Visual Effects Quotes

We've searched our database for all the quotes and captions related to Visual Effects. Here they are! All 200 of them:

Is the beauty myth good to men? It hurts them by teaching them how to avoid loving women. It prevents men from actually seeing women. It does not, contrary to its own professed ideology, stimulate and gratify sexual longing. In suggesting a vision in place of a woman, it has a numbing effect, reducing all senses but the visual, and impairing even that.
Naomi Wolf
PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.
Edward R. Tufte (Beautiful Evidence)
All buildings have a psychological as well as a purely visual effect on the landscape.
Elisabeth Beazley (Designed For Recreation: A Practical Handbook For All Concerned With Providing Leisure Facilities In The Countryside)
think you’re emotionally compromised right now.” That was … that was so completely not true. Stupid humans. Sure, I’d had an emotional breakdown with the whole evisceration thing, but I was fine now, despite the drop in performance reliability. Absolutely fine. And I had to kill the rest of the Targets in the extremely painful ways I’d been visualizing.
Martha Wells (Network Effect (The Murderbot Diaries, #5))
All this happened in much less time than it takes to tell, since I am trying to interpret for you into slow speech the instantaneous effect of visual impressions.
Joseph Conrad (Lord Jim)
What I call “power vision” is the powerful effect that comes from visualizing something that you want to happen, believing in it, practicing that visualization, and then—shazam!—like a superpower, it becomes true. All you have to do is imagine what you want, envision it, and believe.
Art Rios (Let's Talk: ...about Making Your Life Exciting, Easier, and Exceptional)
Hypotyposis is the rhetorical effect by which words succeed in rendering a visual scene.
Umberto Eco (Mouse or Rat?: Translation as Negotiation)
What I take from writers I like is their economy - the ability to use language to very effective ends. The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words - that's magical.
Mos Def
Walking causes a repetitive, spontaneous poetry to rise naturally to the lips, words as simple as the sound of footsteps on the road. There also seems to be an echo of walking in the practice of two choruses singing a psalm in alternate verses, each on a single note, a practice that makes it possible to chant and listen by turns. Its main effect is one of repetition and alternation that St Ambrose compared to the sound of the sea: when a gentle surf is breaking quietly on the shore the regularity of the sound doesn’t break the silence, but structures it and renders it audible. Psalmody in the same way, in the to-and-fro of alternating responses, produces (Ambrose said) a happy tranquillity in the soul. The echoing chants, the ebb and flow of waves recall the alternating movement of walking legs: not to shatter but to make the world’s presence palpable and keep time with it. And just as Claudel said that sound renders silence accessible and useful, it ought to be said that walking renders presence accessible and useful.
Frédéric Gros (A Philosophy of Walking)
Awareness makes us emotionally brilliant! If you can honestly say that you are fully aware of what you’re up against in life, you are brilliant. Being aware means you are informed―alert, knowledgeable, sophisticated―and you have the tools to visualize, strategize, focus, and win. The more aware you are of life and its difficulties, of how people act and their effect on you, of your own quirks and how you handle both good and bad situations, the better off you are. But how many of us are that aware?
Lorii Myers
When you can let your worry thoughts go and feel good most of the time, you will be engaged in one long, continuous visualization session throughout the day. Your manifestation effectiveness will be increased many times, because you’ll now be in a receptive state where miracles can happen for you.
Richard Dotts (Playing In Time And Space: The Miracle of Inspired Manifestations)
Below, he could see down the entire Strip, from the radioactive green lion at the base of the MGM Grand to the glowing spire of the Stratosphere. The logjam street traffic just added to the visual effect: a thousand headlights blinking like neurons in the glowing spine that snaked down the center of the city.
Ben Mezrich (Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions)
be sure your communication goes beyond words. How can you do that? By connecting on four levels: visually, intellectually, emotionally, and verbally.
John C. Maxwell (Everyone Communicates, Few Connect: What the Most Effective People Do Differently)
If you don’t make a conscious effort to visualize who you are and what you want in life, then you empower other people and circumstances to shape you and your life by default.
Stephen R. Covey (The 7 Habits of Highly Effective People Personal Workbook)
The Starship Enterprise is not a collection of motion picture sets or a model used in visual effects. It is a very real vehicle; one designed for storytelling.
Rick Sternbach (Star Trek: The Next Generation Technical Manual (Star Trek: The Next Generation))
The tides of time should be able to imprint the passing of the years on an object. The physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.
Andrew Juniper (Wabi Sabi: The Japanese Art of Impermanence)
Ruskin’s interest in beauty and in its possession led him to five central conclusions. First, beauty was the result of a number of complex factors that affected the mind both psychologically and visually. Second, humans had an innate tendency to respond to beauty and to desire to possess it. Third, there were many lower expressions of this desire for possession (including, as we have seen, buying souvenirs and carpets, carving one’s name on a pillar and taking photographs). Fourth, there was only one way to possess beauty properly, and that was by understanding it, by making oneself conscious of the factors (psychological and visual) responsible for it. And last, the most effective means of pursuing this conscious understanding was by attempting to describe beautiful places through art, by writing about or drawing them, irrespective of whether one happened to have any talent for doing so.
Alain de Botton (The Art of Travel)
The effect is both domestic and wild, equal parts geometric and chaotic. It's the visual signature of small, diversified farms that creates the picture-postcard landscape here, along with its celebrated gastronomic one. Couldn't Americans learn to love landscapes like these around our cities, treasuring them not just gastronomically but aesthetically, instead of giving everything over to suburban development? Can we only love agriculture on postcards?
Barbara Kingsolver (Animal, Vegetable, Miracle: A Year of Food Life)
It had an effect of malice, as if he were suggesting I could never be completely on my own, that he would be around, that he would be back. I was suddenly afraid. The thing is, that feeling is just as real to me now as it was then. The visuals are just as real.
Iain Reid (I'm Thinking of Ending Things)
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.
Michael Bassey Johnson (Song of a Nature Lover)
The ripple effects of young Opal's murder in the corner of a field were more widespread than even Artemis could have imagined, though in truth imagine is the wrong verb, as Artemis Fowl was not in the habit of imagining anything. Even as a small boy, he had never nurtured daydreams of himself on horseback fighting dragons. What Artemis preferred to do was visualize an achievable objective and then work toward that goal.
Eoin Colfer (The Last Guardian (Artemis Fowl, #8))
Yes. You see, the whole nature, shape and even the modern blue pigment of the TARDIS is so deeply unfamiliar to the primitive mind that, although the optic nerve registers its presence, the brain cannot decode what it is seeing. The primitive visual cortex is unable to relay information about it consciously to the viewer. In effect, even though her chameleon circuit is still damaged, she’s as good as invisible. She’ll be just fine.
Marcus Sedgwick (The Spear of Destiny (Doctor Who 50th Anniversary E-Shorts, #3))
that “television advertisements would be most effective if the visual display created repetitive vertical movement of the television viewers’ heads
Malcolm Gladwell (The Tipping Point: How Little Things Can Make a Big Difference)
Bad or good, movies nearly always have a strange diminishing effect on works of fantasy (of course there are exceptions; The Wizard of Oz is an example which springs immediately to mind). In discussions, people are willing to cast various parts endlessly. I've always thought Robert Duvall would make a splendid Randall Flagg, but I've heard people suggest such people as Clint Eastwood, Bruce Dern and Christopher Walken. They all sound good, just as Bruce Springsteen would seem to make an interesting Larry Underwood, if ever he chose to try acting (and, based on his videos, I think he would do very well ... although my personal choice would be Marshall Crenshaw). But in the end, I think it's best for Stu, Larry, Glen, Frannie, Ralph, Tom Cullen, Lloyd, and that dark fellow to belong to the reader, who will visualize them through the lens of the imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction - anyone who has ever seen One Flew Over The Cuckoo's Nest and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad ... but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.
Stephen King (The Stand)
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.
Frank Luntz (Words That Work: It's Not What You Say, It's What People Hear)
you’ll need to be more precise and identify in clear, concrete terms your ideal approach to work and the effects you hope tidying will have on your life. So before you start, visualize your ideal work life.
Marie Kondō (Joy at Work: The Life-Changing Magic of Organising Your Working Life)
What I want you to understand is that the words that our schools, our government, our media, our colleagues, and our family use have a profound effect on how you think and feel about life. The words that you learn, and then use to speak and think with, are molding your reality. Your vernacular creates your visual representation of the world, and the language you think with essentially creates your experienced reality.
Ricardo Cruz Leal (Raw, Naked & Fearless: 11 Principles for Living Your Greatest Life)
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.
Everett N. McKay (UI is Communication: How to Design Intuitive, User Centered Interfaces by Focusing on Effective Communication)
Much of what we have been doing to improve the world's opinion of us has had the contrary effect. Audio-visual aids which we have sent over the world are primary aids to the belief in the irrelevance, the arrogance, the rigidity, and the conceit of America. Not because they are poorly made. On the contrary, because they are well made and vividly projected. Not because they are favorable images or unfavorable images, but because they are images.
Daniel J. Boorstin (The Image: A Guide to Pseudo-Events in America)
The Dalai Lama has said that transforming thought is one of his favorite practices. He instructs, “Let yourself visualize the effects of unskillful thought patterns such as annoyance, anger, self-judgment, and so forth. Inwardly see how such thoughts affect you: the tension, the raising of your pulse rate, the discomfort. Outwardly see how such thoughts affect others who hold them, making them upset, rigid, even ugly. Then make the compassionate determination, ‘I will never allow such states to make me lose my peace of mind.
Jack Kornfield (The Wise Heart: A Guide to the Universal Teachings of Buddhist Psychology)
A whoosh and the lines of fire sucked back toward Ayden, flames disappearing into his hands. Back to normal. “Ayden’s the most visually effective,” Matthias said. A burning scent lingered but no damage to the “hottie” in front of me. I know, I know, but I couldn’t resist.
A. Kirk (Demons at Deadnight (Divinicus Nex Chronicles, #1))
The wave changed everything. It had an effect of malice, as if he were suggesting I could never be completely on my own, that he would be around, that he would be back. I was suddenly afraid. The thing is, that feeling is just as real to me now as it was then. The visuals are just as real.
Iain Reid (I'm Thinking of Ending Things)
SEE YOUR FUTURE I want you to imagine yourself a year from now. You know that in a year you are going to be different, whether you do nothing or something. And the choices you make between now and then will determine that difference. But for today, I want you to imagine owning all those other days. Visualize that you wake up with purpose and clarity. You push yourself against resistance. You take control of your diet and supplementation. You turn dead time into alive time. You work effectively and aren’t afraid to power down the engines to rest. You train your body into a durable, capable machine. You connect with yourself, your friends, and the universe. You turn sex into an adventure of pleasure. You go to sleep with a mission, and actually … sleep. Imagine what a year of living like that has done for you. Walk in the shoes of that new person. See yourself through that person’s eyes. Look in the mirror at that body. Maybe the circles under your eyes are gone, and that stubborn weight has lifted—mentally and physically. See what has happened in your career, and in your family. That person is you, on the other side of Resistance. If you see it clearly enough, it will be done.
Aubrey Marcus (Own the Day, Own Your Life: Optimised practices for waking, working, learning, eating, training, playing, sleeping and sex)
People are typically more comfortable talking with others in their own environment; being asked to come to a conference room to help a leadership-heavy team evaluate work flow can evoke understandable anxiety and make them feel like they are on a witness stand. It is much more effective to go to them.
Karen Martin (Value Stream Mapping: How to Visualize Work Flow and Align People for Organizational Transformation: Using Lean Business Practices to Transform Office and Service Environments)
The transition from subject to observer was instantaneous, sensations, sights, and sounds changing from instruments of torment to a fascinating display of electronic signals. The spectra included thousands of frequencies, visual, audio and psi bands alike, each customized for a specific effect, a pseudo symphony for an audience of one.
Marcha A. Fox (A Psilent Place Below (Star Trails Tetralogy, #3))
The tides of time should be able to imprint the passing of the years on an object. They physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.
Andrew Juniper (Wabi Sabi: The Japanese Art of Impermanence)
System 2 and the electrical circuits in your home both have limited capacity, but they respond differently to threatened overload. A breaker trips when the demand for current is excessive, causing all devices on that circuit to lose power at once. In contrast, the response to mental overload is selective and precise: System 2 protects the most important activity, so it receives the attention it needs; “spare capacity” is allocated second by second to other tasks. In our version of the gorilla experiment, we instructed the participants to assign priority to the digit task. We know that they followed that instruction, because the timing of the visual target had no effect on the main task. If the critical letter was presented at a time of high demand, the subjects simply did not see it. When the transformation task was less demanding, detection performance was better.
Daniel Kahneman (Thinking, Fast and Slow)
Trump’s supporters are the most likely group to ignore or despise the MSM. Hillary’s supporters, with their complete control of the MSM echo-chamber, ironically sabotaged their own cause. Their minds were filled with not just images of the wondrous utopia Hillary would bring forth, but also with horrifying visions of the nightmare of Trump’s victory. They effectively supplemented the Trump side’s visualizations. As Adams remarked after the election:   As
James J. O'Meara (Trump: The Art of the Meme)
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.
