I Ching

Let me sketch out here my vision of the cloistered cornucopia of AD 2100: Management of Planet Earth is entirely rationalized. Nature still nurtures. Artificial intelligence is history. The Machine has met its Master. The rich are enraptured. The poor are happy. The ducks of demography are all in a row. Never more is heard the discouraging word. Welcome to my sanguine vision of our future totalitarian utopia. All is for the best in the best of all possible worlds. (Voltaire 1758) Where ignorance is bliss, 'tis folly to be wise.

Print publication, translation: Nina Kettiger // In the twentieth century, chance is a discursive tool, a field operator, and a vector of knowledge and power relationships. A number of recent analyses of artistic chance have considered its heteronomous character, and not only from the angle of aesthetic autonomy. This article intends to contribute to such an epistemological approach to chance, focusing on two great disputes regarding chance: Boulez / Cage and Queneau / Breton.

Previous 3D experiments with representations of symbols in 2D Alternative hexagram representation-as a resonance hybrid? Configuring the set of hexagrams as a toroidal Ouroboros Experimental interactive animations of the Ouroboros-Yi Jing "integration" Cognitive engagement with fundamental symbol dynamics Indications of how to experiment with the 3D animations Technical constraints of 3D applications and their cognitive implications Further 3D design possibilities and metaphors

中国宋元時代の『周易』研究に見られる一種の「古易」思潮を紹介しつつ、日本江戸時代における「古易」現象を対照的に考察した。「復古」と呼ばれる宋元中国の「古易」運動が、「経を経とし、伝を伝とす」という刊行形式の問題から始まり、経と伝の関係へと派生し、さらに『易経』解釈の革新に及んだことを指摘した上で、江戸時代の『易経』に関する作品に見られる「古易」思潮を、宋元中国の復古運動の延長と位置づけることを試み、その流れを整理した。また、伊藤仁斎・太宰春台・新井白蛾・中井履軒などの儒者の作品に対する分析を通じて、江戸時代の儒者が経と伝の関係や『易経』の性質をめぐって展開した討論、及び朱子学への批判などを提示していた。その上で、思想史研究の立場から、中日の儒学史上、経典解釈において共通する問題意識の中に、異質な構想や動機が含まれていた状況を明らかにしてゆきたい。

The project presents an investigation on Yi Jing, The Book of Changes, in the field of interactive design. Its scope results in an interactive installation where the user, through its presence and movements, makes an interactive journey, travels through the symbols, concepts and the texts which make up that Book. It aims at exploring the potential imagery of the Yi Jing, through a manifold rich visual stimulus-experience, promoting at the same time the possibility of new readings both at a personal and also cognitive levels as well as other levels of interaction.

SOURCE;
Pp. 112-42 from Warren D. TenHouten and Charles D. Kaplan, Science and Its Mirror Image, 1972. New York: Harper & Row.

This chapter elaborates a fourfold model of scientific rationality, then shows that synthetic inquiries are based on an opposite kind of rationality.

I have been asked to comment on the feng shui qualities of Toledo. In simple terms, feng shui recommends that virtuous people seeking improvements to their human condition strive to put themselves in the right place,  at the right time. facing the right direction. Is this possible in Toledo? From a feng shui perspective, my tentative, rudimentary survey reveals that Toledo as a propitious site and situation is located where it is for almost all of the wrong reasons -- an Ann Arbor with bad breath breath.

Kamila Ženatá is a Czech contemporary multi-media artist with international reputation, drawing up on her extensive experience with art therapy. Her exhibition at Beverley Art Gallery was a tribute to the ‘Book of Changes’, an ancient Chinese collection of wisdom. Since its dispersal across Western cultures, The Book of Changes had a profound influence on modern psychology, literature and art. Kamila created eight videos celebrating the natural elements appearing as symbols in the Book. The videos are shown simultaneously thus creating an immersive experience, celebrating synchronicity, mutual interaction of events, and raising environmental awareness. The exhibition was created in collaboration with Hošek Contemporary gallery in Berlin (Germany) and was kindly supported by the Czech Centre London.

How can phonetic patterns assist the 周易 zhōuyì reader, in organizing and connecting the raw material such an “open interpretive space with a principle of multiplicity”  seems to offer ?

