Positive Work Immersion Quotes

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According to Shaivism, anupaya may also be reached by entering into the infinite blissfulness of the Self through the powerful experiences of sensual pleasures. This practice is designed to help the practitioner reach the highest levels by accelerating their progress through the sakta and sambhava upayas. These carefully guarded doctrines of Tantric sadhana are the basis for certain practices, like the use of the five makaras (hrdaya) mentioned earlier. The experience of a powerful sensual pleasure quickly removes a person’s dullness or indifference. It awakens in them the hidden nature and source of blissfulness and starts its inner vibration. Abhinavagupta says that only those people who are awakened to their own inner vitality can truly be said to have a heart (hrdaya). They are known as sahrdaya (connoisseurs). Those uninfluenced by this type of experiences are said to be heartless. In his words: “It is explained thus—The heart of a person, shedding of its attitude of indifference while listening to the sweet sounds of a song or while feeling the delightful touch of something like sandalpaste, immediately starts a wonderful vibratory movement. (This) is called ananda-sakti and because of its presence the person concerned is considered to have a heart (in their body) (Tantraloka, III.209-10). People who do not become one (with such blissful experiences), and who do not feel their physical body being merged into it, are said to be heartless because their consciousness itself remains immersed (in the gross body) (ibid., III.24).” The philosopher Jayaratha addresses this topic as well when he quotes a verse from a work by an author named Parasastabhutipada: “The worship to be performed by advanced aspirants consists of strengthening their position in the basic state of (infinite and blissful pure consciousness), on the occasions of the experiences of all such delightful objects which are to be seen here as having sweet and beautiful forms (Tantraloka, II.219).” These authors are pointing out that if people participate in pleasurable experiences with that special sharp alertness known as avadhana, they will become oblivious to the limitations of their usual body-consciousness and their pure consciousness will be fully illumined. According to Vijnanabhairava: “A Shiva yogin, having directed his attention to the inner bliss which arises on the occasion of some immense joy, or on seeing a close relative after a long time, should immerse his mind in that bliss and become one with it (Vijnanabhairava, 71). A yogin should fix his mind on each phenomenon which brings satisfaction (because) his own state of infinite bliss arises therein (ibid., 74).” In summary, Kashmir Shaivism is a philosophy that embraces life in its totality. Unlike puritanical systems it does not shy away from the pleasant and aesthetically pleasing aspects of life as somehow being unspiritual or contaminated. On the contrary, great importance has been placed on the aesthetic quality of spiritual practice in Kashmir Shaivism. In fact, recognizing and celebrating the aesthetic aspect of the Absolute is one of the central principles of this philosophy. — B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 124–125.
Balajinnatha Pandita (Specific Principles of Kashmir Saivism [Hardcover] [Apr 01, 1998] Paṇḍita, BalajinnaÌ"tha)
Choosing Careers Many people with social anxiety do not have the job they would like the most because of fear. They hold jobs in which their duties are clear and repetitive. They let other people make decisions because they do not want to be responsible. Social anxiety often causes people to find careers in which they can work alone. Many women with social anxiety immerse themselves in family to avoid the workplace altogether. People suffering from social anxiety often remain at the same position for a long time because they are not seen as leaders. They avoid managerial roles and usually have a hard time communicating. As a result, work becomes boring, uninspired, and unfulfilling. Debra has worked at the Boston Public Library for five years, returning books to the shelves. It is a very peaceful job and the only time she has to speak with people is when they ask her where to find certain books. She has always been a big reader, and the job seems like the perfect fit. Lately, however, she has been feeling dissatisfied with her life. The library job doesn’t pay very much so she still lives with her parents, at age twenty-seven. Most people she went to school with have exciting jobs and are getting married. Often, Debra feels like life is passing her by. However, when she thinks about applying for a new job, Debra becomes very anxious. She is embarrassed that she has limited work experience and fears people will not take her seriously. She reads the Help Wanted section of the paper every day but is too scared to call for more information or to send out her résumé.
