Recognition At Work Quotes

Work is about a search for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short, for a sort of life rather than a Monday through Friday sort of dying.

Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.

The most common ego identifications have to do with possessions, the work you do, social status and recognition, knowledge and education, physical appearance, special abilities, relationships, person and family history, belief systems, and often nationalistic, racial, religious, and other collective identifications. None of these is you.

Create. Not for the money. Not for the fame. Not for the recognition. But for the pure joy of creating something and sharing it.

Every reader finds himself. The writer's work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.

The greatest achievement of humanity is not its works of art, science, or technology, but the recognition of its own dysfunction.

What's any artist, but the dregs of his work? the human shambles that follows it around. What's left of the man when the work's done but a shambles of apology.

You must find another reason to work, other than the desire for success or recognition. It must come from another place.

Everybody has that feeling when they look at a work of art and it's right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it were being created through them while they look at it or listen to it...

Solidarity does not assume that our struggles are the same struggles, or that our pain is the same pain, or that our hope is for the same future. Solidarity involves commitment, and work, as well as the recognition that even if we do not have the same feelings, or the same lives, or the same bodies, we do live on common ground.

It is useless to try to make peace with ourselves by being pleased with everything we have done. In order to settle down in the quiet of our own being we must learn to be detached from the results of our own activity. We must withdraw ourselves, to some extent, from the effects that are beyond our control and be content with the good will and the work that are the quiet expression of our inner life. We must be content to live without watching ourselves live, to work without expecting any immediate reward, to love without an instantaneous satisfaction, and to exist without any special recognition.

Do you not like The Beatles?" Frank asked, sounding shocked. "Do you also not like sunshine and laughter and puppies? I don't think the Beatles get enough recognition. I mean, when you look at their body of work and how they changed music forever. I think there should be federal holidays and parades

She explained that many people, but especially women, feel fraudulent when they are praised for their accomplishments. Instead of feeling worthy of recognition, they feel undeserving and guilty, as if a mistake has been made. Despite being high achievers, even experts in their fields, women can't seem to shake the sense that it is only a matter of time until they are found out for who they really are- impostors with limited skills or abilities.

Success has always been the greatest liar - and the "work" itself is a success; the great statesman, the conqueror, the discoverer is disguised by his creations, often beyond recognition; the "work," whether of the artist or the philosopher, invents the man who has created it, who is supposed to have create it; "great men," as they are venerated, are subsequent pieces of wretched minor fiction

Productiveness is your acceptance of morality, your recognition of the fact that you choose to live--that productive work is the process by which man's consciousness controls his existence, a constant process of acquiring knowledge and shaping matter to fit one's purpose, of translating an idea into physical form, of remaking the earth in the image of one's values--that all work is creative work if done by a thinking mind, and no work is creative if done by a blank who repeats in uncritical stupor a routine he has learned from others--that your work is yours to choose, and the choice is as wide as your mind, that nothing more is possible to you and nothing less is human--that to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind's full capacity is to cut your motor and sentence yourself to another kind of motion: decay--that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live--that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road--that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up--that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction.

Love & Marriage are about work & Compromise. They're about seeing someone for what he is, being disappointed and deciding to stick around anyway. They're about commitment and comfort, not some kind of sudden, hysterical recognition.

Our challenges may be new. The instruments with which we meet them may be new. But those values upon which our success depends - honesty and hard work, courage and fair play, tolerance and curiosity, loyalty and patriotism - these things are old. These things are true. They have been the quiet force of progress throughout our history. What is demanded then is a return to these truths. What is required of us now is a new era of responsibility - a recognition, on the part of every American, that we have duties to ourselves, our nation, and the world, duties that we do not grudgingly accept but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so defining of our character, than giving our all to a difficult task.

What is it they want from a man that they didn't get from his work? What do they expect? What is there left of him when he's done his work? What's any artist, but the dregs of his work? the human shambles that follows it around. What's left of the man when the work's done but a shambles of apology.

Pride is the recognition of the fact that you are your own highest value and, like all of man’s values, it has to be earned. His own happiness is man’s only moral purpose, but only his own virtue can achieve it…Life is the reward of virtue- and happiness is the goal and the reward of life. Happiness is a state of non-contradictory joy- a joy without penalty or guilt, a joy that does not clash with any of your values and does not work for your won destruction, not the joy of escaping from your mind, but using your mind’s fullest power. Happiness is possible only to a rational man, the man who desires nothing but rational goals, seek nothing but rational values and finds his joy in nothing bu rational actions. The symbol of all relationships among such men, the moral symbol of respect for human beings, is the trade…A trader is a man who earns what he gets and does not give or take the undeserved.

When you look back on a lifetime and think of what has been given to the world by your presence, your fugitive presence, inevitably you think of your art, whatever it may be, as the gift you have made to the world in acknowledgment of the gift you have been given, which is the life itself... That work is not an expression of the desire for praise or recognition, or prizes, but the deepest manifestation of your gratitiude for the gift of life.

Keep going even when the going is slow and uncertain. Make your dream your prayer and your service. Don’t wait for recognition. Let it find you working. Romanticize authenticity instead of perfection.

In reality, every reader is, while he is reading, the reader of his own self. The writer’s work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have experienced in himself. And the recognition by the reader in his own self of what the book says is the proof of its veracity.

Men do oppress women. People are hurt by rigid sexist role patterns. These two realities coexist. Male oppression of women cannot be excused by the recognition that there are ways men are hurt by rigid sexist roles. Feminist activists should acknowledge that hurt, and work to change it—it exists. It does not erase or lessen male responsibility for supporting and perpetuating their power under patriarchy to exploit and oppress women in a manner far more grievous than the serious psychological stress and emotional pain caused by male conformity to rigid sexist role patterns.

When you are famous it is hard to work on small problems. This is what did Shannon in. After information theory, what do you do for an encore? The great scientists often make this error. They fail to continue to plant the little acorns from which the mighty oak trees grow. They try to get the big thing right off. And that isn't the way things go. So that is another reason why you find that when you get early recognition it seems to sterilize you.

But are the twin souls destined to be together? Synchronicity is at work here to bring the two back together again. How entrancing to find the same magical alchemy still at work, just as it was at the first meeting – a recognition of a deep rooted love so entrenched and so accepted, it could only have been forged in other lifetimes together. And probably that is what love at first sight is, recognition of an ancient love.

In reality, every reader when he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth.

But the truth is it’s hard for me to know what I really think about any of the stuff I’ve written. It’s always tempting to sit back and make finger-steeples and invent impressive sounding theoretical justifications for what one does, but in my case most of it’d be horseshit. As time passes I get less and less nuts about anything I’ve published, and it gets harder to know for sure when its antagonistic elements are in there because they serve a useful purpose and when their just covert manifestations of this "look-at-me-please-love-me-I-hate you" syndrome I still sometimes catch myself falling into. Anyway, but what I think I meant by "antagonize" or "aggravate" has to do with the stuff in the TV essay about the younger writer trying to struggle against the cultural hegemony of TV. One thing TV does is help us deny that we’re lonely. With televised images, we can have the facsimile of a relationship without the work of a real relationship. It’s an anesthesia of "form." The interesting thing is why we’re so desperate for this anesthetic against loneliness. You don’t have to think very hard to realize that our dread of both relationships and loneliness, both of which are like sub-dreads of our dread of being trapped inside a self (a psychic self, not just a physical self), has to do with angst about death, the recognition that I’m going to die, and die very much alone, and the rest of the world is going to go merrily on without me. I’m not sure I could give you a steeple-fingered theoretical justification, but I strongly suspect a big part of real art fiction’s job is to aggravate this sense of entrapment and loneliness and death in people, to move people to countenance it, since any possible human redemption requires us first to face what’s dreadful, what we want to deny.

