Boxing Techniques Quotes

When we take permanent notes, it is much more a form of thinking within the medium of writing and in dialogue with the already existing notes within the slip-box

. . in Old Karate, you learned you Art through pain. You learned quickly that your techniques had to be fast or powerful or both. If you did not embrace pain and it's lessons adequately, you simply did not survive

What doesn’t work in the box 1. Trying to change others 2. Doing my best to “cope” with others 3. Leaving 4. Communicating 5. Implementing new skills or techniques

The difficulty, of course, with standing up to women was that it appeared to make little difference. At the end of the day,a man was no match for a woman.... The only thing to do was to try to avoid situations where women might corner you. And that was difficult, because women had a way of ensuring that you were neatly boxed in, which was exactly what had happened to him. He should have been more careful. He should have been on his guard when she offered him cake. That was her technique, he now understood; just as Eve had used an apple to trap Adam, so [she] had used fruit cake. Fruit cake, apples; it made no difference really. Oh foolish, weak men!

All of these techniques share an ontological purpose: to manipulate perceptions and to re-create reality. Once that Pandora’s box was open, there was no closing it again. The temptation was too great. For those who wanted to play God, there was the next best thing: one could play with the elements of creation in such a way that magical transformations would take place. As the men of the OSS, CIA, military intelligence and with Tavistock’s oversight developed from the armchair scholars that most of them were before the war years into soldiers fighting on all fronts of the Cold War, they became, in a very real sense, magicians. “The CIA mind control projects themselves represented an assault on consciousness and reality that has not been seen in history since the age of the philosopher-kings and their court alchemists.”9

Liv counted down from ten, picturing herself riding an elevator down. It was a technique she often used to get to sleep.

The slip-box is designed to present you with ideas you have already forgotten, allowing your brain to focus on thinking instead of remembering.

The only thing that matters is that these notes provide the best possible support for the next step, the writing of the actual slip-box notes.

The only permanently stored notes are the literature notes in the reference system and the main notes in the slip-box.

but the only criterion is the question of whether something adds to a discussion in the slip-box. The only thing that matters is that it connects or is open to connections.

The slip-box is the shipping container of the academic world.

The secret of all new and innovated animation is to think outside the box and explore new frontiers of idea and expression.

As part of the animal sentinel program, going back to 1999, scientists had been making great progress training honeybees to locate bombs. Bees have sensing capabilities that outperform the dog’s nose by a trillion parts per second. Using Pavlovian techniques, scientists cooled down groups of bees in a refrigerator, then strapped them into tiny boxes using masking tape, leaving their heads, and most of their antennae, poking out the top. Using a sugar water reward system, the scientists trained the bees to use their tongues to “sniff out” explosives, resulting in a reaction the scientists call a “purr.” After training, when the scientists exposed the bees to a six-second burst of explosives, some had learned to “purr.

Every strength has a corresponding challenge and every challenge has a corresponding strength. The inattentive child may be a deep thinker. The uncooperative child may be a good leader. The emotionally-charged child may be gifted with exceptional empathy. The rule-defying child may be an out-of-the-box innovator. When faced with challenging behaviors, look for the corresponding strength, and focus on nurturing that gift while providing gentle guidance and coping techniques for the challenging areas. That is the essence of working with, instead of against, our children.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

What does help for true, useful learning is to connect a piece of information to as many meaningful contexts as possible, which is what we do when we connect our notes in the slip-box with other notes.

writers, we approach the question of keywords differently. We look at our slip-box for already existing lines of thought and think about the questions and problems already on our minds to which a new note might contribute.

Let me tell you something about the beauty of destruction. There is a distinct art in boxing, because there is method, strategy, technique rules and all the bells and whistles that the general public knows. However, since the beginning of time mankind was destined to appreciate the art of combat; and that is the mortal sacrifice - you put yourself out there and display a virtual painting, an interactive canvas that portrays the nature of the human body and what it’s capable of, and as an outcome, the object of combat is not to sacrifice yourself to entertain spectators, no, but to make the other bastard sacrifice himself to entertain spectators - thus comes the art of honor. It’s not a thirst for blood, not at all - but an astonishment, an appreciation for the capabilities of a human that bares his soul naked for the art of combat using strictly his body. That’s entertainment.

A unique degree of physical development, equally strong blows from both hands, the ability to discover an opponent, as well as quickly perceiving the discovered places on his body and the simultaneous ability to immediately deal blows, contribute to the success of his tactics, almost always leading to a decisive victory.

Therapies administered included but were not limited to: turning things off, then on again; picking them up a couple of inches and then dropping them; turning off nonessential appliances in this and other rooms; removing lids and wiggling circuit boards; extracting small contaminants, such as insects and their egg cases, with nonconducting chopsticks; cable-wiggling; incense-burning; putting folded-up pieces of paper beneath table legs; drinking tea and sulking; invoking unseen powers; sending runners to other rooms, buildings, or precincts with exquisitely calligraphed notes and waiting for them to come back carrying spare parts in dusty, yellowed cardboard boxes; and a similarly diverse suite of troubleshooting techniques in the realm of software.

Expanding further on his own observations of Prince’s writing style(s) during the course of the album’s recording, fellow Paisley Park engineer Eddie Miller, who engineered the recording of ‘Electric Chair’ among other Prince recordings during the Batman era, recalled that “he would write all sorts of ways. I have to admit that I listened to some of his cassette demos that he would sometimes bring into the studio to reference (as I remember, he would hold the cassette player up to his ear, so you couldn’t really hear it.). They were fascinating. His cassette demo technique was extremely crude but ingenious—it’s like something you’d do if you had no access to any equipment. He’d use two cheap cassette recorders. If he wanted to hear drums, he’d record a human beat box rhythm for the length of the song—and most likely, he’d have the form of the song in his head while he was recording this. By the way, it was the same in the studio when he’d do his one man band approach to recording a song. He’d know the song in his head, and start out recording the drums for the song (it would essentially become the ‘click track’—the way a click track should be). Back to the cassette demo—he’d then play his beat box groove over the speaker on the cassette recorder and sing the bass line while recording all this onto the second cassette machine. He’d build up a rhythm track this way, and then add vocals. And there’s your demo.

For instance, when it came to developing his art of jeet kune do, he delved not just into standard martial arts for inspiration and information; he looked at Western boxing, fencing, biomechanics, and philosophy. He admired the simplicity of boxing, incorporating its ideas into his footwork and his upper-body tools (jab, cross, hook, bob, weave, etc.). And from fencing, he began by looking at the footwork, range, and timing of the stop hit and the riposte, both techniques that meet attacks and defenses with preemptive moves. From biomechanics, he studied movement as a whole,

During direct examination it is wise for the lawyers to be out of sight and focus attention on the witness, particularly one like Reynolds. I make it a practice to stand at the far end of the jury box while questioning. The jury’s heads naturally turn in the opposite direction toward the witness. After a while the lawyer is blotted out of view, only his voice being heard. In cross-examination, the technique is different. I walk forward toward the witness, often stand in front of the jury, and permit them to observe the emotions of both the lawyer and the witness. Every reaction of the duelists plays upon the other and gives the jury a better insight into the truth.

