luni, 23 martie 2015

THE GENE WAR ...THE MASSACRE OF THE KILLING TOMATOES 1988 CORNELL UNIVERSITY A NATURAL INEXPENSIVE TREATMENT WICH WILL KEEP RIPE AND TASTY? TOMATOES LONGER IN THE SHELFS FROM THE BIOLOGICAL AND BIOCHEMICAL CLUES OF THE VARIETY ALCOBAÇA ...THAT THE PORTUGUESE TOOK TO BRAZIL 10 TO 14 DAYS OF TOMATOES BEFORE THIS THE NORMAL FRESH TOMATO ARE TROW AWAY AFTER 4 OR 5 DAYS - CONCENTRATION OF 1,4 BUTANEDIAMINE ARE TWICE IN THE ALCOBAÇA VARIETY INFUSING POLYAMINES IN THE RUTGER VARIETY BY VACUUM INFILTRATION THROUGH IN OR THROUGH OUT THE STEM SCAR 28 SEPTEMBER 1988 A NEW AGE FOR TOMATOES GENES FOR LONG SHELF LIFE

Ehrlich’s “gorged cells”
Mast cells, whose differentiation pathways and heterogeneity
are still poorly understood, originate from precursors of
the haematopoietic lineage and circulate in blood and the
lymphatic system before homing to tissues and acquiring
their final effector characteristics. The expansion, homing
and maturation of mast cell precursors are influenced by
several cytokines including interleukin 4 (IL-4), IL-9 and
nerve growth factor (NGF)2, but stem-cell factor (SCF)
binding to its receptor c-Kit seems to be the main drive for
their differentiation and survival: SCF-deficient (Sl/Sld) and
c-Kit-deficient (W/Wv) mice are largely, albeit not
completely, devoid of mast cells (for review, see refs 2, 3).
Mast cell produce an impressively broad array of mediators
and cell–cell signalling molecules, and it may be this
very breadth that confers on the mast cell its individuality in
the immune system. Many of these mediators, including
histamine, numerous specific proteases (members of the
tryptase and chymase families) and tumour-necrosis factora
(TNF-a), are released by triggered exocytosis from rich
intracellular stores. The fast release of TNF-a is noteworthy
because of the pleitropic pro-inflammatory effects of this
cytokine, and because mast cell granules are a plentiful
source of rapidly mobilizable TNF-a (ref. 4), whose usually
slower induction is the result of activated synthesis in other
cell systems.
On activation, mast cells also rapidly synthesize bioactive
metabolites of arachidonic acid, prostaglandins and
leukotrienes. A specific program of gene expression is also
activated, leading to de novo synthesis of several cytokines
(IL-3, IL-4, IL-5, IL-6, IL-10, IL-13, IL-14 and NGF),
chemokines (macrophage inflammatory protein

joi, 19 februarie 2015

A EVOLUÇÃO DO PERDÃO DEVE À NOÇÃO DE PROBABILIDADE O SEU PRESENTE ESTADO...É A MECÂNICA QUÂNTICA DO PERDOA-ME ...A UM ESTADO MAIS PROVÁVEL SUCEDE UM ESTADO MENOS PROVÁVEL.....ESTÁ PROVADO E COMPROVADO Ó GRANDE E MAGNÍFICO CON...QUOD ERAT DEMONSTRANDUM...SOMOS UM PAÍS CATÓLICO QUE ACREDITA EM VIRGENS TREPADORAS A OLIVEIRAS NA COVA DA IRIA ...LOGO PERDOAR DEVIA ATÉ SER OBRIGATÓRIO ...EU PERDOO-TE PÁ ..O PERDÃO DEPENDE DE QUATRO PARÂMETROS É CÓMODO TRATAR O PERDÃO A QUATRO VARIÁVEIS GENERALIZANDO A TERMINOLOGIA FAMILIAR DITA DA NARRATIVA SOCRÁTICA EM GEOMETRIA CURRUPCIONAL OU CORRUPTA GEOMETRIA DO VIEGAS NÃO SEJAIS PIEGAS O PERDÃO É O NOVO ABSOLUTO CRISTÃO NO COMBATE OU NA CRUZADA CONTRA O ESTADO ISLÂMICO ....ELES DEGOLAM NÓS PERDOAMOS ...ELES VIOLAM ELAS PERDOAM ....OU ELES ...NÓS NÃO VAMOS NISSO....

