Visual Communication Quotes

Visual communication of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function; the integration of the beautiful and useful." – Paul Rand

Visual communications of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and the useful.

Having all the information in the world at our fingertips doesn’t make it easier to communicate: it makes it harder.

In this age of instant communication, emoticons are replacing words, body language replacing language and visuals replacing text.

Our understanding of the interior lives of those who are not like us is contingent on their ability to articulate themselves in the language we know. The further removed people are from proficiency in that language, the less likely they are to be understood as complex individuals. The audience often fills in the blanks with their own preconceptions. But visual language is more easily parsed and a much more democratic form of communication.

The purpose of infographics and data visualizations is to enlighten people—not to entertain them, not to sell them products, services, or ideas, but to inform them. It’s as simple—and as complicated—as that.

Do not despise your inner world. That is the first and most general piece of advice I would offer… Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.

Communication is not only about words and numbers. Some thoughts can’t be properly expressed in these ways at all. We also think in sounds and images, in movement and gesture, which gives rise to our capacities for music, visual arts, dance, and theater in all their variations.

Be a flower. Be a seed. Let your growth arouse curiosity. Let it fascinate and amaze. Let it inspire the artist and the scientist. Let it shock the doubters. Let it grant hope to the hopeless. Let it begin in silence, and end with a loud bang. Don’t be an open book - be mysterious. Be extraordinary, be undefinable, be a ball of fiery fire, and above all, grow in silence, and let your success do the talking.

Your ability to shape your future depends on how well you communicate where you want to be when you get there.

be sure your communication goes beyond words. How can you do that? By connecting on four levels: visually, intellectually, emotionally, and verbally.

The life of a visual communicator should be one of systematic and exciting intellectual chaos.

Visual communication of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and useful. Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.

there are three categories of stimulus present in human communication—the Visual, the Tone of Voice, and the Words used (spoken or read). He suggested that 55 percent of what we take away from communication comes from the visual, 38 percent from the tone of voice, and 7 percent from the actual words.

Well-designed visuals do more than provide information; they bring order to the conversation.

It is in the combination of words and visuals that the magic of understanding often happens.

What Are the Five Steps to Monroe’s Motivated Sequence? It goes like this: Attention Need Satisfaction Visualization Action

When you have just a number or two that you want to communicate: use the numbers directly.

You should always want your audience to know or do something. If you can't concisely articulate that, you should revisit whether you need to communicate in the first place.

Adopt a clear mindset. Strive for pure ideas. Communicate in a matter that needs no further explanation. Avoid shades of grey. Focus on the fundamentals, and share them to the world

Different social media networks are used for different communication to the extent that the written word still prevails over visuals. However, in the future, it will be other way around.

These, then, are the ten rules of effective communication, all summarized in single words: simplicity, brevity, credibility, consistency, novelty, sound, aspiration, visualization, questing, and context.

Will you be encountering each other for the first time through this communication, or do you have an established relationship? Do they already trust you as an expert, or do you need to work to establish credibility? These are important considerations when it comes to determining how to structure your communication and whether and when to use data, and may impact the order and flow of the overall story you aim to tell.

If your product solves real problems, has a simple, intuitive interaction and an appealing, easy-to-read visual design, yet people aren’t using it, chances are your product is failing to communicate at a human level.

Getting ahead of the next curve requires courage and communication: Courage to determine the next bold move, and communication to keep the troops committed to the value of moving forward. Rallying stakeholders to move together in a common course of action is all part of the innovation and survival process. Leaders at every level in an organization need to be skillful at creating resonance if that organization is to control its own destiny.

Natural selection has designed flowers to communicate with other species, deploying an astonishing array of devices—visual, olfactory, and tactile—to get the attention of specific insects and birds and even certain mammals.

Verbal facility with smells and flavors doesn’t come naturally. As babies, we learn to talk by naming what we see. “Baby points to a lamp, mother says, ‘Yes, a lamp,’” says Johan Lundström, a biological psychologist with the Monell Chemical Senses Center in Philadelphia. “Baby smells an odor, mother says nothing.” All our lives, we communicate through visuals. No one, with a possible exception made for Sue Langstaff, would say, “Go left at the smell of simmering hotdogs.

The law of manifestation operates like a triangle: First, know what you want and visualize it as if you already had it; Second, see it behind the illusion of reality, practice it in your decisions, choose the people you hang out with, etc; Third, believe, have faith and work on your emotions to be at the right frequency. This triangle of manifestation is one of the secrets of many religions: Christianity, Scientology, and Freemasonry. In Masonry is seen as "heart, mind and desire"; in Scientology is perceived as "reality, communication and affinity"; in Christianity is understood as "Father, son and holy ghost"; basically, "actions, learnings and emotions". In Christianity, the Father equals reality or the Creator of the illusion, the son is the way, the path, he road of our decisions and actions, and the holy ghost is our heart, instincts and desires manifested in that same path. In word words, through Jesus, and with the power of the holy ghost, you reach God. This is an allegory that not many Christians can understand. Jesus represent behavior - right and wrong, the holy ghost is our faith, your heart and emotions reflecting back at you what you attract, it's the energy that connects you to your dreams, and God represents the Architect of Reality. So, through moral behavior and positive emotions, your understand God and life, and then you receive "paradise". This paradise is whatever you dream for yourself. Furthermore, if someone has shown you this way, he has been as an angel to you, a messenger of God; if someone stopped you from reaching it, he has been as a demon, a worker for Satan, the enemy, if you failed in seeing this path, you have redirected yourself towards hell. And if you hate your life, you are already in hell. If you want to get out of hell, you must accept the truth, and this truth is that you must know God, for He is the truth. He and the truth are one and the same.

As yet, though we live in a culture in which images are the dominant currency of communication, we have been unable to form an adequate picture of the future. Despite the new electronic power to create instant image flow, the ability to see the more diffuse Postmodern connections . . . has become more difficult. . . . It is harder to visualize a multinational identity than a local entity. We can only see the world by forming a picture through various specialized mediations. . . . We now lack a convincing vision...

