Aura Attitude Quotes

As you go about your daily life, you will encounter many lemons. Sour expressions, sour attitudes, sour auras! The good thing is that if you don't want to be a lemon, you don't have to be! Just don't let those lemons rub themselves all over you! And you don't even have to save them! Let lemons be lemons! One of the most important things that I have ever learned, is that I don't have to save people.

How does thought create the experiences of your life? The pineal is the seal of knowing into manifestation. Whatever knowingness you allow yourself to receive will become a reality first in your body, for the pineal is responsible for sending that thought as an electrical current throughout your body, to be registered as emotion. The more unlimited the thought, the greater and faster the frequency that is shot throughout your body; thus the greater the high or rush experienced in your body. That feeling is then recorded and stored in your soul as a given frequency. The feeling of every thought, recorded in your soul, is then put forth into your aura as an expectancy, and that expectancy activates the electromagnetic portion of your light-field to draw to you — much like a magnet — the likeness of whatever your collective-attitude thinking is.

But now it seems clear that literary criticism was inherently doomed. Explicitly or otherwise it had based itself on a structure of echelons and hierarchies; it was about the talent elite. And the structure atomized as soon as the forces of democratization gave their next concerted push. Those forces – incomparably the most potent in our culture – have gone on pushing. And they are now running up against a natural barrier. Some citadels, true, have proved stormable. You can become rich without having any talent (via the scratchcard and the rollover jackpot). You can become famous without having any talent (by abasing yourself on some TV nerdathon; a clear improvement on the older method of simply killing a celebrity and inheriting the aura). But you cannot become talented without having any talent. Therefore, talent must go. Literary criticism, now almost entirely confined to the universities, thus moves against talent by moving against the canon. Academic preferment will not come from a respectful study of Wordsworth’s poetics; it will come from a challenging study of his politics – his attitude toward the poor, say, or his unconscious ‘valorization’ of Napoleon; and it will come still faster if you ignore Wordsworth and elevate some (justly) neglected contemporary, by which process the canon may be quietly and steadily sapped. A brief consultation of the Internet will show that meanwhile, everyone has become a literary critic – or at least, a book-reviewer.

But now it seems clear that literary criticism was inherently doomed. Explicitly or otherwise it had based itself on a structure of echelons and hierarchies; it was about the talent elite. And the structure atomized as soon as the forces of democratization gave their next concerted push. Those forces – incomparably the most potent in our culture – have gone on pushing. And they are now running up against a natural barrier. Some citadels, true, have proved stormable. You can become rich without having any talent (via the scratchcard and the rollover jackpot). You can become famous without having any talent (by abasing yourself on some TV nerdathon; a clear improvement on the older method of simply killing a celebrity and inheriting the aura). But you cannot become talented without having any talent. Therefore, talent must go. Literary criticism, now almost entirely confined to the universities, thus moves against talent by moving against the canon. Academic preferment will not come from a respectful study of Wordsworth’s poetics; it will come from a challenging study of his politics – his attitude toward the poor, say, or his unconscious ‘valorization’ of Napoleon; and it will come still faster if you ignore Wordsworth and elevate some (justly) neglected contemporary, by which process the canon may be quietly and steadily sapped. A brief consultation of the Internet will show that meanwhile, everyone has become a literary critic – or at least, a book-reviewer.

Il n'y a pas de comique en dehors de ce qui est proprement humain. Un paysage pourra être beau, gracieux, sublime, insignifiant ou laid ; il ne sera jamais risible. On rira d'un animal, mais parce qu'on aura surpris chez lui une attitude d'homme ou une expression humaine. On rira d'un chapeau; mais ce qu'on raille alors, ce n'est pas le morceau de feutre ou de paille, c'est la forme que les hommes lui ont donnée, c'est le caprice humain dont il a pris le moule. Comment un fait aussi important, dans sa simplicité, n'a-t-il pas fixé davantage l'attention des philosophes? Plusieurs ont défini l'homme "un animal qui sait rire". Ils auraient aussi bien pu le définir un animal qui fait rire, car si quelque autre animal y parvient, ou quelque objet inanimé, c'est par une ressemblance avec l'homme, par la marque que l'homme y imprime ou par l'usage que l'homme en fait.

