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  <title>a lot of sounds that inherently twist away from the music</title>
  <link>http://ikhnaie.livejournal.com/</link>
  <description>a lot of sounds that inherently twist away from the music - LiveJournal.com</description>
  <lastBuildDate>Tue, 27 Jan 2009 11:25:53 GMT</lastBuildDate>
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  <lj:journalid>4680170</lj:journalid>
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    <url>http://l-userpic.livejournal.com/57828384/4680170</url>
    <title>a lot of sounds that inherently twist away from the music</title>
    <link>http://ikhnaie.livejournal.com/</link>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/54601.html</guid>
  <pubDate>Tue, 27 Jan 2009 11:25:53 GMT</pubDate>
  <title>The Big Read Meme</title>
  <link>http://ikhnaie.livejournal.com/54601.html</link>
  <description>The Big Read thinks the average adult has only read six of the top 100 books they&apos;ve printed below. &lt;br /&gt;&lt;br /&gt;1) Look at the list and bold those you have read. &lt;br /&gt;2) Italicize those you intend to read. &lt;br /&gt;3) Underline the books you LOVE. &lt;br /&gt;3.5) Strike through the books that you HATE&lt;br /&gt;4) Reprint this list in your own LJ so we can try and track down these people who&apos;ve read 6 and force books upon them and then ask what better books they have read instead.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;u&gt;&lt;strong&gt;1. Pride and Prejudice&lt;br /&gt;2. The Lord of the Rings&lt;/strong&gt;&lt;/u&gt;&lt;strong&gt;&lt;br /&gt;3. Jane Eyre&lt;br /&gt;4. Harry Potter Series&lt;/strong&gt;&lt;br /&gt;&lt;em&gt;5. To Kill a Mockingbird&lt;span style=&quot;font-size: smaller; &quot;&gt;&lt;strong&gt;&lt;strong style=&quot;color: rgb(153, 153, 153); font-weight: lighter; font-size: 8pt; &quot;&gt;&amp;nbsp;&lt;/strong&gt;&lt;/strong&gt;&lt;/span&gt;&lt;/em&gt;&lt;br /&gt;&lt;strong&gt;6. The Bible - various authors&lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;7. Wuthering Heights&lt;br /&gt;8. Ninteen Eighty-Four&lt;br /&gt;&lt;/strong&gt;&lt;u&gt;&lt;strong&gt;9. His Dark Materials - Philip Pullmen&lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;&lt;strong&gt;10. Great Expectations &amp;ndash; Charles Dickens &lt;br /&gt;&lt;/strong&gt;&lt;u&gt;&lt;strong&gt;11. Little Women - Louisa May Alcott&lt;br /&gt;12. Tess of the D&apos;Urbervilles -Thomas Hardy&lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;&lt;em&gt;13. Catch 22 &amp;ndash; Joseph Heller &lt;/em&gt;&lt;br /&gt;&lt;u&gt;&lt;strong&gt;14. Complete Works of Shakespeare &lt;br /&gt;&lt;/strong&gt;&lt;br /&gt;&lt;/u&gt;&lt;div&gt;&lt;u&gt;&lt;strong&gt;16. The Hobbit&lt;strong style=&quot;color: rgb(153, 153, 153); font-weight: lighter; font-size: 8pt; &quot;&gt;&amp;nbsp;&lt;/strong&gt;&lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;17. Birdsong &amp;ndash; Sebastian Faulks &lt;br /&gt;&lt;em&gt;18. Catcher in the Rye - JD Salinger&lt;br /&gt;19. The Time Traveller&apos;s Wife - Audrey Niffenegger&lt;/em&gt;&lt;br /&gt;&lt;em&gt;20. Middlemarch &amp;ndash; George Eliot &lt;br /&gt;&lt;/em&gt;21. Gone With The Wind &amp;ndash; Margaret Mitchell&lt;br /&gt;&lt;strong&gt;22. The Great Gatsby - F Scott Fitzgerald&lt;/strong&gt;&lt;br /&gt;23. Bleak House &amp;ndash; Charles Dickens &lt;br /&gt;&lt;em&gt;24. War and Peace &amp;ndash; Leo Tolstoy&lt;br /&gt;&lt;/em&gt;&lt;u&gt;&lt;strong&gt;25. The Hitchhiker&apos;s Guide to the Galaxy - Douglas Adams&lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;26. Brideshead Revisited &amp;ndash; Evelyn Waugh &lt;br /&gt;&lt;strong&gt;27. Crime and Punishment &amp;ndash; Fyodor Dostoyevsky &lt;/strong&gt;&lt;br /&gt;28. Grapes of Wrath &amp;ndash; John Steinbeck &lt;br /&gt;&lt;strong&gt;29. Alice in Wonderland &amp;ndash; Lewis Carroll &lt;/strong&gt;&lt;br /&gt;&lt;strong&gt;30. The Wind in the Willows&amp;ndash; Kenneth Grahame &lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;31. Anna Karenina - Leo Tolstoy&lt;/strong&gt;&lt;br /&gt;&lt;strong&gt;32. David Copperfield &amp;ndash; Charles Dickens &lt;/strong&gt;&lt;u&gt;&lt;strong&gt;&lt;br /&gt;33. Chronicles of Narnia - CS Lewis&lt;br /&gt;34. Emma &amp;ndash; Jane Austen &lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;&lt;strong&gt;35. Persuasion &amp;ndash; Jane Austen &lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;&lt;strike&gt;36. The Lion, The Witch, and the Wardrobe - CS Lewis&lt;/strike&gt;&lt;/strong&gt;&lt;br /&gt;37. The Kite Runner &amp;ndash; Khaled Hosseini &lt;br /&gt;38. Captain Corelli&apos;s Mandolin &amp;ndash; Louis De Bernieres &lt;br /&gt;39. Memoirs of a Geisha - Arthur Golden&lt;br /&gt;&lt;u&gt;&lt;strong&gt;40. Winnie the Pooh &amp;ndash; AA Milne&lt;br /&gt;&lt;/strong&gt;&lt;/u&gt;41. Animal Farm - George Orwell&lt;br /&gt;&lt;strong&gt;42. The Da Vinci Code &amp;ndash; Dan Brown &lt;/strong&gt;&lt;br /&gt;&lt;em&gt;43. One Hundred Years of Solitude &amp;ndash; Gabriel Garcia Marquez &lt;/em&gt;&lt;br /&gt;44. A Prayer for Owen Meaney &amp;ndash; John Irving &lt;br /&gt;45. The Woman in White &amp;ndash; Wilkie Collins &lt;br /&gt;&lt;strong&gt;46. Anne of Green Gables - LM Montgomery&lt;/strong&gt;&lt;br /&gt;&lt;em&gt;47. Far from the Madding Crowd - Thomas Hardy&lt;br /&gt;48. The Handmaid&apos;s Tale - Margaret Atwood&lt;/em&gt;&lt;br /&gt;&lt;strike&gt;&lt;strong&gt;49. Lord of the Flies - William Golding&lt;/strong&gt;&lt;/strike&gt;&lt;strong&gt;&lt;br /&gt;50. Atonement - Ian McEwan&lt;/strong&gt;&lt;br /&gt;&lt;strong&gt;51. Life of Pi &amp;ndash; Yann Martel &lt;br /&gt;&lt;/strong&gt;&lt;u&gt;&lt;strong&gt;52. Dune &amp;ndash; Frank Herbert &lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;53. Cold Comfort Farm &amp;ndash; Stella Gibbons&lt;br /&gt;&lt;strong&gt;54. Sense and Sensibility - Jane Austen&lt;/strong&gt;&lt;br /&gt;55. A Suitable Boy &amp;ndash; Vikram Seth &lt;br /&gt;56. The Shadow of the Wind &amp;ndash; Carlos Ruiz Zafon &lt;br /&gt;57. A Tale of Two Cities &amp;ndash; Charles Dickens &lt;br /&gt;&lt;strong&gt;58. Brave New World - Aldous Huxley&lt;/strong&gt;&lt;br /&gt;59. The Curious Incident of the&amp;nbsp;Dog in the Night-Time - Mark Haddon&lt;br /&gt;60. Love In The Time Of Cholera &amp;ndash; Gabriel Garcia Marquez &lt;br /&gt;61. Of Mice and Men &amp;ndash; John Steinbeck &lt;br /&gt;&lt;strong&gt;62. Lolita &amp;ndash; Vladimir Nabokov &lt;/strong&gt;&lt;br /&gt;63. The Secret History &amp;ndash; Donna Tartt &lt;br /&gt;64. The Lovely Bones - Alice Sebold&lt;br /&gt;&lt;em&gt;65. Count of Monte Cristo &amp;ndash; Alexandre Dumas &lt;/em&gt;&lt;br /&gt;&lt;strong&gt;66. On The Road &amp;ndash; Jack Kerouac &lt;br /&gt;&lt;/strong&gt;67. Jude the Obscure - Thomas Hardy&lt;br /&gt;68. Bridget Jones&apos; Diary &amp;ndash; Helen Fielding &lt;br /&gt;&lt;strong&gt;69. Midnight&apos;s Children &amp;ndash; Salman Rushdie &lt;br /&gt;70. Moby Dick &amp;ndash; Herman Melville &lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;71. Oliver Twist - Charles Dickens&lt;/strong&gt;&lt;br /&gt;72. Dracula &amp;ndash; Bram Stoker &lt;br /&gt;&lt;strong&gt;73. The Secret Garden - Frances Hodgson Burnett&lt;/strong&gt;&lt;br /&gt;74. Notes From A Small Island &amp;ndash; Bill Bryson &lt;br /&gt;&lt;u&gt;&lt;strong&gt;75. Ulysses &amp;ndash; James Joyce&lt;br /&gt;&lt;/strong&gt;&lt;/u&gt;76. The Bell Jar - Sylvia Plath&lt;br /&gt;77. Swallows and Amazons &amp;ndash; Arthur Ransome &lt;br /&gt;78. Germinal &amp;ndash; Emile &lt;br /&gt;79. Vanity Fair &amp;ndash; William Makepeace Thackeray &lt;br /&gt;80. Possession - AS&amp;nbsp;Byatt&lt;br /&gt;81. A Christmas Carol - Charles Dickens&lt;strong style=&quot;color: rgb(153, 153, 153); font-weight: lighter; font-size: 8pt; &quot;&gt;&lt;br /&gt;&lt;/strong&gt;82. Cloud Atlas &amp;ndash; David Mitchell &lt;br /&gt;83. The Color Purple &amp;ndash; Alice Walker &lt;br /&gt;84. The Remains of the Day &amp;ndash; Kazuo Ishiguro &lt;br /&gt;&lt;em&gt;85. Madame Bovary &amp;ndash; Gustave Flaubert &lt;/em&gt;&lt;br /&gt;86. A Fine Balance &amp;ndash; Rohinton Mistry &lt;br /&gt;&lt;strong&gt;87. Charlotte&apos;s Web - EB&amp;nbsp;White&lt;/strong&gt;&lt;br /&gt;88. The Five People You Meet in Heavan - Mitch Albom&lt;br /&gt;&lt;strong&gt;89. Adventures of Sherlock Holmes - Sir Arthur Conan Doyle&lt;/strong&gt;&lt;br /&gt;90. The Faraway Tree Collection - Enid Blyton&lt;strong style=&quot;color: rgb(153, 153, 153); font-weight: lighter; font-size: 8pt; &quot;&gt;&lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;91. Heart of Darkness &amp;ndash; Joseph Conrad &lt;br /&gt;&lt;/strong&gt;&lt;strong&gt;92. Le Petit Prince - Antoine de Saint-Exup&amp;eacute;ry&lt;strong style=&quot;color: rgb(153, 153, 153); font-weight: lighter; font-size: 8pt; &quot;&gt;&amp;nbsp;&lt;/strong&gt;&lt;/strong&gt;&lt;br /&gt;93. The Wasp Factory &amp;ndash; Iain Banks &lt;br /&gt;&lt;u&gt;&lt;strong&gt;94. Watership Down - Richard Adams&lt;/strong&gt;&lt;/u&gt;&lt;br /&gt;95. A Confederacy of Dunces &amp;ndash; John Kennedy Toole &lt;br /&gt;96. A Town Like Alice &amp;ndash; Nevil Shute &lt;br /&gt;97. The Three Musketeers - Alexandre Dumas&lt;br /&gt;&lt;u&gt;&lt;strong&gt;98. Hamlet - William Shakespeare&lt;/strong&gt;&lt;/u&gt;&lt;strong&gt;&lt;br /&gt;99. Charlie and the Chocolate Factory - Roald Dahl&lt;/strong&gt;&lt;br /&gt;&lt;em&gt;100. Les Miserables - Victor Hugo&lt;/em&gt;&lt;/div&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/54183.html</guid>
  <pubDate>Thu, 04 Sep 2008 17:05:33 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/54183.html</link>
  <description>God-fucking-damn, why is this house so cold? I know I weigh like, thirty pounds less than anyone else here, but seriously, it&apos;s still summer, and it&apos;s fucking cold!</description>
  <comments>http://ikhnaie.livejournal.com/54183.html</comments>
  <lj:mood>cold</lj:mood>
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  <lj:reply-count>2</lj:reply-count>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/53810.html</guid>
  <pubDate>Mon, 25 Aug 2008 13:56:54 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/53810.html</link>
  <description>I so totally stood right over a dead mouse in the kitchen for five minutes before noticing it.&lt;br /&gt;EEWWWWWWWWWWWWWWWWWWWWWWW!!!!!!!!!!!!!!!!!! &lt;br /&gt;And why the fuck did it have to curl up and die in the middle of my kitchen floor? Seriously. It&apos;s like ten feet to the door to outside. What the fuck? Aren&apos;t animals supposed to go find quiet places to die in? Or is that only cats?&lt;br /&gt;Second dead fucking mouse that I&apos;ve found in my apartment in the past three years. Not nice!!! And the first one was when I was living alone! (Rob dealt with this one.)&lt;br /&gt;&lt;br /&gt;Plus I&apos;ve been really sick to my stomach one and a half times in the past two days. Although the first time really counted for three. The half time was half because Rob and I were on a picnic and when I&apos;d gone over to the bushes feeling sick I noticed a security guard talking to him so I came back because I was worried. I felt better pretty quickly, but seriously, kind of unnerving. I&apos;m never sick.</description>
