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Raising the Ceiling: Ultra-Luxury Prices in Real Estate
The top property this year is 20 percent more expensive than last year. Experts say wealth creation and an increase of the millionaire class are driving ultra-luxury prices.
By Camilla McLaughlin
Billionaire estate; Photo courtesy Simon Berlyn
Once a seemingly preposterous suggestion, the idea of a billion-dollar house moved much closer to reality this year as more than one property came on the market in the $200 million range. The most expensive has a $250 million price and a very appropriate moniker: Billionaire.
During a broadcast featuring a $10 million Beverly Hills property listed by Joyce Rey, Barbara Walters once quipped, "One day there will be a billion-dollar house." At the time, even the idea of a $100 million home seemed outrageous. Yet, less than three decades later, there are 10 homes in the U.S. for sale at $100 million or more. More are in the pipeline in California alone, including a supposed $500 million estate under construction in L.A. Entrée to today's ultra market calls for a net worth in the $500 million bracket, and well over $1 billion for the highest price points.
When the first issue of Ultimate Homes was published in 2005, the top property in the country was a $76 million, 60-acre waterfront estate in Bridgehampton, New York. When research began for the new publication, which set out to document the 850 most expensive homes in the U.S., there was little information about real estate at the highest price points — even marketing information was shared discretely. Just figuring out where to begin, what price point would be the threshold for the 850 was a challenge. In the end, it was $7.8 million. Over the years, we've enhanced the process, but still meticulously search properties all over the country. Today, you might see similar lists, but most skim the surface, cherry-picking the most publicized properties. For Ultimate Homes this year, $25 million is the jumping off point for the ultra-high-end.
In 2006, the $100-million mark was broached with a $125 million Palm Beach estate, which eventually sold close to $100 million. Since then, prices have risen incrementally. In recent years, price increases have amped up, with the top Ultimate price doubling from $125 million in 2012 for Fleur de Lys in Holmby Hills, California, to $250 million in five years.
Quite often ultimate prices are characterized as wishful thinking or a publicity grab, but the post-recession rise is also a response to the creation of wealth. "Real estate is not only a good investment, but also a perk of wealth," says John Brian Losh, publisher of LuxuryRealEstate.com.
The ranks of the ultra wealthy have grown as have prices for art, yachts and other assets. "There was a time when we could tell you all the millionaires and billionaires in the world. That's our business at Christie's. Our list now is not quite up to date, because there was a whole slew of new ones created yesterday. And with the great creation of wealth we have had people who can buy whatever they want, and increasingly wealthy people are putting their assets into residential real estate and in commercial real estate," observes Zachary Wright, executive director, Western Region, Asia Pacific, Christie's International Real Estate.
In 2014, there were a number of record sales, including an East Hampton estate for $147 million; Copper Beach, a Greenwich, Connecticut, estate for $120 million; and a $100.5 million duplex in New York's One 57 tower. In the last year, two $100 million deals and another at $90 million shattered records in Los Angeles. The Playboy Mansion, last year's top Ultimate Home at $200 million, sold for $100 million, as did last year's No. 4, a new 30,000-square-foot extravaganza built on the site of an estate once owned by Barbara Streisand. Owlwood, a famed Carolwood Drive estate with a storied history that epitomized ultra luxury, sold for $90 million.
La Dune; photo courtesy Harald Grant
Breaking the $100 million threshold is significant, say L.A. brokers. "All you need to do is have one property sell at a stratospheric rate and it pushes the ceiling," says Paul Boomsma, president of Luxury Portfolio International and COO of LeadingRE.
"The sky is the limit. Once we hit the $100 million mark, we broke the glass ceiling — and we're seeing people comfortable with spending more than that," says Rick Hilton, chairman and co-founder of the Beverly Hills firm Hilton & Hyland.
The impact of these sales extends beyond the West Coast. "They've boosted the market in the U.S. with the sale of the Playboy Mansion. It will reflect back to our marketplace. L.A. is a larger marketplace, but people love Florida," observes Carmen D'Angelo, co-owner of Premier Estate Properties in Palm Beach. This year, more uber buyers are looking north of Miami. "A lot of property on the oceanfront has been selling well this year," says D'Angelo, noting record sales on Hillsboro Mile. When it comes to estate properties, he says, the market begins at Fort Lauderdale and extends up the coast.
Two waterfront properties in Florida are once again Ultimate stars. Gemini is an ocean-to-Intracoastal compound in Manalapan, Florida. Loggias, and open stairway and balconies open the main residence to acres of gardens. This property might not be an island, but with water on two sides, including more than 1,000 feet of beachfront, the sense of serenity and privacy that accompanies an island is here.
When Joyce Rey, executive director of Global Luxury for Coldwell Banker Real Estate, and Stacy Gottula initially listed Palazzo di Amore in 2015, there were no comparable homes to reference value. "We hadn't had a $100 million sale at the time," says Gottula, who joined The Agency in 2016. And there weren't any estates on 25 acres. The property initially came on the market at $195 million, with an eventual price reduction. After a year off the market, Palazzo di Amore is back on at $129 million, a price Gottula says is very competitive, particularly considering last year's record sales. "We are priced to sell in a great marketplace to sell this estate," she says.
Few agents have set more price records than Joyce Rey, who, along with Gottula, sold the highest priced property in the nation in 2010 for Le Belvedere, a Bel Air estate that upped the ante for Ultimate properties offering exceptional privacy, unheard of amenities such as a Turkish hammam, and a 280-degree city view. Rey and Gottula are teaming up once again to market Le Belvedere, which is back on the market at $85 million.
Prices for Ultimate properties in L.A. might seem astronomical, but compared to many global cities, they are a bargain. "On a square-foot basis, Los Angeles offers far greater value for money than competing cities across the globe," comments Hilton, who is listing The Manor for $200 million. A few years ago, this much publicized property headed the Ultimate list. Now, the new owner has it back on the market after extensive updates. Still, the essential character of the estate is very much in place, but some rooms have been refocused for current preferences and the new interior is stunning. One of the largest homes in the country, its square footage surpasses the White House.
The $250 million price isn't the only facet of Billionaire that generates attention. Newly constructed, it is among a growing number of lavish estates built on speculation. "In 2016, expensive spec homes dominated the highest end of the Los Angeles luxury market, comprising six of the 10 priciest transactions. In this rapidly expanding market, spec homes today are like nothing we have seen nor could have imagined," says Jeff Hyland, president of Hilton & Hyland. Rather than the entire luxury market, developers are focused on the limited number of very wealthy individuals worldwide. "With a specific luxury buyer in mind, developers are taking custom building to new heights — and these properties are in demand. Between the valuable land they're often built on and high-end finishes that cater to an elite individual, spec homes have proven to be ideal in their turnkey nature," says Hyland, hitting on the one thing buyers in all price brackets want today — turnkey.
Billionaire could be viewed as the ultimate turnkey property. Orchestrated by luxury developer Bruce Makowsky, it is completely furnished, staffed and decked out with unparalleled amenities and features, including more than 100 curated art installations, two stocked wine cellars, and a $30 million collection of cars in a custom display gallery. Compare this to 20 years ago, when a Ferrari might be offered as an incentive and a way to boost value. Clearly, for new properties the amenities wars are on, with an ever-expanding amount of square footage devoted to entertainment, and over-the-top features. Bowling alleys are a must, as are outdoor movie venues, multiple pools, bars and extensive gym and work-out space.
Palazzo di Amore; photo courtesy Marc Angeles
Also changing is what the very wealthy look for in a home. Until recently, our top list was divided between estates on sizable pieces of land and condos in Manhattan that captured acres of real estate in their views. Today, nine of the top 10 are individual estates. Almost all in this group — as well as a number in lower price brackets — are as much a private resort as they are a home. "People want their own paradise now. They want their own tropical resorts," says Wright.
In this way, newly constructed mega properties are very much like legendary estates that set standards for a lifestyle developers strive to recreate today. "Many of these homes were designed for large-scale entertaining, and to create 'experiences' for family and friends. Look back to what William Randolph Hearst set out to create, or the mansions that were built in Newport. At the time, those homes were also completely off the charts. We see history repeating itself, as many of these homes are also used only a portion of the year and are also often for entertaining on a very grand scale," observes Boomsma.
Each of the historic estates that are this year's Ultimate stars has a unique story and provenance. The one condominium residence, and only Manhattan property, among the top 10 is the penthouse in the Woolworth Building, which was built as the tallest building in the world and remains one of Manhattan's striking icons. Under the baton of French designer Thierry Despont, the top 30 floors have been reimagined as individual residences. Original architectural details have been elevated with refined cabinetry and finishes and 15-foot ceilings. Capping the building is a seven-story penthouse priced at $110 million.
Owned by just three families in its 80-year history, Briar Patch, an 11-acre compound on Georgica Pond in East Hampton is on the National Register of Historic Places, a first for the Ultimate top 10. Two residences, including the Georgian Revival, 6-bedroom, 10,000-square-foot main house, were painstakingly restored and renovated over two-and-a-half years by the internationally renowned architect Peter Marino.
"La Dune" on Gin Lane in Southampton dates back to 1900 and has links to architect Stanford White. The almost 4-acre property has two extraordinary residences, multiple pools and 400 feet of bulkhead beach front. Rosa rugosa blooms slope down to a wide sandy beach in front of the Shingle-style, four-story main residence. The second residence, a wholly separate guesthouse, emulates the style of the main house. Amenities are extensive, including billiards and a theater.
Few estates compare to the architectural heritage of Il Palmetto, a 5.46-acre, ocean-to-lake Palm Beach estate. Notable architect Maurice Fatio built the Italian Renaissance-style villa that is the centerpiece of the property. The main residence is designed as a series of pavilions connected by cloisters. The property also has a second house located on the beach. Like Gemini, an underground tunnel connects both parts of the property, which also fronts on Lake Worth.
It's important not to lose sight of the fundamental principal of real estate. In the end, says Losh, the market sets the prices. And how the market will react to current prices has yet to be realized.
The Manor; photo courtesy Hilton & Hyland
This story originally appeared in Unique Homes Ultimate '17. Click here to see the digital version.
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Dr. Ibrahim M. Al-Awaji
Dr. Al-Awaji has held positions in the private and public sector including Deputy Minister for the Ministry of Interior for twenty years.
Headed Dar AlKhibra for economic and administrative studies and held several public positions including Membership in: National Census Committee, National Committee for Environment, Several governmental committees on administration and development, Board of Riyadh Schools District, and literature events. Supervised the team that did the organization of MOI. Head of ICAA. Lead numerous official delegations in Security and Development and headed ministerial committees under United Nations events.
Publications: Bureaucracy and the Saudi Society; The management of Development in Saudi Arabia; Local Administration in Saudi Arabia; Creativity in Arabian Local Administration; Several research studies on Development; Several Poetry albums.
Mr. Abdullah S. Bahamdan
Chairman of the Board and Founder of Bahamdan Group.
Chairman of NCB since 1999. Mr. Bahamdan is a seasoned banker where he helped build National Commercial Bank of Saudi Arabia (NCB) into one of the Middle East's largest financial services groups.
Board Member of The National Gas and Industrialization Company, Yamama Saudi Cement Company, Saudi Petrochemicals Company, The Saudi Research and Marketing Group and Aluminum Products Company. Bahamdan Group owns or partners in a large international network of investments.
Eng. Mubarak bin abdullah Al-Khafra
Eng. Mubarak bin abdullah Al-Khafra is Chairman of the Board of the National Industrialization Company (Tasnee), Saudi Polyolefin's Company, Malath Insurance Reinsurance Company, Saudi Holland Bank, Gulf Chemicals of Industrial Oils, Air Liquide Al-Khafrah Industrial Gases; Industrial Development company (IDC) and the Chairman of Al Khafrah Holding Group; plus board membership in various industrial and commercial enterprises.
He held various positions at the Ministry of Industry and Electricity. He was Director of the Industrial Protection Department (1973), Director of the Engineering and Projects Department (1975), Secretary-General of Foreign Capital Investment Committee (1986), Acting Deputy Minister for Industrial Affairs (1986) and Deputy Minister for Industrial Affairs (1997). H.E was also a member of Majlis Ash Shura (Consultative Council) from 1997-2001. Mr. Mubarak holds a B.Sc. in Industrial Engineering from the USA (1973) and an Advanced Diploma in Management from Canada (1976).
H.E. Mohammed A. ABALKHAIL
Chairman of SANAD INVESTMENT CO. Served as Minister of Finance and National Economy of Saudi Arabia for twenty years. Also, served as the Minister of State for Finance and National Economy, and General Manager at Institute of Public Administration.
Chairman of Riyad bank; Member of J P Morgan Chase International Council; Member of the Consultative Commission of the Supreme Council of GCC Counties; Chairman of the board of directors of the Saudi International Bank (currently the gulf international bank) London, UK.
Mr. Mohamed Hmoud Al-Ohali
President: AlBaidar Group including (Albairdar Establishment for trade and contracting, Industrial equipment and security tools Center, Pipes Lmtd., Stargate).
Membership in SAFCO, Saudi Economy Association, Saudi Administration Association, Arab Bankers Association, American-Saudi Business Council.
Previous membership in Riyadh Chamber of commerce trade committee and investment committee, National Chambers committee, National investment committee.
Acted as board member in Saudi American Bank, Saudi United Bank, Rana Investment Company, Saudi Hotels and Tourism Company, Yanbu National Petrochemical, Saudi Computer Company, Inmaa Agricultural Company, Capital Trust – London, Lebanon Invest.
Co-Founded Saudi United Bank, Tasnee National Company, Tabuk Agricultural Company, Inmaa Agricultural Company, Tabuk Cement, Rana Investment, Alhasa Development Company, National Mortgage Company, Saudi Computer Company, Lebanon Invest.
Executive Board member
Dr. Abdulaziz Saleh Al Jarbou
Member of the Board of Amiantit, Riyad Bank, Saudi Paper Manufacturing Company, General Lighting Company and Gulf Chemicals and Industrial Oils Company (GCIR) and Al Bilad Catalyst Company. Chairman of United Lube Oil Company (UNILUBE) in Jubail.
Served as Chairman of "Industrialization and Energy Services Company" (TAQA) driving it to establish industrial sectors and services for the petroleum, metals, petrochemicals, electrical and water desalination industries directly and through JVs. And of Eastern Petrochemical Company (SHARQ), Al Jubail Petrochemical Company, (KEMYA) IBN ALBAYTAR
Served as Member of the Consultative Committee of the Saudi Supreme Economic Council, Board Member of IBN RUSHD, Saudi Aramco, Saudi Cairo Bank, Royal Commission for Jubail and Yanbu, and the Arabian Industrial Development Company (NAMA) and Saudi Arabian Mining Company – MA'ADEN, Riyadh Chamber of Commerce and Industry.
As President and MD of Saudi Amiantit Group, a leading manufacturer of various pipes, tanks, fiberglass insulation and rubber products, restructured the Group to a profitable Joint Stock company, gaining ISO 9000 for the seven JVs.
With inception of SABIC helped develop huge petrochemical complexes in Jubail and Yanbu and its operations in Houston, and as the Director General of Projects was involved in the development, design, construction and operation of the 15 joint ventures with US, European and Asian leaders to full operation and profitability.
Taught at King Fahd University of Petroleum and Minerals in Dhahran

