Language Techniques In Quotes

You should always be trying to write a poem you are unable to write, a poem you lack the technique, the language, the courage to achieve. Otherwise you're merely imitating yourself, going nowhere, because that's always easiest.

Our exclusive dependence on rational thought and language has obscured our natural ability to sense the flow of energy.

I made a list of skills in which I think every adult should gain a working knowledge. I wouldn't expect you to become a master of any, but mastery isn't necessary. Luck has a good chance of finding you if you become merely good in most of these areas. I'll make a case for each one, but here's the preview list. Public speaking Psychology Business Writing Accounting Design (the basics) Conversation Overcoming Shyness Second language Golf Proper grammar Persuasion Technology ( hobby level) Proper voice technique

Poetry remakes and prolongs language; every poetic language begins by being a secret language, that is, the creation of a personal universe, of a completely closed world. The purest poetic act seems to re-create language from an inner experience that … reveals the essence of things.

Techniques like us-versus-them labels, loaded language, and thought-terminating clichés are absolutely crucial in getting people from open, community-minded folks to victims of cultish violence;

For once desire is articulated in words it does not sit still, but displaces, drifting metonymically from one thing to the next. Desire is a product of language and cannot be satisfied with an object.

His jargon conceals, from him, but not from us, the deep, empty hole in his mind. He uses technological language as a substitute for technique.

People like me spend years learning the techniques of meditation. But you're a poet, and poets are born knowing the language of angels.

Unconditional love is a full love that accepts and affirms a child for who he is, not for what he does. No matter what he does (or does not do), the parent still loves him. Sadly, some parents display a love that is conditional; it depends on something other than their children just being. Conditional love is based on performance and is often associated with training techniques that offer gifts, rewards, and privileges to children who behave or perform in desired ways.

Certain American uses of deconstruction, Derrida has observed, work to ensure ‘an institutional closure’ which serves the dominant political and economic interests of American society. Derrida is clearly out to do more than develop new techniques of reading: deconstruction is for him an ultimately political practice, an attempt to dismantle the logic by which a particular system of thought, and behind that a whole system of political structures and social institutions, maintains its force. He is not seeking, absurdly, to deny the existence of relatively determinate truths, meanings, identities, intentions, historical continuities; he is seeking rather to see such things as the effects of a wider and deeper history of language, of the unconscious, of social institutions and practices.

PHP as an object oriented programming language should be judged by how well it does the job, not on a preconceived notion of what a scripting language should or shouldn't do.

The ultimate language of yoga is expressed in doing yoga, a practice that transcends words as we open our lives to living more consciously through the infinite wisdom of the heart.

Table 3–1. Definitions of Cognitive Distortions 1. ALL-OR-NOTHING THINKING: You see things in black-and-white categories. If your performance falls short of perfect, you see yourself as a total failure. 2. OVERGENERALIZATION: You see a single negative event as a never-ending pattern of defeat. 3. MENTAL FILTER: You pick out a single negative detail and dwell on it exclusively so that your vision of all reality becomes darkened, like the drop of ink that colors the entire beaker of water. 4. DISQUALIFYING THE POSITIVE: You reject positive experiences by insisting they “don’t count” for some reason or other. In this way you can maintain a negative belief that is contradicted by your everyday experiences. 5. JUMPING TO CONCLUSIONS: You make a negative interpretation even though there are no definite facts that convincingly support your conclusion. a. Mind reading. You arbitrarily conclude that someone is reacting negatively to you, and you don’t bother to check this out. b. The Fortune Teller Error. You anticipate that things will turn out badly, and you feel convinced that your prediction is an already-established fact. 6. MAGNIFICATION (CATASTROPHIZING) OR MINIMIZATION: You exaggerate the importance of things (such as your goof-up or someone else’s achievement), or you inappropriately shrink things until they appear tiny (your own desirable qualities or the other fellow’s imperfections). This is also called the “binocular trick.” 7. EMOTIONAL REASONING: You assume that your negative emotions necessarily reflect the way things really are: “I feel it, therefore it must be true.” 8. SHOULD STATEMENTS: You try to motivate yourself with shoulds and shouldn’ts, as if you had to be whipped and punished before you could be expected to do anything. “Musts” and “oughts” are also offenders. The emotional consequence is guilt. When you direct should statements toward others, you feel anger, frustration, and resentment. 9. LABELING AND MISLABELING: This is an extreme form of overgeneralization. Instead of describing your error, you attach a negative label to yourself: “I’m a loser.” When someone else’s behavior rubs you the wrong way, you attach a negative label to him: “He’s a goddam louse.” Mislabeling involves describing an event with language that is highly colored and emotionally loaded. 10. PERSONALIZATION: You see yourself as me cause of some negative external event which in fact you were not primarily responsible for.

Ihave thought for a long time now that if, some day, the increasing efficiency for the technique of destruction finally causes our species to disappear from the earth, it will not be cruelty that will be responsible for our extinction and still less, of course, the indignation that cruelty awakens and the reprisals and vengeance that it brings upon itself … but the docility, the lack of responsibility of the modern man, his base subservient acceptance of every common decree. The horrors that we have seen, the still greater horrors we shall presently see, are not signs that rebels, insubordinate, untamable men are increasing in number throughout the world, but rather that there is a constant increase in the number of obedient, docile men. —George Bernanos

Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such." "You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness." "Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?” “Huh? Well, I’ve never thought about it. You write a pretty good stick.” “Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.

I was trying to discover examples of a living restoration, trying to go beyond discussions about correct historic colors, materials, and techniques. I looked to the past for guidance, to find the graces we need to save. I want to be an importer. This is not nostalgia; I am not nostalgic. I am not looking for a way back. "From where will a renewal come to us, to us who have devastated the whole earthly globe?" asked Simone Weil. "Only from the past if we love it." What I am looking for is the trick of having the same ax twice, for a restoration that renews the spirit, for work that transforms the worker. We may talk of saving antique linens, species, or languages; but whatever we are intent on saving, when a restoration succeeds, we rescue ourselves. -- Howard Mansfield, The Same Ax Twice: Restoration and Renewal in a Throwaway Age

At this point, it is important to bear in mind that the Jesuits were the intellectuals of the Catholic world. Trained in classical rhetoric and techniques of disputation, Jesuits had learned the Americans’ languages primarily so as to be able to argue with them, to persuade them of the superiority of the Christian faith. Yet they regularly found themselves startled and impressed by the quality of the counterarguments they had to contend with.

What Disneyland proposes is a technique of abbreviated shorthand culture for the masses, a mindless thrill, like an electric shock, that insists at the same time on the recipient's rich psychic relation to his country's history and language and literature. In a forthcoming time of highly governed masses in an overpopulated world, this technique may be extremely useful both as a substitute for education and, eventually, as a substitute for experience.

After I nodded, she continued. “We can no longer express with words our emotional states, our revelations, our transformations. Words fail. We are in the very beginning stages of what might take years or even decades of transition. The human race is developing a Universal Language. The practices that will assist humanity—and assist you—in reaching this higher communication will include all the things I'll share with you: vocal exploration, meditation, and energetic practices such as chi gong and yoga. Through these techniques, you are going to completely overhaul your nervous system and your energetic makeup to allow the emergence of this language within you.

The history of ideas, then, is the discipline of beginnings and ends, the description of obscure continuities and returns, the reconstitution of developments in the linear form of history. But it can also, by that very fact, describe, from one domain to another, the whole interplay of exchanges and intermediaries: it shows how scientific knowledge is diffused, gives rise to philosophical concepts, and takes form perhaps in literary works; it shows how problems, notions, themes may emigrate from the philosophical field where they were formulated to scientific or political discourses; it relates work with institutions, social customs or behaviour, techniques, and unrecorded needs and practices; it tries to revive the most elaborate forms of discourse in the concrete landscape, in the midst of the growth and development that witnessed their birth. It becomes therefore the discipline of interferences, the description of the concentric circles that surround works, underline them, relate them to one another, and insert them into whatever they are not.

five different love languages: quality time, the giving of gifts, acts of service, physical touch, or words of encouragement.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

What I've done here this evening is just create a string of metaphors to try and pique your interest. Not once did I do justice to the truth of the situation or the depth of the psychedelic experience, because it cannot be told. It cannot be told. My technique is to tell the wildest, strangest story I can think of, claim that's the psychedelic experience, and leave it at that. But you should all know that the journey begins where the words stop.

Uber was impossible without the smartphone, which itself was enabled by GPS, which was enabled by satellites, which were enabled by rockets, which were enabled by combustion techniques, which were enabled by language and fire.

