Art Involves Experience Quotes

Art is a meta-language, with the help of which people try to communicate with one another; to impart information about themselves and assimilate the experience of others. Again, this has not to do with practical advantage but with realising the idea of love, the meaning of which is in sacrifice: the very antithesis of pragmatism. I simply cannot believe that an artist can ever work only for the sake of 'self-expression.' Self-expression if meaningless unless it meets with a response. For the sake of creating a spiritual bond with others it can only be an agonising process, one that involves no practical gain: ultimately it is an act of sacrifice. But surely it cannot be worth the effort merely for the sake of hearing one's own echo?

All you need to do is follow the instructions: Sit down, shut up, watch, and don’t get involved. Gradually, the meditation experience will open up all by itself.

Boardroom discussions, by their nature, involve individuals with diverse backgrounds, experiences, and perspectives. This diversity of thought is essential for making well-rounded decisions, but it can also lead to disagreements and passionate debate. While conflict is inevitable, it doesn't have to be destructive. In fact, when handled constructively, disagreements can spark innovation and lead to more robust solutions.

The fault in our stars is the inability to see that the world falls in love with fantasy, fairytales and magic in movies. Even religion asks us to believe in the most unlikely of situations. However, despite all the great movies we love, we choose to see so many real life spiritual experiences as delusion, mania, psychosis or wishful thinking. Our society gives great devotion to the arts. However, they solve so many problems with realism, rather than giving into the possibilty of God's plan for a person, that doesn't involve their theological views about how God helps write his children's stories.

In my experience, most people are actually seeking recovery from the monotony and anxiety of qualitative repetition. This applies to body, emotions and mind. And that monotony and anxiety involves inertia just as much as over-use, meaning inertia in some areas and over-use in others.

Buddha used to say to his disciples: Take each step watchfully. He used to say: Watch your breath. And that is one of the most significant practices for watching because the breath is there, continuously available for twenty-four hours a day wherever you are. The birds may be singing one day, they may not be singing some other day, but breathing is always there. Sitting, walking, lying down, it is always there. Go on watching the breath coming in, the breath going out. Not that watching the breath is the point, the point is learning how to watch. Go to the river and watch the river. Sit in the marketplace and watch people passing by. Watch anything, just remember that you are a watcher. Don’t become judgmental, don’t be a judge. Once you start judging you have forgotten that you are a watcher, you have become involved, you have taken sides, you have chosen: “I am in favor of this thought and I am against that thought.” Once you choose, you become identified. Watchfulness is the method of destroying all identification. Hence Gurdjieff called his process the process of nonidentification. It is the same, his word is different. Don’t identify yourself with anything, and slowly one learns the ultimate art of watchfulness. That’s what meditation is all about. Through meditation one discovers one’s own light. That light you can call your soul, your self, your God, whatever word you choose—or you can remain just silent, because it has no name. It is a nameless experience, tremendously beautiful, ecstatic, utterly silent, but it gives you the taste of eternity, of timelessness, of something beyond death.

In art, as in biology, there is a phenomenon that can be described as mutation, in which appearances radically change at a tempo much more rapid than that at which they normally proceed. As in the case of biology, we have no means to determine the process by which this radical change occurs. Yet we do know that it is a reaction to a form of congestion. It is a desperate change due to the arrival at a point where the corollaries to a situation are exhausted, when the stimulus to additional growth is sluggish and a rapid rejuvenation is needed so that art, through disuse, does not atrophy in much the same way as an unused human organ. Here art must attain a new start if it is to survive. Then, assiduously, it renews its traditions by marriage with alien traditions, by the reexamination of its own processes, and by those means reestablishes contact again with its own roots. It is in this way that new plastic worlds are born. For art, like a race, cannot inbreed very long without losing its incentives to continue; it needs the rejuvenation of new experiences and new blood. These mutations, it must be clear, however, do not constitute a change in properties, or mean that art has discarded its past. On the contrary, mutation involves a more conscious evaluation of art’s inheritance and the redirection of that inheritance into channels where it can be continued with greater force.

When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness. The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).

In the course of aesthetic experience, the perceiver may be overwhelmed by this 'mere object', overcome with emotion, altered to the very roots of his being.[...] The experience of beauty involves an exchange of power, and as such, it is often disorienting, a mix of humility and exaltation, subjugation and liberation, awe and mystified pleasure.[...] Many people, fearing a pleasure they cannot control, have vilified beauty as a siren or a whore. Since at one time or another though, everyone answers to 'her' call, it would be well if we could recognize the meaning of our succumbing as a valuable response, an opportunity for self-revelation rather than defeat.[...] It entails a flexibility and empathy toward 'Others' in general and the capacity to see ourselves as both active and passive without fearing that we will be diminished in the process.

The more automated our experience becomes, the less involved we are in the art of living.

In my experience, however, if I focus too much on what the team sees, then it can be difficult to complete the garden as an expression of my own thoughts. Although it may seem counterintuitive, when it comes to coordinating what direction the rocks will face, the fewer people involved, the easier it is to synchronize. And when it’s time to make the final adjustments, it’s best to do it alone. Decisiveness is about having the ability to trust in yourself.

Possibly the most compelling reason for use of the expressive arts in trauma work is the sensory nature of the arts themselves; their qualities involve visual, tactile, olfactory, auditory, vestibular, and proprioceptive experiences.

Fortunately, our colleges and universities are fully cognizant of the problems I have been delineating and take concerted action to address them. Curricula are designed to give coherence to the educational experience and to challenge students to develop a strong degree of moral awareness. Professors, deeply involved with the enterprise of undergraduate instruction, are committed to their students' intellectual growth and insist on maintaining the highest standards of academic rigor. Career services keep themselves informed about the broad range of postgraduate options and make a point of steering students away from conventional choices. A policy of noncooperation with U.S. News has taken hold, depriving the magazine of the data requisite to calculate its rankings. Rather than squandering money on luxurious amenities and exorbitant administrative salaries, schools have rededicated themselves to their core missions of teaching and the liberal arts. I'm kidding, of course.

There is doubtless such a thing as a ’national character’. In art, it is the lowest common denominator. The more specific the character, the more commonplace it is. That is why creation always requires overcoming such a character. An artist, if he is anything, is an individual. But to be an individual means embodying your own truths, suffering your own experiences, and inventing your own style. But these things can only occur by renouncing facility, and the most unfortunate facility comes from these so-called national characters, formed by the sedimentation of collective mediocrity, which lies there ready-made. National character is by definition that which remains in a culture after you have removed the personal effort involved in thinking, the personal experience of life and the triumph of individual creation.

We sit as a practice for how we will act throughout the day. Mindfulness, however, involves more than sitting. It is moment by moment non-clinging to ego. It is the simplicity that results when we experience reality without the clutter produced by the decorative arts of ego.

there is found a third level of religious experience, even if it is seldom found in a pure form. I will call it the cosmic religious sense. This is hard to make clear to those who do not experience it, since it does not involve an anthropomorphic idea of God; the individual feels the vanity of human desires and aims, and the nobility and marvellous order which are revealed in nature and in the world of thought. He feels the individual destiny as an imprisonment and seeks to experience the totality of existence as a unity full of significance. … It seems to me that the most important function of art and of science is to arouse and keep alive this feeling in those who are receptive.

The arts, as they develop, grow further apart. Once, song, poetry, and dance were all parts of a single dromenon. Each has become what it now is by separation from the others, and this has involved great losses and great gains. Within the single art of literature, the same process has taken place. Poetry has differentiated itself more and more from prose.

In order to understand how engineers endeavor to insure against such structural, mechanical, and systems failures, and thereby also to understand how mistakes can be made and accidents with far-reaching consequences can occur, it is necessary to understand, at least partly, the nature of engineering design. It is the process of design, in which diverse parts of the 'given-world' of the scientist and the 'made-world' of the engineer are reformed and assembled into something the likes of which Nature had not dreamed, that divorces engineering from science and marries it to art. While the practice of engineering may involve as much technical experience as the poet brings to the blank page, the painter to the empty canvas, or the composer to the silent keyboard, the understanding and appreciation of the process and products of engineering are no less accessible than a poem, a painting, or a piece of music. Indeed, just as we all have experienced the rudiments of artistic creativity in the childhood masterpieces our parents were so proud of, so we have all experienced the essence of structual engineering in our learning to balance first our bodies and later our blocks in ever more ambitious positions. We have learned to endure the most boring of cocktail parties without the social accident of either our bodies or our glasses succumbing to the force of gravity, having long ago learned to crawl, sit up, and toddle among our tottering towers of blocks. If we could remember those early efforts of ours to raise ourselves up among the towers of legs of our parents and their friends, then we can begin to appreciate the task and the achievements of engineers, whether they be called builders in Babylon or scientists in Los Alamos. For all of their efforts are to one end: to make something stand that has not stood before, to reassemble Nature into something new, and above all to obviate failure in the effort.

In the biblical world, for example, “knowing” is also a whole-body experience. In the Bible, “knowing” can involve studying, having sex with, showing concern for, entering into a covenant with, being familiar with, understanding the reputation of. God is described as the perfect knower, the seer of all things, the one who sees not only with the objective eye of a scientist but with the grace-filled eye of perfect love.

From Bacon, Diderot learned that science need not bow down before a Bible-based view of the world; it should be based on induction and experimentation, and, ideally, used to further humankind’s mastery of nature. Locke delivered two related concepts. The first was a theory of mind that rejected the long-standing belief that humans were born with innate ideas (and, therefore, with an inborn understanding of the divine). In Locke’s view, the mind is a blank slate at birth, and our understanding of the exterior world comes about solely through sensation and reflection. This entirely nonspiritual view of cognition set up a second critical lesson. Since, according to the English philosopher, true knowledge is limited to what we can learn through our senses, anyone involved in seeking out nature’s secrets must rely on observation and experiment — on a so-called empirical approach — and avoid building huge systems based on fantasy.