redpajama_set_name: RedPajamaCommonCrawl


Ghana's Black Queens exited the Total 2018 AWCON tournament after a 1-1 draw with Cameroon at the Accra Sports Stadium.
The Queens needed to either win or draw their game and hope for a victory for Algeria against Mali to get a ticket to the semi-finals.
That looked on course when Portia Boakye scored a free kick from distance in the 31st minute to give Ghana the lead but the lead lasted only ten minutes.
Ghana goalie Asantewaa fouled her opponent in the penalty area under no pressure to give Cameroon a chance to get back into the game.
They obliged and scored the leveller through Christine Manie in the 41st minute.
Both teams especially Ghana tried getting the winner from that point but they were not successful on the day.
While Cameroon made it through, Ghana fell off after Algeria lost 3-2 to Mali in the other Group A game played simultaneously in Cape Coast.
Algeria took the lead through Lydia Belkacemi in the 37th minute but Fatoumata Diarra scored for Mali in the 58th minute.
Algeria made it 2-1 from the penalty spot via Imene Merrouche but the Malians came back again with a wonderful long-range shot from Aissatou Diadhiou in the 83rd minute.
The comeback was fully executed in the 90th minute with a Fatoumata Diarra penalty.
Cameroon topped the group with 7 points with Mali finished second on 6. Ghana had four and Algeria finished with no points.


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This door closer is adjustable from size 3 thru 6 to fit doors from 85 pounds up to 240 pounds.