O PERDÃO É UNIVERSAL E O UNIVERSO LEVA-NOS A IDENTIFICAR O PERDÃO E AS SUAS QUALIDADES PROFUNDAS COM A LUZ OU LUX ...FIAT LUX A VELOCIDADE DO PERDÃO COMO A VELOCIDADE DA LUX É INVARIANTE NO ESPAÇO-TEMPO logo todos os teus pecados passados presentes e futuros na rádio e no telefone estão doravante e mesmo anteriormente perdoados.....e no chuveiro e noutros lugares mais escusos .....dom QUIXOTE Quer Monteiro....E SANCHO QUER SÓ MONTAR....Para quando o governo sombra nas terras baixas ?! Gostava de vos ter cá :)DEVE ESCREVER-SE NAS PARTES BAIXAS ....QUIXOTE QUERIA MONTEIRO E SANCHO QUERIA MONTAR ....QUEM QUER MONTEIRO ESTÁ SEMPRE A LEVAR...Like · Reply · about a minute agoDAS SOMBRAS DO GREY...SKIN OU ESCREVE-SE GAY Ô É METRO SEXUAL ...METRO É EXAGERO ...MEGALOMANÍACO DO......É TUDO PRÓ PAGANDO.... Maria! Não me mates, que sou tua mãi! : meditação sobre o...
couto ou coito anal da cu rupção que quer montador e monteiro....
 SINCERAMENTE É A RELATIVIDADE DA COISA NO COISO... ASSIM OS 30 DIAS DE PERDÃO SÃO IRREVOGÁVEIS POIS SÃO UM ESTADO MUITO POUCO PROVÁVEL E É ESSA A RAZÃO QUE INTERDITA AOS SISTEMAS POLÍTICOS OU NÃO COMPLEXOS OU MESMO MUITO COMPLICADOS TORNAR A SUBIR O CURSO DO TEMPO DEPOIS DE TER DESCIDO NO DITO CUJO ...Ó TEMPO VOLTA PRA TRÁS ...ASSIS OU ASSAD PODEMO-NOS ARREPENDER SÓ NO FUTURO E SER PERDOADOS SÓ NO FUTURO TENSO ...POIS SER PERDOADO NO ACTO SEXUAL OU MESMO NO SEIXAL É CHATO MESMO QUE NÃO DÊ CHATOS NILTONIANUS

luni, 12 ianuarie 2015

A NOÇÃO DE NEWTON DE GRAVITAÇÃO É DE FORÇA QUE TUDO TORÇA VISÃO MUSCULAR ANTROPOMÓRFICA POR AZAR NA RELATIVIDADE HÁ MAIS DIVERSIDADE DA GRAVITAÇÃO À NOÇÃO DE FORÇA QUE TUDO DESTROÇA É DECALCADA UMA DESANIMADA NOÇÃO DE CAMPO DE FUTEBOL SÓ NO REINOL DE CAMPO GRAVITACIONAL MUITO ANAL VISÃO ABSTRACTA ESSA NOÇÃO QUE MALTRATA OS ASTROS MAIS CASTOS ...ASSIS OU ASSAD É A ESTRUTURA DO ESPAÇO TEMPO E AS CARACTERÍSTICAS DO CAMPO NA VIZINHANÇA DOS ASTROS MACIÇOS QUE DEFORMAM O ESPAÇO E IMPÕEM ROTAS ROTAS IDIOTAS A SATÉLITES E PLANETAS PATETAS...Einstein's general theory of relativity requires a curved space for the description of the physical world. If one wishes to go beyond superficial discussions of the physical relations involved, one needs to set up precise equations for handling curved space. The well-established mathematical technique that accomplishes this is clearly described in this classic book by Nobel Laureate P.A.M. Dirac. Based on a series of lectures given by Dirac at Florida State University, and intended for the advanced undergraduate, "General Theory of Relativity" comprises thirty-five compact chapters that take the reader point-by-point through the necessary steps for understanding general relativity.

