Fashion Collaborations Quotes

It is no wonder than narcissists – both men and women – are chauvinistic and conservative. They depend to such an extent on the opinions of people around them that, with time, they are transformed into ultra-sensitive seismographs of public opinion, barometers of prevailing fads and fashions, and guardians of conformity. The narcissist cannot afford to seriously alienate his "constituency", those people who reflect his False Self back to him. The very functioning of the narcissist's ego depends on the goodwill and the collaboration of his human environment.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

It’s the cleverest thing I have ever seen,’ she pronounced. ‘At first glance, you look like any other countrywoman, but you can move like a man in it.’ ‘I can move like a scientist,’ I corrected. ‘And that is more to the point.

But in every country occupied by the Red Army, the definition of “fascist” eventually grew broader, expanding to include not only Nazi collaborators but anybody whom the Soviet occupiers and their local allies disliked. In time, the word “fascist,” in true Orwellian fashion, was eventually used to describe antifascists who also happened to be anticommunists. And every time the definition was expanded, arrests followed.

But we have far fewer tales of collaborative creativity, which is actually more important in understanding how today’s technology revolution was fashioned.

But in every country occupied by the Red Army, the definition of 'fascist' eventually grew broader, expanding to include not only Nazi collaborators but anybody whom the Soviet occupiers and their local allies disliked. In time, the word 'fascist,' in true Orwellian fashion, was eventually used to describe antifascists who also happened to be anticommunists. And every time the definition was expanded, arrests followed. p.86

Search the phrase “the man who invented” on Amazon and you get 1,860 book results. But we have far fewer tales of collaborative creativity, which is actually more important in understanding how today’s technology revolution was fashioned.

The origin of humankind, according to the Bible, was a humble one. At the same time, our creation was quite intriguing, the masterful action of a master designer. It was a collaborative action from the Creator with a pure desire to fashion subject-servants who will not only do his bidding but one who will share his glory and authority and take control of all his handiwork.

In an experiment that became an instant classic, the psychologist John Bargh and his collaborators asked students at New York University—most aged eighteen to twenty-two—to assemble four-word sentences from a set of five words (for example, “finds he it yellow instantly”). For one group of students, half the scrambled sentences contained words associated with the elderly, such as Florida, forgetful, bald, gray, or wrinkle. When they had completed that task, the young participants were sent out to do another experiment in an office down the hall. That short walk was what the experiment was about. The researchers unobtrusively measured the time it took people to get from one end of the corridor to the other. As Bargh had predicted, the young people who had fashioned a sentence from words with an elderly theme walked down the hallway significantly more slowly than the others.

The tale of their teamwork is important because we don’t often focus on how central that skill is to innovation. There are thousands of books celebrating people we biographers portray, or mythologize, as lone inventors. I’ve produced a few myself. Search the phrase “the man who invented” on Amazon and you get 1,860 book results. But we have far fewer tales of collaborative creativity, which is actually more important in understanding how today’s technology revolution was fashioned. It can also be more interesting.

classic work like The Tale of Genji, as one recent translator has it, “The more intense the emotion, the more regular the meter.” As in the old-fashioned England in which I grew up—though more unforgivingly so—the individual’s job in public Japan is to keep his private concerns and feelings to himself and to present a surface that gives little away. That the relation of surface to depth is uncertain is part of the point; it offers a degree of protection and makes for absolute consistency. The fewer words spoken, the easier it is to believe you’re standing on common ground. One effect of this careful evenness—a maintenance of the larger harmony, whatever is happening within—is that to live in Japan, to walk through its complex nets of unstatedness, is to receive a rigorous training in attention. You learn to read the small print of life—to notice how the flowers placed in front of the tokonoma scroll have just been changed, in response to a shift in the season, or to register how your visitor is talking about everything except the husband who’s just run out on her. It’s what’s not expressed that sits at the heart of a haiku; a classic sumi-e brush-and-ink drawing leaves as much open space as possible at its center so that it becomes not a statement but a suggestion, an invitation to a collaboration. The reader or viewer is asked to complete a composition, and so the no-color surfaces make