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  <lj:mood>grossed out and disgusted</lj:mood>
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  <pubDate>Wed, 16 Jul 2008 14:40:09 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/53685.html</link>
  <description>YAH ROB GOT INTO GRAD SCHOOL AT UNIVERSITY COLLEGE DUBLIN!!!!!!!!! SWEEEEEEEEEEEEEEEEEEET</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/52916.html</guid>
  <pubDate>Sun, 29 Jun 2008 22:55:06 GMT</pubDate>
  <title>Book meme</title>
  <link>http://ikhnaie.livejournal.com/52916.html</link>
  <description>1) Look at the list and bold those you have read. &lt;br /&gt;2) Italicise those you intend to read. &lt;br /&gt;3) Underline the books you LOVE, or strikeout the books you read but didn&apos;t like. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;b&gt;&lt;u&gt;1. The Lord of the Rings, JRR Tolkien &lt;br /&gt;2. Pride and Prejudice, Jane Austen &lt;/u&gt;&lt;br /&gt;3. His Dark Materials, Philip Pullman &lt;br /&gt;4. The Hitchhiker&apos;s Guide to the Galaxy, Douglas Adams &lt;br /&gt;5. Harry Potter and the Goblet of Fire, JK Rowling &lt;br /&gt;&lt;/b&gt;&lt;i&gt;6. To Kill a Mockingbird, Harper Lee &lt;/i&gt;&lt;br /&gt;&lt;b&gt;7. Winnie the Pooh, AA Milne &lt;br /&gt;8. Nineteen Eighty-Four, George Orwell &lt;br /&gt;9. The Lion, the Witch and the Wardrobe, CS Lewis &lt;br /&gt;10. Jane Eyre, Charlotte Brontë &lt;/b&gt;&lt;br /&gt;&lt;i&gt;11. Catch-22, Joseph Heller &lt;/i&gt;&lt;br /&gt;&lt;strike&gt;&lt;b&gt;12. Wuthering Heights, Emily Brontë &lt;/b&gt;&lt;/strike&gt;&lt;br /&gt;13. Birdsong, Sebastian Faulks &lt;br /&gt;14. Rebecca, Daphne du Maurier &lt;br /&gt;&lt;i&gt;15. The Catcher in the Rye, JD Salinger &lt;/i&gt;&lt;br /&gt;&lt;b&gt;16. The Wind in the Willows, Kenneth Grahame &lt;br /&gt;17. Great Expectations, Charles Dickens &lt;br /&gt;18. Little Women, Louisa May Alcott &lt;/b&gt;&lt;br /&gt;19. Captain Corelli&apos;s Mandolin, Louis de Bernieres &lt;br /&gt;&lt;i&gt;20. War and Peace, Leo Tolstoy &lt;/i&gt;(once the new translation comes out)&lt;br /&gt;21. Gone with the Wind, Margaret Mitchell &lt;br /&gt;&lt;b&gt;22. Harry Potter and the Philosopher&apos;s Stone, JK Rowling &lt;br /&gt;23. Harry Potter and the Chamber of Secrets, JK Rowling &lt;br /&gt;24. Harry Potter and the Prisoner of Azkaban, JK Rowling &lt;br /&gt;25. The Hobbit, JRR Tolkien &lt;br /&gt;&lt;u&gt;26. Tess of the D&apos;Urbervilles, Thomas Hardy &lt;/u&gt;&lt;/b&gt;&lt;br /&gt;27. Middlemarch, George Eliot &lt;br /&gt;28. A Prayer for Owen Meany, John Irving &lt;br /&gt;29. The Grapes of Wrath, John Steinbeck &lt;br /&gt;&lt;i&gt;30. Alice&apos;s Adventures In Wonderland, Lewis Carroll &lt;/i&gt;&lt;br /&gt;31. The Story of Tracy Beaker, Jacqueline Wilson &lt;br /&gt;&lt;i&gt;32. One Hundred Years of Solitude, Gabriel García Márquez &lt;/i&gt;&lt;br /&gt;33. The Pillars of the Earth, Ken Follett &lt;br /&gt;&lt;i&gt;34. David Copperfield, Charles Dickens &lt;/i&gt;&lt;br /&gt;35. Charlie and the Chocolate Factory, Roald Dahl &lt;br /&gt;&lt;b&gt;36. Treasure Island, Robert Louis Stevenson &lt;/b&gt;&lt;br /&gt;37. A Town Like Alice, Nevil Shute &lt;br /&gt;&lt;b&gt;38. Persuasion, Jane Austen &lt;br /&gt;&lt;u&gt;39. Dune, Frank Herbert &lt;br /&gt;40. Emma, Jane Austen &lt;/u&gt;&lt;br /&gt;41. Anne of Green Gables, LM Montgomery &lt;br /&gt;&lt;u&gt;42. Watership Down, Richard Adams &lt;br /&gt;43. The Great Gatsby, F Scott Fitzgerald &lt;/u&gt;&lt;/b&gt;&lt;br /&gt;&lt;i&gt;44. The Count of Monte Cristo, Alexandre Dumas &lt;/i&gt;&lt;br /&gt;45. Brideshead Revisited, Evelyn Waugh &lt;br /&gt;46. Animal Farm, George Orwell &lt;br /&gt;47. A Christmas Carol, Charles Dickens &lt;br /&gt;48. Far from the Madding Crowd, Thomas Hardy &lt;br /&gt;49. Goodnight Mister Tom, Michelle Magorian &lt;br /&gt;50. The Shell Seekers, Rosamunde Pilcher &lt;br /&gt;&lt;b&gt;51. The Secret Garden, Frances Hodgson Burnett &lt;/b&gt;&lt;br /&gt;52. Of Mice and Men, John Steinbeck &lt;br /&gt;53. The Stand, Stephen King &lt;br /&gt;&lt;u&gt;&lt;b&gt;54. Anna Karenina, Leo Tolstoy &lt;/b&gt;&lt;/u&gt;&lt;br /&gt;55. A Suitable Boy, Vikram Seth &lt;br /&gt;&lt;b&gt;56. The BFG, Roald Dahl &lt;/b&gt;&lt;br /&gt;57. Swallows and Amazons, Arthur Ransome &lt;br /&gt;&lt;b&gt;58. Black Beauty, Anna Sewell &lt;/b&gt;&lt;br /&gt;59. Artemis Fowl, Eoin Colfer &lt;br /&gt;&lt;u&gt;&lt;b&gt;60. Crime and Punishment, Fyodor Dostoyevsky &lt;/b&gt;&lt;/u&gt;&lt;br /&gt;61. Noughts and Crosses, Malorie Blackman &lt;br /&gt;62. Memoirs of a Geisha, Arthur Golden &lt;br /&gt;63. A Tale of Two Cities, Charles Dickens &lt;br /&gt;64. The Thorn Birds, Colleen McCollough &lt;br /&gt;&lt;b&gt;65. Mort, Terry Pratchett &lt;/b&gt;&lt;br /&gt;66. The Magic Faraway Tree, Enid Blyton &lt;br /&gt;67. The Magus, John Fowles &lt;br /&gt;&lt;u&gt;&lt;b&gt;68. Good Omens, Terry Pratchett and Neil Gaiman &lt;/b&gt;&lt;/u&gt;&lt;br /&gt;&lt;i&gt;69. Guards! Guards!, Terry Pratchett &lt;/i&gt;&lt;br /&gt;70. Lord of the Flies, William Golding &lt;br /&gt;71. Perfume, Patrick Süskind &lt;br /&gt;72. The Ragged Trousered Philanthropists, Robert Tressell &lt;br /&gt;&lt;u&gt;&lt;b&gt;73. Night Watch, Terry Pratchett &lt;br /&gt;74. Matilda, Roald Dahl &lt;/b&gt;&lt;/u&gt;&lt;br /&gt;75. Bridget Jones&apos;s Diary, Helen Fielding &lt;br /&gt;76. The Secret History, Donna Tartt &lt;br /&gt;77. The Woman In White, Wilkie Collins &lt;br /&gt;&lt;i&gt;78. Ulysses, James Joyce &lt;/i&gt;(currently reading)&lt;br /&gt;79. Bleak House, Charles Dickens &lt;br /&gt;80. Double Act, Jacqueline Wilson &lt;br /&gt;81. The Twits, Roald Dahl &lt;br /&gt;82. I Capture the Castle, Dodie Smith &lt;br /&gt;83. Holes, Louis Sachar &lt;br /&gt;&lt;i&gt;84. Gormenghast, Mervyn Peake &lt;/i&gt;&lt;br /&gt;&lt;u&gt;&lt;b&gt;85. The God of Small Things, Arundhati Roy &lt;/b&gt;&lt;/u&gt;&lt;br /&gt;86. Vicky Angel, Jacqueline Wilson &lt;br /&gt;&lt;strike&gt;&lt;b&gt;87. Brave New World, Aldous Huxley &lt;/b&gt;&lt;/strike&gt;&lt;br /&gt;88. Cold Comfort Farm, Stella Gibbons &lt;br /&gt;89. Magician, Raymond E Feist &lt;br /&gt;&lt;b&gt;90. On the Road, Jack Kerouac&lt;/b&gt; &lt;br /&gt;91. The Godfather, Mario Puzo &lt;br /&gt;&lt;b&gt;92. The Clan of the Cave Bear, Jean M Auel &lt;br /&gt;&lt;u&gt;93. The Colour of Magic, Terry Pratchett &lt;/u&gt;&lt;/b&gt;&lt;br /&gt;94. The Alchemist, Paulo Coelho &lt;br /&gt;95. Katherine, Anya Seton &lt;br /&gt;96. Kane and Abel, Jeffrey Archer &lt;br /&gt;97. Love in the Time of Cholera, Gabriel García Márquez &lt;br /&gt;98. Girls in Love, Jacqueline Wilson &lt;br /&gt;99. The Princess Diaries, Meg Cabot &lt;br /&gt;&lt;i&gt;100. Midnight&apos;s Children, Salman Rushdie&lt;/i&gt;</description>
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  <pubDate>Fri, 02 May 2008 21:50:33 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/52405.html</link>
  <description>These are the top 106 books most often marked as &quot;unread&quot; by LibraryThing’s users. As in, they sit on the shelf to make you look smart or well-rounded. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;Bold&lt;/b&gt; the ones you&apos;ve read, &lt;br /&gt;&lt;u&gt;Underline&lt;/u&gt; the ones you read for school, &lt;br /&gt;&lt;i&gt;Italicize&lt;/i&gt; the ones you started but didn&apos;t finish. (Italicize and underline the ones you mean to finish)&lt;br /&gt;add * beside the ones you liked and would (or did) read again or recommend. Even if you read them for school in the first place. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;u&gt;&lt;b&gt;The Aeneid&lt;/b&gt;&lt;/u&gt;&lt;br /&gt;The Amazing Adventures of Kavalier and Clay &lt;br /&gt;&lt;b&gt;American Gods *&lt;/b&gt;&lt;br /&gt;Anansi Boys &lt;br /&gt;&lt;b&gt;Angela’s Ashes: A Memoir&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Angels &amp;amp; Demons &lt;/b&gt;&lt;i&gt;&lt;br /&gt;&lt;/i&gt;&lt;b&gt;Anna Karenina ***&lt;/b&gt;&lt;br /&gt;&lt;i&gt;Atlas Shrugged &lt;/i&gt;&lt;br /&gt;&lt;b&gt;&lt;u&gt;Beloved&lt;/u&gt; &lt;/b&gt;&lt;br /&gt;&lt;u&gt;&lt;i&gt;The Blind Assassin&lt;/i&gt;&lt;/u&gt;&lt;b&gt;&lt;br /&gt;&lt;u&gt;Brave New World&lt;/u&gt;&lt;/b&gt;&lt;br /&gt;&lt;i&gt;&lt;u&gt;The Brothers Karamazov &lt;/u&gt;&lt;br /&gt;&lt;/i&gt;&lt;b&gt;The Canterbury Tales *&lt;/b&gt;&lt;i&gt;&lt;br /&gt;&lt;u&gt;The Catcher in the Rye&lt;br /&gt;Catch-22 &lt;/u&gt;&lt;br /&gt;A Clockwork Orange &lt;/i&gt;&lt;br /&gt;Cloud Atlas &lt;br /&gt;Collapse: how societies choose to fail or succeed &lt;br /&gt;A Confederacy of Dunces &lt;br /&gt;The Confusion &lt;br /&gt;The Corrections &lt;br /&gt;The Count of Monte Cristo &lt;br /&gt;&lt;u&gt;&lt;i&gt;Crime and Punishment &lt;/i&gt;&lt;/u&gt;&lt;br /&gt;&lt;b&gt;Cryptonomicon **********************************************************&lt;br /&gt;&lt;/b&gt;The Curious Incident of the Dog in the Night-Time &lt;br /&gt;&lt;u&gt;&lt;i&gt;David Copperfield &lt;/i&gt;&lt;/u&gt;&lt;br /&gt;Don Quixote &lt;br /&gt;Dracula &lt;br /&gt;Dubliners&lt;br /&gt;&lt;b&gt;Dune *&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Eats, Shoots &amp;amp; Leaves &lt;/b&gt;&lt;br /&gt;&lt;b&gt;Emma &lt;/b&gt;&lt;br /&gt;Foucault’s Pendulum &lt;br /&gt;&lt;i&gt;The Fountainhead &lt;/i&gt;&lt;br /&gt;&lt;u&gt;&lt;b&gt;Frankenstein &lt;/b&gt;&lt;/u&gt;&lt;br /&gt;Freakonomics: a rogue economist explores the hidden side of everything &lt;br /&gt;&lt;u&gt;&lt;b&gt;The God of Small Things&lt;/b&gt;&lt;/u&gt;&lt;b&gt; *&lt;/b&gt;&lt;br /&gt;The Grapes of Wrath&lt;br /&gt;Gravity’s Rainbow &lt;br /&gt;&lt;i&gt;Great Expectations &lt;/i&gt;&lt;br /&gt;&lt;b&gt;Gulliver’s Travels &lt;/b&gt;&lt;br /&gt;Guns, Germs, and Steel: the fates of human societies &lt;br /&gt;&lt;b&gt;A Heartbreaking Work of Staggering Genius 8&lt;/b&gt;&lt;br /&gt;The Historian: a novel &lt;br /&gt;&lt;b&gt;The Hobbit&lt;/b&gt;&lt;br /&gt;The Hunchback of Notre Dame &lt;br /&gt;&lt;b&gt;The Iliad ******&lt;/b&gt;&lt;br /&gt;In Cold Blood: a true account of a multiple murder and its consequences &lt;br /&gt;&lt;u&gt;&lt;b&gt;The Inferno&lt;/b&gt;&lt;/u&gt;&lt;b&gt; *&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Jane Eyre ***&lt;/b&gt;&lt;br /&gt;&lt;i&gt;Jonathan Strange &amp;amp; Mr Norrell &lt;/i&gt;&lt;br /&gt;The Kite Runner &lt;br /&gt;Les Misérables&lt;br /&gt;&lt;b&gt;Life of Pi: a novel &lt;/b&gt;&lt;br /&gt;&lt;b&gt;Lolita *&lt;/b&gt;&lt;br /&gt;Love in the Time of Cholera &lt;br /&gt;&lt;b&gt;&lt;u&gt;Madame Bovary &lt;/u&gt;&lt;br /&gt;Mansfield Park &lt;/b&gt;&lt;br /&gt;Memoirs of a Geisha &lt;br /&gt;Middlemarch &lt;br /&gt;Middlesex &lt;br /&gt;&lt;u&gt;&lt;i&gt;Mrs. Dalloway&lt;/i&gt;&lt;/u&gt;&lt;br /&gt;&lt;b&gt;The Mists of Avalon &lt;br /&gt;Moby Dick &lt;/b&gt;&lt;br /&gt;The Name of the Rose &lt;br /&gt;&lt;b&gt;Neverwhere&lt;br /&gt;1984&lt;br /&gt;Northanger Abbey &lt;br /&gt;The Odyssey *&lt;/b&gt;&lt;br /&gt;Oliver Twist &lt;br /&gt;&lt;b&gt;The Once and Future King &lt;/b&gt;&lt;br /&gt;One Hundred Years of Solitude &lt;br /&gt;&lt;b&gt;On the Road &lt;/b&gt;&lt;br /&gt;One Flew Over the Cuckoo’s Nest &lt;br /&gt;Oryx and Crake&lt;br /&gt;A People’s History of the United States: 1492-present &lt;br /&gt;&lt;b&gt;Persuasion &lt;br /&gt;The Picture of Dorian Gray &lt;/b&gt;&lt;br /&gt;The Poisonwood Bible &lt;br /&gt;&lt;b&gt;A Portrait of the Artist as a Young Man &lt;/b&gt;&lt;br /&gt;&lt;b&gt;Pride and Prejudice *&lt;/b&gt;&lt;br /&gt;&lt;u&gt;&lt;b&gt;The Prince&lt;/b&gt;&lt;/u&gt;&lt;b&gt; *&lt;/b&gt;&lt;br /&gt;&lt;i&gt;&lt;u&gt;Quicksilver &lt;/u&gt;&lt;/i&gt;&lt;br /&gt;&lt;b&gt;Reading Lolita in Tehran &lt;/b&gt;&lt;br /&gt;&lt;b&gt;The Satanic Verses&lt;/b&gt;&lt;br /&gt;&lt;b&gt;The Scarlet Letter &lt;/b&gt;&lt;br /&gt;&lt;b&gt;Sense and Sensibility &lt;/b&gt;&lt;br /&gt;A Short History of Nearly Everything &lt;br /&gt;&lt;i&gt;The Silmarillion &lt;/i&gt;&lt;br /&gt;Slaughterhouse-five &lt;br /&gt;The Sound and the Fury &lt;br /&gt;&lt;i&gt;A Tale of Two Cities &lt;/i&gt;&lt;br /&gt;&lt;b&gt;Tess of the D’Urbervilles&lt;/b&gt;&lt;br /&gt;The Time Traveler’s Wife&lt;br /&gt;&lt;b&gt;To the Lighthouse *&lt;br /&gt;&lt;/b&gt;Treasure Island &lt;br /&gt;The Three Musketeers &lt;br /&gt;&lt;u&gt;&lt;i&gt;Ulysses &lt;/i&gt;&lt;/u&gt;&lt;br /&gt;The Unbearable Lightness of Being &lt;br /&gt;Vanity Fair &lt;br /&gt;&lt;u&gt;&lt;i&gt;War and Peace&lt;/i&gt;&lt;/u&gt; (waiting for the new translation to come out in paperback)&lt;br /&gt;&lt;b&gt;Watership Down *&lt;/b&gt;&lt;br /&gt;&lt;i&gt;White Teeth &lt;br /&gt;&lt;/i&gt;Wicked : the life and times of the wicked witch of the West &lt;br /&gt;&lt;b&gt;Wuthering Heights&lt;/b&gt;&lt;br /&gt;Zen and the Art of Motorcycle Maintenance</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/52058.html</guid>
  <pubDate>Mon, 21 Apr 2008 02:33:18 GMT</pubDate>
  <title>fuck i want a cigarette.</title>
  <link>http://ikhnaie.livejournal.com/52058.html</link>
  <description>I&apos;m tipsy right now, so this wouldn&apos;t be so polemical otherwise. Take all the superlatives and make them comparatives and it&apos;s probably more like it.&lt;br /&gt;&lt;br /&gt;It really pisses me off that Rob is so against smoking. What the fuck is one or two cigarettes every five months? Seriously. This is the end of my undergrad. I&apos;m currently writing my last paper as an undergrad ever. I would like to have a cigarette while writing it. Is that really such a big deal? No. But of course he has empirical evidence that it&apos;s bad for you, never mind the medical evidence that two or less cigarettes a day and the doctors don&apos;t consider you a smoker. &lt;br /&gt;He has no idea what I&apos;ve been through in the past five years, and I&apos;m not about to bring that up as a reason for me having a cigarette that he just can&apos;t understand. If that doesn&apos;t make sense, I&apos;m not going to bring up that he can&apos;t understand my reasons for wanting one so he isn&apos;t allowed to judge them. I&apos;m really pissed off right now. I didn&apos;t want that second glass of red wine, it just got handed to me.</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/51773.html</guid>
  <pubDate>Wed, 03 Oct 2007 13:08:57 GMT</pubDate>
  <title>books I&apos;ve read, books to read</title>
  <link>http://ikhnaie.livejournal.com/51773.html</link>
  <description>Gakked from &lt;span class=&apos;ljuser ljuser-name_nonacetone7&apos; lj:user=&apos;nonacetone7&apos; style=&apos;white-space: nowrap;&apos;&gt;&lt;a href=&apos;http://nonacetone7.livejournal.com/profile&apos;&gt;&lt;img src=&apos;http://l-stat.livejournal.com/img/userinfo.gif&apos; alt=&apos;[info]&apos; width=&apos;17&apos; height=&apos;17&apos; style=&apos;vertical-align: bottom; border: 0; padding-right: 1px;&apos; /&gt;&lt;/a&gt;&lt;a href=&apos;http://nonacetone7.livejournal.com/&apos;&gt;&lt;b&gt;nonacetone7&lt;/b&gt;&lt;/a&gt;&lt;/span&gt;.&lt;br /&gt;&lt;br /&gt;&lt;a name=&quot;cutid1&quot;&gt;&lt;/a&gt;&lt;div class=&quot;ljcut&quot; text=&quot;Books&quot;&gt;&lt;br /&gt;&lt;b&gt;&lt;br /&gt;Jonathan Strange &amp;amp; Mr Norrell &lt;/b&gt;(currently reading)&lt;br /&gt;&lt;b&gt;Anna Karenina*&lt;/b&gt;&lt;br /&gt;&lt;u&gt;Crime and Punishment&lt;/u&gt; (started but too busy)&lt;br /&gt;&lt;u&gt;Catch-22&lt;/u&gt;&lt;br /&gt;&lt;u&gt;One Hundred Years of Solitude&lt;/u&gt;&lt;br /&gt;&lt;b&gt;Wuthering Heights&lt;/b&gt;&lt;br /&gt;&lt;i&gt;The Silmarillion&lt;/i&gt;&lt;br /&gt;&lt;b&gt;Life of Pi&lt;/b&gt;&lt;br /&gt;&lt;u&gt;The Name of the Rose&lt;/u&gt;&lt;br /&gt;Don Quixote&lt;br /&gt;&lt;b&gt;Moby Dick&lt;/b&gt;&lt;br /&gt;&lt;u&gt;Ulysses&lt;/u&gt; (started, too busy)&lt;br /&gt;&lt;u&gt;Madame Bovary&lt;/u&gt;&lt;br /&gt;&lt;b&gt;The Odyssey*&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Pride and Prejudice*&lt;br /&gt;Jane Eyre*&lt;/b&gt;&lt;br /&gt;A Tale of Two Cities&lt;br /&gt;&lt;u&gt;The Brothers Karamazov&lt;/u&gt;&lt;br /&gt;Guns, Germs, and Steel: The Fates of Human Societies &lt;br /&gt;&lt;b&gt;War and Peace&lt;/b&gt;&lt;br /&gt;Vanity Fair&lt;br /&gt;&lt;u&gt;The Time Traveler&apos;s Wife&lt;/u&gt;&lt;br /&gt;&lt;b&gt;The Iliad*&lt;br /&gt;Emma*&lt;/b&gt;&lt;br /&gt;&lt;u&gt;The Blind Assassin&lt;/u&gt;&lt;br /&gt;The Kite Runner&lt;br /&gt;&lt;b&gt;Mrs. Dalloway&lt;br /&gt;Great Expectations&lt;br /&gt;American Gods*&lt;br /&gt;Atlas Shrugged&lt;br /&gt;Reading Lolita in Tehran&lt;/b&gt;&lt;br /&gt;&lt;u&gt;Memoirs of a Geisha&lt;/u&gt;&lt;br /&gt;Middlesex&lt;br /&gt;Quicksilver&lt;br /&gt;Wicked: The Life and Times of the Wicked Witch of the West&lt;br /&gt;&lt;b&gt;The Canterbury Tales*&lt;/b&gt;&lt;br /&gt;The Historian&lt;br /&gt;&lt;u&gt;A Portrait of the Artist as a Young Man&lt;/u&gt;&lt;br /&gt;Love in the Time of Cholera&lt;br /&gt;&lt;b&gt;Brave New World* &lt;/b&gt;(also in french)&lt;br /&gt;&lt;b&gt;The Fountainhead&lt;/b&gt;&lt;br /&gt;Foucault&apos;s Pendulum&lt;br /&gt;Middlemarch&lt;br /&gt;&lt;b&gt;Frankenstein&lt;/b&gt;&lt;br /&gt;The Count of Monte Cristo&lt;br /&gt;Dracula&lt;br /&gt;&lt;u&gt;A Clockwork Orange&lt;br /&gt;Anansi Boys&lt;/u&gt;&lt;br /&gt;&lt;b&gt;The Once and Future King&lt;/b&gt;&lt;br /&gt;&lt;u&gt;The Grapes of Wrath&lt;br /&gt;The Poisonwood Bible&lt;/u&gt;&lt;br /&gt;&lt;b&gt;1984*&lt;br /&gt;Angels &amp;amp; Demons&lt;br /&gt;The Inferno*&lt;/b&gt;&lt;br /&gt;&lt;b&gt;The Satanic Verses*&lt;br /&gt;&lt;strike&gt;Sense and Sensibility&lt;/strike&gt;&lt;br /&gt;The Picture of Dorian Gray &lt;/b&gt;&lt;br /&gt;&lt;b&gt;Mansfield Park&lt;/b&gt;&lt;br /&gt;One Flew Over the Cuckoo&apos;s Nest&lt;br /&gt;To the Lighthouse&lt;br /&gt;&lt;b&gt;Tess of the D&apos;Urbervilles*&lt;br /&gt;Oliver Twist&lt;br /&gt;Gulliver&apos;s Travels&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Les Misérables&lt;/b&gt;&lt;br /&gt;The Corrections&lt;br /&gt;The Amazing Adventures of Kavalier and Clay&lt;br /&gt;&lt;b&gt;The Curious Incident of the Dog in the Night-time&lt;br /&gt;Dune*&lt;br /&gt;The Prince*&lt;/b&gt;&lt;br /&gt;&lt;u&gt;The Sound and the Fury&lt;/u&gt;&lt;br /&gt;&lt;b&gt;Angela&apos;s Ashes&lt;br /&gt;The God of Small Things*&lt;/b&gt;&lt;br /&gt;A People&apos;s History of the United States: 1492-present&lt;br /&gt;&lt;b&gt;Cryptonomicon***************** BESTEST BOOK EVER EVER EVER EVER &lt;/b&gt;(have read it at least five-ish times)&lt;br /&gt;&lt;b&gt;Neverwhere*&lt;/b&gt;&lt;br /&gt;A Confederacy of Dunces&lt;br /&gt;A Short History of Nearly Everything&lt;br /&gt;&lt;u&gt;Dubliners&lt;/u&gt;&lt;br /&gt;The Unbearable Lightness of Being&lt;br /&gt;&lt;b&gt;Beloved&lt;/b&gt;&lt;br /&gt;Slaughterhouse 5&lt;br /&gt;&lt;b&gt;The Scarlet Letter&lt;br /&gt;Eats, Shoots &amp;amp; Leaves&lt;br /&gt;The Mists of Avalon&lt;/b&gt;&lt;br /&gt;&lt;u&gt;Oryx and Crake&lt;/u&gt;&lt;br /&gt;Collapse: How Societies Choose to Fail or Succeed&lt;br /&gt;Cloud Atlas&lt;br /&gt;The Confusion&lt;br /&gt;&lt;b&gt;Lolita&lt;br /&gt;Persuasion&lt;br /&gt;Northanger Abbey&lt;/b&gt;&lt;br /&gt;&lt;u&gt;The Catcher in the Rye&lt;/u&gt;&lt;br /&gt;&lt;b&gt;On the Road&lt;/b&gt;&lt;br /&gt;The Hunchback of Notre Dame &lt;br /&gt;Freakonomics: a Rogue Economist Explores the Hidden Side of Everything&lt;br /&gt;&lt;b&gt;Zen and the Art of Motorcycle Maintenance: An Inquiry into Values&lt;br /&gt;The Aeneid&lt;br /&gt;Watership Down&lt;br /&gt;&lt;/b&gt;Gravity&apos;s Rainbow&lt;br /&gt;&lt;b&gt;The Hobbit&lt;/b&gt;&lt;br /&gt;In Cold Blood: A True Account of a Multiple Murder and Its Consequences&lt;br /&gt;&lt;b&gt;White Teeth&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Treasure Island&lt;br /&gt;David Copperfield&lt;/b&gt;&lt;br /&gt;The Three Musketeers&lt;/div&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/51699.html</guid>
  <pubDate>Fri, 17 Aug 2007 14:41:28 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/51699.html</link>
  <description>&lt;div&gt;&lt;br /&gt;      &lt;h1&gt;Your Score: &lt;span&gt;A White Bishop&lt;/span&gt;&lt;/h1&gt;&lt;br /&gt;      &lt;h2&gt;You scored 1 Power-Finesse, 3 Leader-Follower, 3 Unique-Ordinary,  and 3 Offense-Defense!&lt;/h2&gt;&lt;br /&gt;       &lt;div&gt;&lt;img src=&quot;http://is1.okcupid.com/users/674/254/675255021927969289/mt1135033917.jpg&quot;&gt;&lt;/div&gt; &lt;br /&gt;      &lt;p&gt;&lt;br /&gt;      Despite your unusual talents, you are often overlooked by your opponent.  You are content to stay off to one side, allowing the bloodbath to ensue.  Occasionally however, you end up in the scrum yourself, slaughtering the unbelievers.   After all, what are the sheep for if not to be shorn?  You don&apos;t last long when you do that, though.   One unfortunate fact: No matter how hard you try, you can only reach half the squares on the board.&lt;br /&gt;      &lt;/p&gt;&lt;br /&gt;&lt;/div&gt;&lt;br /&gt;&lt;br /&gt;&lt;table cellpadding=&quot;20&quot;&gt;&lt;tr&gt;&lt;td&gt;Link: &lt;a href=&quot;http://www.okcupid.com/tests/11437473828666506196/What-Chess-Piece-Are-You&quot;&gt;The What Chess Piece Are You Test&lt;/a&gt; written by &lt;a href=&quot;http://www.okcupid.com/profile?u=Gundark27&quot;&gt;Gundark27&lt;/a&gt; on &lt;a href=&quot;http://www.okcupid.com&quot;&gt;OkCupid Free Online Dating&lt;/a&gt;, home of the &lt;a href=&quot;http://www.okcupid.com/online.dating.persona.test&quot;&gt;The Dating Persona Test&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/51346.html</guid>