That after an hour's silence he can say, The one thing I cannot stand is dampness... That's all, it took him an hour to work that out.

The slow cancellation of the future has been accompanied by a deflation of expectations. There can be few who believe that in the coming year a record as great as, say, the Stooges’ Funhouse or Sly Stone’s There’s A Riot Goin’ On will be released. Still less do we expect the kind of ruptures brought about by The Beatles or disco. The feeling of belatedness, of living after the gold rush, is as omnipresent as it is disavowed. Compare the fallow terrain of the current moment with the fecundity of previous periods and you will quickly be accused of ‘nostalgia’. But the reliance of current artists on styles that were established long ago suggests that the current moment is in the grip of a formal nostalgia, of which more shortly. It is not that nothing happened in the period when the slow cancellation of the future set in. On the contrary, those thirty years has been a time of massive, traumatic change. In the UK, the election of Margaret Thatcher had brought to an end the uneasy compromises of the so-called postwar social consensus. Thatcher’s neoliberal programme in politics was reinforced by a transnational restructuring of the capitalist economy. The shift into so-called Post-Fordism – with globalization, ubiquitous computerization and the casualisation of labour – resulted in a complete transformation in the way that work and leisure were organised. In the last ten to fifteen years, meanwhile, the internet and mobile telecommunications technology have altered the texture of everyday experience beyond all recognition. Yet, perhaps because of all this, there’s an increasing sense that culture has lost the ability to grasp and articulate the present. Or it could be that, in one very important sense, there is no present to grasp and articulate anymore.

Acknowledging that we are all churned up is the first and most difficult step in any practice. Without compassionate recognition that we are stuck, it’s impossible to liberate ourselves from confusion. ‘Doing something different’ is anything that interrupts our ancient habit of indulging in our emotions. We do anything to cut the strong tendency to spin out… Anything that’s non-habitual will do—even sing and dance or run around the block. We do anything that doesn’t reinforce our crippling habits. The third most difficult practice is to then remember that this is not something we do just once or twice. Interrupting our destructive habits and awakening our heart is the work of a lifetime.

What is literature, and why do I try to write about it? I don’t know. Likewise, I don’t know why I go on living, most of the time. But this not knowing is precisely what I want to preserve. As readers, the closest way we can engage with a literary work is to protect its indeterminacy; to return ourselves and it to a place that precludes complete recognition. Really, when I’m reading, all I want is to stand amazed in front of an unknown object at odds with the world.

Racism is the norm rather than an aberration. Feedback is key to our ability to recognize and repair our inevitable and often unaware collusion. In recognition of this, I try to follow these guidelines: 1.   How, where, and when you give me feedback is irrelevant—it is the feedback I want and need. Understanding that it is hard to give, I will take it any way I can get it. From my position of social, cultural, and institutional white power and privilege, I am perfectly safe and I can handle it. If I cannot handle it, it’s on me to build my racial stamina. 2. Thank you. The above guidelines rest on the understanding that there is no face to save and the game is up; I know that I have blind spots and unconscious investments in racism. My investments are reinforced every day in mainstream society. I did not set this system up, but it does unfairly benefit me, I do use it to my advantage, and I am responsible for interrupting it. I need to work hard to change my role in this system, but I can’t do it alone. This understanding leads me to gratitude when others help me.

Few teams sometimes fails miserably because team members wish to work in the team but they want to be recognized individualy.

When black folk say “Black Lives Matter,” they are in search of simple recognition. That they are decent human beings, that they aren’t likely to commit crimes, that they’re reasonably smart. That they’re no more evil than the next person, that they’re willing to work hard to get ahead, that they love their kids and want them to do better than they did. That they are loving and kind and compassionate. And that they should be treated with the same respect that the average, nondescript, unexceptional white male routinely receives without fanfare or the expectation of

...reduction is precisely what a work of art opposes. Easy answers...annotations, arrows...an oudine of its design...very seriously mislead.

Not only are the poorest people the most generous but they don't expect anything in return, least of all recognition from others by means of showing off or posting a humble brag like so many from average society do and you can identify these people through the abundance of photos they post, literally with their hands in the air, showing off what they've done for the "less fortunate." I guess they missed the part where God said to be humble and to do good works in private.

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth.

This recognition of the truth we get in the artist’s work comes to us as a revelation of new truth. I want to be clear about that. I am not referring to the sort of patronizing recognition we give a writer by nodding our heads and observing, “Yes, yes, very good, very true—that’s just what I’m always saying.” I mean the recognition of a truth that tells us something about ourselves that we had not been always saying, something that puts a new knowledge of ourselves withint our grasp. It is new, startling, and perhaps shattering, and yet it comes to us with a sense of familiarity. We did not know it before, but the moment the poet has shown it to us, we know that, somehow or other, we had always really known it.

While there are many feminist strands, which is to say different kinds of feminism, there are also many core principles. The commitment to actively oppose and end patriarchy is one. The recognition that patriarchy works like other systems of oppression, like racism and capitalism, to value some people and brutalise others is another area of agreement. Like other systems of oppression, it also requires the support of many members of the groups it oppresses.

The only legitimate basis of creative work lies in the courageous recognition of all the irreconcilable antagonisms that make our life so enigmatic, so burdensome, so fascinating, so dangerous - so full of hope.

The most common ego identifications have to do with possessions, the work you do, social status and recognition, knowledge and education, physical appearance, special abilities, relationships, personal and family history, belief systems, and often also political, nationalistic, racial, religious, and other collective identifications. None of these is you.

Respect reverberates and multiplies. Recognition explodes and subsides.

The person who works for recognition devalues the work he does, that awards are first and foremost political instruments, that altruism's true name is always Anonymous.

People assigned genders based on behaviors and work roles, often ignoring anatomy. Gender was a form of social recognition.

Humility is the recognition of your limitations, and it is from this understanding, and this understanding alone, that the drive comes to work hard at overcoming them.

Conservatism aims to maintain in working order the loyalties of the community to perceived truths and also to those truths which in their judgment have earned universal recognition.

Day 72 I remember oranges and you don’t mind me leaving the queue momentarily to find some. When you say, Of course, you reach for my arm in sympathy and recognition. This may be the thing that breaks me today, that stops me in my tracks before driving me forward, turning a corner, making something work, letting everything happen. When I return, you’re touching my yoghurts, reading the ingredients, as though you are making them yours, protecting them in my absence and amusing yourself with the cherry-ness of them. On days like this, I want to take my strangers home with me.

Then, what is sacrelige [sic]? If it is nothing more than a rebellion against dogma, it is eventually as meaningless as the dogma it defies, and they are both become hounds ranting in the high grass, never see the boar in the thicket. Only a religious person can perpetrate sacrelige: and if its blasphemy reaches the heart of the question; if it investigates deeply enough to unfold, not the pattern, but the materials of the pattern, and the necessity of a pattern; if it questions so deeply that the doubt it arouses is frightening and cannot be dismissed; then it has done its true sacreligious [sic] work, in the service of its adversary: the only service that nihilism can ever perform. (unused 1949 prefatory note to The Recognitions)

health, social life, job, house, partners, finances; leisure use, leisure amount; working time, education, income, children; food, water, shelter, clothing, sex, health care; mobility; physical safety, social safety, job security, savings account, insurance, disability protection, family leave, vacation; place tenure, a commons; access to wilderness, mountains, ocean; peace, political stability, political input, political satisfaction; air, water, esteem; status, recognition; home, community, neighbors, civil society, sports, the arts; longevity treatments, gender choice; the opportunity to become more what you are that's all you need

Animal spirits often will appear during the hours between dusk and dawn; also known as the “tween times”. They will always give you something. It may be just a simple pause within the chaos of life to remind you that there is more to life than the details of living it, working it and paying for it. It may be a shred of insight or a flash of recognition that comes to you in a fleeting thought or maybe in a dream in the tween times of your own mind.