Bust magazine, back when it was a more outwardly feminist publication, used to ask each of their female interview subjects whether or not they identified as feminist. In 2005, the musician Björk said no, and that interview is still used in these online lists as of this year. Björk is a female artist often credited with being one of the most innovative and daring musicians of her generation, regardless of gender. She has collaborated with and supported women musicians, fashion designers, video directors. She has spoken frankly and openly in interviews about the difficulties of being a woman in a male-dominated industry. She has proven herself to be an exemplary human being and creator, and she is a tremendous role model for young aspiring musicians. If we understand that the problem feminists have with Björk has nothing to do with her actions and is only about her language and way of identifying herself, then we can recognize that this is about a feminist marketing campaign and not a philosophy. Compare

For attractive lips, speak words of kindness. For lovely eyes, seek out the good in people. For a slim figure, share your food with the hungry. For beautiful hair, let a child run his fingers through it once a day. For poise, walk with the knowledge you’ll never walk alone. ...카톡【ACD5】텔레【KKD55】 We leave you a tradition with a future. The tender loving care of human beings will never become obsolete. People even more than things have to be restored, renewed, revived, reclaimed and redeemed and redeemed and redeemed. Never throw out anybody. ♥물뽕 구입♥물뽕 구매♥물뽕 판매♥물뽕 구입방법♥물뽕 구매방법♥물뽕 파는곳♥물뽕 가격♥물뽕 파는곳♥물뽕 정품구입♥물뽕 정품구매♥물뽕 정품판매♥물뽕 가격♥물뽕 복용법♥물뽕 부작용♥ Remember, if you ever need a helping hand, you’ll find one at the end of your arm. As you grow older, you will discover that you have two hands: one for helping yourself, the other for helping others. Your “good old days” are still ahead of you, may you have many of them 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 It is a five-member boy group of YG Entertainment who debuted in 2006. It is a group that has had a great influence on young fashion trends, the idol group that has been pouring since then, and the Korean music industry from the mid to late 2000s. Since the mid-2000s, he has released a lot of hit songs. He has played an important role in all aspects of music, fashion, and trends enjoyed by Korea's generations. In 2010, the concept of emphasizing exposure, The number of idols on the line as if they were filmed in the factory instead of the "singer", the big bang musicality got more attention, and the ALIVE of 2012, the great success of the MADE album from 2015 to 2016, It showed musical performance, performance, and stage control, which made it possible to recognize not only the public in their twenties and thirties but also men and women, both young and old, as true artists with national talents. Even today, it is in a unique position in terms of musical performance, influence, and trend setting, and it is the idol who keeps the longest working and longest position. We have made the popularity of big bang by combining various factors such as exquisite talent of all members, sophisticated music, trendy style, various arts and performances in broadcasting, lovecalls and collaboration of global brands, and global popularity. The big bang was also different from the existing idols. It is considered to be a popular idol, a idol, because it has a unique musicality, debut as a talented person in a countless idol that has become a singer as a representative, not a talent. In addition, the male group is almost the only counterpart to the unchanging proposition that there is not a lot of male fans, and as mentioned several times, it has been loved by gender regardless of gender.

In an experiment that became an instant classic, the psychologist John Bargh and his collaborators asked students at New York University—most aged eighteen to twenty-two—to assemble four-word sentences from a set of five words (for example, “finds he it yellow instantly”). For one group of students, half the scrambled sentences contained words associated with the elderly, such as Florida, forgetful, bald, gray, or wrinkle. When they had completed that task, the young participants were sent out to do another experiment in an office down the hall. That short walk was what the experiment was about. The researchers unobtrusively measured the time it took people to get from one end of the corridor to the other. As Bargh had predicted, the young people who had fashioned a sentence from words with an elderly theme walked down the hallway significantly more slowly than the others. The “Florida effect” involves two stages of priming. First, the set of words primes thoughts of old age, though the word old is never mentioned; second, these thoughts prime a behavior, walking slowly, which is associated with old age. All this happens without any awareness. When they were questioned afterward, none of the students reported noticing that the words had had a common theme, and they all insisted that nothing they did after the first experiment could have been influenced by the words they had encountered. The idea of old age had not come to their conscious awareness, but their actions had changed nevertheless. This remarkable priming phenomenon—the influencing of an action by the idea—is known as the ideomotor effect. Although