Steven Hall (The Raw Shark Texts)
If a fountain could jet bouquets of chrome yellow in dazzling arches of chrysanthemum fireworks, that would be Canada Goldenrod. Each three-foot stem is a geyser of tiny gold daisies, ladylike in miniature, exuberant en masse. Where the soil is damp enough, they stand side by side with their perfect counterpart, New England Asters. Not the pale domesticates of the perennial border, the weak sauce of lavender or sky blue, but full-on royal purple that would make a violet shrink. The daisylike fringe of purple petals surrounds a disc as bright as the sun at high noon, a golden-orange pool, just a tantalizing shade darker than the surrounding goldenrod. Alone, each is a botanical superlative. Together, the visual effect is stunning. Purple and gold, the heraldic colors of the king and queen of the meadow, a regal procession in complementary colors. I just wanted to know why. In composing a palette, putting them together makes each more vivid; just a touch of one will bring out the other. In an 1890 treatise on color perception, Goethe, who was both a scientist and a poet, wrote that “the colors diametrically opposed to each other . . . are those which reciprocally evoke each other in the eye.” Purple and yellow are a reciprocal pair. Growing together, both receive more pollinator visits than they would if they were growing alone. It’s a testable hypothesis; it’s a question of science, a question of art, and a question of beauty. Why are they beautiful together? It is a phenomenon simultaneously material and spiritual, for which we need all wavelengths, for which we need depth perception. When I stare too long at the world with science eyes, I see an afterimage of traditional knowledge. Might science and traditional knowledge be purple and yellow to one another, might they be goldenrod and asters? We see the world more fully when we use both. The question of goldenrod and asters was of course just emblematic of what I really wanted to know. It was an architecture of relationships, of connections that I yearned to understand. I wanted to see the shimmering threads that hold it all together. And I wanted to know why we love the world, why the most ordinary scrap of meadow can rock us back on our heels in awe.
Robin Wall Kimmerer (Braiding Sweetgrass)
Warning: This data storage unit, or "book," has been designed to reprogram the human brain, allowing it to replicate the lost art that was once called reading. It is a simple adjustment and there will be no negative or harmful effects from this process. What you are doing: "Reading" Explained Each sheet is indelibly printed with information and the sheets are visually scanned from left to right, and from top to bottom. This scanned information is passed through the visual cortex directly into the brain, where it can then be accessed just like any other data.
Mike A. Lancaster
There were many skies. The sky was invaded by great white clouds, flat on the bottom but round and billowy on top. The sky was completely cloudless, of a blue quite shattering to the senses. The sky was a heavy, suffocating blanket of grey cloud, but without promise of rain. The sky was thinly overcast. The sky was dappled with small, white, fleecy clouds. The sky was streaked with high, thin clouds that looked like a cotton ball stretched a part. The sky was a featureless milky haze. The sky was a density of dark and blustery rain clouds that passed by without delivering rain. The sky was painted with a small number of flat clouds that looked like sandbars. The sky was a mere block to allow a visual effect on the horizon: sunlight flooding the ocean, the vertical edges of between light and shadow perfectly distinct. The sky was a distant black curtain of falling rain. The sky was many clouds at many levels, some thick and opaque, others looking like smoke. The sky was black and spitting on my smiling face. The sky was nothing but falling water, a ceaseless deluge that wrinkled and bloated my skin and froze me stiff.
Yann Martel (Life of Pi)
What appears in the former statue of Apollo, however, cannot simply be equated with the Olympian of the same name, who had to ensure light, contours, foreknowledge and security of form in his days of completeness. Rather, as the poem's title implies, he stands for something much older, something rising from prehistoric sources. He symbolizes a divine magma in which something of the first ordering force, as old as the world itself, becomes manifest. There is no doubt that memories of Rodin and his cyclopian work ethic had an effect on Rilke here. During his work with the great artist, he experienced what it means to work on the surfaces of bodies until they are nothing but a fabric of carefully shaped, luminous, almost seeing 'places'. A few years earlier, he had written of Rodin's sculptures that 'there were endless places, and none of them did not have something happening in them'. Each place is a point at which Apollo, the god of forms and surfaces, makes a visually intense and haptically palpable compromise with his older opponent Dionysus, the god of urges and currents. That this energized Apollo embodies a manifestation of Dionysus is indicated by the statement that the stone glistens 'like wild beasts' fur'.
Peter Sloterdijk (Du mußt dein Leben ändern)
His performance was also intensely visual, with his volatile movements in front of the piano, and his cries and wild vocal accompaniment to his playing, all of which spoke eloquently of his extraordinary passion for the instrument and the music he coaxed, tickled and sometimes pounded out of him. Many critics were put off by all this, thinking it was a mere outward show- and therefore insincere. In fact it is an essential part of music-making for Jarrett, his way of achieving his state of grace… the ecstasy of inspiration. Miles Davis understood that immediately, and so did most other musicians. Jack DeJohonette says: “The one thing that struck me about Keith, that made him stand out from other players, was that he really has a love affair with the piano, it’s a relationship with that instrument… Keith’s hands are actually quire small but because of that he can do things that a person like myself, or other pianists with normal hand spans, can’t do… it enables him to overlap certain chord sequences and do rhythmic things and contrapuntal lines and get these effects of like, four people playing the piano… But I’ve never seen anybody just have such a rapport with their instrument and know its limitations but also push them to the limits, transcend the instrument – which is what I try and do with the drums as well.
Ian Carr (Keith Jarrett: The Man And His Music)
Sliding Doors and Run Lola Run (1998)—These two movies, neither of which is technically science fiction, were released in the same year. We see the idea of timelines branching from a single point which lead to different outcomes. In the example of Sliding Doors, a separate timeline branches off of the first timeline and then exists in parallel for some time, overlapping the main timeline, before merging back in. In Run Lola Run, on the other hand, we see Lola trying to rescue her boyfriend Manni by rewinding what happened and making different choices multiple times. We see visually what running our Core Loop might look like in a real-world, high-stress situation.
Rizwan Virk (The Simulated Multiverse: An MIT Computer Scientist Explores Parallel Universes, The Simulation Hypothesis, Quantum Computing and the Mandela Effect)
Our most surprising finding was a white spot in the left frontal lobe of the cortex, in a region called Broca’s area. In this case the change in color meant that there was a significant decrease in that part of the brain. Broca’s area is one of the speech centers of the brain, which is often affected in stroke patients when the blood supply to that region is cut off. Without a functioning Broca’s area, you cannot put your thoughts and feelings into words. Our scans showed that Broca’s area went offline whenever a flashback was triggered. In other words, we had visual proof that the effects of trauma are not necessarily different from—and can overlap with—the effects of physical lesions like strokes. All trauma is preverbal.
Bessel van der Kolk (The Body Keeps the Score: Mind, Brain and Body in the Transformation of Trauma)
In Europe, the dimensions of physical space seemed compressed. The looming vertical presence of mountains cut me off from the horizon. I'd not lived with that kind of spatial curtailment before. Even a city of skyscrapers is more porous than a snowcapped range. Alps form a solid barrier, an obstacle every bit as conceptual as visual and physical. Alpine bluffs and crags just don't rear up, they lean outwards, projecting their mass, and their solidity does not relent. For a West Australian like me, whose default setting is in diametric opposition, and for whom space is the impinging force, the effect is claustrophobic. I think I was constantly and instinctively searching for distances that were unavailable, measuring space and coming up short.
Tim Winton (Island Home)
From the perspective of the radicals, the habitus basis of human existence is, as a whole, no more than a spiritually worthless puppet theatre into which a free ego-soul must be implanted after the fact, and through the greatest effort. If this fails, one experiences an effect in most people that is familiar from many athletes and models: they make a promising visual impression - but if one knocks, no one is at home. According to these doctrines, the adept can only rid themselves of their baggage by subjecting their life to a rigorous practice regime by which they can de-automize their behaviour in all important dimensions. At the same time, they must re-automatize their newly acquired behaviour so that what they want to be or represent becomes second nature.
Peter Sloterdijk (Du mußt dein Leben ändern)
The second implication of these studies is that nonverbal cues are as or more important than verbal cues. The subtle circumstances surrounding how we say things may matter more than what we say. Jennings, after all, wasn’t injecting all kinds of pro-Reagan comments in his newscasts. In fact, as I mentioned, ABC was independently observed to have been the most hostile to Reagan. One of the conclusions of the authors of the headphones study—Gary Wells of the University of Alberta and Richard Petty of the University of Missouri—was that “television advertisements would be most effective if the visual display created repetitive vertical movement of the television viewers’ heads (e.g., bouncing ball).” Simple physical movements and observations can have a profound effect on how we feel and think.
Malcolm Gladwell (The Tipping Point: How Little Things Can Make a Big Difference)
Merleau-Ponty's painting inhabits the same rhetoric as early cinema: it makes the invisible visible, or rather it makes visibility visible; it forms from the thresholds of the visible and invisible world, an order, mode, or aesthetic of visuality. Not only of the small or fast, but of visibility as such. The visuality of the visible and the invisible is found in the mixture of the body and its world, of your body and your world, all your worlds, all your bodies in this world and all those others. Painting is the process by which the visuality of the visible and invisible is made manifest: "Painting mixes up all our categories in laying out its oneiric universe of carnal essences, of effective likenesses, of mute meanings." Each painting is a universal archive, a picture of the universe, a universal image—and like a dream.
Akira Mizuta Lippit (Atomic Light (Shadow Optics))
In one of our early conversations, Bob said to me, "I like Einstein as a character, because everybody knows who he is." In a sense, we didn't need to tell an Einstein story because everybody who eventually saw our Einstein brought their own story with them. In the four months that we toured Einstein in Europe we had many occasions to meet with our audiences, and people occasionally would ask us what it "meant." But far more often people told us what it meant to them, sometimes even giving us plot elucidation and complete scenario. The point about Einstein was clearly not what it "meant" but that it was meaningful as generally experienced by the people who saw it. From the viewpoint of the creators, of course, that is exactly the way it was constructed to work. Though we made no attempt at all to tell a story, we did use dramaturgical devices to create a clearly paced overall dramatic shape. For instance, a "finale" is a dramaturgical device; an "epilogue" is another. Using contrasting sections, like a slow trial scene followed by a fast dance scene, is a dramaturgical device, and we used such devices freely. I am sure that the absence of direct connotative "meaning" made it all the easier for the spectator to personalize the experience by supplying his own special "meaning" out of his own experience, while the work itself remained resolutely abstract. As to the use of three visual schemes, or images, Bob often mentioned that he envisioned them in three distinct ways: (1) a landscape seen at a distance (the Field/Spaceship scenes); (2) still lifes seen at a middle distance (the Trial scenes); and (3) portraits seen as in a closeup (the Knee Plays). As these three perspectives rotated through the four acts of the work, they created the sequence of images in an ordered scale. Furthermore, the recurrence of the images implied a kind of quasi-development. For example, the sequence of Train scenes from the Act I, scene 1 Train, to the "night train" of Act II and finally the building which resembled in perspective the departing night train, presented that sequence of images in a reductive order (each one became less "train-like") and at the same time more focused and energized. The same process applies to the sequence of Trial scenes (ending with a bar of light representing the bed) as well as the Field/Spaceship, with the final scene in the interior of the spaceship serving as a kind of apocalyptic grand finale of the whole work. Each time an image reappeared, it was altered to become more abstract and, oddly enough, more powerful. The way these three sequences were intercut with each other, as well as with the portrait-scale Knee Plays, served to heighten the dramatic effect.
Philip Glass (Opera On The Beach)
Ideas for Journal Entries You may find the following ideas useful in beginning your journal or keeping the entries varied. If you are not used to expressing your thoughts on paper, it may seem awkward at first. The longer you do it, the easier it will become. You’ll be amazed at the insight you gain into your life. -Write about your most memorable experience with social anxiety. How did you feel? What did you think? How did others react? Why do you think the event happened? -Write about situations that make you anxious every day. Record your thoughts, feelings, and actions. You may want to divide the page into columns with the headings: situation or event; negative thoughts; physical reactions; and actions. Following is an example of how this may look: Situation or Event Should I attend the first art class after school. Negative Thoughts I thought about skipping out. I was afraid of what people would think. I wanted to do a good job. Physical Reactions I felt a shortness of breath. In general, I was nervous and in a bad mood. Actions I took some deep breaths and visualized the class going well. Later, I became engrossed in my drawing. -Write about a time when you were pleased with how you acted in a social situation. -Identify times when anxiety symptoms kept you from doing something that you really wanted to do. How did you feel? What might have happened if you had not been afraid? -Write a letter to someone who made you feel bad about yourself. You aren’t going to show the letter to anyone, so feel free to write whatever you want. -Write out a conversation with your inner voice. Begin the entry with a question directed to yourself, then write your mental response. It may help to label the different voices A and B. Dialogue writing is a very effective way to get to the heart of the matter.
