A Quote by Tricia Rhodes

We don't have to be victims of the spiritual fall-out of the digital age. It does take some serious intentionality to combat the cultural compulsion for connection that surrounds us, but it's worth it.
The question, 'Why does she stay?' is code for some people for, 'It's her fault for staying,' as if [domestic violence] victims intentionally choose to fall in love with men intent upon destroying us.
Out-marriage is an issue religious groups have been wrestling with for some time. Of course men and women fall in love. Of course it's not always convenient to their respective cultural and spiritual norms.
In the digital age, there are a million and one ways to find out what someone you fancy is doing - but remember, they can see when you're watching their Instagram stories. If you fall deep into a hole of snooping, resist flicking through the digital diaries of their exes, or at least learn to cover your tracks.
In the industrial age and in analog clocks, a minute is some portion of an hour which is some portion of a day. You know, in the digital age, a minute is just a number. It's just 3:23. It's almost this absolute duration that doesn't have a connection to where the sun is or where our day is.
People over the age of thirty were born before the digital revolution really started. We've learned to use digital technology-laptops, cameras, personal digital assistants, the Internet-as adults, and it has been something like learning a foreign language. Most of us are okay, and some are even expert. We do e-mails and PowerPoint, surf the Internet, and feel we're at the cutting edge. But compared to most people under thirty and certainly under twenty, we are fumbling amateurs. People of that age were born after the digital revolution began. They learned to speak digital as a mother tongue.
An utterance can have Intentionality, just as a belief has Intentionality, but whereas the Intentionality of the belief is intrinsic the Intentionality of the utterance is derived.
Spiritual growth is like learning to walk. We stand up, fall, stand up, fall, take a step, fall, take a couple of steps, fall, walk a little better, wobble a bit, fall, run, and finally, eventually fly.
The biggest invention of modern time is the book. The book is a digital medium; book text is written in a different form and replicable. What it really does is it allows us to replicate cultural information, scientific technology, and information out of the human brain.
The people who help us grow toward true self offer unconditional love, neither judging us to be deficient nor trying to force us to change but accepting us exactly as we are. And yet this unconditional love does not lead us to rest on our laurels. Instead, it surrounds us with a charged force field that makes us want to grow from the inside out - a force field that is safe enough to take the risks and endure the failures that growth requires.
Looking out at the photographic landscape that surrounds us - the world of images and image-making that we inhabit - it seems obvious that photography has undergone dramatic changes in its technical, cultural, and critical composition.
No longer are technology and cyber issues confined to tech geeks in some backroom. In the digital age, IT issues are front and center. They are central to what government does and how it does it.
I'm all for lifestyle evangelism, but I'm also in favor of intentionality, where we seek out opportunities for spiritual conversations and are equipped to explain the gospel and why we believe it.
In temptations against chastity, the spiritual masters advise us, not so much to contend with the bad thought, as to turn the mind to some spiritual, or, at least, indifferent object. It is useful to combat other bad thoughts face to face, but not thoughts of impurity.
Games are unquestionably the single most important cultural form of the digital age.
All diseases and disorders have some spiritual connection and serve as stepping stones for us to listen to and learn from.
By and large, serious fiction was the work of victims who portrayed victims for an audience of victims who, it was oddly assumed, would want to see their lives realistically portrayed.
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