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MEA Energy Association
At SCG we believe the message is everything and graphic design is a really the visual message. Your graphic identity is how you present your company or product to the world, and it is extremely important that it represent you well. Strother Communications offers a full suite of in-house graphic design services to distill visually what makes your brand and business special.
With 25+ years of experience, we develop visual identity programs include corporate and product logos, compelling color palettes, graphic standards, collateral, sales support materials, trade show graphics and more. SCG's collaborative design process captures your essence and informs every aspect of your marketing from web design to product labeling and packaging. We've helped companies of every size put their message in motion with compelling, distinctive design.
Read on to learn how SCG's graphic designers helped MEA Energy Association in rebranding, helping modernize its logo and create new identities for its subsidiary organizations.
MEA is a leading non-profit trade association that provides online and in-person training to the men and women who bring natural gas and electricity to homes and businesses. Its members include many major energy providers, contractors and consulting firms, including Xcel Energy, CenterPoint, Alliant and ComEd. With this rapid growth, MEA had outgrown its current branding, marketing messaging and web presence. MEA partnered with SCG to refresh its brand promise and visual identity accurately reflected the association's innovative approach to energy education.
After researching the market and collaborating with MEA leadership on the appropriate visual style and direction for the project, SCG's art directors created an updated logo designs, color palettes and visual identity standards that could be applied to all of MEA's services and organizations. This included refreshed versions of the main MEA logo, as well as new sales support materials like trade show booth signage, business cards, brochures and electronic templates for documents and presentations. This new visual identity also guided MEA's new SCG-developed website, which offered members a drastically improved user experience.
The sleek graphic design of the new branding was met with praise from both MEA members and the association's board of directors. The new visual identity standards helped create a unified look and feel across MEA's subsidiary organizations like the National Gas Rodeo, EnergyU and Energetic Women. The new trade show and sales support materials helped spur sales and recruitment. The new website's clear and intuitive design made members more engaged and informed. SCG's work on the project was honored by the Minnesota Public Relations Society of America (PRSA) Classics 2017 with the Best Marketing Services award.
Let's Grow


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Handwriting in America
September 8, 2017 Innovation Impact
Writer demonstrating proper posture and hand-holding position, c. 1800. THF286087
In her recent article, "Cursive: Dead or Alive?" (The Henry Ford Magazine, June-December 2017), author Anne Trubek asserts that, today, cursive writing "is becoming retro-cool, more interesting precisely because its utility has largely passed."
Indeed, the importance of penmanship—as cursive writing was once called—has radically declined as part of school curricula in recent years. It is no longer required in most states' Common Core standards—due to increased technology use, the rejection of repetitive drills as teaching tools, and the higher importance placed on reading and math in government-issued tests. However, not everyone agrees that eliminating it from the curriculum is desirable, arguing that mastery of cursive writing helps with hand-eye coordination, long-term memory, problem-solving, and idea generation.
The heated debate about the need for young people to learn cursive writing—or not—raises the question of how we got here. In fact, the story of handwriting in America is one of continual adaptation to technological and social change, and in no small part the influence of two innovators whose names have been largely forgotten today—Platt Rogers Spencer and Austin Norman Palmer.
A trained engrosser transcribed the original 1776 version of this document—the Declaration of Independence—from Thomas Jefferson's handwritten draft. THF92259
In the 1700s, as more people learned to read and printed materials became more available, reading became a desirable skill. But writing? That was reserved exclusively for the wealthy and for those whose profession required it—like merchants, bookkeepers, legal clerks, and engrossers (those trained to transcribe the final draft of a document in a large, clear hand).
Handwriting in those days was tedious and difficult, including learning how to fashion quills from goose feathers, mix ink, rule lines on paper, and use the ink-filled quill without spotting or smudging the paper.
Writing became a more widely accepted and embraced skill during the early 1800s, as self-trained writing masters traveled around the country offering courses of instruction. In more populated urban areas, they offered private writing courses in what were in essence the first business colleges.
To motivate students, teachers often bestowed awards for good penmanship, like this 1877 example. THF286089
In small towns and villages, writing masters taught the rudiments of handwriting to students in the growing number of common, or public, schools. Learning to write came to be considered as important a skill as reading and arithmetic for schoolchildren (actually, boys) in preparation for their future roles in industrial America.
The word "Penmanship" on the cover of this 1867 Spencerian writing book exemplifies that very writing method. THF286020
One particular writing master, Platt Rogers Spencer, would become so successful that his approach to handwriting almost completely dominated penmanship education during the post-Civil War period. Spencer realized that, to truly influence how most Americans learned to write, he needed to go right to the source. So he brought penmanship lessons directly to teacher-training schools. From there, the popularity of his writing method spread to public and private education at all levels—from business colleges down to primary schools. So pervasive and dominant was his influence that Spencer became known as the "Father of American Handwriting."
This fancy trade card gives an idea of the level of expertise in penmanship that students of the Toledo Business College would attain. THF225626
Spencer's unique approach to handwriting reduced the alphabet to a few elemental principles, equating each letter—and parts of each letter—to natural forms like waves, sunbeams, clouds, and leaves. In this way, he could claim that his approach was not just a series of mechanical movements but also a "noble and refining art." At the same time, his handwriting lessons emphasized order and precision. With students from different walks of life—rural and urban, rich and poor, obedient and unruly, foreign- and American-born—all practicing exactly the same lessons, Spencer could claim that learning his handwriting method would mold America's young people into reliable citizens and obedient future workers.
The Ford Motor Company logo is an example of Spencerian writing, which Henry Ford learned in school. THF104934
Spencerian became the dominant handwriting method in America from the 1860s into the early 1900s. It seemed to fit everything that Americans strived for. That was, until penmanship entrepreneur Austin Norman Palmer came along, claiming that Spencerian handwriting was all wrong for Americans. He argued that Spencerian script was too ornate, too meticulous, too slow, too tiring, even too feminine. What Americans wanted and needed, he argued, was a "plain and rapid" style adapted to "the rush of business," a style that was masculine and unsentimental.
As shown in this 1920s language composition book, students learning the Palmer method were taught to pride themselves on their penmanship, which was considered a judge of good character. THF247435
Palmer introduced a new approach—one which forced the muscles to move in certain patterns—over and over and over, with the idea that the muscles would imprint the memory of these movements into the brain and become habit. Though the approach was radically different, Palmer's goal—like Spencer's—was ultimately about social control. Disciplining the body, he asserted, would also force students to conform to the conventions of society. He came down particularly hard on left-handedness, which he considered deviant, and he insisted that left-handers learn to write with their right hand.
Students of Henry Ford's Edison Institute school system hard at work practicing their writing skills, 1944. THF126142
The Palmer method began displacing the Spencerian method of handwriting by the 1890s and, by the second decade of the 1900s, millions of Americans had become "Palmerized." In truth, given the limited resources and lack of teacher training in many communities—as well as negative attitudes by both teachers and students toward the rigorous requirements of this method—the Palmer method was not strictly enforced in most school systems and it was often combined with other handwriting methods.
This type of school desk, made in the 1940s but used well into the 1960s, contains a hole for an ink bottle to be used with a dip pen. THF158363
Paralleling new studies in child psychology and new approaches to childhood education, two trends emerged in the 1900s. First was the realization that young children simply did not possess the motor skills to learn cursive writing, leading to a new emphasis on learning printing first and cursive writing later. Second, a new attitude emerged that writing could be more than a mechanical movement—it could become an outlet for self-expression.
The brightly colored images on this early 1970s school box, used for holding writing implements and other school supplies, were inspired by those of Peter Max and other psychedelic designers of the era. THF169170
Coinciding with these trends were new forms of technology—from typewriters to word processors to personal computers—that, by the end of the century, displaced the need for handwriting in our society. Meanwhile, ink-dipped steel pens of the early 1900s were replaced by ballpoint and rollerball pens later in the century, and by Smartphones and iPads today.
As Americans, we tend to romanticize and revive that which we have lost. So it comes as no surprise that, as computers have replaced the necessity of handwriting, so handwriting has become an art, a craft, the province of "makers"—equated with creativity and self-expression.
We'll see what lies in store for handwriting into the future.
For further reading on this topic, take a look at, Handwriting in America: A Cultural History (by Tamara Plakins Thornton, New Haven, CT: Yale University Press, 1996).
Donna Braden is Curator of Public Life at The Henry Ford and handwrote this blogpost—believing that putting pen to paper helps her think more creatively than typing on a computer keyboard.
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Q: Attempting to develop an Android app with PhoneGap and Meteor - need assistance Looking for some help building an Android app using PhoneGap with Meteor.
I've seen answers here on how one can essentially build a "thin-client" PhoneGap app that points to a meteor server and renders it and that essentially works for me.
However, I'd like to do this a little more client-side ("thick-client") and therefore would like to bring the Meteor client side code (js,css) into PhoneGap and have that code call the Meteor server remotely.  I've seen some approaches to hack in a hardcoded URL in places but they aren't working for me (app.html comes up blank in the emulator - I don't think any/all of the referenced js files are loading properly).
I've also attempted to change my meteor client code to use Meteor.connect, but I don't know how to authenticate the user with the remote server.  I'm using the accounts- packages and it always authenticates with my local machine server.
So my questions:
(A) Has anyone pulled something like this off? (esp. for Android using a Windows dev machine)
(B) If this is possible, what files need to be pulled from the meteor bundle into the phonegap folders and where exactly do they go?  What other tweaks are necessary?
(C) If using Meteor.connect is the way to go (for remote data), how does one tell the auth packages to talk to the remote server?
Thanks mucho..