One thinks about modern academics, especially philosophers and sociologists. Their language is often voiceless and without power because it is so utterly cut off from experience and things. There is no sense of words carrying experiences, only of reflecting relationships between other words or between "concepts." There is no sense of an actual self seeing a thing or having an experience... Sociology—by its very nature?—seems to be an enterprise whose practitioners cut themselves off from experience and things and deal entirely with categories about categories. As a result sociologists, more even than writers in other disciplines, often write language which has utterly died

In the Moonies, I was taught to suppress negative thoughts by using a technique called thought stopping. I repeated the phrase “Crush Satan” or “True Parents” (the term used to describe Moon and his wife, Hak Ja Han) whenever any doubt arose in my mind. Another way to control thoughts is through the use of loaded language, which, as Lifton pointed out, is purposely designed to invoke an emotional response. When I look at the list of thought-controlling techniques—reducing complex thoughts into clichés and platitudinous buzz words; forbidding critical questions about the leader, doctrine, or policy; labeling alternative belief systems as illegitimate or evil—it is astounding how many Trump exploits. As I have mentioned, one of the most effective techniques in the thought control arsenal is hypnosis. Scott Adams, the creator of the cartoon Dilbert, described Trump, with his oversimplifications, repetitions, insinuating tone of voice, and use of vivid imagery, as a Master Wizard in the art of hypnosis and persuasion.

Mirroring is a standard technique in sales to get exactly this effect. Here, the salesperson tries to copy the gestures, language, and facial expressions of his prospective client. If the buyer speaks very slowly and quietly, often scratching his head, it makes sense for the seller to speak slowly and quietly, and to scratch his head now and then, too.

Following in Tim’s footsteps, one of my students in the Managing at Apple class said that he tried to make sure to spend at least ten minutes in every one-on-one meeting listening silently, without reacting in any way. He would keep his facial expression and body language totally neutral. “What did you learn in that ten minutes that you didn’t learn the other fifty?” I asked. “I heard the things I didn’t want to hear,” my student said, validating Tim’s technique. “If I gave any reaction at all, people would often tell me what they thought I wanted to hear. I found that they were much more likely to say what they really thought—even if it wasn’t what I was hoping to hear—when I was careful not to show what I thought.

Every day the same things came up; the work was never done, and the tedium of it began to weigh on me. Part of what made English a difficult subject for Korean students was the lack of a more active principle in their learning. They were accustomed to receiving, recording, and memorizing. That's the Confucian mode. As a student, you're not supposed to question a teacher; you should avoid asking for explanations because that might reveal a lack of knowledge, which can be seen as an insult to the teacher's efforts. You don't have an open, free exchange with teachers as we often have here in the West. And further, under this design, a student doesn't do much in the way of improvisation or interpretation. This approach might work well for some pursuits, may even be preferred--indeed, I was often amazed by the way Koreans learned crafts and skills, everything from basketball to calligraphy, for example, by methodically studying and reproducing a defined set of steps (a BBC report explained how the North Korean leader Kim Jong Il had his minions rigorously study the pizza-making techniques used by Italian chefs so that he could get a good pie at home, even as thousands of his subjects starved)--but foreign-language learning, the actual speaking component most of all, has to be more spontaneous and less rigid. We all saw this played out before our eyes and quickly discerned the problem. A student cannot hope to sit in a class and have a language handed over to him on sheets of paper.

Unlike the traditional prayers that we may have used in the past, however, this technique of prayer has no words. It is based in the silent language of human emotion. It invites us to feel gratitude and appreciation, as if our prayers have already been answered. Through this quality of feeling, the ancients believed that we’re given direct access to the power of creation: the Spirit of God.

They shared much with Bloomsbury, including love of beauty, companionship, and conversation, but they differed from their older London counterpart in their religious ardor, their social conservatism, and their embrace of fantasy, myth, and (mostly) conventional literary techniques instead of those dazzling experiments with time, character, narrative, and language that mark the modernist aesthetic.

People should want to do things for you just because they want to and not what they can get out of it. This is one of the most common forms of manipulation. You feel like someone is being nice to you and doing things for you when you need them. But there always seems to be a catch or something involved. If you don’t adhere to those stipulations, then they make you feel ungrateful, like you are taking advantage of their kindness.

Translation is often seen as something that anyone who is fluent in two languages can do; one simply reads a text in the source language and somehow comes up with an equivalent text in the target language. Common misconceptions of translation such as this can go as far as to treat it as an art form, a view that chooses to ignore the fact that art also requires extensive training and deep knowledge of methods and techniques. It only takes a few minutes of trying to translate a text to make one realize that such views could not be further from the truth. Translation, as we will see in this book, is a complex process that follows a scientific method, whereby we analyze the source text to determine its communicative functions; to identify functional equivalence problems; to apply translation strategies to generate target language candidates, or hypotheses; and to finally test them to assess their validity.

​You must constantly reflect on your learning and your lifestyle and reevaluate your choices, schedule, methods, techniques, and materials. You cannot mindlessly follow any path to success in language learning. You can learn from people who have met success, but ultimately you must discover your own path, your own techniques, and your own habits. If you want to be successful, you must develop self-awareness, discipline, and the ability to critique yourself and make adjustments.

As a method however, the *method of ontology* is nothing but the sequence of the steps involved in the approach to Being as such and the elaboration of its structures. We call this method of ontology *phenomenology*. In more precise language, phenomenological investigation is explicit effort applied to the method of ontology. However, such endeavors, their success or failure, depend primarily, in accordance with our discussion, on how far phenomenology has assured for itself the object of philosophy―how far, in accordance with its own principle, it is unbiased enough in the face of what the things themselves demand. We cannot now enter any further into the essential and fundamental constituent parts of this method. In fact, we have applied it constantly. What we would have to do would be merely to go over the course already pursued, but now with explicit reflection on it. But what is most essential is first of all to have traversed the whole path once, so as, for one thing, to learn to wonder scientifically about the mystery of things and, for another, to banish all illusions, which settle down and nest with particular stubbornness precisely in philosophy. There is no such thing as *the one* phenomenology, and if there could be such a thing it would never become anything like a philosophical technique. For implicit in the essential nature of all genuine method as a path toward the disclosure of objects is the tendency to order itself always toward that which it itself discloses. When a method is genuine and provides access to the objects, it is precisely then that the progress made by following it and the growing originality of the disclosure will cause the very method that was used to become necessarily obsolete. The only thing that is truly new in science and in philosophy is the genuine questioning and struggle with things which is at the service of this questioning." ―from_The Basic Problems of Phenomenology_

To make a tarte of strawberyes," wrote Margaret Parker in 1551, "take and strayne theym with the yolkes of four eggs, and a little whyte breade grated, then season it up with suger and swete butter and so bake it." And Jess, who had spent the past year struggling with Kant's Critiques, now luxuriated in language so concrete. Tudor cookbooks did not theorize, nor did they provide separate ingredient lists, or scientific cooking times or temperatures. Recipes were called receipts, and tallied materials and techniques together. Art and alchemy were their themes, instinct and invention. The grandest performed occult transformations: flora into fauna, where, for example, cooks crushed blanched almonds and beat them with sugar, milk, and rose water into a paste to "cast Rabbets, Pigeons, or any other little bird or beast." Or flour into gold, gilding marchpane and festive tarts. Or mutton into venison, or fish to meat, or pig to fawn, one species prepared to stand in for another.

Sewing is a visual language. It has a voice. It has been used by people to communicate something of themselves — their history, beliefs, prayers and protests. For some, it is the only means to tell of what matters to them: those who are imprisoned or censored; those who do not know how or are not allowed to write of their lives. For them needlework can carry their autobiographies and testimonies, registering their origin and fate. Using patterns as syntax, symbols and motifs as its vocabulary, the arrangement of both as its grammar, sewing is a graphic way to add information and meaning. But is not a monologue, it is part of a conversation, a dialogue, a correspondence only fully realised once it is seen and its messages are read. It connects the maker to the viewer across time, cultures, generations and geographies. As a shared language, needlework transmits — through techniques, coded symbols, fabrics and colour — the unedited stories, not just of women, but often of those marginalised by oppression and prejudice.

How do you get into making video games anyway? Sadie hated answering this question, especially after a person told her he hadn't heard of Ichigo. "Well, I learned to program computers in middle school, I got an 800 on my math SAT, won a Westinghouse and a Leipzig, and then I went to MIT, which, by the way, is highly competitive, even for a lowly female like myself, and studied computer science. At MIT, I learned four or five more programming languages and studied psychology with an emphasis on ludic techniques and persuasive designs, and English, including narrative structures, the classics, and the history of interactive storytelling. Got myself a great mentor. Regrettably made him my boyfriend. Suffice it to say, I was young. And then I dropped out of school for a time to make a game because my best frenemy wanted me to. That game became the game you never heard of. But yeah, it sold around two and a half million copies, just in the U.S., so...." Instead, she said, "I like to play games a lot, so I thought I'd see if I could make them.

Fascist politicians justify their ideas by breaking down a common sense of history in creating a mythic past to support their vision for the present. They rewrite the population’s shared understanding of reality by twisting the language of ideals through propaganda and promoting anti-intellectualism, attacking universities and educational systems that might challenge their ideas. Eventually, with these techniques, fascist politics creates a state of unreality, in which conspiracy theories and fake news replace reasoned debate.