Wagner looked back to what in a primordial past had held people together in communities, a selflessness that had to be left behind so that human beings could become more and more conscious. He had an intuitive presentiment about the future; he felt that once individual freedom and independence had been attained, humans would have to find the way back to fellowship and caring relationships. Selflessness would have to be consciously regained, and loving kindness once more would have to become a prominent factor of life. For Wagner the present linked itself with the future, for he visualized as a distant ideal the existence of selflessness within the arts. Furthermore, he saw art as playing a significant role in evolution. Human development and that of art appeared to him to go hand in hand; both became egoistical when they ceased to function as a totality. As we see them today, drama, architecture and dance have gone their independent ways. As humanity grew more and more selfish, so did art. Wagner visualized a future when the arts would once more function in united partnership. Because he saw a commune of artists as a future ideal, he was referred to as 'the communist.' . . . In older works of art, where dance, rhythm and harmony still collaborated, he recognized something of the musical-dramatic element of the artistic works of antiquity. He acquired a unique sense for harmony, for tonality in music, but insisted that contributions from related arts were essential. Something from them must flow into the music. One such related art was dance, not as it has become, but the dance that once expressed movements in nature and movements of the stars. In ancient times, dance originated from a feeling for laws in nature. Man in his own movements copied those in nature. Rhythm of dance was reflected in the harmony of the music. Other arts, such as poetry, whose vehicle is words, also contributed, and what could not be expressed through words was contributed by related arts. Harmonious collaboration existed among dance, music and poetry. The musical element arose from the cooperation of harmony, rhythm and melody. This was what mystics and also Richard Wagner felt as the spirit of art in ancient times, when the various arts worked together in brotherly fashion, when melody, rhythm and harmony had not yet attained their later perfection. When they separated, dance became an art form in its own right, and poetry likewise. Consequently, rhythm became a separate experience, and poetry no longer added its contribution to the musical element. No longer was there collaboration between the arts. In tracing the arts up to modern times, Wagner noticed that the egoism in art increased as human beings egoism increased.

France’s national image was the product of a collaboration between a king with a vision and some of the most brilliant artists, artisans, and craftspeople of all time—men and women who were the founding geniuses in domains as disparate as wine making, fashion accessorizing, jewelry design, cabinetry, codification of culinary technique, and hairstyling. There was a second collaboration: between Louis XIV and a series of brilliant inventors, the creators of everything from a revolutionary technology for glassmaking to a visionary pair of boots. Each of these areas seems modest enough in and of itself. All together, however, they added up to an amazingly powerful new entity. Thanks to Louis XIV, France had acquired a reputation as the country that had written the book on elegant living.

There’s a reason why the term used for viral growth is to “land and expand”—to build new networks as well as increasing the density of existing networks. By “landing,” viral growth can start new atomic networks, as a Dropbox invite from an ad agency to their client brings a new company into the collaboration network. Or, when a WhatsApp group chat invite brings onboard a new set of friends who hadn’t previously used the service. But then the product “expands”—increasing the density of a network as all the coworkers in an office ultimately join Dropbox. It’s for this reason that networks built through viral growth are healthier and more engaged than those that are launched in the typical “Big Bang” fashion, as Google+ did years back. Big Bang Launches can be great at landing, but often fail at expanding—and as we discussed, many networks with low density and low engagement will fail. The result of increasing density and engagement isn’t just easier new user acquisition, but also stronger Engagement and Economic network effects. That’s because these network effects are ultimately derived by the density and size of the network, and as more users join, they naturally become stronger.