The Bostonians is special because it never was ‘titivated’ for the New York edition, for its humour and its physicality, for its direct engagement with social and political issues and the way it dramatized them, and finally for the extent to which its setting and action involved the author and his sense of himself. But the passage above suggests one other source of its unique quality. It has been called a comedy and a satire – which it is. But it is also a tragedy, and a moving one at that. If its freshness, humour, physicality and political relevance all combine to make it a peculiarly accessible and enjoyable novel, it is also an upsetting and disturbing one, not simply in its treatment of Olive, but also of what she tries to stand for. (Miss Birdseye is an important figure in this respect: built up and knocked down as she is almost by fits and starts.) The book’s jaundiced view of what Verena calls ‘the Heart of humanity’ (chapter 28) – reform, progress and the liberal collectivism which seems so essential an ingredient in modern democracy – makes it contentious to this day. An aura of scepticism about the entire political process hangs about it: salutary some may say; destructive according to others. And so, more than any other novel of James’s, it reminds us of the literature of our own time. The Bostonians is one of the most brilliant novels in the English language, as F. R. Leavis remarked;27 but it is also one of the bleakest. In no other novel did James reveal more of himself, his society and his era, and of the human condition, caught as it is between the blind necessity of progress and the urge to retain the old. It is a remarkably experimental modern novel, written by a man of conservative values. It is judgemental about people with whom its author identified, and lenient towards attitudes hostile to large areas of James’s own intellectual and personal inheritance. The strength of the contradictions embodied in the novel are a guarantee of the pleasure it has to give.

■​A good negotiator prepares, going in, to be ready for possible surprises; a great negotiator aims to use her skills to reveal the surprises she is certain to find. ■​Don’t commit to assumptions; instead, view them as hypotheses and use the negotiation to test them rigorously. ■​People who view negotiation as a battle of arguments become overwhelmed by the voices in their head. Negotiation is not an act of battle; it’s a process of discovery. The goal is to uncover as much information as possible. ■​To quiet the voices in your head, make your sole and all-encompassing focus the other person and what they have to say. ■​Slow. It. Down. Going too fast is one of the mistakes all negotiators are prone to making. If we’re too much in a hurry, people can feel as if they’re not being heard. You risk undermining the rapport and trust you’ve built. ■​Put a smile on your face. When people are in a positive frame of mind, they think more quickly, and are more likely to collaborate and problem-solve (instead of fight and resist). Positivity creates mental agility in both you and your counterpart. There are three voice tones available to negotiators: 1.​The late-night FM DJ voice: Use selectively to make a point. Inflect your voice downward, keeping it calm and slow. When done properly, you create an aura of authority and trustworthiness without triggering defensiveness. 2.​The positive/playful voice: Should be your default voice. It’s the voice of an easygoing, good-natured person. Your attitude is light and encouraging. The key here is to relax and smile while you’re talking. 3.​The direct or assertive voice: Used rarely. Will cause problems and create pushback. ■​Mirrors work magic. Repeat the last three words (or the critical one to three words) of what someone has just said. We fear what’s different and are drawn to what’s similar. Mirroring is the art of insinuating similarity, which facilitates bonding. Use mirrors to encourage the other side to empathize and bond with you, keep people talking, buy your side time to regroup, and encourage your counterparts to reveal their strategy.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

There are three voice tones available to negotiators: 1.​The late-night FM DJ voice: Use selectively to make a point. Inflect your voice downward, keeping it calm and slow. When done properly, you create an aura of authority and trustworthiness without triggering defensiveness. 2.​The positive/playful voice: Should be your default voice. It’s the voice of an easygoing, good-natured person. Your attitude is light and encouraging. The key here is to relax and smile while you’re talking. 3.​The direct or assertive voice: Used rarely. Will cause problems and create pushback. ■​Mirrors work magic. Repeat the last three words (or the critical one to three words) of what someone has just said. We fear what’s different and are drawn to what’s similar. Mirroring is the art of insinuating similarity, which facilitates bonding. Use mirrors to encourage the other side to empathize and bond with you, keep people talking, buy your side time to regroup, and encourage your counterparts to reveal their strategy.