In the Pavlovian strategy, terrorizing force can finally be replaced by a new organization of the means of communication. Ready made opinions can be distributed day by day through press, radio, and so on, again and again, till they reach the nerve cell and implant a fixed pattern of thought in the brain. Consequently, guided public opinion is the result, according to Pavlovlian theoreticians, of a good propaganda technique, and the polls a verification of the temporary successful action of the Pavlovian machinations on the mind.

When we write memoir we are re-creating, sorting through the layer of remembering, to put form and shape to our experience through language. By borrowing from the techniques of fiction and poetry, we are able to make the events of our past come alive, creating detailed pictures of time and place and portraits of the people who have come and gone in our lives. We use scene and dialogue, challenging ourselves to recall how someone talked, what they said (or more accurately, what we remember that they said) and how we felt when moving among the people and events of our past.

In the world of togas, sandals, the Parthenon, temples, and little white homes perched on hillsides overlooking the sea, discipleship permeated Greek life-from aristocrats to peasants, from philosophers to tradesmen. In the first century, the apostle Paul stood on Mars Hill and said, "Men of Athens! I see that in every way you are very religious.... I even found an altar with this inscription: TO AN UNKNOWN GOD. Now what you worship as something unknown I am going to proclaim to you" (Acts 17:22-23). Paul's speech demonstrates that the Greek philosophers were confused about God. But they were also astute in passing on their confusion as they lived out discipleship and even created some of its language and technique. The Greek masters' use of mathetes, or disciple: As explored in chapter 1, mathetes is translated "disciple." We can find the concept of disciple-a person following a master-among the great masters of Greece. Plato, Socrates, and Herodotus all used disciple to mean "learner" or "one who is a diligent student." These and other Greek philosophers generally understood that the disciple's life involved apprenticeship, a relationship of submission, and a life of demanding

The simple answer is that I have changed my techniques in order to avoid the relentless sameness of my material, but I have probably only found new costumes, not new creatures entirely. In the past, if I wanted to sound a note on a piano (in prose), I didn’t just have to purchase and install the piano, I had to build it. But before I built it I had to grow the trees whose wood would yield the piano, and probably I had to create the soil and landscape through which those trees would burst. Then there was the problem of the fucking seeds. Where did they come from? I had to source them. With such mania I was either onto something or I completely misunderstood what a fiction writer was supposed to do. Simple things, even entirely undramatic ones, could not occur unless I created them from whole cloth. I was superstitious about taking anything for granted, but it also locked me into a kind of fanatical object fondling that could, on a bad day, preclude any exploration of the human (even though the process of trying to remake the world on the page is fairly, pathetically, human). This set of interests kept me away from what is usually called narrative. It wasn’t some ideological position, or an artistic stance, it was just one set of obsessions winning out over another. On the other hand, I think that I have always tried to create feeling, and then to pulse it into the reader with language. It’s very difficult to figure out how to do this. Storytelling is one way — conventional narrative or whatever you want to call it — but are there other methods worth exploring? The ground shifts, and I change my mind about what might work. How to create immense, unforgettable feeling from language? This ambition hasn’t really changed, it’s just that I want to cultivate new approaches, to try to circle in on a more vivid way to accomplish it.

Here’s the conundrum: We want to tell our stories! But if condensation is the language of wishes—especially the most verboten and destructive ones—the more you spell the story out, the less aesthetically charged it becomes. The question is whether untransformed experience can ever be aesthetically powerful, or whether it’s simply interesting. Literary language is one solution, with its habits of duality—metaphor, irony—and other techniques for saying opposing things at once. For haunting the reader with ghosts of buried meanings. Your story may be interesting, but what if, paradoxically, it’s what you can’t say that makes it lasting?

During the period of the Renaissance, the English language changed very swiftly in keeping with rapid social, economic and political changes. However, writers in particular soon came to realise that the vocabulary of the English language did not always allow them to talk and write accurately about the new concepts, techniques and inventions which were emerging in Europe. At the same time a period of increasing exploration and trade across the whole world introduced new words, many of which had their origin in other languages. Historians of the language have suggested that between 1500 and 1650 around 12,000 new words were introduced into English.

Thought Control * Require members to internalize the group’s doctrine as truth * Adopt the group’s “map of reality” as reality * Instill black and white thinking * Decide between good versus evil * Organize people into us versus them (insiders versus outsiders) * Change a person’s name and identity * Use loaded language and clichés to constrict knowledge, stop critical thoughts, and reduce complexities into platitudinous buzzwords * Encourage only “good and proper” thoughts * Use hypnotic techniques to alter mental states, undermine critical thinking, and even to age-regress the member to childhood states * Manipulate memories to create false ones * Teach thought stopping techniques that shut down reality testing by stopping negative thoughts and allowing only positive thoughts. These techniques include: * Denial, rationalization, justification, wishful thinking * Chanting * Meditating * Praying * Speaking in tongues * Singing or humming * Reject rational analysis, critical thinking, constructive criticism * Forbid critical questions about leader, doctrine, or policy * Label alternative belief systems as illegitimate, evil, or not useful * Instill new “map of reality” Emotional Control * Manipulate and narrow the range of feelings—some emotions and/or needs are deemed as evil, wrong, or selfish * Teach emotion stopping techniques to block feelings of hopelessness, anger, or doubt * Make the person feel that problems are always their own fault, never the leader’s or the group’s fault * Promote feelings of guilt or unworthiness, such as: * Identity guilt * You are not living up to your potential * Your family is deficient * Your past is suspect * Your affiliations are unwise * Your thoughts, feelings, actions are irrelevant or selfish * Social guilt * Historical guilt * Instill fear, such as fear of: * Thinking independently * The outside world * Enemies * Losing one’s salvation * Leaving * Orchestrate emotional highs and lows through love bombing and by offering praise one moment, and then declaring a person is a horrible sinner * Ritualistic and sometimes public confession of sins * Phobia indoctrination: inculcate irrational fears about leaving the group or questioning the leader’s authority * No happiness or fulfillment possible outside the group * Terrible consequences if you leave: hell, demon possession, incurable diseases, accidents, suicide, insanity, 10,000 reincarnations, etc. * Shun those who leave and inspire fear of being rejected by friends and family * Never a legitimate reason to leave; those who leave are weak, undisciplined, unspiritual, worldly, brainwashed by family or counselor, or seduced by money, sex, or rock and roll * Threaten harm to ex-member and family (threats of cutting off friends/family)

Dr Bone was over sixty when she was arrested in Hungary in 1949. A notable linguist, she had been invited to Hungary to translate English scientific books into Hungarian. She herself had joined the Communist Party in 1919. She was accused of being a British agent, but refused to make a false confession or in any way to collaborate with her interrogators. This elderly lady spent seven years in prison before she was finally released in November 1956. For three of those years she was denied access to books or writing materials. The cell in which she was first confined was bitterly cold and had no window. Worse was to come. For five months she was kept in a cellar in total darkness. The walls ran with water or were covered with fungus; the floor was deep in excrement. There was no ventilation. Dr Bone invented various techniques for keeping herself sane. She recited and translated poetry, and herself composed verses. She completed a mental inventory of her vocabulary in the six languages in which she was fluent, and went for imaginary walks through the streets of the many cities which she knew well. Throughout these and other ordeals, Dr Bone treated her captors with contempt, and never ceased to protest her innocence. She is not only a shining example of courage which few could match, but also illustrates the point that a well-stocked, disciplined mind can prevent its own disruption.

So if a listener wants to prove they’re listening, they need to demonstrate it after the speaker finishes talking. If we want to show someone we’re paying attention, we need to prove, once that person has stopped speaking, that we have absorbed what they said. And the best way to do that is by repeating, in our own words, what we just heard them say—and then asking if we got it right. It’s a fairly simple technique—prove you are listening by asking the speaker questions, reflecting back what you just heard, and then seeking confirmation you understand—but studies show it is the single most effective technique for proving to someone that we want to hear them. It’s a formula sometimes called looping for understanding.

I saw it all suddenly while I was reading Howards End . . . Forster’s the only one who understands what the modern novel ought to be . . . Our frightful mistake was that we believed in tragedy: the point is, tragedy’s quite impossible nowadays . . . We ought to aim at being essentially comic writers . . . The whole of Forster’s technique is based on the tea-table: instead of trying to screw all his scenes up to the highest possible pitch, he tones them down until they sound like mothers’-meeting gossip . . . In fact, there’s actually less emphasis laid on the big scenes than on the unimportant ones: that’s what’s so utterly terrific. It’s the completely new kind of accentuation—like a person talking a different language . . . .