But what is the use of the humanities as such? Admittedly they are not practical, and admittedly they concern themselves with the past. Why, it may be asked, should we engage in impractical investigations, and why should we be interested in the past? The answer to the first question is: because we are interested in reality. Both the humanities and the natural sciences, as well as mathematics and philosophy, have the impractical outlook of what the ancients called vita contemplativa as opposed to vita activa. But is the contemplative life less real or, to be more precise, is its contribution to what we call reality less important, than that of the active life? The man who takes a paper dollar in exchange for twenty-five apples commits an act of faith, and subjects himself to a theoretical doctrine, as did the mediaeval man who paid for indulgence. The man who is run over by an automobile is run over by mathematics, physics and chemistry. For he who leads the contemplative life cannot help influencing the active, just as he cannot prevent the active life from influencing his thought. Philosophical and psychological theories, historical doctrines and all sorts of speculations and discoveries, have changed, and keep changing, the lives of countless millions. Even he who merely transmits knowledge or learning participates, in his modest way, in the process of shaping reality - of which fact the enemies of humanism are perhaps more keenly aware than its friends. It is impossible to conceive of our world in terms of action alone. Only in God is there a "Coincidence of Act and Thought" as the scholastics put it. Our reality can only be understood as an interpenetration of these two.

Although you may not be able to physically rewind your experiences, a visual rewind may reveal aspects which you may have missed the first time around. By mentally rewinding scenarios for your life, relationships, experiences, and behavior, you can look back with focused attention to see things more objectively.

Leaning over this parapet I see far out a waste of water. A fin turns. This bare visual impression is unattached to any line of reason, it springs up as one might see the fin of a porpoise on the horizon. Visual impressions often communicate thus briefly statements that we shall in time come to uncover and coax into words.

Kahlo’s paintings offer a visual vocabulary with which trauma and pain can be transmitted or communicated with dignity and compassion. Through the language of her innovative art Kahlo gives voice to silenced, unresolved traumata. She thus obliterates the barrier between the individual experiencing pain and the viewer, and evokes empathy for our shared human fragility.

But there is yet another prejudice that dyslexics, and those who try to help them, have to combat. This is the deep-rooted idea that all learning, all education, any expression of ideas, must be done through language, through words. The idea that is possible to learn and communicate visually, through colour and shape, seems to be heresy, though it is one that naturally occurs to dyslexics.

Want to be a great communicator? Try writing a screenplay. Even if your story is more hideous than the films Ishtar and Gigli combined, you’ll learn how to capture and hold attention. That’s because a screenplay forces you to make your point through visual description, action, or dialogue. Abstract or theoretical content is not allowed. The activity forces you to discover and develop visual storytelling.

try to visualize all the streams of human interaction, of communication. All those linking streams flowing in and between people, through text, pictures, spoken words and TV commentaries, streams through shared memories, casual relations, witnessed events, touching pasts and futures, cause and effect. Try to see this immense latticework of lakes and flowing streams, see the size and awesome complexity of it. This huge rich environment. This waterway paradise of all information and identities and societies and selves.

Remarkably, studies of visual perception have found that two-dimensional images projected onto the retina only achieve full dimensionality as a result of our perception: we infer the third dimension of depth. Sadly, though, as the urgency to expedite all communicative transactions usurps out customary patterns of exchange, perception is accelerated as well. There does not seem to be a great deal of time left over to infer--or interpret, or imagine--much of anything at all. In the end, of course, there is nothing real about this at all, except for our propensity to let it happen.

In real brains neural networks do not exist in isolation. They communicate with other networks by way of synaptic transmission. For example, in order to see an apple, instead of a roundish, reddish blob, the various features of the stimulus, each processed by different visual subsystems, have to be integrated. As we saw in Chapter 7, the problem of understanding the manner in which this occurs is called the binding problem. One popular solution to this problem is based on the notion of neuronal synchrony. Synchronous (simultaneous) firing, and thus binding, has been proposed as an explanation of consciousness (chap. 7), but our interest here is more in the ability of synchronous firing between cells in different interconnected regions to coordinate plasticity across the regions.

Visual images of the Goddesses stand in stark contrast to the image of God as an old white man, jarring us to question our culture's view that all legitimate power is male and that female power is dangerous and evil. The image of the naked Eve brazenly taking the apple from the serpent, then cowering in shame before a wrathful male God, tells us not only that female will is the source of all the evil in the universe, but also that the naked female body is part of the problem. This image communicates to the deep mind the message that female will and female nakedness must be controlled and punished by male authority. In contrast, the Goddesses show us that the female can be symbolic of all that is creative and powerful in the universe. The simplest and most profound meaning of the image of the Goddess is the legitimacy and goodness of female power, the female body, and female will.

The areas of the cortex responsible for attention and self-regulation develop in response to the emotional interaction with the person whom we may call the mothering figure. Usually this is the birth mother, but it may be another person, male or female, depending on circumstances. The right hemisphere of the mother’s brain, the side where our unconscious emotions reside, programs the infant’s right hemisphere. In the early months, the most important communications between mother and infant are unconscious ones. Incapable of deciphering the meaning of words, the infant receives messages that are purely emotional. They are conveyed by the mother’s gaze, her tone of voice and her body language, all of which reflect her unconscious internal emotional environment. Anything that threatens the mother’s emotional security may disrupt the developing electrical wiring and chemical supplies of the infant brain’s emotion-regulating and attention-allocating systems. Within minutes following birth, the mother’s odors stimulate the branching of millions of nerve cells in the newborn’s brain. A six-day-old infant can already distinguish the scent of his mother from that of other women. Later on, visual inputs associated with emotions gradually take over as the major influences. By two to seven weeks, the infant will orient toward the mother’s face in preference to a stranger‘s — and also in preference to the father’s, unless the father is the mothering adult. At seventeen weeks, the infant’s gaze follows the mother’s eyes more closely than her mouth movements, thus fixating on what has been called “the visible portion of the mother’s central nervous system.” The infant’s right brain reads the mother’s right brain during intense eye-to-eye mutual gaze interactions. As an article in Scientific American expressed it, “Embryologically and anatomically the eye is an extension of the brain; it is almost as if a portion of the brain were in plain sight.” The eyes communicate eloquently the mother’s unconscious emotional states.

Look at the telephone; it would remind you of a unique scientist, Alexander Graham Bell. He, besides being a great inventor, was also a man of great compassion and service. In fact, much of the research which led to the development of the telephone was directed at finding solutions to the challenges of hearing impaired people and helping them to be able to listen and communicate. Bell’s mother and wife were both hearing impaired and it profoundly changed Bell’s outlook to science. He aimed to make devices which would help the hearing impaired. He started a special school in Boston to teach hearing impaired people in novel ways. It was these lessons which inspired him to work with sound and led to the invention of the telephone. Can you guess the name of the most famous student of Alexander Graham Bell? It was Helen Keller, the great author, activist and poet who was hearing and visually impaired. About her teacher, she once said that Bell dedicated his life to the penetration of that ‘inhuman silence which separates and estranges’.