With few exceptions, the Negro youth must work harder and must perform his tasks even better than a with youth in order to secure recognition. But out of the hard and unusual struggle through which he is compelled to pass, he gets a strength, a confidence, that one missed whose pathway is comparatively smooth by reason of brith and race.

The true aspiration of art should be to reduce the need for it. It is not that we should one day lose our devotion to the things that art addresses: beauty, depth of meaning, good relationships, the appreciation of nature, recognition of the shortness of life, empathy, compassion, and so on. Rather, having imbibed the ideals that art displays, we should fight to attain in reality the things art merely symbolises, however graciously and intently. The ultimate goal of the art lover should be to build a world where works of art have become a little less necessary

When he was left alone, when he had pulled out one stop after another (for the work required it), Stanley straightened himself on the seat, tightened the knot of the red necktie, and struck. The music soared around him, from the corner of his eye he caught the glitter of his wrist watch, and even as he read the music before him, and saw his thumb and last finger come down time after time with three black keys between them, wringing out fourths, the work he had copied coming over on the Conte di Brescia, wringing that chord of the devil’s interval from the full length of the thirty-foot bass pipes, he did not stop. The walls quivered, still he did not hesitate. Everything moved, and even falling, soared in atonement. He was the only person caught in the collapse, and afterward, most of his work was recovered too, and it is still spoken of, when it is noted, with high regard, though seldom played.

Alliance-based activism begins with the recognition that we are all individuals, each with a limited history and experiencing a largely unique set of privileges, expectations, assumptions, and restrictions. Thus, none of us have "superior knowledge" when it comes to sexuality and gender. By calling ourselves an alliance, we explicitly acknowledge that we are working toward a common goal [...], while simultaneously recognizing and respecting our many differences.

It is about a search, too, for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short, for a sort of life rather than a Monday through Friday sort of dying. Perhaps immortality, too, is part of the quest. To be remembered was the wish, spoken and unspoken, of the heroes and heroines of this book.

Both the mythical and archaeological evidence indicate that perhaps the most notable quality of the pre-dominator mind was its recognition of our oneness with all of nature,which lies at the heart of both Neolithic and the Cretan worship of the Goddess. Increasingly, the work of modern ecologists indicates that this earlier quality of mind, in our time often associated with some types of Eastern spirituality, was far advanced beyond today's environmentally destructive ideology.

Gallup found that the key drivers of productivity for employees include whether they feel cared for by a supervisor or someone at work; whether they have received recognition or praise during the past seven days; and whether someone at work regularly encourages their development. Put another way, the ability to communicate consistently positive energy lies at the heart of effective management.

I have never fully unbosomed myself to any human being; I have never been encouraged to trust much in the sympathy of my fellow men. But we have all a chance of meeting with some pity, some tenderness, some charity, when we are dead: it is the living only who cannot be forgiven - the living only from whom men's indulgence and reverence are held off, like the rain by the hard east wind. While the heart beats, bruise it - it is your only opportunity; while the eye can still turn towards you with moist, timid entreaty, freeze it with an icy unanswering gaze; while the ear, that delicate messenger to the inmost sanctuary of the soul, can still take in the tones of kindness, put it off with hard civility, or sneering compliment, or envious affectation of indifference; while the creative brain can still throb with the sense of injustice, with the yearning for brotherly recognition - make haste - oppress it with your ill-considered judgements, your trivial comparisons, your careless misrepresentations. The heart will by and by be still - ubi saeoa indignatio ulterius cor lacerate nequit; the eye will cease to entreat; the ear will be deaf; the brain will have ceased from all wants as well as from all work. Then your charitable speeches may find vent; then you may remember and pity the toil and the struggle and the failure; then you may give due honour to the work achieved; then you may find extenuation for errors, and may consent to bury them ("The Lifted Veil")

The modern world, which denies personal guilt and admits only social crimes, which has no place for personal repentance but only public reforms, has divorced Christ from His Cross; the Bridegroom and Bride have been pulled apart. What God hath joined together, men have torn asunder. As a result, to the left is the Cross; to the right is Christ. Each has awaited new partners who will pick them up in a kind of second and adulterous union. Communism comes along and picks up the meaningless Cross; Western post-Christian civilization chooses the unscarred Christ. Communism has chosen the Cross in the sense that it has brought back to an egotistic world a sense of discipline, self-abnegation, surrender, hard work, study, and dedication to supra-individual goals. But the Cross without Christ is sacrifice without love. Hence, Communism has produced a society that is authoritarian, cruel, oppressive of human freedom, filled with concentration camps, firing squads, and brain-washings. The Western post-Christian civilization has picked up the Christ without His Cross. But a Christ without a sacrifice that reconciles the world to God is a cheap, feminized, colourless, itinerant preacher who deserves to be popular for His great Sermon on the Mount, but also merits unpopularity for what He said about His Divinity on the one hand, and divorce, judgment, and hell on the other. This sentimental Christ is patched together with a thousand commonplaces, sustained sometimes by academic etymologists who cannot see the Word for the letters, or distorted beyond personal recognition by a dogmatic principle that anything which is Divine must necessarily be a myth. Without His Cross, He becomes nothing more than a sultry precursor of democracy or a humanitarian who taught brotherhood without tears.

Hello," She said. There was a long silence. "Hello," said Artemis again. "Are you talking to me?" said the tree. It had a faint Australian accent. "Yes," said Artemis. "I am Artemis." If the tree experienced any recognition, it didn't show it. "I'm the goddess of hunting and chastity," said Artemis. Another silence. The the tree said, "I'm Kate. I work in mergers and acquisitions for Goldman Sachs." "Do you know what happened to you, Kate?" said Artemis. The longest silence of all. Artemis was just about to repeat the question when the tree replied. "I think I've turned into a tree," it said. "Yes," said Artemis. "You have." "Thank God for that," said the tree. "I thought I was going mad." Then the tree seemed to reconsider this. "Actually," it said, "I think I would rather be mad." Then, with hope in its voice: "Are you sure I haven't gone mad?" "I'm sure," said Artemis. "You're a tree. A eucalyptus. Subgenus of mallee. Variegated leaves." "Oh," said the tree. "Sorry," said Artemis. "But with variegated leaves?" "Yes," said Artemis. "Green and Yellow." The tree seemed pleased. "Oh well, there's that to be grateful for," it said.

Sadly, psychiatric training still includes far too little on the very serious psychiatric sequelae of childhood trauma, especially CSA [child sexual abuse]. There is inadequate recognition within mental health services of the prevalence and importance of Dissociative Disorders, sufferers of which are frequently misdiagnosed as Borderline Personality Disorder (BPD), or, in the cases of DID, schizophrenia. This is to some extent understandable as some of the features of DID appear superficially to mimic those of schizophrenia and/or Borderline Personality Disorder.

Community and cooperation . . . Communion is based on some common inner expression of love; it is the recognition of being one body, one people, called by God to be a source of love and peace. Its fulfilment is more in silence than in words, more in celebration than in work . . . When a community is just a place of work, it is in danger of dying.

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth.

There is no ready vocabulary to describe the ways in which artists become artists, no recognition that artists must learn to be who they are (even as they cannot help being who they are.) We have a language that reflects how we learn to paint, but not how we learn to paint our paintings. How do you describe the [reader to place words here] that changes when craft swells to art? "Artists come together with the clear knowledge that when all is said and done, they will return to their studio and practice art alone. Period. That simple truth may be the deepest bond we share. The message across time from the painted bison and the carved ivory seal speaks not of the differences between the makers of that art and ourselves, but of the similarities. Today these similarities lay hidden beneath urban complexity -- audience, critics, economics, trivia -- in a self-conscious world. Only in those moments when we are truly working on our own work do we recover the fundamental connection we share with all makers of art. The rest may be necessary, but it's not art. Your job is to draw a line from your art to your life that is straight and clear.