But over the years, of pain and distaste for what her mother had once called 'the horrible side of married life', of lonely days filled with aimless pursuits or downright boredom, of pregnancies, nurses, servants and the ordering of endless meals, it had come to seem as though she had given up of everything for not very much. She had journeyed towards this conclusion by stages hardly perceptible to herself, disguising discontent with some new activity which, as she was a perfectionist, would quickly absorb her. But when she had mastered the art, or the craft, or the technique involved in whatever it was, she realised that her boredom was intact and was simply waiting for her to stop playing with a loom, a musical instrument, a philosophy, a language, a charity or a sport and return to recognising the essential futility of her life. Then, bereft of distracton, she would relapse into a kind of despair as each pursuit betrayed her, failing to provide the raison d'être that had been her reason for taking it up in the first place.

In all ages, the technique of the Black Magician has been essentially the same. In all spells the words are deprived of their meanings and reduced to syllables or verbal noises. This may be done literally, as when magicians used to recite the Lord’s Prayer backwards, or by reiterating a word over and over again as loudly as possible until it has become a mere sound. For millions of people today, words like communism, capitalism, imperialism, peace, freedom, democracy, have ceased to be words, the meaning of which can be inquired into and discussed, and have become right or wrong noises to which the response is as involuntary as a knee-reflex. It makes no difference if the magic is being employed simply for the aggrandizement of the magician himself or if, as is more usual, he claims to be serving some good cause. Indeed, the better the cause he claims to be serving, the more evil he does…. Propaganda, like the sword, attempts to eliminate consent or dissent and, in our age, magical language has to a great extent replaced the sword.

Artists and designers have a largely shared skill set and knowledge base but the work they create, however indistinguishable in terms of technique, subject matter and visual language, is made for entirely different reasons. Attempts to define or make clear distinctions between art and design are always contestable, but at the beginning of a diagnostic process it is useful to identify a simple delineation between the two: Art An artist's practice generally emerges from their own individual concerns explored over varying durations in the studio. The work is then usually presented to a knowing public either in galleries or in designated public spaces. Design Design is largely initiated externally from the needs or desires of a client or external body. The functionality of the designed solution is as important as its desirability, craft and aesthetics. Design is in the public domain and, as such, its messages, meanings and functions are inextricably linked to the political, social and economic concerns of its audience/ user and its context.

Although there are no set methods to test for psychiatric disorders like psychopathy, we can determine some facets of a patient’s mental state by studying his brain with imaging techniques like PET (positron emission tomography) and fMRI (functional magnetic resonance imaging) scanning, as well as genetics, behavioral and psychometric testing, and other pieces of information gathered from a full medical and psychiatric workup. Taken together, these tests can reveal symptoms that might indicate a psychiatric disorder. Since psychiatric disorders are often characterized by more than one symptom, a patient will be diagnosed based on the number and severity of various symptoms. For most disorders, a diagnosis is also classified on a sliding scale—more often called a spectrum—that indicates whether the patient’s case is mild, moderate, or severe. The most common spectrum associated with such disorders is the autism spectrum. At the low end are delayed language learning and narrow interests, and at the high end are strongly repetitive behaviors and an inability to communicate.

In the preface to The God Delusion, Richard Dawkins describes how he refines his writing by asking his wife, the actor Lalla Ward, to read his words aloud to him ‘so I could apprehend very directly how it might seem to a reader other than myself… I recommend the technique to other authors, but I must warn that for best results the reader must be a professional actor, with voice and ear sensitively tuned to the music of language’, he says. You’d have to have a heart of stone not to see the amusement value of Professor Dawkins – who I think is a terrific writer – listening to his wife declaim all 420 pages of his book, maybe from a little lectern in his front room. And she did the whole book twice, he explains. She must love him very much. Dawkins’ advice to marry an actor so that he or she can read your work to you might seem impractical, especially to your current spouse, but Dawkins has a point – which his prose reinforces. You might disagree with his concept of a godless universe, but if you have read The God Delusion you wouldn’t say that he expresses himself with anything less than complete clarity. You can disagree with him because you know exactly what he’s thinking.

Finally, some people tell me that they avoid science fiction because it’s depressing. This is quite understandable if they happened to hit a streak of post-holocaust cautionary tales or a bunch of trendies trying to outwhine each other, or overdosed on sleaze-metal-punk-virtual-noir Capitalist Realism. But the accusation often, I think, reflects some timidity or gloom in the reader’s own mind: a distrust of change, a distrust of the imagination. A lot of people really do get scared and depressed if they have to think about anything they’re not perfectly familiar with; they’re afraid of losing control. If it isn’t about things they know all about already they won’t read it, if it’s a different color they hate it, if it isn’t McDonald’s they won’t eat at it. They don’t want to know that the world existed before they were, is bigger than they are, and will go on without them. They do not like history. They do not like science fiction. May they eat at McDonald’s and be happy in Heaven." Pro: "But what I like in and about science fiction includes these particular virtues: vitality, largeness, and exactness of imagination; playfulness, variety, and strength of metaphor; freedom from conventional literary expectations and mannerism; moral seriousness; wit; pizzazz; and beauty. Let me ride a moment on that last word. The beauty of a story may be intellectual, like the beauty of a mathematical proof or a crystalline structure; it may be aesthetic, the beauty of a well-made work; it may be human, emotional, moral; it is likely to be all three. Yet science fiction critics and reviewers still often treat the story as if it were a mere exposition of ideas, as if the intellectual “message” were all. This reductionism does a serious disservice to the sophisticated and powerful techniques and experiments of much contemporary science fiction. The writers are using language as postmodernists; the critics are decades behind, not even discussing the language, deaf to the implications of sounds, rhythms, recurrences, patterns—as if text were a mere vehicle for ideas, a kind of gelatin coating for the medicine. This is naive. And it totally misses what I love best in the best science fiction, its beauty." "I am certainly not going to talk about the beauty of my own stories. How about if I leave that to the critics and reviewers, and I talk about the ideas? Not the messages, though. There are no messages in these stories. They are not fortune cookies. They are stories.

One of the major contributions of literature in our lives is that it establishes an artificial order of the world, of time, of space, of the living experience. Particularly the great works, the masterworks of literature, are instruments that permit us to adapt ourselves to this voragine, to this vortex that real life is, that real living experience is. When you explore the possibilities of creating a time structure in a story, you are not only doing something that is an artificial achievement of a formal skill, the mastery of language, or the mastery of techniques to hypnotize the reader. You are also creating an instrument through which we can better understand how daily experience, living experience, is happening in reality. And so this fascination with time, which is a distinct characteristic of modern literature, is not gratuitous, not artificial. It is a way of reacting to a reality in which we feel ourselves-particularly in contemporary societies-totally lost. We are becoming so insignificant, so minor in this extraordinary and impersonal world, which is the world of modern societies, that we need a way to place ourselves in it. This artificial organization that literature gives to life is something that helps us in real life to feel less lost and confused.

Fascist politicians justify their ideas by breaking down a common sense of history in creating a mythic past to support their vision for the present. They rewrite the population’s shared understanding of reality by twisting the language of ideals through propaganda and promoting anti-intellectualism, attacking universities and educational systems that might challenge their ideas. Eventually, with these techniques, fascist politics creates a state of unreality, in which conspiracy theories and fake news replace reasoned debate. As the common understanding of reality crumbles, fascist politics makes room for dangerous and false beliefs to take root. First, fascist ideology seeks to naturalize group difference, thereby giving the appearance of natural, scientific support for a hierarchy of human worth. When social rankings and divisions solidify, fear fills in for understanding between groups. Any progress for a minority group stokes feelings of victimhood among the dominant population. Law and order politics has mass appeal, casting “us” as lawful citizens and “them,” by contrast, as lawless criminals whose behavior poses an existential threat to the manhood of the nation. Sexual anxiety is also typical of fascist politics as the patriarchal hierarchy is threatened by growing gender equity. As the fear of “them” grows, “we” come to represent everything virtuous.

The intrinsic non-existence at the heart of entity is what Spare designated the Kiã, and he strove to convey his vision in a theory enshrined as the very keystone of the Book of Pleasure.To this, he wedded a new and radical model of transcendental sorcery that completely rejected all religious ethos and utilised instead those techniques that were most familiar to him, and most fully within his mastery as an artist and designer: for its language, line and letter synthesized as the Sigil and the Sacred Alphabet; for its praxis, the sense of sight extended through touch, emotion and profound nostalgia into a willed and magically fecund synaesthesia that attains its apotheosis in the Death Posture. The Book of Pleasure was a radical departure for magic when it was published in 1913, in its refusal to advance a new dispensation or ‘doctrine’ (as Crowley had done) – indeed, in its intent to overcome the bonds imposed upon raw sorcery by traditional religious thinking. Its concepts remain as radical today, whether applied in a strictly magical or psychological context. Why, then, did Spare’s ideas fail to gain any currency until around sixty years after his exposition? Was it purely because the work itself remained inaccessible until the books of Kenneth and Steffi Grant, and later Francis King and Neville Drury, brought them into wider circulation? In part, yes, but that is not the sole reason. Even given the masterly expositions of Spare’s creed from these authors, the work itself is yet little understood or applied.