A: It would require some manual editing but it should be possible:

*

*Make sure that all your images/resources are referenced such that they can be available locally (/ use relative paths)

*In your project directory use meteor bundle to create a tarball of your project http://docs.meteor.com/#meteorbundle

*Extract your tarball and use the index.html file in your PhoneGap or Cordova project www folder, perhaps after a network check or something as the meteor project

*Copy the stuff in the static (which come from the public directory of your meteor project such as images) to your www too

*Publish your bundle onto a server

*Edit your index.html file so that the referenced javascript loads from your server instead

That should get all the stuff to run locally on the phone but only fetch the collections, subscriptions, meteor calls & stuff via websocket/long polling from your server

redpajama_set_name: RedPajamaStackExchange


Non Serviam started out nearly ten years ago as a small Internet 'zine. It is still a small Internet 'zine. But changes have happened. When Non Serviam was started, it was normal courtesy not to send mail over 32k unless you knew the recipient had a mail client that could handle it. This has determined the size of Non Serviam so far. But time has come to drop that standard, which will mean bigger issues, starting with this one. This will positively affect the subscribers to the paper version, since the price I charge is roughly equal the postage cost for one issue.
Perhaps on time. For the contents of this week's issue concerns a popular cyberspace metaphor: Do you take the red pill – or the blue pill? Those who have seen the movie The Matrix know what the metaphor stands for. Those who do not will learn by reading Morten Blaabjerg's excellent article on the cross between The Matrix and Max Stirner's philosophy.
As a result of doing Non Serviam, I have come to know many new and fascinating people. I have also come across enjoyable literature I might never even have known about otherwise. I want more of that. So the next issue will be a literary issue, and I ask readers to contribute reviews of books or authors they think will be of interest to me or other readers of Non Serviam.
Anything I write here will not ever be comprehensive about me, and will never define myself adequately. This much I have learned from my readings of Stirner. So I guess you'll just have to do with a few points of interest, which might put this article in a perspective.
Academic pursuits include projects on the great victorian African expeditions and new european imperialism, computer gaming and history, the viking raids in england, and the philosophy of Max Stirner. Currently writing his BA on Henry M. Stanley's expedition to the relief of Emin Pasha 1887-89.
In the american sci-fi blockbuster The Matrix1, the young hacker Neo is faced with a choice. To succumb to an oblivious existence as clerk in a multinational software firm, in what he himself considers «reality», or realize that his reality is an illusion; a complex system of digital, sensible delusions. A perfect, yet artificial simulation of the world as we know it, created with the sole purpose of enslaving the human race.
The rebel leader Morpheus explains: There has been a devastating war between man and AI controlled machines. The machines invented «the matrix» in order to feed on the vast energy created by human bodies. There's a small group of partisans however, who has realized the true condition of things and is fighting the system. The prophecy tells that someday one will be born inside the system who is able to command the structure of «the matrix». Morpheus believes that Neo is «The One».
Neo faces a choice: On one hand, his comfortable, but ultimately frustrated life as an obedient taxpayer in society. On the other; a dangerous existence as a digital freedom fighter, «The One», a unique individual, mentally struggling to break down the power which habitual perceptions and concepts have taken over men.
Should he choose the red pill, he will be thrown right out in the open, shocking revelation of the fraud. If he takes the blue pill, he will be sent right back to his enslaved, but safe, oblivious existence. Neo chooses the red pill, and consequently the film depicts his struggle to overcome the mental barriers of his self and break down the illusion that has been haunting him his whole life. The thing is, that only when he admits to the illusion and sees that the world is only what he can make of it, can he take action. The film takes shape as a breathless tour de force of visually stunning action sequences. The young hero is being chased by the guards of «the matrix»; deadly computer programs visually represented by a secret police, until finally he has grown sufficiently in his mind to deal with the artificial reality and its enforcers. By then, he is able to do anything. He is in fact able to accomplish the impossible.
The interesting thing is that this development is expressed visually as well as in the film's content. «Some rules can be bent, others broken», as Morpheus puts it to Neo at one point, his name bearing several references, to the ancient Greek god of sleep, as well as the English word «morph», a computer slang reference to some kind of indefinite change, or «bending». And it shows. The main characters can instantly «download» weapons or definite skills, and likewise, if they are mentally capable, they can «bend» the visual representations of their actions. Scenes or characters can instanty change and turn out to be something else than what they seem to be. While the popcorn audience gets all the action they anticipated, and a little more, the academics are in for a ride in the philosophical roller coaster. The Matrix somehow manages to question just about everything we usually take for granted, and the philosophical logic is largely intact. In this film the conflict between man and machine becomes an existentialist battle which pits the single, unique individual against suppressing, habitual conceptions of the world as a community of plight and duty.
The proclaimed anarchist band Rage Against The Machine concludes the film with the song «Wake Up». And exactly this is what the individual has to do. The individual must shake off the suppressing concepts of society in order to enable himself to act freely. To do this means acting against authority; turning against all concepts and institutions of law, state, society, and the guardians of these institutions, by all neccessary means.
One can only wonder how it has come so far that a commercial Hollywood production like The Matrix not only surfaces such openly anarchist views, but in addition displays such a powerful argument, visually as well as philosophically. But the thoughts and arguments of the Matrix are not new. In the following I'll try and shed some light on the philosophical heritage in which The Matrix has its roots.
The German philosopher Max Stirner (1806-1856) proposes much the same anti-authoritarian and individualist approach to reality as The Matrix. In contrast to some of the political anarchists of his time, for whom revolution was the breaking point from which events and arrange-ments of society were then to be taken, Stirner's anarchism is about self-realization all the way. His greatest and only work Der Einzige und sein Eigentum2 has as its focal point that the individual's self-realization begins with the realization that reality consists of «empty» concepts – con-cepts which the subjective individual is left to fill out. Only when one realizes that law, right, morality, religion, etc. are nothing other than artificial concepts, and not holy authorities to be obeyed, can one act freely.
The consequence of this is first and foremost a radical political anarchism. For how can I realize this in a society which is based precisely on the individual's duty to the community, and which asks unquestioned obedience to the institutions of law, morality and society? The political passion and wit of Stirner's anarchism travels far beyond the trenches of time, and reaches the modern reader without much difficulty. To fully appreciate Stirner's philosophical argument, however, is to understand his philosophical and historical context. Plato's theory of ideas, Hegel's dialectics, and Stirner's contemporary Feuerbach's critique of religion, all contain important entries to Stirner's philosophy.
Stirner and Feuerbach belonged to the inner circle of the so-called Young Hegelians, also referred to as the Left Hegelians. Eager subscribers to Hegel's dialectical method, the Young Hegelians applied a dialectical approach to Hegel's own conclusions, which led to not only new, politically more radical and disturbing conclusions than Hegel's own, but also to internal dispute and disruption. The publishing of Stirner's Der Einzige gave rise to a philosophical argument between Stirner and his friend and colleague with the Left Hegelians, Ludwig Feuerbach,3 which I will use here to try to shed light on some of the points of dispute in Stirner's philosophy.
It all begins with Plato's theory of ideas. This is not a chair. It is the idea of a chair. A horse is not just a horse. It only becomes a horse with the idea of what makes a horse a horse. The things surrounding us, the world around us, only exist by the virtue of ideas, of concepts. In other words, one could say, reality is conditioned by our concepts of reality.
With this theory, Plato thought to have gained an entry to the truth. The ideas behind the sensible world, behind reality, for him constituted a possible, objective truth, which in contrast to the sensible world was unchangeable and ideal. The ideas exist independently of their physical objects. Whereas the concrete, living horse is born, lives and dies, thus being transitory and changeable, the idea of horse exists forever. The ideas, therefore, exist independently, they are of an eternal and perfect nature.
And thus was the starting signal given for seeking the ideal. Following Plato's thinking, it was actually possible to argue, that political reality should seek towards an ideal of «the good society», for instance. The hectic race for «the good» and «the true» could begin. By no means would it become as easy as it sounded.
With Christianity the ideal became divine. The unconditioned, independently existent truth became God. The Christian church obtained a monopoly on the truth. Only with the reformation of the 1500s did the discussion catch fire. Could one really trust the truth of the church? As it turned out, there were different opinions about this; what was the right faith, the right truth. The discussions led to endless executions of heretics, and to wars, from which our hands are still soaked in blood. But Christianity first and foremost put its fingerprints in virtue of a Christian dualism; a splitting between good and evil, truth before falseness, spirit over body.
With Hegel's influential, yet much debated dialectical system, there's a decisive break with Christian dualism. Or it was supposed to be. On one hand, Hegel reckons with the notion of a definite, eternal truth within our reach. On the other, he believes to have found precisely the truth of everything.
In Skirbekk and Gilje it is furthermore said that Hegel's dialectical method, in contrast to empirical observation or deductive analysis, where assumed «laws» or given truths are only to be «found» or «realized», is based on the case itself. It is the shortcomings of the case itself, the negation, which shows the way to a new position. The case in question can be anything from political institutions to philosophical concepts, as well as completely trivial phenomena.