In between the framework of contemporary phonological researches this project aims:

a) to collect phonological datas both linked to received and unearthed ZhouYi texts/characters;
b) to display them in an ordered/manageable suit;
c) to use this suit, explorying the ZhouYi text by rhyme, prosody and meter connections;
d) [Land Ho!] to devolop narratives on previous basis together with a playful goal: to translate for the querent, not for the reader.

Follow on www.processive.wordpress.com

Spreadsheet model of the mathematics described by Paul Martyn-Smith in his work, "Sum of Things."
This document is a static rendering of the actual spreadsheet model.  As such, it comprises 45 screenshots of the model in five groups of nine sheets, and a summary sheet.

"Living the Personal Myth was written by Zardoa Silverstar of the Silver Elves. It is a unique narrative about a psychological study of the magic of living one’s personal myth, in effect, making one’s dream and vision of one’s self come true by living it. It is a personal guide using active imagination, oracles and dream work, to becoming one’s true s’elf as one inwardly knows one’s s’elf to be.

What makes this book particularly interesting is that the author considers himself to be an elf, yet he has an astute scientific mind that he uses to psychologically examine his identification with the otherkin world. He explores his personal myth and life as an elf and demonstrates how basing one’s myth on real events in one’s life empowers one’s myth and one’s magic. Whatever or whoever you are, this book is a potent guide to realizing one’s genuine, and potentially powerful, magical and fantastic, nature. The author uses dream work techniques, oracle readings, and active imagination to take us through a depth psychology exploration of his own experience in the individuation process of becoming a whole person whose unconscious and conscious elements are integrated and who is a unique individual. Much of the material in this book is based on a depth process study he conducted at Sonoma State University in the Depth Psychology Department in 2005.

This work suggests “Personal Myth” to be an understanding of the self that incorporates the symbolic, imaginal and fantasy elements of the unconscious and accepts them as real within their own realms of being. It is the author’s belief that the Personal Myth is the unconscious’ understanding of the individual spirit’s Cosmic aspirations and potentialities. In that way, Personal Myth is seen as the personality of the unconscious and of the individual’s spirit.

All 30 of the Silver Elves' books on elven magic and enchantment are available on Amazon or visit the Silver Elves website to sample their writing at http://silverelves.angelfire.com/HAelfbooks.html .
"

The ubiquitous stone carvings on Cheju are inert reminders of some of the most dynamic ideas of Far Eastern high antiquity. For example, the cosmography of Neo-Confucian society is embodied in the distribution of stone images on Cheju Island. Cheju's stone statues are indicators of the reality of cosmic landscape at the earth's surface. They are evidencethat celestial phenomena like stars do, in fact, have their terrestrial affinities in the man-made creations of Korean Confucian society

