Each of these films seems to revolve around themes of mistaken identity, double roles, or undercover missions, similar to Don’s storyline.
outside the prickling air burned hot
against what we’d left behind
and all that we scraped and cupped
ourselves for while trying to catch
the last vestiges of someone’s history
their life here and back and somewhere
in that hummed and whistled journey
across the plains and valleys and state lines
invisible to hunger and thirst
and the pursuit of want and need
tomorrow the railroad tracks
will shimmer in the heat
of the summer that arrived
as we were heading out of town
because as in those things past
we too have someplace we need to go
what does it matter
that there are no words
to compensate for the longing
and emptiness of the evening’s solitude
brought in by the winds
of our own stormy reluctance
unwilling to settle for anything less
than what we give in our taking
our own words muted by a laughter-less language
rattling bucket-empty like a windmill
spinning against a prairie horizon
that does not distinguish between
yesterday or tomorrow
them or us
his or hers
yours or mine
it was what you didn’t say
that caught my attention
and how you pressed your lips to the wind
your eyes blazing in the moonless night
---------------------------------------------
This poem reflects a poignant journey through landscapes both physical and emotional. It captures themes of departure, nostalgia, and the quiet yet powerful feelings we leave unspoken.
Let’s go through some of the lines to explore its meaning more deeply:
"Outside the prickling air burned hot
against what we’d left behind"
The heat here isn’t just physical; it also symbolizes the intensity of emotions and memories left in the past. The phrase “what we’d left behind” could refer to a place, a person, or an entire way of life that was once familiar but has now become part of history.
"and all that we scraped and cupped
ourselves for while trying to catch"
The words “scraped and cupped” suggest an attempt to hold on to fragments of the past. It’s as if the speaker is trying to capture small pieces of a life or a memory that is slipping away.
"the last vestiges of someone’s history
their life here and back and somewhere"
Here, “someone’s history” may refer to personal memories or collective experiences of others who have come before. The journey “across the plains and valleys and state lines” symbolizes movement through both physical space and memory, suggesting that the past is still present but constantly shifting, intangible.
"invisible to hunger and thirst
and the pursuit of want and need"
This line highlights the paradox of this journey—although they may have physical needs, the real longing is more profound, an emotional or existential hunger that cannot be sated by tangible things.
"tomorrow the railroad tracks
will shimmer in the heat"
The railroad tracks suggest the continuation of a journey, or the idea that life goes on. The “summer that arrived / as we were heading out of town” reflects the passage of time and a sense of inevitability—like the seasons, people must keep moving and changing.
"because as in those things past
we too have someplace we need to go"
These lines speak to the universal human need for movement and purpose. The speaker seems to acknowledge that, despite the attachment to what’s been left behind, they, too, must continue forward.
"what does it matter
that there are no words"
The speaker questions the importance of words when it comes to expressing their deepest feelings. There’s a sense of futility, as if language itself fails to fully convey the weight of what they’re feeling.
"brought in by the winds
of our own stormy reluctance"
This “stormy reluctance” reflects an inner conflict—the desire to stay or return but also the need to move forward. The phrase “our own stormy reluctance” suggests a self-inflicted struggle, a battle between the longing for the past and the need to keep moving.
"unwilling to settle for anything less
than what we give in our taking"
These lines explore the complexity of desire and ambition. The speaker seems to be reflecting on their own standards, unwilling to compromise on their dreams or purpose.
"our own words muted by a laughter-less language
rattling bucket-empty like a windmill"
This “laughter-less language” symbolizes a disconnect, perhaps the inability to find joy in expression or the failure of words to capture the essence of their emotions. The windmill “spinning against a prairie horizon” becomes a metaphor for the endless, silent persistence in a vast, indifferent world.
"that does not distinguish between
yesterday or tomorrow"
This line suggests that, in the grand scheme, time itself blurs—past, present, and future may not matter to the natural world or even to life’s larger narrative.
"it was what you didn’t say
that caught my attention"
Here, the poem captures the power of silence and the unspoken. Sometimes, it is in the absence of words that true feelings are most strongly felt.
"and how you pressed your lips to the wind
your eyes blazing in the moonless night"
In this haunting ending, the image of someone pressing their lips to the wind conveys vulnerability, longing, and defiance all at once. The “blazing eyes” in the dark signify inner fire or determination. This final image leaves us with a sense of resilience—a resolve to face whatever lies ahead, even if it’s shrouded in uncertainty.