You need to stop this defeatist aura around you. When you project sadness, you push people away.

It was about the attitude. To your patients it was their only comfort in their time of need. The appearance of being taken care of by someone with such capable hands and skills had a calming effect. In the end, all they needed, no matter what was wrong with them, was a confident laying on of hands. Reassurance that there was indeed such a thing as hope. The way you walked and the way you talked meant almost everything. The aura of professionalism would ooze from your pores. The vast knowledge accumulated and then applied was the envy of those who would stand around you, not as certain as you seemed. Those who did not know you would label it as arrogance. It was only your partner who held the truth. That it was confidence in asserting that you are the best at what you do. The best at caring for the sick and injured against the specter of death.

The more often we fall in line with the poor language and attitude of the drowning masses, the more we sound and look like victims. We must never forget that ours is a world of distracted people craving Personal Freedom but often choosing to operate from fear. And so if we aren’t conscious with our will and vigilance, we risk sliding into their tragedy. Life can lose its vibrant aura and charm if we do not bend the energy of our minds toward positive engagement and appreciation

I am very protective of my people plot. Bullies, naysayers and dream slayers are not welcome there. The presence of their toxic attitudes and negative auras leave me feeling drained and dispirited. They are like weeds that could choke and suffocate, or stunt and overtake my emotional well-being. Perhaps it is unrealistic to think that I can rid my human garden entirely of all unpleasant people. But, I can and do choose to limit my interaction with them.

Le Zen sous-entend que l'on suive e mouvement de la vie, sans valoir ni l'arrêter ni interrompre son cours. C'est la raison pour laquelle on le définit quelquefois comme « un chemin sans détours », ou un « le fait d'aller droit devant soi ». Une telle attitude suppose une compréhension immédiate des choses en tant que vie et mouvement et non simplement en tant que sensations et concepts, lesquels ne sont que les symboles morts d'une réalité vivante. POur cette raison, Takuan commente l'arte de l'escrime (kendo) -- un art profondément imprégné des principes zen -- en ces termes: « Cette qualité, qu'on peut désigner par l'attitude mentale de ''non-ingérence'', constitue l'élément le plus vital tant dans l'art de l'escrime, que dans le Zen. Si deux actions sont distantes, même de l'épaisseur d'un cheveu, il y a interruption. » Lorsqu'on tape dans ses mains, le son se dégage immédiatement. Le son n'attend, ni ne pense avant de sortir. Il n'y a aucun état intermédiaireL un mouvement succède à un autre, sans l'intervention du mental conscient. Si vous êtes indécis et si vous réfléchissez à ce qu'il convient de faire, au moment où votre adversaire est prêt à vous abattre, vous lui laissez la place, c'est-à-dire la possibiliité de vous porter un coup fatal. Que votre défense suive l'attaque, sans intervalle, et il n'y aura pas deux mouvements séparés appelés attaque et défense.

Our hearts have energies and our actions carry out that aura. What energy and aura do you want to send to others?