W.J. was a warm, affable man, and the two hemispheres of his brain seemed to be working fine together, although they were no longer in direct communication. One of them talked, one of them didn’t. Given the way the brain is wired, that meant the left, talking brain viewed the visual world to the right of a fixated point and the right, non-talking hemisphere viewed all the visual information to the left of the same point. Given this surgical state, I wondered: If I flashed a light over to the right, would W.J. say he saw it? Light should go to the left hemisphere, and the left hemisphere had speech; it should be easy. It was, and W.J. easily declared he saw it. A bit later, I flashed the same light over to the left side of space and waited to see if he would say anything. He didn’t. I pressed him and asked if he had seen anything, and he firmly said “No.” Was he blind on that side? Or was that simple spot of light no longer communicated to the half brain that talked? Did the seemingly mute right brain know it had viewed a light? Was it conscious? What was going on?

Throughout history we read of Masters in every conceivable form of human endeavor describing a sensation of suddenly possessing heightened intellectual powers after years of immersion in their field. The great chess Master Bobby Fischer spoke of being able to think beyond the various moves of his pieces on the chessboard; after a while he could see “fields of forces” that allowed him to anticipate the entire direction of the match. For the pianist Glenn Gould, he no longer had to focus on notes or parts of the music he was playing, but instead saw the entire architecture of the piece and could express it. Albert Einstein suddenly was able to realize not just the answer to a problem, but a whole new way of looking at the universe, contained in a visual image he intuited. The inventor Thomas Edison spoke of a vision he had for illuminating an entire city with electric light, this complex system communicated to him through a single image. In all of these instances, these practitioners of various skills described a sensation of seeing more. They were suddenly able to grasp an entire situation through an image or an idea, or a combination of images and ideas. They experienced this power as intuition, or a fingertip feel.

So trees communicate by means of olfactory, visual, and electrical signals. (The electrical signals travel via a from of nerve cell at the tips of the roots.) What about sounds? Let's get back to hearing and speech. When I said at the beginning of this chapter that trees are definitely silent, the latest scientific research casts doubt even on this statement. Along with colleagues from Bristol and Florence, Dr. Monica Gagliano from the University of Western Australia has, quite literally, had her ear to the ground. It's not practical to study trees in the laboratory; therefore, researchers substitute grain seedlings because they are easier to handle. They started listening, and it didn't take them long to discover that their measuring apparatus was registering roots crackling quietly at a frequency of 220 hertz. Crackling roots? That doesn't necessarily mean anything. After all, even dead wood crackles when it's burned in a stove. But the noised discovered in the laboratory caused the researchers to sit up and pay attention. For the roots of seedlings not directly involved in the experiment reacted. Whenever the seedlings' roots were exposed to a cracking at 220 hertz, they oriented their tips in that direction. That means the grasses were registering this frequency, so it makes sense to say they "heard" it.

Red: Maintaining health, bodily strength, physical energy, sex, passion, courage, protection, and defensive magic. This is the color of the element of fire. Throughout the world, red is associated with life and death, for this is the color of blood spilled in both childbirth and injury. Pink: Love, friendship, compassion, relaxation. Pink candles can be burned during rituals designed to improve self-love. They’re ideal for weddings and for all forms of emotional union. Orange: Attraction, energy. Burn to attract specific influences or objects. Yellow: Intellect, confidence, divination, communication, eloquence, travel, movement. Yellow is the color of the element of air. Burn yellow candles during rituals designed to heighten your visualization abilities. Before studying for any purpose, program a yellow candle to stimulate your conscious mind. Light the candle and let it burn while you study. Green: Money, prosperity, employment, fertility, healing, growth. Green is the color of the element of earth. It’s also the color of the fertility of the earth, for it echoes the tint of chlorophyll. Burn when looking for a job or seeking a needed raise. Blue: Healing, peace, psychism, patience, happiness. Blue is the color of the element of water. This is also the realm of the ocean and of all water, of sleep, and of twilight. If you have trouble sleeping, charge a small blue candle with a visualization of yourself sleeping through the night. Burn for a few moments before you get into bed, then extinguish its flame. Blue candles can also be charged and burned to awaken the psychic mind. Purple: Power, healing severe diseases, spirituality, meditation, religion. Purple candles can be burned to enhance all spiritual activities, to increase your magical power, and as a part of intense healing rituals in combination with blue candles. White: Protection, purification, all purposes. White contains all colors. It’s linked with the moon. White candles are specifically burned during purification and protection rituals. If you’re to keep but one candle on hand for magical purposes, choose a white one. Before use, charge it with personal power and it’ll work for all positive purposes. Black: Banishing negativity, absorbing negativity. Black is the absence of color. In magic, it’s also representative of outer space. Despite what you may have heard, black candles are burned for positive purposes, such as casting out baneful energies or to absorb illnesses and nasty habits. Brown: Burned for spells involving animals, usually in combination with other colors. A brown candle and a red candle for animal protection, brown and blue for healing, and so on.

Every act of communication is a miracle of translation. At this moment, in this place, the shifting action potentials in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up optic nerves, cross the chasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional. Who can say if the thoughts you have in your mind as you read these words are the same thoughts I had in my mind as I typed them? We are different, you and I, and the qualia of our consciousnesses are as divergent as two stars at the ends of the universe. And yet, whatever has been lost in translation in the long journey of my thoughts through the maze of civilization to your mind, I think you do understand me, and you think you do understand me. Our minds managed to touch, if but briefly and imperfectly.

The clear transmission of facts and evidence becomes irrelevant in the hyperemotional space of social media. Facts come from a world external to ourselves—namely, reality. Actually, that’s the whole point. But in the social media world, they are either meaningless or threatening to the self we’re constructing and protecting. The world can’t help but degrade into “It’s all about me.” Deluged with information filtered through the lens of popular self, our internal monitoring causes the world to shrink: Did the news make me feel bad? Turn it off. Did that comment upset me? Blast the messenger. Did that criticism hurt me? Get depressed or strike back. This is the tragedy of self-reference where, instead of responding to information from the external environment to create an orderly system of relationships, the narrow band of information obsessively processed creates isolation, stress, and self-defense.6 Focused internally, the outside world where facts reside doesn’t have meaning. Our communication with one another via the Web generates extreme reactions. Think about how small events take over the Internet because people get upset from a photo and minimal information. There doesn’t have to be any basis in fact or any understanding of more complex reasons for why this event happened. People see the visual, comment on it, and viral hysteria takes over. Even when more context is given later that could help people understand the event, it doesn’t change their minds. People go back to scanning and posting, and soon there is another misperceived event to get hysterical about. One commentator calls this “infectious insanity.”7