Heather Moehn (Social Anxiety (Coping With Series))
Am I mistaken to think that even back then, in the vivid present, the fullness of life stirred our emotions to an extraordinary extent? Has anywhere since so engrossed you in its ocean of details? The detail, the immensity of the detail, the force of the detail, the weight of the detail—the rich endlessness of detail surrounding you in your young life like the six feet of dirt that’ll be packed on your grave when you’re dead. Perhaps by definition a neighborhood is the place to which a child spontaneously gives undivided attention; that’s the unfiltered way meaning comes to children, just flowing off the surface of things. Nonetheless, fifty years later, I ask you: has the immersion ever again been so complete as it was in those streets, where every block, every backyard, every house, every floor of every house—the walls, ceilings, doors, and windows of every last friend’s family apartment—came to be so absolutely individualized? Were we ever again to be such keen recording instruments of the microscopic surface of things close at hand, of the minutest gradations of social position conveyed by linoleum and oilcloth, by yahrzeit candles and cooking smells, by Ronson table lighters and Venetian blinds? About one another, we knew who had what kind of lunch in the bag in his locker and who ordered what on his hot dog at Syd’s; we knew one another’s every physical attribute—who walked pigeon-toed and who had breasts, who smelled of hair oil and who oversalivated when he spoke; we knew who among us was belligerent and who was friendly, who was smart and who was dumb; we knew whose mother had the accent and whose father had the mustache, whose mother worked and whose father was dead; somehow we even dimly grasped how every family’s different set of circumstances set each family a distinctive difficult human problem. And, of course, there was the mandatory turbulence born of need, appetite, fantasy, longing, and the fear of disgrace. With only adolescent introspection to light the way, each of us, hopelessly pubescent, alone and in secret, attempted to regulate it—and in an era when chastity was still ascendant, a national cause to be embraced by the young like freedom and democracy. It’s astonishing that everything so immediately visible in our lives as classmates we still remember so precisely. The intensity of feeling that we have seeing one another today is also astonishing. But most astonishing is that we are nearing the age that our grandparents were when we first went off to be freshmen at the annex on February 1, 1946. What is astonishing is that we, who had no idea how anything was going to turn out, now know exactly what happened. That the results are in for the class of January 1950—the unanswerable questions answered, the future revealed—is that not astonishing? To have lived—and in this country, and in our time, and as who we were. Astonishing.
Philip Roth (American Pastoral (The American Trilogy, #1))
I have come round to the opposite point of view than that recommended by what we might term the dominant discourse on managing conflict. Instead of assuming managers can adopt an objective position, deciding what type of conflict they have on their hands and so which tool or technique they might choose to resolve it for the optimum working of the organization, I am assuming that there is no objective position to be found. Rather, what managers might do instead is to immerse themselves as fully as possible in the complex responsive processes of relating which take place in all social life, noticing their own reactions to and perspectives on the situation as important data in deciding what to do about it. They are caught up in complex social relationships which are forming them, and which they are forming, and these contribute to the regular irregularity of organizational life. Managers would be naïve to anticipate that emotions are absent from everyday organizational life; indeed, it is most likely to provoke strong emotions as people endure the flux and change in the emerging balance of forces.
