Plastic Attitude Quotes

Trust me, Joe. You’re not a cowboy. The only cows you ever saw as a kid came under a plastic wrap in the grocery store or in a paper wrapped from McDonald’s. (Tee)

Self-denial can lock women into a smug and critical condescension to other, less devout women. According to Appel, cult members develop..."an attitude of moral superiority, a contempt for secular laws, rigidity of thought, and the diminution of regard for the individual." A premium is placed on conformity to the cult group; deviation is penalized. "Beauty" is derivative; conforming to the Iron Maiden [an intrinsically unattainable standard of beauty that is then used to punish women physically and psychologically for failure to achieve and conform to it] is "beautiful." The aim of beauty thinking, about weight or age, is rigid female thought. Cult members are urged to sever all ties with the past: "I destroyed all my fat photographs!"; "It's a new me!

Ten Best Song to Strip 1. Any hip-swiveling R&B fuckjam. This category includes The Greatest Stripping Song of All Time: "Remix to Ignition" by R. Kelly. 2. "Purple Rain" by Prince, but you have to be really theatrical about it. Arch your back like Prince himself is daubing body glitter on your abdomen. Most effective in nearly empty, pathos-ridden juice bars. 3. "Honky Tonk Woman" by the Rolling Stones. Insta-attitude. Makes even the clumsiest troglodyte strut like Anita Pallenberg. (However, the Troggs will make you look like even more of a troglodyte, so avoid if possible.) 4. "Pour Some Sugar on Me" by Def Leppard. The Lep's shouted choruses and relentless programmed drums prove ideal for chicks who can really stomp. (Coincidence: I once saw a stripper who, like Rick Allen, had only one arm.) 5. "Amber" by 311. This fluid stoner anthem is a favorite of midnight tokers at strip joints everywhere. Mellow enough that even the most shitfaced dancer can make it through the song and back to her Graffix bong without breaking a sweat. Pass the Fritos Scoops, dude. 6. "Miserable" by Lit, but mostly because Pamela Anderson is in the video, and she's like Jesus for strippers (blonde, plastic, capable of parlaying a broken nail into a domestic battery charge, damaged liver). Alos, you can't go wrong stripping to a song that opens with the line "You make me come." 7. "Back Door Man" by The Doors. Almost too easy. The mere implication that you like it in the ass will thrill the average strip-club patron. Just get on all fours and crawl your way toward the down payment on that condo in Cozumel. (Unless, like most strippers, you'd rather blow your nest egg on tacky pimped-out SUVs and Coach purses.) 8. Back in Black" by AC/DC. Producer Mutt Lange wants you to strip. He does. He told me. 9. "I Touch Myself" by the Devinyls. Strip to this, and that guy at the tip rail with the bitch tits and the shop teacher glasses will actually believe that he alone has inspired you to masturbate. Take his money, then go masturbate and think about someone else. 10. "Hash Pipe" by Weezer. Sure, it smells of nerd. But River Cuomo is obsessed with Asian chicks and nose candy, and that's just the spirit you want to evoke in a strip club. I recommend busting out your most crunk pole tricks during this one.

Guns, double-crosses, hitmen… I can get used to a lot of things, but I’m never going to get used to sleeping where apocalypse bugs mate,” Wednesday said, walking into the room looking around. She dropped her Birkin on the floor and heard something scuttling behind the cheap plastic wood print veneer covered dresser. She turned to face Alvin, her head cocked to the side. “Seriously. I’m not saying five-star… I’m saying go on Expedia and find a place that actually has stars… any stars.

I’d always hated cocktail parties. And this one was worse than most. Overdressed pseudo–people smiled plastic smiles, told one–upmanship stories with phony self–deprecation, then half–listened with painted–on sincerity to the one–upmanship rebuttals. Mannequins. Robots. Androids. Pseudo–people laboring in the vineyards of pseudo–intellectualism to gather the bitter grapes of self–aggrandizement.

Laziness has made our cities unclean. If we begin to work and act appropriately, we will clean our cities of any dirt.

When it comes to current attitudes about surgery, the practice of dismissing the cultural context and rationalizing it as individual betterment "flattens the terrain of power relations." In other words, we can talk about doing it for us until our high-end lipstick flakes off, but we should also keep in mind that we probably wouldn't even be thinking about what life would be like with a new nose or perkier breasts or shapelier inner thighs if it weren't for a long-standing cultural ideal that rewards those who adhere to it with power that often doesn't speak its name, but is instantly recognizable to those who don't have it.