EVOLUÇÃO POR ETAPAS RELATIVÍSTICAS

DE TEORIAS ATAVÍSTICAS 

EINSTEIN DEMONSTRA QUE CADA OBSERVADOR RECORTA DE MANEIRA ÚNICA O SEU UNIVERSO EM ESPAÇO E TEMPO NÃO SENDO O CONTÍNUO ESPAÇO-TEMPO IGUAL PARA DOIS OBSERVADORES EM MOVIMENTO UM EM RELAÇÃO AO OUTRO ATÉ À RELATIVIDADE A INDEPENDÊNCIA RECÍPROCA DE ESPAÇO E DE TEMPO NÃO ERA POSTA EM DÚVIDA 

O ABSOLUTO TRANSFORMA-SE EM RELATIVO MAS NÃO SE EXPULSA O ABSOLUTISMO APENAS EXPULSA OS FALSOS ABSOLUTOS MUITO BRUTUS 

VELOCIDADE INFINITA E PROPAGAÇÃO INSTANTÂNEA DE ENERGIA SÃO IMPOSSÍVEIS NO TAL CAMPO

AS MEDIÇÕES DO ESPAÇO E TEMPO NÃO SÃO INDEPENDENTES O TEMPO NÃO É ABSOLUTO E A SUA MEDIDA DEPENDE DOS MOVIMENTOS RELATIVOS DO ESPAÇO TAL COMO AS MEDIÇÕES DA DISTÂNCIA DEPENDEM DOS TEMPOS PRÓPRIOS A CADA OBSERVADOR 

A MASSA ABSOLUTA DESAPARECE POIS A MASSA VARIA COM A VELOCIDADE NA RELATIVIDADE A MATÉRIA QUE SE DESTRÓI E CRIA NA VERTIGEM DA ENERGIA QUE SE CONSERVA DE RESERVA E É MACIÇA 

The Special Theory of Relativity (STR) is the physical theory of measurement in inertial frames of reference proposed by Albert Einstein. It is deemed special because the theory or principle of relativity is applied only to inertial frames. In this books, Prof Ghatak sets out and explains the basic physics behind Einstein's theory, and at the same time he gives the reader a concise, enthusiastic overview of Einstein's massive contribution to science and the knowledge of mankind. In 1999, Time Magazine names Albert Einstein as "The Person of the Century." This book tells us why. The introduction deals with a summary of Einstein's work, Chapter One discusses Tiem Dilation and Length Contraction, Chapter Two deals with Mass-energy Relationship and Lorentz Tansformations, and Chapters Three and Four reproduce two of his original ground breaking papers from 1905. "Special Theory of Relativity" ....

RELATIVIDADE RESTRITA DE 1912 

A 1915 DESENVOLVE-A 


E ALARGA O SEU DOMÍNIO 

INVARIÂNCIA DA VELOCIDADE DA LUZ 

ESTABELECIDA POR MICHELSON 

CONTRADIZ A MECÂNICA CLÁSSICA 

PROPAGAÇÃO DA LUZ ISÓTROPA 

A LEI DE ADIÇÃO DE VELOCIDADES 

DA CLÁSSICA MECÂNICA NÃO SE APLICA 

joi, 8 mai 2014

KUPRUS COPPER FROM CYPRUS CUPRUM UM ACIDENTE GEOLÓGICO UMA OBDUCÇÃO ORIGINA O NOME DE UM MINERAL E DAS SUAS MINAS A QUÍMICA É COLONIZADA PELOS ALEMÃES DAÍ KALIUM DAÍ WOLFRAM W AO TUNGSTÉNIO DE TODAS AS GUERRAS DO SÉCULO XX E XXI E SEGUINTES NaTRIUM STANNUM Sn TIN TIN AO MERCÚRIO O METAL QUE SE VERTIA MAIS RAPIDAMENTE SEM PRECISAR DE O AQUECER ...

AO METAL MAIS RÁPIDO A ESCORRER O PLANETA MAIS RÁPIDO

A PRATA LÍQUIDA ÁGUA DE PRATA HYDRARGYRUM Hg

NA IDADE MÉDIA AO SOL O OURO À LUA A PRATA A VÉNUS O COBRE

CHUMBO AO DE PÉS DE CHUMBO O MAIS LENTO SATURNO...

TUNGSTEN É SUECO PEDRA PESADA ...

POT ASH CINZAS DE PLANTAS POTASSIUM

AL -KILI AS CINZAS ALKALI....