Matt Espenshade confirmed that in spite of the deaths of so many of the kidnappers, many more are still at large, including their leaders. Those men might hope to be forgotten; they are not. The FBI has continued its investigative interest in those involved with the kidnapping. The leaders, especially, are of prime interest to the Bureau. And now the considerable unseen assets in that region are steadily feeding back information on these targeted individuals to learn their operational methods and their locations and hunt them down. The surviving kidnappers and their colleagues are welcome to sneer at the danger. It may help them pass the time, just as it did for Bin Laden’s henchmen to chuckle at the idea of payback. If the men nobody sees coming are dispatched to capture or kill them, the surviving kidnappers will find themselves dealing with a force of air, sea, and land fighters s obsessed with the work they do that they have trained themselves into the physical and mental toughness of world-class athletes. They will carry the latest in weapons, armor, visual systems, and communication devises. Whether they are Navy SEAL fighters, DEVGRU warriors, Army Delta Force soldiers, Green Berets, or any of the elite soldiers under United States Special Operations Command (SOCOM), they will share the elite warriors’ determination to achieve success in their mission assignment. The news that they are coming for you is the worst you could receive. But nobody gets advance warning from these men. They consider themselves born for this. They have fought like panthers to be part of their team. For most of them, there is a strong sense of pride in succeeding at missions nobody else can get done; in lethal challenges. They actually prefer levels of difficulty so high it seems only a sucker would seek them, the sorts of situations seen more and more often these days. Impossible odds.

The law of manifestation operates like a triangle: First, know what you want and visualize it as if you already had it; Second, see it behind the illusion of reality, practice it in your decisions, choose the people you hang out with, etc; Third, believe, have faith and work on your emotions to be at the right frequency. This triangle of manifestation is one of the secrets of many religions: Christianity, Scientology, and Freemasonry. In Masonry is seen as "heart, mind and desire"; in Scientology is perceived as "reality, communication and affinity"; in Christianity is understood as "Father, son and holy ghost"; basically, "actions, learnings and emotions". In Christianity, the Father equals reality or the Creator of the illusion, the son is the way, the path, the road of our decisions and actions, and the holy ghost is our heart, instincts and desires manifested in that same path. In other words, through Jesus, and with the power of the holy ghost, you reach God. This is an allegory that not many Christians can understand. Jesus represents behavior - right and wrong, the holy ghost is our faith, your heart and emotions reflecting back at you what you attract, it's the energy that connects you to your dreams, and God represents the Architect of Reality. So, through moral behavior and positive emotions, your understand God and life, and then you receive "paradise". This paradise is whatever you dream for yourself. Furthermore, if someone has shown you this way, he has been as an angel to you, a messenger of God; if someone stopped you from reaching it, he has been as a demon, a worker for Satan, the enemy; if you failed in seeing this path, you have redirected yourself towards hell. And if you hate your life, you are already in hell. If you want to get out of hell, you must accept the truth, and this truth is that you must know God, for He is the truth. He and the truth are one and the same.

Interestingly enough, creative geniuses seem to think a lot more like horses do. These people also spend a rather large amount of time engaging in that favorite equine pastime: doing nothing. In his book Fire in the Crucible: The Alchemy of Creative Genius, John Briggs gathers numerous studies illustrating how artists and inventors keep their thoughts pulsating in a field of nuance associated with the limbic system. In order to accomplish this feat against the influence of cultural conditioning, they tend to be outsiders who have trouble fitting into polite society. Many creative geniuses don’t do well in school and don’t speak until they’re older, thus increasing their awareness of nonverbal feelings, sensations, and body language cues. Einstein is a classic example. Like Kathleen Barry Ingram, he also failed his college entrance exams. As expected, these sensitive, often highly empathic people feel extremely uncomfortable around incongruent members of their own species, and tend to distance themselves from the cultural mainstream. Through their refusal to fit into a system focusing on outside authority, suppressed emotion, and secondhand thought, creative geniuses retain and enhance their ability to activate the entire brain. Information flows freely, strengthening pathways between the various brain functions. The tendency to separate thought from emotion, memory, and sensation is lessened. This gives birth to a powerful nonlinear process, a flood of sensations and images interacting with high-level thought functions and aspects of memory too complex and multifaceted to distill into words. These elements continue to influence and build on each other with increasing ferocity. Researchers emphasize that the entire process is so rapid the conscious mind barely registers that it is happening, let alone what is happening. Now a person — or a horse for that matter — can theoretically operate at this level his entire life and never receive recognition for the rich and innovative insights resulting from this process. Those called creative geniuses continuously struggle with the task of communicating their revelations to the world through the most amenable form of expression — music, visual art, poetry, mathematics. Their talent for innovation, however, stems from an ability to continually engage and process a complex, interconnected, nonlinear series of insights. Briggs also found that creative geniuses spend a large of amount of time “doing nothing,” alternating episodes of intense concentration on a project with periods of what he calls “creative indolence.” Albert Einstein once remarked that some of his greatest ideas came to him so suddenly while shaving that he was prone to cut himself with surprise.

Well before the end of the 20th century however print had lost its former dominance. This resulted in, among other things, a different kind of person getting elected as leader. One who can present himself and his programs in a polished way, as Lee Quan Yu you observed in 2000, adding, “Satellite television has allowed me to follow the American presidential campaign. I am amazed at the way media professionals can give a candidate a new image and transform him, at least superficially, into a different personality. Winning an election becomes, in large measure, a contest in packaging and advertising. Just as the benefits of the printed era were inextricable from its costs, so it is with the visual age. With screens in every home entertainment is omnipresent and boredom a rarity. More substantively, injustice visualized is more visceral than injustice described. Television played a crucial role in the American Civil rights movement, yet the costs of television are substantial, privileging emotional display over self-command, changing the kinds of people and arguments that are taken seriously in public life. The shift from print to visual culture continues with the contemporary entrenchment of the Internet and social media, which bring with them four biases that make it more difficult for leaders to develop their capabilities than in the age of print. These are immediacy, intensity, polarity, and conformity. Although the Internet makes news and data more immediately accessible than ever, this surfeit of information has hardly made us individually more knowledgeable, let alone wiser, as the cost of accessing information becomes negligible, as with the Internet, the incentives to remember it seem to weaken. While forgetting anyone fact may not matter, the systematic failure to internalize information brings about a change in perception, and a weakening of analytical ability. Facts are rarely self-explanatory; their significance and interpretation depend on context and relevance. For information to be transmuted into something approaching wisdom it must be placed within a broader context of history and experience. As a general rule, images speak at a more emotional register of intensity than do words. Television and social media rely on images that inflamed the passions, threatening to overwhelm leadership with the combination of personal and mass emotion. Social media, in particular, have encouraged users to become image conscious spin doctors. All this engenders a more populist politics that celebrates utterances perceived to be authentic over the polished sound bites of the television era, not to mention the more analytical output of print. The architects of the Internet thought of their invention as an ingenious means of connecting the world. In reality, it has also yielded a new way to divide humanity into warring tribes. Polarity and conformity rely upon, and reinforce, each other. One is shunted into a group, and then the group polices once thinking. Small wonder that on many contemporary social media platforms, users are divided into followers and influencers. There are no leaders. What are the consequences for leadership? In our present circumstances, Lee's gloomy assessment of visual media's effects is relevant. From such a process, I doubt if a Churchill or Roosevelt or a de Gaulle can emerge. It is not that changes in communications technology have made inspired leadership and deep thinking about world order impossible, but that in an age dominated by television and the Internet, thoughtful leaders must struggle against the tide.