A.N. Kolmogorov and Yasha Sinai had worked out some illuminating mathematics for the way a system's "entropy per unit time" applies to the geometric pictures of surfaces stretching and folding in phase space. The conceptual core of the technique was a matter of drawing some arbitrarily small box around some set of initial conditions, as one might draw a small square on the side of a balloon, then calculating the effect of various expressions or twists on the box. It might stretch in one direction, for example, while remaining narrow in the other. The change in area corresponded to an introduction of uncertainty about the system's past, a gain or loss of information.

The night before, Um-Nadia came over with her small wooden box stuffed with handwritten recipes, dishes Um-Nadia hadn't prepared or eaten in the thirty-five years since she and Mireille had left Lebanon. Some were recipes for simple, elegant dishes of rice pilafs and roasted meats, others were more exotic dishes of steamed whole pigeons and couscous or braised lambs' brains in broth. And they discussed ingredients and techniques until late in the night. Um-Nadia eventually fell asleep on the hard couch in the living room, while Sirine's uncle dozed across from her in his armchair. But Sirine stayed up all night, checking recipes, chopping, and preparing. She looked up Iraqi dishes, trying to find the childhood foods that she'd heard Han speak of, the sfeehas- savory pies stuffed with meat and spinach- and round mensaf trays piled with lamb and rice and yogurt sauce with onions, and for dessert, tender ma'mul cookies that dissolve in the mouth. She stuffed the turkey with rice, onions, cinnamon, and ground lamb. Now there are pans of sautéed greens with bittersweet vinegar, and lentils with tomato, onion, and garlic on the stove, as well as maple-glazed sweet potatoes, green bean casserole, and pumpkin soufflé.

[...]Telecomputer Man is assigned to an apparatus, just as the apparatus is assigned to him, by virtue of an involution of each into the other, a refraction of each by the other. The machine does what the human wants it to do, but by the same token the human puts into execution only what the machine has been programmed to do. The operator is working with virtuality: only apparently is the aim to obtain information or to communicate; the real purpose is to explore all the possibilities of a program, rather as a gambler seeks to exhaust the permutations in a game of chance. Consider the way the camera is used now. Its possibilities are no longer those of a subject who ' 'reflects' the world according to his personal vision; rather, they are the possibilities of the lens, as exploited by the object. The camera is thus a machine that vitiates all will, erases all intentionality and leaves nothing but the pure reflex needed to take pictures. Looking itself disappears without trace, replaced by a lens now in collusion with the object - and hence with an inversion of vision. The magic lies precisely in the subject's retroversion to a camera obscura - the reduction of his vision to the impersonal vision of a mechanical device. In a mirror, it is the subject who gives free rein to the realm of the imaginary. In the camera lens, and on-screen in general, it is the object, potentially, that unburdens itself - to the benefit of all media and telecommunications techniques. This is why images of anything are now a possibility. This is why everything is translatable into computer terms, commutable into digital form, just as each individual is commutable into his own particular genetic code. (The whole object, in fact, is to exhaust all the virtualities of such analogues of the genetic code: this is one of artificial intelligence's most fundamental aspects.) What this means on a more concrete level is that there is no longer any such thing as an act or event which is not refracted into a technical image or onto a screen, any such thing as an action which does not in some sense want to be photographed, filmed or tape-recorded, does not desire to be stored in memory so as to become reproducible for all eternity. No such thing as an action which does not aspire to self-transcendence into a virtual eternity - not, now, the durable eternity that follows death, but rather the ephemeral eternity of ever-ramifying artificial memory. The compulsion of the virtual is the compulsion to exist in potentia on all screens, to be embedded in all programs, and it acquires a magical force: the Siren call of the black box.

The eyes from Burma, from Tonkin, watch these women at their hundred perseverances—stare out of blued orbits, through headaches no Alasils can ease. Italian P/Ws curse underneath the mail sacks that are puffing, echo-clanking in now each hour, in seasonal swell, clogging the snowy trainloads like mushrooms, as if the trains have been all night underground, passing through the country of the dead. If these Eyeties sing now and then you can bet it’s not “Giovinezza” but something probably from Rigoletto or La Bohème—indeed the Post Office is considering issuing a list of Nonacceptable Songs, with ukulele chords as an aid to ready identification. Their cheer and songfulness, this lot, is genuine up to a point—but as the days pile up, as this orgy of Christmas greeting grows daily beyond healthy limits, with no containment in sight before Boxing Day, they settle, themselves, for being more professionally Italian, rolling the odd eye at the lady evacuees, finding techniques of balancing the sack with one hand whilst the other goes playing “dead”—cioé, conditionally alive—where the crowds thicken most feminine, directionless . . . well, most promising. Life has to go on. Both kinds of prisoner recognize that, but there’s no mano morto for the Englishmen back from CBI, no leap from dead to living at mere permission from a likely haunch or thigh—no play, for God’s sake, about life-and-death! They want no more adventures: only the old dutch fussing over the old stove or warming the old bed, cricketers in the wintertime, they want the semi-detached Sunday dead-leaf somnolence of a dried garden.

Most disconcerting of all were those experiences in which the patient's consciousness appeared to expand beyond the usual boundaries of the ego and explore what it was like to be other living things and even other objects. For example, Grof had one female patient who suddenly became convinced she had assumed the identity of a female prehistoric reptile. She not only gave a richly detailed description of what it felt like to be encapsuled in such a form, but noted that the portion of the male of the species' anatomy she found most sexually arousing was a patch of colored scales on the side of its head. Although the woman had no prior knowledge of such things, a conversation Grof had with a zoologist later confirmed that in certain species of reptiles, colored areas on the head do indeed play an important role as triggers of sexual arousal. Patients were also able to tap into the consciousness of their relatives and ancestors. One woman experienced what it was like to be her mother at the age of three and accurately described a frightening event that had befallen her mother at the time. The woman also gave a precise description of the house her mother had lived in as well as the white pinafore she had been wearing—all details her mother later confirmed and admitted she had never talked about before. Other patients gave equally accurate descriptions of events that had befallen ancestors who had lived decades and even centuries before. Other experiences included the accessing of racial and collective memories. Individuals of Slavic origin experienced what it was like to participate in the conquests of Genghis Khan's Mongolian hordes, to dance in trance with the Kalahari bushmen, to undergo the initiation rites of the Australian aborigines, and to die as sacrificial victims of the Aztecs. And again the descriptions frequently contained obscure historical facts and a degree of knowledge that was often completely at odds with the patient's education, race, and previous exposure to the subject. For instance, one uneducated patient gave a richly detailed account of the techniques involved in the Egyptian practice of embalming and mummification, including the form and meaning of various amulets and sepulchral boxes, a list of the materials used in the fixing of the mummy cloth, the size and shape of the mummy bandages, and other esoteric facets of Egyptian funeral services. Other individuals tuned into the cultures of the Far East and not only gave impressive descriptions of what it was like to have a Japanese, Chinese, or Tibetan psyche, but also related various Taoist or Buddhist teachings.