AO ISOLAR UM METAL DO POT ASH HUMPREY IN 1807 QUERIA UM P PRÓ POTASH

MAS OS ALEMÃES GOSTAVAM MAIS DO ALKALI LOGO FICOU K KALIUM

LOGO A POLÍTICA COMO A QUÍMICA SÃO TENDENCIOSAS

TANTO COMO A ECONOMIA E AS SUAS ESCOLAS

CRETÁCICO DE CRETA POIS OS ROCHEDOS BRANCOS DE DOVER SÃO DO MESMO

PERÍODO MAS DOVERÁCICO ERA MUITO RACISTA

HIDROGÉNIO GENIUM PRODUCTOR DE HYDOR HIDRO AQUA ÁGUA

WASSERSTOFF -SUBSTÂNCIA ÁGUA

ANTIMONIUM Sb STIBIUM É TUDO CULPA DE BERZELIUS

QUE DE LATINUS TINHA POUCO ESCOLHEU UMA LETRA POR ELEMENTO

MAS ELES ERAM TANTOS C Sulfure N O W U descoberto em 1879...M Y K B I V F

O ...A 1894  E O E,,,Einstenium mantiveram a letra única Es só em 1957

Ar(gon) deixou LENTAMENTE de ser A ...É TUDO UMA QUESTÃO DE QUÍMICA NAS LETRAS GREGAS

vineri, 4 aprilie 2014

A TALE OF A TUB -WRITTEN FOR THE UNIVERSAL IMPROVEMENT OF MANKIND - UM MANUAL COM 310 ANOS DE IDADE DE FALHANÇOS EDUCATIVOS MESMO EM MENINOS SEXUALMENTE INACTIVOS E POUCO VIVOS - 1704-2014 TRICENTENÁRIO E PICOS DE ILETRADOS QUE PENSAM SABER ESCREVER ERA DE PREVER


"A Tale of a Tub" is divided between various forms of digression and sections of a "tale." The "tale," or narrative, is an allegory that concerns the adventures of three brothers, Peter, Martin, and Jack, as they attempt to make their way in the world. Each of the brothers represents one of the primary branches of Christianity in the West. This part of the book is a pun on "tub," which Alexander Pope says was a common term for a Dissenter's pulpit, and a reference to Swift's own position as a clergyman. Peter (named for Saint Peter) stands in for the Roman Catholic Church. Jack (named for John Calvin, but whom Swift also connects to "Jack of Leyden") represents the various Dissenting Protestant churches such as Baptists, Presbyterians, Quakers, Congregationalists, or Anabaptists. The third brother, middle born and middle standing, is Martin (named for Martin Luther), whom Swift uses to represent the 'via media' of the Church of England. The brothers have inherited three wonderfully satisfactory coats (representing religious practice) by their father (representing God), and they have his will (representing the Bible) to guide them. Although the will says that the brothers are forbidden from making any changes to their coats, they do nearly nothing but alter their coats from the start. In as much as the will represents the Bible and the coat represents the practice of Christianity, the allegory of the narrative is supposed to be an apology for the Anglican church's refusal to alter its practice in accordance with Puritan demands and its continued resistance to alliance with the Roman church.

From its opening (once past the prolegomena, which comprises the first three sections), the book alternates between Digression and Tale. However, the digressions overwhelm the narrative, both in their length and in the forcefulness and imaginativeness of writing. Furthermore, after Chapter X (the commonly anthologised "Digression on Madness"), the labels for the sections are incorrect. Sections then called "Tale" are Digressions, and those called "Digression" are also Digressions.

A Tale of a Tub is an enormous parody with a number of smaller parodies within it. Many critics have followed Swift's biographer Irvin Ehrenpreis in arguing that there is no single, consistent narrator in the work. One difficulty with this position, however, is that if there is no single character posing as the author, then it is at least clear that nearly all of the "personae" employed by Swift for the parodies are so much alike that they function as a single identity. In general, whether a 20th-century reader would view the book as consisting of dozens of impersonations or a single one, Swift writes the Tale through the pose of a Modern or New Man. See the abridged discussion of the "Ancients and Moderns," below, for more on the nature of the "modern man" in Swift's day.

Swift's explanation for the title of the book is that the Ship of State was threatened by a whale (specifically, the Leviathan of Thomas Hobbes) and the new political societies (the Rota Club is mentioned). His book is intended to be a tub that the sailors of state (the nobles and ministers) might toss over the side to divert the attention of the beast (those who questioned the government and its right to rule). Hobbes was highly controversial in the Restoration, but Swift's invocation of Hobbes might well be ironic. The narrative of the brothers is a faulty allegory, and Swift's narrator is either a madman or a fool. The book is not one that could occupy the Leviathan, or preserve the Ship of State, so Swift may be intensifying the dangers of Hobbes's critique rather than allaying them to provoke a more rational response.