We have only minimal control over the rewards for our work and effort—other people’s validation, recognition, rewards. So what are we going to do? Not be kind, not work hard, not produce, because there is a chance it wouldn’t be reciprocated? C’mon. Think of all the activists who will find that they can only advance their cause so far. The leaders who are assassinated before their work is done. The inventors whose ideas languish “ahead of their time.” According to society’s main metrics, these people were not rewarded for their work. Should they have not done it? Yet in ego, every one of us has considered doing precisely that. If that is your attitude, how do you intend to endure tough times? What if you’re ahead of the times? What if the market favors some bogus trend? What if your boss or your clients don’t understand? It’s far better when doing good work is sufficient. In other words, the less attached we are to outcomes the better. When fulfilling our own standards is what fills us with pride and self-respect. When the effort—not the results, good or bad—is enough. With ego, this is not nearly sufficient. No, we need to be recognized. We need to be compensated. Especially problematic is the fact that, often, we get that. We are praised, we are paid, and we start to assume that the two things always go together. The “expectation hangover” inevitably ensues.

A person does not reach the pinnacle of self-realization without relentlessly exploring the parameters of the self, exhausting their psychic energy coming to know oneself. Without society to rebel against and to sail away from, there would be no advances in civilization; there would be no need for healers and mystics, priests and artist, or shaman and writers. It is our curiosity and refusal to be satisfied with the status quo that compels us to challenge ourselves to learn and continue to grow. We only establish inner peace of mind with acceptance of the world, with the recognition of our connection to the entirety of the universe, and understanding that chaos and change are inevitable. We must also love because without love there are no acts of creation. Without love, humankind is a spasmodic pool of brutality and suffering. Love is a balm. It cures human aches and pains; it unites couples, families, and cultures. Love is a creative force, without love there is no art or religion. Art expresses thought and feelings, an articulation of adore and reverence.

I did not even look at the scoreboard when my routine was done in 1976. My teammates started pointing because there was this uproar" (Nadia Comaneci). These remarks highlight an important feature of those practices that entail skilled and active engagement: one's attention is focused on standards intrinsic to the practice, rather than external goods that may be won through the practice, typically money or recognition. Can this distinction between internal and external goods inform our understanding of work?

This primary question of life organization is immensely important. If making money is the main goal, a person can often forget what his or her true interests are or how he or she wants to deserve recognition from others. It is much more difficult to add on other values to a life that started out with just making money in mind than it is to make some personally interesting endeavor financially possible or even profitable.

Of the twelve, the most powerful questions (to employees, guaging their satisfaction with their employers) are those witha combination of the strongest links to the most business outcomes (to include profitability). Armed with this perspective, we now know that the following six ar ethe most powerful questions: 1) Do I know what is expected of me at work? 2) Do I have the materials and equipment I need to do my work right? 3) Do I have the opportunity to do what I do best every day? 4) In the last seven days, have I received recognition or praise for good work? 5) Does my supervisor, or someone at work, seem to care about me as a person? 6) Is there someone at work who encourages my development? As a manager, if you want to know what you should do to build a strong and productive workplace, securing 5s to these six questions would be an excellent place to start.

Kansas afternoons in late summer are peculiar and wondrous things. Often they are pregnant, if not over-ripe, with a pensive and latent energy that is utterly incapable of ever finding an adequate release for itself. This results in a palpable, almost frenetic tension that hangs in the air just below the clouds. By dusk, spread thin across the quilt-work farmlands by disparate prairie winds, this formless energy creates an abscess in the fabric of space and time that most individuals rarely take notice of. But in the soulish chambers of particularly sensitive observers, it elicits a familiar recognition—a vague remembrance—of something both dark and beautiful. Some understand it simply as an undefined tranquility tinged with despair over the loss of something now forgotten. For others, it signifies something far more sinister, and is therefore something to be feared.

The last act of an historian, priest, is to live through history. It is the bravest act of them all, because it faces, unblinking, the recognition that all history is personal, and that every external truth of the world is but a reflection of our internal truths – the truths that shape our behaviours, our decisions, our fears, our purposes and our appetites. These internal truths raise monuments and flood sewers. They lift high grand works as readily as they fill graves. If you blame one appetite you blame all of our appetites. We all swim the same river.

That's what it is, this arrogance, in this flamenco music this same arrogance of suffering, listen. The strength of it's what's so overpowering, the self-sufficiency that's so delicate and tender without an instant of sentimentality. With infinite pity, but refusing pity. It's a precision of suffering, he went on, abruptly working his hand in the air as though to shape it there, --the tremendous tension of violence all enclosed in a framework...in a pattern that doesn't pretend to any other level but its own, do you know what I mean? He barely glanced at her to see if she did.--It's the privacy, the exquisite sense of privacy about it, he said speaking more rapidly, --it's the sense of privacy that most popular expressions of suffering don't have, don't dare have, that's what makes it arrogant.

As polytheism is in religious belief reflected in the recognition of moral complexity, so henotheism in religious practice is reflected in the recognition of moral diversity. To worship different gods is to align oneself with different ideals, and to embrace different moral standards. The example of the mother and the judge shows one way in which this works out in practice. The mother places parental love above impartial justice, while the judge does the opposite. In the language of Greek Paganism, the mother bows to Hera, the judge to Zeus Dikaios, and both are right to do so.

Science is a field which grows continuously with ever expanding frontiers. Further, it is truly international in scope. Any particular advance has been preceded by the contributions of those from many lands who have set firm foundations for further developments. The Nobel awards should be regarded as giving recognition to this general scientific progress as well as to the individuals involved. Further, science is a collaborative effort. The combined results of several people working together is often much more effective than could be that of an individual scientist working alone.

The point of Christian scholarship is not recognition by standards established in the wider culture. The point is to praise God with the mind. Such efforts will lead to the kind of intellectual integrity that sometimes receives recognition. But for the Christian that recognition is only a fairly inconsequential by-product. The real point is valuing what God has made, believing that the creation is as "good" as he said it was, and exploring the fullest dimensions of what it meant for the Son of God to "become flesh and dwell among us." Ultimately, intellectual work of this sort is its own reward, because it is focused on the only One whose recognition is important, the One before whom all hearts are open.

...he knew of the innermost danger of all artists, he knew the utter loneliness of the man destined to be an artist, he knew the inherent loneliness which drove such a one into the still deeper loneliness of art and into the beauty that cannot be articulated, and he knew that for the most part such men were shattered by this immolation, that it made them blind, blind to the world, blind to the divine quality in the world and in the fellow-man, that--intoxicated by their loneliness--they were able to see only their own god-likeness, which they imagined to be unique, and consequently this self-idolatry and its greed for recognition came more and more to be the sole content of their work--, a betrayal of the divine as well as of art, because in this fashion the work of art became a work of un-art, an unchaste covering for artistic vanity, so spurious that even the artist's self-complacent nakedness which it exposed became a mask; and even though such unchaste self-gratification, such dalliance with beauty, such concern with effects, even though such an un-art might, despite its brief unrenewable grant, its inextensible boundaries, find an easier way to the populace than real art ever found, it was only a specious way, a way out of the loneliness, but not, however, an affiliation with the human community, which was the aim of real art in its aspiration toward humanity, no, it was the affiliation with the mob, it was a participation in its treacherous non-community, which was incapable of the pledge, which neither created nor mastered any reality, and which was unwilling to do so, preferring only to drowse on, forgetting reality, having forfeited it as had un-art and literarity, this was the most profound danger for every artist; oh how painfully, how very painfully he knew this.