  <pubDate>Sat, 11 Aug 2007 23:45:51 GMT</pubDate>
  <title>The awesomeness</title>
  <link>http://ikhnaie.livejournal.com/51346.html</link>
  <description>&lt;a href=&quot;http://title.forbiddenlibrary.com/&quot;&gt;http://title.forbiddenlibrary.com/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Zen Buddhism: Selected Writings. D.T. Suzuki. Doubleday. Challenged at the Plymouth-Canton school system in Canton, Mich. (1987) because &quot;this book details the teachings of the religion of Buddhism in such a way that the reader could very likely embrace its teachings and choose this as his religion.&quot; The last thing we need are a bunch of peaceful Buddhists running around. The horror. (Purchase)</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/50775.html</guid>
  <pubDate>Sat, 28 Jul 2007 00:35:11 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/50775.html</link>
  <description>It is ninety-four degrees in Halifax, Canada. I came home today overheated and dehydrated. It is still ninety-four degrees in my house, even though it&apos;s now eighty degrees outside. It is ninety-four degrees today in Halifax, Canada, and I&apos;m so worn out I don&apos;t even want to sleep.</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/50642.html</guid>
  <pubDate>Thu, 12 Apr 2007 00:26:19 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/50642.html</link>
  <description>I&apos;m really thinking of stopping to use Livejournal. I just don&apos;t like the way the internet is going, in terms of affecting how I live my life. I&apos;m losing my vocabulary, and emoticons are part of my mental dictionary now. That&apos;s not acceptable. So, I&apos;ll keep the account, so that I can read all of your posts, but other than that I will be subsuming this journal.</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/50403.html</guid>
  <pubDate>Sun, 01 Apr 2007 02:00:56 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/50403.html</link>
  <description>So I totally just won 300$. American. Which is like, almost 400 Canadian.</description>
  <comments>http://ikhnaie.livejournal.com/50403.html</comments>
  <lj:music>Victory March</lj:music>
  <media:title type="plain">Victory March</media:title>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/49777.html</guid>
  <pubDate>Fri, 23 Mar 2007 19:59:14 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/49777.html</link>
  <description>I think I just died. Or at least laughed my heart out. &lt;br /&gt;&lt;br /&gt;&lt;a name=&quot;cutid1&quot;&gt;&lt;/a&gt;&lt;div class=&quot;ljcut&quot; text=&quot;Behold! Confusion&quot;&gt;me: [my roommate] was showing us the matching bra and panties she bought for [roommate&apos;s boyfriend]&lt;br /&gt;me: *to wear for [roommate&apos;s boyfriend[&lt;br /&gt;rob: i was going to ask&lt;br /&gt;me: now you ask, where are the matching bra and panties you bought for me?&lt;br /&gt;rob: :P&lt;br /&gt;rob: apart from the fact that we tend to move past them pretty quickly&lt;br /&gt;me: you ruined my joke!&lt;br /&gt;rob: aw&lt;br /&gt;me: when i say, &apos;now you ask&apos;, then you ask when i just told you to ask&lt;br /&gt;me: ie ask&lt;br /&gt;rob: where are they?&lt;br /&gt;me: *headdesk* *headdesk* *headdesk* *headdesk*&lt;br /&gt;rob: i&apos;m confused! (})&lt;br /&gt;me: lol&lt;br /&gt;me: roflmao&lt;br /&gt;me: ({) &lt;br /&gt;me: ok. so i said, [roommate] showed us the matching bra and panties she bought to wear for [roommate&apos;s boyfriend].&lt;br /&gt;me: then, i told you that the appropriate response was &apos;so where are the matching bra and panties you bought for me?&apos;&lt;br /&gt;me: so you then say, &apos;so where are the matching bra and panties you bought for me?&apos;&lt;br /&gt;me: so i say, you never leave them on long enough to see them&lt;br /&gt;rob: :) &lt;br /&gt;me: and now you say it.&lt;br /&gt;me: type in &apos;so where are the matching bra and panties you bought for me?&apos;&lt;br /&gt;rob: so where are the matching bra and panties you bought for me&lt;br /&gt;rob: ?&lt;br /&gt;me: haha i had just decided not to call you on the question mark&lt;br /&gt;me: you never let me keep them on long enough to show you!&lt;br /&gt;me: ok?&lt;br /&gt;rob: i love you&lt;br /&gt;me: are we clear now?&lt;br /&gt;me: roflmao&lt;br /&gt;rob: yes&lt;br /&gt;me: i love you too&lt;br /&gt;&lt;/div&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/49642.html</guid>
  <pubDate>Sat, 10 Mar 2007 22:50:53 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/49642.html</link>
  <description>&lt;table width=&quot;700&quot; align=&quot;center&quot; style=&quot;border: 1px solid black; background-color:#FFECBF&quot; bgcolor=&quot;#FFECBF&quot;&gt;&lt;tr&gt;&lt;td align=&quot;center&quot; colspan=&quot;3&quot; style=&quot;background-color:#FFD87F&quot; bgcolor=&quot;#FFD87F&quot;&gt;&lt;font size=&quot;+1&quot;&gt;Personality Inventory&lt;/font&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;3&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Emotional&lt;/b&gt; (78%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;....&lt;font color=&quot;blue&quot;&gt;||||||&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Logical (22%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Concerned about self&lt;/b&gt; (57%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;.........&lt;font color=&quot;blue&quot;&gt;|&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Concerned about others (43%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Atheist&lt;/b&gt; (87%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;...&lt;font color=&quot;blue&quot;&gt;|||||||&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Religious (13%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Loner&lt;/b&gt; (53%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;.........&lt;font color=&quot;blue&quot;&gt;|&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Dependent (47%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Laid-back (8%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;||||||||&lt;/font&gt;..&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Driven&lt;/b&gt; (92%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Traditional&lt;/b&gt; (83%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;...&lt;font color=&quot;blue&quot;&gt;|||||||&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Rebel (17%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Impetuous&lt;/b&gt; (100%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;&lt;font color=&quot;blue&quot;&gt;||||||||||&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Organized (0%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Engineering mind (33%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;|||&lt;/font&gt;.......&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Artistic mind&lt;/b&gt; (67%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Cynical (20%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;||||||&lt;/font&gt;....&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Idealist&lt;/b&gt; (80%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Follower&lt;/b&gt; (57%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;.........&lt;font color=&quot;blue&quot;&gt;|&lt;/font&gt;..........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;Leader (43%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Introverted (37%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;|||&lt;/font&gt;.......&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Extroverted&lt;/b&gt; (63%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Conservative (26%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;|||||&lt;/font&gt;.....&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Liberal&lt;/b&gt; (74%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Logical (43%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;|&lt;/font&gt;.........&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Romantic&lt;/b&gt; (57%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Uninterested (21%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;||||||&lt;/font&gt;....&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Sexual&lt;/b&gt; (79%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;Insecure (32%)&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;font size=&quot;2&quot; face=&quot;Courier New&quot;&gt;&lt;font color=&quot;orange&quot;&gt;[&lt;/font&gt;..........&lt;font color=&quot;blue&quot;&gt;||||&lt;/font&gt;......&lt;font color=&quot;orange&quot;&gt;]&lt;/font&gt;&lt;/font&gt;&lt;/td&gt;&lt;td align=&quot;center&quot;&gt;&lt;b&gt;Confident&lt;/b&gt; (68%)&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;3&quot;&gt;&amp;nbsp;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot; colspan=&quot;3&quot; style=&quot;background-color:#FFD87F&quot; bgcolor=&quot;#FFD87F&quot;&gt;&lt;a href=&quot;http://tss.skcusome.com/take.php?id=pinv&quot;&gt;Take the test!&lt;/a&gt;&lt;br /&gt;&lt;font size=&quot;1&quot;&gt;brought to you by &lt;a href=&quot;http://tss.skcusome.com&quot;&gt;thatsurveysite&lt;/a&gt;&lt;/font&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;</description>
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  <lj:music>Rufus Wainwright - Tower of Learning</lj:music>
  <media:title type="plain">Rufus Wainwright - Tower of Learning</media:title>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/49375.html</guid>
  <pubDate>Sat, 03 Mar 2007 17:43:02 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/49375.html</link>