Heather Moehn (Social Anxiety)
Bad or good, movies nearly always have a strange diminishing effect on works of fantasy... In discussions, people are willing to cast various parts endlessly... But in the end, I think it's perhaps best for [the characters] to belong to the reader, who will visualize them through the lens of imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction―anyone who has ever seen 'One Flew Over the Cuckoo's Nest' and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad . . . but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.
Stephen King (The Stand)
To escape the throngs, we decided to see the new Neil Degrasse Tyson planetarium show, Dark Universe. It costs more than two movie tickets and is less than thirty minutes long, but still I want to go back and see it again, preferably as soon as possible. It was more visually stunning than any Hollywood special effect I’d ever seen, making our smallness as individuals both staggering and - strangely - rather comforting. Only five percent of the universe consists of ordinary matter, Neil tells us. That includes all matter - you, and me, and the body of Michael Brown, and Mork’s rainbow suspenders, and the letters I wrote all summer, and the air conditioner I put out on the curb on Christmas Day because I was tired of looking at it and being reminded of the person who had installed it, and my sad dying computer that sounds like a swarm of bees when it gets too hot, and the fields of Point Reyes, and this year’s blossoms which are dust now, and the drafts of my book, and Israeli tanks, and the untaxed cigarettes that Eric Garner sold, and my father’s ill-fitting leg brace that did not accomplish what he’d hoped for in terms of restoring mobility, and the Denver airport, and haunting sperm whales that sleep vertically, and the water they sleep in, and Mars and Jupiter and all of the stars we see and all of the ones we don’t. That’s all regular matter, just five percent. A quarter is “dark matter,” which is invisible and detectable only by gravitational pull, and a whopping 70 percent of the universe is made up of “dark energy,” described as a cosmic antigravity, as yet totally unknowable. It’s basically all mystery out there - all of it, with just this one sliver of knowable, livable, finite light and life. And did I mention the effects were really cool? After seeing something like that it’s hard to stay mad at anyone, even yourself.
Summer Brennan
Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable. Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow. And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness. The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.
Ashim Shanker (Don't Forget to Breathe (Migrations, Volume I))
They say that Ridley is a very visual director and he’s indifferent with actors. He’s obviously changed over the years, but I’ll never forget this one sequence. We had wind machines going full blast, we had unicorns, smoke effects, moonbeams coming down, we had all these pigeons dyed different colours, we had a bear eating honey, we had bees floating around, butterflies and sparrows, we had everything. We were in the studio from seven o’clock in the morning until two, without breaking for lunch, preparing this one shot. When Ridley had everything right he shouted, ‘Shoot, for Christ’s sake shoot!’ And old Bill Westley, the AD, turned around and said, ‘What about the max factors then guv?’ meaning the actors. And Ridley went, ‘Oh fuck. Quick, go and get them.’ And Bill rushed out and brought Tom Cruise and Mia Sara on and Ridley went, ‘Ah, OK Tom you sit over there and Mia you sit next to him and just talk among yourselves. OK. And action!
Vic Armstrong (The True Adventures of the World’s Greatest Stuntman: My Life As Indiana Jones, James Bond, Superman and other movie heroes)
Unlike other features on OkCupid, there is no visual component to match percentage. The number between two people only reflects what you might call their inner selves—everything about what they believe, need, and want, even what they think is funny, but nothing about what they look like. Judging by just this compatibility measure, the four largest racial groups on OkCupid—Asian, black, Latino, and white—all get along about the same.1 In fact, race has less effect on match percentage than religion, politics, or education. Among the details that users believe are important, the closest comparison to race is Zodiac sign, which has no effect at all. To a computer not acculturated to the categories, “Asian” and “black” and “white” could just as easily be “Aries” and “Virgo” and “Capricorn.” But this racial neutrality is only in theory; things change once the users’ own opinions, and not just the color-blind workings of an algorithm, come into play.
Christian Rudder (Dataclysm: Who We Are (When We Think No One's Looking))
No subject was more perfectly suited to the loosened formal framework and swift juxtaposition of disparate elements that marked his ‘totally chromatic’ style; and it is generally agreed that in this Representation of (mental) Chaos that style found its most impressive outlet. But a representation is not a transcription. The music itself is not chaotic. There is a willed unity of atmosphere, created through a myriad intensely visualized details, which could only be achieved under iron control. Paradoxically, this is probably the direct result of the spontaneity and intensity with which Schoenberg must have been composing in order to have created the work in such a short space of time. The monodrama possesses no clearly defined structure, ranging so freely and juxtaposing lyricism, violence, and Angstridden terror in such uncompromising combination that it attains an effect of continuous high-pressure improvisation; yet it combines this with a powerful sense of continuity and tragic inevitability. That
Malcolm MacDonald (Schoenberg (Master Musicians Series))
Yann LeCun's strategy provides a good example of a much more general notion: the exploitation of innate knowledge. Convolutional neural networks learn better and faster than other types of neural networks because they do not learn everything. They incorporate, in their very architecture, a strong hypothesis: what I learn in one place can be generalized everywhere else. The main problem with image recognition is invariance: I have to recognize an object, whatever its position and size, even if it moves to the right or left, farther or closer. It is a challenge, but it is also a very strong constraint: I can expect the very same clues to help me recognize a face anywhere in space. By replicating the same algorithm everywhere, convolutional networks effectively exploit this constraint: they integrate it into their very structure. Innately, prior to any learning, the system already “knows” this key property of the visual world. It does not learn invariance, but assumes it a priori and uses it to reduce the learning space-clever indeed!
Stanislas Dehaene (How We Learn: Why Brains Learn Better Than Any Machine . . . for Now)
Many potential readers will skip the shopping cart or cash-out clerk because they have seen so many disasters reported in the news that they’ve acquired a panic mentality when they think of them. “Disasters scare me to death!” they cry. “I don’t want to read about them!” But really, how can a picture hurt you? Better that each serve as a Hallmark card that greets your fitful fevers with reason and uncurtains your valor. Then, so gospeled, you may see that defeating a disaster is as innocently easy as deciding to go out to dinner. Remove the dread that bars your doors of perception, and you will enjoy a banquet of treats that will make the difference between suffering and safety. You will enter a brave new world that will erase your panic, and release you from the grip of terror, and relieve you of the deadening effects of indifference —and you will find that switch of initiative that will energize your intelligence, empower your imagination, and rouse your sense of vigilance in ways that will tilt the odds of danger from being forever against you to being always in your favor. Indeed, just thinking about a disaster is one of the best things you can do —because it allows you to imagine how you would respond in a way that is free of pain and destruction. Another reason why disasters seem so scary is that many victims tend to see them as a whole rather than divide them into much smaller and more manageable problems. A disaster can seem overwhelming when confronted with everything at once —but if you dice it into its tiny parts and knock them off one at a time, the whole thing can seem as easy as eating a lavish dinner one bite at a time. In a disaster you must also plan for disruption as well as destruction. Death and damage may make the news, but in almost every disaster far more lives are disrupted than destroyed. Wit­ness the tornado that struck Joplin, Missouri, in May 2011 and killed 158 people. The path of death and destruction was less than a mile wide and only 22 miles long —but within thirty miles 160,000 citizens whose property didn’t suffer a dime of damage were profoundly disrupted by the carnage, loss of power and water, suspension of civic services, and inability to buy food, gas, and other necessities. You may rightfully believe your chances of dying in a disaster in your lifetime may be nearly nil, but the chances of your life being disrupted by a disaster in the next decade is nearly a sure thing. Not only should you prepare for disasters, you should learn to premeditate them. Prepare concerns the body; premeditate concerns the mind. Everywhere you go, think what could happen and how you might/could/would/should respond. Use your imagination. Fill your brain with these visualizations —run mind-movies in your head —develop a repertoire —until when you walk into a building/room/situation you’ll automatically know what to do. If a disaster does ambush you —sure you’re apt to panic, but in seconds your memory will load the proper video into your mobile disk drive and you’ll feel like you’re watching a scary movie for the second time and you’ll know what to expect and how to react. That’s why this book is important: its manner of vivifying disasters kickstarts and streamlines your acquiring these premeditations, which lays the foundation for satisfying your needs when a disaster catches you by surprise.
Robert Brown Butler (Architecture Laid Bare!: In Shades of Green)
Atonement, expiation, laundering, prophylaxis, promotion and rehabilitation -- it is difficult to put a name to all the various nuances of this general commiseration which is the product of a profound indifference and is accompanied by a fierce strategy of blackmail, of the political takeover of all these negative passions. It is the `politically correct' in all its effects -- an enterprise of laundering and mental prophylaxis, beginning with the prophylactic treatment of language. Black people, the handicapped, the blind and prostitutes become `people of colour', `the disabled', `the visually impaired', and `sex workers': they have to be laundered like dirty money. Every negative destiny has to be cleaned up by a doctoring even more obscene than what it is trying to hide. Euphemistic language, the struggle against sexual harassment -- all this protective and protectionist masquerade is of the same order as the use of the condom. Its mental use, of course -- that is, the prophylactic use of ideas and concepts. Soon we shall think only when we are sheathed in latex. And the data suit of Virtual Reality already slips on like a condom.
Jean Baudrillard (The Perfect Crime)
COULD IT BE B12 DEFICIENCY? The neurological symptoms of B12 deficiency that occur in young and middle-aged people are very similar to those in older people. They include the following: • Numbness, tingling, or burning sensations of the hands, feet, extremities, or truncal area, often misdiagnosed as diabetic neuropathy or chronic inflammatory demyelinating polyneuropathy (CIDP) • Tremor, often misdiagnosed as essential tremor or pre-Parkinson’s disease • Muscle weakness, paresthesias, and paralysis, sometimes attributed to Guillain-Barré syndrome • Pain, fatigue, and debility, often labeled as “chronic fatigue syndrome” • “Shaky leg” syndrome (leg trembling) • Confusion and mental fogginess, often misdiagnosed as early-onset dementia • Unsteadiness, dizziness, and paresthesias, often misdiagnosed as multiple sclerosis • Weakness of extremities, clumsiness, muscle cramps, twitching, or foot drop, often misdiagnosed as amyotrophic lateral sclerosis (ALS) • Psychiatric symptoms, such as depression or psychosis (covered in greater length in the next chapter) • Visual disturbances, vision loss, or blindness In contrast, a doctor ignorant about the effects of B12 deficiency can destroy a patient’s life. The
Sally M. Pacholok (Could It Be B12?: An Epidemic of Misdiagnoses)
If you do not take baths or you tend to take more showers, you can use the same ritual in the shower. Set the water temperature so that it is cool but not cold (just below body temperature). Adjust the showerhead so the water hits you at the base of the skull and the water runs as evenly as possible over the back and front of your body. It is important to ensure that the water runs down the back of the neck because this is where many people tend to develop a lot of tension (in the shoulders). As the water flows, run your hands down your body to bring the excess Fire energy down to your feet. Use the same glowing heating coil visualization as with the bathtub ritual. See the excess Fire energies being soaked up by the water, and flowing with the water down the drain. At the same time, choose one of the litanies given previously and say it aloud with power and authority. Keep repeating the litany until you feel a change in your state. You may feel less physical pain, a lessening of anxiety, or a sense of peace in your mind. If you have a lot of mind chatter and you suddenly notice that your mind is quiet, then you know that the ritual has been effective. At this point, you may stop saying the litany and consider the ritual a success!
G. Alan Joel (Learn How to Do Witchcraft Rituals and Spells with Your Bare Hands (Witchcraft Spell Books, #1))
The crust [of the earth] is very thin. Estimates of its thickness range from a minimum of about twenty to a maximum of about forty miles. The crust is made of comparatively rigid, crystalline rock, but it is fractured in many places, and does not have great strength. Immediately under the crust is a layer that is thought to be extremely weak, because it is, presumably, too hot to crystallize. Moreover, it is thought that pressure at that depth renders the rock extremely plastic, so that it will yield easily to pressures. The rock at that depth is supposed to have high viscosity; that is, it is fluid but very stiff, as tar may be. It is known that a viscous material will yield easily to a comparatively slight pressure exerted over a long period of time, even though it may act as a solid when subjected to a sudden pressure, such as an earthquake wave. If a gentle push is exerted horizontally on the earth's crust, to shove it in a given direction, and if the push is maintained steadily for a long time, it is highly probable that the crust willl be displaced over this plastic and viscous lower layer. The crust, in this case, will move as a single unit, the whole crust at the same time. This idea has nothing whatever to do with the much discussed theory of drifting continents, according to which the continents drifted separately, in different directions. [...] Let us visualize briefly the consequences of a displacement of the whole crustal shell of the earth. First, there will be the changes in latitude. Places on the earth's surface will change their distances from the equator. Some will be shifted nearer the equator, and others farther away. Points on opposite sides of the earth will move in opposite directions. For example, if New York should be moved 2,000 miles south, the Indian Ocean, diametrically opposite, would have to be shifted 2,000 miles north. [...] Naturally, climatic changes will be more or less proportionate to changes in latitude, and, because areas on opposite sides of the globe will be moving in opposite directions, some areas will be getting colder while others get hotter; some will be undergoing radical changes of climate, some mild changes of climate, and some no changes at all. Along with the climatic changes, there will be many other consequences of a displacement of the crust. Because of the slight flattening of the earth, there will be stretching and compressional effects to crack and fold the crust, possibly contributing to the formation of mountain ranges. there will be changes in sea level, and many other consequences.