Bernard was to remember this moment for the rest of his life. As they drank from their water bottles he was struck by the recently concluded war not as a historical, geopolitical fact but as a multiplicity, a near-infinity of private sorrows, as a boundless grief minutely subdivided without diminishment among individuals who covered the continent like dust, like spores whose separate identities would remain unknown, and whose totality showed more sadness than anyone could ever begin to comprehend; a weight borne in silence by hundreds of thousands, millions, like the woman in black for a husband and two brothers, each grief a particular, intricate, keening love story that might have been otherwise. It seemed as though he had never thought about the war before, not about its cost. He had been so busy with the details of his work, of doing it well, and his widest view had been of war aims, of winning, of statistical deaths, statistical destruction, and of post-war reconstruction. For the first time he sensed the scale of the catastrophe in terms of feeling; all those unique and solitary deaths, all that consequent sorrow, unique and solitary too, which had no place in conferences, headlines, history, and which had quietly retired to houses, kitchens, unshared beds, and anguished memories. This came upon Bernard by a pine tree in the Languedoc in 1946 not as an observation he could share with June but as a deep apprehension, a recognition of a truth that dismayed him into silence and, later, a question: what possible good could come of a Europe covered in this dust, these spores, when forgetting would be inhuman and dangerous, and remembering a constant torture?

Now as you plumb out into the universe and explore it astronomically, it gets very strange. You begin to see things in the depths that at first sight seem utterly remote. How could they have anything to do with us. They are so far off and so unlikely. And in the same way, when you start probing into the inner workings of the human body you come across all kinds of funny little monsters and wiggly things that bear no resemblance to what we recognize as the human image. Look at a spermatozoon under a microscope. That little tadpole! And how can that have any connection with a grown human being. It’s so unlike, you see. It’s foreign feeling. And you get the creeps, a foreign feeling, about yourself...But what we will always find out in the end when we meet the very strange thing, there will one day be the dawning recognition: Why that’s me.

The very first evidence of awakening grace is dissatisfaction with one's self and self-effort and a longing for deliverance from chains of sin that have bound the soul. To own frankly that I am lost and guilty is the prelude to life and peace. It is not a question of a certain depth of grief and sorrow, but simply the recognition and acknowledgment of need that lead one to turn to Christ for refuge. None can perish who put their trust in Him. His grace superabounds above all our sin, and His expiatory work on the cross is so infinitely precious to God that it fully meets all our uncleanness and guilt.

A couple people seem to be reticent about the term ‘study,’ but is there a way to be in the undercommons that isn’t intellectual? Is there a way of being intellectual that isn’t social? When I think about the way we were using the term ‘study,’ I think we were committed to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice. The notion of a rehearsal – being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory – there are these various modes of activity. The point of calling it ‘study’ is to mark that the incessant and irreversible intellectuality of these activities was already there. These activities aren’t ennobled by the fact that we now say, ‘oh, if you did these things in a certain way, you could be said to be have been studying.’ To do these things is to be involved in a kind of common intellectual practice. What’s important is to recognize that that has been the case – because that recognition allows you to access a whole, varied, alternative history of thought.

Love and marriage are about work and compromise. They're about seeing someone for what he is, being dissapointed , and deciding to stick around anyway. They're about commitment and comfort, not some kind of sudden, hysterical recognition'. 'That's not what I want. Disspointment and comfort is not what I want'. 'Why not? Because you expect it to be magical and mystical? Because you don't want to work?' 'Why can't it be magical? Why can't it be mystical?' 'Because if you count on magic and mysticism, then as soon as shit happens, as soon as life interferes, as soon as your stepson treats you badly, or your husband's ex-wife has a fit about something, or your baby dies, as soon as life happens, the magic will disappear and you'll be left with nothing. You can't count on magic. Trust me, I know. Sweetheart, little girl, you can't count on magic'.

Women, on the other hand, had to wield their intellects like a scythe, hacking away against the stubborn underbrush of low expectations. A woman who worked in the central computing pools was one step removed from the research, and the engineers’ assignments sometimes lacked the context to give the computer much knowledge about the afterlife of the numbers that bedeviled her days. She might spend weeks calculating a pressure distribution without knowing what kind of plane was being tested or whether the analysis that depended on her math had resulted in significant conclusions. The work of most of the women, like that of the Friden, Marchant, or Monroe computing machines they used, was anonymous. Even a woman who had worked closely with an engineer on the content of a research report was rarely rewarded by seeing her name alongside his on the final publication. Why would the computers have the same desire for recognition that they did? many engineers figured. They were women, after all. As

Every man whose business it is to think knows that he must for part of the day create about himself a pool of silence. But in that helter-skelter which we flatter by the name of civilization, the citizen performs the perilous business of government under the worst possible conditions. A faint recognition of this truth inspires the movement for a shorter work day, for longer vacations, for light, air, order, sunlight and dignity in factories and offices. But if the intellectual quality of our life is to be improved that is only the merest beginning. So long as so many jobs are an endless and, for the worker, an aimless routine, a kind of automatism using one set of muscles in one monotonous pattern, his whole life will tend towards an automatism using one set of muscles in one monotonous pattern, his whole life will tend towards an automatism in which nothing is particularly to be distinguished from anything else unless it is announced with a thunderclap. So long as he is physically imprisoned in crowds by day and even by night his attention will flicker and relax. It will not hold fast and define clearly where he is the victim of all sorts of pother, in a home which needs to be ventilated of its welter of drudgery, shrieking children, raucous assertions, indigestible food, bad air, and suffocating ornament. Occasionally perhaps we enter a building which is composed and spacious; we go to a theatre where modern stagecraft has cut away distraction, or go to sea, or into a quiet place, and we remember how cluttered, how capricious, how superfluous and clamorous is the ordinary urban life of our time. We learn to understand why our addled minds seize so little with precision, why they are caught up and tossed about in a kind of tarantella by headlines and catch-words, why so often they cannot tell things apart or discern identity in apparent differences.

At work, foreboding joy often shows up in more subtle and pernicious ways. It shows up by making us hesitant to celebrate victories, for two primary reasons. The first is that we’re afraid if we celebrate with our team, or have a moment where we just breathe, we’re inviting disaster and something will go wrong. You can likely identify with that feeling of getting a project up and out the door and then refusing to celebrate it with high-fives because you think, We can’t celebrate right now because we don’t know if it’s going to be perfect, we don’t know if it’s going to work, we don’t know if the site will stay up… The second way foreboding joy shows up at work is withholding recognition. We don’t want our employees to get too excited because there’s still so much work to be done. We don’t want them to take their foot off the gas, to get complacent. So we don’t celebrate achievements. We think we’ll do it someday, but these same factors persist in the wake of joy. This is how foreboding joy shows up at the office, and it is a costly mistake.

I've always felt that there was something pathetic in the founders of religion who made it a condition of salvation that you should believe in them. It's as though they needed your faith to have faith in themselves. They remind you of those old pagan gods who grew wan and faint if they were not sustained by the burnt offerings of the devout. Advaita doesn't ask you to take anything on trust; it asks only that you should have a passionate craving to know Reality; it states that you can experience God as surely as you can experience joy or pain. And there are men in India today—hundreds of them for all I know—who have the certitude that they have done so. I found something wonderfully satisfying in the notion that you can attain Reality by knowledge. In later ages the sages of India in recognition of human infirmity admitted that salvation may be won by the way of love and the way of works, but they never denied that the noblest way, though they hardest, is the way of knowledge, for its instrument is the most precious faculty of man, his reason.