There is some feeling nowadays that reading is not as necessary as it once was. Radio and especially television have taken over many of the functions once served by print, just as photography has taken over functions once served by painting and other graphic arts. Admittedly, television serves some of these functions extremely well; the visual communication of news events, for example, has enormous impact. The ability of radio to give us information while we are engaged in doing other things—for instance, driving a car—is remarkable, and a great saving of time. But it may be seriously questioned whether the advent of modern communications media has much enhanced our understanding of the world in which we live. Perhaps we know more about the world than we used to, and insofar as knowledge is prerequisite to understanding, that is all to the good. But knowledge is not as much a prerequisite to understanding as is commonly supposed. We do not have to know everything about something in order to understand it; too many facts are often as much of an obstacle to understanding as too few. There is a sense in which we moderns are inundated with facts to the detriment of understanding. One of the reasons for this situation is that the very media we have mentioned are so designed as to make thinking seem unnecessary (though this is only an appearance). The packaging of intellectual positions and views is one of the most active enterprises of some of the best minds of our day. The viewer of television, the listener to radio, the reader of magazines, is presented with a whole complex of elements—all the way from ingenious rhetoric to carefully selected data and statistics—to make it easy for him to “make up his own mind” with the minimum of difficulty and effort. But the packaging is often done so effectively that the viewer, listener, or reader does not make up his own mind at all. Instead, he inserts a packaged opinion into his mind, somewhat like inserting a cassette into a cassette player. He then pushes a button and “plays back” the opinion whenever it seems appropriate to do so. He has performed acceptably without having had to think.

The ability to take data -- to be able to understand it, to process it, to extract value from it, to visualize it, to communicate it -- that’s going to be a hugely important skill in the next decades.

If a ship landed in my yard and LGMs stepped out, I’d push past their literature and try to find the cable that dropped the saucer on my roses. Lack of a cable or any significant burning to the flowers, I’d then grab a hammer and start knocking about in the ship till I was convinced that nothing said “Intel Inside.” Then when I discovered a “Flux Capacitor” type thing I would finally stop and say, “Hey, cool gadget!” Assuming the universal benevolence of the LGMs, I’d yank it out and demand from the nearest "Grey” (they are the tall nice ones), “where the hell did this come from?” Greys don’t talk, they communicate via telepathy, so I’d ignore the voice inside my head. Then stepping outside the saucer and sitting in a lawn chair, I’d throw pebbles at the aliens till I was sure they were solid. Then I’d look down at the “Flux Capacitor” and make sure it hadn’t morphed into my bird feeder. Finally, with proof in my hand and aliens sitting on my deck (they’d be offered beers, though I’ve heard that they absorb energy like a plant) I’d grab my cell phone and tell my doctor that I’m having a serious manic episode with full-blown visual hallucinations.

Our visuals must represent the truth and decode the verbal jumble so these children can find the right direction.

midline. The back of the brain is the visual cortex. The parietal cortex between the sensory and visual cortex stores motor memories for playing instruments and sports; however, human verbal communication on the left side of the brain can also be visualized through blood flow.

What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.

I’ve said this so many times… It’s not about the gear. It’s about the image. It’s about the story you tell with your gear. It’s about the overall feel of the shot and the visual power that you communicate through your creative techniques and your personal vision. In the end, you can create a great shot with any camera, whether it’s a DSLR, your compact camera or your iPhone. 

The ability to take data — to be able to understand it, to process it, to extract value from it, to visualize it, to communicate it — that’s going to be a hugely important skill in the next decades.

vessels in the fleet endured after leaving the company of the Sea Venture. The first thing that happened—and this was reported by every witness—was that the ships scattered. Contact was soon lost and it was every vessel for herself. In reality, even if the ships’ captains had wanted to stay in contact, it would have been impossible. The only way for ships to communicate was by flag or other visual signals, by lights at night, or by horns or cannon. At the height of a storm, such communication was obviously out of the question. As the wind increased and waves grew, every ship’s master would have had his hands full saving his own ship and passengers and crew.

While there are millions of information-embedded web pages online, they are, in most cases, unable to automatically extract knowledge from their inherent interconnections. A single neuron is insignificant, but as it communicates with thousands of neighbors through synapses, it suddenly becomes part of a whole, much bigger than the sum of its parts. This whole keeps changing over time by the addition and deletion of nodes, increasing or decreasing the strength of their connections, in order constantly adapt to human experience and new learning requirements. It is through this process that the brain retrieves an old memory, analyzes the thread of a sudden event, or composes an argument for a particular idea. This is the level of malleability, commonly called neuroplasticity, that the web is expected to develop in the next few years or decades.

you get such an indication from Jan that she’s going to try to derail you with a denial, or if she beats you to the punch and is able to voice the denial, there are several immediate actions you can take to quash her effort. First, if you want to get a person to stop talking, a very effective way to accomplish that is with one word: the person’s name. A fascinating nuance of human communication is that when we hear our name, we have a natural inclination to switch from speaking mode to listening mode, because it’s the way people typically get our attention to tell us something—we hear our name, and our ears perk up. The next step is to use a control phrase, like, “Jan, hold on a second,” or “Jan, give me a chance to make this clear.” That enables you to gain control of the exchange, and to ease back into your monologue. As always, it needs to be conveyed calmly, and without raising your voice—trying to control the situation by turning up your volume will create a confrontational atmosphere that will only make your job more difficult. Third, a remarkably effective mechanism to get someone to stop talking is the universal stop sign: You hold up your hand. You do it almost as a gesture of self-defense—you’re not extending it out aggressively and shoving it into the person’s face, or doing it with attitude. It’s a visual amplification of your control phrase, and it’s more powerful than you might imagine. The reason is that this is a verbal battle, and when you get the person to stop talking, you’ve taken away his weapon. In medieval times, it was a clash of swords;