Charles H. Hapgood (Earth's Shifting Crust: A Key To Some Basic Problems Of Earth Science)
How to Perform Visualization To practice visualization, sit in a comfortable position and relax any muscle tension. Once you feel relaxed, begin to visualize a pleasant scene. Imagine every aspect of the scene, using all of your senses. For instance, if you visualize sitting on a beach watching the ocean waves lapping against the shore, imagine first what the scene looks like, then imagine how the sand feels on your bare feet. Take a deep breath and imagine how the clean ocean air smells and tastes. Next, listen for the sounds of the waves and seagulls. As you become more involved with your mental picture, your body will relax and you will be able to let go of your worrisome thoughts. It often helps to make positive, affirmative statements, such as “I feel calm and relaxed,” while practicing to block negative thoughts more effectively. You could picture also an image that represents the tension you feel when you begin, such as a kite that is stuck in a tree getting more and more tangled. As you become relaxed, imagine the string loosening and the kite becoming free and soaring in the sky. With practice, you will be able to use this technique to help yourself relax whenever you feel distressed. Lori spent last Thanksgiving at her best friend Haley’s house. Most of the members of Haley’s large, extended family were there. Everyone was talking at once, the children were running around, and Lori felt completely overwhelmed. It was so different from her quiet house. As she felt herself getting more agitated and anxious, she went upstairs to the bathroom and began to visualize herself at her family’s quiet cabin. She heard the wind rustling through the leaves and the chirping of birds. She smelled the soil and felt the coolness of the air. Soon, she felt calm and relaxed and was able to return downstairs.
Heather Moehn (Social Anxiety)
In order to avoid the deafening of conspecifics, some bats employ a jamming avoidance response, rapidly shifting frequencies or flying silent when foraging near conspecifics. Because jamming is a problem facing any active emission sensory system, it is perhaps not surprising (though no less amazing) that similar jamming avoidance responses are deployed by weakly electric fish. The speed of sound is so fast in water that it makes it difficult for echolocating whales to exploit similar Doppler effects. However, the fact that acoustic emissions propagate much farther and faster in the water medium means that there is less attenuation of ultrasound in water, and thus that echolocation can be used for broader-scale 'visual' sweeping of the undersea environment. These constraints and trade-offs must be resolved by all acoustic ISMs, on Earth and beyond. There are equally universal anatomical and metabolic constraints on the evolvability of echolocation that explain why it is 'harder' to evolve than vision. First, as noted earlier, a powerful sound-production capacity, such as the lungs of tetrapods, is required to produce high-frequency emissions capable of supporting high-resolution acoustic imaging. Second, the costs of echolocation are high, which may limit acoustic imaging to organisms with high-metabolisms, such as mammals and birds. The metabolic rates of bats during echolocation, for instance, are up to five times greater than they are at rest. These costs have been offset in bats through the evolutionarily ingenious coupling of sound emission to wing-beat cycle, which functions as a single unit of biomechanical and metabolic efficiency. Sound emission is coupled with the upstroke phase of the wing-beat cycle, coinciding with contraction of abdominal muscles and pressure on the diaphragm. This significantly reduces the price of high-intensity pulse emission, making it nearly costless. It is also why, as any careful crepuscular observer may have noticed, bats spend hardly any time gliding (which is otherwise a more efficient means of flight).
Russell Powell (Contingency and Convergence: Toward a Cosmic Biology of Body and Mind)
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A.S. Bhalla
Learning to meditate helped too. When the Beatles visited India in 1968 to study Transcendental Meditation at the ashram of Maharishi Mahesh Yogi, I was curious to learn it, so I did. I loved it. Meditation has benefited me hugely throughout my life because it produces a calm open-mindedness that allows me to think more clearly and creatively. I majored in finance in college because of my love for the markets and because that major had no foreign language requirement—so it allowed me to learn what I was interested in, both inside and outside class. I learned a lot about commodity futures from a very interesting classmate, a Vietnam veteran quite a bit older than me. Commodities were attractive because they could be traded with very low margin requirements, meaning I could leverage the limited amount of money I had to invest. If I could make winning decisions, which I planned to do, I could borrow more to make more. Stock, bond, and currency futures didn’t exist back then. Commodity futures were strictly real commodities like corn, soybeans, cattle, and hogs. So those were the markets I started to trade and learn about. My college years coincided with the era of free love, mind-expanding drug experimentation, and rejection of traditional authority. Living through it had a lasting effect on me and many other members of my generation. For example, it deeply impacted Steve Jobs, whom I came to empathize with and admire. Like me, he took up meditation and wasn’t interested in being taught as much as he loved visualizing and building out amazing new things. The times we lived in taught us both to question established ways of doing things—an attitude he demonstrated superbly in Apple’s iconic “1984” and “Here’s to the Crazy Ones,” which were ad campaigns that spoke to me. For the country as a whole, those were difficult years. As the draft expanded and the numbers of young men coming home in body bags soared, the Vietnam War split the country. There was a lottery based on birthdates to determine the order of those who would be drafted. I remember listening to the lottery on the radio while playing pool with my friends. It was estimated that the first 160 or so birthdays called would be drafted, though they read off all 366 dates. My birthday was forty-eighth.
Ray Dalio (Principles: Life and Work)
Daoist Ordination – Receiving a valid “Lu” 收录 Register Since returning to the US, and living in Los Angeles, many (ie, truly many) people have come to visit my office and library, asking about Daoist "Lu" 录registers, and whether or not they can be purchased from self declared “Daoist Masters” in the United States. The Daoist Lu register and ordination ritual can only be transmitted in Chinese, after 10+ years of study with a master, learning how to chant Zhengyi or Quanzhen music and liturgy, including the Daoist drum, flute, stringed instruments, and mudra, mantra, and visualization of spirits, where they are stored in the body, how they are summoned forth, for which one must be able to use Tang dynasty pronunciation of classical Chinese texts, ie “Tang wen” 唐文, to be effective and truly transmitted. Daoist meditation and ritual 金录醮,黄录斋 must all be a part of one's daily practice before going to Mt Longhu Shan and passing the test, which qualifies a person for one of the 9 grades of ordination (九品) the lowest of which is 9, highest is 1; grades 6 and above are never taught at Longhu Shan, only recognized in a "test", and awarded an appropriate grade ie rank, or title. Orthodox Longhu Shan Daoists may only pass on this knowledge to one offspring, and one chosen disciple, once in a lifetime, after which they must "pass on" (die) or be "wafted to heaven." Longmen Quanzhen Daoists, on the other hand, allow their knowledge to be transmitted and practiced, in classical Chinese, after living in a monastery and daily practice as a monk or nun. “Dao for $$$” low ranking Daoists at Longhu Shan accept money from foreign (mostly USA) commercial groups, and award illegitimate "licenses" for a large fee. Many (ie truly many) who have suffered from the huge price, and wrongful giving of "documents" have asked me this question, and shown me the documents they received. In all such cases, it is best to observe the warning of Confucius, "respect demonic spirits but keep a distance" 敬鬼神而遠之. One can study from holy nuns at Qingcheng shan, and Wudangshan, but it is best to keep safely away from “for profit” people who ask fees for going to Longhu Shan and receiving poorly translated English documents. It is a rule of Daoism, Laozi Ch 67, to respect all, with compassion, and never put oneself above others. The reason why so many Daoist and Buddhist masters do not come to the US is because of this commercial ie “for profit” instead of spiritual use, made from Daoist practices which must never be sold, or money taken for teaching / practicing, in which case true spiritual systems become ineffective. The ordination manual itself states the strict rule that the highly secret talisman, drawn with the tongue on the hard palate of the true Daoist, must never be drawn out in visible writing, or shown to anyone. Many of the phony Longhu Shan documents shown to me break this rule, and are therefore ineffective as well as law breaking. Respectfully submitted, 敬上 3-28-2015
Michael Saso
The trends speak to an unavoidable truth. Society's future will be challenged by zoonotic viruses, a quite natural prediction, not least because humanity is a potent agent of change, which is the essential fuel of evolution. Notwithstanding these assertions, I began with the intention of leaving the reader with a broader appreciation of viruses: they are not simply life's pathogens. They are life's obligate partners and a formidable force in nature on our planet. As you contemplate the ocean under a setting sun, consider the multitude of virus particles in each milliliter of seawater: flying over wilderness forestry, consider the collective viromes of its living inhabitants. The stunnig number and diversity of viruses in our environment should engender in us greater awe that we are safe among these multitudes than fear that they will harm us. Personalized medicine will soon become a reality and medical practice will routinely catalogue and weigh a patient's genome sequence. Not long thereafter one might expect this data to be joined by the patient's viral and bacterial metagenomes: the patient's collective genetic identity will be recorded in one printout. We will doubtless discover some of our viral passengers are harmful to our health, while others are protective. But the appreciation of viruses that I hope you have gained from these pages is not about an exercise in accounting. The balancing of benefit versus threat to humanity is a fruitless task. The viral metagenome will contain new and useful gene functionalities for biomedicine: viruses may become essential biomedical tools and phages will continue to optimize may also accelerate the development of antibiotic drug resistance in the post-antibiotic era and emerging viruses may threaten our complacency and challenge our society economically and socially. Simply comparing these pros and cons, however, does not do justice to viruses and acknowledge their rightful place in nature. Life and viruses are inseparable. Viruses are life's complement, sometimes dangerous but always beautiful in design. All autonomous self-sustaining replicating systems that generate their own energy will foster parasites. Viruses are the inescapable by-products of life's success on the planet. We owe our own evolution to them; the fossils of many are recognizable in ERVs and EVEs that were certainly powerful influences in the evolution of our ancestors. Like viruses and prokaryotes, we are also a patchwork of genes, acquired by inheritance and horizontal gene transfer during our evolution from the primitive RNA-based world. It is a common saying that 'beauty is in the eye of the beholder.' It is a natural response to a visual queue: a sunset, the drape of a designer dress, or the pattern of a silk tie, but it can also be found in a line of poetry, a particularly effective kitchen implement, or even the ruthless efficiency of a firearm. The latter are uniquely human acknowledgments of beauty in design. It is humanity that allows us to recognize the beauty in the evolutionary design of viruses. They are unique products of evolution, the inevitable consequence of life, infectious egotistical genetic information that taps into life and the laws of nature to fuel evolutionary invention.
Michael G. Cordingley (Viruses: Agents of Evolutionary Invention)
One of the positive side-effects of maintaining a very high degree of awareness of death is that it will prepare the individual to such an extent that, when the individual actually faces death, he or she will be in a better position to maintain his or her presence of mind. Especially in Tantric Buddhism, it is considered that the state of mind which one experiences at the point of death is extremely subtle and, because of the subtlety of the level of that consciousness, it also has a great power and impact upon one’s mental continuum. In Tantric practices we find a lot of emphasis placed on reflections upon the process of death, so that the individual at the time of death not only retains his or her presence of mind, but also is in a position to utilize that subtle state of consciousness effectively towards the realization of the path. From the Tantric perspective, the entire process of existence is explained in terms of the three stages known as ‘death’, the ‘intermediate state’ and ‘rebirth’. All of these three stages of existence are seen as states or manifestations of the consciousness and the energies that accompany or propel the consciousness, so that the intermediate state and rebirth are nothing other than various levels of the subtle consciousness and energy. An example of such fluctuating states can be found in our daily existence, when during the 24-hour day we go through a cycle of deep sleep, the waking period and the dream state. Our daily existence is in fact characterized by these three stages. As death becomes something familiar to you, as you have some knowledge of its processes and can recognize its external and internal indications, you are prepared for it. According to my own experience, I still have no confidence that at the moment of death I will really implement all these practices for which I have prepared. I have no guarantee! Sometimes when I think about death I get some kind of excitement. Instead of fear, I have a feeling of curiosity and this makes it much easier for me to accept death. Of course, my only burden if I die today is, ‘Oh, what will happen to Tibet? What about Tibetan culture? What about the six million Tibetan people’s rights?’ This is my main concern. Otherwise, I feel almost no fear of death. In my daily practice of prayer I visualize eight different deity yogas and eight different deaths. Perhaps when death comes all my preparation may fail. I hope not! I think these practices are mentally very helpful in dealing with death. Even if there is no next life, there is some benefit if they relieve fear. And because there is less fear, one can be more fully prepared. If you are fully prepared then, at the moment of death, you can retain your peace of mind. I think at the time of death a peaceful mind is essential no matter what you believe in, whether it is Buddhism or some other religion. At the moment of death, the individual should not seek to develop anger, hatred and so on. I think even non-believers see that it is better to pass away in a peaceful manner, it is much happier. Also, for those who believe in heaven or some other concept, it is also best to pass away peacefully with the thought of one’s own God or belief in higher forces. For Buddhists and also other ancient Indian traditions, which accept the rebirth or karma theory, naturally at the time of death a virtuous state of mind is beneficial.