  <description>I just broke the &lt;br /&gt;&lt;a name=&quot;cutid1&quot;&gt;&lt;/a&gt;&lt;div class=&quot;ljcut&quot; text=&quot;mug&quot;&gt;&lt;br /&gt;&amp;nbsp;&lt;img src=&quot;http://photos-303.ak.facebook.com/ip002/v64/62/115/94801541/n94801541_31537303_7853.jpg&quot; alt=&quot;&quot; /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src=&quot;http://photos-304.ak.facebook.com/ip002/v64/62/115/94801541/n94801541_31537304_8155.jpg&quot; alt=&quot;&quot; /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src=&quot;http://photos-305.ak.facebook.com/ip002/v64/62/115/94801541/n94801541_31537305_8445.jpg&quot; alt=&quot;&quot; /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/div&gt;Rob gave me for Valentine&apos;s Day.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Also,&amp;nbsp; &lt;a name=&quot;cutid2&quot;&gt;&lt;/a&gt;&lt;div class=&quot;ljcut&quot; text=&quot;this &quot;&gt;&lt;br /&gt;&lt;img src=&quot;http://photos-466.ak.facebook.com/ip005/v19/124/103/94800609/n94800609_31241466_900.jpg&quot; alt=&quot;&quot; /&gt;&lt;/div&gt;is Rob and I at YAS Ball. (Please excuse his &apos;picture-face&apos;.) &lt;br /&gt;&lt;br /&gt;My favourite mug broke a couple months ago. It was funny, because everybody in my house knows &apos;no touching&apos; -- except apparently our new roommate (on exchange last semestre; old roommate&apos;s on exchange this one), and a friend visiting her had picked it up to use it and was walking to my roommates room and I was like &apos;don&apos;t use that mug!&apos; And then, the next night, when I poured tea into it from the teapot, tea came pouring out the side. There was a crack in a straight line from the centre of the bottom all up the side. &lt;br /&gt;&lt;br /&gt;Then, when roommate two was emptying the dishrack, the bowl someone gave me when I was born fell out and broke. No one in our entire house had used it until new roommate moved in. &lt;br /&gt;&lt;br /&gt;(Not blaming new roommate.)&lt;br /&gt;&lt;br /&gt;Then, I had the beautiful, gorgeous mug Rob gave me, that had perfect balance, and placed absolutely no strain on the fingers when it was full it was so well balanced, on the counter, and we have our cutting boards upright behind the canola and olive oils. I picked up the canola oil, and the olive oil (though 80% full), apparently was not sufficiently placed to hold the cutting boards up, and they fell. And -- flying mug.&lt;br /&gt;&lt;br /&gt;It really hurts. I&apos;m not like, depressed about it or anything, just really cut and upset.&lt;br /&gt;&lt;br /&gt;I&apos;m gonna go to the Clay Cafe a couple blocks away and see what they say. Rob&apos;s maybe gonna go to the store again.</description>
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  <lj:music>Aimee Mann - Little Bombs</lj:music>
  <media:title type="plain">Aimee Mann - Little Bombs</media:title>
  <lj:mood>downtrodden</lj:mood>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/48707.html</guid>
  <pubDate>Mon, 05 Feb 2007 02:51:29 GMT</pubDate>
  <title>is this thing psychic or something?</title>
  <link>http://ikhnaie.livejournal.com/48707.html</link>
  <description>&lt;form action=&quot;http://memes.angrygoats.net/post/haiku&quot; method=&quot;post&quot;&gt;&lt;table align=&quot;center&quot; border=&quot;0&quot; bgcolor=&quot;#ddddff&quot; style=&quot;border: 1px solid black;&quot;&gt;&lt;tr&gt;&lt;th&gt;&lt;a href=&quot;http://memes.angrygoats.net/&quot;&gt;Haiku&lt;sup&gt;2&lt;/sup&gt;&lt;/a&gt; for ikhnaie&lt;/th&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;blockquote align=&quot;right&quot; style=&quot;text-align:right;border-right:1px solid #bbbbdd; padding:5px;&quot;&gt; face of their precepts&lt;br /&gt;and arguments but as of&lt;br /&gt;yet there has been the&lt;/blockquote&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;input type=&quot;text&quot; size=&quot;8&quot; name=&quot;haiku_username&quot; value=&quot;ikhnaie&quot; /&gt; @ &lt;select name=&quot;haiku_server&quot;&gt;&lt;option value=&quot;aboutmylife.net&quot;&gt;aboutmylife.net&lt;/option&gt;&lt;option value=&quot;advogato.org&quot;&gt;advogato.org&lt;/option&gt;&lt;option value=&quot;blogger.com&quot;&gt;blogger.com&lt;/option&gt;&lt;option value=&quot;blogs.gnome.org&quot;&gt;blogs.gnome.org&lt;/option&gt;&lt;option value=&quot;blogspot.com&quot;&gt;blogspot.com&lt;/option&gt;&lt;option value=&quot;deadjournal.com&quot;&gt;deadjournal.com&lt;/option&gt;&lt;option value=&quot;greatestjournal.com&quot;&gt;greatestjournal.com&lt;/option&gt;&lt;option value=&quot;livejournal.com&quot; selected=&quot;selected&quot;&gt;livejournal.com&lt;/option&gt;&lt;option value=&quot;myspace.com&quot;&gt;myspace.com&lt;/option&gt;&lt;option value=&quot;spaces.msn.com&quot;&gt;spaces.msn.com&lt;/option&gt;&lt;/select&gt;&lt;input value=&quot;ikhnaie@livejournal.com&quot; type=&quot;hidden&quot; name=&quot;haiku_referrer&quot; /&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot;&gt;&lt;input type=&quot;submit&quot; value=&quot;What&amp;#39;s my Haiku?&quot;&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align=&quot;center&quot; bgcolor=&quot;#bbbbdd&quot;&gt;&lt;small&gt;&lt;a href=&quot;http://grahame.livejournal.com/&quot;&gt;Created by Grahame&lt;/a&gt;&lt;/small&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/form&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/48494.html</guid>
  <pubDate>Thu, 01 Feb 2007 19:10:52 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/48494.html</link>
  <description>I emailed my sister over a week ago, sent her a picture of me and Rob at the YAS Ball. I know that we&apos;re always bad at communication; I mean, we didn&apos;t even know I was gonna have a nephew until I already had one (half-sister; same father). I know it doesn&apos;t work like this, but I mean, if you&apos;re gonna be in contact, be in fucking contact. If you&apos;re going to let it drop, drop it all the way. Don&apos;t leave me wandering around outside without knowing if the door&apos;s booby-trapped or not.</description>
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  <lj:music>Juli - Du Nimmst Mir die Sicht</lj:music>
  <media:title type="plain">Juli - Du Nimmst Mir die Sicht</media:title>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/48154.html</guid>
  <pubDate>Tue, 30 Jan 2007 14:57:58 GMT</pubDate>
  <link>http://ikhnaie.livejournal.com/48154.html</link>
  <description>&lt;table width=&quot;90%&quot; border=&quot;1&quot; cellpadding=&quot;8&quot; align=&quot;center&quot;&gt;&lt;tr&gt;&lt;td width=&quot;1%&quot;&gt;&lt;img src=&quot;http://paulkienitz.net/quizpix/skiffy_greg.jpg&quot; width=&quot;200&quot; height=&quot;200&quot;&gt;&lt;/td&gt;&lt;td&gt;I am:&lt;blockquote&gt;&lt;big&gt;&lt;big&gt;&lt;b&gt;Gregory Benford&lt;/b&gt;&lt;/big&gt;&lt;/big&gt;&lt;/blockquote&gt;A master literary stylist who is also a working scientist.&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;br /&gt;&lt;center&gt;&lt;p&gt;&lt;br&gt;&lt;b&gt;&lt;a href=&quot;http://paulkienitz.net/skiffy.html&quot;&gt;Which science fiction writer are you?&lt;/a&gt;&lt;/b&gt;&lt;/p&gt;&lt;/center&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/47637.html</guid>
  <pubDate>Mon, 15 Jan 2007 16:28:04 GMT</pubDate>
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  <description>&lt;br /&gt;&lt;br /&gt;&lt;a name=&quot;cutid1&quot;&gt;&lt;/a&gt;&lt;div class=&quot;ljcut&quot; text=&quot;Age meme&quot;&gt;Put an X in the ones you do then add it up and that&apos;s your age!&lt;br /&gt;&lt;br /&gt;[x] I know how to make a pot of coffee&lt;br /&gt;[x] I do my own laundry&lt;br /&gt;[x] I can cook for myself&lt;br /&gt;[x] I actually enjoy intellectual conversations.&lt;br /&gt;[ ] I think politics are exciting.&lt;br /&gt;[ ] My parents and grandparents have better things to say than my friends&lt;br /&gt;Total: 4&lt;br /&gt;&lt;br /&gt;[x/ ] I show up for school and or work every day unless I&apos;m sick. (work, yes. school, no.)&lt;br /&gt;[x] I always carry a pen in my pocket/purse.&lt;br /&gt;[x] I&apos;ve never gotten a detention&lt;br /&gt;[ ] I&apos;ve watched talk shows to point out the credibility of it all&lt;br /&gt;[x] I know what credibility means without looking it up&lt;br /&gt;[x] I drink coffee at least once a week.&lt;br /&gt;Total: 3&lt;br /&gt;&lt;br /&gt;[x] I know how to run the dish washer and or do the dishes&lt;br /&gt;[x] I can count to 10 in Spanish &lt;br /&gt;[x] When I say I&apos;m going to do something I do it&lt;br /&gt;[x] My parents trust me&lt;br /&gt;[x] I can mow the lawn&lt;br /&gt;[x] I can make adults laugh without being stupid&lt;br /&gt;[x] I remember to water my plants&lt;br /&gt;[ ] I study when I have to&lt;br /&gt;[x] I pay attention at school&lt;br /&gt;[x] I remember to feed my pets&lt;br /&gt;Total: 9&lt;br /&gt;&lt;br /&gt;[x] I can spell experience without looking it up&lt;br /&gt;[ ] I clean up my own mess&lt;br /&gt;[ ] The first thing I do when I wake up is get Diet Coke.&lt;br /&gt;[x] I can go to the store without getting something I don&apos;t need.&lt;br /&gt;[x] I understand jokes the first time they are said&lt;br /&gt;[x] I can type fast.&lt;br /&gt;Total: 4&lt;br /&gt;&lt;br /&gt;[x] I have realized that the weather forecast changes every hour.&lt;br /&gt;[x] I can look at someone hot without thinking of sex.&lt;br /&gt;[ ] I realize that no one will take you seriously unless you are over the age of 25 and have a job.&lt;br /&gt;[x] I can read a book and actually finish it&lt;br /&gt;Total: 3&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Looks like I&apos;m twenty four and a half. Iiiiiiiinteresting.&lt;br /&gt;&lt;/div&gt;</description>
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  <lj:music>The Organ - Love Love Love</lj:music>
  <media:title type="plain">The Organ - Love Love Love</media:title>
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  <pubDate>Wed, 06 Dec 2006 01:48:42 GMT</pubDate>
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  <description>Comment, and I probably won&apos;t give you a letter, as I never usually participate in these things. But like Cory said, I really don&apos;t want to do this essay. Ten things that I love that begin with the letter E.&lt;br /&gt;&lt;br /&gt;1. Eldritch, Andrew&lt;br /&gt;2. E Nomine&lt;br /&gt;3. Evgeny Onegin&lt;br /&gt;4. epistemology&lt;br /&gt;5. Enuma Elish&lt;br /&gt;6. Elizabeth Edwards&lt;br /&gt;7. Earl Grey tea&lt;br /&gt;8. epic poems&lt;br /&gt;9. England&lt;br /&gt;10. essays&lt;br /&gt;&lt;br /&gt;EDIT: Okay, okay, yeah, I think I&apos;m probably as scared as the rest of you, let&apos;s not even think about how incredibly academic every single thing on that list is.&lt;br /&gt;&lt;br /&gt;Go on. Argue against England and Earl Grey tea being academic. Come on. I dare you.&lt;br /&gt;&lt;br /&gt;... You see?</description>
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  <pubDate>Tue, 05 Dec 2006 05:40:57 GMT</pubDate>
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  <description>I want to write this paper about as much as I want to get a bikini wax.&lt;br /&gt;&lt;br /&gt;And the kicker of it is? It&apos;ll only take me three hours, if I can only get started.</description>
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  <pubDate>Fri, 01 Dec 2006 04:21:19 GMT</pubDate>
  <title>CSP 3000 paper.</title>
  <link>http://ikhnaie.livejournal.com/47045.html</link>