Activities to Develop the Proprioceptive System Lifting and Carrying Heavy Loads—Have the child pick up and carry soft-drink bottles to the picnic; laundry baskets upstairs; or grocery bags, filled with nonbreakables, into the house. He can also lug a box of books, a bucket of blocks, or a pail of water from one spot to another. Pushing and Pulling—Have the child push or drag grocery bags from door to kitchen. Let him push the stroller, vacuum, rake, shove heavy boxes, tow a friend on a sled, or pull a loaded wagon. Hard muscular work jazzes up the muscles. Hanging by the Arms—Mount a chinning bar in a doorway, or take your child to the park to hang from the monkey bars. When she suspends her weight from her hands, her stretching muscles send sensory messages to her brain. When she shifts from hand to hand as she travels underneath the monkey bars, she is developing upper-body strength. Hermit Crab—Place a large bag of rice or beans on the child’s back and let her move around with a heavy “shell” on her back. Joint Squeeze—Put one hand on the child’s forearm and the other on his upper arm; slowly press toward and away from his elbow. Repeat at his knee and shoulder. Press down on his head. Straighten and bend his fingers, wrists, elbows, knees, ankles, and toes. These extension and flexion techniques provide traction and compression to his joints and are effective when he’s stuck in tight spaces, such as church pews, movie theaters, cars, trains, and especially airplanes where the air pressure changes. Body Squeeze—Sit on the floor behind your child, straddling him with your legs. Put your arms around his knees, draw them toward his chest, and squeeze hard. Holding tight, rock him forward and back.

Anything written by people has bugs. Not testing something is equivalent to asserting that it's bug-free. Programmers can't think of everything especially of all the possible interactions between features and between different pieces of software. We try to break software because that's the only practical way we know of to be confident about the product's fitness for use.

Why is this? How can experience be so valuable in some professions but almost worthless in others? To see why, suppose that you are playing golf. You are out on the driving range, hitting balls toward a target. You are concentrating, and every time you fire the ball wide you adjust your technique in order to get it closer to where you want it to go. This is how practice happens in sport. It is a process of trial and error. But now suppose that instead of practicing in daylight, you practice at night—in the pitch-black. In these circumstances, you could practice for ten years or ten thousand years without improving at all. How could you progress if you don’t have a clue where the ball has landed? With each shot, it could have gone long, short, left, or right. Every shot has been swallowed by the night. You wouldn’t have any data to improve your accuracy. This metaphor solves the apparent mystery of expertise. Think about being a chess player. When you make a poor move, you are instantly punished by your opponent. Think of being a clinical nurse. When you make a mistaken diagnosis, you are rapidly alerted by the condition of the patient (and by later testing). The intuitions of nurses and chess players are constantly checked and challenged by their errors. They are forced to adapt, to improve, to restructure their judgments. This is a hallmark of what is called deliberate practice. For psychotherapists things are radically different. Their job is to improve the mental functioning of their patients. But how can they tell when their interventions are going wrong or, for that matter, right? Where is the feedback? Most psychotherapists gauge how their clients are responding to treatment not with objective data, but by observing them in clinic. But these data are highly unreliable. After all, patients might be inclined to exaggerate how well they are to please the therapist, a well-known issue in psychotherapy. But there is a deeper problem. Psychotherapists rarely track their clients after therapy has finished. This means that they do not get any feedback on the lasting impact of their interventions. They have no idea if their methods are working or failing—if the client’s long-term mental functioning is actually improving. And that is why the clinical judgments of many practitioners don’t improve over time. They are effectively playing golf in the dark.11

Imagine you can see your breath, like when it's cold outside. You can see it floating. Now imagine that you can see your breath going in through your nose, filling up your lungs, and exiting your mouth. See the breath go out. This technique is called "Following Your Breath" because you are literally going to watch the breath go in

In a simple world, blame, as a management technique, made sense. When you are on a one-dimensional production line, for example, mistakes are obvious, transparent, and are often caused by a lack of focus. Management can reduce them by increasing the penalties for noncompliance. They can also send a motivational message by getting heavy once in a while. People rarely lose concentration when their jobs are on the line. But in a complex world this analysis flips on its head. In the worlds of business, politics, aviation, and health care, people often make mistakes for subtle, situational reasons. The problem is often not a lack of focus, it is a consequence of complexity. Increasing punishment, in this context, doesn’t reduce mistakes, it reduces openness. It drives the mistakes underground. The more unfair the culture, the greater the punishment for honest mistakes and the faster the rush to judgment, the deeper this information is buried. This means that lessons are not learned, so the same mistakes are made again and again, leading to more punitive punishment, and even deeper concealment and back-covering.

Toyota has a rather unusual production process. If anybody on the production line is having a problem or observes an error, that person pulls a cord that halts production across the plant. Senior executives rush over to see what has gone wrong and, if an employee is having difficulty performing her job, she is helped as needed by executives. The error is then assessed, lessons learned, and the system adapted. It is called the Toyota Production System, or TPS, and is one of the most successful techniques in industrial history. “The system was about cars, which are very different from people,” Kaplan says when we meet for an interview. “But the underlying principle is transferable. If a culture is open and honest about mistakes, the entire system can learn from them. That is the way you gain improvements.

Stevie looked around for Janelle to help her, but Janelle was busy demonstrating proper sand-in-bottle technique to some kids. Some would have called this "doing her job," but to Stevie, this was abandonment.

Her kitchen was full of memories. This was where she demonstrated the god-given talent and craft that had made Sugar a success when she’d founded it at the age of twenty. This was where she had perfected her techniques and recipes---the dense Detroit pound cake, the light-as-air pastries, her signature champagne torte, and the bestselling kolaches had all been developed here in the homey old-fashioned kitchen. Biscuits, she often said, were the purest test of a baker’s skill. The ingredients were simple and technique was everything. Use flour from winter wheat and sift it twice. Keep a cube of butter in the freezer and shred it with the box grater. Wet your fingertips with buttermilk and handle the dough as if it were as fragile as a soap bubble.

All he did was take brief notes about the ideas that caught his attention in a text on a separate piece of paper: “I make a note with the bibliographic details. On the backside I would write ‘on page x is this, on page y is that,’ and then it goes into the bibliographic slip-box where I collect everything I read.” (Hagen, 1997)11 But before he stored them away, he would read what he noted down during the day, think about its relevance for his own lines of thought and write about it, filling his main slip-box with permanent notes. Nothing in this box would ever get thrown away. Some notes might disappear into the background and never catch his attention again, while others might become connection points to various lines of reasoning and reappear on a regular basis in various contexts.

4. Now add your new permanent notes to the slip-box by: a) Filing each one behind one or more related notes (with a program, you can put one note “behind” multiple notes;

Luhmann’s slip-box contains about 90,000 notes, which sounds like an incredibly large number. But it only means that he wrote six notes a day from the day he started to work with his slip-box until he died. If you, by any chance, don’t have the ambition to compete with him in terms of books per year, you could settle for three notes a day and still build up a significant critical mass of ideas in a very reasonable time. And you could settle for less than one book every twelve months. In contrast to manuscript pages per day, a certain number of notes a day is a reasonable goal for academic writing.

3. Make permanent notes. Now turn to your slip-box. Go through the notes you made in step one or two (ideally once a day and

The search for meaningful connections is a crucial part of the thinking process towards the finished manuscript. But here, it is dealt with in a very concrete way. Instead of figuratively searching our internal memory, we literally go through the file-box and look for connections.

This is why it is so much easier to remember things we understand than things we don’t. It is not that we have to choose to focus either on learning or understanding. It is always about understanding – and if it is only for the sake of learning. Things we understand are connected, either through rules, theories, narratives, pure logic, mental models or explanations. And deliberately building these kinds of meaningful connections is what the slip-box is all about.