The practices and artifacts of Scrum –backlogs, sprints, stand ups, increments, burn charts –reflect an understanding of the need to strike a balance between planning and improvisation, and the value of engaging the entire team in both. As we’ll see later, Agile and Lean ideas can be useful beyond their original ecosystems, but translation must be done mindfully. The history of planning from Taylor to Agile reflects a shift in the zeitgeist –the spirit of the age –from manufacturing to software that affects all aspects of work and life. In business strategy, attention has shifted from formal strategic planning to more collaborative, agile methods. In part, this is due to the clear weakness of static plans as noted by Henry Mintzberg. Plans by their very nature are designed to promote inflexibility. They are meant to establish clear direction, to impose stability on an organization… planning is built around the categories that already exist in the organization.[ 43] But the resistance to plans is also fueled by fashion. In many organizations, the aversion to anything old is palpable. Project managers have burned their Gantt charts. Everything happens emergently in Trello and Slack. And this is not all good. As the pendulum swings out of control, chaos inevitably strikes. In organizations of all shapes and sizes, the failure to fit process to context hurts people and bottom lines. It’s time to realize we can’t not plan, and there is no one best way. Defining and embracing a process is planning, and it’s vital to find your fit. That’s why I believe in planning by design. As a professional practice, design exists across contexts. People design all sorts of objects, systems, services, and experiences. While each type of design has unique tools and methods, the creative process is inspired by commonalities. Designers make ideas tangible so we can see what we think. And as Steve Jobs noted, “It’s not just what it looks like and feels like.

Here is why the wellbeing economy comes at the right time. At the international level there have been some openings, which can be exploited to turn the wellbeing economy into a political roadmap. The first was the ratification of the Sustainable Development Goals (SDGs) in 2015. The SDGs are a loose list of 17 goals, ranging from good health and personal wellbeing to sustainable cities and communities as well as responsible production and consumption. They are a bit scattered and inconsistent, like most outcomes of international negotiations, but they at least open up space for policy reforms. For the first time in more than a century, the international community has accepted that the simple pursuit of growth presents serious problems. Even when it comes at high speed, its quality is often debatable, producing social inequalities, lack of decent work, environmental destruction, climate change and conflict. Through the SDGs, the UN is calling for a different approach to progress and prosperity. This was made clear in a 2012 speech by Secretary General Ban Ki-moon, who explicitly connected the three pillars of sustainable development: ‘Social, economic and environmental wellbeing are indivisible.’82 Unlike in the previous century, we now have a host of instruments and indicators that can help politicians devise different policies and monitor results and impacts throughout society. Even in South Africa, a country still plagued by centuries of oppression, colonialism, extractive economic systems and rampant inequality, the debate is shifting. The country’s new National Development Plan has been widely criticised because of the neoliberal character of the main chapters on economic development. Like the SDGs, it was the outcome of negotiations and bargaining, which resulted in inconsistencies and vagueness. Yet, its opening ‘vision statement’ is inspired by a radical approach to transformation. What should South Africa look like in 2030? The language is uplifting: We feel loved, respected and cared for at home, in community and the public institutions we have created. We feel understood. We feel needed. We feel trustful … We learn together. We talk to each other. We share our work … I have a space that I can call my own. This space I share. This space I cherish with others. I maintain it with others. I am not self-sufficient alone. We are self-sufficient in community … We are studious. We are gardeners. We feel a call to serve. We make things. Out of our homes we create objects of value … We are connected by the sounds we hear, the sights we see, the scents we smell, the objects we touch, the food we eat, the liquids we drink, the thoughts we think, the emotions we feel, the dreams we imagine. We are a web of relationships, fashioned in a web of histories, the stories of our lives inescapably shaped by stories of others … The welfare of each of us is the welfare of all … Our land is our home. We sweep and keep clean our yard. We travel through it. We enjoy its varied climate, landscape, and vegetation … We live and work in it, on it with care, preserving it for future generations. We discover it all the time. As it gives life to us, we honour the life in it.83 I could have not found better words to describe the wellbeing economy: caring, sharing, compassion, love for place, human relationships and a profound appreciation of what nature does for us every day. This statement gives us an idea of sufficiency that is not about individualism, but integration; an approach to prosperity that is founded on collaboration rather than competition. Nowhere does the text mention growth. There’s no reference to scale; no pompous images of imposing infrastructure, bridges, stadiums, skyscrapers and multi-lane highways. We make the things we need. We, as people, become producers of our own destiny. The future is not about wealth accumulation, massive