  <description>go read, &lt;br /&gt;&lt;br /&gt;&lt;a name=&quot;cutid1&quot;&gt;&lt;/a&gt;&lt;div class=&quot;ljcut&quot; text=&quot;Michael Polanyi&apos;s Tacit Knowledge and the Logical Nature of Philosophy&quot;&gt;&lt;br /&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%; page-break-before: always;&quot;&gt; In his introduction to &lt;i&gt;Margins of Philosophy&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;, Jacques Derrida explicates how the structure of his work of deconstruction is aimed at finding a stable, infallible basis for philosophy, and  details how previous discourses have found themselves invalidated by their own  presuppositional bases. Michael Polanyi, in his article &apos;Rights and Duties of Science&apos;, argues for a separation of pure science from its potential practical applications, as such teleologically aimed research cannot be free to encounter the discoveries that have proven to be the true leaps forward of scientific knowledge. Many philosophers have argued that Derrida&apos;s thought and deconstruction itself are useless to what they might call the &apos;real&apos; world, as it is tied up in intricate language that essentially requires one to relearn the meaning of the words it uses in order to be understood, and because the concepts played out in deconstructive thought stand at a remove from the immediacy of every day life, and are themselves accessible only in retrospection upon their intersections. Derrida has refuted this, a subject which he touches upon in &apos;Autoimmunity: Real and Symbolic Suicides&apos;, where he separates the application and the evaluation of philosophy, stating that it would be a &apos; “philosopher” (actually I would prefer to say a “philosopher-deconstructor”)... who analyses and then draws the practical and effective consequences of the relationship between our philosophical heritage and the structure of the still dominant juridico-political system ... one who seeks a new criteriology to distinguish between “comprehending” and “justifying” &apos; (106), between the removed, objective view of philosophical understanding and the applied and mutable nature of such questions of ethics.&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; font-style: normal; line-height: 200%;&quot;&gt; On the surface, from a position uninvolved in the actuality of practicing such an art, this argument holds. The “philosopher-deconstructor” will use his skills in philosophy to look at the current problems, analyse the tracks of their progression, and construct sets of criteria by which the governing institutions can guide their actions, so as to prevent the recurrence of such problems again. But in practice, the pristine flow of this seemingly well-oiled machine must break down. It is easy enough to use Derrida&apos;s own thought to follow through to this conclusion; for though the presuppositional bases of the discourses of such as Saussure and Heidegger are much more complex and philosophically relevant, they are no more important than the presupposition here, and perhaps are even less of a danger, because of their inherent philosophical structure.&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;The unstable base that we find here is not of an error of philosophy, nor of analysis. It is not something that can be argued within the structure of the dominant discourses, but that which is consequent of the unstable borders of philosophy itself. Here, in this description of a “philosopher-deconstructor”, Derrida brings the philosopher out of his native land, and applies his mind to that which he has no calling. This is quite exactly the same problem that Polanyi addresses, not only in &apos;Rights and Duties of Science&apos; but also in his books &lt;/span&gt;&lt;i&gt;The Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; and &lt;/span&gt;&lt;i&gt;Personal Knowledge&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;, of the separation – and practical lack thereof – between pure and applied science. Much of his thought is a reaction to the doctrine of Bernalism, which declares science as to be such as is only aimed at the progress and betterment of society (2-3, &apos;Rights and Duties&apos;). Polanyi believes that any scientific research aimed at a specific end, can amount to nothing truly monumental in scientific discoveries. Applied science is nought but &apos;ingenuity ... employed in the process of handling knowledge&apos; (5, &apos;Rights and Duties&apos;). It removes knowledge from the sanitary environs of fact and gives it over to the multitudinous ethics of human life. He goes on to say that &apos;so long as knowledge is merely viewed in its practical context, it can gain no scientific interest&apos;. Polanyi here deals with the physical world, while Derrida handles that of the metaphysical. But because of his scientific, and hence more regimented and practiced, background, Polanyi has an easier time making out the separation of the theoretical and the practical. For centuries, philosophers have applied their mental powers to whatever dogmas they saw fit. They have created entire universes of philosophy, from Kant&apos;s ethics with his &lt;/span&gt;&lt;i&gt;summum bonum&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; and the categorical imperative to the absurdist realms of such as Camus, but unlike their scientific counterparts, there are no mathematical formulas and rules by which to test the boundaries of these theories. A science founded on presupposition – such as the long believed notion of the geocentric universe which drew its standing from its connection to the church – is eminently disprovable, and with all objective measurements surrounding it taken, it is  impossible to logically argue for. There are no such universal rules that are applicable to philosophy in order to test the validity and stability of certain discourses. Yet still philosophers try to proscribe ideals and theories as universal laws. No matter how careful this process may be, it can never be completely objective, and therefore can never be fit to govern the universe as a whole. &lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;This is the same problem that Polanyi identifies existing in science. He seeks to &apos;show that complete objectivity as usually attributed to the exact sciences is a delusion and is in fact a false ideal. But [he will] not try to repudiate strict objectivity as an ideal without offering a substitute&apos; (18, &lt;/span&gt;&lt;i&gt;Personal Knowledge&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). This substitute he calls &apos;personal knowledge&apos;, a rather ineffable type of thought that exists only as a certainty within one&apos;s mind, and that cannot be logically or demonstrably proven to another scientist, but can only be passed on by that other scientist having gone through the same experience. &lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;The act of moving into such an ineffable knowing is not one that can be taken with full consciousness of one&apos;s actions, and occurs almost as an uncontrolled descent that is guided by forces we cannot distinguish, much as we are never aware of the movements made by the muscles of our eyes as we direct them to different locations in order to interpret the different objects we see there. This is an indwelling, a tacit inhabitance of our mental powers, much as we subsidiarily use our senses to process information about the physical world. While the objects may exist on their own without our observations, they have no meaning and cannot be proven without interacting with our senses. And it is only through our senses that we can understand what these objects are; our ideas of them are coloured by the structural variations of our sense organs. The same applies to any object that lies outside of us, including scientific knowledge and philosophical speculation. Tacitly knowing, the act of ineffable understanding, is established as &apos;a meaningful relation between two terms [such as sense organ and external object] ...  [is identified] with the &lt;/span&gt;&lt;i&gt;understanding &lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;of the comprehensive entity which these two terms jointly constitute&apos; (13, &lt;/span&gt;&lt;i&gt;Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). The knowledge is not separate from the act of knowing, and nor can it be. The closest one can get to completely objective knowledge is the practice of mathematics, but Polanyi is not concerned here with complete objectivity, but rather with how our subjectivity informs our objective knowledge.&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;When looking at the texts of Polanyi and Derrida in conjunction, there is a kind of ineffability experienced. Both thinkers seem to have a similar idea of what should constitute &apos;knowledge&apos; – Polanyi his ineffable experiences and Derrida his perpetual derailing of any philosophy that claims to stem from a certain base. Derrida looks at philosophy, and sees how every discourse that has ever taken hold of the mind has been born out of a presupposition, whether pre&lt;/span&gt;ö&lt;span style=&quot;font-style: normal;&quot;&gt;riginary or conscious, and that these presuppositions themselves legislate the course that that discourse follows. From Plato, thinking the &apos;good&apos;, to Kant, believing in the &lt;/span&gt;&lt;i&gt;summum bonum&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; and thus finding the proof for it within his own arguments, no philosopher starts with a clean slate. Even Derrida, in his quest to destabilise the foundations of the entire discourse of philosophy, is bounded in by such a presupposition – that of the existence of philosophy itself. By his very treatment of the philosophical texts, he allows their presuppositions. He touches upon this, asking &apos;can one, strictly speaking, determine a nonphilosophical place, a place of exteriority or alterity from which one might still treat &lt;/span&gt;&lt;i&gt;of philosophy&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;? Is there any ruse not belonging to reason to prevent philosophy from still speaking of itself&apos; (xii, &lt;/span&gt;&lt;i&gt;Margins&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). He can never treat of philosophy from outside its own borders; instead he speaks of an &lt;/span&gt;&lt;i&gt;arrivant par excellence&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; (34, &lt;/span&gt;&lt;i&gt;Aporias&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;) that would come from a place unknown, and hence, having no base, could take on philosophy and not be in danger of being subsumed into the dominant discourse itself.