Only exceptionally gifted individuals or especially noble communities rise essentially above this level [of an anthropomorphic god]; in these there is found a third level of religious experience, even if it is seldom found in a pure form. I will call it the cosmic religious sense. This is hard to make clear to those who do not experience it, since it does not involve an anthropomorphic idea of God; the individual feels the vanity of human desires and aims, and the nobility and marvellous order which are revealed in nature and in the world of thought. He feels the individual destiny as an imprisonment and seeks to experience the totality of existence as a unity full of significance. … How can this cosmic religious experience be communicated from man to man, if it cannot lead to a definite conception of God or to a theology? It seems to me that the most important function of art and of science is to arouse and keep alive this feeling in those who are receptive.

enlargement of our being. We want to be more than ourselves. Each of us by nature sees the whole world from one point of view with a perspective and a selectiveness peculiar to himself. And even when we build disinterested fantasies, they are saturated with, and limited by, our own psychology. To acquiesce in this particularity on the sensuous level—in other words, not to discount perspective—would be lunacy. We should then believe that the railway line really grew narrower as it receded into the distance. But we want to escape the illusions of perspective on higher levels too. We want to see with other eyes, to imagine with other imaginations, to feel with other hearts, as well as with our own.      [138] We are not content to be Leibnitzian monads. We demand windows. Literature as Logos is a series of windows, even of doors. One of the things we feel after reading a great work is ‘I have got out’. Or from another point of view, ‘I have got in’; pierced the shell of some other monad and discovered what it is like inside. Good reading, therefore, though it is not essentially an affectional or moral or intellectual activity, has something in common with all three. In love we escape from our self into one other. In the moral sphere, every act of justice or charity involves putting ourselves in the other person’s place and thus transcending our own competitive particularity. In coming to understand anything we are rejecting the facts as they are for us in favour of the facts as they are. The primary impulse of each is to maintain and aggrandise himself. The secondary impulse is to go out of the self, to correct its provincialism and heal its loneliness. In love, in virtue, in the pursuit of knowledge, and in the reception of the arts, we are doing this. Obviously this process can be described either as an enlargement or as a temporary annihilation of the self. But that is an old paradox; ‘he that loseth his life shall save it’. We therefore delight to enter into other

Competition is the spice of sports; but if you make spice the whole meal you'll be sick. The simplest single-celled organism oscillates to a number of different frequencies, at the atomic, molecular, sub-cellular, and cellular levels. Microscopic movies of these organisms are striking for the ceaseless, rhythmic pulsation that is revealed. In an organism as complex as a human being, the frequencies of oscillation and the interactions between those frequencies are multitudinous. -George Leonard Learning any new skill involves relatively brief spurts of progress, each of which is followed by a slight decline to a plateau somewhat higher in most cases than that which preceded it…the upward spurts vary; the plateaus have their own dips and rises along the way…To take the master’s journey, you have to practice diligently, striving to hone your skills, to attain new levels of competence. But while doing so–and this is the inexorable–fact of the journey–you also have to be willing to spend most of your time on a plateau, to keep practicing even when you seem to be getting nowhere. (Mastery, p. 14-15). Backsliding is a universal experience. Every one of us resists significant change, no matter whether it’s for the worse or for the better. Our body, brain and behavior have a built-in tendency to stay the same within rather narrow limits, and to snap back when changed…Be aware of the way homeostasis works…Expect resistance and backlash. Realize that when the alarm bells start ringing, it doesn’t necessarily mean you’re sick or crazy or lazy or that you’ve made a bad decision in embarking on the journey of mastery. In fact, you might take these signals as an indication that your life is definitely changing–just what you’ve wanted….Be willing to negotiate with your resistance to change. Our preoccupation with goals, results, and the quick fix has separated us from our own experiences…there are all of those chores that most of us can’t avoid: cleaning, straightening, raking leaves, shopping for groceries, driving the children to various activities, preparing food, washing dishes, washing the car, commuting, performing the routine, repetitive aspects of our jobs….Take driving, for instance. Say you need to drive ten miles to visit a friend. You might consider the trip itself as in-between-time, something to get over with. Or you could take it as an opportunity for the practice of mastery. In that case, you would approach your car in a state of full awareness…Take a moment to walk around the car and check its external condition, especially that of the tires…Open the door and get in the driver’s seat, performing the next series of actions as a ritual: fastening the seatbelt, adjusting the seat and the rearview mirror…As you begin moving, make a silent affirmation that you’ll take responsibility for the space all around your vehicle at all times…We tend to downgrade driving as a skill simply because it’s so common. Actually maneuvering a car through varying conditions of weather, traffic, and road surface calls for an extremely high level of perception, concentration, coordination, and judgement…Driving can be high art…Ultimately, nothing in this life is “commonplace,” nothing is “in between.” The threads that join your every act, your every thought, are infinite. All paths of mastery eventually merge. [Each person has a] vantage point that offers a truth of its own. We are the architects of creation and all things are connected through us. The Universe is continually at its work of restructuring itself at a higher, more complex, more elegant level . . . The intention of the universe is evolution. We exist as a locus of waves that spreads its influence to the ends of space and time. The whole of a thing is contained in each of its parts. We are completely, firmly, absolutely connected with all of existence. We are indeed in relationship to all that is.

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).

The balanced state of body and mind that occurs through zazen practice can also occur spontaneously in other situations. As a musician I used to find it when playing onstage. All consciousness of myself and the outside world would vanish, to be replaced by a fluid state of action alone, in which thought and feeling ceased to be important and in which sense of self and other utterly dissolved. Athletes often experience moments like this. So do artists of various kinds. So do many people involved in a whole range of activities to which they have fully devoted themselves. And so, quite often, do lovers engaged in sex.

Those involved in the redesign process must know what they would do if they could do whatever they wanted. Such knowledge is essential if they are to set meaningful goals for the future. The outcome of such a design is idealized in the sense that the resulting system is ideal seeking, not ideal. It should be subject to continuous improvement with further experience and changing environments. The only certainty is that some of whatever we think we will want five or ten years from now will not be wanted then. Such a vision should be inspiring, a work of art. It should facilitate making short-run sacrifices for the sake of longer-run gains.

Hobbies provide more examples. If you are a gardener, what you see when you visit Sissinghurst Castle is different from what a non-gardener sees. Your judgment of the quality of the garden has an element of the objective that goes beyond sentiments about how pretty the flowers are. If you are a stamp collector, the reasons you value a particular stamp involve aspects of it that someone who isn’t a stamp collector overlooks. If you are an oenophile, your judgment of the quality of a wine has an element of the objective that goes beyond sentiments of how good it tastes. Expertise changes the quality of the experience, and also introduces an element of the objective.

To eat responsibly is to understand and enact, so far as one can, this complex relationship. What can one do? Here is a list, probably not definitive: 1. Participate in food production to the extent that you can. If you have a yard or even just a porch box or a pot in a sunny window, grow something to eat in it. Make a little compost of your kitchen scraps and use it for fertilizer. Only by growing some food for yourself can you become acquainted with the beautiful energy cycle that revolves from soil to seed to flower to fruit to food to offal to decay, and around again. You will be fully responsible for any food that you grow for yourself, and you will know all about it. You will appreciate it fully, having known it all its life. 2. Prepare your own food. This means reviving in your own mind and life the arts of kitchen and household. This should enable you to eat more cheaply, and it will give you a measure of “quality control”: You will have some reliable knowledge of what has been added to the food you eat. 3. Learn the origins of the food you buy, and buy the food that is produced closest to your home. The idea that every locality should be, as much as possible, the source of its own food makes several kinds of sense. The locally produced food supply is the most secure, the freshest, and the easiest for local consumers to know about and to influence. 4. Whenever possible, deal directly with a local farmer, gardener, or orchardist. All the reasons listed for the previous suggestion apply here. In addition, by such dealing you eliminate the whole pack of merchants, transporters, processors, packagers, and advertisers who thrive at the expense of both producers and consumers. 5. Learn, in self-defense, as much as you can of the economy and technology of industrial food production. What is added to food that is not food, and what do you pay for these additions? 6. Learn what is involved in the best farming and gardening. 7. Learn as much as you can, by direct observation and experience if possible, of the life histories of the food species. The

One of the most remarkable properties of our brain is its capacity to change and adapt to our individual world. Neurons and neural networks actually make physical changes when stimulated; this is called neuroplasticity. The way they become stimulated is through our particular experiences: The brain changes in a “use dependent” way. The neural networks involved in piano playing, for example, will make changes when activated by a child practicing her piano. These experience-dependent changes translate into better piano playing. This aspect of neuroplasticity—repetition leads to change—is well known and is why practice in sports, arts, and academics can lead to improvement. A key principle of neuroplasticity is specificity. In order to change any part of the brain, that specific part of the brain must be activated. If you want to learn to play the piano, you can’t simply read about piano playing, or watch and listen to YouTube clips of other people playing piano. You must put your hands on the keys and play; you have to stimulate the parts of the brain involved in piano playing in order to change them. This principle of “specificity” applies to all brain-mediated functions, including the capacity to love. If you have never been loved, the neural networks that allow humans to love will be undeveloped, as in Gloria’s case. The good news is that with use, with practice, these capabilities can emerge. Given love, the unloved can become loving.

As Christians, we are all engaged in the business of discerning and obeying God’s call, and this usually means that soon enough we find ourselves out beyond our own competence, frightened at what God demands and feeling cosmically abandoned, left in the lurch with a job for which our own resources are completely inadequate…Sooner or later, the panic touches each one of us who accepts God’s call and heads, eyes wide open, straight into some difficult and mysterious work—like pastoring a church, teaching a class, going back to school, learning a language, creating a work of art. The panic descends on everyone who accepts God’s call to do something that engages our heart and wracks our soul—like making a marriage proper through better and worse, raising a child and letting her go into adulthood, enduring a terrible illness, growing up, growing old. In fact, being called out far beyond our own competence is part of our regular experience with God.

When we live intensely, we run more risks and we become more fragile. We already know that people who do nothing suffer nothing. But avoiding doing things out of fear of getting hurt is not a path to growth. When we mix our fears with reality, we are limiting ourselves. Don’t forget that the decisions we don’t make also cause us pain. Be careful about how you interpret what happens to you. If you don’t have an explanation that brings you peace, don’t make one up. What causes one kind of emotional pain to be more intense than another? Well, it depends on the emotional attachment to the source of the pain. What hurts more intensely is what directly affects us or the people we love. What hurts more is what affects our greatest aspirations and objectives. We are more easily hurt by what affects our desires or fears, and the more intense our desire, the more painful our frustration when we do not achieve it. The emotional involvement determines and explains the intensity of our pain. The greater the emotional involvement, the greater the pain. When pain comes in the door, perspective goes out the window, taking with it our ability to reason properly, to analyze events, and to make good decisions. Each time you remember what happened you transform what happened. None of our experiences is in vain if we are capable of learning from what happened to us and from the suffering and pain it caused us. But we won’t be able to learn from what happened if we don’t look back and review our experiences. Carrying your past is like carrying a huge backpack full of stones that prevents you from walking freely. But to walk through life all you need is a bit of water and food, a dream, and a destination—and, in a pinch, you can probably do without a destination. Let bygones be bygones, learn from what happened, and bring that chapter to a close. Your beliefs feed your decisions, your fears, and your desires. Knowledge will set you free, so make an effort to learn, study, read, travel.