Yes,” her boss responded, “one for us and one for the customer.” “I’m sorry, so you are saying that the client is asking for a copy and we need a copy for internal use?” “Actually, I’ll check with the client—they haven’t asked for anything. But I definitely want a copy. That’s just how I do business.” “Absolutely,” she responded. “Thanks for checking with the customer. Where would you like to store the in-house copy? There’s no more space in the file room here.” “It’s fine. You can store it anywhere,” he said, slightly perturbed now. “Anywhere?” she mirrored again, with calm concern. When another person’s tone of voice or body language is inconsistent with his words, a good mirror can be particularly useful. In this case, it caused her boss to take a nice, long pause—something he did not often do. My student sat silent. “As a matter of fact, you can put them in my office,” he said, with more composure than he’d had the whole conversation. “I’ll get the new assistant to print it for me after the project is done. For now, just create two digital backups.” A day later her boss emailed and wrote simply, “The two digital backups will be fine.” Not long after, I received an ecstatic email from this student: “I was shocked! I love mirrors! A week of work avoided!” Mirroring will make you feel awkward as heck when you first try it. That’s the only hard part about it; the technique takes a little practice. Once you get the hang of it, though, it’ll become a conversational Swiss Army knife valuable in just about every professional and social setting.

Having judged, condemned, abandoned his cultural forms, his language, his food habits, his sexual behavior, his way of sitting down, of resting, of laughing, of enjoying himself, the oppressed flings himself upon the imposed culture with the desperation of a drowning man. Developing his technical knowledge in contact with more and more perfected machines, entering into the dynamic circuit of industrial production, meeting men from remote regions in the framework of the concentration of capital, that is to say, on the job, discovering the assembly line, the team, production �time,� in other words yield per hour, the oppressed is shocked to find that he continues to be the object of racism and contempt. It is at this level that racism is treated as a question of persons. �There are a few hopeless racists, but you must admit that on the whole the population likes….� �With time all this will disappear.� �This is the country where there is the least amount of race prejudice.� �At the United Nations there is a commission to fight race prejudice.� Films on race prejudice, poems on race prejudice, messages on race prejudice. Spectacular and futile condemnations of race prejudice. In reality, a colonial country is a racist country. If in England, in Belgium, or in France, despite the democratic principles affirmed by these respective nations, there are still racists, it is these racists who, in their opposition to the country as a whole, are logically consistent. It is not possible to enslave men without logically making them inferior through and through. And racism is only the emotional, affective, sometimes intellectual explanation of this inferiorization. The racist in a culture with racism is therefore normal. He has achieved a perfect harmony of economic relations and ideology. The idea that one forms of man, to be sure, is never totally dependent on economic relations, in other words—and this must not be forgotten—on relations existing historically and geographically among men and groups. An ever greater number of members belonging to racist societies are taking a position. They are dedicating themselves to a world in which racism would be impossible. But everyone is not up to this kind of objectivity, this abstraction, this solemn commitment. One cannot with impunity require of a man that he be against �the prejudices of his group.� And, we repeat, every colonialist group is racist. �Acculturized� and deculturized at one and the same time, the oppressed continues to come up against racism. He finds this sequel illogical, what be has left behind him inexplicable, without motive, incorrect. His knowledge, the appropriation of precise and complicated techniques, sometimes his intellectual superiority as compared to a great number of racists, lead him to qualify the racist world as passion-charged. He perceives that the racist atmosphere impregnates all the elements of the social life. The sense of an overwhelming injustice is correspondingly very strong. Forgetting racism as a consequence, one concentrates on racism as cause. Campaigns of deintoxication are launched. Appeal is made to the sense of humanity, to love, to respect for the supreme values.

You can do anything you want to do. What is rare is this actual wanting to do a specific thing: wanting it so much that you are practically blind to all other things, that nothing else will satisfy you. When you, body and soul, wish to make a certain expression and cannot be distracted from this one desire, then you will be able to make a great use of whatever technical knowledge you have. You will have clairvoyance, you will see the uses of the technique you already have, and you will invent more. I know I have said a lot when I say "You can do anything you want to do." But I mean it. There is reason for you to give this statement some of your best thought. You may find that this is just what is the matter with most of the people in the world; that few are really wanting what they think they want, and that most people go through their lives without ever doing one whole thing they really want to do. An artist has got to get acquainted with himself just as much as he can. It is no easy job, for it is not a present-day habit of humanity. This is what I call self-development, self-education. No matter how fine a school you are in, you have to educate yourself. There is nothing more entertaining than to have a frank talk with yourself. Few do it—frankly. Educating yourself is getting acquainted with yourself. Find out what you really like if you can. Find out what is really important to you. Then sing your song. You will have something to sing about and your whole heart will be in the singing. When a man is full up with what he is talking about he handles such language as he has with a mastery unusual to him, and it is at such times that he learns language.

1.      Establishing artificial time constraints: Allow the person being targeted to feel that there is an end in sight. 2.      Accommodating nonverbals: Ensure that both your body language as well as your voice is non-threatening.           3.      Slower rate of speech: Don’t oversell and talk too fast. You lose credibility quickly and come on too strong and threatening. 4.      Sympathy or assistance theme: Human beings are genetically coded to provide assistance and help. It also appeals to their ego that they may know more than you. 5.      Ego suspension: Most likely the hardest technique but without a doubt the most effective. Don’t build yourself up, build someone else up and you will have strong rapport. 6.      Validate others: Human beings crave being connected and accepted. Validation feeds this need and few give it. Be the great validator and have instant, great rapport. 7.      Ask… How? When? Why? : When you want to dig deep and make a connection, there is no better or safer way than asking these questions. They will tell you what they are willing to talk about. 8.      Connect with quid pro quo: Some people are just more guarded than others. Allow them to feel comfortable by giving a little about you. Don’t overdo it. 9.      Gift giving (reciprocal altruism): Human beings are genetically coded to reciprocate gifts given. Give a gift, either intangible or material, and seek a conversation and rapport in return. 10.  Managing expectations: Avoid both disappointment as well as the look of a bad salesman by ensuring that your methods are focused on benefitting the targeted individual and not you. Ultimately you will win, but your mindset needs to focus on them. You now have the top ten secrets on how to build rapport with anyone in just a few minutes.  There is nothing in these pages that

Perhaps also there are some necessary truths about mind, language, and perception after all, a compendium of superscientific truths awaiting discovery and dissemination by philosophers. If so, however, one would expect the same to be true of other subjects. For example, one would expect there to be a set of necessary truths about all possible living things; and another set about all possible stars and galaxies; and another set about all possible forms of matter; and so on. One would expect, that is, a significant compendium of a priori knowledge on almost every significant subject: space, time, motion, light, matter, planets, fire, cosmology, life, weather, medicine, and so forth. Given the thousands of years philosophers have had to penetrate these subjects, we might well ask in which books the apodictic fruits of so much a priori labour have been written down. Put thus bluntly, the question is embarrassing. There is no such accumulated compendium of important a priori truths on any of these topics. And this despite the fact that philosophers have been talking and theorizing with enthusiasm about all of them for over twenty-five centuries. Claims of necessary truth have regularly been made, but empirical refutation has been their most common fate. What has accumulated instead is a rich compendium of a posteriori knowledge, a compendium born of the continuing labours of various subdivisions of earlier philosophy, subdivisions now quite properly identified as sciences. It now seems silly to expect philosophical techniques to reveal important necessary truths about all possible planets, or all possible forms of matter, or all possible living things. But if it is just plain silly to expect this for planets, matter, and life, why should it be sound philosophy to expect it for language, mind, and perception?

Can fascism still exist? Clearly Stage One movements can still be found in all major democracies. More crucially, can they reach Stage Two again by becoming rooted and influential? We need not look for exact replicas, in which fascist veterans dust off their swastikas. Collectors of Nazi paraphernalia and hard-core neo-Nazi sects are capable of provoking destructive violence and polarization. As long as they remain excluded from the alliances with the establishment necessary to join the political mainstream or share power, however, they remain more a law and order problem than a political threat. Much more likely to exert an influence are extreme Right movements that have learned to moderate their language, abandon classical fascist symbolism, and appear “normal.” It is by understanding how past fascisms worked, and not by checking the color of shirts, or seeking echoes of the rhetoric of the national-syndicalist dissidents of the opening of the twentieth century, that we may be able to recognize it. The well-known warning signals—extreme nationalist propaganda and hate crimes—are important but insufficient. Knowing what we do about the fascist cycle, we can find more ominous warning signals in situations of political deadlock in the face of crisis, threatened conservatives looking for tougher allies, ready to give up due process and the rule of law, seeking mass support by nationalist and racialist demagoguery. Fascists are close to power when conservatives begin to borrow their techniques, appeal to their “mobilizing passions,” and try to co-opt the fascist following. Armed by historical knowledge, we may be able to distinguish today’s ugly but isolated imitations, with their shaved heads and swastika tattoos, from authentic functional equivalents in the form of a mature fascist conservative alliance. Forewarned, we may be able to detect the real thing when it comes along.

