Having vision problems? Do you see black or gray specks, strings or cobwebs that drift about when you move your eyes? It could be eye floaters. As we age, this firm clump of jelly can liquefy and break up into smaller pieces. Those smaller pieces are what you may notice as floaters," says Dr. Eye floaters are more common as you get older and if you're nearsighted. The biggest concern — they can cause retinal tears. And that can cause blindness, which is why it's especially important to have a dilated eye exam within days of noticing new floaters or changes in vision.
Most eye floaters don't require treatment, but your eye doctor likely will recommend regular eye exams to ensure the condition doesn't worsen. Retinal detachment describes an emergency situation in which a thin layer of tissue the retina at the back of the eye pulls away from the layer of blood vessels that provides it with oxygen and nutrients.
Retinal detachment is often accompanied by flashes and floaters in your vision. Eye floaters may be caused by the normal aging process or as a result from other diseases or conditions:. Mayo Clinic does not endorse companies or products.
Carl Jung and the Shadow: The Ultimate Guide to Your Darkness | HighExistence
Advertising revenue supports our not-for-profit mission. I was just listening to music : what an incredible test for popular music studies! The twilight zone, maybe. However, I can report on the outcome, because at some point I felt I was now able to sleep, so I decided to stop the player, take off my headphones, halt the computer, and doing so I woke up, recalled the whole experience, was impressed by some of its aspects, and decided I would think again about it the next morning.
Last night I had a very intense psycho-emotional experience. And then, I believe that there are at least a dozen of pieces that anticipate what happened years later in English and US popular music.
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Franco Fabbri, personal communication, 19 July The name of the band, the Shadows, did not mean much to me, though I had a very vague idea of who they were: a British or was it American? I had downloaded them through a peer-to-peer file-sharing network back in , probably out of curiosity after having seen the Shadows mentioned in an academic paper. I recount these details here because, in all likelihood, this is where my fuzzy notion of their style came from.
Also, it is probably worth mentioning that I don't usually play music loud. I must say that I enjoyed the experience: I was able to appreciate the quality of the sound, which seemed so carefully constructed, and the beauty of the melodies.
Moving Pieces: Book I: Shadows
It was as if they were describing to my ears an aesthetically pleasing landscape, though one that I could not really inhabit. Paying close attention, I recognized in it a hallucinatory quality, which for some reason I associated with masculine escapist dreams. But in spite of my efforts, I found it difficult to understand why this music had had such a strong effect on Franco Fabbri. Not having had the chance to attend any of their concerts, the only visual hints I had were the EP covers featured on the Music Ages CD, showing four white young men apparently nice and clean, dressed in formal or casual attire, clearly eager to please.
What was so overwhelmingly moving about them? Clearly, I was missing the point, so I questioned Franco about the way the Shadows were listened to in the sixties, and about how he had become acquainted with them. Apache was a hit in Italy as well. I was also a fan of Western and war movies, especially those where a small gang or platoon defeated enemies, like in The Magnificent Seven or in some episodes of The Longest Day Then I started longing for an electric guitar, which I got as a present in the summer of And I lived in a very masculine world indeed for this and other details of my early commitment to music see Fabbri There was no market for pop stereo records in Italy before So, during my teenage addiction to the Shadows I simply listened to their mono records loud , either on my home stereo record player, or — during summer holidays — on a Philips affordable small record player.
And I found myself wanting an Echoplex.
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Listening to the Shadows with digital quality, through headphones, was almost a fresh impression, and precisely one that seemed to guarantee a more direct contact to the music. But what about the music then? The main melody the chorus , played as all of them by Hank B. It spans over eight bars, plus a two-bar repetition, and is performed twice just after the opening chords, once towards the middle of the song, and twice again just after the final chords.
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In this most simple way, the melody succeeds in claiming principal status without actually developing. Instead, the song resorts to contrast with two other melodies bridges I and II , which respectively occupy a lower and a higher register than the main theme, and which are also very different in character: epic, Western-like the first one; lyric, dreamlike the second one.
As Franco Fabbri has explained, the Shadows were and still are a model of virtuosity for guitar players. But obviously they were virtuoso guitar players in a different sense from, for instance, Jimi Hendrix — they were less showy and flashy. Their understated skillfulness corresponds to their dispassionate attitude on stage; or rather, their controlled sound e.