There is an incredible diversity among human lives, infinite variations among people with respect to how they can experience a sense of closeness. This realization alone offers us a great opportunity. It means that at this very moment we have vast resources of intimacy available to us. Intimacy is all around us. Today, so many of us are oppressed by a feeling of something missing in our lives, intensely suffering from a lack of intimacy. This is particularly true when we go through the inevitable periods in our life when we’re not involved in a romantic relationship or when the passion wanes from a relationship. There’s a widespread notion in our culture that deep intimacy is best achieved within the context of a passionate romantic relationship—that Special Someone who we set apart from all others. This can be a profoundly limiting viewpoint, cutting us off from other potential sources of intimacy, and the cause of much misery and unhappiness when that Special Someone isn’t there. But we have within our power the means to avoid this; we need only courageously expand our concept of intimacy to include all the other forms that surround us on a daily basis. By broadening our definition of intimacy, we open ourselves to discovering many new and equally satisfying ways of connecting with others.

The story of The Rape of the Lock, sylphs and all, could have been told, though not so effectively, in prose. The Odyssey and the Comedy have something to say that could have been said well, though not equally well, without verse. Most of the qualities Aristotle demands of a tragedy could occur in a prose play. Poetry and prose, however different in language, overlapped, almost coincided, in content. But modern poetry, if it ‘says’ anything at all, if it aspires to ‘mean’ as well as to ‘be’, says what prose could not say in any fashion. To read the old poetry involved learning a slightly different language; to read the new involves the unmaking of your mind, the abandonment of all the logical and narrative connections which you use in reading prose or in conversation. You must achieve a trance-like condition in which images, associations, and sounds operate without these. Thus the common ground between poetry and any other use of words is reduced almost to zero. In that way poetry is now more quintessentially poetical than ever before; ‘purer’ in the negative sense. It not only does (like all good poetry) what prose can’t do: it deliberately refrains from doing anything that prose can do. Unfortunately, but inevitably, this process is accompanied by a steady diminution in the number of its readers. Some have blamed the poets for this, and some the people. I am not sure that there need be any question of blame. The more any instrument is refined and perfected for some particular function, the fewer those who have the skill, or the occasion, to handle it must of course become. Many use ordinary knives and few use surgeons’ scalpels. The scalpel is better for operations, but it is no good for anything else. Poetry confines itself more and more to what only poetry can do; but this turns out to be something which not many people want done. Nor, of course, could they receive it if they did. Modern poetry is too difficult for them. It is idle to complain; poetry so pure as this must be difficult. But neither must the poets complain if they are unread. When the art of reading poetry requires talents hardly less exalted than the art of writing it, readers cannot be much more numerous than poets. The explication of poetry is already well entrenched as a scholastic and academic exercise. The intention to keep it there, to make proficiency in it the indispensable qualification for white-collared jobs, and thus to secure for poets and their explicators a large and permanent (because a conscript) audience, is avowed. It may possibly succeed. Without coming home any more than it now does to the ‘business and bosoms’ of most men, poetry may, in this fashion, reign for a millennium; providing material for the explication which teachers will praise as an incomparable discipline and pupils will accept as a necessary moyen de parvenir. But this is speculation.

Ironically, the best litmus test for measuring your vagabonding gumption is found not in travel but in the process of earning your freedom to travel. Earning your freedom, of course, involves work—and work is intrinsic to vagabonding for psychic reasons as much as financial ones. To see the psychic importance of work, one need look no further than people who travel the world on family money. Sometimes referred to as “trustafarians,” these folks are among the most visible and least happy wanderers in the travel milieu. Draping themselves in local fashions, they flit from one exotic travel scene to another, compulsively volunteering in local political causes, experimenting with exotic intoxicants, and dabbling in every non-Western religion imaginable. Talk to them, and they’ll tell you they’re searching for something “meaningful.”   And they say in truth that a man is made of desire. As his desire is, so is his faith. As his faith is, so are his works. As his works are, so he becomes. —THE SUPREME TEACHING OF THE UPANISHADS   What they’re really looking for, however, is the reason why they started traveling in the first place. Because they never worked for their freedom, their travel experiences have no personal reference—no connection to the rest of their lives. They are spending plenty of time and money on the road, but they never spent enough of themselves to begin with. Thus, their experience of travel has a diminished sense of value.

it is helpful to keep in mind three ways in which we can know something. The first is by way of theoretical statements. We can learn a lot by listening to a lecture. In this mode of knowing, we endeavor to abstract from the particulars of the case and grasp what is essential to it. Although the lecturer might use examples or illustrations to aid comprehension, the primary mode of delivery is by way of statements and arguments made up out of abstract notions. Another way we can know something is by what we might call the way of doing. There’s real know-how that comes from doing something, especially when we do something so much that our experience of it becomes rich and varied. For example, our sweet, humble Aunt Emily knows a lot about the virtue of humility by having lived humility over many years. Her theoretical knowledge of humility—her knowledge of humility by way of universal statements and arguments—may be nil. She may have never studied moral theology. If asked to give a definition of humility, she would probably be at a loss. And yet, it’s undeniable that Aunt Emily has a real understanding of what it means to be humble, an experiential knowledge embodied in her habitually humble acts. And by imitating Aunt Emily’s humility, we can proceed along this way of doing as well. The third way of knowing is by what we might call the way of showing. By “showing,” I mean the activities of the artistic imagination. A movie is a kind of showing, as is a play. But there are other kinds of showing that do not involve performance either live or recorded. A novel is a kind of showing, as is a poem, as is a short story. These latter arts are showings in the sense that they, just like a movie or play, offer us images of human beings doing things. And whether a showing is performance-based or text-based, it attempts—as we so often say about a work of art—to “say” something. It offers us the experience of something meaningful.

The tremendous leisure industry that has arisen in the last few generations has been designed to help fill free time with enjoyable experiences. Nevertheless, instead of using our physical and mental resources to experience flow, most of us spend many hours each week watching celebrated athletes playing in enormous stadiums. Instead of making music, we listen to platinum records cut by millionaire musicians. Instead of making art, we go to admire paintings that brought in the highest bids at the latest auction. We do not run risks acting on our beliefs, but occupy hours each day watching actors who pretend to have adventures, engaged in mock-meaningful action. This vicarious participation is able to mask, at least temporarily, the underlying emptiness of wasted time. But it is a very pale substitute for attention invested in real challenges. The flow experience that results from the use of skills leads to growth; passive entertainment leads nowhere. Collectively we are wasting each year the equivalent of millions of years of human consciousness. The energy that could be used to focus on complex goals, to provide for enjoyable growth, is squandered on patterns of stimulation that only mimic reality. Mass leisure, mass culture, and even high culture when only attended to passively and for extrinsic reasons—such as the wish to flaunt one’s status—are parasites of the mind. They absorb psychic energy without providing substantive strength in return. They leave us more exhausted, more disheartened than we were before. Unless a person takes charge of them, both work and free time are likely to be disappointing. Most jobs and many leisure activities—especially those involving the passive consumption of mass media—are not designed to make us happy and strong. Their purpose is to make money for someone else. If we allow them to, they can suck out the marrow of our lives, leaving only feeble husks. But like everything else, work and leisure can be appropriated for our needs. People who learn to enjoy their work, who do not waste their free time, end up feeling that their lives as a whole have become much more worthwhile. “The future,” wrote C. K. Brightbill, “will belong not only to the educated man, but to the man who is educated to use his leisure wisely.

One key characteristic of structure is its richness. To illustrate, recall the comparison that John Rawls drew between checkers and chess when he was describing the Aristotelian principle (see page 386). Both games are played on a board with 64 squares, but they have different structures. Checkers has one kind of piece, while chess has six different kinds of pieces. The movement of any checker piece is restricted to a single square per turn unless it is capturing, while movement in chess is different for each piece. In checkers, the goal is to capture all the opponents’ pieces. In chess, the goal is to trap one particular piece. The structure of chess is objectively richer than the structure of checkers. It is no coincidence that chess has thousands of books written about tactics and strategy for every aspect of the game while checkers has a fraction of that number. The nature of accomplishment in checkers and chess is also objectively different, as reflected in their relative places in Western culture.[1] I measure the richness of a structure by three aspects: principles, craft, and tools. The scientific method offers convenient examples. Conceptually, a scientific experiment proceeds according to principles such as replicability, falsifiability, and the role of the hypothesis that apply across different scientific disciplines. The actual conduct of a classic scientific experiment involves craft—the generation of a hypothesis to be tested or a topic to be explored, the creation of the methods for doing so, and meticulous observance of protocols and procedures during the actual work. The details of craft differ not only across disciplines but within disciplines. They also have a family resemblance, in the sense that a meticulous scientist behaves in ways that are recognizable to scientists in every field—“meticulous” being one of the defining characteristics of craft practiced at a high level. Tools play a double role. Sometimes they are created in direct response to needs generated by principles and craft—accurate thermometers are an example—but at least as often, a tool turns out to have unanticipated uses that alter both principles and craft, independently expanding the realm of things a discipline can achieve. An example is the invention of the diffraction grating to study spectra of light, which 40 years later turned out to enable astronomers to study the composition of the stars.

…we seek an enlargement of our being. We want to be more than ourselves. … We want to see with other eyes, to imagine with other imaginations, to feel with other hearts, as well as with our own. … One of the things we feel after reading a great work is ‘I have got out’. Or from another point of view, ‘I have got in’; pierced the shell of some other monad and discovered what it is like inside. Good reading, therefore, though it is not essentially an affectional or moral or intellectual activity, has something in common with all three. In love we escape from our self into one other. In the moral sphere, every act of justice or charity involves putting ourselves in the other person’s place and thus transcending our own competitive particularity. In coming to understand anything we are rejecting the facts as they are for us in favour of the facts as they are. The primary impulse of each is to maintain and aggrandise himself. The secondary impulse is to go out of the self, to correct its provincialism and heal its loneliness. In love, in virtue, in the pursuit of knowledge, and in the reception of the arts, we are doing this. Obviously this process can be described either as an enlargement or as a temporary annihilation of the self. But that is an old paradox; ‘he that loseth his life shall save it’. … Those of us who have been true readers all our life seldom fully realise the enormous extension of our being which we owe to authors. We realise it best when we talk with an unliterary friend. He may be full of goodness and good sense but he inhabits a tiny world. In it, we should be suffocated. The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes cannot write books. … Literary experience heals the wound, without undermining the privilege, of individuality. There are mass emotions which heal the wound; but they destroy the privilege. In them our separate selves are pooled and we sink back into sub-individuality. But in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.