There are two methods of delivering a blow. First is a boxing-like movement, and the second is the traditional karate strike. While equal in force, the boxing-style strike has a greater range and is easier to execute. The boxing-style strike uses gravity and shift of weight to support the strike, while the traditional karate-style strike uses a sudden tightening of your body’s muscles to deliver a short blow. The longer range of the boxing blow facilitates greater acceleration to a higher speed and is more efficient in creating a knockout effect. The traditional karate-style strike is more suitable for breaking boards of wood, but the composition of wood fibers is quite different from the human body's protective tissues. The traditional straight karate strike takes longer to execute and requires slight preparation. Since even a split second is of the essence and the force used is more efficient with the boxing style, it has won popularity in the martial arts field. From the split second you decide to move your body and deliver the strike, all you need is to aim at the opponent’s chin. You then need to accelerate your arm to maximum speed, and maintain that speed as your fist lodges in your opponent’s face. The opponent’s skull will then shake the brain and nerves to a concussion. The ancient Olympics had fighting sports. Sparta is believed to have had boxing around 500 BC. Spartans used boxing to strengthen their fighters’ resilience. Boxing matches were not held since Spartans feared that it would lead to internal competitions, which could reduce the morale of the losers. Sparta did not want low morale on the battlefield. For many years the question of Bodhidharma’s existence has been a matter of controversy among historians. A legend prevails that the evolution of karate began around 5 BC when Bodhidharma arrived to the Shaolin temple in China from India, and taught Zen Buddhism. He introduced a set of exercises designed to strengthen the mind and body. This marked the roots of Shaolin-style temple boxing. This type of Chinese boxing, also called kung fu, concentrates on full-body energy blows and improving acrobatic level. Indian breathing techniques are incorporated, providing control of the muscles of the whole body while striking. This promotes self-resistance that helps achieve balance and force when striking and kicking. Krav Maga shows that it is not the most efficient approach. It is certainly forceful, but cannot be mastered quickly enough, and also does not promote a natural and fast reach to the opponent's pressure points, nor does it adhere to the principle of reaction time.

Transforming Challenges into Opportunities: Enhancing Problem-Solving Skills through Critical Thinking In today's fast-paced and competitive business world, the ability to think critically and solve problems effectively is crucial for success. Whether you are a seasoned entrepreneur or a budding startup owner, developing strong problem-solving skills can give you a significant edge in the market. By harnessing the power of critical thinking, you can transform challenges into opportunities and propel your business towards success. As a coach for business start-ups and a catalyst for innovation, I understand the importance of equipping entrepreneurs with the necessary tools to overcome obstacles and thrive in the face of adversity. In this blog post, I will explore how honing your critical thinking skills can help you navigate the challenges of starting and growing a business. 1. Identifying the Problem: Critical thinking involves the ability to accurately identify and define the problem at hand. As a coach for business start-up ideas, I can help you analyze your unique challenges and break them down into manageable parts. By clarifying the problem, you can focus your efforts on finding the most effective solution. 2. Analyzing Different Perspectives: One of the key aspects of critical thinking is considering different perspectives and viewpoints. When faced with a problem, it is important to step back and evaluate the situation from various angles. This allows you to gain valuable insights and uncover opportunities that may not be immediately apparent. As a coach, I can guide you through this process, helping you see the bigger picture and explore alternative solutions. 3. Developing Creative Solutions: Critical thinking encourages out-of-the-box thinking and the ability to generate creative solutions. By breaking away from conventional thought patterns, you can discover innovative approaches to solving problems. As your coach, I can help you tap into your creative potential and unlock new possibilities for your business. 4. Evaluating Risks and Benefits: Effective problem-solving requires a thorough analysis of the risks and benefits associated with different solutions. Through critical thinking, you can weigh the pros and cons, assess potential outcomes, and make informed decisions. As your coach, I can guide you in evaluating the risks and benefits of various options, enabling you to make strategic choices that align with your business goals. 5. Adapting to Change: In today's rapidly evolving business landscape, adaptability is crucial. Critical thinking allows you to embrace change and adapt your strategies as needed. By honing your problem-solving skills, you can navigate unexpected challenges with ease and turn them into opportunities for growth. As your coach, I can provide you with the tools and techniques to foster adaptability and resilience in the face of change. In conclusion, developing strong problem-solving skills through critical thinking is essential for entrepreneurs and business start-ups. By working with a coach who specializes in business start-up ideas, you can enhance your problem-solving abilities, uncover new opportunities, and position your business for long-term success. So, why wait? Invest in your critical thinking skills today and unlock the potential within your business. If you are looking for a coach to guide you in transforming challenges into opportunities, I am here to help. Contact me to explore how we can work together to enhance your problem-solving skills and achieve your business goals. Keywords: coach startup ideas, coach for business start-up, problem-solving skills, critical thinking, challenges, opportunities, entrepreneurs, innovation, analyze, creative solutions, risks, benefits, adaptability.

Hong Kong Cha-Cha Champion of 1957. And just as he could pick up dance steps after being shown them only once, so he had an instant understanding of any martial art he encountered — whether Chinese, Japanese, Korean, or Filipino — or Western techniques of fencing or boxing. In parallel with his acting career, Bruce Lee was also the catalyst for the hybridization of martial art styles — a unique approach to the subject that eventually led to the ‘mixed martial art’ and ‘ultimate fighting’ of today. Bruce’s intentions have often been misunderstood by some in the martial arts community, who believe he was accumulating every possible technique he could, so as to create a total armoury. But for Bruce, it was the shared principles behind all the various techniques that were far more important than acquiring a vast catalogue of moves. I do not fear the man who has practiced ten-thousand kicks once. But I fear the man who has practiced one kick ten-thousand times. In his view, a martial artist shouldn’t set out to compile an encyclopedia of styles any more than a musician should.  After all, would the ultimate musician be one who learned every jazz lick he could, every blues lick, every classical piece, and pop tune — along with the folk music of Kazakhstan — which he then tried to cobble together into one unholy racket?

Instead of having different storage for different ideas, everything goes into the same slip-box and is standardised into the same format. Instead of focusing on the in-between steps and trying to make a science out of underlining systems, reading techniques or excerpt writing, everything is streamlined towards one thing only: insight that can be published.

Without structure, we cannot differentiate, compare or experiment with ideas. Without restrictions, we would never be forced to make the decision on what is worth pursuing and what is not. Indifference is the worst environment for insight. And the slip-box is, above all, a tool for enforcing distinctions, decisions and making differences visible. One thing is for sure: the common idea that we should liberate ourselves from any restrictions and “open ourselves up” to be more creative is very misleading indeed (Dean 2013, 201).

Box squat. The box squat helps you become familiar with proper squat mechanics while simultaneously providing a degree of safety and structural support in the bottom position. This version of the box squat is used to teach proper hip action in the squat, teaching you how to sit back and load your hips while keeping tension in the hips. To perform this exercise, stand in front of a sturdy box or chair with feet shoulder-width apart or slightly wider (see figure 7.8a). Lower to touch your buttocks and upper hamstrings to the top of the box without actually sitting on the box, keeping your weight on your heels and keeping full control of your body (see figure 7.8b). Inhale as you descend and exhale as you stand up. When done correctly, you will properly engage your hips and make your squat less of a knee-dominant movement. KEY PRINCIPLES Do not collapse on the box; it is only a focal point to reach for. Use the paradoxical breathing technique (inhale as you descend and exhale as you stand). As you become comfortable with the movement and feel your spinal stability improve, you can switch to anatomical breathing (exhale as you descend and inhale as you stand up). Maintaining a neutral spine (slightly arched lower back) along with creased hips is the key to both performance and injury prevention.