&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;But these are all subordinate presuppositions; in order for there to even be a &apos;philosophy&apos; as such, there must be an originary presupposition. This comes to be found in the very existence of philosophy itself. It is; it talks to itself, among itself; it give credence to itself. It is &apos;ample to the point of believing itself interminable, a discourse that has &lt;/span&gt;&lt;i&gt;called itself&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; philosophy—doubtless the only discourse that has ever intended to receive its name only from itself&apos; (x, &lt;/span&gt;&lt;i&gt;Margins&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). Philosophy presumes itself. Science likewise presumes itself, but here it is more of an assumption. Science seeks to declare that which is scientific and that which is not. It seeks to control what ideas gain acceptance and what theories are allowed as valid. But this aspect of science is co&lt;/span&gt;ë&lt;span style=&quot;font-style: normal;&quot;&gt;xtensive with another but required aspect of science; that of the principle of mutual control (72, &lt;/span&gt;&lt;i&gt;Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). Scientists in related fields will critique each other and thus keep out invalid knowledge, but at the same time as this protects science from becoming nothing but a loose amalgamation of irrelevant facts, it also creates a social barrier through which such knowledge must gain admittance before being accepted as fact. Knowledge must prove itself, but it must also fit within the accepted standards and facts of the contemporary scientific fields. &lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; font-style: normal; line-height: 200%;&quot;&gt; The presuppositions of science can be found out by advances in knowledge, by testing of the hypotheses put forth. The discourses internal to philosophy have been shown to be invalidatable by a careful deconstruction of their precepts and arguments. But as of yet, there has been no way found to surprise philosophy so as to test the stability of its own foundation. Polanyi  details the equivalent problem in science thus:&lt;/p&gt; &lt;p style=&quot;margin-left: 2.88cm; margin-right: 2.46cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;I suggest now that the supposed pre-suppositions of science are so futile because the actual foundations of our scientific beliefs cannot be asserted at all. When we accept a set of pre-suppositions and use them as our interpretative framework, we may be said to dwell in them as we do in our own body. Their uncritical acceptance for the time being consists in a process of assimilation by which we identify ourselves with them. They are not asserted and cannot be asserted, for assertion can be made only &lt;/span&gt;&lt;i&gt;within&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; a framework with which we have identified ourselves for the time being; as they are themselves our ultimate framework, they are essentially inarticulable (60, &lt;/span&gt;&lt;i&gt;Personal Knowledge&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;).&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;margin-left: 2.88cm; margin-right: 2.46cm; margin-bottom: 0cm; font-style: normal; line-height: 0.35cm;&quot;&gt; &lt;br /&gt; &lt;/p&gt; &lt;p style=&quot;margin-bottom: 0cm; font-style: normal; line-height: 200%;&quot;&gt;But at the same time, Polanyi also depends upon this inarticulate framework. His idea of science is of it as a tradition, a continual building-upon of knowledge, and it is only out of growing up in this tradition that we are able to understand complex scientific knowledge without having to go back to its very initial propositions in order to come to an understanding of the whole.  &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;This &apos;traditional&apos; take on science, while perhaps seeming to box science in, actually clears the way for science to be freed from stricture and the danger of a teleological search for &apos;truth&apos;. The practice of science depends on the subsidiary awareness mentioned above, where one comes to dwell inside the ineffable knowledge that one has, and to be guided by the subconscious awareness of what such knowledge means. But were we to give ourselves a view of science based solely on its facts and proofs, we would have to be so focussed on so many different aspects that we could not but help bring presuppositions into our research, and most definitely into our interpretations of the results. This is like to the process that Polanyi describes of a pianist switching between subsidiary and focal awareness. If he &apos;shifts his attention from the piece he is playing to the observation of what he is doing with his fingers while playing it, he gets confused and may have to stop. This happens if we switch our focal attention to particulars of which we had previously been aware only in their subsidiary role&apos; (56, &lt;/span&gt;&lt;i&gt;Personal Knowledge&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). In science, it is easy to identify these particulars, should we wish it. They are the theories and tools that have found themselves verified and accepted into the mainstream facts of contemporary science, and it is easy to identify invalid particulars by putting them to a methodological test. In testing a hypothesis, one works with all of these, identifies there connections and seeks to ensure that they are valid. Conversely, when a scientist is chasing down a hunch, he cannot be too aware of these particulars, for otherwise they will overshadow his ineffable knowledge and colour the results he gets. &lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;Polanyi accounts for the ability to reach such unintentional results by tacit knowing. Tacit knowing accounts for the awareness of a scientist that there is a gap, a problem for which he can solve. His possessing of tacitly known particulars and the ineffable connections between them gives him the ability to pare down his ideas, and to have an inkling of what form his results will take (24, &lt;/span&gt;&lt;i&gt;Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). In philosophical searchings, a too great awareness of the particulars will create a discourse completely ruled by them, and giving too much heed to these strictures will only inform the very basis of the discourse into a teleological presupposition, leaving the discourse wide open to invalidation as it both proves itself and is proved by itself, a thought begun with a path in mind that moved forward and only recognised the signposts it needed to continue along that predetermined path.&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span style=&quot;font-style: normal;&quot;&gt;Within this type of philosophy, tacit knowledge is useless as an informative tool, and serves only as an indicator of a problem beyond logic and pure reason. It is its form as ineffable knowledge that comes into play here, a conjoining of all information stored tacitly that fails to connect completely, and shows inarticulably that the discourse is invalid. It is only here that Derrida seems to truly appreciate such occurrences of tacit knowledge – he discusses these moments in his book &lt;/span&gt;&lt;i&gt;Aporias&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;, which is primarily a consideration of the Heideggerian theory of death as the ultimate experience of one&apos;s own living being. Within this theory exists an inherent &lt;span lang=&quot;en-GB&quot;&gt;contradiction, as Heidegger argues both that death is both the possibility of an impossibility of Dasein and the only proper possibility of Dasein. He recognises the clash of logic here, it is Derrida&apos;s argument that Heidegger does not follow his thought to its ultimate conclusion, for a true understanding of this concept, a true inhabitation of its thought, requires an ineffable indwelling in the contradiction that it posits. Derrida calls this the aporia.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;Heidegger has subconsciously managed to evade confronting this aporia, because to experience an inarticulable knowledge would be to invalidate language – and without language, Dasein loses its superiority of being. Aporias such as these &apos;risk paralysing the ontological, hierarchical, and territorial apparatus to which Heidegger lends credit. These aporias risk interrupting the very possibility of its functioning and leading it to ruin’ (27-28, &lt;/span&gt;&lt;i&gt;Aporias&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). They interrupt the monopoly on knowledge that philosophy has, by their being removed from the very body of philosophy – its language and words, its logic, which is a practice whose name itself is derived from the Greek for &apos;word&apos;. Philosophy could no more accept that than the practical scientists of today would permit the argument that an ineffable knowledge of a problem and its possible solution could be a valid constituent of the discourse of the sciences, being unverifiable.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;While science is not governed by language, there are different languages it is necessary to learn in order to understand the different realms of science. Words may take on different meanings, and symbols with no outside significance become the centre of meaning. These groupings of related meanings are languages in their own right, and one cannot critique science without understanding them – just as Derrida cannot comment on philosophy without resorting to philosophy himself, yet here it does not carry the same threat to understanding as it does there. Polanyi says that most of the pre-suppositions of science are assimilated &apos;by learning to speak of things in a certain language, in which there are names for various kinds of objects, names by which objects can be classified&apos; (59, &lt;/span&gt;&lt;i&gt;Personal Knowledge&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;) and understood. These objects are named, and once named, the scientist can stop thinking about them, stop worrying about figuring them out, and can let go of the questions concerning them, once he has discovered enough about them to be satisfied. It is by such declarative namings as these that the tradition of science is constituted, and the set of facts referred to by such names works its way into the tacit knowledge of the scientists who study it. If this knowledge is sufficient for the applications necessary in the current society, without free research no further grand discoveries will come into being, for these facts will be approached with the knowledge that they are complete, and that their borders have no questionably blurred areas. &lt;/span&gt;&lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;Conversely, it is not its own content that philosophy most vigourously seeks to name and thus to control, but that which it has declaratively made its &apos;other&apos;. &apos;Philosophy has always insisted upon this: thinking its other. Its other: that which limits it, and from which it derives its essence, its definition, its production&apos; (x, &lt;/span&gt;&lt;i&gt;Margins of Philosophy&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). Science has mathematical