There have been three major slave revolts in human history. The first, led by the Thracian gladiator Spartacus against the Romans, occurred in 73 BC. The third was in the 1790s when the great black revolutionary Touissant L'Ouverture and his slave army wrested control of Santo Domingo from the French, only to be defeated by Napoleon in 1802. But the second fell halfway between these two, in the middle of the 9th century AD, and is less documented than either. We do know that the insurgents were black; that the Muslim 'Abbasid caliphs of Iraq had brought them from East Africa to work, in the thousands, in the salt marshes of the delta of the Tigris. These black rebels beat back the Arabs for nearly ten years. Like the escaped maroons in Brazil centuries later, they set up their own strongholds in the marshland. They seemed unconquerable and they were not, in fact, crushed by the Muslims until 883. They were known as the Zanj, and they bequeathed their name to the island of Zanzibar in the East Africa - which, by no coincidence, would become and remain the market center for slaves in the Arab world until the last quarter of the 19th century. The revolt of the Zanj eleven hundred years ago should remind us of the utter falsity of the now fashionable line of argument which tries to suggest that the enslavement of African blacks was the invention of European whites. It is true that slavery had been written into the basis of the classical world; Periclean Athens was a slave state, and so was Augustan Rome. Most of their slaves were Caucasian whites, and "In antiquity, bondage had nothing to do with physiognomy or skin color". The word "slave" meant a person of Slavic origin. By the 13th century it spread to other Caucasian peoples subjugated by armies from central Asia: Russians, Georgians, Circassians, Albanians, Armenians, all of whom found ready buyers from Venice to Sicily to Barcelona, and throughout the Muslim world. But the African slave trade as such, the black traffic, was a Muslim invention, developed by Arab traders with the enthusiastic collaboration of black African ones, institutionalized with the most unrelenting brutality centuries before the white man appeared on the African continent, and continuing long after the slave market in North America was finally crushed. Historically, this traffic between the Mediterranean and sub-Saharan Africa begins with the very civilization that Afrocentrists are so anxious to claim as black - ancient Egypt. African slavery was well in force long before that: but by the first millennium BC Pharaoh Rameses II boasts of providing the temples with more than 100,000 slaves, and indeed it is inconceivable that the monumental culture of Egypt could have been raised outside a slave economy. For the next two thousand years the basic economies of sub-Saharan Africa would be tied into the catching, use and sale of slaves. The sculptures of medieval life show slaves bound and gagged for sacrifice, and the first Portuguese explorers of Africa around 1480 found a large slave trade set up from the Congo to Benin. There were large slave plantations in the Mali empire in the 13th-14th centuries and every abuse and cruelty visited on slaves in the antebellum South, including the practice of breeding children for sale like cattle, was practised by the black rulers of those towns which the Afrocentrists now hold up as sanitized examples of high civilization, such as Timbuktu and Songhay.