Chris Mowles (Managing in Uncertainty: Complexity and the paradoxes of everyday organizational life)
When Mom says “bong,” she means her nebulizer. It turns water into vapor, and she huffs it all day like a singer breathing hot mist before a performance. Except Mom’s machine is handheld. I’m surprised she doesn’t carry it in a gun sling. But my mom is not just inhaling water. “Let’s get some colloidal silver in those lungs,” she says. Second to prayer, colloidal silver is Mom’s insurance policy on life. She makes her own, soaking two silver rods in a glass vat of water that sits next to her kitchen sink. I’ll let her explain it. This is from one of her emails telling me how to live forever: “I use distilled water and 99% pure silver rods. The rods are connected to a positive and negative charge (think of a jumper cable for your car) and they are immersed in the distilled water. Some people leave the rods in the water 2–4 hours. I leave mine in for 8–12 hours so my silver water is extra strength and powerful…I drink ¼ cup colloidal silver in a glass of water before bed, and have for years and years. RARELY am I ever sick. I take a bottle of colloidal silver on every trip (especially overseas) in case I pick up a stomach bug or am around anyone who is sick. I use it on wounds, use it for pink eye, ear infections, the flu, and more because it kills over 600 viruses and most bacteria, including MRSA. There are also studies that show the benefits of colloidal silver against cancer.” Every time I’m home, she gives me a bottle of the stuff to take back to Los Angeles. I, like a good millennial, googled its effectiveness. The scientific establishment seems to believe that colloidal silver does approximately nothing good, and in large quantities, some bad. Perhaps you’ve seen the viral meme of the old blue man? He consumed so much colloidal silver that his skin dyed blue from the inside. He looks like a Smurf with a white beard. Well, he looked like a Smurf. He’s dead. Maybe from something common like heart failure, but… When I told my mother this, she wouldn’t hear it. “I know it works. I’ve been using it for years. I don’t care what those articles say. I’ve read hundreds of articles about it.
Jedidiah Jenkins (Mother, Nature: A 5,000-Mile Journey to Discover if a Mother and Son Can Survive Their Differences)
they not only recognize and comply with prescriptions to imagine but also themselves serve as reflexive props, generating by their actions and thoughts and feelings fictional truths about themselves, and imagining accordingly. Thus do appreciators immerse themselves in fictional worlds. They are carried away by the pretense, caught up in the story. Such immersion is not equally part of all appreciation, however. Sometimes appreciators participate scarcely at all. Some representations positively discourage participation, especially the psychological participation that would constitute the experience of being caught up in the story. That experience is perhaps the aim of much “romantic” art, broadly speaking, but works of certain other kinds shun it as sentimental excess, deliberately “distancing” the appreciator from the fictional world. Representations sometimes hinder even the imagining of what is fictional. In doing so they effectively undercut appreciators’ roles as reflexive props. For if one does not imagine a proposition, it is unlikely to be fictional that one knows or believes it; and if one imagines it with minimal vivacity, one is unlikely to have the experience of fictionally being concerned or upset or relieved or frightened or overjoyed by the fact that it is true.
Kendall L. Walton (Mimesis as Make-Believe: On the Foundations of the Representational Arts)
It was a joy to see those new units do the Forward March, About Face and Company Halt; and afterwards, when they were dismissed, they took to chatting, and later, through the open windows of the barracks one could hear voices booming in chorus, disputing such matters as absolute truth, analytic versus synthetic a priori propositions, and the Thing-in-itself, for their collective minds had already attained that level. Various philosophical systems were hammered out, till finally a certain battalion of sappers arrived at a position of total solipsism, claiming that nothing really existed beyond itself. And since from this it followed that there was no King, nor any enemy, this battalion was quietly disconnected and its members reassigned to units that firmly adhered to epistemological realism. At about the same time, in the kingdom of Atrocitus, the sixth amphibious division forsook naval operations for navel contemplation and, thoroughly immersed in mysticism, very nearly drowned. Somehow or other, as a result of this incident, war was declared, and the troops, rumbling and clanking, slowly moved towards the border from either side. The law of Gargantius proceeded to work with inexorable logic. As formation joined formation, in proportion there developed an esthetic sense, which reached its apex at the level of a reinforced division, so that the columns of such a force easily became sidetracked, chasing off after butterflies, and when the motorized corps named for Bartholocaust approached an enemy fortress that had to be taken by storm, the plan of attack drawn up that night turned out to be a splendid painting of the battlements, done moreover in the abstractionist spirit, which ran counter to all military traditions.
Stanisław Lem (The Cyberiad)