3.1 The Toolbox We need four tools: • Something to write with and something to write on (pen and paper will do) • A reference management system (Zotero, Citavi or whatever works best for you) • The slip-box (paper or digital). • An editor (Word, LaTeX, Google Docs or whatever works best for you). More is unnecessary, less is impossible.

There is this story where NASA tried to figure out how to make a ballpoint pen that works in space. If you have ever tried to use a ballpoint pen over your head, you have probably realised it is gravity that keeps the ink flowing. After a series of prototypes, several test runs and tons of money invested, NASA developed a fully functional gravity-independent pen, which pushes the ink onto the paper by means of compressed nitrogen. According to this story, the Russians faced the same problem. So they used pencils (De Bono, 1998, 141). The story itself, unfortunately, is an urban myth, but the lesson of it encapsulates the core idea of the slip-box: Focus on the essentials and don’t complicate things unnecessarily.

learn some healthy stress management techniques: deep breathing, meditation, counting, mantras, taking a walk,

COEFFICIENT The nonparametric alternative, Spearman’s rank correlation coefficient (r, or “rho”), looks at correlation among the ranks of the data rather than among the values. The ranks of data are determined as shown in Table 14.2 (adapted from Table 11.8): Table 14.2 Ranks of Two Variables In Greater Depth … Box 14.1 Crime and Poverty An analyst wants to examine empirically the relationship between crime and income in cities across the United States. The CD that accompanies the workbook Exercising Essential Statistics includes a Community Indicators dataset with assorted indicators of conditions in 98 cities such as Akron, Ohio; Phoenix, Arizona; New Orleans, Louisiana; and Seattle, Washington. The measures include median household income, total population (both from the 2000 U.S. Census), and total violent crimes (FBI, Uniform Crime Reporting, 2004). In the sample, household income ranges from $26,309 (Newark, New Jersey) to $71,765 (San Jose, California), and the median household income is $42,316. Per-capita violent crime ranges from 0.15 percent (Glendale, California) to 2.04 percent (Las Vegas, Nevada), and the median violent crime rate per capita is 0.78 percent. There are four types of violent crimes: murder and nonnegligent manslaughter, forcible rape, robbery, and aggravated assault. A measure of total violent crime per capita is calculated because larger cities are apt to have more crime. The analyst wants to examine whether income is associated with per-capita violent crime. The scatterplot of these two continuous variables shows that a negative relationship appears to be present: The Pearson’s correlation coefficient is –.532 (p < .01), and the Spearman’s correlation coefficient is –.552 (p < .01). The simple regression model shows R2 = .283. The regression model is as follows (t-test statistic in parentheses): The regression line is shown on the scatterplot. Interpreting these results, we see that the R-square value of .283 indicates a moderate relationship between these two variables. Clearly, some cities with modest median household incomes have a high crime rate. However, removing these cities does not greatly alter the findings. Also, an assumption of regression is that the error term is normally distributed, and further examination of the error shows that it is somewhat skewed. The techniques for examining the distribution of the error term are discussed in Chapter 15, but again, addressing this problem does not significantly alter the finding that the two variables are significantly related to each other, and that the relationship is of moderate strength. With this result in hand, further analysis shows, for example, by how much violent crime decreases for each increase in household income. For each increase of $10,000 in average household income, the violent crime rate drops 0.25 percent. For a city experiencing the median 0.78 percent crime rate, this would be a considerable improvement, indeed. Note also that the scatterplot shows considerable variation in the crime rate for cities at or below the median household income, in contrast to those well above it. Policy analysts may well wish to examine conditions that give rise to variation in crime rates among cities with lower incomes. Because Spearman’s rank correlation coefficient examines correlation among the ranks of variables, it can also be used with ordinal-level data.9 For the data in Table 14.2, Spearman’s rank correlation coefficient is .900 (p = .035).10 Spearman’s p-squared coefficient has a “percent variation explained” interpretation, similar

Knowing that time is running down, and that you are working against the clock forces you to work with clarity and urgency. The alternative of working for an unspecified amount of time can lead to an unfocused kind of work, where the mind wanders and we don’t apply ourselves as well as we might. Time boxing is a powerful tool, so use it regularly.

Even if they do all the ‘right’ things interpersonally — even if they apply all the latest skills and techniques to their communications and tasks—it won’t matter. People ultimately resent them and their tactics. And so they end up failing as leaders — failing because they provoke people to resist them.

We actually have a misperception of reality. And what we're doing through meditation is training in being able to perceive reality correctly. Enlightenment is perceiving reality with an open, unfixated mind, even in the most difficult circumstances... You could say it's as if we are in a box with a tiny little slit. We perceive reality out of that little slit, and we think that's how life is. And then as we meditate - if we train in gentleness, and if we train in letting go, if we bring relaxation as well as faithfulness to the technique into the equation; if we work with open eyes and with being awake and present, and if we train that way moment after moment in our real life - what begins to happen is that the crack begins to get bigger, and it's as if we perceive more. We develop a wider and more tolerant perspective. It might just be that we notice that we're sometimes awake and we're sometimes asleep; or we notice that our mind goes off, and our mind comes back. We begin to notice - the first big discovery, of course - that we think so, so much. We begin to develop what's called prajna, or "clear wisdom." With this clear wisdom, we are likely to feel a growing sense of confidence that we can handle more, that we can even love more. Perhaps there are times when we are able to climb out of the box altogether. But believe me, if that happened too soon, we would freak out. Usually we're not ready to perceive out of the box right away. But we move in that direction. We're becoming more and more relaxed with uncertainty, more and more relaxed with groundlessness, more and more relaxed with not having walls around us to keep us protected in a little box or cocoon. Enlightenment isn't about going someplace else or attaining something that we don't have right now. Enlightenment is when the blinders start to come off. We are uncovering the true state, or uncovering buddha nature. This is important because each day when you sit down, you can recognize that it's a process of gradually uncovering something that's already here. That's why relaxation and letting go are so important. You can't uncover something by harshness or uptightness because those things cover our buddha nature. Stabilizing the mind, bringing out the sharp clarity of mind, needs to be accompanied by relaxation and openness.

This is not to say that eyewitness testimony is worthless; quite the reverse. In certain circumstances it is invaluable in order to secure convictions. Rather, it is to say that memories should be coaxed out of witnesses with sensitivity to the biases that might otherwise contaminate the evidence. The tragedy is that the techniques used by police, until recently, had little of this sophistication.

The practice of “drive-bys,” for example, has been used and abused for decades: this is where an eyewitness is taken by police to see a suspect on the street, or at their place of work. Given that the witness knows that the police have suspicions about the person—why else would they be going there?—the technique is dangerously suggestive.

We will also discover the techniques to identify them and break them down, freeing us from their grip and fostering knowledge.

It was while at the Toyota plant that he had a revelation. Toyota has a rather unusual production process. If anybody on the production line is having a problem or observes an error, that person pulls a cord that halts production across the plant. Senior executives rush over to see what has gone wrong and, if an employee is having difficulty performing her job, she is helped as needed by executives. The error is then assessed, lessons learned, and the system adapted. It is called the Toyota Production System, or TPS, and is one of the most successful techniques in industrial history. “The system was about cars, which are very different from people,” Kaplan says when we meet for an interview. “But the underlying principle is transferable. If a culture is open and honest about mistakes, the entire system can learn from them. That is the way you gain improvements.