In an ideal world, a young man should not be an ironical person. At that age, irony prevents growth, stunts the imagination. It is best to start life in a cheerful and open state of mind, believing in others, being optimistic, being frank with everyone about everything. And then, as one comes to understand things and people better, to develop a sense of irony. The natural progression of human life is from optimism to pessimism; and a sense of irony helps temper pessimism, helps produce balance, harmony. But this was not an ideal world, and so irony grew in sudden and strange ways. Overnight, like a mushroom; disastrously, like a cancer. — Sarcasm was dangerous to its user, identifiable as the language of the wrecker and the saboteur. But irony—perhaps, sometimes, so he hoped—might enable you to preserve what you valued, even as the noise of time became loud enough to knock out windowpanes. What did he value? Music, his family, love. Love, his family, music. The order of importance was liable to change. Could irony protect his music? In so far as music remained a secret language which allowed you to smuggle things past the wrong ears. But it could not exist only as a code: sometimes you ached to say things straightforwardly. Could irony protect his children? Maxim, at school, aged ten, had been obliged publicly to vilify his father in the course of a music exam. In such circumstances, what use was irony to Galya and Maxim? As for love—not his own awkward, stumbling, blurting, annoying expressions of it, but love in general: he had always believed that love, as a force of nature, was indestructible; and that, when threatened, it could be protected, blanketed, swaddled in irony. Now he was less convinced. Tyranny had become so expert at destroying that why should it not destroy love as well, intentionally or not? Tyranny demanded that you love the Party, the State, the Great Leader and Helmsman, the People. But individual love—bourgeois and particularist—distracted from such grand, noble, meaningless, unthinking “loves.” And in these times, people were always in danger of becoming less than fully themselves. If you terrorised them enough, they became something else, something diminished and reduced: mere techniques for survival. And so, it was not just an anxiety, but often a brute fear that he experienced: the fear that love’s last days had come.

Focus intently and beat procrastination.    Use the Pomodoro Technique (remove distractions, focus for 25 minutes, take a break).    Avoid multitasking unless you find yourself needing occasional fresh perspectives.    Create a ready-to-resume plan when an unavoidable interruption comes up.    Set up a distraction-free environment.    Take frequent short breaks. Overcome being stuck.    When stuck, switch your focus away from the problem at hand, or take a break to surface the diffuse mode.    After some time completely away from the problem, return to where you got stuck.    Use the Hard Start Technique for homework or tests.    When starting a report or essay, do not constantly stop to edit what is flowing out. Separate time spent writing from time spent editing. Learn deeply.    Study actively: practice active recall (“retrieval practice”) and elaborating.    Interleave and space out your learning to help build your intuition and speed.    Don’t just focus on the easy stuff; challenge yourself.    Get enough sleep and stay physically active. Maximize working memory.    Break learning material into small chunks and swap fancy terms for easier ones.    Use “to-do” lists to clear your working memory.    Take good notes and review them the same day you took them. Memorize more efficiently.    Use memory tricks to speed up memorization: acronyms, images, and the Memory Palace.    Use metaphors to quickly grasp new concepts. Gain intuition and think quickly.    Internalize (don’t just unthinkingly memorize) procedures for solving key scientific or mathematical problems.    Make up appropriate gestures to help you remember and understand new language vocabulary. Exert self-discipline even when you don’t have any.    Find ways to overcome challenges without having to rely on self-discipline.    Remove temptations, distractions, and obstacles from your surroundings.    Improve your habits.    Plan your goals and identify obstacles and the ideal way to respond to them ahead of time. Motivate yourself.    Remind yourself of all the benefits of completing tasks.    Reward yourself for completing difficult tasks.    Make sure that a task’s level of difficulty matches your skill set.    Set goals—long-term goals, milestone goals, and process goals. Read effectively.    Preview the text before reading it in detail.    Read actively: think about the text, practice active recall, and annotate. Win big on tests.    Learn as much as possible about the test itself and make a preparation plan.    Practice with previous test questions—from old tests, if possible.    During tests: read instructions carefully, keep track of time, and review answers.    Use the Hard Start Technique. Be a pro learner.    Be a metacognitive learner: understand the task, set goals and plan, learn, and monitor and adjust.    Learn from the past: evaluate what went well and where you can improve.

ever. Amen. Thank God for self-help books. No wonder the business is booming. It reminds me of junior high school, where everybody was afraid of the really cool kids because they knew the latest, most potent putdowns, and were not afraid to use them. Dah! But there must be another reason that one of the best-selling books in the history of the world is Men Are From Mars, Women Are From Venus by John Gray. Could it be that our culture is oh so eager for a quick fix? What a relief it must be for some people to think “Oh, that’s why we fight like cats and dogs, it is because he’s from Mars and I am from Venus. I thought it was just because we’re messed up in the head.” Can you imagine Calvin Consumer’s excitement and relief to get the video on “The Secret to her Sexual Satisfaction” with Dr. GraySpot, a picture chart, a big pointer, and an X marking the spot. Could that “G” be for “giggle” rather than Dr. “Graffenberg?” Perhaps we are always looking for the secret, the gold mine, the G-spot because we are afraid of the real G-word: Growth—and the energy it requires of us. I am worried that just becoming more educated or well-read is chopping at the leaves of ignorance but is not cutting at the roots. Take my own example: I used to be a lowly busboy at 12 East Restaurant in Florida. One Christmas Eve the manager fired me for eating on the job. As I slunk away I muttered under my breath, “Scrooge!” Years later, after obtaining a Masters Degree in Psychology and getting a California license to practice psychotherapy, I was fired by the clinical director of a psychiatric institute for being unorthodox. This time I knew just what to say. This time I was much more assertive and articulate. As I left I told the director “You obviously have a narcissistic pseudo-neurotic paranoia of anything that does not fit your myopic Procrustean paradigm.” Thank God for higher education. No wonder colleges are packed. What if there was a language designed not to put down or control each other, but nurture and release each other to grow? What if you could develop a consciousness of expressing your feelings and needs fully and completely without having any intention of blaming, attacking, intimidating, begging, punishing, coercing or disrespecting the other person? What if there was a language that kept us focused in the present, and prevented us from speaking like moralistic mini-gods? There is: The name of one such language is Nonviolent Communication. Marshall Rosenberg’s Nonviolent Communication provides a wealth of simple principles and effective techniques to maintain a laser focus on the human heart and innocent child within the other person, even when they have lost contact with that part of themselves. You know how it is when you are hurt or scared: suddenly you become cold and critical, or aloof and analytical. Would it not be wonderful if someone could see through the mask, and warmly meet your need for understanding or reassurance? What I am presenting are some tools for staying locked onto the other person’s humanness, even when they have become an alien monster. Remember that episode of Star Trek where Captain Kirk was turned into a Klingon, and Bones was freaking out? (I felt sorry for Bones because I’ve had friends turn into Cling-ons too.) But then Spock, in his cool, Vulcan way, performed a mind meld to determine that James T. Kirk was trapped inside the alien form. And finally Scotty was able to put some dilithium crystals into his phaser and destroy the alien cloaking device, freeing the captain from his Klingon form. Oh, how I wish that, in my youth or childhood,

The most effective way of making people accept the validity of the values they are to serve is to persuade them that they are really the same as those which they, or at least the best among them, have always held, but which were not properly understood or recognized before. The people are made to transfer their allegiance from the old gods to the new under the pretense that the new gods really are what their sound instinct had always told them but what before they had only dimly seen. And the most efficient technique to this end is to use the old words but change their meaning. Few traits of totalitarian regimes are at the same time so confusing to the superficial observer and yet so characteristic of the whole intellectual climate as the complete perversion of language, the change of meaning of the words by which the ideals of the new regimes are expressed. The worst sufferer in this respect is, of course, the word “liberty.” It is a word used as freely in totalitarian states as elsewhere. Indeed, it could almost be said—and it should serve as a warning to us to be on our guard against all the tempters who promise us New Liberties for Old 5 —that wherever liberty as we understand it has been destroyed, this has almost always been done in the name of some new freedom promised to the people. Even among us we have “planners for freedom” who promise us a “collective freedom for the group,” the nature of which may be gathered from the fact that its advocate finds it necessary to assure us that “naturally the advent of planned freedom does not mean that all [sic] earlier forms of freedom must be abolished.” Dr. Karl Mannheim, from whose work6 these sentences are taken, at least warns us that “a conception of freedom modelled on the preceding age is an obstacle to any real understanding of the problem.” But his use of the word “freedom” is as misleading as it is in the mouth of totalitarian politicians. Like their freedom, the “collective freedom” he offers us is not the freedom of the members of society but the unlimited freedom of the planner to do with society what he pleases.7 It is the confusion of freedom with power carried to the extreme. In this particular case the perversion of the meaning of the word has, of course, been well prepared by a long line of German philosophers and, not least, by many of the theoreticians of socialism. But “freedom” or “liberty” are by no means the only words whose meaning has been changed into their opposites to make them serve as instruments of totalitarian propaganda. We have already seen how the same happens to “justice” and “law,” “right” and “equality.” The list could be extended until it includes almost all moral and political terms in general use. If one has not one’s self experienced this process, it is difficult to appreciate the magnitude of this change of the meaning of words, the confusion which it causes, and the barriers to any rational discussion which it creates. It has to be seen to be understood how, if one of two brothers embraces the new faith, after a short while he appears to speak a different language which makes any real communication between them impossible. And the confusion becomes worse because this change of meaning of the words describing political ideals is not a single event but a continuous process, a technique employed consciously or unconsciously to direct the people. Gradually, as this process continues, the whole language becomes despoiled, and words become empty shells deprived of any definite meaning, as capable of denoting one thing as its opposite and used solely for the emotional associations which still adhere to them.