The work I do is not exactly respectable. But I want to explain how it works without any of the negatives associated with my infamous clients. I’ll show how I manipulated the media for a good cause. A friend of mine recently used some of my advice on trading up the chain for the benefit of the charity he runs. This friend needed to raise money to cover the costs of a community art project, and chose to do it through Kickstarter, the crowdsourced fund-raising platform. With just a few days’ work, he turned an obscure cause into a popular Internet meme and raised nearly ten thousand dollars to expand the charity internationally. Following my instructions, he made a YouTube video for the Kickstarter page showing off his charity’s work. Not a video of the charity’s best work, or even its most important work, but the work that exaggerated certain elements aimed at helping the video spread. (In this case, two or three examples in exotic locations that actually had the least amount of community benefit.) Next, he wrote a short article for a small local blog in Brooklyn and embedded the video. This site was chosen because its stories were often used or picked up by the New York section of the Huffington Post. As expected, the Huffington Post did bite, and ultimately featured the story as local news in both New York City and Los Angeles. Following my advice, he sent an e-mail from a fake address with these links to a reporter at CBS in Los Angeles, who then did a television piece on it—using mostly clips from my friend’s heavily edited video. In anticipation of all of this he’d been active on a channel of the social news site Reddit (where users vote on stories and topics they like) during the weeks leading up to his campaign launch in order to build up some connections on the site. When the CBS News piece came out and the video was up, he was ready to post it all on Reddit. It made the front page almost immediately. This score on Reddit (now bolstered by other press as well) put the story on the radar of what I call the major “cool stuff” blogs—sites like BoingBoing, Laughing Squid, FFFFOUND!, and others—since they get post ideas from Reddit. From this final burst of coverage, money began pouring in, as did volunteers, recognition, and new ideas. With no advertising budget, no publicist, and no experience, his little video did nearly a half million views, and funded his project for the next two years. It went from nothing to something. This may have all been for charity, but it still raises a critical question: What exactly happened? How was it so easy for him to manipulate the media, even for a good cause? He turned one exaggerated amateur video into a news story that was written about independently by dozens of outlets in dozens of markets and did millions of media impressions. It even registered nationally. He had created and then manipulated this attention entirely by himself.

The Hindu caste system and its attendant laws of purity became deeply embedded in Indian culture. Long after the Indo-Aryan invasion was forgotten, Indians continued to believe in the caste system and to abhor the pollution caused by caste mixing. Castes were not immune to change. In fact, as time went by, large castes were divided into sub-castes. Eventually the original four castes turned into 3,000 different groupings called jati (literally ‘birth’). But this proliferation of castes did not change the basic principle of the system, according to which every person is born into a particular rank, and any infringement of its rules pollutes the person and society as a whole. A person’s jati determines her profession, the food she can eat, her place of residence and her eligible marriage partners. Usually a person can marry only within his or her caste, and the resulting children inherit that status. Whenever a new profession developed or a new group of people appeared on the scene, they had to be recognised as a caste in order to receive a legitimate place within Hindu society. Groups that failed to win recognition as a caste were, literally, outcasts – in this stratified society, they did not even occupy the lowest rung. They became known as Untouchables. They had to live apart from all other people and scrape together a living in humiliating and disgusting ways, such as sifting through garbage dumps for scrap material. Even members of the lowest caste avoided mingling with them, eating with them, touching them and certainly marrying them. In modern India, matters of marriage and work are still heavily influenced by the caste system, despite all attempts by the democratic government of India to break down such distinctions and convince Hindus that there is nothing polluting in caste mixing.3 Purity

The biggest mistake people make when trying to be authentic is just that: they try. They see these role models of what an "authentic" person is supposed to look like or act like, and they try to emulate that. Authenticity isn't about what things appear to be. It's about allowing things to be what they are. Authenticity is about getting away from hiding, from wearing a mask, from always asking, "How should I act? What should I say? What will people think?" That includes asking, "How should an authentic person act? What would a genuine person say?" Being authentic isn't about making yourself a certain way. It's not even about finding out what you "really" enjoy as opposed to what other people enjoy, or who you "really" are as opposed to who other people are. Authenticity is allowing your likes, dislikes, personality, appearance, hobbies, and beliefs to be fluid, to change, to evolve as you learn, grow, and experience the world. At its core, authenticity is the practice of surrendering the tiresome task of keeping up appearances and taking up of the lifetime work of allowing what is already within you to come out while you remove as many internal and external obstacles as possible. And who knows what will spill out of you if you just allow it to? Who knows what is within you awaiting recognition, awaiting permission to show itself to the world? Even you don’t know—until you try. Or, rather, until you stop trying. Until you become curious.

Parenting, in short, is a dance of the generations. Whatever affected one generation but has not been fully resolved will be passed on to the next. Lance Morrow, a journalist and writer, succinctly expressed the multigenerational nature of stress in his book Heart, a wrenching and beautiful account of his encounters with mortality, thrust upon him by near-fatal heart disease: “The generations are boxes within boxes: Inside my mother’s violence you find another box, which contains my grandfather’s violence, and inside that box (I suspect but do not know), you would find another box with some such black, secret energy — stories within stories, receding in time.” Blame becomes a meaningless concept if one understands how family history stretches back through the generations. “Recognition of this quickly dispels any disposition to see the parent as villain,” wrote John Bowlby, the British psychiatrist whose work threw scientific light on the decisive importance of attachment in infancy and childhood. Whom do we accuse?

At some point, sisters began to talk about how unseen they have felt. How the media has focused on men, but it has been them - the sisters - who were there. They were there, in overwhelming numbers, just as they were during the civil rights movement. Women - all women, trans women - are roughly 80% of the people who were staring down the terror of Ferguson, saying “we are the caretakers of this community”. Is it women who are out there, often with their children, calling for an end to police violence, saying “we have a right to raise our children without fear”. But it is not women’s courage that is showcased in the media. One sister says “when the police move in we do not run, we stay. And for this, we deserve recognition”. Their words will live with us, will live in us, as Ferguson begins to unfold and as the national attention begins to really focus on what Alicia, Opal and I have started. The first time there’s coverage of Black Lives Matter in a way that is positive is on the Melissa Harris-Perry show. She does not invite us - it isn’t intentional, I’m certain of that. And about a year later she does, but in this early moment, and despite the overwhelming knowledge of the people on the ground who are talking about what Alicia, Opal and I have done, and despite of it being part of the historical record, that it is always women who do the work even as men get the praise. It takes a long time for us to occur to most reporters and the mainstream. Living in patriarchy means that the default inclination is to center men and their voices, not women and their work. The fact seems ever more exacerbated in our day and age, when presence on twitter, when the number of followers one has, can supplant the everyday and heralded work of those who, by virtue of that work, may not have time to tweet constantly or sharpen and hone their personal brand so that it is an easily sellable commodity. Like the women who organized, strategized, marched, cooked, typed up and did the work to ensure the civil rights movement; women whose names go unspoken, unknown, so too that this dynamic unfolds as the nation began to realize that we were a movement. Opal, Alicia and I never wanted or needed to be the center of anything. We were purposeful about decentralizing our role in the work, but neither did we want, nor deserved, to be erased.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

More pertinent, however, is that capitalism tends to stultify the worker’s creativity, his human urge for self-expression, freedom, mutually respectful interaction with others, recognition of his self-determined sense of self, recognition of himself as a self rather than an object, a means to an end. Karl Marx called it “alienation.” Capitalism alienates the worker—and the capitalist—from his “fundamental human need” for “self-fulfilling and creative work,” “the exercise of skill and craftsmanship,”8 in addition to his fundamental desire to determine himself (whence comes the desire to dismantle oppressive power-relations and replace them with democracy). Alternative visions of social organization thus arise, including Robert Owen’s communitarian socialism, Charles Fourier’s associationist communalism, Proudhon’s mutualism (a kind of anarchism), Marx’s communism, Bakunin’s collectivist anarchism, Kropotkin’s anarchist communism, Anton Pannekoek’s council communism, and more recently, Murray Bookchin’s libertarian municipalism, Michael Albert’s participatory economics, Takis Fotopoulos’s inclusive democracy, Paul Hirst’s associationalism, and so on. Each of these schools of thought differs from the others in more or less defined ways, but they all have in common the privileging of economic and social cooperation and egalitarianism.