For while asceticism is certainly an important strand in the frugal tradition, so, too, is the celebration of simple pleasures. Indeed, one argument that is made repeatedly in favor of simple living is that it helps one to appreciate more fully elementary and easily obtained pleasures such as the enjoyment of companionship and natural beauty. This is another example of something we have already noted: the advocates of simple living do not share a unified and consistent notion of what it involves. Different thinkers emphasize different aspects of the idea, and some of these conflict. Truth, unlike pleasure, has rarely been viewed as morally suspect. Its value is taken for granted by virtually all philosophers. Before Nietzsche, hardly anyone seriously considered as a general proposition the idea that truth may not necessarily be beneficial.26 There is a difference, though, between the sort of truth the older philosophers had in mind and the way truth is typically conceived of today. Socrates, the Epicureans, the Cynics, the Stoics, and most of the other sages assume that truth is readily available to anyone with a good mind who is willing to think hard. This is because their paradigm of truth—certainly the truth that matters most—is the sort of philosophical truth and enlightenment that can be attained through a conversation with like-minded friends in the agora or the garden. Searching for and finding such truth is entirely compatible with simple living. But today things are different. We still enjoy refined conversation about philosophy, science, religion, the arts, politics, human nature, and many other areas of theoretical interest. And these conversations do aim at truth, in a sense. As Jürgen Habermas argues, building on Paul Grice’s analysis of conversational conventions, regardless of how we actually behave and our actual motivations, our discussions usually proceed on the shared assumption that we are all committed to establishing the truth about the topic under discussion.27 But a different paradigm of truth now dominates: the paradigm of truth established by science. For the most part this is not something that ordinary people can pursue by themselves through reflection, conversation, or even backyard observation and experiment. Does dark matter exist? Does eating blueberries decrease one’s chances of developing cancer? Is global warming producing more hurricanes? Does early involvement with music and dance make one smarter or morally better? Are generous people happier than misers? People may discuss such questions around the table. But in most cases when we talk about such things, we are ultimately prepared to defer to the authority of the experts whose views and findings are continually reported in the media.

The pathway of the A offers us a profound opportunity to transform our personal histories. It allows us to reevaluate the grades we assigned to others when we were children, grades that affect our lives now, as legends we live by. How often do we stand convinced of the truth of our early memories, forgetting that they are but assessments made by a child? We can replace the narratives that hold us back by inventing wiser stories, free from childish fears, and, in doing so, disperse long-held psychological stumbling blocks. Usually the impetus for transforming your own past will come from a feeling of hopelessness in the present, a sense that you have been through the same frustrating experience time and again. Our analytic powers don’t seem to help, though some of us never weary of exercising them. The people we are involved with seem so fixed in their ways. How can we get them to change? We tend not to notice our own hand in this ill-starred situation, so rarely are we looking in a productive place for the answer. Why not give some attention to the grades we are handing out?

In addition, to be “in on the joke,” the listener must possess a window into the culture in which it was birthed. Comedians are constantly telling stories that only people who have experienced similar things in life can relate to. Some themes are universal across time and places, whereas others involve local food, sports, traditions, celebrities, holidays, and shared cultural experiences from work, educational, and familial environments. Given that cultural products like these comprise the lion’s share of speech, knowledge of them is as relevant to the language learner as grammar and vocabulary.

What many producers don’t understand is that lawyers by definition are not trained in solving business problems. They are trained in interpreting and propagating the law based on a set of precedents that have been laid down before. And as each branch of law is an entity unto itself, an entertainment lawyer that normally works in music may not necessarily be useful when dealing with theatre.  If you want to do a deal that might involve some creative thinking, you would do better to talk with someone that makes deals for a living, for example maybe a salesperson who has developed “outside of the box” thinking in order to make their business rise above that of the competition.  In my experience lawyers are not by definition the most creative business thinkers.

Honest self-questioning is difficult. It requires asking yourself simple questions that are uncomfortable to answer. In fact, in my experience, the more uncomfortable the answer, the more likely it is to be true. Take a moment and think of something that’s really bugging you. Now ask yourself why it bugs you. Chances are the answer will involve a failure of some sort. Then take that failure and ask why it seems “true” to you. What if that failure wasn’t really a failure? What if you’ve been looking at it the wrong way?

If mentalizing is me projecting my experiences onto you, caring involves getting out of my experiences and understanding that what you need may be very different from what I would need in that situation. This is hard. The world is full of people who are nice; there are many fewer who are effectively kind.

But sympathy in novels need not be simply a matter of the reader’s direct identification with a fictional character. It can also be driven by, say, my admiration of a character who is long on virtues I am short on (the moral courage of Atticus Finch, the limpid goodness of Alyosha Karamazov), or, most interestingly, by my wish to be a character who is unlike me in ways I don’t admire or even like. One of the great perplexities of fiction-and the quality that makes the novel the quintessentially liberal art form-is that we experience sympathy so readily for characters we wouldn’t like in real life. Becky Sharp may be a soulless social climber, Tom Ripley may be a sociopath, the Jackal may want to assassinate the French President, Mickey Sabbath may be a disgustingly self-involved old goat, and Raskolnikov may want to get away with murder, but I find myself rooting for each of them. This is sometimes, no doubt, a function of the lure of the forbidden, the guilty pleasure of imagining what it would be like to be unburdened by scruples. In every case, though, the alchemical agent by which fiction transmutes my secret envy or my ordinary dislike of “bad” people into sympathy is desire. Apparently, all a novelist has to do is give a character a powerful desire (to rise socially, to get away with murder) and I, as a reader, become helpless not to make that desire my own.

Modern economics, by which I mean the style of economics taught and practised in today's leading universities, likes to start the enquiries from the ground up: from individuals, through the household, village, district, state, country, to the whole world. In various degrees, the millions of individual decisions shape the eventualities people face; as both theory, common sense, and evidence tell us that there are enormous numbers of consequences of what we all do. Some of these consequences have been intended, but many are unintended. There is, however, a feedback, in that those consequences in turn go to shape what people subsequently can do and choose to do. When Becky's family drive their cars or use electricity, or when Desta's family create compost or burn wood for cooking, they add to global carbon emissions. Their contributions are no doubt negligible, but the millions of such tiny contributions sum to a sizeable amount, having consequences that people everywhere are likely to experience in different ways. It can be that the feedbacks are positive, so that the whole contribution is greater than the sum of the parts. Strikingly, unintended consequences can include emergent features, such as market prices, at which the demand for goods more or less equals their supply. Earlier, I gave a description of Becky's and Desta's lives. Understanding their lives involves a lot more; it requires analysis, which usually calls for further description. To conduct an analysis, we need first of all to identify the material prospects the girls' households face - now and in the future, under uncertain contingencies. Second, we need to uncover the character of their choices and the pathways by which the choices made by millions of households like Becky's and Desta's go to produce the prospects they all face. Third, and relatedly, we need to uncover the pathways by which the families came to inherit their current circumstances. These amount to a tall, even forbidding, order. Moreover, there is a thought that can haunt us: since everything probably affects everything else, how can we ever make sense of the social world? If we are weighed down by that worry, though, we won't ever make progress. Every discipline that I am familiar with draws caricatures of the world in order to make sense of it. The modern economist does this by building models, which are deliberately stripped down representations of the phenomena out there. When I say 'stripped down', I really mean stripped down. It isn't uncommon among us economists to focus on one or two causal factors, exclude everything else, hoping that this will enable us to understand how just those aspects of reality work and interact. The economist John Maynard Keynes described our subject thus: 'Economics is a science of thinking in terms of models joined to the art of choosing models which are relevant to the contemporary world.

According to the scientist, time is interminable and inexhaustible. The artist is more inclined to relate the passage of time as a subject involving the randomness of memory and humankind’s ability to create vivid recollections. Astute artists depict collections of disjointed thought fragments in paintings and literature in order to stir the pot of human consciousness. Art rests upon the correspondence between the impact of external experience and the finiteness of human life. An artist attempts to articulate answers to the mystery of being by rendering a thoughtful interpretation of the world that we occupy and experience through our senses.

Stepping out and stepping up can be an intimidating experience, especially in social situations where the outcomes are unpredictable and uncertain. Have you ever been reluctant to . . . • Say "no?" • Request help? • Ask for a raise? • Stand up to a bully? • Talk about tough topics? • Confront a friend or spouse? • Speak up and share your opinion? • Begin a conversation with a stranger? • Deliver a presentation or speak in public? • Talk about the “white elephant” in the room? • Befriend people who are much different than you? • Make sales calls because you don’t want to be rejected? • Approach a new group of people at a networking event? • Go to an event by yourself where you did not know anyone? Each of these scenarios can strike fear in the hearts of many because each involves risk and potential discomfort. Life holds endless circumstances with a broad and diverse range of challenge or conflict that require you to be brave.

It was her concern and commitment to a friend which last year involved her in perhaps the most emotional period of her life. For five months she secretly helped to care for Adrian Ward-Jackson who had discovered that he was suffering from AIDS. It was a time of laughter, joy and much sorrow as Adrian, a prominent figure in the world of art, ballet and opera, gradually succumbed to his illness. A man of great charisma and energy, Adrian initially found it difficult to come to terms with his fate when in the mid-1980s he was diagnosed as HIV positive. His word as deputy chairman of the Aids Crisis Trust, where he first met the Princess, had made him fully aware of the reality of the disease. Finally he broke the news in 1987 to his great friend Angela Serota, a dancer with the Royal Ballet until a leg injury cut short her career and now prominent in promoting dance and ballet. For much of the time, Angela, a woman of serenity and calm practicality, nursed Adrian, always with the support of her two teenage daughters. He was well enough to receive a CBE at Buckingham Palace in March 1991 for his work in the arts--he was a governor of the Royal Ballet, chairman of the Contemporary Arts Society and a director of the Theatre Museum Association--and it was at a celebratory lunch held at the Tate Gallery that Angela first met the Princess. In April 1991 Adrian’s condition deteriorated and he was confined to his Mayfair apartment where Angela was in almost constant attendance. It was from that time that Diana made regular visits, once even brining her children Princes Willian and Harry. From that time Angela and the Princess began to forge a supportive bond as they cared for their friend. Angela recalls: “I thought she was utterly beautiful in a very profound way. She has an inner spirit which shines forth though there was also a sense of pervasive unhappiness about her. I remember loving the way she never wanted me to be formal.” When Diana brought the boys to see her friends, a reflection of her firmly held belief that her role as mother is to bring them up in a way that equips them for every aspect of life and death, Angela saw in William a boy much older and more sensitive than his years. She recalls: “He had a mature view of illness, a perspective which showed awareness of love and commitment.” At first Angela kept in the background, leaving Diana alone in Adrian’s room where they chatted about mutual friends and other aspects of life. Often she brought Angela, whom she calls “Dame A”, a gift of flowers or similar token. She recalls: “Adrian loved to hear about her day-to-day work and he loved too the social side of life. She made him laugh but there was always the perfect degree of understanding, care and solicitude. This is the point about her, she is not just a decorative figurehead who floats around on a cloud of perfume.” The mood in Mount Street was invariably joyous, that sense of happiness that understands about pain. As Angela says: “I don’t see death as sad or depressing. It was a great journey he was going on. The Princess was very much in tune with that spirit. She also loved coming for herself, it was an intense experience. At the same time Adrian was revitalized by the healing quality of her presence.” Angela read from a number of works by St. Francis of Assisi, Kahil Gibran and the Bible as well as giving Adrian frequent aromatherapy treatments. A high spot was a telephone call from Mother Teresa of Calcutta who also sent a medallion via Indian friends. At his funeral they passed Diana a letter from Mother Teresa saying how much she was looking forward to meeting her when she visited India. Unfortunately Mother Teresa was ill at that time so the Princess made a special journey to Rome where she was recuperating. Nonetheless that affectionate note meant a great deal to the Princess.