The digressions individually frustrate readers who expect a clear purpose. Each digression has its own topic, and each is an essay on its particular sidelight. In his biography of Swift, Ehrenpreis argued that each digression is an impersonation of a different contemporary author. This is the "persona theory," which holds that the Tale is not one parody, but rather a series of parodies, arising out of chamber performance in the Temple household. Prior to Ehrenpreis, some critics had argued that the narrator of the Tale is a character, just as the narrator of a novel would be. Given the evidence of A. C. Elias about the acrimony of Swift's departure from the Temple household, evidence from Swift's Journal to Stella about how uninvolved in the Temple household Swift had been, and the number of repeated observations about himself by the Tale's author, it seems reasonable to propose that the digressions reflect a single type of man, if not a particular character.

In any case, the digressions are each readerly tests; each tests whether or not the reader is intelligent and sceptical enough to detect nonsense. Some, such as the discussion of ears or of wisdom being like a nut, a cream sherry, a cackling hen, etc., are outlandish and require a militantly aware and thoughtful reader. Each is a trick, and together they train the reader to sniff out bunk and to reject the unacceptable.

Cultural setting[edit]
During the Restoration the print revolution began to change every aspect of British society. It became possible for anyone to spend a small amount of money and have his or her opinions published as a broadsheet, and to gain access to the latest discoveries in science, literature, and political theory, as books became less expensive and digests and "indexes" of the sciences grew more numerous. The difficulty lay in discerning truth from falsehood, credible claims from impossible one. Swift writes A Tale of a Tub in the guise of a narrator who is excited and gullible about what the new world has to offer, and feels that he is quite the equal or superior of any author who ever lived because he, unlike them, possesses 'technology' and newer opinions. Swift seemingly asks the question of what a person with no discernment but with a thirst for knowledge would be like, and the answer is the narrator of Tale of a Tub.

Swift was annoyed by people who were so eager to possess the newest knowledge that they failed to pose sceptical questions. If he was not a particular fan of the aristocracy, he was a sincere opponent of democracy, which was often viewed then as the sort of "mob rule" that led to the worst abuses of the English Interregnum. Swift's satire was intended to provide a genuine service by painting the portrait of conspiracy minded and injudicious writers.

At that time in England, politics, religion and education were unified in a way that they are not now. The monarch was the head of the state church. Each school (secondary and university) had a political tradition. Officially, there was no such thing as "Whig and Tory" at the time, but the labels are useful and were certainly employed by writers themselves. The two major parties were associated with religious and economic groups. The implications of this unification of politics, class, and religion are important. Although it is somewhat extreme and simplistic to put it this way, failing to be for the Church was failing to be for the monarch; having an interest in physics and trade was to be associated with dissenting religion and the Whig Party. When Swift attacks the lovers of all things modern, he is thereby attacking the new world of trade, of dissenting religious believers, and, to some degree, an emergent portion of the Whig Party.


Born of English parents in Ireland, Jonathan Swift was working as Sir William Temple's secretary at the time he composed A Tale of a Tub (1694–1697). The publication of the work coincided with Swift's striking out on his own, having despaired of getting a good "living" from Temple or Temple's influence. There is speculation about what caused the rift between Swift and his employer, but, as A. C. Elias persuasively argues, it seems that the final straw came with Swift's work on Temple's Letters. Swift had been engaged to translate Temple's French correspondence, but Temple, or someone close to Temple, edited the French text to make Temple seem both prescient and more fluent. Consequently, the letters and the translations Swift provided did not gibe, and, since Swift could not accuse Temple of falsifying his letters, and because the public would never believe that the retired state minister had lied, Swift came across as incompetent.

 It is hard to say what the Tale's satire is about, since it is about any number of things. It is most consistent in attacking misreading of all sorts. Both in the narrative sections and the digressions, the single human flaw that underlies all the follies Swift attacks is over-figurative and over-literal reading, both of the Bible and of poetry and political prose. The narrator is seeking hidden knowledge, mechanical operations of things spiritual, spiritual qualities to things physical, and alternate readings of everything.