‘Is there a Cuojian in Zagua?’ The dispute over this topic is one of the main issues of I-Ching studies. There has been a sharp confrontation between the ‘Revisionist’ faction that argues people should recognize Cuojian and should understand Zagua through the revised script, and the ‘Preservationist’ faction that insists people should understand Zagua as the original script. In this debate, the former (the Revisionists) had to secure justification for revising the script, and the latter (the Preservationists) had to present a working theory that could explain the Zagua more consistently. In the process, both factions (or parties) showed a different understanding of Zagua’s authoring intent. Lai Zhide, a representative of the Revisionist faction, sought to secure the legitimacy of the Cuojian revision through the theory of Cuo Zong, which is the King Mun’s creation principle of I-Ching, is consistently presented in the scripture. Therefore he asserted that Zagua is to exhibit Cuo Zong theory. Li Guangdi, a representative of the Preservationist faction, tried to solve the difficulties of preserving the meaning of the script by explaining the Zagua with the theory of Hu Ti. Therefore he contended that the intention of Zagua is the theory of Hu Ti. Thus, the issue of contention did not stop at ‘whether Cuojian exists’; rather it extended to ‘authoring intent’ of the Zagua.
‘｢잡괘전雜卦傳｣에는 착간錯簡이 존재하는가?’ 이 문제를 둘러싼 착간 논쟁은 역학사의 주요 논쟁거리 중 하나로, ‘착간개정파’와 ‘경문고수파’가 첨예하게 대립하였다. 이 논쟁에서 착간개정파는 통행본 64괘의 배열원리를 근거로 경문개정의 정당성을 확보하려 했고, 경문고수파는 ‘협운설’, ‘호체설’과 같은 새로운 해명원리를 바탕으로 경문고수의 당위성을 마련하려 했다. 그러나 양측의 정당화 방식에는 여전히 난점이 존재하였다. 착간개정파는 ‘통행본의 배열원리가 왜 ｢잡괘전｣에서도 지켜져야 하는가’라는 문제를 해명해야 했고, 경문고수파는 착간개정파와 같이 ｢잡괘전｣을 일관되게 해명할 수 있는 방법을 강구해야 했다. 그 과정에서 양측의 논쟁은 ｢잡괘전｣ 저작 의도를 둘러싼 논쟁으로 확대되었다.
착간개정파를 대표하는 내지덕來知德은 64괘의 배열에 나타나는 ‘착종錯綜’을 성인의 󰡔주역󰡕 창작 원리인 음양의 ‘대대對待’와 ‘유행流行’으로 해석하였다. 그는 이 착종의 원리가 󰡔주역󰡕 전체에 일관되어 있다는 ‘착종설’을 제시함으로써, 통행본의 배열원리가 ｢잡괘전｣에서도 일관되게 지켜져야 함을 증명하고, 이를 통해 경문개정의 정당성을 강화하였다. 그가 이해한 ｢잡괘전｣의 저작 의도는 착종설을 나타내기 위한 것이었다. 경문고수파를 대표하는 이광지李光地는 호병문의 호체설을 ｢잡괘전｣ 전체로 확장하고 대과 이후의 불규칙한 배열을 ‘순환호체설’로 해명함으로써, ｢잡괘전｣의 전체 배열에 ‘호체互體’의 원리가 관통하고 있음을 보이고, 이를 통해 경문고수의 당위성을 강화하였다. 그가 이해한 ｢잡괘전｣의 저작 의도는 호체의 원리를 드러내기 위한 것이었다. 이처럼 양자의 ｢잡괘전｣ 이해는 매우 상이한 듯이 보이지만, 이광지 또한 호체설의 四象을 통해 우주자연의 변화를 드러내려 했다는 점에서 양자가 ｢잡괘전｣에서 본 易의 원리, 즉 착종과 호체는 “一陰一陽之謂道”의 異名同實이라 할 수 있다.

John Cage's experimental approach, which is fed by both a precise practice and an intentional use of chance, is examined in this paper. The Where R = Ryoanji drawings are intended pieces of chance that are also images of precision. This at first appearing paradoxical statement is to be explained by a look at Cage's artistic process as an experimental procedure in the sense of scientific experimentation. It will be shown that the interlinking of precision and chance produces artistic as well as scientific insights, and that chance and precision find their territory in the picture in equal measure. The experimentally generated accidental or precise images thus form an aesthetic or epistemic third.

Sixty-Four Chance Pieces is a novel of sorts that puts the I Ching 易經, or Chinese Book of Changes, to work as a literature machine to generate new stories and new possibilities.

Each of the sixty-four chapters of the book draws on a chapter of the Chinese text, and combines storytelling, travel writing and often wayward philosophical reflections as it traces the three thousand year-old intrigue of the I Ching. Moving between myth, fable, and travel writing, the collection offers an attempt to make sense of the maddening, changeable book that is the I Ching, with tales of inventors and fox-spirits, ancient poets and nonexistent rulers, kleptomaniac pensioners and infernal bureaucrats.

Published by Earnshaw Books, 2015. Please note — as this is a commercial novel, I cannot provide copies or offprints in PDF format. However, the book is on general release from Earnshaw Books, in both ebook and paper format, priced at trade, rather than academic, prices. Thanks for your understanding!

Similarities of two philosophies, I Ching and Theory of Positive Disintegration, will be presented. I Ching (Book of Changes)is the oldest and greatest Chinese classic. It became the foundation of the Taoist and Confucian philosophies. Theory of Positive Disintegration is a complex and comprehensive theory of human development, described by K. Dabrowski as a philosophy of "existence through essence." I Ching and Theory of Positive Disintegration treat the human being as a complex, nonlinear, dynamic system. Both philosophies provide detailed analyses on human nature, encompassing emotions, internal and external conflicts, motivations, thoughts, creativity, and positive and negative tendencies within any given situation. Both stress the idea that conflicts, crises, or challenging experiences become opportunities for the human growth. Both philosophies present a comprehensive view of the variety of human experiences, enabling him/her to shape his/her life by his/her own will and choices (third factor) into an organic whole (the personality).