Dalai Lama XIV (The Dalai Lama's Book of Wisdom)
With our desire to have more, we find ourselves spending more and more time and energy to manage and maintain everything we have. We try so hard to do this that the things that were supposed to help us end up ruling us. We eventually get used to the new state where our wishes have been fulfilled. We start taking those things for granted and there comes a time when we start getting tired of what we have. We're desperate to convey our own worth, our own value to others. We use objects to tell people just how valuable we are. The objects that are supposed to represent our qualities become our qualities themselves. There are more things to gain from eliminating excess than you might imagine: time, space, freedom and energy. When people say something is impossible, they have already decided that they don't want to do it. Differentiate between things you want and things you need. Leave your unused space empty. These open areas are incredibly useful. They bring us a sense of freedom and keep our minds open to the more important things in life. Memories are wonderful but you won't have room to develop if your attachment to the past is too strong. It's better to cut some of those ties so you can focus on what's important today. Don't get creative when you are trying to discard things. There's no need to stock up. An item chosen with passion represents perfection to us. Things we just happen to pick up, however, are easy candidates for disposal or replacement. As long as we stick to owning things that we really love, we aren't likely to want more. Our homes aren't museum, they don't need collections. When you aren't sure that you really want to part with something, try stowing it away for a while. Larger furniture items with bold colors will in time trigger visual fatigue and then boredom. Discarding things can be wasteful. But the guilt that keeps you from minimizing is the true waste. The real waste is the psychological damage that you accrue from hanging on to things you don't use or need. We find our originality when we own less. When you think about it, it's experience that builds our unique characteristics, not material objects. I've lowered my bar for happiness simply by switching to a tenugui. When even a regular bath towel can make you happy, you'll be able to find happiness almost everywhere. For the minimalist, the objective isn't to reduce, it's to eliminate distractions so they can focus on the things that are truly important. Minimalism is just the beginning. It's a tool. Once you've gone ahead and minimized, it's time to find out what those important things are. Minimalism is built around the idea that there's nothing that you're lacking. You'll spend less time being pushed around by something that you think may be missing. The qualities I look for in the things that I buy are: - the item has a minimalistic kind of shape and is easy to clean - it's color isn't too loud - I'll be able to use it for a long time - it has a simple structure - it's lightweight and compact - it has multiple uses A relaxed moment is not without meaning, it's an important time for reflection. It wasn't the fallen leaves that the lady had been tidying up, it was her own laziness that she had been sweeping away. We are what we repeatedly do. Excellence, then, is not an act but a habit. With daily cleaning, the reward may be the sense of accomplishment and calmness we feel afterward. Cleaning your house is like polishing yourself. Simply by living an organized life, you'll be more invigorated, more confident and like yourself better. Having parted with the bulk of my belongings, I feel true contentment with my day-to-day life. The very act of living brings me joy. When you become a minimalist, you free yourself from all the materialist messages that surround us. All the creative marketing and annoying ads no longer have an effect on you.
Fumio Sasaki (Goodbye, Things: The New Japanese Minimalism)
When it comes to porn, women have to be particularly aware of the effect it has on men. While studies have found that both men and women are more open to straying after viewing porn, this impacts men a lot more than women, as does relationship dissatisfaction in general. While many women can watch porn and still maintain intimacy with their partner, men struggle to do the same. Their thoughts are fixated on images more than women's are. One study found that men considered their partners less attractive after viewing sexually explicit pictures of other women. Researchers believe this is because exposure to these images causes men to undergo a kind of rewiring in their brain about what a typical naked body should look like. So while women might be able to view porn and honestly say it doesn't affect how they view their partner, they can't assume the same is true for their guy. He might not admit it or even realize it, but studies have shown this to be true and it fits with a man's highly visual nature. If a woman doesn't want another woman in her partner's thoughts, she shouldn't tolerate him watching porn - not when he's alone or even with her.
Pamela Anderson (Lust for Love: Rekindling Intimacy and Passion in Your Relationship)
One of the main things his research showed was that almost all of the world-class athletes and other peak performers are visualizers. They see it; they feel it; they experience it before they actually do it. They begin with the end in mind. You can do it in every area of your life. Before a performance, a sales presentation, a difficult confrontation, or the daily challenge of meeting a goal, see it clearly, vividly, relentlessly, over and over again. Create an internal “comfort zone.” Then, when you get into the situation, it isn’t foreign. It doesn’t scare you. Your creative, visual right brain is one of your most important assets, both in creating your personal mission statement and in integrating it into your life.
Stephen R. Covey (The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change)
The amygdala processes this information so quickly that we unconsciously feel the mood of our interlocutor long before we even recognize the person, and therefore long before we have analyzed all the visual information provided by their face. Interestingly, these clues used to appreciate a picture are the same clues used to perceive, quickly and effectively, the real world.8
Jordi Camí (The Illusionist Brain: The Neuroscience of Magic)
Remember, visualization will never compensate for work undone. You cannot visualize lies. All the strategies I employ to answer the simple questions and win the mind game are only effective because I put in the work. It’s a lot more than mind over matter. It takes relentless self-discipline to schedule suffering into your day, every day, but if you do, you’ll find that at the other end of that suffering is a whole other life just waiting for you.
David Goggins (Can't Hurt Me: Master Your Mind and Defy the Odds)
Relevant visuals have one of the highest effect sizes of 1.4 for novice learners. In addition, learners like them! Don’t shortchange or abuse this important instructional method. Remember to keep visuals simple based on the goal of your explanation. Excluding extraneous or distracting visuals also has a very high effect size of 1.66, so maximize the value of your visuals by keeping them relevant to your learning objective.
Ruth Colvin Clark (Evidence-Based Training Methods: A Guide for Training Professionals)
[Gaze of the Apex Hunter (Legendary)] – A Hunter who has seen his gaze reflected in the eyes of the Apex Predator and now stares back with equal zeal. A glance that penetrates into the very soul of its prey, the gaze of the Apex Hunter can immobilize or even kill any it sees. Gives the Hunter the ability to paralyze, knock out, and even kill his prey through visual contact. This skill directly targets the soul of the target, ignoring distance, physical defense, and most magical defenses. Passively enhances the Hunter’s eyes, increasing the effect of Perception while also making weak points easier to spot. All effects of Gaze of the Apex Hunter are determined by Perception.
Zogarth (The Primal Hunter 2 (The Primal Hunter, #2))
You must imagine your ideal outcome in precise detail. Often clients will tell me things like, “Well, I want abundance in my life!” Abundance can show up on your hips. Abundance can manifest in your bills. Abundance can mean even more clutter in your surroundings. When you are focused on a clear and definite outcome, you are helping the Universe deliver it to you without the clutter. When you hold that specific visualization as you implement your mind, body, and spirit tips while you are making adjustments in your environment, your outcome will be much more powerful and effective. Know that you hold the power to create the transformation you desire. It’s okay if you can’t picture how it will happen, just have faith that it will. Expect the results you want. Know, with certainty, without wavering, that your desired outcome will happen. In addition to holding this mental picture while going through each chapter and making your holistic adjustments, try to start carrying these thoughts with you continuously throughout your day. Your own affirmative thoughts will begin to attract similar situations, interactions, or experiences that are in alignment with your goals. This is not wishful thinking. This is actively choosing to harness your universal birthright of attaining beneficial energy and ideal opportunities in your life.
Laura Benko (The Holistic Home: Feng Shui for Mind, Body, Spirit, Space)
Star Wars changed everything in the industry, from pace and storytelling, to visual effects and sound.
J. W. Rinzler (Howard Kazanjian: A Producer's Life)
Six Simple Listening Tips Here are six simple tips for not only practicing good listening in your customer conversations but also for creating a high-impact customer experience by showing them that you’re engaged. 1. Don’t speak: This is easy to say but sometimes hard to do. You simply cannot listen if you’re speaking or poised on the edge of interrupting the other person. So what should you do? Just shut up and pay attention to what your customer is saying. 2. Make eye contact: Since a majority of our communication is non-verbal, looking at a person is one of the best ways to clearly demonstrate focus and attention. Even when you’re on a video call, customers can often tell (by the way your eyes dart around) if you’re looking at them on the screen or if you are distracted. Keep that gaze locked! (But a nice, friendly gaze… not a creepy one.) 3. Use visual/auditory cues: Smiling, nodding, and appearing pensive are all great ways to communicate understanding and acknowledgment. Even small auditory cues like the occasional “yes” or “uh-huh” can show your customer that you’re following along. 4. Write things down: Writing things down not only helps you remember key pieces of information later on, but it also demonstrates to the customer that you’re interested enough in their insights to memorialize them in writing. But what if they can’t see you taking notes, for example, on a phone or video call? No problem. Just tell them you are! After your customer finishes telling you something, simply pause for a moment and say “I’m just writing this down” to produce the same effect. 5. Recap: Nothing illustrates great attention to detail like repeating back or summarizing the insights the customer shared with you. This is especially powerful when the insights were shared earlier in the conversation. For extra impact, quote them directly using their exact words, prefaced by the phrase “What I heard you say was… ” Echoing someone’s exact words is a powerful and scientifically proven persuasive technique (we’ll be exploring this tactic in more detail as it relates to handling customer objections in chapter 7). 6. Ask good follow-up questions: When a customer answers your question, resist the temptation to say, “That’s great” or “Awesome!” and then move on to the next question. Asking killer follow-up questions like “Tell me more about that,” “Can you give me an example?” or “How long has that been going on?” is a great way to demonstrate your interest in the customer’s perspective and leave the call with high-impact insights. In fact, when it comes to addressing customer objections, a study by found that top performers ask follow-up questions 54 percent of the time, versus 31 percent for average performers.6
David Priemer (Sell the Way You Buy: A Modern Approach To Sales That Actually Works (Even On You!))
When Weta’s visual effects proved to be on a par with ILM, Universal got excited and agreed to the July slot, and set about repositioning The Frighteners as a new visual effects extravaganza featuring Marty McFly!
Ian Nathan (Anything You Can Imagine: Peter Jackson and the Making of Middle-earth)
2D animation design has gained immense popularity since when it was first introduced. Today it’s primarily deployed in 2D animation studios for creating advertisements, marketing videos, animated movies or cartoons, corporate presentations, and video games. Besides being adorable, 2D animations tend to capture audiences through their auditory, visual, and kinesthetic aspects. Information communicated to the viewers in a visual format is perceived far better since it stimulates different brain regions while simultaneously engaging multiple senses to enable the user to comprehend data more effectively. This deeper level of engagement also triggers the urge in users to share what they find attractive, thus, accounting for more prospects.
CLD Animation
A good affirmation has five basic ingredients: it’s personal, it’s positive, it’s present tense, it’s visual, and it’s emotional. So I might write something like this: “It is deeply satisfying (emotional) that I (personal) respond (present tense) with wisdom, love, firmness, and self-control (positive) when my children misbehave.
Stephen R. Covey (The 7 Habits of Highly Effective People: Revised and Updated: Powerful Lessons in Personal Change)
Yet biologists feel that animals are no strangers to aesthetic expression. The New Guinean bowerbird's nest decorations are as good an example as any. The thatched nests can be so large and well-constructed that they once were mistaken for the huts of timid people, who never showed up. The nests often have a doorway with carefully arranged colorful objects, such as berries, flowers, or iridescent beetle wings. The male who built the bower keeps flying in new ornaments, shifting everything around with a critical eye, fussing over the arrangement, moving back to look at the whole from a distant anglelike a human painter with his painting-and then continuing the rearrangement. He is very sensitive to the fading of his flowers, replacing them with fresh ones as soon as necessary. Young males build crude "practice" bowers, tearing them down, then starting over again, until the construction holds up as it should. They also frequently visit the completed bowers of adult males in the neighborhood and see how the ornaments are laid out. There are ample learning opportunities here, and it has been noted that bower decorations differ in color and arrangement from region to region, which suggests culturally transmitted styles. Is this art? One could counter that it isn't: howerbird males are genetically programmed to engage in this activity just to attract females. Yet, while it is true that females select mates on nest quality and their equivalent of a stamp collection, the argument is not nearly as good as it sounds. To contrast these birds with our species requires that one demonstrates that human art does not rest on an inborn aesthetic sense and is produced purely for its own sake, not to impress anyone else. Both are unlikely. In fact, Geoffrey Miller argues in a recent book that impressing others, especially members of the opposite sex, may be the whole point of human art! What if our artistic impulse is ancient, antedating modern humanity, and perhaps even our species? What if it rests on a delight in self-created visual effects and a penchant for certain color combinations, shapes, and visual equilibriums that we share with other animals? Would admission in any of these areas diminish the significance of and pleasure derived from human art? Isn't it possible that our basic distinctions in art, our musical scales, and our preference for symmetrical compositions, go deeper than culture, and relate to basic features of our perceptual systems?