vegetable growers. The information in The Winter Harvest Handbook complements and updates the winter-harvest chapters in this earlier book. Gerst, Jean-Jacques. Legumes sous baches. Paris: Centre Technique Interprofessionel des Fruit et Legumes (CTIFL), 1993. The title translates as “Vegetables Under Covers.” This is a technical manual for French growers. It is professional and practical. The contents include every possible vegetable and every imaginable combination of high tunnels, low tunnels, reflective covers, floating covers, and heated and unheated greenhouses. The book is written for more temperate climates than mine, but that doesn’t make it any less valuable. If you don’t speak French it is worth learning the language or marrying a French speaker just so you can read this book. Larcom, Joy. Oriental Vegetables. New York: Kodansha International,

-The initial letter in the profile means either introversion or extroversion. -The second letter in the mix will end up being either be the letter “S” to stand for sensing or the letter “N” for intuition. -Next, the third letter is either an “F” to stand for feeler or the letter “T” to stand for thinker. -Finally, the fourth letter is either a “P” to stand for perceiver or “J” for judger.

People will put their hand on the side of their head when they are listening to something interesting, but what few people know is that that same hand used to support the head means negative thinking or lack of interest.

Active Listening As a skill, active listening draws on many of the abilities you’ve developed so far, from your relaxation techniques to body language to conversation skills. Here are four ways to be a good listener: 1. Instead of thinking ahead or worrying about what you’ll say next, focus on what the other person is saying right now. 2. Use positive body language to encourage the other person (maintain eye contact, smile, nod). 3. Occasionally restate the point the other person is making in another way (don’t merely parrot their words), so that he or she knows you understand and are paying attention. Ask for and offer examples to support what is being said. 4. Look for hints of something that the person seems truly interested or involved in. Seize the moment with a follow-up question such as “Why do you say that?” or, “What happened then?” 5. Use self-awareness and relaxation techniques both to improve your ability to focus and to develop your listening ability.

Most people do not realize that the Apostle John was actually using terminology familiar to 1st Century Jewish people. It was familiar, because it was language read in the Targums in the Synagogue every week. What John was doing by stating his first sentence in the manner was very similar to the technique used at the time (and today in some Orthodox Jewish sects), whereby one person would recite the first verse of a Psalm, and the students (or members of the Synagogue), would begin to recite the rest of the Psalm.   Jesus did this as is recorded in the New Testament. The hearers should have understood to recite the entirety of Psalm 22 in response, "And about the ninth hour Jesus cried out with a loud voice, saying, 'Eli, Eli, lema sabachthani?” that is, “My God, my God, why have you forsaken me?'"  Matthew 27:46

He revels in obscure words, as in his list of phobias including pteronophobia (tickling with feathers), xenoglossophobia (foreign languages), scorodophobia (garlic), as well as in his tour through various techniques of divination, including geloscopy (the interpretation of laughter), bletonism (analyzing currents of water), and sciomancy (shadows or ghosts).

HOW TO CLOSE THE CONVERSATION Timing is crucial in closing a conversation. If you let your anxiety dictate your actions, you may end it too soon and lose out on the opportunity to move from the first conversational level to the second. If a conversation goes on too long, with one or the other doing all the talking, both you and your partner may feel drained or bored. Closing the conversation is similar to changing the subject. You can use the same techniques to offer the other person a chance to agree to conclude (a trip to the buffet table or bar, the need to “get back to work,” a chance to speak to the host or guest of honor). Follow with a comment such as “I’ve really enjoyed talking with you,” perhaps adding, “I hope we can talk again soon.” If the person responds favorably, it is okay to follow up with a suggested plan for a future meeting; if the interaction is a social one, ask for the person’s phone number, or offer yours (“Are you in the book? I’d like to call you sometime,” or “My number’s in the book. Give me a call if you’d like to get together”). In workplace situations, you might say, “I could use some feedback on my next project. Could we arrange a time that I could run it by you?” If the response is very favorable, you might even suggest a specific time and date to get together. As you conclude, say the person’s name again (if he or she is a new acquaintance), and reiterate with body language and with words that you have enjoyed talking with him or her. Smile and maintain eye contact. Then, give a warm handshake or nod, if it is appropriate, and be on your way. Don’t draw the ending out—a protracted closing to a conversation can be counterproductive. Unlike the beginning of the conversation—where almost anything can serve as an opener—the ending does make a lasting impression, so be sure to end in a friendly, confident, and upbeat manner. One more thing: Many people find they are intrigued by a person whom they feel they didn’t get to talk to long enough. It’s much better to leave before you’ve said everything you could possibly think of to say. That way, there will be more to talk about next time!

The brain is probably the biggest component of the human machine. Everything begins and ends in the brain.

People often talk without opening their mouths or uttering a single word. In fact, what people don't say appears to be more important than what they do say.

The face can be a wealth of information.

Eye contact is especially important in reading body language.

The most compelling evidence for the likelihood that the Great Pyramid was constructed by craftspeople with specialized knowledge and advanced techniques is the precision with which it was built. This precision reveals more about the true nature of its builders than any inscription or cartouche. There is no way to ignore the accuracy of this stonecutting, despite Egyptologists' interpretations of the inscriptions found in pyramids or temples in Egypt. After all, hieroglyphics, like any language, has the potential to be misunderstood. After discussing much of the preceding information with the artisans at today's building sites, machine shops, and quarry mills, I became aware of the reason why we are still influenced by ideas that are not compatible with practical application. The artisans of today are too busy making a living to give serious thought to scholarly theories, and even when gross inequities are presented to them, they respond with a cynical shrug. When told that giant limestone casing stones, which were cut to within 1/100 of an inch, were cut with hammer and chisel, a typical response was a shake of the head.

Storytelling is an imperfect methodology to provide a true accounting to a multiplicity of bilateral and three-dimensional interactions. Language cannot reach every recess of the mind, it cannot document every emotional chord, and it cannot splice the discordant pieces within us. Each story by a writer represents the sanitized accounting of the mind’s depictions. Try as one might, employing a panoply of traditional technique or other slick tools of modernist stage craft, it is impossible to separate the teller from the telling any more than one can distinguish the author from their doppelganger writer’s voice.

The hippocampus is central to verbal learning, and the retention of memory. If the hippocampus is damaged, you can lose your ability to learn new things or to store new memories.

hypothalamus is one of the components of the brain that are responsible for the kind of addiction that leads to substance abuse.

Even though we have a split brain with two distinct hemispheres, the corpus callosum ensures that the functions of each hemisphere of the cerebrum are closely interlinked and properly coordinated, so the brain generally functions as one. Still, largely either one hemisphere or the other controls higher brain functions

Clear and concise language should be the aim of most fiction authors with few exceptions. The main way to achieve this is to use simple language, as it will be more effective and communicate your meaning more easily. Using long words is not going to make you seem smarter or a better writer. Know your readers. If the novel is aimed at a tech savvy audience, then some amount of technical jargon will have to be used, but even then, simple language should be the basis for the book with the computer terms sprinkled in only as required. Keep sentences short. Nothing makes a text more difficult to read than long run-on sentences with multiple independent clauses. Also, avoid the comma splice, which is when you put together two independent clauses with the use of a comma between them. This technique is one of which I am guilty of using all too frequently. There is the Flesch-Kincaid grading system that was developed in the 1970s to evaluate the readability of text. It is widely used and gives a score based on a US grade level of reading ability. Most successful novels will have a score of no more than grade 8, which is the average person’s reading level. There are free online web pages that can evaluate text using the Flesch-Kincaid system.

A society is not just a passing thought in someone’s head: it is an accumulated body of facts- of language, laws, customs, ideas, values, traditions, techniques, and products- all of which are connected to one another and exist in a manner quite “external” to individual human minds. They are in the world before we individuals arrive; the moment we are born, they impose themselves on us; as we grow through childhood, they mold us; in adulthood, they animate and guide us; and, just as surely, in death they survive us. P. 92.