"Extreme human geography is a critique that celebrates odd juxtapositions; it is not to be confused with extreme physical geography, which has its own distinct cabinet of remarkable curiosities. Extreme geography as a recurring subversive idea in the history of geographic thought manifests as fantasy mapping, counterfactual geographies, science fiction spaces/places, and other imaginative social critiques. As an identifiable critical "tradition" in modern Western geographic thought, its convoluted heritage is cross-disciplinary and can be traced in fits and spurts from Homer, through Diogenes of Sinope, Saint Francis of Assisi, Evangelista Torricelli, and Athanasius Kircher, to Guy Debord, Ursula K. Le Guin, and recently a conspiratorial core of radical cartographers at Pennsylvania State University, the founders of GIobehead Journal of Extreme Geography."

Zheng Xuan and Wang Bi were the most important commentators on the Yijing in the Six Dynasties
period. Li Dingzuo has said that Zheng Xuan preferred the principles of Heaven while Wang Bi focused on
human affairs. However， this judgment is questionable: we need to study what did Zheng Xuan meant by“the
principles of Heaven”. When he spoke of what is“beyond form or beneath form”， he was trying to show a
spatial meaning besides an ontological or temporal meaning. That is， Zheng Xuan developed a spatial
metaphor. Heaven which was above was the originator of human beings， while the implements which were
below were the production of human beings. Therefore “above-form”and “below-form”are not about the
difference between the abstract and idiographic， but the relationship between the source and the current.
Zhengxuan's Yaochen-learning， which explained the hexagram diagrams using lunar mansions， can thus be
understood more clearly. We can also distinguish Zheng and Wang Bi's learning more clearly.

The Nine-Stack construct has already demonstrated support for the 32 major characteristics and 80 minor characteristics of the Buddha.
The 32 pair of Yijing hexagrams on the 8x8 appear to be a candidate for the major marks.  In the example provided, the average of each opposite pair on the 9x9 table is equal to the central value is 540. Therefore 80 numbers (appearing as 40 pair) on the 9x9 table also appear a reasonable candidate for the 80 minor marks.

The Nine-Stack Mountain construct continues to demonstrate references from Buddhist canon.  In this brief, we show how the 31 Planes of Existence and the 6 Realms find mathematical expression in the Nine-Stack Mountain also known as "Mt. Kailash," "Yungdrung Gutsek,"  "Mount (Su)Meru. We also suggest that aspects of Buddhism are themselves encoded yet  literal expressions of natural law, i.e. dharma

Models like unto the Nine-Stack offer a 'sambhogakaya' or "enjoyment-body" in the form of a special field sometimes referenced as a "Buddha-field" which allows mathematical expression of Buddha-nature for the appreciation or benefit of sentient-beings.

Yijing prediction is experiencing a popular revival in the contemporary PRC, ongoing since the beginning of the Reform era. At the same time, state and popular discourse continue to valorize “science” (kexue 科學) as modern, accurate, and legitimate, against backward, false, and illegitimate “superstition” (mixin 迷信). Yijing prediction is widely considered “superstitious,” but is cast by diviners as a legitimate form of knowledge. Based on ethnographic fieldwork in Hangzhou 杭州, this article identifies six common popular attitudes to “science” in relation to other knowledge systems, and examines them through case studies of two predictors. Predictors maintain a strong epistemological and ethical concern with accurately accounting for reality, identifying Yijing prediction positively as “scientific” or as compatible with “science,” against other forms of knowledge like religion and Marxism, which are considered “superstitious” and inaccurate. Predictors thus appropriate and redefine the prevailing discourse of knowledge legitimacy based on their individual epistemological perspectives.

Keywords: divination, Yijing, science, superstition, legitimacy, epistemology, cosmology, PRC

The I Ching (Book of Changes) classic reports that a farmer, having tethered his cow by the roadside, returned later to discover it missing. A wanderer had taken it. On the broad, deep, significance of the theft, the classic advises only to the effect that “the wanderer's gain is the citizen's loss" (Wilhelm Baynes 1967:512). ….