Frans de Waal (The Ape and the Sushi Master: Reflections of a Primatologist)
People accused Morris of trying to ridicule modern art, but that was never his goal. If people get over their giggles and consider the issue at hand, they will see that there is a serious question behind it. Why do the members of our species all over the world produce art? What is it that drives them? Why waste time and energy on this sort of activity? Is it a form of play, a form of exploration, a mental game, a way of impressing others? Morris simply wanted to show that we are not the only species to take pleasure in self-created visual effects, hence that the aesthetic sense probably has older roots than is often assumed.
Frans de Waal (The Ape and the Sushi Master: Reflections of a Primatologist)
As a human race are we falling down on our creative minds. Is it only visual effects and spectacle that attract people and not the vivid imagination that is needed to read and enjoy a book?
Avijeet Das
It now appears that birds may visualize the earth’s magnetic field through a form of quantum entanglement, which is just as bizarre as it sounds. Quantum mechanics dictates that two particles, created at the same instant, are linked at the most profound level—that they are, in essence, one thing, and remain “entangled” with each other so that regardless of distance, what affects one instantly affects the other. No wonder the technical term in physics for this effect is “spooky action.” Even Einstein was unsettled by the implications. Theoretically, entanglement occurs even across millions of light-years of space, but what happens within the much smaller scale of a bird’s eye may produce that mysterious ability to use the planetary magnetic field. Scientists now believe that wavelengths of blue light strike a migratory bird’s eye, exciting the entangled electrons in a chemical called cryptochrome. The energy from an incoming photon splits an entangled pair of electrons, knocking one into an adjacent cryptochrome molecule—yet the two particles remain entangled. However minute, the distance between them means the electrons react to the planet’s magnetic field in subtly different ways, creating slightly different chemical reactions in the molecules. Microsecond by microsecond, this palette of varying chemical signals, spread across countless entangled pairs of electrons, apparently builds a map in the bird’s eye of the geomagnetic fields through which it is traveling.
Scott Weidensaul (A World on the Wing: The Global Odyssey of Migratory Birds)
The twenty-four-hour biological clock sitting in the middle of your brain is called the suprachiasmatic (pronounced soo-pra-kai-as-MAT-ik) nucleus. As with much of anatomical language, the name, while far from easy to pronounce, is instructional: supra, meaning above, and chiasm, meaning a crossing point. The crossing point is that of the optic nerves coming from your eyeballs. Those nerves meet in the middle of your brain, and then effectively switch sides. The suprachiasmatic nucleus is located just above this intersection for a good reason. It “samples” the light signal being sent from each eye along the optic nerves as they head toward the back of the brain for visual processing. The suprachiasmatic nucleus uses this
Matthew Walker (Why We Sleep: The New Science of Sleep and Dreams)
Of course, if the Law of Shitty Clickthroughs says that marketing channels decline over time, the other strategy is to embrace new marketing ideas early. Every three to five years, there seems to be a rapid explosion of new media formats and platforms to experiment with. Most recently, with the rise of TikTok, Twitch, Instagram, and other forms of highly scaled visual media, there is a new crop of startups going to market with influencers and streamers. Similarly, new B2B startups have started to embrace referral programs, memes, emojis, video clips, and other tactics previously reserved for consumer products. The landscape is constantly changing, with new product and platforms emerging every few years, opening up opportunities for marketers to jump in before others do.
Andrew Chen (The Cold Start Problem: How to Start and Scale Network Effects)
concepts streaming from the Witness, creating a visual effect like a fountain of light pouring out of what looked surprisingly similar to the pupil of an eye. And lastly, again based on my visionary experience, we could compare the Witness’ continuous holographic projections to that of our universe, which is filled with galaxies, solar systems, planets, and stellar constellations.
Richard L Haight (The Genesis Code: Revealing the Ancient Path to Inner Freedom)
At the fourth step in the process, another ingredient in the “cake recipe,” and the one that put CA head and shoulders above the competition, above every political consulting firm in the world, they found ways to reach targeted audiences, and to test the effectiveness of that reach, through client-facing tools such as the one CA designed especially for its own use. Called Ripon, this canvassing software program for door-to-door campaigners and phone bankers allowed its users direct access to your data as they approached your house or called you on the phone. Data-visualization tools also helped them determine their strategy before you’d even opened your door or picked up your phone.
Brittany Kaiser (Targeted: The Cambridge Analytica Whistleblower's Inside Story of How Big Data, Trump, and Facebook Broke Democracy and How It Can Happen Again)
ways to achieve flow . . . include shifting previously consecutive processes to parallel activities, combining tasks to reduce handoffs (which may require cross-training, resequencing, or repatterning work so that downstream recipients can so more effective work), resequencing work, and creating service-level agreements between internal suppliers and customers, to name a few.
Karen Martin (Value Stream Mapping: How to Visualize Work Flow and Align People for Organizational Transformation: Using Lean Business Practices to Transform Office and Service Environments)
all of the world-class athletes and other peak performers are visualizers. They see it; they feel it; they experience it before they actually do it. They begin with the end in mind.
Stephen R. Covey (The 7 Habits of Highly Effective People)
Different form, same function. Many companies that create blue oceans attract customers from other industries who use a product or service that performs the same function or bears the same core utility as the new one but takes a very different physical form. In the case of Ford’s Model T, Ford looked to the horse-drawn carriage. The horse-drawn carriage had the same core utility as the car: transportation for individuals and families. But it had a very different form: a live animal versus a machine. Ford effectively converted the majority of noncustomers of the auto industry, namely customers of horse-drawn carriages, into customers of its own blue ocean by pricing its Model T against horse-drawn carriages and not the cars of other automakers. In the case of the school lunch catering industry, raising this question led to an interesting insight. Suddenly those parents who make their children’s lunches came into the equation. For many children, parents had the same function: making their child’s lunch. But they had a very different form: mom or dad versus a lunch line in the cafeteria. Different form and function, same objective. Some companies lure customers from even further away. Cirque du Soleil, for example, has diverted customers from a wide range of evening activities. Its growth came in part through drawing people away from other activities that differed in both form and function. For example, bars and restaurants have few physical features in common with a circus. They also serve a distinct function by providing conversational and gastronomical pleasure, a very different experience from the visual entertainment that a circus offers. Yet despite these differences in form and function, people have the same objective in undertaking these three activities: to enjoy a night out.
W. Chan Kim (Blue Ocean Strategy, Expanded Edition: How to Create Uncontested Market Space and Make the Competition Irrelevant)
The effect of that was startling. Tears came into his son’s eyes. Silently, the young man shook his hand. Afterward—after the interview was over— Marin thought, What kind of future will we have, with an entire generation of over-emotional young people just now coming of age? He visualized future groups filled with adults who had been virtually fatherless in their childhood and youth—tearful people by the million influencing the pattern of group law on the basis of their own inner need for the missing male parent. Was that a true picture? he wondered. If it were, it did not augur well for the future of the land. While he waited for take-off time, he found himself uneasy and unhappy. The fact was he didn’t know what had been happening during his absence. They would unquestionably have turned on the pain circuit, the moment they discovered the connection between Trask and Group 814. The area covered would gradually be extended; better get drugs he could take when the rocket ship landed. He’d stand the pain until his arrival. He didn’t wish to appear doped before the officers who would meet him. As it turned out, the ship was already past the apex of its climb when, abruptly, he felt the stab of pain through his shoulder. As he silently fought the agony, one thing was clear to Marin: the crisis had arrived.
A.E. van Vogt (The Mind Cage)
The slim, refined design of Samsung’s 46-inch UDE-C video wall showcases the image quality and clarity needed to effectively share promotional and informational content with target audiences. Featuring a super-narrow 5.5mm bezel-to-bezel design (3.8mm bezel on the left and top sides and 1.7mm bezel on the right and bottom sides), the UDE-C keeps viewer attention focused on the display’s visual message rather than the display itself. As multiple screens converge, users and audiences benefit from the seamless viewing experience and vibrant picture quality of the UDE-C video wall.
A few months later, Sandler got word that Netflix, newly interested in movies, had set its sights squarely on him. Using data gathered from Sony movies that Netflix had played through its Starz deal, Sarandos’s team knew that even as his box-office power waned, Sandler remained one of the most popular stars on the streaming service. His aging audience might be less likely to pay to see him in a theater, but they still loved laughing at his antics at home. “We knew he was popular in markets where his movies had never even opened,” Sarandos said. The mid-budget star vehicle, in other words, still worked great for Netflix. When people went to theaters, they preferred brand-name franchises. But when they were browsing for something to stream rather than pay fifty dollars for a night out, a familiar face doing the familiar shtick was perfect. Movies without massive visual effects were just as enjoyable at home, after all, if not more so. And if the stars had chosen to stretch their wings and you didn’t like the movie you clicked on, you could turn it off immediately. You lost a little bit of time, but not any money. And though there may not be as many fans of Adam Sandler, or any movie star, as there used to be, that didn’t necessarily matter to Netflix. All studios care about is how many people buy tickets or DVDs. They get their money whether you loved the movie or hated it. But Netflix measures success by how many people finish a movie and are satisfied enough to keep subscribing as a result, or who sign up just in order to watch it. Adam Sandler’s fan base may have shrunk, but those who remained were loyal and they were global—just what Netflix wanted. Additionally, Netflix wouldn’t have to spend millions of dollars on billboards and TV ads to market each film. Its algorithm would prominently suggest each Sandler movie to his fans on their home screen the moment it was available.
Ben Fritz (The Big Picture: The Fight for the Future of Movies)
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?
John Tiffany (Harry Potter and the Cursed Child - Parts One and Two: The Official Playscript of the Original West End Production)
Age of Propaganda (2001), social psychologists and authors Anthony Pratkanis and Eliot Aronson argue that fear based content is most visually and rhetorically effective when: 1. It scares the hell out of people i.e., its existential. 2. It offers a specific recommendation for overcoming the fear-arousing existential personal or tribal threat. 3. The solution or recommended action presented by the trusted authority figure is easily perceived as reducing the imminent existential threat. 4. The viewer believes that he or she can fight the threat and can personally perform the recommended action.
Tobin Smith (Foxocracy: Inside the Network's Playbook of Tribal Warfare)
There is no cure without side effects unless it is a heavenly miracle.
Mwanandeke Kindembo
Affirmations should always be stated as a positive. Affirm what you do want, not what you don’t want. Affirmations work best when they are short and very clear about a single desired goal. Take the time to write, rewrite, and polish your affirmation until you can express your desire in a short statement of precise and well-chosen words. Affirmations should be specific about the desired goal, but not about how to accomplish it. Your subconscious knows better than you what it can do and how it can do it. Do not make unreasonable time demands. Your subconscious can’t make anything happen “suddenly” or “now.” Just saying the words will have little effect. When you affirm your desire you must do it with such faith and conviction that your subconscious becomes convinced of how important it is to you. As you affirm your desire to yourself, visualize it in your mind’s eye as big as a billboard. Make it big, powerful, and memorable. Repetition of your emotionalized affirmation is crucial.
Napoleon Hill (Selling You!)
But when the genetic manipulations began to take effect, the alterations had disastrous consequences. As it turns out, the attempt had resulted not in corrected genes, but in damaged ones,” David says. “Take away someone’s fear, or low intelligence, or dishonesty . . . and you take away their compassion. Take away someone’s aggression and you take away their motivation, or their ability to assert themselves. Take away their selfishness and you take away their sense of self-preservation. If you think about it, I’m sure you know exactly what I mean.” I tick off each quality in my mind as he says it—fear, low intelligence, dishonesty, aggression, selfishness. He is talking about the factions. And he’s right to say that every faction loses something when it gains a virtue: the Dauntless, brave but cruel; the Erudite, intelligent but vain; the Amity, peaceful but passive; the Candor, honest but inconsiderate; the Abnegation, selfless but stifling. “Humanity has never been perfect, but the genetic alterations made it worse than it had ever been before. This manifested itself in what we call the Purity War. A civil war, waged by those with damaged genes, against the government and everyone with pure genes. The Purity War caused a level of destruction formerly unheard of on American soil, eliminating almost half of the country’s population.” “The visual is up,” says one of the people at a desk in the control room. A map appears on the screen above David’s head. It is an unfamiliar shape, so I’m not sure what it’s supposed to represent, but it is covered with patches of pink, red, and dark-crimson lights. “This is our country before the Purity War,” David says. “And this is after—” The lights start to recede, the patches shrinking like puddles of water drying in the sun. Then I realize that the red lights were people—people, disappearing, their lights going out. I stare at the screen, unable to wrap my mind around such a substantial loss. David continues, “When the war was finally over, the people demanded a permanent solution to the genetic problem. And that is why the Bureau of Genetic Welfare was formed. Armed with all the scientific knowledge at our government’s disposal, our predecessors designed experiments to restore humanity to its genetically pure state. “They called for genetically damaged individuals to come forward so that the Bureau could alter their genes. The Bureau then placed them in secure environments to settle in for the long haul, equipped with basic versions of the serums to help them control their society. They would wait for the passage of time—for the generations to pass, for each one to produce more genetically healed humans. Or, as you currently know them . . . the Divergent.