Helpful skills and techniques aren’t very helpful if they’re done in the box. They just provide people with more-sophisticated ways to blame.

We were enduring the consequences of poorly made decisions. We had no idea how to help our friends go through their terrible trials. We were disappointed weekly by the church's avoidance of tough topics, or the black-and-white binary boxes. The church gave us cat-poster clichés or pulpit-pounding guilt-trips. So we adopted the self-improvement techniques of culture, which turned out to be self-improvisation, and it only made us worse.

Lysenko had publicly come out in favor of a technique of close planting of crop seeds in order to increase output. The theory was that plants of the same species would not compete with each other for nutrients. This fitted in with Marxist and Maoist ideas about organisms from the same class living in harmony rather than in competition. “With company, they grow easy,” Mao told colleagues. “When they grow together, they will be comfortable.” The Chinese leader drew up an eight-point Lysenko-inspired blueprint for the Great Leap Forward, and persecuted Western-trained scientists and geneticists with the same kind of ferocity as in the Soviet Union.

By being able to observe the trauma from the calm, mindful state that IFS calls Self (a term I’ll discuss further in chapter 17), mind and brain are in a position to integrate the trauma into the overall fabric of life. This is very different from traditional desensitization techniques, which are about blunting a person’s response to past horrors. This is about association and integration—making a horrendous event that overwhelmed you in the past into a memory of something that happened a long time ago. Nonetheless, psychedelic substances are powerful agents with a troubled history. They can easily be misused through careless administration and poor maintenance of therapeutic boundaries. It is to be hoped that MDMA will not be another magic cure released from Pandora’s box.

When attacking, the bottom punch can only be used in those cases when the opponent leans forward.

When attacking, the bottom punch can only be used in those cases when the opponent leans forward. In any other case, attack with these blows is dangerous. The blow from the bottom gains strength when the body is suddenly straightened, with a simultaneous torsion of the torso, directing the striking arm forward towards the target. With a single blow from the bottom, the free hand shields the head and trunk from opponents' counter-blows.

However, strong blows, inflicted in specific areas on the body, can cause a knockout. The most sensitive areas of the body include; lower jaw (l), lateral surface of the neck (carotid area - 2), upper abdomen (near the solar plexus - 3). ). A strong blow, set in the lower jaw, causes the shock of otoliths - the auditory debris in the vestibular apparatus of the ear; this leads to irritation of the vagus nerve and to changes in the cardiovascular system. A boxer who has received such a blow usually falls into a state of inertia for a short time. When the blow is applied to the side of the neck, the cervical sinus irritates. In response to this irritation, cardiac function decreases, blood pressure decreases, breathing becomes slower. With a blow to the upper abdomen (solar plexus), there is a reflex-inhibition of the heart. The main concern of each boxer in a fight should be to protect the most sensitive areas of the body.

Under the beggar, the long-distance shots are only given to the right hand, regardless of which opponent's hand is attacking . The opponent's straight blow stops with the open palm of his right hand at his chin. At the same time, the boxer is given the opportunity to give the opponent a free left hand, in combination with the torso of the torso to the right, a counter-blow to the head. Counter-kill (as well as any other blow) should be asked very quickly to warn the opponent.

When attacking the opponent with a straight-line blow to the head, combining a counter-fight with defense by putting a hand on it is irrational. Putting your hand under the blow of the right hand is better combined with deflecting the shoulder and with the whole body moving backwards, transferring the weight of the body to the right leg. This will give you the opportunity to weaken your opponent's power and deprive him of his balance.

Sick blows, given with the right hand, are taken on the left shoulder and the right hand, and the blows given with the left hand are taken on the outside of the right forearm. Shielding his head against a blow, the boxer lifts up, to the height of the head, a hand bent in the elbow, turned outside by the outside.

The value of blocking defense is expressed in the fact that by using it, the boxer keeps the necessary distance to counter-kill with a free hand.

The choice of a counter-strike depends on which of the most vulnerable places on the opponent's body turns out to be exposed.

In most cases, the blow is taken by hand unlike the opponent's hand. In some cases, it is also possible to break the cross, for example, clasping the left hand with your left hand to the right, obligatorily connected with a quick counter-clockwise right angle to the opponent's head. The bending should be done by hand unlike the enemy who deals the opponent's blow, because the defending boxer thus preserves his free hand for defense or counter-task, secures himself against the possible opponent's second blow, and by the same token kills the opponent, depriving him of the possibility to task the other a blow, and even knocking him off balance. By applying breaks to the inside, body weight can be transferred to both the left and right leg, depending on the distance to the opponent, which should be sufficient when defending, so that the counter-blows can be effective. The twist of the body, accompanying the tossing in, precludes the possibility of applying "direct" counterpoints, but sets the boxer in a convenient starting position to ask for counter-measures "from defense".

Backward reversal is used to increase the distance from the opponent. Such defense can be used against every blow. Just take a quick step back to avoid the opponent's blow. Defense by descent to the side involves a wide movement, leading the boxer from the field of punching the opponent's blows. This defense is used not so much to protect against any single blow as to avoid the opponent's next attack. This type of defense is especially valuable in the fight against the boxer, striving for a half-distance fight and trying to push the opponent to the ropes or drive him to the corner of the ring.

The purpose of this experiment as George Kelly put it is “…to realize here and now that our innermost personality is something we create as we go along rather than something we discover lurking in our insides or imposed upon [us] from without.” (George Kelly, Fixed-Role Therapy) As we attempt this experiment we will slip out of character from time to time, but the important thing is to return to acting as our second self as quickly as possible. To help us at these crucial moments we may find it useful to devise a ritual which symbolizes and facilitates our transformation into our second self. Todd Herman, author of the Alter Ego Effect and a peak performance coach, cautions that this technique will only work if the ritualized actions we select are performed exclusively when we need to activate the transition into our second self. One example of a ritual that Herman recommends is to carry around a box of Tic Tacs and to pop one each time we need to get back into character.

This led to more people buying an entire box at a time because they would realize it was cheaper to buy a whole box than just a few cookies. Eventually, I was selling box after box of them. This technique led me to be the best salesperson on the twelve-person team.

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Mandarin, and technical English for a while. Therapies administered included but were not limited to: turning things off, then on again; picking them up a couple of inches and then dropping them; turning off nonessential appliances in this and other rooms; removing lids and wiggling circuit boards; extracting small contaminants, such as insects and their egg cases, with nonconducting chopsticks; cable-wiggling; incense-burning; putting folded-up pieces of paper beneath table legs; drinking tea and sulking; invoking unseen powers; sending runners to other rooms, buildings, or precincts with exquisitely calligraphed notes and waiting for them to come back carrying spare parts in dusty, yellowed cardboard boxes; and a similarly diverse suite of troubleshooting techniques in the realm of software.

two slip-boxes: a bibliographical one, which contained the references and brief notes on the content of the literature, and the main one in which he collected and generated his ideas, mainly in response to what he read.

He would then add another note to his slip-box, on which he would sort a topic by sorting the links of the relevant other notes. The last element in his file system was an index, from which he would refer to one or two notes that would serve as a kind of entry point into a line of thought or topic. Notes with a sorted collection of links are, of course, good entry points.

Whenever he added a note, he checked his slip-box for other relevant notes to make possible connections between them.