Here are some of the key lessons from this chapter to remember: A good negotiator prepares, going in, to be ready for possible surprises; a great negotiator aims to use her skills to reveal the surprises she is certain to find. Don’t commit to assumptions; instead, view them as hypotheses and use the negotiation to test them rigorously. People who view negotiation as a battle of arguments become overwhelmed by the voices in their head. Negotiation is not an act of battle; it’s a process of discovery. The goal is to uncover as much information as possible. To quiet the voices in your head, make your sole and all-encompassing focus the other person and what they have to say. Slow. It. Down. Going too fast is one of the mistakes all negotiators are prone to making. If we’re too much in a hurry, people can feel as if they’re not being heard. You risk undermining the rapport and trust you’ve built. Put a smile on your face. When people are in a positive frame of mind, they think more quickly, and are more likely to collaborate and problem-solve (instead of fight and resist). Positivity creates mental agility in both you and your counterpart. There are three voice tones available to negotiators: The late-night FM DJ voice: Use selectively to make a point. Inflect your voice downward, keeping it calm and slow. When done properly, you create an aura of authority and trustworthiness without triggering defensiveness. The positive/playful voice: Should be your default voice. It’s the voice of an easygoing, good-natured person. Your attitude is light and encouraging. The key here is to relax and smile while you’re talking. The direct or assertive voice: Used rarely. Will cause problems and create pushback. Mirrors work magic. Repeat the last three words (or the critical one to three words) of what someone has just said. We fear what’s different and are drawn to what’s similar. Mirroring is the art of insinuating similarity, which facilitates bonding. Use mirrors to encourage the other side to empathize and bond with you, keep people talking, buy your side time to regroup, and encourage your counterparts to reveal their strategy.

Money, as a social means of extending and amplifying work and skill in an easily accessible and portable form, lost much of its magical power with the coming of representative money, or paper money. Just as speech lost its magic with writing, and further with printing, when printed money supplanted gold, the compelling aura of it disappeared. Samuel Butler in Erewhon (1872) gave clear indications in his treatment of the mysterious prestige conferred by precious metals. His ridicule of the money medium took the form of presenting the old reverent attitude to money in a new social context. This new kind of abstract, printed money of the high industrial age, however, simply would not sustain the old attitude:

Money, as a social means of extending and amplifying work and skill in an easily accessible and portable form, lost much of its magical power with the coming of representative money, or paper money. Just as speech lost its magic with writing, and further with printing, when printed money supplanted gold, the compelling aura of it disappeared. Samuel Butler in Erewhon (1872) gave clear indications in his treatment of the mysterious prestige conferred by precious metals. His ridicule of the money medium took the form of presenting the old reverent attitude to money in a new social context. This new kind of abstract, printed money of the high industrial age, however, simply would not sustain the old attitude: This is the true philanthropy. He who makes a colossal fortune in the hosiery trade, and by his energy has succeeded in reducing the price of woollen goods by the thousandth part of a penny in the pound — this man is worth ten professional philanthropists. So strongly are the Erewhonians impressed with this, that if a man has made a fortune of over £20,000 a year they exempt him from all taxation, considering him a work of art, and too precious to be meddled with; they say, “How very much he must have done for society before society could have been prevailed upon to give him so much money”; so magnificent an organization overawes them; they regard it as a thing dropped from heaven. “Money,” they say, “is the symbol of duty, it is the sacrament of having done for mankind that which mankind wanted. Mankind may not be a very good judge, but there is no better.

Money, as a social means of extending and amplifying work and skill in an easily accessible and portable form, lost much of its magical power with the coming of representative money, or paper money. Just as speech lost its magic with writing, and further with printing, when printed money supplanted gold, the compelling aura of it disappeared. Samuel Butler in Erewhon (1872) gave clear indications in his treatment of the mysterious prestige conferred by precious metals. His ridicule of the money medium took the form of presenting the old reverent attitude to money in a new social context. This new kind of abstract, printed money of the high industrial age, however, simply would not sustain the old attitude: This is the true philanthropy. He who makes a colossal fortune in the hosiery trade, and by his energy has succeeded in reducing the price of woollen goods by the thousandth part of a penny in the pound — this man is worth ten professional philanthropists. So strongly are the Erewhonians impressed with this, that if a man has made a fortune of over £20,000 a year they exempt him from all taxation, considering him a work of art, and too precious to be meddled with; they say, “How very much he must have done for society before society could have been prevailed upon to give him so much money”; so magnificent an organization overawes them; they regard it as a thing dropped from heaven.