Veronica Roth (The Divergent Library: Divergent; Insurgent; Allegiant; Four)
But when the genetic manipulations began to take effect, the alterations had disastrous consequences. As it turns out, the attempt had resulted not in corrected genes, but in damaged ones,” David says. “Take away someone’s fear, or low intelligence, or dishonesty . . . and you take away their compassion. Take away someone’s aggression and you take away their motivation, or their ability to assert themselves. Take away their selfishness and you take away their sense of self-preservation. If you think about it, I’m sure you know exactly what I mean.” I tick off each quality in my mind as he says it—fear, low intelligence, dishonesty, aggression, selfishness. He is talking about the factions. And he’s right to say that every faction loses something when it gains a virtue: the Dauntless, brave but cruel; the Erudite, intelligent but vain; the Amity, peaceful but passive; the Candor, honest but inconsiderate; the Abnegation, selfless but stifling. “Humanity has never been perfect, but the genetic alterations made it worse than it had ever been before. This manifested itself in what we call the Purity War. A civil war, waged by those with damaged genes, against the government and everyone with pure genes. The Purity War caused a level of destruction formerly unheard of on American soil, eliminating almost half of the country’s population.” “The visual is up,” says one of the people at a desk in the control room. A map appears on the screen above David’s head. It is an unfamiliar shape, so I’m not sure what it’s supposed to represent, but it is covered with patches of pink, red, and dark-crimson lights. “This is our country before the Purity War,” David says. “And this is after—” The lights start to recede, the patches shrinking like puddles of water drying in the sun. Then I realize that the red lights were people—people, disappearing, their lights going out. I stare at the screen, unable to wrap my mind around such a substantial loss. David continues, “When the war was finally over, the people demanded a permanent solution to the genetic problem. And that is why the Bureau of Genetic Welfare was formed. Armed with all the scientific knowledge at our government’s disposal, our predecessors designed experiments to restore humanity to its genetically pure state. “They called for genetically damaged individuals to come forward so that the Bureau could alter their genes.
Veronica Roth (The Divergent Library: Divergent; Insurgent; Allegiant; Four)
Practice adding value to people. As you move higher and higher in the world of success, more and more of your job becomes “people development.” Ask, “What can I do to ‘add value’ to my subordinates? What can I do to help them to become more effective?” Remember, to bring out the best in a person, you must first visualize his best.
David J. Schwartz (The Magic of Thinking Big)
Tetris as Therapy Have trouble getting to sleep? Try 10 minutes of Tetris. Recent research has demonstrated that Tetris—or Candy Crush Saga or Bejeweled—can help overwrite negative visualization, which has applications for addiction (such as overeating), preventing PTSD, and, in my case, onset insomnia. As Jane explains, due to the visually intensive, problem-solving characteristics of these games: “You see visual flashbacks [e.g., the blocks falling or the pieces swapping]. They occupy the visual processing center of your brain so that you cannot imagine the thing that you’re craving [or obsessing over, which are also highly visual]. This effect can last 3 or 4 hours. It also turns out that if you play Tetris after witnessing a traumatic event [ideally within 6 hours, but it’s been demonstrated at 24 hours], it prevents flashbacks and lowers symptoms of post-traumatic stress disorder.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
Fall River, an old mill town fifty miles south of Boston. Median household income in that city is $33,000, among the lowest in the state; unemployment is among the highest, 15 percent in March 2014, nearly five years after the recession ended. Twenty-three percent of Fall River’s inhabitants live in poverty. The city lost its many fabric-making concerns years ago and with them it lost its reason for being. People have been deserting the place for decades.14 Many of the empty factories in which their ancestors worked are still standing, however. Solid nineteenth-century structures of granite or brick, these huge boxes dominate the city visually—there always seems to be one or two of them in the vista, contrasting painfully with whatever colorful plastic fast-food joint has been slapped up next door. Most of these old factories are boarded up, unmistakable emblems of hopelessness right up to the roof. But the ones that have been successfully repurposed are in some ways even worse, filled as they often are with enterprises offering cheap suits or help with drug addiction. A clinic in the hulk of one abandoned mill has a sign on the window reading, simply, “Cancer & Blood.” The effect of all this is to remind you with every prospect that this is a place and a way of life from which the politicians have withdrawn their blessing. Like so many other American scenes, this one is the product of decades of deindustrialization, engineered by Republicans and rationalized by Democrats. Fifty miles away, Boston is a roaring success, but the doctrine of prosperity that you see on every corner in Boston also serves to explain away the failure you see on every corner in Fall River. This is a place where affluence never returns—not because affluence for Fall River is impossible or unimaginable, but because our country’s leaders have blandly accepted a social order that constantly bids down the wages of people like these while bidding up the rewards for innovators, creatives, and professionals. Even the city’s one real hope for new employment opportunities—an Amazon warehouse that is in the planning stages—will serve to lock in this relationship. If all goes according to plan, and if Amazon sticks to the practices it has pioneered elsewhere, people from Fall River will one day get to do exhausting work with few benefits while being electronically monitored for efficiency, in order to save the affluent customers of nearby Boston a few pennies when they buy books or electronics.15
Thomas Frank (Listen, Liberal: Or, What Ever Happened to the Party of the People?)
Now if I were sitting at that funeral we visualized earlier, and one of my children was about to speak, I would want his life to represent the victory of teaching, training, and disciplining with love over a period of years rather than the battle scars of quick fix skirmishes. I would want his heart and mind to be filled with the pleasant memories of deep, meaningful times together. I would want him to remember me as a loving father who shared the fun and the pain of growing up. I would want him to remember the times he came to me with his problems and concerns. I would want to have listened and loved and helped. I would want him to know I wasn’t perfect, but that I had tried with everything I had. And that, perhaps more than anybody in the world, I loved him. The reason I would want those things is because, deep down, I value my children. I love them, I want to help them. I value my role as their father. But I don’t always see those values. I get caught up in the “thick of thin things.” What matters most gets buried under layers of pressing problems, immediate concerns, and outward behaviors. I become reactive. And the way I interact with my children every day often bears little resemblance to the way I deeply feel about them. Because I am self-aware, because I have imagination and conscience, I can examine my deepest values. I can realize that the script I’m living is not in harmony with those values, that my life is not the product of my own proactive design, but the result of the first creation I have deferred to circumstances and other people. And I can change. I can live out of my imagination instead of my memory. I can tie myself to my limitless potential instead of my limiting past. I can become my own first creator.
Stephen R. Covey (The 7 Habits of Highly Effective People)
Paul Molles has over twenty years of experience working in film and TV as a Visual Effects Producer. He has worked on several high-profile TV shows and films over this period of time and currently has a number of exciting projects in the pipeline. Paul Molles is personally inspired by Star Wars and has always adored the visual effects in the series.
Paul Molles
A miracle still occurred. From a human point of view, Moses’s ministry was effective, full of power, and praiseworthy. From God’s point of view, however, Moses failed and his ministry at the waters of Meribah was rejected. Could the same thing be happening to the false Christians Jesus describes in Matthew 7? Is it possible that because of His grace and care for His people, God chooses to sometimes display His power through ungodly leaders; to work in spite of them rather than because of them? We must not confuse being used by God with belonging to God.
Skye Jethani (What If Jesus Was Serious?: A Visual Guide to the Teachings of Jesus We Love to Ignore)
Visual comprehension can be summarized as “what you see depends on what you look at and what you know.
Stephen P. Anderson (Seductive Interaction Design: Creating Playful, Fun, and Effective User Experiences)
The Instagram versus Hipstamatic story is perhaps the canonical example of a strategy made famous by Chris Dixon’s 2015 essay “Come for the tool, stay for the network.” Chris writes: A popular strategy for bootstrapping networks is what I like to call “come for the tool, stay for the network.” The idea is to initially attract users with a single-player tool and then, over time, get them to participate in a network. The tool helps get to initial critical mass. The network creates the long term value for users, and defensibility for the company.40 There are many other examples across many sectors beyond photo apps: The Google Suite provides stand-alone tools for people to create documents, spreadsheets, and presentations, but also network features around collaborative editing, and comments. Games like Minecraft or even classics like Street Fighter can be played in single-player mode where you play against the computer, or multiplayer mode where you play with friends. Yelp started out effectively as a directory tool for people to look up local businesses, showing addresses and phone numbers, but the network eventually built out the database of photos and reviews. LinkedIn started as a tool to put your resume online, but encouraged you to build up your professional network over time. “Come for the tool, stay for the network” circumvents the Cold Start Problem and makes it easier to launch into an entire network—with PR, paid marketing, influencers, sales, or any number of tried-and-true channels. It minimizes the size requirement of an atomic network and in turn makes it easy to take on an entire network. Whether it’s photo-sharing apps or restaurant directories, in the framework of the Cold Start Theory, this strategy can be visualized. In effect, a tool can be used to “prop up” the value of the network effects curve when the network is small.
Andrew Chen (The Cold Start Problem: How to Start and Scale Network Effects)
Launching “Buy It Now” was a large change that touched every transaction, but the eBay team also innovated across the experience for both sellers and buyers as well. With an initial success, we doubled down on innovation to drive growth. We introduced stores on eBay, which dramatically increased the amount of product offered for sale on the platform. We expanded the menu of optional features that sellers could purchase to better highlight their listings on the site. We improved the post-transaction experience on by significantly improving the “checkout” flow, including the eventual seamless integration of PayPal on the eBay site. Each of these innovations supported the growth of the business and helped to keep that gravity at bay. Years later, Jeff became a general partner at Andreessen Horowitz, where he would kick off the firm’s success in startups with network effects, investing in Airbnb, Instacart, Pinterest, and others. I’m lucky to work with him! He recounted in an essay on the a16z blog that his strategy was to grow eBay by adding layers and layers of new revenue—like “adding layers to the cake.” You can see it visually here: Figure 12: eBay’s growth layer cake As the core US business began to look more like a line than a hockey stick, international and payments were layered on top. Together, the aggregate business started to look like a hockey stick, but underneath it was actually many new lines of business.
Andrew Chen (The Cold Start Problem: How to Start and Scale Network Effects)
METTA MEDITATION Metta is an active form of meditation in which, instead of concentrating on the air, we concentrate on bringing positive thoughts and wishes out into the world, and hope that our good will affects people— or animals — in our heads. In some forms of this practice, we go a step further and believe that whosoever may be the target of our metta (and this includes ourselves) is relieved of their particular form of suffering, discomfort or pain as they are influenced by the force of our goodwill. Benefits of metta meditation Research supports what meditators have known for centuries who incorporate metta into their practice: it enhances well-being. Including strengthened feelings of empathy to better interactions to increased tolerance to coping with PTSD and other trauma-based disorders, daily meditation on love-kindness has been connected to a variety of effects, much like rituals of mindfulness and consciousness. And, yeah, sympathy can even grow. STEP BY STEP METTA MEDITATION Sit in a comfortable and relaxing way to practice metta meditation. For steady, long and full exhalations, take two to three deep breaths. Let go of any fears or doubts. Experience or visualize the wind flowing through your chest core in the direction of your heart for a few minutes. Metta is first applied against ourselves, as we often fail to love others without respecting ourselves first. The following or related sentences are sitting quietly, unconsciously repeated, gradually and steadily: may I be satisfied, may I be all right, may I be safe, may I be at ease and peaceful. Enable yourself to slip into the thoughts they share as you utter these words. Metta meditation is mainly about communicating with the purpose of wishing joy to ourselves or to others. Nevertheless, if the body or mind has emotions of comfort, friendliness, or affection, communicate with them, allowing them to grow as you repeat the words. You may keep a picture of yourself in the center of your mind as an aid to meditation. It allows the thoughts conveyed in the words to be improved. Bring to mind a friend or someone in your life who has cared about you profoundly after a period of steering metta towards yourself. And echo slowly words of love-kindness towards them: May you be satisfied. May you be fine. Please be safe. May you be at ease and in peace.
Adrian Satyam (Energy Healing: 6 in 1: Medicine for Body, Mind and Spirit. An extraordinary guide to Chakra and Quantum Healing, Kundalini and Third Eye Awakening, Reiki and Meditation and Mindfulness.)
You have to believe you can do something before you can do it. The body can’t go where the mind hasn’t been. You have to visualize yourself doing whatever it is you wish to achieve first and foremost. Then go about practicing each day with focus and persistent action until you attain it. This doesn’t mean solely training in a physical sense too. Its been shown time and again that practising in the mind is just as effective as going through the “real life” motions when trying to improve at a given task.
Katherine Chambers (Mental Toughness: A Psychologist’s Guide to Becoming Psychologically Strong - Develop Resilience, Self-Discipline & Willpower on Demand (Psychology Self-Help Book 13))
Change Tactic: Small changes in your environment can have a surprising effect on your choices. For example, just add a few visual cues that help you focus on your goals, and your behavior will change rapidly.