formulas and incontrovertible physical facts by which to define itself. Philosophy, that which claims to be the way to the knowledge of everything, could never define itself so baldly, for even if no fact was ever found that existed outside of its delimitations, the very delimiting allows for those facts to have potentiality, thus displacing philosophy from the sole right to &apos;truth&apos;. The only delimitations set upon philosophy are its tools – logic and reason. It can only keep striving to encompass more and more, all the time risking the subsuming of something that will invalidate one of its most dominant discourses. The only solidly irrefutable &apos;truths&apos; in philosophy are those that invalidate others. These truths have no preöriginal basis; their foundation is found solely in the discourses they critique, and they themselves are the contradictions and aporias of those discourses coming out to play. &lt;/span&gt;&lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;Thus the truth of philosophy is built upon its invalidation of itself; the truth of science is constructed of its own delimitations. Given any connection to either a presupposition or a teleological intent, and these truths can no longer argue themselves. In science, Polanyi&apos;s solution for this is the acceptance of tacit knowledge, of the verity of the ineffable awareness of a problematic and its solution. If one does not know to what end one is headed, even what path one is on, how can the voyage be tainted by any presuppositional teleology? The scientist&apos;s &apos;vision of the problem, his obsession with it, and his final leap to discovery are all filled from beginning to end with an obligation to an external objective. In these intensely personal acts, therefore, there is no self-will&apos; (77, &lt;/span&gt;&lt;i&gt;Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). Once at that discovery, the currently known scientific facts can be brought to bear upon it, to test it, and to be tested themselves.  Philosophy has engendered itself with the claim to everything, and given that the metaphysical is not governed by the mathematical laws of physics, there are no tests that can be given to philosophy not of its own making. Thus philosophy begins everywhere, with everything, and being so untestable, can never be called into question. But neither can philosophy be built up, in stages, for then there must be a starting point, and in order for there to be a starting point, one must already be somewhere. It is thus necessary that philosophy be preöriginary, whereas science can be built up from a very simple mathematical beginning. The only philosophical knowledge that can claim to have no presupposition is that which one can only experience – such as that of the aporia. The aporia cannot be articulated, and since it is upon logic and words that philosophy is based, there can be no invalidation of it. But most such experiences come from the unsolvable, the unverifiable, such as Heidegger&apos;s theory of death and Dasein, which one can only come to understand; it cannot be taught. Unlike the tacit knowledge of science, the tacit knowledge of philosophy ends still tacit. The eventual expression of scientific discovery is not articulable either, for it is described by maths, or heuristics. But it is describable. One must only already dwell within the ineffability of that particular science. &lt;/span&gt;&lt;/span&gt; &lt;/p&gt; &lt;p style=&quot;text-indent: 1.08cm; margin-bottom: 0cm; line-height: 200%;&quot;&gt; &lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;Philosophy seeks a truth that is unverifiable – so broad that it encompasses everything, explains everything, is completely transcendental. Unverifiability does not exist within the realms of logic and reason, but philosophy will allow for no other tools. Tacit knowledge, while perhaps questionable while underway, can be accepted by science, for at the end it is verifiable. It can be questioned and tested. Tacit knowledge, in philosophy, must never be acceptable, for it cannot be so tested, so long as we insist upon understanding philosophy in the way that has been the wont of the Western Metaphysical tradition. But it is also the only uninvalidatable form of knowledge. Philosophy can obviously never be given over to ineffable knowledge; that would defeat its point, however self-serving its point may be. But it is from a tacit drive that a philosopher must begin; at least with that starting point we are not confronted concomitantly with a presuppositional doctrine, and though the tradition from which a philosopher comes may provide a slight teleological bent to his thought, it is not intentional, and such an informing of his thought by his tradition is unavoidable; there are no new starting points, and every step forward is informed by the force and direction of every other step before. Polanyi describes scientific discovery as an &apos;existential choice&apos;, and it must be the same with philosophy. &apos;We start the pursuit of discovery by pouring ourselves into the subsidiary elements of a problem and we continue to spill ourselves into further clues as we advance further, so that we arrive at discovery fully committed to it as an aspect of reality&apos; (80, &lt;/span&gt;&lt;i&gt;Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;). The closest philosophy has come to such an informed yet unintentional pursuit is the practice of deconstruction, which does not create doctrines of its own, but exists in the connections and conjunctions between the other discourses. But here again there is no path; deconstruction does not seek truth, but to delimit what is &lt;/span&gt;&lt;i&gt;not&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; truth, and given our utter inability to see the complete scope of the philosophical basis, perhaps that is the closest we can yet come to discovering &apos;truth&apos;. &lt;/span&gt;&lt;/span&gt; &lt;/p&gt; &lt;p align=&quot;center&quot; style=&quot;margin-bottom: 0cm; line-height: 200%; text-decoration: none; page-break-before: always;&quot;&gt; &lt;font size=&quot;4&quot;&gt;&lt;i&gt;&lt;b&gt;Bibliography&lt;/b&gt;&lt;/i&gt;&lt;/font&gt;&lt;/p&gt; &lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;Derrida, Jacques. &lt;/span&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;i&gt;Aporias&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;. Trans. T. Dutoit. Stanford, California: Stanford University Press, 1993.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt; &lt;p lang=&quot;en-GB&quot; align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; font-style: normal; line-height: 0.35cm; text-decoration: none;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;br /&gt;&lt;/font&gt; &lt;/p&gt; &lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;------ ‘Autoimmunity: Real and Symbolic Suicides’. &lt;/span&gt;&lt;i&gt;Derrida Course Reader.&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt; Halifax: University of King’s College, 2005-2006.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt; &lt;p lang=&quot;en-GB&quot; align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; font-style: normal; line-height: 0.35cm; text-decoration: none;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;br /&gt;&lt;/font&gt; &lt;/p&gt; &lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;------ &lt;/span&gt;&lt;i&gt;Margins of Philosophy&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;. Chicago: The University of Chicago Press, 1982.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt; &lt;p lang=&quot;en-GB&quot; align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; font-style: normal; line-height: 0.35cm; text-decoration: none;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;br /&gt;&lt;/font&gt; &lt;/p&gt; &lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;Polanyi, Michael. &lt;/span&gt;&lt;i&gt;The Tacit Dimension&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;. London: Routledge &amp;amp; Kegan Paul Ltd, 1966.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt; &lt;p lang=&quot;en-GB&quot; align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; font-style: normal; line-height: 0.35cm; text-decoration: none;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;br /&gt;&lt;/font&gt; &lt;/p&gt; &lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;------ &lt;/span&gt;&lt;i&gt;Personal Knowledge. &lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;New York: Harper Torchbooks, 1962.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt; &lt;p lang=&quot;en-GB&quot; align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; font-style: normal; line-height: 0.35cm; text-decoration: none;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;br /&gt;&lt;/font&gt; &lt;/p&gt; &lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt; &lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;------ &apos;Rights and Duties of Science&apos;. &lt;/span&gt;&lt;i&gt;CSP 3000: Science and Culture Course Reader&lt;/i&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;. Halifax: University of King&apos;s College, 2006-2007.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt;&lt;/div&gt;&lt;p align=&quot;left&quot; style=&quot;margin-left: 1.03cm; text-indent: -1.01cm; margin-bottom: 0cm; line-height: 0.35cm;&quot;&gt;&lt;font size=&quot;3&quot;&gt;&lt;span style=&quot;&quot;&gt;&lt;span style=&quot;text-decoration: none;&quot;&gt;&lt;span lang=&quot;en-GB&quot;&gt;&lt;span style=&quot;font-style: normal;&quot;&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/font&gt;&lt;/p&gt;&lt;/span&gt;</description>
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  <guid isPermaLink='true'>http://ikhnaie.livejournal.com/45418.html</guid>
  <pubDate>Tue, 31 Oct 2006 19:06:10 GMT</pubDate>
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  <description>Uh, let&apos;s hear it for &lt;i&gt;raping&lt;/i&gt; Ancient Greek upside down, backwards, and sideways. &apos;Cause yeah. I&apos;m just that good.</description>
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  <lj:music>Junior Boys - Bellona</lj:music>
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  <pubDate>Fri, 27 Oct 2006 02:30:10 GMT</pubDate>
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  <description>Let&apos;s hear it for being raped upside down, backwards, and sideways by Ancient Greek. And I don&apos;t even know how you get raped sideways. But it happened. And I think I&apos;m the only person who actually finished the exam.</description>
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  <lj:music>Bach, Camerata Romana</lj:music>
  <media:title type="plain">Bach, Camerata Romana</media:title>
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