House rule number nine. No roach shall drink or eat out of the good cups in the kitchen. The plastic cups are in the pantry.

Plastic Fruit is nice to look at, but you still can't eat it!

These observations led me into a new career. Some years ago I became convinced that the people who consult a plastic surgeon need more than surgery and that some of them do not need surgery at all. If I were to treat these people as patients, as a whole person rather than as merely a nose, ear, mouth, arm, or leg, I needed to be in a position to give them something more. I needed to be able to show them how to obtain a spiritual face-lift, how to remove emotional scars, how to change their attitudes and thoughts as well as their physical appearance.

The unity of the visible form of an object and of its imagist generalization, achieved by means of the composition of the shot, is to us the most important feature of a truly realistic treatment of the shot. We consider that this ensures the emotional impression which the sight of the purely plastic images on the screen can excite. This imagist treatment of representations is the most important task the cameraman has; in fulfilling it, he permeates all the minutest details of the plastic solution of the film with the theme and his attitude to the theme.

The cinema is the only plastic art that has resolved all these problems of painting without loss of representation and objectivity and with complete ease. At the same time the cinema is capable of communicating much more: it alone is able to reconstruct the inner movement of phenomena profoundly and fully. The camera angle reveals the secrets of nature. The juxtaposition of various camera angles reveals the artist's attitude to the phenomenon. Montage structure unites the objective existence of the phenomenon and the artist's subjective attitude to it. None of the severe standards modern painting sets for itself is relinquished. At the same time everything preserves the full vitality of the phenomenon.

The plastic world has colonized us. When we climb into the car, airplane, board ships, when we purchase contemporary cuisines, get involved in the television world, from the studio and materials up the image of the world, we enter the world of artificial chemical universes, those of the cinema and their advertisements, of what we should buy and acquire. It is like this with the café-bars and discos, in other words the pleasure of children, and the same with the food that we consume, and the hospitals and schools, the hotels, all chemicals, a substitute. The ventilation of hotels without windows, the doors without keys, similarly the walls and doors and beds and baths, the water, the carpet and the floors. Everything a sham, paradises for allergies. One can say the same of the tones and music, and the attack on clothing cannot be overlooked, as well as the attitude of men resulting from it. The computers are made of this material and therewith our thought, our memory, the simulation of life. And thus life in genetic research begins and ends as a plastic creation and plastic death. Already the announcement has come to us that the museum bring the entire program closer to us on video screens, enlarged, interpreted, free and democratic and individually accessible. We will live in Leonardo’s world. The ground is prepared, now begins the attack on the blood. Much strength will be necessary to survive it.

Ageing is NOT a given or a one way process. It is plastic and can be subject to intervention or even reversal.

Chapter 3 The next morning, I wake up early, but I hang out in bed longer than usual. Since the surprise party yesterday, I’ve been bombarded with images of my past. And those memories have a bitter taste that yesterday’s cake can’t mask. I somehow manage to extricate myself from my pod, even though it feels like my head’s a bit foggy—my stomach, too, for that matter. I walk quietly toward the Cafeteria. By this time, there shouldn’t be many people left. Hopefully my delay will go unnoticed. I didn’t account for Doc, of course. When I get to the Cafeteria, she’s sitting at one of the tables with a tray of unfinished food in front of her. When she sees me coming, she taps the plastic nervously with her fingers. “Oh, so now you’re hungry?” she asks. Doc has always had a problem with people not following the rules, and she doesn’t understand why people break them. For her, duty is an essential trait. I think her attitude is a bit extreme, but it’s clear that she’s turned out to be a better person than me, so maybe I should try following the rules. “Sorry. Problem with my alarm clock,” I say, improvising.