The poem portrays a journey of loss, introspection, and resilience. The speaker grapples with the weight of what’s been left behind, acknowledging the need to move forward but also feeling the pull of the past. It’s about accepting life’s transience, the imperfection of language to capture true longing, and the power of silent understanding. Through vivid, metaphor-rich language, the poet expresses how some emotions and experiences defy words, residing instead in silence and shared glances that carry unspoken depth.
In this lively and impassioned talk, Ray Bradbury encourages writers to focus on short stories and practical self-education over traditional, lengthy writing methods or higher education. Bradbury’s talk is both practical and motivational, emphasizing the importance of joy, authenticity, and curiosity in any creative pursuit. His message to writers is clear: trust in the joy of discovery, embrace spontaneity, and recognize the magic of life and connection as the fuel for meaningful storytelling.
This article is based on the YouTube Video :
An Evening with Ray Bradbury 2001
https://youtu.be/_W-r7ABrMYU?si=LibCnzwi2fRB_0PG
Start with Short Stories: Bradbury advises against starting with novels, especially for beginners, as they can consume much time without guaranteed success. Writing short stories weekly allows for practice and refinement, with a goal of 52 stories in a year. He argues it’s nearly impossible to write 52 bad stories and that this practice will lead to some truly great work.
Read Constantly Across Genres: Bradbury recommends reading one short story, one poem, and one essay every night from diverse fields, from science to literature. This broadens perspective, fuels creativity, and helps writers internalize metaphors and themes.
Avoid Negative Influences: He urges writers to let go of friends who doubt or mock their ambitions. Bradbury shares his own experience of working odd jobs while pursuing writing and ignoring sceptics who questioned his path.
Live in Libraries, Not Screens: Bradbury emphasizes the library as an essential source of inspiration and surprise. He criticizes excessive reliance on computers and the internet, instead urging writers to discover books by chance and dive into unexpected topics.
Write with Passion, Using Simple Tools: Bradbury argues that great writing doesn’t require advanced tools—just a pad and a pencil will do. He shares his preference for writing in a fevered, spontaneous manner, suggesting this approach can lead to richer, more inspired work.
Book Recommendations: If stranded, he would take the Bible, Shakespeare, and George Bernard Shaw's collected essays, praising Shaw’s discussions on diverse topics like politics, religion, and women.
Embrace Passion for Films and Writing: He recalls early movie experiences, encouraging people to appreciate all art forms. Writing, he insists, should be joyful and filled with passion, not something burdensome.
Advice on Writer’s Block: Writer's block happens when one loses interest in the topic. He suggests stopping if you’re not enjoying the subject and switching to something that excites you.
Write for Fun, Not Money: Bradbury shares that his writing success was slow, but joy in writing was his main motivation, not financial gain. He only took on projects that genuinely interested him.
Personal Inspiration and Unique Stories: Bradbury’s stories often stem from personal fears, dreams, and memories. For instance, his story "Skeleton" was inspired by his fascination with anatomy, and "The Thing at the Top of the Stairs" from childhood fear.
List of Passions and Fears: He advises making lists of things you love and hate, then writing about them, as this can be cathartic and stimulating.
Recollections of His Hometown: Revisiting his childhood memories in his hometown rekindled vivid recollections, leading to works like Dandelion Wine.
Surprise in Writing: He enjoys writing mysteries because they let him explore unknown paths, meeting new characters and being surprised by the story's outcome.
The Magic of Story Collection: Bradbury’s Martian Chronicles evolved from separate stories written without an overarching plan, reflecting his belief in organic storytelling.
Personal Anecdotes on Struggles and Love: He shares about his financial hardships and deep bond with his wife, who supported him despite their modest lifestyle, showcasing the power of love and perseverance in his writing journey.
Early Struggles: Bradbury recalls selling his first story, which made him realize the pressure of being the family’s breadwinner with a child on the way. He was urged by his friend Norman Corwin to go to New York, where he met editors, but found they weren’t interested in short stories. However, one editor suggested he combine his stories into a novel, resulting in The Martian Chronicles.