MAN: Mr. Chomsky, I’m wondering what specific qualifications you have to be able to speak all around the country about world affairs?   None whatsoever. I mean, the qualifications that I have to speak on world affairs are exactly the same ones Henry Kissinger has, and Walt Rostow has, or anybody in the Political Science Department, professional historians—none, none that you don’t have. The only difference is, I don’t pretend to have qualifications, nor do I pretend that qualifications are needed. I mean, if somebody were to ask me to give a talk on quantum physics, I’d refuse—because I don’t understand enough. But world affairs are trivial: there’s nothing in the social sciences or history or whatever that is beyond the intellectual capacities of an ordinary fifteen-year-old. You have to do a little work, you have to do some reading, you have to be able to think, but there’s nothing deep—if there are any theories around that require some special kind of training to understand, then they’ve been kept a carefully guarded secret. In fact, I think the idea that you’re supposed to have special qualifications to talk about world affairs is just another scam—it’s kind of like Leninism [position that socialist revolution should be led by a “vanguard” party]: it’s just another technique for making the population feel that they don’t know anything, and they’d better just stay out of it and let us smart guys run it. In order to do that, what you pretend is that there’s some esoteric discipline, and you’ve got to have some letters after your name before you can say anything about it. The fact is, that’s a joke.   MAN: But don’t you also use that system too, because of your name-recognition and the fact that you’re a famous linguist? I mean, would I be invited to go somewhere and give talks?   You think I was invited here because people know me as a linguist? Okay, if that was the reason, then it was a bad mistake. But there are plenty of other linguists around, and they aren’t getting invited to places like this—so I don’t really think that can be the reason. I assumed that the reason is that these are topics that I’ve written a lot about, and I’ve spoken a lot about, and I’ve demonstrated a lot about, and I’ve gone to jail about, and so on and so forth—I assumed that’s the reason. If it’s not, well, then it’s a bad mistake. If anybody thinks that you should listen to me because I’m a professor at M.I.T., that’s nonsense. You should decide whether something makes sense by its content, not by the letters after the name of the person who says it. And the idea that you’re supposed to have special qualifications to talk about things that are common sense, that’s just another scam—it’s another way to try to marginalize people, and you shouldn’t fall for it.

6. SELFISHNESS. The leader who claims all the honor for the work of his followers, is sure to be met by resentment. The really great leader CLAIMS NONE OF THE HONORS. He is contented to see the honors, when there are any, go to his followers, because he knows that most men will work harder for commendation and recognition than they will for money alone. 7. INTEMPERANCE. Followers do not respect an intemperate leader. Moreover, intemperance in any of its various forms, destroys the endurance and the vitality of all who indulge in it. 8. DISLOYALTY. Perhaps this should have come at the head of the list. The leader who is not loyal to his trust, and to his associates, those above him, and those below him, cannot long maintain his leadership. Disloyalty marks one as being less than the dust of the earth, and brings down on one's head the contempt he deserves. Lack of loyalty is one of the major causes of failure in every walk of life. 9. EMPHASIS OF THE "AUTHORITY" OF LEADERSHIP. The efficient leader leads by encouraging, and not by trying to instill fear in the hearts of his followers. The leader who tries to impress his followers with his "authority" comes within the category of leadership through FORCE. If a leader is a REAL LEADER, he will have no need to advertise that fact except by his conduct-his sympathy, understanding, fairness, and a demonstration that he knows his job. 10. EMPHASIS OF TITLE. The competent leader requires no "title" to give him the respect of his followers. The man who makes too much over his title generally has little else to emphasize. The doors to the office of the real leader are open to all who wish to enter, and his working quarters are free from formality or ostentation. These are among the more common of the causes of failure in leadership. Any one of these faults is sufficient to induce failure. Study the list carefully if you aspire to leadership, and make sure that you are free of these faults.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.

Western society has in the past few decades taken a great step forward, which gives its members a perhaps unparalleled opportunity. This has been due to the final recognition of the way in which people can be (and are) conditioned to believe virtually anything. Although this knowledge existed earlier, it was confined to a few, and was taught to relatively small groups, because it was considered subversive. Once, however, the paradox of change of 'faith' began to disturb Western scientists in the Korean war, they were not long in explaining - even in replicating - the phenomenon. As with so many other discoveries, this one had to wait for its acceptance until there was no other explanation. Hence, work which Western scientists could have done a century or more earlier was delayed. Still, better late than never. What remains to be done is that the general public should absorb the facts of mind-manipulation. Failure to do so has resulted in an almost free field for the cults which are a bane of Western existence. In both East and West, the slowness of absorption of these facts has allowed narrow, political, religious and faddish fanaticism to arise, to grow and to spread without the necessary 'immunization'. In illiberal societies it is forbidden to teach these facts. In liberal ones, few people are interested: but only because mind-manipulation is assumed to be something that happens to someone else, and people are selfish in many ways, though charitable in others. Yet the reality is that most people are touched by one or other of an immense range of conditioned beliefs, fixations, even which take the place of truth and are even respected because 'so-and-so is at least sincere.' Naturally such mental sets are not to be opposed. Indeed they thrive on opposition. They have to be explained and contained. The foregoing remarks will not 'become the property' of the individual or the group on a single reading. An unfamiliar and previously untaught lesson, especially when it claims careful attention and remembering, will always take time to sink in. This presentation, therefore, forms a part of materials which need to be reviewed at intervals. Doing this should enable one to add a little ability and to receive a minute quality of understanding each time.

In fact this desire for consonance in the apocalyptic data, and our tendency to be derisive about it, seem to me equally interesting. Each manifests itself, in the presence of the other, in most of our minds. We are all ready to be sceptical about Father Marystone, but we are most of us given to some form of 'centurial mysticism,' and even to more extravagant apocalyptic practices: a point I shall be taking up in my fourth talk. What it seems to come to is this. Men in the middest make considerable imaginative investments in coherent patterns which, by the provision of an end, make possible a satisfying consonance with the origins and with the middle. That is why the image of the end can never be permanently falsified. But they also, when awake and sane, feel the need to show a marked respect for things as they are; so that there is a recurring need for adjustments in the interest of reality as well as of control. This has relevance to literary plots, images of the grand temporal consonance; and we may notice that there is the same co-existence of naïve acceptance and scepticism here as there is in apocalyptic. Broadly speaking, it is the popular story that sticks most closely to established conventions; novels the clerisy calls 'major' tend to vary them, and to vary them more and more as time goes by. I shall be talking about this in some detail later, but a few brief illustrations might be useful now. I shall refer chiefly to one aspect of the matter, the falsification of one's expectation of the end. The story that proceeded very simply to its obviously predestined end would be nearer myth than novel or drama. Peripeteia, which has been called the equivalent, in narrative, of irony in rhetoric, is present in every story of the least structural sophistication. Now peripeteia depends on our confidence of the end; it is a disconfirmation followed by a consonance; the interest of having our expectations falsified is obviously related to our wish to reach the discovery or recognition by an unexpected and instructive route. It has nothing whatever to do with any reluctance on our part to get there at all. So that in assimilating the peripeteia we are enacting that readjustment of expectations in regard to an end which is so notable a feature of naïve apocalyptic. And we are doing rather more than that; we are, to look at the matter in another way, re-enacting the familiar dialogue between credulity and scepticism. The more daring the peripeteia, the more we may feel that the work respects our sense of reality; and the more certainly we shall feel that the fiction under consideration is one of those which, by upsetting the ordinary balance of our naïve expectations, is finding something out for us, something real. The falsification of an expectation can be terrible, as in the death of Cordelia; it is a way of finding something out that we should, on our more conventional way to the end, have closed our eyes to. Obviously it could not work if there were not a certain rigidity in the set of our expectations.