For Hegel, the «spirit of history» lifts the existing, inadequate truths and concepts to better and more true positions. It does so by means of a dialectical change, in other words by a negative criticism. The spirit of history is an objective force, which steadily preserves the best of the old, and by the negative critique contributes the new and better, expanding our horizons of understanding and, accordingly, improving society's institutions.
The break with dualism consists in that history will constantly seek to unite the opposites into newer and more true syntheses. So there will be no definite opposites. On the other hand, the dialectical process constantly leads to new opposites, which by critique leads to new syntheses etc.
This raises the question, if this new «dialectical truth», or «spirit of history» so to speak, is open to a new dialectical critique, or is the definitive, irreplaceable truth. There were to be different opinions about this.
Hegel inspired several generations with his dialectical method. The subscribers roughly divided themselves into two camps. The Old Hegelians, who largely felt that with Hegel's system, philosophy had practically come to an end, and the Young Hegelians, who believed the dialectics could be applied in a radical critique of especially the church and the state. Where the Old Hegelians meant that Hegel's spirit of history was a guarantee for a politically stable, conservative tide of affairs, which would only naturally strengthen the unshakeable institutions of man's society, the Young Hegelians used the dialectics in their rebellion against those self-same institutions.
The key argument of the Left Hegelians is that this «spirit of history» in itself leads to another kind of dualism, a new eternal truth, which man has to obey as his master.
The 1830s witnessed the formation of that group of Young Hegelians in Berlin, which referred to themselves as «Die Freien». The group met regularly in Hippel's Weinstube in Friedrichsstrasse, where problems of a philosophical or theological nature were debated. The group consisted primarily of Ludwig Feuerbach, David Strauss, the brothers Bruno and Edgar Bauer, Arnold Ruge, and Max Stirner, and in the 1840s additionally such famous characters as Karl Marx and Friedrich Engels. They all contributed in important ways to the development of German philosophy after Hegel, but I'll limit my interest here to just a few.
David Strauss sets the stage with Das Leben Jesu (1835), which rejects the Christian notion of Christ being the son of God, and dialectically expands the concept of Christ and the life of Jesus to metaphors of mankind and the history of mankind. Yes, Jesus has been a historical and exceptional person, but not the son of God. It is mankind itself, which is the medium of God.
Strauss lays the foundation for Ludwig Feuerbach's important work Das Wesen des Christentums (1841).6 Not only is Jesus a metaphor for mankind. Mankind itself is God. Feuerbach first argues what separates man from the animal, and finds that this is man's self-conscience, as opposed to the animal's instinct. Through religion man mirrors his own conscience. Recognizing this is also to recognize that the ideal concepts which have been attributed God, really are attributes of man. The expression «God is love» leads to the expression «love is divine», and so it is with all those concepts attributed to God, like wisdom, goodness, righteousness, truth, etc. Once transcended, says Feuerbach, everybody can recognize these attributes as straight-forward aspects of human life. God does no longer exist. But love is divine. And thus man is divine. The consequence becomes a humanism of mankind, where man, liberated from religion, truly can unfold his fellowship, his true spirit. It is a grand, magnificent message.
The final battle stands with Stirner's Der Einzige und sein Eigentum (1844), wherein Stirner applies Hegel's dialectical method to breaking down each and every «absolute concept» which is outside and above the unique individual, including Feuerbach's «humanity». Feuerbach creates another dualism, says Stirner, wherein being a human demands exactly the same obedience to morality, as under Christianity, just dressed a little differently. What happens if one is «inhuman»; an egoist who does not will the better for mankind, but only for himself? He must be disciplined, for he is not a real man. He does not live up to those attributes Feuerbach is so busy attributing to him.
This, even though God does not exist for any other cause than his own, and the sultan rules his people, i.e. his property, out of pure egoism, and the same goes for humanity, which supposedly wills whatever is best for humanity, and couldn't care less for anything else. Stirner has learned the lesson, as he says, and accordingly, will also base his position on himself alone.
The task for Stirner's unique individual now is to apply the sharp knife of critique to the cutting down of absolute institutions and concepts. By insight and might to claim these as his property, and recreate the world in his own image. The dialectical critique of the absolute concepts leads to a synthesis, wherein the individual self is the point of departure, as well as the objective.
Feuerbach then differentiates between the limited individual and mankind. The single individual is limited in several ways, and will seek to liberate himself from these limitations.
The only way in which the individual can become one with his perfect being, now that God has been abolished, is through humanity. Feuerbach's humanism is consequently the grand message of the true brotherhood of man, which can be accomplished, once man has shaken from his shoulders the burden of religion.
For Max Stirner, however, this is not adequate. In The Ego and His Own, he launches a sarcastic critique against Feuerbach's humanism. To him, it appears to be another religion in disguise.
Stirner strikes at Feuerbach's two concepts «man» and «humanity», which he finds precisely as claustrophobic as the Christian concepts of God and morality. The spooks of alienation, which Feuerbach was attempting to deal with, appears in the guise of these ideal concepts of man. Feuerbach's attempt at defining the human essence, splits man into an essential and unessential Self.
Stirner terms the resultant predomination of ideal concepts, spooks. Through its upbringing, the child learns to strive for the ideal and beware of the evil. The spook comes into existence, in that not only the «essential» qualities are made to appear desirable, like when the child is praised for «being good», but the undesired, «unessential» qualities are set forth as frightening and dangerous. The child learns to nurse the aspects of itself which matches the ideal, and to fear and suppress those that do not. This quickly becomes a splitting in the human individual. The ideal becomes an obsession, a so-called spook or fixed idea, which will enforce itself on the individual. But the suppressed feelings and qualities will still be there, and will haunt the individual, with fear and powerlessness as direct consequences.
For what happens to the man who commits an offence against love, the so-called «human essence»? He is not human, but inhuman; an egoist who has not understood his own essence! He must be disciplined! This leads to precisely the same suppression of the «unessential» qualities, which Feuerbach was about to abolish.
Stirner's work, however, is more than a critique of Feuerbach's humanism. According to Lawrence Stepelevich14, The Ego and his Own is modelled on the structure of Hegel's Phänomenologie des Geistes (Phenomenology Of The Spirit). Stirner describes the development in a human life, from the first steps of the child, eager to explore the world in a material-sensible phase, through the youth's spiritual attempts at «getting behind» and changing the world in an idealist phase, to the adult recognition of one's own interest in using the world, the final, egoist phase.
Subsequently, Stirner has this development in the human life take place in the concrete historical process. Highly simplified, from the materialism of the antique (the past) through the idealism of Christianity (the present), to the modern, incipient egoism (the future).
This development parallels that of Hegel's philosophy of history, but where the dialectics of Hegel concludes in an abstract concept, «the spirit of history», Stirner's conclusion is quite another. His dialectical rejection of all absolute concepts, with reference to their inadequacy in describing the unique individual satisfactorily, leads him in reality to nothing.
When no concept can describe the unique individual adequately, or in a definite manner, language comes to an end, and one has to realize that concepts are nothing but names. Or in other words, references to something else; to point out, to choose. To choose one thing before the other.
This choice springs from an interest. My own interest. I gain consciousness of myself, before this sun of nothingness.
Stirners quite consequent application of Hegel's dialectics accordingly leads him far beyond Hegel as well as Feuerbach, to a nothingness, which by sheer necessity creates a consciousness of self. It is this self, the unique individual, or in Stirners terminology, the concept of «The Unique One», which is the point of dispute in the debate between Stirner and Feuerbach.
To begin with, Feuerbach was enthusiastic for Stirner's work, and felt that Stirner's critique was based exclusively on misinterpretations of The Essence of Christianity. But gradually, as the book circulated and won popularity among the Young Hegelians, he was forced into print.16 In his essay «Das Wesen des Christentums auf Bezichung den Einzigen und sein Eigentum», which was printed in a German periodical,17 Feuerbach answers the criticism raised by Stirner.
First and foremost Feuerbach repudiates Stirners claim that he splits man into an essential and an unessential self. The divine properties, which Feuerbach attributes to man, are not properties which are strange to man, but can pure and simply be observed and sensed in the world. The essence of man can thus by no means be strange to man.
Consequently, the Christian dualism between body and spirit is not carried on with the «essence of man», because the sensible, corporeal, profane being is precisely the same as the absolute, spiritual, higher being. On the other hand, there is a human essence which is of a higher nature than the other. There is a difference between humanity, «the essence of man», and the single individual's self consciousness.
Feuerbach's argument gives rise to some difficulties here, because it sounds like he is contradicting himself. In order to explain Christianity and «the essence of religion», he says, he has to base his position initially on the difference between man and God, and by this, in a difference between the unique individual and the universal human being.
If one bases one's position on the unique individual (like Stirner), and by this raises this very individual to a special, holy position, one is in fact creating a new religion.
To be a man is certainly to be an egoist. But it implies also to be social, to be a communist. The single individual, yet quite limited in comparison to man as such, needs other people, and needs the opportunity for completion and perfection which mankind implies. For instance, there is the kind of love where one's being is fulfilled, which is an unselfish kind of love towards all of mankind, and then there is the love that is selfish and limited, and consequently not nearly as satisfactory. But also on a purely practical level do humans need each other; like the child needs its father, the sick needs a doctor, and the poor man depends on the charity of the rich. There are limitations to human existence which we can only overcome in our companionship and community with others.