Success and Serendipity: While in New York, he managed to sell The Martian Chronicles and received $750. This breakthrough enabled him to begin focusing on his writing career. He was encouraged to transform his scattered ideas and short stories into full novels, a tactic that led to many successful works.
Inspiration from Real Life: Bradbury describes the deep connection between life experiences and writing, often finding inspiration in memories of his family gatherings, a young boy’s energy on a bus, and even a pair of white tennis shoes which led to The Sound of Summer Running.
Surprise in Writing: Bradbury believes in letting the unconscious mind guide the creative process. He emphasizes that writers discover their true selves by writing spontaneously, allowing characters and stories to emerge unexpectedly. His novel Dandelion Wine emerged this way, crafted from stories that reflected a celebration of life.
Fateful Encounters and Collaborations: Bradbury talks about meeting artist Joe Mugnaini, whose paintings mirrored his own ideas. Their collaboration on Something Wicked This Way Comes was a pivotal moment in his career, showcasing the serendipity of creative partnerships.
Power of Love and Human Connection: He shares a touching encounter with a man whose face was disfigured yet exuded joy. This inspired A Graveyard for Lunatics, highlighting Bradbury’s belief in the redemptive power of love and the profound effect of brief, impactful encounters.
Influential Friendships: His lifelong friendship with animator Ray Harryhausen, born out of a shared passion for dinosaurs and fantasy, underscores the importance of shared dreams in shaping one’s creative journey.
Writing for Love, Not Money: Bradbury recalls a pivotal moment when fans approached him with copies of The Martian Chronicles for him to sign. This experience crystallized his understanding of writing as an act of love and connection rather than a pursuit of financial gain.
https://youtu.be/tiqiN3y1ze4?si=l4EcsHAfhhkzwple
REFRACTION - CRITICAL ANGLE
================
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https://youtu.be/NAaHPRsveJk?si=y_c9gVy2px_GXBUz
TOTAL INTERNAL REFLECTION
https://youtu.be/ybvjcjndn_4?si=Hmcgn7ndFHNcHTWa
===================
COLOUR THEORY
https://youtu.be/S9T0V5Mh01g?si=M68YV-1A4ccOxeI9
https://youtu.be/xvfwuImlkrA?si=lcPbiSx_-8aOLdrV
Scalar Quantities
Scalar quantities have only magnitude (size or amount) and no direction.
Here are 10 examples:
1. *Temperature* - Example: 25 degrees Celsius.
2. *Speed* - Example: 60 kilometers per hour (km/h).
3. *Mass* - Example: 50 kilograms (kg).
4. *Time* - Example: 30 seconds.
5. *Volume* - Example: 2 liters (L).
6. *Distance* - Example: 10 meters (m).
7. *Energy* - Example: 100 Joules (J).
8. *Density* - Example: 1.2 grams per cubic centimeter (g/cm³).
9. *Electric charge* - Example: 2 Coulombs (C).
10. *Area* - Example: 20 square meters (m²).
Vector Quantities
Vector quantities have both magnitude and direction. Here are 10 examples:
1. *Velocity* - Example: 50 km/h east.
2. *Force* - Example: 10 Newtons (N) upward.
3. *Displacement* - Example: 5 meters north.
4. *Acceleration* - Example: 2 meters per second squared (m/s²) to the right.
5. *Momentum* - Example: 20 kg·m/s south.
6. *Electric field* - Example: 3 Newtons per Coulomb (N/C) downward.
7. *Magnetic field* - Example: 0.5 Tesla (T) towards the west.
8. *Weight* - Example: 500 Newtons downward (due to gravity).
9. *Torque* - Example: 15 Newton meters (N·m) clockwise.
10. *Lift* - Example: 800 Newtons upward (as in an airplane's lift).
*Scalars*:
- Scalars are like counting objects or measuring something without worrying about which way it's going. For example, if you measure the temperature of the room, you only care about how hot or cold it is, not which direction the heat is coming from.
*Vectors*:
- Vectors are like giving directions with measurements. For example, if you tell someone to walk 10 meters north, you are giving them both a distance and a direction to follow. Both parts (the distance and the direction) are important to understand what you mean.
These examples should help you understand the difference between scalar and vector quantities. Scalars are simpler because they only have a size, while vectors are more detailed because they tell you both size and direction.