And finally there must be education—some technique, however primitive, for the transmission of culture. Whether through imitation, initiation or instruction, whether through father or mother, teacher or priest, the lore and heritage of the tribe—its language and knowledge, its morals and manners, its technology and arts—must be handed down to the young, as the very instrument through which they are turned from animals into men.

It’s all down to a mixture of techniques, body language, shrewd observation, fishing, vagueness and gullibility.

Whatever the army had failed to teach me about staying out of sight, they had made up for by teaching me a lot about fighting. They had taken one look at me and sent me straight to the gym. I was like a lot of military children. We had weird backgrounds. We had lived all over the world. Part of our culture was to learn from the locals. Not history or language or political concerns. We learned fighting from them. Their favored techniques. Martial arts from the Far East, full-on brawling from the seamier parts of Europe, blades and rocks and bottles from the seamier parts of the States. By the age of twelve we had it all boiled down to a kind of composite uninhibited ferocity. Especially uninhibited. We had learned that inhibitions will hurt you faster than anything else. Just do it was our motto, well before Nike started making shoes. Those of us who signed up for military careers of our own were recognized and mentored and offered further tuition, where we were taken apart and put back together again. We thought we were tough when we were twelve. At eighteen, we thought we were unbeatable. We weren’t. But we were very close to it, by the age of twenty-five.

Imagine a Sapiens group - a tribe of five hundred, say, in bands of twenty-five or so--living around 55,000 years ago in the lowlands near the headwaters of the White Nile in what is today southern Sudan. They are the inheritors of the modern culture that has spread from southern Africa, and they survive with the skillful hunting and fishing techniques developed over the millennia, the close-knit organizations that establish and maintain group harmony, the communications capabilities of at least a rudimentary language, and a healthy diet based on both plants and animals in abundance. But there are other inheritor bands around, for the region is fertile and the climate generally benign, and they continue to grow in population and this means that in time it gets harder and harder to find new fields of tubers, or large herds of impala, or the usual swamp tortoises. Human pressure on the area is pushing it past its carrying capacity, and relations with other bands in other tribes become increasingly stressful as competition intensifies.

​“Many,” sighed Ashuri, “and from various faculties. A considerable number of them are not even registered at the university. They come to register, and I ignore the fact that they are not on the roster. This year, I closed registration after seventy-five students had signed up, but in reality over a hundred attended each lecture. For purely selfish reasons, because of my age, I suppose, I refused to accept any more. I have found lately that Kabbalah has shown signs of a resurgence of interest. As a result, many charlatans earn a fine living from it.” ​Elijah remembered that he was really on his way to the library. He parted from Prof. Ashuri in his normal awkward, hesitant and apologetic manner, thanking her profusely no less than three times; he would even have bowed down to her if that was what would have enabled him to expedite his exit. However, Prof. Ashuri had one more important observation to make. ​“I hope that your interest in the Kabbalah will not infect you with that dreaded disease...” she smiled. ​“What disease do you mean?” ​“Kabbalistic literature is generally divided into three major streams. The first and most important one is the cosmological, mission-oriented one. Here we find a direct line between ourselves and the Master of the Universes, by way of His influence on all the intermediate worlds. Note the term, ‘Master of the Universes’ in the plural. In this view, there are mutual influences, going from the upper worlds to us, and from us to the upper worlds. All the commandments and all the proper intentions and all the prayers are ultimately aimed at mending those spheres, which were damaged at the time of the Creation. In the language of the Kabbalah, this means repairing those vessels which were broken. ​“The second stream is Kabbalistic-prophetic. It is an attempt to attain what is known as cleaving to God and to achieve spiritual elevation. This can be accomplished by internal meditation, which includes reciting the Holy Names, internal and external purification, combining sacred letters and repeating them over and over, singing and moving the head, and breathing techniques. This can unite one with the higher worlds. One who does this properly can reach the level of prophecy. There are even books with detailed instructions on how to actually accomplish this and how to ascend to a higher spiritual level. I often hear of students who have embarked on such a course, and it is, indeed, a disease.” ​“Don’t worry about me. And what about the third stream?” ​“The third stream is the one which has elicited the most criticism. It is referred to as Practical Kabbalah. By that, we mean people who use the Kabbalah for their own personal purposes, as a way to exploit the secret knowledge to which they have access in order to control nature and man’s fate. Practical Kabbalah appeals directly to supernatural forces and sometimes even makes them solve the problems of the one calling upon them. These include attempts to foretell the future, to converse with the dead, to heal the sick, to banish evil spirits and the evil eye, and of course to acquire wealth, respect, and/or the love of a man or a woman. That, too, is a dangerous game to play.” Prof. Ashuri laughed, but Elijah could not tell whether or not she was serious.

IN A NUTSHELL Build curiosity with your opening. Create questions in your audience’s minds. Promise value from your talk. Keep your audience engaged with stories. Connect with conversational language. Make your talk relevant to your audience. Use the magic word: “You.” Use a “we-focus” when sharing negative ideas. Highlight the problem before you offer the solution. Use an analogy, metaphor or simile. Include as many stories as you need, but have only one key takeaway message. End with a clear call to action.

Language has its own limitations. It can describe only themes that have quality (guṇa) or function (kriyā) or name (nāma) or qualification (viśeṣa) or relationship with others (sambandha). None of these are applicable for the one eternal infinite substratum for everything and hence It must elude language and remain indescribable. This technique, of describing the Infinite by the process of negation, is made use of only in the scriptures. These terms are to be considered as so many arrow marks indicating Truth; in themselves they are not positive definitions of Truth.

Human populations faced a crisis, as old hunting and gathering techniques were found to be inadequate in the changed environment, and population levels dropped dramatically. Those that did learn to adapt, however, spread their technology, and with it their cultures and languages, to the four corners of the continent. It is to them that the ancestry of the four indigenous language families of modern Africa can be traced.

What techniques do charismatic leaders use to exploit people’s fundamental needs for community and meaning? How do they cultivate that kind of power?

lifeisposi 03/20/2024 PublicSpeaking the ultimate battle between your brain and your vocal cords. It's like your mind turns into a circus ringmaster, juggling sweaty palms, a pounding heart, and a brain that's suddenly gone AWOL. But hey, don’t let those jitters steal the spotlight! With a pinch of humor and a sprinkle of confidence, you can turn that stage fright into a standing ovation. So, take the mic, crack a joke (or two), and show that audience who’s boss.

Public speaking is the ultimate battle between your brain and your vocal cords. It's like your mind turns into a circus ringmaster, juggling sweaty palms, a pounding heart, and a brain that's suddenly gone AWOL. But hey, don’t let those jitters steal the spotlight! With a pinch of humor and a sprinkle of confidence, you can turn that stage fright into a standing ovation. So, take the mic, crack a joke (or two), and show that audience who’s boss.

Excessive Talking: You may struggle to control your thoughts; consequently, your language and speech come across as being rude or too loud because of the way you express your thoughts. Others may also interpret this as having impaired social behavior, not following the rules and instructions, or being a rule breaker.

How do you feel?” Claudia Jewett Jarratt (1994) recommends a strategy to begin helping children identify their emotions correctly in a technique called “The Five Faces.” Five cards with simple drawings of faces depicting sad, mad, happy, scared, and lonely are used to facilitate conversations about which feeling the person has. To learn the “game,” the toddler might be asked, “Which face shows how you feel about having macaroni and cheese for lunch?” Gradually, the cards are used to talk about more important emotionally reactive situations. Even children whose language is not sophisticated enough to participate in the dialogue, but who seem stuck in the “angry” mode, can benefit from an exploration of emotions.

Goals have been set and a plan of action agreed upon; this constitutes the setting up period of the programme and will take some time at the beginning. The coach’s role now shifts to one of monitoring the learners as they pursue their goals and practise English as they have planned to do. Just as the weight watchers weigh themselves at each meeting, students need to measure their progress, celebrate success and, when they don’t achieve their goals, reflect on why. The coach is there to lend support and guidance. For this to happen, lessons should now regularly address the learners’ language lives outside of class. This needs to be established as part of the routine of the classroom. Decide when and how often you wish to coach them, but we suggest a minimum of 10% of class time devoted to it. That means at least 20 minutes a week if you have lessons 3 hours a week. In this time, you can: •  let your learners share how they are feeling about English. Revisit the activities in the Motivate! section. •  let learners share their favourite activities and techniques for learning English. One format for letting learners do this is suggested in the activity 'Swap Shop'. Another is to nominate a different student each week to tell the class about one technique, website, activity, book or other resource that they have used to practise English and to talk about why and how they use it. •  set specific activities for language practice from the Student’s Book •  tell students to try out any activities they like from the Student’s Book •  demonstrate specific activities and techniques from websites and other sources. This can be more effective than just telling them. If they see how good it is and try it out for themselves in class, they will be more likely to do it on their own.