Accordingly, as in The Essence of Christianity, Feuerbach invites us into his brotherhood of man, in which individuals are enabled to their completion in mankind, because the single individual in himself is inadequate. If the individual does not get this opportunity to develop his potential in the concept of «mankind», he will simply reinvent God and religion once again, because his limitations will feel too overwhelming.
It is not clear who is being satirical of whom here. Stirner in the first place, imitating Feuerbach's «examining the divine essence», or Feuerbach the second time around, comparing Stirners «unique one» with Christ. Either way, Feuerbach clearly misses Stirner's point, which the following will show. However, his argument still stands.
Some of Feuerbach's points are thought-provoking, as they anticipate a socialist way of thinking. We are in fact witnessing here the theoretical shaping of socialism. Frederick M. Gordon is highly critical in his analysis of Feuerbach's argument. He points out that Feuerbach leaves his initial thesis which is based on the «spontaneous» feeling which originally is supposed to be the essence of man.20 Instead, «the essence of man» becomes a doctrine, which is supposed to «save» man from the alienation of religion. And from there, there's not a great distance to a Lenin or Stalin.
One can reasonably claim some contradiction in that Feuerbach first obstinately denies splitting man into an essential and unessential self, and thereafter makes the point, that one has to differentiate between the single, limited individual, and the higher, common cause of «mankind». Which somehow leads to a confirmation of Stirner's assertions. But one doesn't do Feuerbach justice by dismissing him solely on this account. He doesn't have the wit or sharpness of a Stirner, but there's a lot in Feuerbach's thinking that actually makes sense on a practical level. And the more disturbing is his claim that men simply cannot live as unique individuals without some kind of substitute for religion. Is this void, the «nothing» of Stirner, of such an incomprehensible, terrifying oblivious nature that we simply cannot cope facing it?
Stirner adressed the critique in an essay entitled «Recensenten Stirners» (Stirner's Critics)21. Here he elaborated on the concept of «The Unique One» in particular, and argued that precisely this concept and the self-interest of the individual, in all ways stands in opposition to religion.
The concept of «The Unique One» is in contrast to the concepts of man, spirit, essence, etc., an empty concept, because it doesn't imply anything except saying «you are you». It does not imply an ideal, as Feuerbach accused Stirner of, but is a plain empty phrase, which it is up to the individual to fill out. It is simply the indefinable self, which can only be expressed by its own presence, its own subjective existence, not by any kind of absolute definition. It is impossible to base a definition of the «essence of man» on referring, as Feuerbach, to the properties which two or more people have in common. That two people both are animals, does not mean that the animal is the definition of a man. Stirner firmly rejects Feuerbach notions of the «universal human being», sarcastically referring to the fact that prisons for centuries have been full of «in-humans», which did not find themselves comprised by «humanity».
Stirner points out that even if the individual by his conscience or «grasping» acquires the world as his property, one cannot avoid that this property likewise is its own; it could very well be a unique individual like yourself. This makes it possible for human beings to be united, in love, for instance. Our pleasure with our property, with our world, shows, in that we forget ourselves.
"The belief that something other than an interest can justify a sympathetic attitude toward some-thing – this belief, that goes beyond interest, is what begets disinterestedness, indeed begets «sin» as one's disposition toward one's own interests. (…) The interesting can be interesting only through your interest, the worthwhile can be worthwhile only by your giving it value. What is worth while despite you is something despicable.
It is our own interest that creates our world, in that it springs from our self-conscience. When we think, speak, feel, live, come into existence, we create the world from our consciousness, i.e. from our egoism. The world is therefore simply our property, open to our pleasure and consumption. As far as we're able to take it into our possession. As far as we're able to grasp it.
Stirner's dialectical critique of the absolute concepts leads him to a vacuum, void of language. A nothingness. This creates the utter need for an expression, a consciousness, a self. This unique self can then build its world in its own image. Applying Hegel's dialectics, it became possible for Stirner to reach an unspeakable endpoint of not only Hegel's philosophy, but of philosophy and language as such.
Stirner does not have any rational explanation of this «creative nothing», which seems to be the end point of his thinking. Feuerbach's accusations of Stirner placing his «unique one» as «holy, unapproachable» is largely left unanswered, except for Stirner's remarks on «the holy» as noted above. Stirner may in fact do precisely what Feuerbach claims. When Stirner claims the undefinablity of the self, and «names name thee not», one could justifiably say that he takes the attributes of God as his own, and becomes «unreachable» by others. But it seems to me that this is exactly the point. He is unreachable, undefinable, incomprehensible. If people believe otherwise, they're fooling themselves. He takes God's attributes as his own. But he might throw them away again the next minute.
It seems that in the utter ability of change, of creation, of one thing being fitting at one time, and restraining the next, there is no room left for something sacred.
And it seems evident, that Feuerbach misses this point entirely. The philosophical argument between Stirner and Feuerbach is, in Stirner's terms, the struggle between a stagnant, if not slowly dying, Christian idealism, and the incipient, ever adaptable, modern egoism.
Feuerbach's ideas of a «brotherhood of mankind» gave nourishment to not only the socialist thought and movement, but has been profoundly influential to the humanist basis of «man», which can today be found in science, society, the church, legislation, and not the least, in the UN and modern «holy» wars for human rights. Stirner died in 1856 in the shade of Marxism, but the force and cogency of his words hardly ever die. The notion is no longer possible, that one should ever be able to define, and thus subdue the single, unique individual.
But if philosophy in fact does draw to an end with Stirner, because one can no longer base reason and argument on absolute concepts and definitions, but on the individual's own interest alone, what is left then?
Here we get close to an explanation of the powerful philosophical argument of an American blockbuster movie like The Matrix. Film can reach beyond language, in a manner that closely resembles Stirner's notion of «pointing». With the camera, one cannot define any truth, only record a certain intent, when you point the camera at an object. There is always a subject in a film, namely he who gets to decide the object of the camera, its framing, and the direction of its movement. This subject is indefinable, ever changing and recreating itself, as Stirner has shown. One realizes the strength of this indefinability, this «creative nothing», when one sees that when these motion pictures are shown, this subject is handed over to the audience.
The indefinable self becomes the essence of man.
Directed by Larry and Andy Wachowski, USA 1999.
Danish edition "Den Eneste og hans Ejendom", København 1902. Translated and reworked by Axel Garde, with an introductory essay by Georg Brandes. This edition has been used throughout this article, although excerpts have been replaced with the appropriate quotes from the english edition, in the translation of Stephen T. Byington, "The Ego and His Own", New York 1907.
Gunnar Skirbekk and Nils Gilje: Filosofiens Historie, bd. 2, p.108-109. Quotes translated from the Danish edition to English by the author.
The English edition has been used throughout this article. The Essence Of Christianity (New York 1957). Translated by George Eliot.
Frederick M. Gordon: «The Debate Between Feuerbach and Stirner: An Introduction», Philosophical Forum, vol.8, no. 2-4, USA 1976.
The Essence Of Christianity is structured as a chain of different arguments, which shows the contradictory positions of Christianity. All do they lead to this new synthesis, that the divine attributes really are nothing but the common, sensible qualities of man himself. The dialectical model shown here is from Skirbekk and Gilje, Filosofiens Historie, vol.2, p. 128.
Feuerbach: The Essence Of Christianity, p. 281.
The Ego and His Own, p. 202.
The Ego and His Own, p. 40.
The Ego and His Own, p.55-56.
The Ego and His Own, p.42.
Lawrence Stepelevich: «Stirner As Hegelian», cited by Svein Olav Nyberg in «Max Stirner's Philosophy».
The Ego and his Own, p.490. The two sentences of the translator «If I concern myself with myself» and «All things are nothing to me» have been replaced with the sentences of the notes, «If I set my affair on myself» and «I have set my affair on nothing», which I feel is the more accurate translation, and without which the argument in point is somewhat blurred.
Henri Arvon, p.130, cited by Frederick M.Gordon in The Debate between Feuerbach and Stirner.
Otto Wigand's Vierteljahrsschrift, 1845. Of Ludwig Feuerbach's Samtliche Werke. English translation by Frederick M.Gordon, «The Essence of Christianity in relation to the Ego and His Own». Philosophical Forum, Vol.8, No.2-4, USA 1976.
«The Essence of Christianity in Relation to the Ego and His Own», p.3.
The Ego and his Own, p.4.
Frederick M. Gordon: «The Debate Between Feuerbach And Stirner».
Translated by Frederick M.Gordon. Notice that Stirner and Feuerbach consequently speak of themselves in the third person.
Feuerbach, Ludwig : "The Essence of Christianity", New York 1957. Translated by George Eliot, with an introductory essay by Karl Barth. Org. "Das Wesen des Christentums", Berlin 1841, 1843.
Feuerbach, Ludwig : "The Essence of Christianity in relation to The Ego and his Own". Translated by Frederick M. Gordon, Philosophical Forum vol.8, issue 2-4, USA 1976.
Gordon, Frederick M. : "The Debate between Feuerbach and Stirner : An Introduction" Philosophical Forum vol.8, issue 2-4, USA 1976.
Høffding, Harald : "Philosophien i Tyskland efter Hegel", København 1872.
Stirner, Max : "Den Eneste og hans Ejendom", København 1902. Translated by Axel Garde, with an introductory essay by Georg Brandes. Org. "Der Einzige und sein Eigentum", Leipzig 1844.
Stirner, Max : "The Ego and His Own", New York 1907. Translated by Stephen T. Byington.
Stirner, Max : "Stirners Critics". Translated by Frederick M.Gordon. Philosophical Forum vol.8, issue 2-4, USA 1976.
Stepelevich, Lawrence : "The First Hegelians", Philosophical Forum vol.8, issue 2-4, USA 1976.
Ahlberg, Yngve : "Gudsbegrepp och Språkkritik", Stockholm 1967.
Arvon, Henri : "Aux sources de l'existensialisme : Max Stirner", Paris 1954.
Guerin, Daniel : "Anarkismen", København 1979. Translated by Michael Helms.
Lauritsen, Laurits : "Anarkismen og Syndikalismen" in "Politiske ideer fra Platon til Mao", ed. Erik Langkjær, København 1972.
Mackay, John Henry : "Max Stirner : Sein Leben und sein Werk", Berlin 1910.
Marx, Karl og Engels, Friedrich : "Die Deutche Ideologie", Werke bd.3, Berlin 1969.
Woodcock, George : "Anarchism. A History of Libertarian Ideas and Movements", Cleveland 1962, 1967.