First comes the Emotion Regulation Network. I consider this primary, because I believe that unless we have the ability to regulate our emotions, we cannot enjoy a happy life. We can’t sustain Bliss Brain for long enough to spark neural plasticity if our consciousness is easily hijacked by negative emotions like anger, resentment, guilt, fear, and shame. The Emotion Regulation Network controls our reactivity to disturbing events. Regulating emotions is the meditator’s top priority. Emotion will distract us from our path every time. Love and fear are fabulous for survival because of their evolutionary role in keeping us safe. Love kept us bonded to others of our species, which gave us strength in numbers. Fear made us wary of potential threats. But to the meditator seeking inner peace, emotion = distraction. In the stories of Buddha and Jesus in Chapter 2, we saw how they were tempted by both the love of gain and the fear of loss. Only when they held their emotions steady, refusing either type of bait, were they able to break through to enlightenment. THE HOSTILE TAKEOVER OF CONSCIOUSNESS BY EMOTION Remember a time when you swore you’d act rationally but didn’t? Perhaps you were annoyed by a relationship partner’s habit. Or a team member’s attitude. Or a child’s behavior? You screamed and yelled in response. Or perhaps you didn’t but wanted to. So you decided that next time you would stay calm and have a rational discussion. But as the emotional temperature of the conversation increased, you found yourself screaming and yelling again. Despite your best intentions, emotion overwhelmed you. Without training, when negative emotions arise, our capacity for rational thought is eclipsed. Neuroscientist Joseph LeDoux calls this “the hostile takeover of consciousness by emotion.” Consciousness is hijacked by the emotions generated by fearful unwanted experiences or attractive desired ones. We need to regulate our emotions over and over again to gradually establish positive state stability. In positive state stability, when someone around us—whether a colleague, spouse, child, parent, politician, blogger, newscaster, or corporate spokesperson—says or does something that triggers negative emotions, we remain neutral. The same applies to negative thoughts arising from within our own consciousness. Positive state stability allows us to feel happy despite the chatter of our own minds. Getting triggered happens quickly. LeDoux found that it takes less than 1 second from hearing an emotionally triggering word to a reaction in the brain’s limbic system, the part that processes emotion. When we’re overwhelmed by emotion, rational thinking, sound judgment, memory, and objective evaluation disappear. But once we’re stable in that positive state, we’ve inoculated ourselves against negative influences, both from our own consciousness and from the outside world. We maintain that positive state over time, and state becomes trait.

Civilized human beings wear clothes, therefore there can be no portraiture, no mythological or historical storytelling without representations of folded textiles. But though it may account for the origins, mere tailoring can never explain the luxuriant development of drapery as a major theme of all the plastic arts. Artists, it is obvious, have always loved drapery for its own sake—or, rather, for their own. When you paint or carve drapery, you are painting or carving forms which, for all practical purposes, are non-representational-the kind of unconditioned forms on which artists even in the most naturalistic tradition like to let themselves go. In the average Madonna or Apostle the strictly human, fully representational element accounts for about ten per cent of the whole. All the rest consists of many coloured variations on the inexhaustible theme of crumpled wool or linen. And these non-representational nine-tenths of a Madonna or an Apostle may be just as important qualitatively as they are in quantity. Very often they set the tone of the whole work of art, they state the key in which the theme is being rendered, they express the mood, the temperament, the attitude to life of the artist.

The first time occurred when a powerful alpha male, Yeroen, was in the midst of an intimidation display with all of his hair on end. This is nothing to make fun of. All other apes watch with trepidation, knowing that a male in this testosterone-filled state is keen to make his point: He is the boss. Anyone who gets in the way risks a serious beating. Moving like a furry steam locomotive that would flatten everybody and everything, Yeroen went with heavy steps up a leaning tree trunk that he often stamped on in a steady rhythm until the whole thing would shake and creak to amplify his message of strength and stamina. Every alpha male comes up with his own special effects. It had rained, however, and the trunk was slippery, which explains why at the peak of this spectacle the mighty leader slipped and fell. He held on to the trunk for a second, then dropped to the grass, where he sat looking around, disoriented. With a “the show must go on” attitude, he then wrapped up his performance by running straight at a group of onlookers, scattering them amid screams of fear. Even though Yeroen’s plunge made me laugh out loud, as far as I could tell none of the chimps saw anything remotely comical. They kept their eyes on him as if this was all part of the same show, even though, clearly, it was not how Yeroen had intended things to go. A similar incident happened in a different colony, when the alpha male picked up a hard plastic ball during his display. He often threw this ball up in the air with as much force as possible—the higher the better—after which it would come down somewhere with a loud thud. This time, however, he threw the ball up and checked around with a puzzled expression because the ball had miraculously disappeared. He didn’t know that it was returning to earth by the same trajectory he had launched it on, landing with a smack on his own back. This startled him, and he broke off his display. Again, I found this a rather amusing sight, but none of the chimps showed any reaction that I could tell. Had they been human, they’d have been rolling around, holding their bellies with laughter, or—if fear kept them from doing so—they’d have been pinching one another, turning purple in an attempt to control themselves.

