time-forgotten" areas.

Your fundamental mistake is confusing "are present" and "can be present". T Rexes ARE NOT PRESENT until the referee decides they are. There is NOT an implied world, despite your fervent wishes that there was.This is a	Contract position in	Royal Oak, MI posted	June 9, 2021.
Readers familiar with John Berger's work will hear a ring of promise in the title of his new collection of writings, "The Shape of a Pocket."
It hints at a deep-diving meditation on a homely detail of life, such as his 1979 "The Suit and the Photograph," reprinted in "Selected Essays."
Only in the next-to-last section of "The Shape of a Pocket," an exchange of letters with the Mexican insurgent known as Subcomandante Marcos, does Berger explain that he has "a pocket of resistance" in mind.
To systematic injustice and culture's uses as a hypnotic, a smoke screen or an excuse for the workings of power. Berger has sustained for almost 50 years his protest against the dehumanization of society by the overt and the silent violence of business as usual.
The thick volume of "Selected Essays," drawing from earlier books such as "Permanent Red," "The Moment of Cubism" and "Keeping a Rendezvous," lets us trace the arc of Berger's writing toward ever more direct expression of the ways historical circumstances shape and color individual experience.
Works of art have most often been his subjects because they invite the mind to catch itself in the act of interpretation and emotional recoil.
Early on Berger was branded a Marxist, not merely because he learned from Marx's thinking, but because "Marxist" was a ready Cold War era slur to punish a writer who insisted that a critique of power and the profit system follows from any genuinely critical approach to art.
The Berger of "The Shape of a Pocket" will not be so easy to peg, despite references to Antonio Gramsci, for the authority of its voice is all his own.
As technology and globalization have made the engines of injustice harder to name and pinpoint, the language of Berger's social observation has become plainer and more direct.
"If the pursuit of profit is considered as the only means of salvation for mankind," Berger writes in the 1995 "Steps Toward a Small Theory of the Visible," "turnover becomes the absolute priority, and, consequently, the existent has to be discarded or ignored or suppressed.... Technological innovation has made it easy to separate the apparent from the existent. And this is precisely what the present system's mythology continually needs to exploit. It turns appearances into refractions, not of light, but of appetite, in fact a single appetite -- the appetite for more."
Always sympathetic to the intended victims of "the system," Berger perhaps makes too little of the impulses toward complicity that it can stir.
Readers may notice Berger updating Marx's famous slogan for capitalism's reduction of everything to its exchange value -- "all that is solid melts into air" -- and Guy Debord's idea that media images coalesce into a parallel universe in which people prefer to believe they live.
Rather than pretend that the visual arts stand outside the situation he describes, Berger ponders the peculiar challenge that painting and drawing still pose of "getting inside" a subject at hand or whatever experienced thing that provokes artistic striving.
This "getting inside" the subject -- in drawing, the search for a likeness - - restores in the practitioner the very sense of the existent that "the system" is bent on canceling.
Great artworks, Berger points out, such as the best of Soutine and Rothko, may even do the same for a spectator.
As in several among the "Selected Essays," such as "Drawing" (1953) and "Drawn to That Moment" (1976), Berger makes his argument concrete by describing his own difficulties in making a likeness.
"Selected Essays" makes a wonderful introduction to Berger's critical work for those who do not want to hunt down his earlier collections. It reprints essays on Picasso, Goya, Giacometti, Turner, Mayakovsky and many other topics that have lost none of their freshness. Though roughly chronological in sequence, they read convincingly in any order.
"the prophesy lies not so much in the details... as... in what constitutes the space of hell. There is no horizon there... no continuity between actions, there are no pauses, no paths, no pattern, no past and no future.... Compare this space to what one sees in the average publicity slot, or in a typical CNN news bulletin, or any mass media news commentary. There is a comparable incoherence, a comparable wilderness of separate excitements, a similar frenzy. Bosch's prophesy was of the world-picture... communicated to us today by the media under the impact of globalization."
Even if Berger had never written stirring fiction and first-hand accounts of people living out their fates in such books as "A Fortunate Man" and "A Seventh Man," the "Selected Essays" would establish him as an indispensable late 20th century voice.
"The Shape of a Pocket" shows Berger almost too confident of being understood in somewhat cryptic exchanges of letters with Leon Kossoff and Subcomandante Marcos.
The book's most pleasant surprise is the 1996 radio piece "Will It Be a Likeness?" Merely imagining it being read on radio brings alive the ambiguities of its spacious paragraph breaks, its apparent self-interruptions and collisions of voices. It is the most puzzling and involving thing Berger has published in years.
<issue_start><issue_comment>Title: Add dargon2_flutter for Flutter projects
username_0: Adds in the reference for Flutter projects, [dargon2_flutter], which differs slightly from [dargon2], which provides argon2 functionality in Dart for native devices only. 

The Flutter plugin is necessary in providing bindings for mobile & web devices which require a different method of loading the argon2 reference library.

This PR adds in the reference to the flutter plugin in the readme and clarifies the distinction between [dargon2] and [dargon2_flutter].

Let me know if I need to make any clarifications!

[dargon2]: https://github.com/username_0/dargon2
[dargon2_flutter]: https://github.com/username_0/dargon2_flutter
<issue_comment>username_0: @khovratovich just a quick ping since it's been a few weeksEbbor Gorge is another of Somerset’s hidden gems. When most people think about gorges in this neck of the woods, Cheddar Gorge is probably the one that springs to mind. Ebbor Gorge doesn’t offer guided tours, have a gift shop or a tea room. And that is part of its unique charm.
In 1952, Ebbor Gorge was notified as a Site of Special Scientific Interest. The discovery of bones, tools and flint arrow heads has provided proof of human occupation by Neolithic Man. (Some of the flint tools are held in the Wells and Mendip Museum.) Pottery remains from the Bronze Age have also been unearthed. It’s amazing to think that some of the caves here were occupied by humans thousands of years ago.
Ebbor Gorge was donated to the National Trust in the 1960s and is well managed and maintained by Natural England as a nature reserve. It provides a habitat for all sorts of fauna and flora.
Located just a few miles from The Cross at Croscombe, Ebbor Gorge has a handy free car park. (This is locked overnight, so don’t stay out too late!) From here, there are a couple of well marked trails that lead to the edge of the gorge. Some are easier to navigate than others.
In one direction there is a steep path through the rock – ideal if you are with children (and/or grown-ups) who enjoy a good scrabble, not so good if you have a pushchair.
However, in the other direction is a more moderately paced incline through beautiful woodland. This woodland is a fantastic environment for rare butterflies and bats. There are small streams for young ones to splash in. Do keep an eye out for a wicker animal or two!
If you aren’t constrained by age or paraphernalia then the Ebbor Gorge circular walk is a good one.
The views from the clearing at the edge of the gorge across to the Somerset Levels and Glastonbury Tor are fantastic. Geologists can marvel at how the steep ravine cuts into 350 million year old Carboniferous Limestone (yes, I did look that bit up). There are no barriers or fences at the perimeter, so do take care. The flat stones dotted around up here make ideal picnic spots from which to soak up the views and enjoy the peace and quiet.
Ebbor Gorge is one of those great places which are free to visit and appeal to people of all ages. It definitely makes it into my top 10 ‘Places to go in Somerset‘. Do go and explore the Ebbor Gorge trail – it’s simply gorge-ous.The camera switched back to the news anchor who begins to show a video from the perspective of a cameraman watching Power Girl fight a large tank. Power Girl lifts up the tank and throws it into a