Academic Life 2018 | Голенева Е.И.
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Magic: Puzzle Quest 3.2 Update is Here! - D3 Go!
MAGIC: PUZZLE QUEST 3.2 UPDATE IS HERE!
We've got plenty of new content coming your way in the 3.2 build: new features, new updates, a new Planeswalker, a new event, and plenty of bug fixes! Check out all the details below.
First off, for those of you that haven't read the Magic: the Gathering – Puzzle Quest – 3 Year Anniversary blog post, then what are you waiting for! There's some awesome info about from the development team that you don't want to miss out on, including the initial announcement of Player Profile.
For those of you that have already read it, it's time for Player Profile to arrive in 3.2! Now you can track your progress, show off your best decks, and even receive special rewards based on your level!
As a new player, getting used to all the different cards and effects MTGPQ has to offer can be…daunting at first. Conversely, veteran players spend enough time piecing together intricate decks and deliberating cunning strategies that they already know practically every card detail and effect like the back of their hand. This is where the Card Visual Aid comes in.
The new Card Visual Aid setting allows for players to enjoy MtGPQ the way that best suits them, and seeks to improve the player experience when casting cards and triggering effects. Need more time to read and understand each card and effect when they occur? Not a problem! Think too much time is spent watching cards and effects pop up, instead of playing? We've got you covered too!
"Disillusioned by his servitude to Nicol Bolas, Sarkhan fell into madness. However, a voice in his mind led him to the spot where the Spirit Dragon, Ugin, died.
Level 1 – Draw a card, then increase one of your colored mana bonuses by 1 (chosen randomly) until end of turn.
Level 2 – …increase your mana bonuses on each of that card's colors by 1 until end of turn.
Level 3 – …by 2 until end of turn.
Level 4 – …by 2 for 3 turns.
Level 1 – Create a Minor Tarkir Dragon Token.
Level 2 – Create a Tarkir Dragon Token.
Level 3 – Create a Major Tarkir Dragon Token.
Level 4 – Create a Major Tarkir Dragon Token. Create a Temur's Hunger Token.
Level 1 – Fetch the next creature with power 6 or greater from your library and give it full mana.
Level 4 – …full mana. Then, all creatures in your hand gain Haste.
Minor – [Red, Green] Creature – Dragon: 1/1 Flying – When this creature enters the battlefield, it gets +X/+X, where X is your Red mana bonus.
Minor – …where X is the sum of your Green and Red mana bonus.
Major – …sum of your Blue, Green and Red mana bonus.
[Blue, Red, Green] Support – 3 Shield – Whenever a creature you control attacks, if that creature's power is 6 or greater, it gets +1/+1 and Trample until end of turn.
We've added Expert and Master decks to the Planeswalkers that were missing them. Play around with their new decks to see if you can figure out the strategy with each one!
Want to get a head start on building the perfect deck for Sarkhan Unbroken? Maybe you just need those last few cards to complete the new Expert/Master decks. There will be a brand new selection of special offers available in 3.2, so keep an eye out in the Vault, so you can snag them while you can!
Overload (Blue, Red) – Whenever a player casts a spell, for each spell in their graveyard, the opponent's Planeswalker takes 1 damage.
Battalion (White, Red) – At the beginning of each player's turn, if that player controls three or more creatures, those creatures gain Double Strike and +2/+0 until end of turn.
Populate (White, Green) – When a creature token you control enters the battlefield, it is Reinforced. When a non-token creature you control enters the battlefield, that creature gets +1/+1.
Cipher (Blue, Black) – Whenever a player casts a non-copy spell, if they control a creature, create a copy of that spell. It gains mana equal to that player's first creature's toughness.
Scavenge (Black, Green) – Whenever a creature dies, the first opposing creature gets +X/+X, where X is the destroyed creature's power.
Training Grounds. It's a great event to test out new decks or strategy, but it can be a hassle waiting for the specific event format you want to appear. Not anymore! Starting in 3.2, both Legacy and Standard Training Grounds events will be scheduled daily!
In order to avoid potential server issues from both events starting and ending at the same time, the duration of each event has been reduced from 24hrs to 22hrs.
The specific button to rearrange the cards in the player's hand is no longer missing.
An infinite loop no longer occurs when casting a Support that buffs a Creature after summoning at least two Creatures with Vigilance, while the opponent controls a Support that Disables the first Creature the player controls.
The player's Planeswalker now retains 'Prevent Damage' when one Lich's Mastery Support gem is destroyed while there are multiple Lich's Mastery Support gems on the board.
Kraul Harpooner's ability no longer remains inactive when casting Kraul Harpooner while there are zero Creatures in the player's graveyard.
Part of the card destruction animation no longer displays in the middle of the screen when summoning a non-Angel token while Divine Visitation is on the board.
A near-infinite loop no longer occurs when casting Blue Sun's Zenith with both Stitch in Time and Expansion//Explosion in the deck while Blue Sun's Zenith is the first card in the player's Graveyard.
Players now draw a card, instead of fetching the top card of their deck, when one of the player's Djinn's Wish Support token is destroyed.
The player's first Creature is now given to the opponent, instead of being destroyed, when casting Switcheroo while the opponent controls three Creatures on the battlefield.
Gems are no longer converted to the opponent's Planeswalker's colors when beginning the turn while Primal Wellspring was on the board.
Vigilant Angel tokens now receive Trostani Discordant's buff when Trostani Discordant enters the battlefield while there are no Vigilant Angel tokens on the battlefield with Divine Visitation on the board.
An extra non-Angel Creature Token is no longer created when creating one or more non-Angel Creature Tokens while Divine Visitation and Anointed Procession are on the board.
An infinite loop no longer occurs when summoning a Zombie Token while Divine Visitation and Open the Graves are on the Board and Graveyard Marshal is on the Battlefield.
The Creature in the player's first position is now given to the opponent, instead of reinforcing, when casting Switcheroo while both players have the same Creature in the first position.
An opponent's Creature with five or less Toughness will no longer remain on the battlefield when casting Warping Wail while there are six or more Void gems on the board.
Opponents are no longer able to cast Spell cards until the beginning of the player's next turn when the opponent draws a Spell card after Azor, the Lawbringer enters the player's battlefield on the previous turn.
Soul-Scar Mage's ability no longer remains inactive when casting a Spell while the opponent controls no Creatures.
Squee, the Immortal is now considered summoned when Squee, the Immortal returns to the battlefield after being destroyed.
Grunn, the Lonely King's ability now activates when attacking while the player controls no other Creatures and Grunn, the Lonely King has one or more reinforcements.
Mirror Image is no longer an invalid target to copy when Mirror Image enters the battlefield.
The Haste Evergreen is no longer missing when a Colorless Token Creature is created by a Creature's effect while Forerunner of Slaughter is on the battlefield.
If the player doesn't have any creatures on the battlefield when the AI uses Beacon Bolt, it will now target the player's Planeswalker, instead of itself.
The additional buff is no longer missing when reinforcing Venerated Loxodon.
District Guide now activates when it is summoned from outside the player's hand.
Naru Meha, Master Wizard's effect now activates when Naru Meha, Master Wizard enters the battlefield from anywhere other than the player's hand.
If the player's hand is full, then Radical Idea will no longer be able to be cast from the player's graveyard if it had full mana.
Resplendent Angel is now destroyed, instead of being reinforced, when Resplendent Angel's toughness is reduced to zero after blocking an opponent's Creature while Resplendent Angel has Lifelink.
Forest Tokens will now appear when casting a creature with Leader, while it was affected by Nissa, Worldwaker's Worldwake ability, and while there is at least one token of the creature's Leader type on the battlefield.
Creatures with the Prevent Damage Evergreen are now destroyed when casting Tragic Arrogance.
The Pacifist objective now only tracks when the player destroys an opponent's Creatures.
Players no longer only receive Agrus Kos, Wojek Veteran, instead of the Guild-specific exclusive card, when earning the 60 point reward in Rising Tensions Events.
Ixalan cards are valid when viewing the available sets in any Standard event.