Within the "tale" sections of the book, Peter, Martin, and Jack fall into bad company (becoming the official religion of the Roman empire) and begin altering their coats (faith) by adding ornaments. They then begin relying on Peter to be the arbitrator of the will. He begins to rule by authority (he remembered the handyman saying that he once heard the father say that it was acceptable to don more ornaments), until such a time that Jack rebels against the rule of Peter. Jack begins to read the will (the Bible) overly literally. He rips the coat to shreds to restore the original state of the garment which represents the "primitive Christianity" sought by dissenters. He begins to rely only upon "inner illumination" for guidance and thus walks around with his eyes closed, after swallowing candle snuffs. Eventually, Peter and Jack begin to resemble one another, and only Martin is left with a coat that is at all like the original.

An important factor in the reception of Swift's work is that the narrator of the work is an extremist in every direction. Consequently, he can no more construct a sound allegory than he can finish his digressions without losing control (eventually confessing that he is insane). For a Church of England reader, the allegory of the brothers provides small comfort. Martin has a corrupted faith, one full of holes and still with ornaments on it. His only virtue is that he avoids the excesses of his brothers, but the original faith is lost to him. Readers of the Tale have picked up on this unsatisfactory resolution to both "parts" of the book, and A Tale of a Tub has often been offered up as evidence of Swift's misanthropy.

As has recently been argued by Michael McKeon, Swift might best be described as a severe sceptic, rather than a Whig, Tory, empiricist, or religious writer. He supported the Classics in the Quarrel of the Ancients and the Moderns, and he supported the established church and the aristocracy, because he felt the alternatives were worse. He argued elsewhere that there is nothing inherently virtuous about a noble birth, but its advantages of wealth and education made the aristocrat a better ruler than the equally virtuous but unprivileged commoner. A Tale of a Tub is a perfect example of Swift's devastating intellect at work. By its end, little seems worth believing in.

Formally, the satire in the Tale is historically novel for several reasons. First, Swift more or less invented prose parody. In the "Apology for the &c." (which was added in 1710), Swift explains that his work is, in several places, a "parody," which is where he imitates the style of persons he wishes to expose. What is interesting is that the word "parody" had not been used for prose before, and the definition he offers is arguably a parody of John Dryden defining "parody" in the Discourse of Satire (the Preface to Dryden's translations of Juvenal's and Persius' satires). Prior to Swift, parodies were imitations designed to bring mirth, but not primarily in the form of mockery. Dryden himself imitated the Aeneid in "MacFlecknoe" to describe the apotheosis of a dull poet, but the imitation made fun of the poet, and not of Virgil.

Additionally, Swift's satire is relatively unique in that he offers no resolutions. While he ridicules any number of foolish habits, he never offers the reader a positive set of values to embrace. While this type of satire became more common as people imitated Swift, later, Swift is quite unusual in offering the readers no way out. He does not persuade to any position, but he does persuade readers from an assortment of positions. This is one of the qualities that has made the Tale Swift's least-read major work.
 
Title page of the fifth edition, 1710, with the added Notes and Apology 

vineri, 14 martie 2014

SWARMS OF WORLDS THAT MAKE WORDS, SWARMS OF WORDS THAT MAKE WORLDS -SWARMWORLDS OF WORDS SWARMWORD'S THAT ARE SWORDS SMALL WORDS THAT TAKE WORLDS FROM WORD LORDS SMALL WORLDS THAT TAKE LORDS BY WORDS SMALL LORDS THAT TAKE WORDS FROM EVIL WORLDS

ESVOAÇAM AS PALAVRAS NO MUNDO

ESVOAÇA O MUNDO EM PALAVRAS

DESVANECE-SE O MUNDO NAS PALAVRAS MUDAS

Em futuros pouco puros

num presente dissidente

há muitos burros aos zurros

por um futuro decadente

num presente bem demente....



THE word is best

in any bestiarium you have the best

THEY ARE SWARM'S OF WORD'S THAT MAKE WORLDS

they are small swarm's of words and of worlds and BIG ones

For a society to be successful in growth and in cultural reproduction like the american society at least in the former Imperial years, you need diversity, you need the swarm's of the best in any bestiarium

words that make worlds

and words that take worlds like alea jacta est

bestiarium is a word with best in it,,,

the words are vectors for change

vectors that create new worlds .....................