In his book, Man’s Search for Meaning, Victor Frankl argued that a life purpose is not some mystical fairy tale, but the reality of every single human being on our planet. What is more, having an understanding of your life’s purpose has life-saving potential. He observed this while being detained in the concentration camps of Nazi Germany. Similar experiences were recounted by the survivors from USS Indianapolis, a United States heavy cruiser that was sunk at the end of the World War II. The need to maintain radio silence meant nobody in naval command knew about the attack until days afterwards. The survivors had several nights in the water before rescue came. They reported that virtually everybody wanted to give up their struggle for life at one point or another. The effort to stay afloat so long was overwhelming. Some did give up and died. But the rest, when tempted to quit the effort, focused on their reasons to keep fighting. They encouraged each other with thoughts of people who depended on them in their civil lives: spouses, parents, siblings, and kids. If someone had no one to live for, others would tell them about those in their future who would surely need them—their future spouses and kids. They had a reason to survive: wanting to be there for others who needed them. Those sailors became committed to fulfill this, and their commitment was enough to keep them alive. A good reason is a magnificent tool. A reason-powered motivation can save your life in more than one way. We’ve seen how a reliance on emotion-filled inspiration derived from others doesn’t ultimately motivate you at all if your core values are not involved. However, that does not mean that emotions won’t help you. Far from it. Just be aware of the limitations of relying on your emotions to power consistent action. Emotions are elusive in their nature, but as long as they last, they can boost your abilities many-fold. Emotions give you the ability to get fired-up to begin something. You’ve probably heard the saying, “Well begun is half done.” Starting is the action that magically produces progress. Consider things you’ve begun in the past. One moment you were doing nothing, so had exactly zero potential to reach your goal. Then you made a decision that you would do this and a surge of enthusiasm moved you forward. You were in motion; you’d started. An infinite ocean of possibilities had opened in front of you. Any decision to start something will have this effect.

Fuller Cups, Fuller Tummies! 10 Effective Ways to Increase Breast Milk Supply Embracing motherhood involves acknowledging all the challenges that follow. For a lot of moms out there, producing the right amount of breast milk stands as a paramount concern. Understanding the complexities of lactation and increasing milk supply can be a transformative experience that strengthens the bond between mother and child while promoting the baby’s physical health. This blog will delve into the art and science of how to increase breast milk supply, providing priceless insights, doable tactics, and some breast feeding tips to support nursing moms on their journey. This guide seeks to provide nursing moms the confidence and resources they need to navigate the wonderful yet occasionally complex world of breast feeding successfully, arming them with a thorough understanding of breast feeding benefits and the causes of low milk supply.

Title: Opening Development: The Job of market research consultant in india In the consistently developing scene of business in India, remaining in front of the opposition requires a profound comprehension of market elements, customer conduct, and arising patterns. This is where statistical surveying specialists assume a significant part. With their ability in information examination, industry bits of knowledge, and vital direction, statistical surveying experts enable organizations to pursue educated choices and explore the intricacies regarding the Indian market. In this article, we dig into the meaning of market research consultant in india and how they drive development and advancement. Exploring Different Business sectors: India is a place that is known for variety, where every district has its own exceptional social, financial, and social elements. Statistical surveying advisors have the aptitude to explore through these assorted business sectors, giving important experiences customized to explicit areas. Whether it's comprehension shopper inclinations in metropolitan communities like Mumbai and Delhi or taking advantage of the thriving business sectors of Level 2 and Level 3 urban areas, statistical surveying advisors offer limited systems that reverberate with the interest group. Uncovering Customer Bits of knowledge: Purchaser conduct is continually developing, affected by elements, for example, financial changes, mechanical progressions, and social movements. Statistical surveying experts utilize a scope of philosophies, including overviews, center gatherings, and information examination, to reveal well established customer experiences. By figuring out the requirements, goals, and trouble spots of the objective segment, organizations can tailor their items, administrations, and promoting methodologies to resound with buyers on a significant level. Recognizing Arising Patterns: In the present quick moving business climate, keeping up to date with arising patterns is vital for keeping an upper hand. Statistical surveying advisors have practical experience in pattern examination, observing business sector developments, contender exercises, and mechanical advancements. By distinguishing arising patterns from the beginning, organizations can gain by new open doors and turn their systems in like manner. Whether it's the ascent of online business, the reception of reasonable practices, or the developing interest for computerized arrangements, market research consultant in india give priceless prescience to direct business choices. Relieving Dangers: Each undertaking involves a specific level of hazard, whether it's entering another market, sending off another item, or extending tasks. Statistical surveying specialists direct careful gamble evaluations, recognizing possible entanglements and moderating elements that could influence business achievement. Through thorough market examination, contender benchmarking, and situation arranging, statistical surveying specialists empower organizations to go with informed risk-the executives choices, limiting vulnerabilities and boosting open doors for development. Driving Advancement: Development is the soul of business achievement, powering development, separation, and supportability. Statistical surveying experts cultivate a culture of development by uncovering neglected needs, distinguishing market holes, and investigating undiscovered open doors. By utilizing market knowledge and shopper experiences, organizations can improve items, administrations, and plans of action that reverberate with the advancing requirements of the market. Whether it's creating state of the art advancements, troublesome plans of action, or advancement showcasing methodologies, statistical surveying experts engage organizations to remain in front of the development bend. All in all, statistical surveying experts assume a basic part in opening development and deve

survey companies in Myanmar, with various respectable organizations arising as central members on the lookout. Among these organizations, Myanmar Study Exploration (MSR), Kantar TNS Myanmar, and Knowledge Myanmar Exploration stand apart as driving suppliers of statistical surveying and review administrations in the country. Myanmar Overview Exploration (MSR) has set up a good foundation for itself as an unmistakable review organization, offering a large number of examination and counseling administrations to homegrown and worldwide clients. With a solid spotlight on information exactness and unwavering quality, MSR has gained notoriety for conveying smart market knowledge and significant proposals to its clients. Kantar TNS Myanmar, one more key part in the overview business, brings an abundance of involvement and skill to the Myanmar market. As a component of the worldwide Kantar organization, the organization offers state of the art research strategies and a profound comprehension of buyer conduct, empowering clients to pursue informed choices and gain an upper hand in the commercial center. Knowledge Myanmar Exploration is likewise transforming the review business, giving top notch research arrangements custom fitted to the particular necessities of organizations working in Myanmar. The organization's obligation to conveying significant experiences and vital direction has added to its progress in serving a different cluster of clients across different areas. These study organizations assume a vital part in assisting organizations and associations with exploring Myanmar's dynamic market scene. By utilizing their skill in information assortment, examination, and translation, these organizations enable clients to acquire a more profound comprehension of customer inclinations, market patterns, and industry elements. Also, the presence of legitimate study organizations like MSR, Kantar TNS Myanmar, and Knowledge Myanmar Exploration mirrors the developing interest for solid and far reaching statistical surveying administrations in Myanmar. As the nation keeps on starting up to worldwide business open doors, the requirement for exact and noteworthy bits of knowledge has never been more prominent. As well as serving the necessities of organizations, these overview organizations likewise add to the improvement of survey companies in Myanmar overall. Through their obligation to maintaining elevated requirements of impressive skill and moral lead, they set a positive model for different players in the business and assist with raising the general nature of examination and counseling administrations accessible in the country. Besides, these organizations effectively draw in with neighborhood networks, giving work open doors and cultivating the improvement of nearby ability in the field of statistical surveying and information examination. By supporting a talented labor force and advancing information trade, they add to the structure of a vigorous and maintainable exploration biological system in Myanmar. All in all, the development of review organizations, for example, Myanmar Overview Exploration (MSR), Kantar TNS Myanmar, and Understanding Myanmar Exploration mirrors the rising significance of dependable statistical surveying and study administrations in Myanmar. With their obligation to greatness and their commitments to industry improvement, these organizations are ready to assume a critical part in forming the fate of survey companies in Myanmar.

If the fear of death were merely the fear of dying, it would be better dealt with by medicine than by argument. There is, or there might be, an art of dying well, of dying painlessly, willingly, and in season,—as in those noble partings which Attic gravestones depict,—especially if we were allowed, as Lucretius would allow us, to choose our own time. But the radical fear of death, I venture to think, is something quite different. It is the love of life. Epicurus, who feared life, seems to have missed here the primordial and colossal force he was fighting against. Had he perceived that force, he would have been obliged to meet it in a more radical way, by an enveloping movement, as it were, and an attack from the rear. The love of life is not something rational, or founded on experience of life. It is something antecedent and spontaneous. It is that Venus Genetrix which covers the earth with its flora and fauna. It teaches every animal to seek its food and its mate, and to protect its offspring; as also to resist or fly from all injury to the body, and most of all from threatened death. It is the original impulse by which good is discriminated from evil, and hope from fear. Nothing could be more futile, therefore, than to marshal arguments against that fear of death which is merely another name for the energy of life, or the tendency to self-preservation. Arguments involve premises, and these premises, in the given case, express some particular form of the love of life; whence it is impossible to conclude that death is in no degree evil and not at all to be feared. For what is most dreaded is not the agony of dying, nor yet the strange impossibility that when we do not exist we should suffer for not existing. What is dreaded is the defeat of a present will directed upon life and its various undertakings. Such a present will cannot be argued away, but it may be weakened by contradictions arising within it, by the irony of experience, or by ascetic discipline. To introduce ascetic discipline, to bring out the irony of experience, to expose the self-contradictions of the will, would be the true means of mitigating the love of life; and if the love of life were extinguished, the fear of death, like smoke rising from that fire, would have vanished also.