Designers need to recognize that, though their goal is to influence consumers, the effect upon individuals and society must be considered. They must decide whether to use their creative energies and the power of symbol to present something that benefits society or to use it in a way that is false but personally advantageous. Today the pharmaceutical industry is a multibillion dollar business driven by the consumer's misplaced fear, ignorance, desire and hope. Take the example of antidepressants being administered to teens to treat behavior problems rooted in patterns that could be changed instead with structure, discipline, motivation and diet. Pharmaceutical drugs can certainly be a useful and effective treatment, but the industry sometimes creates a false need for the sake of profit. Symbolic

It’s exhausting,” I said. “I have to battle this part along with the sense of frustration and hopelessness it creates. It’s so tough and strong that it seems undefeatable.” “What does the overburdened restless part want?” “It wants someone to bring it under control to rest and have peace. It’s like a hyperactive fidgety child, pacing back and forth, crying for someone to make it stop.” I was having trouble connecting my inner true self to the stressed part because of the intense energy it was creating. Keith guided me by helping me communicate with the stressed part. I needed to make it understand that by stepping aside it would allow the healing process of unburdening the emotional component that was holding in the shame. Without the burden of the disgrace, the anxious, stressed-out, perfectionist, striver part would not have to work so hard to compensate for its self-perceived shortcomings. Furthermore, relieving the humiliating burdens would bring rest, tranquility, and peace. The intense energy could then be orchestrated in better ways. At this point, we ended our session. I left his office once again annoyed and uncertain, wondering if I was ever going to be able to live a normal peaceful life. As I meditated on the session during the week, I understood what my therapist was explaining. I visualized fast-forwarding directly to the ultimate goal of un-blending the various multiple defender traits from the abuse. Getting to the root of the therapy and healing process of dealing with the disgraceful iniquity was my goal. I had trouble believing whether or not my logic in understanding the process was correct. It seemed too simplistic to me at first. I envisioned confessing all my scandalous deeds and desires for the world to know. I imagined no more secrets or lies and eliminating the need to masquerade with a phony façade to hide the atrocious creature I thought I was. Instantly, I was buoyant as helium. The crushing weight from the wicked acts was lifted from my shoulders. The mortifying and disgusting impressions I had were no longer there. I was able to get a brief glimpse of the divine true self. For a moment, I physically felt what life could be like while at peace with myself. Happiness and comfort engulfed me at the possibility of living a life free of judgment, low selfesteem, anxiety and paranoia. While in this good frame of mind, I became aware of all the goodness inside of me and the decent things I was doing in life. My human flaws appeared to be minor bumps in the road rather than being amplified into major roadblocks. I began to see how I pulled myself out of mental illness, addiction, and sexual perversion. I became conscious that I survived sexual abuse at an early age and persevered by holding it together. I was imbued with a sense of accomplishment. I now comprehended and conquered the difficult therapeutic work of dealing with the harmful emotions associated with bringing the misconduct to the surface.

How do you create common ground for more effective data communication? You can start by teaching the fundamental grammar of data visualization: metrics, dimensions, distributions, relationships, outliers, and variance. You

Many organizations we encounter lament their spreadsheet-driven culture. Every department has its own mechanism for gathering, analyzing, and reporting on its unique data. No consistent “source of truth” exists and data analysts become indispensable because they are the only people in the organization who know how a financial model works, how to access and understand the data sources, and its strengths and weaknesses. People in these organizations wish for a technology solution that could bring all the information together and make it available to all decision makers in interactive, visual dashboards.

From the shameful part, I meditated on receiving and getting connected with the true self’s assurance and understanding. I was able to direct my true self to ask this trait if it needed anything else and how it wanted to release the degradation it held in. It wanted the disgraceful memories erased, as well as removing the chill and sickness in its gut when they flashed instinctively and uncontrollably in its mind. It sought to have all the unmanageable sexual images of its imagination controlled and reprogrammed with normal thoughts. It wanted to feel like it was not a consenting party to the abnormal sexual perversions that were forced upon a young child. The shameful part within me wanted reassurance that the creature I thought I had become was the result of a young mind being molded from wickedness thrust upon it during peak developmental years. It wanted to stop having to always look over its shoulder thinking it had done something wrong. It wanted to wake up in the morning at peace, not immediately expecting the worst. The shame within wanted to stop feeling like bad things were going to happen in life because it was not a good person. It wanted to feel it deserved to be happy and worthy of receiving the good things of this life. After relinquishing all the burdens of the shameful part and communicating what it wanted from the true self, I continued meditating on the connection of the true self’s understanding and the shameful part’s acceptance of that understanding. I visualized unburdening the shame like the outer tarnished skin being removed from a banana, envisioning the negative self-perceptions of myself peeling away and exposing the true clean, white, sweet goodness within. CHAPTER

More generally, a data scientist is someone who knows how to extract meaning from and interpret data, which requires both tools and methods from statistics and machine learning, as well as being human. She spends a lot of time in the process of collecting, cleaning, and munging data, because data is never clean. This process requires persistence, statistics, and software engineering skills — skills that are also necessary for understanding biases in the data, and for debugging logging output from code. Once she gets the data into shape, a crucial part is exploratory data analysis, which combines visualization and data sense. She’ll find patterns, build models, and algorithms — some with the intention of understanding product usage and the overall health of the product, and others to serve as prototypes that ultimately get baked back into the product. She may design experiments, and she is a critical part of data-driven decision making. She’ll communicate with team members, engineers, and leadership in clear language and with data visualizations so that even if her colleagues are not immersed in the data themselves, they will understand the implications.

The complexity of a subject, if crucial for understanding the story, needs to be shown in the visualisation. Thus, in many cases, clarifying a subject requires increasing the amount of information, not reducing it.

Think of your body as a program and your organs as functions. Yours organs are the functions, and they communicate by sharing information via variables that are taken as parameter for the organ and they do their own thing and the whole body functions in harmony.

Let’s consider those deceptive behaviors. At any given moment in time, as human beings we tend to be either visually dominant or auditorily dominant—we’re either more aware of and processing what we’re seeing, or more aware of and processing what we’re hearing. The problem with that goes back to what we said about communication being both verbal and nonverbal in nature, which means that deceptive behavior can come in either or both forms. How do we capture both at the same time? The

The trick is to train our brains to go into what we call “L-squared mode”—we have to tell it to look and listen simultaneously. We have to say, “Brain, for the next few seconds, you’re going to process in both the visual and auditory channels what’s being communicated to me.” Your brain will not like you for this. In fact, your brain will win the argument. After a period of time, your brain will say, “I’ve had enough,” and it will default you to one or the other. But with practice, in those few moments following the stimulus you’ll be able to condition your brain to go into L-squared mode.