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Best Stories All Tags Random Story
Best Stories
TAG: Venice
In Soviet Russia, Cup Refills You!
Coffee Shop, Florida, Jerk, Politics, USA, Venice | Right | July 30, 2019
(I work at a large coffee shop. Store policy is to not give refills, but rather sell the coffee at the closest cup size. All is well until…)
Customer: "No refills? What are you, a communist?"
Unfiltered Story #139474
Italy, Restaurant, Venice | Unfiltered | February 12, 2019
(I am a customer at a restaurant in Venice, Italy. I hear this exchange between two other customers, a pair of British tourists.)
Tourist #1: This is just terrible. The lack of English food in this city is disturbing.
Tourist #2: Such savages. Do they really expect civilized people to eat Italian food?
(They were met with dirty looks from just about every other English speaker in the restaurant)
My New Grand-Mama Mia!
Health & Body, Inspirational, Italy, Kind Strangers, Parents/Guardians, Vacation, Venice | Hopeless | April 1, 2018
(It is the late 90s, and I am 12 years old. I get to go on a ten-day trip to Italy with my family and five other families. It is planned through a travel agency, so we are already signed up to see and do certain things. The day arrives when we reach Venice by bus, and I am not feeling well at all. It turns out, I've gotten food poisoning from the rest stop we ate breakfast at this morning. I am the only one who ate a particular bad food item, and therefore am the only one who is sick. My parents are pretty upset, because getting on a gondola is out of the question for me, and it's something we've all been looking forward to. I am already nauseated enough on dry land. They are discussing which one of them will stay with me while the rest of our group goes on the gondolas, or if they could possibly switch off at some point, when our tour guide comes over with an older Italian lady.)
Tour Guide: "Good news! You can both go on the gondola ride. My friend here will stay with your daughter."
Mom: "Oh! Thank you, but we don't want to impose. I can stay with [My Name]."
Tour Guide: "No, no, no! You must experience the gondola! [My Name] can stay here with [Lady]. She owns a restaurant near where we will dock later."
(After talking it out for a few minutes, and after our tour guide assures them again she's known the lady for a long time, my parents agree to meet me at the restaurant after the gondola ride. So, the tour guide walks the lady and I back to her little restaurant on the water. I am so sick to my stomach that I nearly throw up again before we reach it. The tour guide leaves, and the lady ushers me inside the restaurant. Inside, the lady says something in rapid Italian. I know only a few words, and am so nauseated all I can do is stare at her and try to not throw up on her shoes. The lady clucks her tongue at me and guides me to a little back room with an attached bathroom. She tells everyone we pass something about me in Italian. I assume she is informing everyone of my plight, but who knows. I also think random people keep calling me bebe, which I assume means "baby." I'm sure I look pretty miserable. I spend the afternoon alternating between running to the bathroom and huddling on a tiny couch in that room. The lady checks on me every so often, bringing me some kind of broth and water to drink. By the time my parents come back with the tour guide, I feel better enough to make it to our hotel. They are very grateful to the lady for looking after me, and we even go to eat at her restaurant before we leave Venice, when I am able to eat again. Back home from our trip, a friend is asking me for details about everything we saw in Italy.)
Friend: "Oh! Did you go on one of those little boat things in Venice? Did the driver sing that song they always sing in the movies?"
Me: "Uh… No. My mom and dad got to go, but I was sick."
Friend: "Aw, really? You didn't get to go at all?"
Me: "No, but I became very well-acquainted with a Venetian bathroom. I also think I have an Italian grandma, now."
(Thank you again, kind Italian lady, for watching a sick kid who couldn't understand a word you were saying!)
Sitting For England
Italy, Jerk, Public Transport, Strangers, Venice | Friendly | March 28, 2018
(My family and I are taking a ferry between two islands in Venice. It is now late afternoon, and we have been on our feet non-stop since eight this morning. We manage to get seats on the ferry, which ends up pretty crowded with several people standing. I notice a middle-aged group standing near us, and I have just decided to offer my seat to one of them after I've rested for a few more minutes, when one of them bends down and leans in front of me and my little sister to talk to the person sitting next to her.)
Woman: *loudly* "You know, if we were in England, I'm sure someone would have given up their seat by now."
(I then decided that my butt and that seat were best friends and could not possibly be parted, and they enjoyed a close, personal relationship for the rest of that ferry ride.)
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