THE MULADHARA PERSONALITY Someone ruled by the Muladhara chakra is often confronted with life lessons about security—or rather, the desire to be physically and financially secure. The behavior of these people is often compared to that of ants, which ardently work for their queen. Their sense of self is often based on gaining approval or following the laws. Thus, for these people, their lessons are often about confronting and freeing themselves from greed, lust, sensuality, and anger. Like the earth element, Muladhara personalities are physically strong and productive. They often win competitively because of their drive and strength. THE SVADHISTHANA PERSONALITY A Svadhisthana individual is most likely devoted to the higher things in life—art, music, poetry, and the jewels of creativity. While beautiful, this lushness also presents temptation away from the spiritual path, with the major diversions involving sexuality, sensuality, and indulgence. A second-chakra person is likely to experience mood swings or emotional inconsistency. Desire is rooted in the second chakra, and can lead to love and the enjoyment of pleasures, but also to frivolity or just plain selfishness. The Svadhisthana path is often called the way of the butterfly, for life is full of so many joys, it can be hard to remain in one place for long. It is important to develop discipline to balance the compulsion to experience. THE MANIPURA PERSONALITY This chakra embraces the planes of karma (the past), dharma (one’s purpose), and the celestial plane. Its focus is to atone for one’s past errors. Manipura is the fire chakra, and people who dwell here tend to be fiery; the key to joy lies in the application of the heat. Is it used to avoid the past—or to work toward a positive future? Third-chakra people tend to be temperamental but are also able to commit to their goals. They are often driven by the need to be recognized and to succeed. The chief issue to confront is ego. By confronting issues of pride and control, the Manipura person is able to embrace the best features of its major animal, the ram. The ram can walk nimbly into the highest of mountaintops; so can the third-chakra individual. THE ANAHATA PERSONALITY When the lotus unfolds, the twelve petals invite the movement of energy in twelve directions. This activates twelve mental capabilities: hope, anxiety, endeavor, possessiveness, arrogance, incompetence, discrimination, egoism, lustfulness, fraudulence, indecision, and repentance (as described in the Mahanirvana Tantra, a detailing of Tantric rituals and practices, edited for Western audiences by Arthur Avalon (pen name of Sir John Woodroffe) in 1913).25 Twelve divinities in the form of sound assist with the process involved in confronting, dealing with, and healing one’s way through these twelve qualities. A heart-based person might find him- or herself greatly challenged by the so-called negative qualities that stir in the heart. However,

After experimenting with various approaches, Pixar adopted the tactic of asking the people involved to identify five ways the process of making the just completed film had worked well and five ways it hadn't (and how to change them).

McDonald’s has successfully used the famous golden yellow arches and red motif designed by architect Stanley Meson when founder Ray Kroc opened his first restaurant on April 15, 1955, in Chicago suburb Des Plaines, Illinois. The cheerful yellow and speedy red color formula helps create a happy eating experience while increasing table turnover. Warm colors, such as red, orange, and yellow — which are connected to the lower chakras that involve digestion, motivation, and hunger — have been found to stimulate the need to eat. Other restaurants use the magnifying, expansive “red prana effect” to increase table turnover while escalating the bill by elevating the volume level of sound in restaurants, which causes people to eat faster, drink more, and leave sooner.

Have you ever heard the adage that dogs resemble their owners? Another interesting study conducted in 2009 by Sadahiko Nakajima, a psychologist at Japan’s Kwansei Gakuin University whose research on dog-owner resemblance has gained notoriety, found that people do indeed resemble their dogs. At a rate significantly higher than chance, people were able to match dog owners with their dogs. In a set of experiments that involved masking various parts of the dogs’ heads and their owners’ faces, Nakajima also discovered that more than 500 participants were able to correctly identify the pet-human connection to a specific facial feature: the eyes of both the dog and its owner.

This ability to change the brain’s wiring, to grow new neural connections, has been demonstrated in experiments such as one conducted by Doctors Avi Karni and Leslie Underleider at the National Institutes of Mental Health. In that experiment, the researchers had subjects perform a simple motor task, a finger-tapping exercise, and identified the parts of the brain involved in the task by taking a MRI brain scan. The subjects then practiced the finger exercise daily for four weeks, gradually becoming more efficient and quicker at it. At the end of the four-week period, the brain scan was repeated and showed that the area of the brain involved in the task had expanded; this indicated that the regular practice and repetition of the task had recruited new nerve cells and changed the neural connections that had originally been involved in the task.

This ability to change the brain’s wiring, to grow new neural connections, has been demonstrated in experiments such as one conducted by Doctors Avi Karni and Leslie Underleider at the National Institutes of Mental Health. In that experiment, the researchers had subjects perform a simple motor task, a finger-tapping exercise, and identified the parts of the brain involved in the task by taking a MRI brain scan. The subjects then practiced the finger exercise daily for four weeks, gradually becoming more efficient and quicker at it. At the end of the four-week period, the brain scan was repeated and showed that the area of the brain involved in the task had expanded; this indicated that the regular practice and repetition of the task had recruited new nerve cells and changed the neural connections that had originally been involved in the task. This remarkable feature of the brain appears to be the physiological basis for the possibility of transforming our minds. By mobilizing our thoughts and practicing new ways of thinking, we can reshape our nerve cells and change the way our brains work. It is also the basis for the idea that inner transformation begins with learning (new input) and involves the discipline of gradually replacing our “negative conditioning” (corresponding with our present characteristic nerve cell activation patterns) with “positive conditioning” (forming new neural circuits). Thus, the idea of training the mind for happiness becomes a very real possibility.

The pursuit of personal development is a tapestry woven with threads of motivation, happiness, and self-improvement. Staying motivated is an art, requiring the cultivation of a mindset that finds inspiration in every challenge. True happiness springs from aligning your pursuits with your passions, and self-improvement is the compass guiding you towards the best version of yourself. To be better and stronger involves a commitment to continuous refinement, learning from experiences, and embracing resilience in the face of adversity. A crucial aspect of this journey is the discernment to distance yourself from toxic people and political ideologies that threaten your well-being, ensuring a path of positive growth and fulfillment.

In my experience as a cameraman, it was quite exceptional to have to light up a surface and volumes that were so immense as those in the Berlin library. I was both very impressed and also worried when the decision was made to shoot in that location. My general philosophy is never to argue with the director. I have only done so very rarely. I can't remember ever refusing to shoot any given scene - as certain of my colleagues had. Whatever difficulties were involved, I told myself: "Actually, I'm here to try to effectuate the thought of the director. So let's try to acquiesce to his vision." And Wim wanted this fabulous decor. But with respect to technical matters, it required a lot of equipment. And it was my good fortune to be working for a company that could finance my own needs, which were enormous. Since there was a lot of current needed, a lot of lights, a lot of gaffers to do the installations. Since everything had to be hidden. And in fact, you don't see a single light, despite the fact that there were scores of them set up at the location. And it was difficult because we filmed in the daytime - but since it was winter, at three or four o'clock in the afternoon, it looks light night - we had to take whatever measures we could to prolong the day, even if we continued filming in the same direction as at the start. It was then decided - and this is one of the nice things about working with Wim - that as long as the daylight lasted, we would film in one direction, and when night came, we would change direction, and return a week later (since we could only film there one day a week: on Sunday). So there were in fact immense difficulties. And in the end, I found that these were beneficial constraints, because something good always comes from having constraints. The same is true of painting. Painters who have no constraints don't produce anything extraordinary. I think that in all the arts, these constraints are present. And there are plenty of them in the art of cinema. So I acquiesced to these difficult conditions for shooting, and in the end I was rather happy with the situation.

Children do what they see, not what we say. Children observing us responding poorly to a situation can impact their behavior and problem-solving skills. By verbalizing the steps involved in rectifying a mistake or finding a better solution, we show our children the process and involve them in the learning experience. This can be done by saying things like, “I didn’t handle that well; let me try again,” or “I can see I made a mistake. Let’s figure out a better way together.

mentalizing is me projecting my experiences onto you, caring involves getting out of my experiences and understanding that what you need may be very different from what I would need in that situation.

As you’ll read in these stories, almost to a person these subjects were highly intelligent and educated people of science. But it wasn’t until after their NDE experience did they fully begin to understand the power of the super-conscious mind and its existence outside the human brain. The super-conscious mind is the source of all pure creativity. It is the super-conscious mind that is functioning at the creation of anything that is completely new in the universe. The super-conscious mind is tapped into and used by all the great inventors, writers, artists and composers of history on a regular basis, right up to the present day. Every great work of art or creativity is infused with super-conscious energy. Your super-conscious mind can access every piece of information stored in your conscious and subconscious minds. It can also access data and ideas outside your own experience, because it actually lies outside your human mind. This is why it is called a form of universal intelligence. You will often get ideas that come to you from far beyond you. It is not unusual for two people separated by thousands of miles of distance to come up with the same idea at the same time. When you are well-attuned to another person, such as your spouse or mate, you will often have thoughts identical to him or her at the same time during the day, and you will only find out that you had reached the same conclusion when you compare notes hours later. This is an example of your super-conscious mind at work. Sometimes when you are with other positive, goal-oriented people, your combined super-conscious minds will form a higher mind that you can all tap into. This is why, when you are involved in a conversation or listening to a lecture, ideas and inspirations will often leap into your mind that have no direct connection to what is being discussed. But those ideas and inspirations may be exactly what you need at that moment to move you forward on your journey. Because of your super-conscious powers, virtually anything that you can hold in your mind on a continuing basis, you can have. Emerson wrote, “A man becomes what he thinks about, most of the time.” Earl Nightingale wrote, “You become what you think about.” In the Bible it says that, “Whatsoever a man soweth, that also shall he reap.” And this law of sowing and reaping refers to mental states; to your thoughts. Of course, there is a potential danger in the use of your super-conscious mind. It is like fire - a wonderful servant, but a terrible master. If you use it improperly, and think negative, fearful thoughts, your super-conscious mind will accept your thoughts as a command and go to work to materialize them into your reality.