Luhmann would add the number of one or two (rarely more) notes next to a keyword in the index (Schmidt 2013, 171). The reason he was so economical with notes per keyword and why we too should be very selective lies in the way the slip-box is used. Because it should not be used as an archive, where we just take out what we put in, but as a system to think with, the references between the notes are much more important than the references from the index to a single note. Focusing exclusively on the index would basically mean that we always know upfront what we are looking for

This crucial element of surprise comes into play on the level of the interconnected notes, not when we are looking for particular entries in the index. Most notes will be found through other notes. The organisation of the notes is in the network of references in the slip-box, so all we need from the index are entry points. A few wisely chosen notes are sufficient for each entry point. The quicker we get from the index to the concrete notes, the quicker we move our attention from mentally preconceived ideas towards the fact-rich level of interconnected content, where we can conduct a fact-based dialogue with the slip-box.

When we extract ideas from the specific context of a text, we deal with ideas that serve a specific purpose in a particular context, support a specific argument, are part of a theory that isn’t ours or written in a language we wouldn’t use. This is why we have to translate them into our own language to prepare them to be embedded into new contexts of our own thinking, the different context(s) within the slip-box. Translating means to give the truest possible account of the original work, using different words – it does not mean the freedom to make something fit. As well, the mere copying of quotes almost always changes their meaning by stripping them out of context, even though the words aren’t changed. This is a common beginner mistake, which can only lead to a patchwork of ideas, but never a coherent thought.

To get a good paper written, you only have to rewrite a good draft; to get a good draft written, you only have to turn a series of notes into a continuous text. And as a series of notes is just the rearrangement of notes you already have in your slip-box, all you really have to do is have a pen in your hand when you read. If

Writing notes and sorting them into the slip-box is nothing other than an attempt to understand the wider meaning of something.

the slip-box is the medium we think in, not something we think about.

Wing chun involves the concept of “wedging out” punches more often than other styles because it uses a square-shouldered stance instead of keeping the power hand back. This means any incoming strikes that happen to travel along the outside of the arms will be redirected away from the head without the need for active blocking. In muay Thai clinch fighting, you use the same wedging process to get your arms on the inside and gain control of your opponent. The “cross counter” is another example of wedging that has been used successfully in boxing and MMA. There are many variations to the technique, but the basic premise involves extending your right cross over the top of your opponent’s left jab. Since your shoulder is below your head, a successful cross counter will direct the jab down and away from your head as your fist approaches your opponent’s chin.

Wing chun involves the concept of “wedging out” punches more often than other styles because it uses a square-shouldered stance instead of keeping the power hand back. This means any incoming strikes that happen to travel along the outside of the arms will be redirected away from the head without the need for active blocking. In muay Thai clinch fighting, you use the same wedging process to get your arms on the inside and gain control of your opponent. The “cross counter” is another example of wedging that has been used successfully in boxing and MMA. There are many variations to the technique, but the basic premise involves extending your right cross over the top of your opponent’s left jab. Since your shoulder is below your head, a successful cross counter will direct the jab down and away from your head as your fist approaches your opponent’s chin. If you want a simple example to test out using a wedge at home, have a friend of similar height approach you with two arms outstretched, as if to do the Hollywood-style two-hands-on-the-windpipe choke. As he approaches you, keep your shoulders square and extend your own arms, reaching for his neck or face, while ensuring your hands are on the inside. As he gets closer, the shape of your extended arms will clear his hands away from your neck, and you will be free to put your hands in his face. Figure 4-5. Diagram of a wedge. The applied force comes in from above and is split in two separate output forces, each pushing away from the wedge.

using the box-breathing technique she had learned along with everyone else during their first group session. She emptied her lungs of air. Then, she breathed in through her nose for four seconds; held it for four seconds; exhaled for a four-count; held that for four more seconds and began again.

In the summer of 1961, Segal taught an adult painting class in New Brunswick. The class was encouraged to make use of odd and unlikely materials in assemblages, and one woman brought to class a box of surgeon's bandages. Segal took some home, with the intention of wrapping them around one of his chicken wire framworks. Then a thought occurred to him: why not dip the cloth bandages in plaster, and apply them directly to the body? Segal sat on a chair and instructed his wife to cover him in soaked bandages. The new technique led to a few anxious moments when the plaster began to harden, heat up, and contract, and the artist lost a good portion of his body hair in the course of frantically removing the casts. With great difficulty, he was able to reassemble the pieces into a complete figure which he then placed on a chair. Next Segal provided an environment for his plaster effigy. The chair was moved up to a table, to which was nailed an old window frame. The result, entitled Man Sitting at a Table, marked the discovery of a new sculptural technique and a turning point in the artist's career. Segal has never looked back.

Semantic search, as a concept, has been around since Tim Berners-Lee, the man who is frequently called the father of the Internet, wrote an article about it in 2001 in Scientific American. There he explained that the essence of semantic search is the use of mathematics to get rid of the guesswork and approximation used in search today and introduce a clear understanding of what words mean and how they connect with what we are actually looking for in the search engine box.

How does the slip-box, the heart of this system, work? Strictly speaking, Luhmann had two slip-boxes: a bibliographical one, which contained the references and brief notes on the content of the literature, and the main one in which he collected and generated his ideas, mainly in response to what he read. The notes were written on index cards and stored in wooden boxes.

The Democrat Party has engaged in, and in numerous instances implemented, obvious and blatant fraud-inducing techniques to sabotage elections, and accused those who question these techniques as racist, supporters of voter suppression, and election deniers. These efforts include eliminating voter identification laws; eliminating signature and date requirements for absentee ballots; universal mail-in voting; automatic voter registration; preregistering voters under the age of eighteen; voter harvesting; voter drop boxes; early voting; extended voting; illegal-alien voting in local elections; the distribution of driver’s licenses to illegal aliens; etc. Since the objective of these recent changes to the election process is to actually incorporate fraud into the law, it becomes difficult if not impossible to establish “evidence of fraud.” Hence, if you ask about the outcomes of elections that use one or more of these voting devices, especially in close elections, you are said to be “an election denier.” And if a Republican state legislature takes steps to repeal or reform these notorious election devices, the legislature is accused by the Democrat Party and its surrogates of racism—“Jim Crow 2.0.”37