The significance of shared arousal was demonstrated in an ingenious experiment designed by researcher Joshua Conrad Jackson and published in the journal Scientific Reports in 2018. Jackson and his colleagues set out “to simulate conditions found in actual marching rituals”—which, they noted, “required the use of a larger venue than a traditional psychology laboratory.” They chose as the setting for their study a professional sports stadium, with a high-definition camera mounted twenty-five meters above the action. After gathering 172 participants in the stadium and dividing them into groups, the experimenters manipulated their experience of both synchrony and arousal: one group was directed to walk with their fellow members in rank formation, while a second group walked in a loose and uncoordinated fashion; a third group speed-walked around the stadium, boosting their physiological arousal, while a fourth group strolled at a leisurely pace. Jackson and his collaborators then had each group engage in the same set of activities, asking them to gather themselves into cliques, to disperse themselves as they wished across the stadium’s playing field, and finally to cooperate in a joint task (collecting five hundred metal washers scattered across the field). The result: when participants had synchronized with one another, and when they had experienced arousal together, they then behaved in a distinctive way—forming more inclusive groups, standing closer to one another, and working together more efficiently (observations made possible by analyzing footage recorded by the roof-mounted camera). The findings suggest that “behavioral synchrony and shared physiological arousal in small groups independently increase social cohesion and cooperation,” the researchers write; they help us understand “why synchrony and arousal often co-occur in rituals around the world.

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While the seven essential elements are a distillation of what we did on an everyday basis, they represent long-term discovery too. An important aspect of this book is the way we built our creative methods as a by-product of the work as we were doing it. As all of us pitched in to make our products, we developed our approach to creating great software. This was an evolution, an outgrowth of our deliberate attention to the task at hand while keeping our end goal in mind. We never waited around for brilliant flashes of insight that might solve problems in one swoop, and we had few actual Eureka! moments. Even in the two instances in my Apple career when I did experience a breakthrough—more about these later—there certainly was no nude streaking across the Apple campus like Archimedes supposedly did. Instead, we moved forward, as a group, in stepwise fashion, from problem to design to demo to shipping product, taking each promising concept and trying to come up with ways to make it better. We mixed together our seven essential elements, and we formulated “molecules” out of them, like mixing inspiration and decisiveness to create initial prototypes, or by combining collaboration, craft, and taste to give detailed feedback to a teammate, or when we blended diligence and empathy in our constant effort to make software people could use without pulling their hair out. As we did all this mixing and combining of our seven essential elements, we always added in a personal touch, a little piece of ourselves, an octessence, and by putting together our goals and ideas and efforts and elements and molecules and personal touches, we formed our approach, an approach I call creative selection.

Although many people, for example, believe the Mars Rover robots are champions of Artificial Intelligence, the robots do not “employ state-of-the-art AI algorithms.” Dey said he learned the distinction while collaborating with the NASA Jet Propulsion Laboratory dedicated to robotic exploration of the solar system. AI algorithms require extensive energy consumption to be computed — something that would quickly put the rover out of action in outer space. “On Mars, while exploring several large craters where sunlight might never reach, the rover has to commute and communicate in an optimized fashion with the least amount of external power source,” he said. “And having the state-of-the-art AI algorithm on such a robot would only drain the power source quicker.” But that doesn’t mean the rover isn’t smart in its own way. “Every ounce of the robot is optimized to perform the best at minimal cost,” he said. “So, next time, if you hear about Mars rover then be aware that it is the hard work and dedication of several intelligent researchers and engineers who had made that machine intelligent enough to do its job.

Work for interracial justice is of its own nature interracial. It bespeaks the co-operation of both races, not in a merely formal, “token” fashion, but as a genuine and sincere co-operation, based upon real friendship and personal, day-by-day collaboration.

Instead of bemoaning the games’ hold over children, we should be exploiting the techniques that game designers have developed. They’ve refined the basic steps of self-control: setting clear and attainable goals, giving instantaneous feedback, and offering enough encouragement for people to keep practicing and improving. After noticing how hard people work at games, some pioneers are pursuing the “gamification” of life by adapting these techniques (like establishing “quests” and allowing people to “level up”) for schools and workplaces and digital collaborations. Video games give new glamour to old-fashioned virtues. Success is conditional—but it’s within your reach as long as you have the discipline to try, try again.

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