Nietzsche’s most famous views are his earliest ones: the accounts of the Apollonian and Dionysian “art-drives” (Kunsttrieben) in The Birth of Tragedy. Already there, let’s note, Nietzsche is explaining aesthetic experience by “drives”. But in that first book these drives are mainly thought of in Schopenhauer’s way, as manifestations of a metaphysical, noumenal will. This early aesthetics is premised as responding to this noumenal reality: both Apollonian and Dionysian art drives are ways of coping with that reality of Schopenhauerian will. But Nietzsche soon insists on thinking of drives scientifically—not only of what they are (the body’s abilities), but of why we have them (evolution by selection)... It’s in aesthetics that this step into naturalism moves Nietzsche furthest from Schopenhauer. For Schopenhauer had depicted our aesthetic experience as (unlike intellect) genuinely a disengagement from willing: it really achieves the objectivity we only thought we could have in our science. But Nietzsche insists that it too expresses a (naturalized) will and drive—and “serves life” by making us more fit. As such, the aesthetic attitude is not “disinterested” or “disengaged” at all, as not just Schopenhauer but Kant had found it. Nietzsche now scorns their notion of it. The aesthetic attitude in fact involves a heightening of our engagement and feeling. These drives, in which art and aesthetic experience are ultimately rooted, are something ancient and fixed in us. Indeed, artistic drives have been designed into all organisms. They were set into our bodies and our “blood” in our presocietal deep history, and persist there today beneath the layers of customs and habits that societies have superimposed on them (to exploit them, or counteract them, or both). By acting on these drives, beauty works on the “animal” in us—directly on the body, on the “muscles and senses” (WP809 [1888]), and the drives embedded in them. Our bodies themselves have a taste for certain kinds of beauty—above all the beauty of human bodies.

Don’t search for your calling,” he said. “Explore, try new things, keep your feet moving. Something will grab you. It will call to you. It is no different than falling in love. You can’t sit on your couch and decide you are going to marry a certain girl. You fall in love after sharing experiences, joy, challenges, maybe even heartbreak. All of which could not have happened without leaving your couch, being involved, and meeting the one girl you can’t stop thinking about.

To get a sense of their exchange, you should know a little about how the system functioned, or rather how it still does, because in this particular matter, I believe that little to nothing has changed. The peasant who cannot write, and needs something written, goes looking for a person who knows the art, and chooses someone, as best he can, from among members of his own class, since he is intimidated by others or doesn’t trust them. He explains the background, with some degree of order and clarity, and in the same fashion, he dictates what needs to be put down on paper. The writer, in equal parts understanding and misunderstanding, offers some advice, proposes a few changes, and says, “Leave it to me.” He picks up his pen, puts down the other person’s thoughts in written form as best he can, corrects them, improves them, emphasizes some parts, and softens or leaves out others, depending on what he thinks sounds best; because—there’s no escaping it—a man who knows more than others does not want to be a tool in their hands. When he delves into their business, he wants to do things slightly in his own way. Still, the writer does not always manage to say everything he means. Sometimes he even ends up saying the opposite; the same thing also happens to me when I write for the press. When a letter composed in such a manner reaches the addressee, who, like the sender, is also unschooled in the ABC’s, he or she must turn to another learned man of similar status to read and explain the message. Questions over interpretation arise since the recipient, who is familiar with the background, claims that certain words mean one thing, while the reader, based on his experience with composition, claims that they mean something else. In the end, the one who cannot write must submit to the one who can and entrust him with the reply; a reply that, following the pattern of the previous letter, is subject to the same style of interpretation. And if, moreover, the subject of the correspondence is a little delicate, and involves secret matters that should be indecipherable to a third person if the letter happens to go astray; and if, in this regard, there is also a deliberate intention not to say things clearly, then, no matter how brief the correspondence, the two parties will end up understanding each other as well as two medieval scholars might have, in the olden days, after debating the meaning of Aristotle’s entelechy for four hours (I have shied away from using a more modern example to avoid getting my ears boxed!).

To some people, it may seem a stretch to describe what Brodsky was doing as art, but there is obviously a kind of artistry involved in creating something out of nothing based on an ability to see what everyone else is missing. That is, after all, what artists do. In business as in art, moreover, the end result is an experience, and the quality of the experience reflects the relationships between the different participants, as well as the specific medium of expression. While entrepreneurs may rely on peripheral vision rather than artistic inspiration, it’s often hard to tell the difference between the two.

Nietzsche’s most famous views are his earliest ones: the accounts of the Apollonian and Dionysian “art-drives” (Kunsttrieben) in The Birth of Tragedy. Already there, let’s note, Nietzsche is explaining aesthetic experience by “drives”. But in that first book these drives are mainly thought of in Schopenhauer’s way, as manifestations of a metaphysical, noumenal will. This early aesthetics is premised as responding to this noumenal reality: both Apollonian and Dionysian art drives are ways of coping with that reality of Schopenhauerian will. But Nietzsche soon insists on thinking of drives scientifically—not only of what they are (the body’s abilities), but of why we have them (evolution by selection)... It’s in aesthetics that this step into naturalism moves Nietzsche furthest from Schopenhauer. For Schopenhauer had depicted our aesthetic experience as (unlike intellect) genuinely a disengagement from willing: it really achieves the objectivity we only thought we could have in our science. But Nietzsche insists that it too expresses a (naturalized) will and drive—and “serves life” by making us more fit. As such, the aesthetic attitude is not “disinterested” or “disengaged” at all, as not just Schopenhauer but Kant had found it. Nietzsche now scorns their notion of it. The aesthetic attitude in fact involves a heightening of our engagement and feeling. These drives, in which art and aesthetic experience are ultimately rooted, are something ancient and fixed in us. Indeed, artistic drives have been designed into all organisms. They were set into our bodies and our “blood” in our presocietal deep history, and persist there today beneath the layers of customs and habits that societies have superimposed on them (to exploit them, or counteract them, or both). By acting on these drives, beauty works on the “animal” in us—directly on the body, on the “muscles and senses” (WP809 [1888]), and the drives embedded in them. Our bodies themselves have a taste for certain kinds of beauty—above all the beauty of human bodies.

Once you decided to fulfill your purpose, what were your first substantive thoughts? Probably not “Point II.A. 3. b. in plan.” Your first ideas were more likely things like “Italian food at Giovanni’s,” or “Sitting at a sidewalk table at the Bistro Café.” You probably also imagined some positive picture of what you might experience or how the evening would turn out—maybe the people involved, the atmosphere, and/ or the outcome. That was your outcome visioning.

As therapists, we are in the business of listening to people's stories, and listening for their feelings. We somehow know intuitively, or are taught along the way, that the medium of "the talking cure" involves having people move awareness along a gradient within them from unthought/unknown, to barely detectable, to feelable, to speakable, to elaborate-able, linkable, and ultimately transformable; from unconscious to conscious, if you will. We are taught and probably know from our own experience that there is something powerfully freeing about birthing a formerly unworded feeling into words. When we're truly scared, or aggrieved, or angered or even surprised, it helps to name the thing. It helps because an emotional experience seems to hold part of our being hostage in some kind of way until we've been able to move it into worded symbols for ourselves, usually by talking to another human being about the experience.

Interviewing Questions •What do you enjoy most about this season of the year? •What got you involved in this organization/event? •If you weren’t here, what would you be doing at this very moment? •If you could meet any one person, whom would you choose? •Tell me about an issue that matters a great deal to you. •What has been your most important work experience?

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Filling the well involves the active pursuit of images to refresh our artistic reservoirs. Art is born in attention. Its midwife is detail. Art may seem to spring from pain, but perhaps that is because pain serves to focus our attention onto details (for instance, the excruciatingly beautiful curve of a lost lover’s neck). Art may seem to involve broad strokes, grand schemes, great plans. But it is the attention to detail that stays with us; the singular image is what haunts us and becomes art. Even in the midst of pain, this singular image brings delight. The artist who tells you different is lying. In order to function in the language of art, we must learn to live in it comfortably. The language of art is image, symbol. It is a wordless language even when our very art is to chase it with words. The artist’s language is a sensual one, a language of felt experience. When we work at our art, we dip into the well of our experience and scoop out images. Because we do this, we need to learn how to put images back. How do we fill the well? ...In filling the well, think magic. Think delight. Think fun. Do not think duty. Do not do what you should do - spiritual sit ups like reading a dull but recommended critical text. Do what intrigues you, explore what interests you; think mystery, not mastery. A mystery draws us in, leads us on, lures us. 

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A curator's job does not involve wizardry, but requires a wealth of experience and knowledge, responsibility, and a good overview of artistic developments. But if we are lucky, we curators still manage to enchant visitors with the results. - René Block

For each object, just as for each painting in an art gallery, there is an optimal distance from which it asks to be seen--an orientation through which it presents more of itself--beneath or beyond which we merely have a confused perspective due to excess or lack. Hence, we tend toward the maximum of visibility and we seek, just as when using a microscope, a better focus point, which is obtained through a certain equilibrium between the interior and the exterior horizons...The distance between me and the object is not a size that increases or decreases, but rather a tension that oscillates around a norm. The oblique orientation of the object in relation to me is not measured by the angle that it forms with the plane of my face, but rather experienced as a disequilibrium, as an unequal distribution of its influences upon me...If I bring the object closer to me, or if I turn it around in my fingers in order to 'see it better,' this is because every attitude of my body is immediately for me a power for a certain spectacle, because each spectacle is for me what it is within a certain kinesthetic situation, and because, in other words, my body is permanently stationed in front of things in order to perceive them and, inversely, appearances are always enveloped for me within a certain bodily attitude...not through a law or from a formula, but rather insofar as I have a body and insofar as I am, through this body, geared into a world. And just as perceptual attitudes are not known by me individually, but rather implicitly given as stages in the gesture that lead to the optimal attitude, correlatively the perspectives that correspond to them are not thematized before me one after the other and are only presented as pathways toward the thing itself with its size and its form...The system of experience is not spread out before me as if I were God, it is lived by me from a certain point of view; I am not the spectator of it, I am a part of it, and it is my inherence in a point of view that at once makes possible the finitude of my perception and its opening to the total world as the horizon of all perception...In other words, perceptual experiences are linked together, motivate each other, and are involved in each other...The world is an open and indefinite unity in which I am situated.

A great deal of the information embedded in a work of art is not – yet at least – accessible just by looking at an image of it while sitting at home. The deepest and richest experiences are not virtual but physical: they involve looking at real things and talking to real people.