It’s imperative that you cautiously guard the relevant components of your personal Brand, which include: ~ Written communications ~ Visual appearance ~ Verbal presentation In

they all share the ability to connect visually, intellectually, emotionally, and verbally.

Anytime you are in front of other people to communicate— whether it’s on a stage, in a boardroom, on a ball field, or across a coffee table—the visual impression you make will either help or hinder you.

One important issue that we must address is the possibility that there might be numerous quite different, perhaps inequivalent, algorithms that are responsible for the different modes of mathematical understanding that pertain to different individuals. Indeed, one thing is certainly clear from the start, and that is that even amongst practising mathematicians, different individuals often perceive mathematics in quite different ways from one another. To some, visual images are supremely important, whereas to others, it might be precise logical structure, subtle conceptual argument, or perhaps detailed analytic reasoning, or plain algebraic manipulation. In connection with this, it is worth remarking that, for example, geometrical and analytical thinking are believed to take place largely on opposite sides-right and left, respectively-of the brain. Yet the same mathematical truth may often be perceived in either of these ways. On the algorithmic view, it might seem, at first, that there should be a profound inequivalence between the different mathematical algorithms that each individual might possess. But, despite the very differing images that different mathematicians (or other people) may form in order to understand or to communicate mathematical ideas, a very striking fact about mathematicians' perceptions is that when they finally settle upon what they believe to be unassailably true, mathematicians will not disagree, except in such circumstances when a disagreement can be traced to an actual recognizable (correctable) error in on or the other's reasoning-or possibly to their having differences with respect to a very small number of fundamental issues;

Having all the information in the world at our fingertips doesn’t make it easier to communicate: it makes it harder. The more information you’re dealing with, the more difficult it is to filter

An experiment had students rate lecturing professors with the sound off. Their ratings closely mirrored evaluations of students who went through the courses with the same professors.

The place of the study of communication in the history of science is neither trivial, fortuitous, nor new. Even before Newton such problems were current in physics, especially in the work of Fermat, Huygens, and Leibnitz, each of whom shared an interest in physics whose focus was not mechanics but optics, the communication of visual images.

From the perspective of the objective world with its opaque qualities, or from the objective body with its isolated organs, the phenomenon of synesthesia is paradoxical...For the subject does not tell us merely that he has a sound and a color at the same time: it is the sound itself that he sees, at the place where colors form. This formula is literally rendered meaningless if vision is defined by the visual quale, or sound by the sonorous quale. But...the vision of sounds or the hearing of colors exist as phenomena. And they are hardly exceptional phenomena. Synesthetic perception is the rule and, if we do not notice it, this is because scientific knowledge displaces experience and we have unlearned seeing, hearing, and sensing in general in order to deduce what we ought to see, hear, or sense from our bodily organization and from the world as it is conceived by the physicist...In fact...by opening itself up to the structure of the thing, the senses communicate among themselves. We see the rigidity and the fragility of the glass, and, when it breaks with a crystal-clear sound, this sound is borne by the visible glass. We see the elasticity of steel, the ductility of molten steel, the hardness of the blade in a plane, and the softness of its shaving...The form of a fold in a fabric of linen or of cotton shows us the softness or the dryness of the fiber, and the coolness or the warmth of the fabric...In the movement of the branch from which a bird has just left, we read its flexibility and its elasticity, and this is how the branch of an apple tree and the branch of a birch are immediately distinguished. We see the weight of a block of cast iron that sinks into the sand, the fluidity of the water, and the viscosity of the syrup. Likewise, I hear the hardness and the unevenness if the cobblestones in the sound of a car, and we are right to speak of a 'soft,' 'dull' or 'dry' sound.

Without minimizing the value of intuition as a problem solving tool, we propose that systematic design programs are more valuable from a communication standpoint than ad hoc solutions; that intention is preferable to accident; that principled rationale provides a compelling basis for design decisions than personal creative impulse.

First, To whom are you communicating? It is important to have a good understanding of who your audience is and how they perceive you. This can help you to identify common ground that will help you ensure they hear your message. Second, What do you want your audience to know or do?

Other means of communicating with spirits include divination, dreams, oracles, and visualizations. Spells and rituals can also facilitate communication.

The concept of Tawhid explains an idea that innovation arises not from the mind of a single individual but from the synergy of multiple sources.

So how do you think scripts should be read? How can they be read? When I was trying to write the stage directions for publication—in those final few weeks of scramble before we opened—I got really worried about all this. I remember in rehearsals we’d delete chunks of the script because the actors were communicating something effortlessly with a look, so didn’t need the lines I’d written. This script was created for a particular group of actors, but others need to inhabit the roles too. The reader needs to visualize the characters, as does the director. When you’re reading a script for the first time, what are you looking for? JOHN: As a director, the first time you read a new script is very precious. It’s the closest you’re ever going to be to an audience watching a production of this script for the first time. Reading a finished script should allow us access to the story, its characters, and the themes the playwright is exploring. A script can make us laugh and cry. It can take us through the joy of its story and also make us feel deep despair for the suffering of its characters. A script builds towards a fully realized production and an experience that can be shared with the audience.   As a playwright, how much of this full experience do you imagine when you are writing a script? Do you speak the characters’ lines out loud as you type them? JACK: I do worse than that, I move like them. Which, when you’re working in well-known coffee shops and sandwich retailers, can lead to you attracting some strange looks. I find myself twisting into the character and gesticulating like them. It’s all very embarrassing.   The thing that was perhaps most interesting about the process of writing this particular script is that I have never spent more time with actors—ever. Through the weeks of workshops and then weeks of rehearsals we were all in those rooms together for so long, all of us, from the design team to the sound team to the lights. I don’t think any of us have experienced anything like that—I think it probably works out at eight months or so, all in all. What effect would you say that had on what was created? I’m sure it made it all a lot better, but more than that do you think it somehow changed the tone of what we did?

LET ME PREPARE YOU for the day that stretches out before you. I know exactly what this day will contain, whereas you have only vague ideas about it. You would like to see a map, showing all the twists and turns of your journey. You’d feel more prepared if you could somehow visualize what is on the road ahead. However, there is a better way to be prepared for whatever you will encounter today: Spend quality time with Me. I will not show you what is on the road ahead, but I will thoroughly equip you for the journey. My living Presence is your Companion each step of the way. Stay in continual communication with Me, whispering My Name whenever you need to redirect your thoughts. Thus, you can walk through this day with your focus on Me. My abiding Presence is the best road map available.

successful identity project needs internal buy-in, where the client feels more unified behind a vision and direction. It’s then much easier for the client to communicate that vision externally.