Of course, after Hendrix, Clapton, etc. The latter was particularly frustrating, also because my cheap guitar had a far too big action the distance between each string and the fretboard , and very thick strings. I realized how different fingerings, though melodically equivalent, produced very different sounds, some of which were good for my Shadows aesthetics, and some unacceptable. Getting the right sound or fingering, using the proper amplifier or reverb or echo effect was a matter of trial and error or of word of mouth with other guitarists.
And I remember feeling them, and many others, during my listening experience that night. Barthes made a distinction between music as performed musica practica and music as listened to, and argued that listening is strongly influenced by the ability of the listener to play an instrument or by the lack of it.
I bet that the roots of harmonic thinking of many music scholars are in their fingers. The most important aspects are the open E 1 st string sounding together with the hammered-on C sharp on the 2 nd string, and the final passage on a C natural a blue note in A major , that is fingered separately by Marvin but apparently not picked , in a fashion which is different from the approach a blues guitarist would use bending the 3 rd string. He unconsciously says her name, surprising himself.
She seems happy to know he remembers her, and even more delighted that she gets to kill him in this timeline, since she missed her chance previously. She asks Yoshiki to take out his paper dolls scrap, but he yells at her, triggering Yoshikazu to smash his right ankle.
Sachiko tells Yoshikazu to continue smashing his legs, slowly moving up his body.
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Yoshiki tries his hardest to stop himself from showing her his pain or fear. This warrants Sachiko to tell Yoshikazu to bring in Ayumi Shinozaki , who is in severe pain and asking for death. Yoshiki snaps, screaming uncontrollably and beginning to tear up. Sachiko is beyond pleased to see this, and tells him that she doesn't plan on killing him. Though, if he wishes to die, she will gladly oblige. Mayu and Yoshiki try stacking some desks to reach the bucket dangling over the tied up girl in the locker room.
They discover that they are all stuck to the floor, so Mayu suggests that she could get on Yoshiki's shoulders to get some extra height. Mayu is able to retrieve the bucket, but a combination of it being too heavy and someone coating the handle with something extremely slippery makes her drop it.
The bucket falls, emptying a jumble of nails, razors, scissors, and tacks directly onto the girl's face. Yoshiki climbs down the rope, ending up in an extremely dark room. As his eyes adjust to the darkness, he notices that there are several corpses sprawled out throughout the room. This person displays the following characteristics: superficial, cunning, inconsistent, sly, crafty. Root cause: buried grief, fear, and shame numbness is a defense.
This person displays the following characteristics: emotionally detached, distant, indifferent, uncaring, unexcited. Root cause: repressed sexual energy, possible unresolved childhood wounds. This person displays the following characteristics: sadistic, lustful, depraved, corrupt. Root cause: refusal to grow up, lack of individuated ego. This person displays the following characteristics: puerile, petty, immature, illogical, simpleminded, vacuous. How many of these inner Monsters can you relate to?
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Keep in mind that this list only explores the dark side of the shadow, not the light side where the positive repressed qualities of our nature are buried. If we face up to our dark side, our life can be energized. If not, there is the devil to pay. Many religions symbolize these experiences well. When I write about embracing or integrating your shadow self, I do not mean to indulge in any desire that arises within you. Indulging your anger, for instance, will simply result in more anger. Accepting your darkness will allow you to take responsibility for yourself, and once you truly acknowledge one of these dark traits instead of avoiding them, suddenly, they will stop having control over you.
By being honest with ourselves and accepting our shadow elements, it frees us up to truly witness the uncharted areas of our minds, allowing us to see that we are not these elements, but simply possess thoughts, feelings, and drives that come and go.
To completely experience self-love we must learn to honestly face our Shadow Selves, and voyage into the dark, murky waters of the unknown courageously. It is not an indulgence of the darker parts of our natures, but an acceptance and direct experience of them in the light of mindful awareness and deep honesty. This is the entire opposite of many self-denying traditional spiritual methods of subduing, denying, or ascetically disciplining the self. To live differently as is the aim and motivation of this website , is to be authentic.
And in order to be authentic, we have to face and embrace all parts of our inner selves — that which is culturally uncommon or bizarre. Exploring your darkness is not necessarily all doom and gloom. There are several different ways to get to know and explore your Shadow. I explore some simple shadow work practices below:.
Art is the highest form of self-expression and also a great way to allow your Shadow to manifest itself. Simply get a blank piece of paper, find a quiet place, and turn your attention inwards. Even the strangest mental images or scenarios can hold a seed of wisdom, helping to reveal hidden feelings, thoughts, or memories.