Note that the traveler-thief is not condemned. Instead, the classic offers a reminder to Chinese that 1) both gain and loss are basic directions of flow in life, and 2) that property as an institution worthy of protection is not a condition of Nature at all (Wilhelm 1977:217). This short, enigmatic statement from the I Ching -- that “the wanderer's gain is the citizen's loss” – seems to be one of the earliest morality tales in human civilization to attempt to teach tolerance to majority public social attitudes toward minority Peripatetic peoples in China.

“The wanderer's gain is the citizen's loss,” alludes to population dynamics (including demographic trends and residential mobility in China, where population shifts between house-dwellers and itinerants have zero-sum-game-consequences in terms of comparative gains and losses.

All considered, the fates of wanderers and the fates of citizens are either/or, both/and neither/nor fixed and unchanging. People are instead in constant movement between itinerant and settled lifestyles today's wanderers may be tomorrow's mandarins, and vice versa: the fates; randomness; the tale of the pendulum; Kahlil Gibran; the Luck of the Draw … .

El rescate de las viñetas originales de 1963 de “La feria” de Arreola ante la versión de 1971 de Joaquín Mortiz y las de la Editorial Planeta Mexicana. RESUMEN: Y aquí estoy yo, rescatando a las viñetas originales de “La feria” de Arreola de 1963, incluyendo a las de su portada: Las veinte adulteraciones presentes en la edición de 1971 de Joaquín Mortiz (JM: “Obras de J. J. Arreola: La feria”), más una en la versión del FCE (“Fondo de Cultura Económica”), también llamada “Obras” de Arreola, de 1995, al ser comparadas con las de los 60s de Joaquín Mortiz. Es decir, que las veintiún adulteraciones a las viñetas de “La feria” de Arreola, dibujadas originalmente por Vicente Rojo, expresan quince cambios con respecto a los iconos originales más cinco inversiones de los mismos y una clara alteración en la numeración visible en una de ellas: la última, alteración del FCE, es la del dominó en 2 – 1 que es cambiada a 1 – 1 (siendo solamente 80 las viñetas originales que se repiten a sí mismas para darnos un total de 294, incluyendo a las cinco que están presentes en la portada original, portada a la que Orso Arreola Sánchez, hijo de Arreola, me sugiriera incluir en la suma total), apareciendo estos errores en las ediciones subsiguientes, hasta llegar al reemplazo de todas las viñetas mediante siete nuevos dibujos no relacionados, por parte de la “Editorial Planeta Mexicana” (serie booket, al menos desde el 2015); mi petición es que “La feria” pueda ser restaurada a sus viñetas originales, incluyendo aquellas cinco que aparecieron en la portada de las ediciones y reimpresiones iniciales de los sesentas publicadas por Joaquín Mortiz.

The rescue of the original vignettes of Arreola’s “The fair” of 1963 when compared to the version of 1971 by Joaquín Mortiz and those by Editorial Planeta Mexicana. ABSTRACT: And here am I, rescuing the original vignettes of Arreola’s “The fair” of 1963, including those of its cover: The twenty adulterations present in the edition of 1971 by Joaquín Mortiz (JM: “Obras de J. J. Arreola: La feria”: “Works by J. J. Arreola: The Fair”), and the last one in the version of the FCE (“Fondo de Cultura Económica”), also called Arreola’s “Obras” (“Works”), of 1995, when compared with those of the 60s by Joaquín Mortiz. This means, that the 21 adulterations of the vignettes of Arreola’s “The Fair”, originally drawn by Vicente Rojo, are expressing fifteen changes in relation to the original icons plus five inversions of them, and a clear alteration in the visible numbering of one of them, altered by the FCE, that of the domino in 2 – 1 which is changed to 1 – 1 (there are only 80 the original vignettes that repeat themselves, giving us a total of 294, including the five present at the original cover, cover to which Orso Arreola, son of Arreola, suggested me to include in the total), appearing these errors in the subsequent editions, until the point of the replacement of all the vignettes through seven new drawings not related by the “Editorial Planeta Mexicana” (series booket, at least since the 2015); my request is that “La feria” could be restored to its original vignettes, including those five of the cover that appeared in the initial editions and reprints of the sixties published by Joaquín Mortiz.

This work purposes to indicate the significance of the "single, double, and triple;" and to show the symmetry laws governing Yijing two-line symbols (xiang).  This is useful insofar that the work with integrating Yijing with RNA and codons employs the symmetry of the two-line symbols.