The law of manifestation operates like a triangle: First, know what you want and visualize it as if you already had it; Second, see it behind the illusion of reality, practice it in your decisions, choose the people you hang out with, etc; Third, believe, have faith and work on your emotions to be at the right frequency. This triangle of manifestation is one of the secrets of many religions: Scientology, Freemasonry and Rosicrucianism. In Masonry is seen as "heart, mind and desire"; in Scientology is perceived as "reality, communication and emotions"; basically, "actions, learnings and affinity". In Christianity, is the "Father, son and holy ghost". Father equals reality or Creator of the illusion; The son is the way, the path, our decisions and actions; The holy ghost is our heart, instincts and desires. In word words, through Jesus, and with the power of the Holy Ghost, you reach God. This is an allegory that most Christians can't understand. Jesus represent behavior - right and wrong; holy ghost is faith, your heart and emotions, it's the energy that connects you to your dreams; God represents the architect of reality. So, through moral behavior and emotions, your understand God and life, and then you receive "paradise". This paradise is whatever you dream for yourself. If someone has shown you this way, he has been as an angel, a messenger of God. If someone stopped you from reaching it, he has been as a demon, worker of Satan. If you failed to see this path, you have directed yourself to hell. If you hate your life, you are in hell. If you want to get out of hell, you must accept the truth, and that is that you must know God, for he is the truth.

Here are several strategies for enhancing communication when addressing an audience of second-language English speakers: Slow down. Slow down. Slow down. Use clear, slow speech. Enunciate carefully. Avoid colloquial expressions. Repeat important points using different words to explain the same thing. Avoid long, compound sentences. Use visual representations (pictures, tables, graphs,

Re-imagination is the birthplace for vision and change. Your imagination is one of the most valuable talents you have and deserves your full attention. Imagining how you want to live your life is one thing, but connecting your imagination to a visual representation will give you exactly the traction you need to make it a reality.

What is art? Art is a form of communication, a language, you see. It is a physical, visual representation of a word, a story, a feeling. To those who babble on, “That's not art!” Are those who do not speak the language of the artist. If I spoke to you in Latin, you may not understand, and yet, a language it remains.   You see, the only qualifier of art is that at least one other must understand its intention.  

There are three categories of criteria that an individual must meet in order to be diagnosed with ASD. The categories are listed below along with the typical traits, which may indicate whether the individual needs further assessment: 1.Persistent deficits in social communication and social interaction across contexts, not accounted for by general developmental delays: lack of friends and social life friends often much older or younger mumbling and not completing sentences issues with social rules (such as staring at other people) inability to understand jokes and the benefit of ‘small talk’ introverted (shy) and socially awkward inability to understand other people’s thoughts and feelings uncomfortable in large crowds and noisy places detached and emotionally inexpressive. 2.Restricted, repetitive patterns of behaviour, interests or activities: obsession with ‘special interests’ collecting objects (such as stamps and coins) attachment to routines and rituals ability to focus on a single task for long periods eccentric or unorthodox behaviour non-conformist and distrusting of authority difficulty following illogical conventions attracted to foreign cultures affinity with nature and animals support for victims of injustice, underdogs and scapegoats. 3.Restricted, repetitive patterns of behaviour, interests or activities: inappropriate emotional responses victimised or bullied at school, work and home overthinking and constant logical analysis spending much time alone strange laugh or cackle inability to make direct eye contact when talking highly sensitive to light, sound, taste, smell and touch uncoordinated and clumsy with poor posture difficulty coping with change adept at abstract thinking ability to process data sets logically and notice patterns or trends truthful, naïve and often gullible slow mental processing and vulnerable to mental exhaustion intellectual and ungrounded rather than intuitive and instinctive problems with anxiety and sleeping visual memory.

unlike the building industry, the software development industry lacks a standard, consistent way to think about, describe and visually communicate software architecture

Being a good owner involves accepting that dogs come with some limitations and respecting those limitations, so that we don’t place dogs in situations where they are likely to fail. Avoiding Pitfalls and Staying on Track Remember to look at the entire dog, not just one body part or a single vocalization, and to also look at the situation to get an accurate read of the dog’s emotional state. Dogs understand some words, but they can’t understand a full conversation. Gestures and body language are clearer ways to communicate with dogs. Clear communication takes attention and effort, but is well worth it! Not every dog can succeed in every situation. Watch your dog for signs of anxiety or aggression and change the circumstances so that the dog doesn’t get overwhelmed. If something seems like it’s about to happen, step in. Either remove the dog from the situation or change what’s happening. What Did We Say? Sometimes our dogs must feel the way you would if you were dropped into a place where you don’t speak the language and no one speaks English. Dogs primarily use nonverbal communication. Learn to read dog body language. Listen with your eyes as well as your ears. Using visual cues and training techniques based on positive reinforcement will help you be more successful in communicating with your dog. Not every dog can do every task or succeed in every situation. Pay attention to your dog and make smart choices.

Who is your audience? What do you need them to know or do? This chapter describes the importance of understanding the situational context, including the audience, communication mechanism, and desired tone.

Highlighting one aspect can make other things harder to see One word of warning in using preattentive attributes: when you highlight one point in your story, it can actually make other points harder to see. When you’re doing exploratory analysis, you should mostly avoid the use of preattentive attributes for this reason. When it comes to explanatory analysis, however, you should have a specific story you are communicating to your audience. Leverage preattentive attributes to help make that story visually clear.

When we’re at the point of communicating our analysis to our audience, we really want to be in the explanatory space, meaning you have a specific thing you want to explain, a specific story you want to tell—probably about those two pearls.

What do you need your audience to know or do? This is the point where you think through how to make what you communicate relevant for your audience and form a clear understanding of why they should care about what you say.

What we know today as the Internet (and the visual component of the World Wide Web) evolved from military to academic to commercial interests. In the 1970s, the U.S. Department of Defense wanted a secure communications system that could survive disasters. In the 1980s, the National Science Foundation (NSF) funded a network so that scientists at major universities could communicate and share research. In 1990, NSF announced a plan for privatization.

Value Stream Management Do policies need to be changed to enable improved performance? Are there organization departmental reporting structures that can be changed to reduce conflicting goals or align resources? Do existing performance metrics (if any) encourage desired behaviors and discourage dysfunctional behavior? What key performance indicators (KPIs) will we use to monitor value stream performance? Who will monitor the KPIs? How frequently? Who else will results be communicated to? What visual systems can be created to aid in managing and monitoring the value stream? Are the key processes within the value stream clearly defined with their own KPIs, standardized appropriately, and measured and improved regularly?