It reveals opinions and attitudes that are malleable, showing the plasticity of what in any given present moment one typically presents as a rock of certainty.

Dharma Master Cheng Yen is a Buddhist nun living in Hualien County, a mountainous region on the east coast of Taiwan. Because the mountains formed barriers to travel, the area has a high proportion of indigenous people, and in the 1960s many people in the area, especially indigenous people, were living in poverty. Although Buddhism is sometimes regarded as promoting a retreat from the world to focus on the inner life, Cheng Yen took the opposite path. In 1966, when Cheng Yen was twenty-nine, she saw an indigenous woman with labor complications whose family had carried her for eight hours from their mountain village to Hualien City. On arriving they were told they would have to pay for the medical treatment she needed. Unable to afford the cost of treatment they had no alternative but to carry her back again. In response, Cheng Yen organized a group of thirty housewives, each of whom put aside a few cents each day to establish a charity fund for needy families. It was called Tzu Chi, which means “Compassionate Relief.” Gradually word spread, and more people joined.6 Cheng Yen began to raise funds for a hospital in Hualien City. The hospital opened in 1986. Since then, Tzu Chi has established six more hospitals. To train some of the local people to work in the hospital, Tzu Chi founded medical and nursing schools. Perhaps the most remarkable feature of its medical schools is the attitude shown to corpses that are used for medical purposes, such as teaching anatomy or simulation surgery, or for research. Obtaining corpses for this purpose is normally a problem in Chinese cultures because of a Confucian tradition that the body of a deceased person should be cremated with the body intact. Cheng Yen asked her volunteers to help by willing their bodies to the medical school after their death. In contrast to most medical schools, here the bodies are treated with the utmost respect for the person whose body it was. The students visit the family of the deceased and learn about his or her life. They refer to the deceased as “silent mentors,” place photographs of the living person on the walls of the medical school, and have a shrine to each donor. After the course has concluded and the body has served its purpose, all parts are replaced and the body is sewn up. The medical school then arranges a cremation ceremony in which students and the family take part. Tzu Chi is now a huge organization, with seven million members in Taiwan alone—almost 30 percent of the population—and another three million members associated with chapters in 51 countries. This gives it a vast capacity to help. After a major earthquake hit Taiwan in 1999, Tzu Chi rebuilt 51 schools. Since then it has done the same after disasters in other countries, rebuilding 182 schools in 16 countries. Tzu Chi promotes sustainability in everything it does. It has become a major recycler, using its volunteers to gather plastic bottles and other recyclables that are turned into carpets and clothing. In order to promote sustainable living as well as compassion for sentient beings all meals served in Tzu Chi hospitals, schools, universities, and other institutions are vegetarian.

Hey, brah,” Quinn said. “What is going on, do you know?” Sam asked. “It’s a club.” Quinn grinned. “Man, you must be working too hard. Everyone knows about it.” Sam stared at him. “It’s a what?” “McClub, brah. All you need is some batteries or some toilet paper.” This announcement left Sam baffled. He considered asking Quinn for clarification, but then Albert appeared, formally dressed, like he thought it was graduation or something. He actually had on a dark sports coat and slacks in a lighter shade. His shirt was pale blue, collared, and ironed. Spotting Sam, he extended his hand. Sam ignored the hand. “Albert, what is going on here?” “Dancing, mostly,” Albert said. “Excuse me?” “Kids are dancing.” Quinn caught up then and stepped in front of Sam to shake Albert’s still-extended hand. “Hey, dude. I have batteries.” “Good to see you, Quinn. The price is four D cells, or eight double As, or ten triple As, or a dozen Cs. If you have a mix, I can work it out.” Quinn dug in his pocket and produced four triple A batteries and three D cells. He handed them to Albert, who agreed to the price and dropped the batteries into a plastic bag at his feet. “Okay, the rules are no food, no alcohol, no attitude, no fights, and when I call ‘time,’ there’s no arguing about it. Do you agree to these rules?” “Dude, if I had any food, would I be here? I’d be home eating it.” Quinn put his hand over his heart like he was pledging allegiance to the flag and said, “I do.” He jerked a thumb back at Sam. “Don’t bother with him: Sam doesn’t dance.” “Have a good time, Quinn.

Ability is what you're capable of doing. Motivation determines what you do. Attitude determines how well you do it." – R. Chandler