I hope I have now made it clear why I thought it best, in speaking of the dissonances between fiction and reality in our own time, to concentrate on Sartre. His hesitations, retractations, inconsistencies, all proceed from his consciousness of the problems: how do novelistic differ from existential fictions? How far is it inevitable that a novel give a novel-shaped account of the world? How can one control, and how make profitable, the dissonances between that account and the account given by the mind working independently of the novel? For Sartre it was ultimately, like most or all problems, one of freedom. For Miss Murdoch it is a problem of love, the power by which we apprehend the opacity of persons to the degree that we will not limit them by forcing them into selfish patterns. Both of them are talking, when they speak of freedom and love, about the imagination. The imagination, we recall, is a form-giving power, an esemplastic power; it may require, to use Simone Weil's words, to be preceded by a 'decreative' act, but it is certainly a maker of orders and concords. We apply it to all forces which satisfy the variety of human needs that are met by apparently gratuitous forms. These forms console; if they mitigate our existential anguish it is because we weakly collaborate with them, as we collaborate with language in order to communicate. Whether or no we are predisposed towards acceptance of them, we learn them as we learn a language. On one view they are 'the heroic children whom time breeds / Against the first idea,' but on another they destroy by falsehood the heroic anguish of our present loneliness. If they appear in shapes preposterously false we will reject them; but they change with us, and every act of reading or writing a novel is a tacit acceptance of them. If they ruin our innocence, we have to remember that the innocent eye sees nothing. If they make us guilty, they enable us, in a manner nothing else can duplicate, to submit, as we must, the show of things to the desires of the mind. I shall end by saying a little more about La Nausée, the book I chose because, although it is a novel, it reflects a philosophy it must, in so far as it possesses novel form, belie. Under one aspect it is what Philip Thody calls 'an extensive illustration' of the world's contingency and the absurdity of the human situation. Mr. Thody adds that it is the novelist's task to 'overcome contingency'; so that if the illustration were too extensive the novel would be a bad one. Sartre himself provides a more inclusive formula when he says that 'the final aim of art is to reclaim the world by revealing it as it is, but as if it had its source in human liberty.' This statement does two things. First, it links the fictions of art with those of living and choosing. Secondly, it means that the humanizing of the world's contingency cannot be achieved without a representation of that contingency. This representation must be such that it induces the proper sense of horror at the utter difference, the utter shapelessness, and the utter inhumanity of what must be humanized. And it has to occur simultaneously with the as if, the act of form, of humanization, which assuages the horror. This recognition, that form must not regress into myth, and that contingency must be formalized, makes La Nausée something of a model of the conflicts in the modern theory of the novel. How to do justice to a chaotic, viscously contingent reality, and yet redeem it? How to justify the fictive beginnings, crises, ends; the atavism of character, which we cannot prevent from growing, in Yeats's figure, like ash on a burning stick? The novel will end; a full close may be avoided, but there will be a close: a fake fullstop, an 'exhaustion of aspects,' as Ford calls it, an ironic return to the origin, as in Finnegans Wake and Comment c'est. Perhaps the book will end by saying that it has provided the clues for another, in which contingency will be defeated, ...

Toyota wasn’t really worried that it would give away its “secret sauce.” Toyota’s competitive advantage rested firmly in its proprietary, complex, and often unspoken processes. In hindsight, Ernie Schaefer, a longtime GM manager who toured the Toyota plant, told NPR’s This American Life that he realized that there were no special secrets to see on the manufacturing floors. “You know, they never prohibited us from walking through the plant, understanding, even asking questions of some of their key people,” Schaefer said. “I’ve often puzzled over that, why they did that. And I think they recognized we were asking the wrong questions. We didn’t understand this bigger picture.” It’s no surprise, really. Processes are often hard to see—they’re a combination of both formal, defined, and documented steps and expectations and informal, habitual routines or ways of working that have evolved over time. But they matter profoundly. As MIT’s Edgar Schein has explored and discussed, processes are a critical part of the unspoken culture of an organization. 1 They enforce “this is what matters most to us.” Processes are intangible; they belong to the company. They emerge from hundreds and hundreds of small decisions about how to solve a problem. They’re critical to strategy, but they also can’t easily be copied. Pixar Animation Studios, too, has openly shared its creative process with the world. Pixar’s longtime president Ed Catmull has literally written the book on how the digital film company fosters collective creativity2—there are fixed processes about how a movie idea is generated, critiqued, improved, and perfected. Yet Pixar’s competitors have yet to equal Pixar’s successes. Like Toyota, Southern New Hampshire University has been open with would-be competitors, regularly offering tours and visits to other educational institutions. As President Paul LeBlanc sees it, competition is always possible from well-financed organizations with more powerful brand recognition. But those assets alone aren’t enough to give them a leg up. SNHU has taken years to craft and integrate the right experiences and processes for its students and they would be exceedingly difficult for a would-be competitor to copy. SNHU did not invent all its tactics for recruiting and serving its online students. It borrowed from some of the best practices of the for-profit educational sector. But what it’s done with laser focus is to ensure that all its processes—hundreds and hundreds of individual “this is how we do it” processes—focus specifically on how to best respond to the job students are hiring it for. “We think we have advantages by ‘owning’ these processes internally,” LeBlanc says, “and some of that is tied to our culture and passion for students.

I remember." I nod. Wanting to say: I remember everything-all of it-the question is: Do you? But instead, I stare down at my feet, smiling stupidly. Everything I do around him is stupid. Some Seeker I've turned out to be. Attempting to redeem myself,say something normal,not let on that I already know he's employed here-thanks to the raven who allowed me to spy on him earlier,I say, "So,I guess you hang out here a lot then?" He pushes a hand through his hair, as his eyes-the color of aquamarines-glide down the length of me.And damn if I can't feel their trajectory. It's like showering in a stream of warm, molten honey-dripping from the top of my forehead all the way down to my feet. "I guess you could say that," he says,voicelow and deep. "More than most, anyway." He waves a damp towel, tugs on the string of his apron, and I blush in reply. The sight of it reminding me of what I saw in the alleyway-watching him lean against the wall,his face so soft anddreamy I longed to touch him-kiss him-like I did in the dream. I study him closely,seeking traces of recognition, remembrance-some small token of evidence to assure me that, as odd as it seems,that kiss in the cave was as real as it felt-but coming up empty. "So,how long have you worked here?" I ask, returning to the topic at hand. My gaze drifting over the black V-necked T-shirt skimming the sinuous line of his body-telling myself it's all part of my reconnaissance,my need to gather as uch information as I can about him and his kin. But knowing that's not really it.The truth is,I like looking at him, being near him. "I guess you could say somewhere between too long and not long enough-depending on the state of my wallet." His laugh is good-natured and easy-the kid that starts at the belly and trips all the way up. "It's pretty much the only decent game in town." He shrugs. "One way or another,you end up working for the Richters,and believe me, this is one of the better gigs." I peer at him closely,remembering what Cade said when I was here via the raven. How he referred to him by another name. "You're not a Richter?" I ask,holding my breath in my cheeks.Despite what Paloma told me, I need to hear it from him,confirm that he doesn't identify with their clan. "I go by Whitefeather," he says,gaze steady and serious. "I was raised by my mom,didn't even know the Richters when I was a kid." Despite getting the answer I wanted, I frown in return. His being a Richter was a good reason to avoid him-without it,I'm out of excuses. "Is that okay?" He dips his head toward mine,his mouth tugging at the side. "You seem a little upset by the news." I shake my head,break free of my reverie, and say, "No-not at all. Believe me,it's more like a relief." I meet his gaze,seeing the way it narrows in question. "Guess I'm not a big fan of your brother," I add,watching as he throws his head back and laughs,the sight of that long,glorious column of neck forcing me to look away,it's too much to take. "If it makes you feel any better, most of the time I'd have to agree." He returns to me,the warmth of his gaze solely reponsible for the wave of comfort that flows through me.