippocratic Oath

Translated by Michael North, National Library of Medicine, 2002.

I swear by Apollo the physician, and Asclepius, and Hygieia and Panacea and all the gods and goddesses as my witnesses, that, according to my ability and judgement, I will keep this Oath and this contract: To hold him who taught me this art equally dear to me as my parents, to be a partner in life with him, and to fulfill his needs when required; to look upon his offspring as equals to my own siblings, and to teach them this art, if they shall wish to learn it, without fee or contract; and that by the set rules, lectures, and every other mode of instruction, I will impart a knowledge of the art to my own sons, and those of my teachers, and to students bound by this contract and having sworn this Oath to the law of medicine, but to no others. I will use those dietary regimens which will benefit my patients according to my greatest ability and judgement, and I will do no harm or injustice to them. I will not give a lethal drug to anyone if I am asked, nor will I advise such a plan; and similarly I will not give a woman a pessary to cause an abortion. In purity and according to divine law will I carry out my life and my art. I will not use the knife, even upon those suffering from stones, but I will leave this to those who are trained in this craft. Into whatever homes I go, I will enter them for the benefit of the sick, avoiding any voluntary act of impropriety or corruption, including the seduction of women or men, whether they are free men or slaves. Whatever I see or hear in the lives of my patients, whether in connection with my professional practice or not, which ought not to be spoken of outside, I will keep secret, as considering all such things to be private. So long as I maintain this Oath faithfully and without corruption, may it be granted to me to partake of life fully and the practice of my art, gaining the respect of all men for all time. However, should I transgress this Oath and violate it, may the opposite be my fate.

But how I was astonished, as I looked at a white wall through the prism, that it stayed white! That only where it came upon some darkened area, it showed some colour, then at last, around the window sill all the colours shone... It didn't take long before I knew here was something significant about colour to be brought forth, and I spoke as through an instinct out loud, that the Newtonian teachings were false.

— Goethe[4]

The theory we set up against this begins with colourless light, and avails itself of outward conditions, to produce coloured phenomena; but it concedes worth and dignity to these conditions. It does not arrogate to itself developing colours from the light, but rather seeks to prove by numberless cases that colour is produced by light as well as by what stands against it.

— Goethe[11]

Influence on Latin American flags

During a party in Weimar in the winter of 1785, Goethe had a late-night conversation with the South American revolutionary Francisco de Miranda. In a letter written to Count Semyon Romanovich Vorontsov (1792), Miranda recounted how Goethe, fascinated with his exploits throughout the Americas and Europe, told him, "Your destiny is to create in your land a place where primary colours are not distorted." He proceeded to clarify what he meant:

First he explained to me the way the iris transforms the light into the three primary colours... then he said, "Why yellow is the most warm, noble and closest to the bright light; why Blue is that mix of excitement and serenity, so far that it evokes the shadows; and why Red is the exaltation of Yellow and Blue, the synthesis, the vanishing of the bright light into the shadows".[37]

Goethe discovered that producing images by passing inverse optical contrasts through a prism always results in isomorphic, complementary spectra. Against the background of the representation he had found in Newton’s Opticks, this was an unexpected discovery. Experimental developments by physicist Matthias Rang have demonstrated Goethe's discovery of complementarity as a symmetric property of spectral phenomena.[43]

"Goethe's critique of Newton was not an attack on reason or science, though it has often been portrayed that way.. The critique maintained that Newton had mistaken mathematical imagining as the pure evidence of the senses.. Goethe tried to define the scientific function of imagination: to interrelate phenomena once they have been meticulously produced, described, and organized... Newton had introduced dogma.. into color science by claiming that color could be reduced to a function of rays." (Dennis L. Sepper, 2009)[45]

Goethe started out by accepting Newton's physical theory. He soon abandoned it... finding modification to be more in keeping with his own insights. One beneficial consequence of this was that he developed an awareness of the importance of the physiological aspect of colour perception, and was therefore able to demonstrate that Newton's theory of light and colours is too simplistic; that there is more to colour than variable refrangibility.

Indeed, such love is like a smoky fire In a cold morning; though the fire be cheerful. Yet is the smoke so sour and cumbersome, ’Twere better lose the fire than find the smoke: Such an attendant then as smoke to fire. Is jealousy to love.

All's Well That Ends Well (?)

      Each of the Major arcana reflect a level of awareness that we achieve through life. The numerological values express a progression of spiritual states rather than a sequential process. 

      In order to work with the Planets in your chart, or even begin to understand the universal laws, you have to receive the multitude of your own spiritual potential.

      If you don’t know which cards these descriptions are for, I made a PDF to help you out.