In many of these discussions, the Dalai Lama’s primary method of overcoming anger and hatred involved the use of reasoning and analysis to investigate the causes of anger, to combat these harmful mental states through understanding. In a sense, this approach can be seen as using logic to neutralize anger and hatred and to cultivate the antidotes of patience and tolerance. But that wasn’t his only technique. In his public talks he supplemented his discussion by presenting instruction on these two simple yet effective meditations to help overcome anger. Meditation on Anger: Exercise 1 “Let us imagine a scenario in which someone who you know very well, someone who is close or dear to you, is in a situation in which he or she loses his or her temper. You can imagine this occurring either in a very acrimonious relationship or in a situation in which something personally upsetting is happening. The person is so angry that he or she has lost all his or her mental composure, creating very negative vibrations, even going to the extent of beating himself or herself up or breaking things. “Then, reflect upon the immediate effects of the person’s rage. You’ll see a physical transformation happening to that person. This person whom you feel close to, whom you like, the very sight of whom gave you pleasure in the past, now turns into this ugly person, even physically speaking. The reason why I think you should visualize this happening to someone else is because it is easier to see the faults of others than to see your own faults. So, using your imagination, do this meditation and visualization for a few minutes. “At the end of that visualization, analyze the situation and relate the circumstances to your own experience. See that you yourself have been in this state many times. Resolve that ‘I shall never let myself fall under the sway of such intense anger and hatred, because if I do that, I will be in the same position. I will also suffer all these consequences, lose my peace of mind, lose my composure, assume this ugly physical appearance,’ and so on. So once you make that decision, then for the last few minutes of the meditation focus your mind on that conclusion; without further analysis, simply let your mind remain on your resolution not to fall under the influence of anger and hatred.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

It was an exhilarating time to be involved in the art world, in any capacity. At last, individualism was encouraged, not condemned. By the 1880s, Impressionism was yesterday’s news. Artists had already gone beyond it, and were experimenting with new forms, content and techniques. Diversity was the modus vivendi. Accordingly, 1880s Paris became the birthplace of some radically different movements, including Divisionism, Symbolism, Synthesism and Nabis. Furthermore, the proliferation of alternative exhibiting bodies offered real grounds for hope for avant-garde painters and those hailing from the fringes of society. The Salon was no longer the sole and hazardous rite of passage lying between a painter and success. There were now other organisations where reputations could be forged, such as the Société des Aquarellistes Français. But by far the most notable and innovative artistic venture in 1884 was the Salon des Artistes Indépendants. When his technically daring composition Bathers at Asnières (1884) was rejected by the jury of the 1884 Salon, former pupil of the prestigious École des Beaux-Arts Georges Seurat was spurred to retaliate. Joining forces with a number of other disgruntled painters, among them Symbolist Odilon Redon and self-taught artist Albert Dubois-Pillet, Seurat helped found the Groupe des Artistes Indépendants. With Redon acting as chairman, the group proposed to do something unprecedented: they would mount a show whose organisers were not answerable to any official institution, and where there would be no prizes and, significantly, no jury. The venture introduced a radically new concept onto the Parisian art scene: freedom. The first exhibition, the Salon des Artistes Indépendants, was held from May to July in a temporary building in the Jardin des Tuileries near the Louvre.

Hate, at its heart, is about the exercise of power. In my experience, public hate usually involves the exercise of one, unhealthy, type of power in an effort to disguise or deny the absence of another, altogether healthier, type.

Influential educational school in Abu Dhabi: Reach British School Selecting schools that speak about the type of education you want to impart to your kid is an important decision. Like all other difficult decisions that parenthood brings with it, this one too cannot be decided based on one impulsive thought. School is an important part of any child's growth. They learn, they giggle, and grow into beautiful individuals. Thus, schools build them into responsible beings. However, finding the right school can be research-heavy and hectic. International education in the United Arab Emirates is not cheap, and this adds to an extra load of pressure on deciding parents. Yet, Abu Dhabi is known to host an excellent range of international schools that are somewhat budget-friendly. The British International School is one such example, they surely secure a place in the list of best schools in Abu Dhabi. Why choose Reach British School? Reading through different curriculums, and googling into millions of school websites is a part of this decision-making. You look for that spark, one that you look for in any relationship. Yes, choosing a school is the beginning of a life-long relationship, an important part of your child’s life. This article will push you towards decision making, as it lists the points on why you should choose Reach British School. The following reasons will convince you that it fits into the best schools in Abu Dhabi. English proficiency The staff is filled with native English-speaking teachers. Thus, they bring with them, years of experience in the language field and absolute English proficiency. Being native English speakers, they can showcase experience in the UK or other international schools. Excellent facilities Schooling is a part of a child's overall growth, and there is more to it than just academics. Being one of the best schools in Abu Dhabi, they support an exciting curriculum. It includes sports, arts, academic subjects, and a bunch of other extra-curricular activities. High Academic standards and behavioral expectations A child grows into a successful human being, who is also a responsible citizen. Thus, the school sets a strong focus on the academic depth and the behavioral patterns of the child. They ensure that your child reaches their fullest potential in a safe and secure environment. Student progress tracking You will get a chance to be deeply involved in your child's progress. The school will provide regular reports on your child's growth that will give you a fair idea about their needs, likes, and dislikes. Thus, you can take an active part in their academic progress, social and emotional well-being. Secondary scholarships The school funds a scholarship program to motivate students to achieve their dreams. The program attracts bright minds and pushes them to reach their potential in the fields they are passionate about. Amazing learning Not just the staff, but also the environment of the school will enable your child to go through an amazing learning experience. Your child will be motivated and encouraged to perform better as that is the base for amazing learning. Endnotes Reach British School wants to let your child shine, in the truest sense possible. Keeping the tag of being one of the best schools in Abu Dhabi, is difficult. Thus, they aspire to be better every day and sculpt new souls into responsible adults, while protecting their innocence and childhood.

Art is a meta-language, with the help of which people try to communicate with one another; to impart information about themselves and assimilate the experience of others. Again, this has not to do with practical advantage but with realising the idea of love, the meaning of which is in sacrifice: the very antithesis of pragmatism. I simply cannot believe that an artist can ever work only for the sake of 'self-expression.' Self-expression if meaningless unless it meets with a response. For the sake of creating a spiritual bond with others it can only be an agonising process, one that involves no practical gain: ultimately it is an act of sacrifice. But surely it cannot be worth the effort merely for the sake of hearing one's own echo?

Wells, on the other hand, while acknowledging the intellectual aspects of his game, focused on its emotional side. The wargame provides an opportunity for glory without gore and defeat without destruction. By involving the player as an active participant in the events, not merely as a passive observer, wargaming provides a unique learning experience that leads to a deeper and more personal understanding and appreciation of warfare than can be attained by any other method short of actual participation on the field of battle.

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Switch from a Performance Focus to a Mastery Focus There’s a way to keep your standards high but avoid the problems that come from perfectionism. If you can shift your thinking from a performance focus to a mastery focus, you’ll become less fearful, more resilient, and more open to good, new ideas. Performance focus is when your highest priority is to show you can do something well now. Mastery focus is when you’re mostly concerned with advancing your skills. Someone with a mastery focus will think, “My goal is to master this skill set” rather than “I need to perform well to prove myself.” A mastery focus can help you persist after setbacks. To illustrate this, imagine the following scenario: Adam is trying to master the art of public speaking. Due to his mastery goal, he’s likely to take as many opportunities as he can to practice giving speeches. When he has setbacks, he’ll be motivated to try to understand these and get back on track. His mastery focus will make him more likely to work steadily toward his goal. Compare this with performance-focused Rob, who is concerned just with proving his competence each time he gives a talk. Rob will probably take fewer risks in his style of presentation and be less willing to step outside his comfort zone. If he has an incident in which a talk doesn’t go as well as he’d hoped, he’s likely to start avoiding public speaking opportunities. Mastery goals will help you become less upset about individual instances of failure. They’ll increase your willingness to identify where you’ve made errors, and they’ll help you avoid becoming so excessively critical of yourself that you lose confidence in your ability to rectify your mistakes. A mastery focus can also help you prioritize—you can say yes to things that move you toward your mastery goal and no to things that don’t. This is great if you’re intolerant of uncertainty, because it gives you a clear direction and rule of thumb for making decisions about which opportunities to pursue. Experiment: What’s your most important mastery goal right now? Complete this sentence: “My goal is to master the skills involved in ___.” Examples include parenting, turning more website visitors into buyers, property investment, or self-compassion. Based on the mastery goal you picked, answer the following questions. Make your answers as specific as possible. How would people with your mastery goal: 1. React to mistakes, setbacks, disappointments, and negative moods? 2. Prioritize which tasks they work on? What types of tasks would they deprioritize? 3. React when they’d sunk a lot of time into something and then realized a particular strategy or idea didn’t have the potential they’d hoped it would? 4. Ensure they were optimizing their learning and skill acquisition? 5. React when they felt anxious?

What I had done was quite simple. I had decided not to look at a single screen for the next seven weeks to see what screen time was doing to my head, hands, and heart. To see what had been missing. Part one of this experiment would involve hanging out with twenty Benedictine monks in the high desert of California for two weeks. For part two I would fly to Middle America to hang out with 125 Amish people in Mount Hope, Ohio, for two more weeks. And I would wrap up with three more screen-free weeks at home with my family. That’s right. Monks. Amish. Carlos. Seven weeks without looking at a single screen.

The anthropologist Arnold van Gennep coined the expression ‘rites of passage’ after noticing the important structural analogy between ceremonies of birth, puberty, initiation, marriage and death. The ceremonies, he argued, involve three components, ordered successively: separation of the individuals or groups from their previous condition; existence on the margin (marge) during which they remain suspended in limbo, and incorporation (agrégation) as participants in their new condition. Thus the initiation into full membership is preceded by a period of alienation, as the youth is cast out from childhood and care, and forced to earn the fruits of adult freedom. Imagine, however, a situation in which the adult world is clouded over: everything pertaining to adulthood has become dark, forbidding, treacherous. The only freedom lies in youth itself. Identity must be forged by the youth from his own adolescent experience – the experience of alienation, in which the protection of the adult world has been withdrawn, and nothing put in place of it. The traditional totems, which represent the continuity and longevity of the tribe, now lose their significance. The youth must construct his own totem, his own ceremonies of initiation and membership, his own sense of togetherness, while borrowing nothing at all from the expertise and knowledge of his forefathers. His dances must be formless and violent, so that only youth can dance to them; sexual pleasure, the mark of youth, must occupy the foreground of the ritual, but sex must be meticulously divorced from marriage and the birth of children. His totems must be formed in his own image – perpetually young, perpetually transgressive, perpetually incompetent. As he dances among his kind, such a youth will be conscious of a lack. All this commotion ought to mean something; it ought to be lifting him to a higher plane. But it leaves him exactly where he was – on the margin of society, enjoying a freedom that is empty since it has no goal. He tries to lift himself with drugs, and as a result sinks further into the void. His protest resolves itself at last in a strangulated cry – a song which sounds like music only when the drumming feet of adolescents sound along with it. And if he discovers words for this song, they will probably be these: I can’t find words to say About the things caught in my mind.

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