We present what appears to be a kind of “family tree” for hexagram figures that behaves like a map such that the composition of a figure unambiguously gives its position on said map, and indicates its “heritage” from the symbols.

Questa è la prima edizione del primo testo del progetto scritturale, in itinere,  per una scritturalità poetica e filosofica che oltrepassi il cosiddetto genere d'appartenenza, una scritturalità erme(neu)tica. Primo lavoro iniziato ai tempi dell'università, è stato rielaborato, ed ampliato, successivamente. Concependo il testo come una poiesis in atto, in cui la parola, l'immagine ed il pensiero cercano di fondersi per riportare il lampo, lo squarcio, l'intuizione, ed anche la teoresi, la scelta prosimetrica  si carica della finalità prosodica dell'evidenziazione, dell'enfasi, del ritmo del pensiero che travalica il concetto, lo amplia, o lo coagula, nell'essenza dell'immagine, riportata dallo spazio del proprio ipogeo interiore, che indica. E' un testo composito, sintetico ed aperto, in quanto  non asserisce, ma, almeno questo è il suo intento, indica la realtà dei molti possibili. Nella parte finale, elaborata ed ampliata nei lavori successivi, il relazionarsi delle proposizioni con gli esagrammi dell'i ching mostra,  con serietà, l'idea accennata nelle proposizioni: la molteplicità dei possibili, ed i loro accadimenti sincronici ed ucronici.

Diamond Body is an implementation of a mathematical model derived from the Chinese Book of Changes (I Ching), and used to produce several published papers.  It is offered here for download and investigation as a spreadsheet.

A Python computer-language implementation is forthcoming around Christmas.

A method of composing and analyzing stories, here in the form of dramas, is given which combines elements of chinese five-phase and feng shui theory and the enneagram. While feng shui is thought of in terms of interior design, it also provides a map of the life-world. This map is used here to construct drama space. The map consists of nine life-world areas which correspond to the nine enneagram types. These in turn are mapped to the trigrams of the I Ching, so that one can create a drama event by joining a life-world trigram with a personality trigram. A drama consists of a meaningful sequence of such hexagram events. These are given in the form of five-phase rings, each phase associated with a hexagram from the above matrix. Since many users of the enneagram may be unfamiliar with much of this theory, a substantial part of the paper deals with a brief position of it. The theory is then applied to the construction and analysis of dramas with examples. Nowhere in the method is chance employed.

I had to do a research paper on a health issue, so I choose Depression.  This was because I discovered that the teacher who would be grading my paper suffered form severe depression, and when she had tried to treat herself naturally she had an extreme episode that nearly caused her to commit suicide. 

I did not know how to address Depression at that point, so I had to do some research on it so I could find out exactly what it was and how it worked.  Once I understood what it was, I understood how to address it and wrote the paper so my teacher would read it and learn how to heal herself.

The Mayan prophecy, Timewave Zero and 2012: The great debate. The Ecology, Cosmos and Consciousness Salon, The Institute of Ecotechnics, October Gallery, Bloomsbury, London, 27th November, 2012. (Host, curator and compère)

With:
Daniel Pinchbeck
Dr Andy Letcher
Gyrus
Dr Cameron Adams
Dr Matthew Watkins

With the end of the 13th b’ak’tun just around the corner on 21st December 2012 – the most anticipated winter solstice this side of the eschaton – our Ecology, Cosmos and Consciousness awaits some kind of immanent shift… or so they say. Well at least everyone from John Major Jenkins and José Argüelles to Terence Mckenna and Daniel Pinchbeck have said it. So at this eleventh hour what, exactly, is timewave zero and the Mayan prophecy, and what awaits us in December as we head beyond the Mayan event horizon? Assembled together for this unique debate are four 2012 discussants with varying perspectives.

At the bottom link you can find excerpts from this great 1715 manuscript:

李光地. 御纂周易折中 :二十二卷, 卷首. [北京] : 武英殿, 清康熙54年 [1715]

Excerpts are focused on the so-called ‘received text’ of Yi Jing / Zhou Yi.

For the ease of the work, I’ve divided hexagrams’ text in 8 by 8 chapters.

Each hexagram picture is linked to the referred page in the great Harvard Library manuscript database.

Have a good read.