Posters Meaningful Quotes

She sighed. Loudly. "Physical appearance is not what is important." Yeah right. Tell that to any girl who hasn't bothered to put on a presentable shirt or fix her hair because she's only running into the grocery store to get a quart of milk for her grandmother, and who does she see tending the 7-ITEMS-OR-LESS cash register but the guy of her dreams, except she can't even say hi—much less try to develop a meaningful relationship—since she looks like the poster child for the terminally geeky.

Human beings, in a sense, may be thought of as multidimensional creatures composed of such poetic considerations as the individual need for self-realization, subdued passions for overwhelming beauty, and a hunger for meaning beyond the flavors that enter and exit the physical body.

Your beliefs are your power. Your beliefs are your ghost.

You have to stand up real close to the posters to see the swirls, and even then they’re easy to miss: Lila Mae had to have Jimmy point them out to her. Horns, boiling cysts, the occasional cussword inked in across Chancre’s slat teeth—they add up after a while, somehow more personal and meaningful than the usual cartoons and pinups of office homesteading.

To expand the definition of freedom you have to keep on setting something free…

To assess the success of the Sistine, we must think in terms of its history, its prime architects, and its contemporary relevance. What was it first meant to be? What were its functions over the course of time—practically, spiritually, and conceptually? Perhaps most meaningful of all, we need to ask: what did Michelangelo want the Sistine to teach humanity? What was his vision for it—not only for his time but for posterity? Did he succeed?

• Offer a rationale for why the task is necessary. A job that’s not inherently interesting can become more meaningful, and therefore more engaging, if it’s part of a larger purpose. Explain why this poster is so important and why sending it out now is critical to your organization’s mission. • Acknowledge that the task is boring. This is an act of empathy, of course. And the acknowledgment will help people understand why this is the rare instance when “if-then” rewards are part of how your organization operates. • Allow people to complete the task their own way. Think autonomy, not control. State the outcome you need. But instead of specifying precisely the way to reach it—how each poster must be rolled and how each mailing label must be affixed—give them freedom over how they do the job.

Second, provide useful information. Amabile has found that while controlling extrinsic motivators can clobber creativity, “informational or enabling motivators can be conducive” to it.7 In the workplace, people are thirsting to learn about how they’re doing, but only if the information isn’t a tacit effort to manipulate their behavior. So don’t tell the design team: “That poster was perfect. You did it exactly the way I asked.” Instead, give people meaningful information about their work. The more feedback focuses on specifics (“great use of color”)—and the more the praise is about effort and strategy rather than about achieving a particular outcome—the more effective it can be.

Dick delves in subsequent letters into the possible Jungian meaning of all this, the significance of ancient Rome in his mystical experiences, and the sibyl as representing his “anima,” the inner source of his own prophetic capacity. Recall here Morgan Robertson’s belief that his own muse was likewise a feminine spirit of some sort. We can observe Dick here beginning to weave these dream images into his evolving self-mythology and what became a major metaphysical strand in his Exegesis, as well as the novel VALIS that was based on his experiences. In his search for a meaning behind all these coincidences—an answer to the question “why me?”—Dick understandably gropes in many different directions for an explanation and attaches great, mostly Jungian significance to the symbols. Yet he does not go down the path of thinking he is simply accessing archetypes in the collective unconscious. Rather, he is drawn to the conclusion that somehow the ancient world is still present, only camouflaged—or indeed, that we are still in it. It all seems to confirm a dream remembered from his youth that was much like the “B___ Grove” dreams, in which he had searched for a story in Astounding Stories called “The Empire Never Ended.” That story, he had felt certain, contained all the mysteries of existence. As a result of some of his visions and experiences in 1974, Dick came to believe he was possibly a reincarnated Christian from ancient Rome.38 We are rewarded best by bracketing the various interpretations, the Exegesis per se, and looking at Dick’s project as a making of something, a creation of meaningful narratives to be read by other people, a reaching out. The term “cry for help” may sound a bit extreme, but it is not. It was during this black period of his life, most specifically in February 1976, when Tessa left him and took their son, that he attempted suicide via drug overdose, slitting his wrists, and carbon monoxide poisoning in his garage, all at the same time. Fortunately, all three plans failed. Setting aside the metaphysics and cosmology, what was Dick trying to say in his writing during this period—to Claudia, to Tessa, to his readers, and to posterity? And what whispered message was he straining to hear from his own precognitive unconscious? Arguably, he wanted to hear the same thing Morgan Robertson managed to hear, loud and clear, when news of the Titanic’s fatal collision with an iceberg splashed across the front page of The New York Times on April 15, 1912. Both in his Exegesis and in his private correspondence with friends like Claudia, Dick flickered between two basic stances on his experience: the secret persistence of the ancient world underneath the veneer of mid-1970s Orange County, and the idea that he was haunting himself from his own future. These are not incompatible ideas in the sense that they both point to our old friend Mister Block Universe, where the past still exists and the future already exists—and by implication, nothing is subject to alteration.

In the workplace, people are thirsting to learn about how they’re doing, but only if the information isn’t a tacit effort to manipulate their behavior. So don’t tell the design team: “That poster was perfect. You did it exactly the way I asked.” Instead, give people meaningful information about their work. The more feedback focuses on specifics (“great use of color”)—and the more the praise is about effort and strategy rather than about achieving a particular outcome—the more effective it can be.

In today’s hyperactive social media-led environment, it is likely that a lot of pressure builds up within you to also want to be “seen”, to be “counted” among the others. It is possible that you feel distressed when people don’t talk about you or your work. You may also perhaps be agonizing over the fact that people who you think are creating far less value are more popular than you. Relax. The Purpose of your Life is not to be famous. Your fame is worthwhile only when it is relevant to posterity – when your work, and your Life’s message, lives on long after you are gone. So, just chill. Put your head down and focus on creating unputdownable value, doing meaningful work, than brooding over why you are not garnering attention and followership on social media! You will then see how happy you really are with what is!

it would probably be more accurate, far more fair, and more useful to posterity, to blame the nations at large for drifting into this war without any true understanding of what a modern war would be like. The excuse that they did not know may - just - be valid for 1914, but by 1916 it should have been very clear, certainly to the political leaders, that the war could not be 'won' in any meaningful way.

Freud had insisted that every stray thought was meaningful, and even told you what the meaning was, which made the unconscious more like Levittown than an uncharted deep; you could put up your own posters but the floor plan was poured concrete. In that sense it was, like Marxism, an anti-intellectual magnet for intellectuals. Prozac wasn’t about finding meaning in mental discomfort, or thinking at all. That’s what I found so exciting.