Rhys smiled a bit, but the amusement died as he said, 'Tamlin was younger than me- born when the War started. But after the War, when he'd matured, we got to know each other at various court functions. He...' Rhys clenched his jaw. 'He seemed decent for a High Lord's son. Better than Beron's brood at the Autumn Court. Tamlin's brothers were equally as bad, though. Worse. And they knew Tamlin would take the title one day. And to a half-breed Illyrian who'd had to prove himself, defend his power, I saw what Tamlin went through... I befriended him. Sought him out whenever I was able to get away from the war camps or court. Maybe it was pity, but... I taught him some Illyrian techniques.' 'Did anyone know?' ... 'Cassian and Azriel knew,' Rhys went on. 'My family knew. And disapproved.' His eyes were chips of ice. 'But Tamlin's father was threatened by it. By me. And because he was weaker than both me and Tamlin, he wanted to prove to the world that he wasn't. My mother and sister were to travel to the Illyrian war-camp to see me. I was supposed to meet them halfway, but I was busy training a new unit and decided to stay.' My stomach turned over and over and over, and I wished I had something to lean against as Rhys said, 'Tamlin's father, brothers, and Tamlin himself set out into the Illyrian wilderness, having heard from Tamlin- from me- where my mother and sister would be, that I had plans to see them. I was supposed to be there. I wasn't. And they slaughtered my mother and sister anyway.' I began shaking my head, eyes burning. I didn't know what I was trying to deny, or erase, or condemn. 'It should have been me,' he said, and I understood- understood what he'd said that day I'd wept before Cassian in the training pit. 'They put their heads in boxes and sent them down the river- to the nearest camp. Tamlin's father kept their wings as trophies. I'm surprised you didn't see them pinned in the study.' I was going to vomit; I was going to fall to my knees and weep. ... Rhys merely continued. 'When I heard, when my father heard... I wasn't wholly truthful to you when I told you Under the Mountain that my father killed Tamlin's father and brothers, I went with him. Helped him. We winnowed to the edge of the Spring Court that night, then went the rest of the way on foot- to the manor. I slew Tamlin's brothers on sight. I held their minds, and rendered them helpless while I cut them into pieces, then melted their brains inside their skulls. And when I got to the High Lord's bedroom- he was dead. And my father... my father had killed Tamlin's mother as well.' I couldn't stop shaking my head. 'My father had promised not to touch her. That we weren't the kind of males who would do that. But he lied to me, and he did it, anyway. And then he went for Tamlin's room.' I couldn't breathe- couldn't breathe as Rhys said, 'I tried to stop him. He didn't listen. He was going to kill him, too. And I couldn't... After all the death, I was done. I didn't care that Tamlin had been there, had allowed them to kill my mother and sister, that he'd come to kill me because he didn't want to risk standing against them. I was done with death. So I stopped my father before the door. He tried to go through me. Tamlin opened the door, saw us- smelled the blood already leaking into the hallway. And I didn't even get to say a word before Tamlin killed my father in one blow.' 'I felt the power shift to me, even as I saw it shift to him. And we just looked at each other, as we were both suddenly crowned High Lord- and then I ran.' He'd murdered Rhysand's family. The High Lord I'd loved- he'd murdered his friend's family, and when I'd asked how his family died, he'd merely told me a rival court had done it. Rhysand had done it, and- 'He didn't tell you any of that.

Rhys smiled a bit, but the amusement died as he said, 'Tamlin was younger than me- born when the War started. But after the War, when he'd matured, we got to know each other at various court functions. He...' Rhys clenched his jaw. 'He seemed decent for a High Lord's son. Better than Beron's brood at the Autumn Court. Tamlin's brothers were equally as bad, though. Worse. And they knew Tamlin would take the title one day. And to a half-breed Illyrian who'd have to prove himself, defend his power, I saw what Tamlin went through... I befriended him. Sought him out whenever I was able to get away from the war camps or court. Maybe it was pity, but... I taught him some Illyrian techniques.' 'Did anyone know?' ... 'Cassian and Azriel knew,' Rhys went on. 'My family knew. And disapproved.' His eyes were chips of ice. 'But Tamlin's father was threatened by it. By me. And because he was weaker than both me and Tamlin, he wanted to prove to the world that he wasn't. My mother and sister were to travel to the Illyrian war-camp to see me. I was supposed to meet them halfway, but I was busy training a new unit and decided to stay.' My stomach turned over and over and over, and I wished I had something to lean against as Rhys said, 'Tamlin's father, brothers, and Tamlin himself set out into the Illyrian wilderness, having heard from Tamlin- from me- where my mother and sister would be, that I had plans to see them. I was supposed to be there. I wasn't. And they slaughtered my mother and sister anyway.' I began shaking my head, eyes burning. I didn't know what I was trying to deny, or erase, or condemn. 'It should have been me,' he said, and I understood- understood what he'd said that day I'd wept before Cassian in the training pit. 'They put their heads in boxes and sent them down the river- to the nearest camp. Tamlin's father kept their wings as trophies. I'm surprised you didn't see them pinned in the study.' I was going to vomit; I was going to fall to my knees and weep. ... Rhys merely continued. 'When I heard, when my father heard... I wasn't wholly truthful to you when I told you Under the Mountain that my father killed Tamlin's father and brothers, I went with him. Helped him. We winnowed to the edge of the Spring Court that night, then went the rest of the way on foot- tot he manor. I slew Tamlin's brothers on sight. I held their minds, and rendered them helpless while I cut them into pieces, then melted their brains inside their skulls. And when I got to the High Lord's bedroom- he was dead. And my father... my father had killed Tamlin's mother as well.' I couldn't stop shaking my head. 'My father had promised not to touch her. That we weren't the kind of males who would do that. But he lied to me, and he did it, anyway. And then he went for Tamlin's room.' I couldn't breathe- couldn't breathe as Rhys said, 'I tried to stop him. He didn't listen. He was going to kill him, too. And I couldn't... After all the death, I was done. I didn't care that Tamlin had been there, had allowed them to kill my mother and sister, that he'd come to kill me because he didn't want to risk standing against them. I was done with death. So I stopped my father before the door. He tried to go through me. Tamlin opened the door, saw us- smelled the blood already leaking into the hallway. And I didn't even get to say a word before Tamlin killed my father in one blow.' 'I felt the power shift to me, even as I saw it shift to him. And we just looked at each other, as we were both suddenly crowned High Lord- and then I ran.' He'd murdered Rhysand's family. The High Lord I'd loved- he'd murdered his friend's family, and when I'd asked how his family died, he'd merely told me a rival court had done it. Rhysand had done it, and- 'He didn't tell you any of that.

1.    Add a note to the slip-box either behind the note you directly refer to or, if you do not follow up on a specific note, just behind the last note in the slip-box.

This chart contrasts predictive and prospective thinking: Predictive Thinking Prospective Thinking Mindset Forecasting, “We expect …” Preparing, “But what if …” Goal Reduce or even discard uncertainty, fight ambiguity Live with uncertainty, embrace ambiguity, plan for set of contingencies Level of uncertainty Average High Method Extrapolating from present and past Open, imaginative Approach Categorical, assumes continuity Global, systemic, anticipates disruptive events Information inputs Quantitative, objective, known Qualitative (whether quantifiable or not), subjective, known or unknown Relationships Static, stable structures Dynamic, evolving structures Technique Established quantitative models (economics, mathematics, data) Developing scenarios using qualitative approaches (often building on megatrends) Evaluation method Numbers Criteria

This chart contrasts predictive and prospective thinking: Predictive Thinking Prospective Thinking Mindset Forecasting, “We expect …” Preparing, “But what if …” Goal Reduce or even discard uncertainty, fight ambiguity Live with uncertainty, embrace ambiguity, plan for set of contingencies Level of uncertainty Average High Method Extrapolating from present and past Open, imaginative Approach Categorical, assumes continuity Global, systemic, anticipates disruptive events Information inputs Quantitative, objective, known Qualitative (whether quantifiable or not), subjective, known or unknown Relationships Static, stable structures Dynamic, evolving structures Technique Established quantitative models (economics, mathematics, data) Developing scenarios using qualitative approaches (often building on megatrends) Evaluation method Numbers Criteria Attitude toward the future Passive or reactive (the future will be) Proactive and creative (we create or shape the future) Way of thinking Generally deduction Greater use of induction

Techniques to Instill Creativity Beliefs

One of the best ways to fuse ideas is to do it by way of mind mapping, a technique invented by Tony Buzan, a brain expert, and author.