Kerry Patterson (Change Anything: The New Science of Personal Success)
The soul seems to consist of billions of stars of dreams and hopes. We are unknown worlds even for ourselves, our mood and sensations are nature. In space, you can live billions of lives and billions of moods as moods of nature. An endless abundance of varieties of images of life experiences, the universe lulls us with dreams and depth of knowledge. 2. Life is a philosophical lens Life is how we see it, it is the philosophical lens of a video camera in our minds, the philosophical video effect of the video of our memory. 3. Genes and philosophy Chemistry anatomical biology develops gene philosophy. 4. Money is an evolutionary, infantile stagnation in the development of the brain. At the expense of money, a person seeks to return to childhood and stay there. 5. Advertising is a lawyer who, through hypnosis, proves the genius or stupidity of a person or a product through herd instinct, to elevate or destroy. Advertising can turn a criminal into a victim. Advertising does not care which side it is on, it matters who pays more. Advertising manipulates selfishness, it creates the illusion of general selfishness that unites and creates the mass thinking of conformism. All that you see around you is all advertising. Advertising is music, cinema, literature, everything related to the visual arts, science, philosophy, culture, etc. All this is a temporary fashionable propaganda of thinking. Manipulation through advertising where you have been convinced of something for centuries. 6. Inflation and exchange rates will increase the number of divorces, more orphans and single-parent families. 7. The genitals hinder the evolutionary development of the brain, since the trends of modern culture develop at the expense of the genitals, inflation, egoism, infantilism, etc. The world will heal profundity. 8. Selfishness is an abstraction of lies, surrealism of self-deception. 9. Marketing of selfish dogmas and propaganda is the architecture of modern thinking in which modern theories and hypotheses and other kinds of opinions are placed that grow to the level of dogmas. 10. The human world is built through knowledge, namely through awareness. Books are a pillar and foundation. But awareness is the very building piercing the clouds, the building of the universe soaring into space like a spaceship plows through the depths of space of profundity. We reach the pinnacle of knowledge through the experience and opinions of other people who comprehend this world with the help of intuition, which is the main navigator in the development of culture and science. A person feels the weight of the evolutionary degeneration of the brain and heart and soul. The mind gains wings and freedom. The source of knowledge fills life with meaning so everything converges in its place and becomes understandable and the fear of ignorance decreases. Thinking is built at the expense of books, but intuition is a wormhole into endless depths of awareness and a look into the future. The abundance of opinions of theories of hypotheses speaks of ignorance and selfishness of vanity. Through books we learn the anatomy of philosophy. In books we accumulate someone else's experience and other people's insights and feel more fulfilling and more alive. Author: Musin Almat Zhumabekovich
Musin Almat Zhumabekovich.
Small business IT support is essential to the success of your business. Troubleshooting of problems, breakdown issues, and internet hosting services is just a few of the very important services that a little business could need from their IT support department. Traditionally, smaller businesses don't have an associate in the nursing in-house IT support department, rather than selecting to outsource these services. There are a lot of advantages however the most factor is to settle on one thing that supported your own business needs. Top reasons to outsource your IT support Support is on hand, able to answer IT problems as they arise Access to skilled recommendation and knowledge Access to new technology at lower prices Scale back overheads associate with nursing economize Increases potency and productivity Permits you to figure your business Information lose prevention Internet hosting and exchange server Troubleshooting via remote access No capital outlay Hiring an IT support for little businesses IT support specialists are qualified to assess a company’s IT systems and support them in utilizing the ability of IT so that you can easily achieve your trading goals by systematically utilizing them. The IT support team’s prime responsibilities are to embrace work and diagnosis your company’s IT foundation, researching the business needs, and making & executing a technology resolution. Also, some Small Business IT Support Services in Milwaukee are answerable for manufacturing technological solutions to resolve business obstacles, implementation, and examination of the technology, drafting a schedule for analysis, and operational aboard your in-house technical groups to supply the most effective performance, amongst different duties. Benefits of appointing IT support companies for small businesses It's difficult to seek out appropriate IT support corporations for little businesses. And a full-time, in-house IT department may be costly to rent and manage. Also, the best IT Support Companies for Small businesses can help you find free time and save lots of cash, which may be used to target planning methods or concentrate on your business’s core spheres. It's simple to visualize why Small Business Technology Solutions appreciates internet hosting services, server backups, or facilities together with your blackberry server is therefore necessary for any business. And outsourcing this allows you to induce with operating in your business instead of on it. it's going to not be the answer for every single business, and you' ve got to figure inside your means that and your business needs, however, outsourcing is valued performing some analysis and finding some native corporations to visualize if it may be the solution you have been trying for.
IT Simpli
Browning cut, trimmed, ignored and generally sabotaged the screenplay's visual potentials, insisting on static camera setups, eliminating reaction shots and special effects, and generally taking the lazy way out at every opportunity.
David J. Skal (Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen)
Managers handle parallel projects all the time. They juggle with people, work tasks, and goals to ensure the success of every project process. However, managing projects, by design, is not an easy task. Since there are plenty of moving parts, it can easily become disorganized and chaotic. It is vital to use an efficient project management system to stay organized at work while designing and executing projects. Project Management Online Master's Programs From XLRI offers unique insights into project management software tools and make teams more efficient in meeting deadlines. How can project management software help you? Project management tools are equipped with core features that streamline different processes including managing available resources, responding to problems, and keeping all the stakeholders involved. Having the best project management software can make a significant influence on the operational and strategic aspects of the company. Here is a list of 5 key benefits to project professionals and organizations in using project management software: 1. Enhanced planning and scheduling Project planning and scheduling is an important component of project management. With project management systems, the previous performance of the team relevant to the present project can be accessed easily. Project managers can enroll in an online project management course to develop a consistent management plan and prioritize tasks. Critical tasks like resource allocation, identification of dependencies, and project deliverables can be completed comfortably using project management software. 2. Better collaboration Project teams sometimes have to handle cross-functional projects along with their day to day responsibilities. Communication between different team members is critical to avoid expensive delays and precludes the waste of precious resources. A key upside of project management software is that it makes effectual collaboration extremely simple. All project communication is stored in a universally accessible place. The project management online master's program offers unique insights to project managers on timeline and status updates which leads to a synergy between the team’s functions and project outcomes. 3. Effective task delegation Assigning tasks to team members in a fair way is a challenging proposition for most project managers. With a project management program, the delegation of project tasks can be easily done. In most instances, these programs send out automatic reminders when deadlines are approaching to ensure a smooth and efficient project workflow. 4. Easier File access and sharing Important documents should be safely accessed and shared among team members. Project management tools provide cloud-based storage which enables users to make changes, leave feedback and annotate easily. PM software logs any user changes to ensure project transparency within the team. 5. Easier integration of new members Project managers are responsible to get new members up to speed on the important project parameters within a short time. Project management online master's programs from XLRI Jamshedpuroffer vital learning to management professionals in maintaining a project log and in simplistically visualizing the complete project. Takeaway Choosing the perfect PM software for your organization helps you to effectively collaborate to achieve project success. Simple and intuitive PM tools are useful to enhance productivity in remote-working employees.
When an event and the broadcasting of that event in real time are too close together, the event is rendered undecidable and virtual; it is stripped of its historical dimension and removed from memory. We are in a generalized feedback effect. Wherever a mingling of this kind - a collision of poles - occurs, then the vital tension is discharged. Even in 'reality TV' where, in the live telling of the story, the immediate televisual acting, we see the confusion of existence and its double. There is no separation any longer, no emptiness, no absence: you enter the screen and the visual image unimpeded. You enter life itself as though walking on to a screen. You slip on your own life like a data suit.
Jean Baudrillard (The Intelligence of Evil or the Lucidity Pact)
Negative visualization does not have these drawbacks. We don’t have to wait to engage in negative visualization the way we have to wait to be struck by a catastrophe. Being struck by a catastrophe can easily kill us; engaging in negative visualization can’t. And because negative visualization can be done repeatedly, its beneficial effects, unlike those of a catastrophe, can last indefinitely.
William B. Irvine (A Guide to the Good Life: The Ancient Art of Stoic Joy)
General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever
Robert A. Carter (Buffalo Bill Cody: The Man Behind the Legend)
Will this person raise the average level of effectiveness of the group they’re entering? We want to fight entropy. The bar has to continuously go up. I ask people to visualize the company five years from now. At that point, each of us should look around and say, “The standards are so high now—boy, I’m glad I got in when I did!
Jeff Bezos (Invent and Wander: The Collected Writings of Jeff Bezos)
Setting the bar high in our approach to hiring has been, and will continue to be, the single most important element of’s success. During our hiring meetings, we ask people to consider three questions before making a decision: Will you admire this person? If you think about the people you’ve admired in your life, they are probably people you’ve been able to learn from or take an example from. For myself, I’ve always tried hard to work only with people I admire, and I encourage folks here to be just as demanding. Life is definitely too short to do otherwise. Will this person raise the average level of effectiveness of the group they’re entering? We want to fight entropy. The bar has to continuously go up. I ask people to visualize the company five years from now. At that point, each of us should look around and say, “The standards are so high now—boy, I’m glad I got in when I did!” Along what dimension might this person be a superstar? Many people have unique skills, interests, and perspectives that enrich the work environment for all of us. It’s often something that’s not even related to their jobs. One person here is a National Spelling Bee champion (1978, I believe). I suspect it doesn’t help her in her everyday work, but it does make working here more fun if you can occasionally snag her in the
Jeff Bezos (Invent and Wander: The Collected Writings of Jeff Bezos)
Rather than try to explain it, most simply observe and measure the effect. Kaku, who so often explains complex ideas in physics with such ease, described entanglement in one of his many YouTube videos. Visualize two electrons, he said, which are very close together and vibrating in unison. If, however, you separate them, it can happen that
Richard M. Dolan (UFOs for the 21st Century Mind: A Fresh Guide to an Ancient Mystery)
We learn best when we use several different senses—hearing, seeing, and, perhaps especially, being able to feel with our hands. At deep levels in your brain, you see and hear. You see and smell. You hear and touch. When your brain creates its impressions of the world, you want as many senses involved as possible. So whenever you’re learning anything, try to take advantage of all your senses. Don’t think of yourself as having a preferred learning style. Think of yourself as an “all-inclusive” learner. If you imagine hearing a famous person from history speaking to you, or you visualize a chemical, that counts as multisensory learning, which is the most effective kind. For everyone.
Barbara Oakley (Learning How to Learn: How to Succeed in School Without Spending All Your Time Studying; A Guide for Kids and Teens)
The Four Dominant Learning Styles What are the Four Types of Learners? If you have spent any considerable amount of time in a learning institution, you know for almost a fact that each learner is different from the next. It is relatively easy to pick out the differences among learners. For instance, you can identify a student who has an easier time retaining information when presented in a particular format. Until recent decades, education seemed to be incredibly rigid towards the learners. Most often than not, they were subjected to a one-size-fits-all model that never accommodated for the differences in learning. However, research and studies made tremendous strides in identifying and reconciling these discrepancies. Nowadays, educators are developing strategies that help them reach out to each student's specific learning style. This gives each learner a fair chance at acquiring an education. This article seeks to breakdown the four main ways that learners acquire, process, and retain information. Visual Learners Information is optimally acquired and processed for this type of learners when conveyed in graphic or diagrammatic form. Such students retain content when it is presented as diagrams, charts, etcetera with much more ease. Some of them also lean towards pictures and videos at times. These learners tend to better at processing robust information rather than bits and pieces. This makes them holistic learners. Hence, they derive more value from summarized visual aids as opposed to segments. Auditory Learners On the other hand, these students learn more by processing information that has been delivered verbally. Such students are also more attentive to their instructors in class. Sometimes, they will do so at the expense of taking notes which can sometimes be mistaken for subpar engagement. Such learners will also thrive in group discussions where they get to talk through schoolwork with their peers. This not only reinforces their understanding but also presents an excellent opportunity to learn from others. Similarly, they can obtain significant value from reading out what they have written. Reading/Writing Learners These students lean more towards written information. For as long as they read through the content, they stand a better chance at retaining it. Such students prefer text-heavy learning. Thus, written assignments, handouts in class, or even taking notes are their most effective learning modes. Kinesthetic Learners Essentially, these students learn by doing. These are the students that rely on hands-on participation in class. For as long as they are physically proactive in the learning process, such learners stand a better chance at retaining and retrieving the knowledge acquired. This also earns them the popular term, tactile learners, since they tend to engage most of their sense in the learning process. As you would expect, such leaners have the most difficulties in conventional learning institutions. However, they tend to thrive in practical-oriented set-ups, such as workshops and laboratories. These four modalities will provide sufficient background knowledge on learning styles for you to formulate your own assessment. Ask yourself first, no less, what type of a learner are you?
Sandy Miles
Murnau now inserts scenes with little direct connection to the story, except symbolically. One involves a scientist who gives a lecture on the Venus flytrap, the “vampire of the vegetable kingdom.” Then Knock, in a jail cell, watches in close-up as a spider devours its prey. Why cannot man likewise be a vampire? Knock senses his Master has arrived, escapes, and scurries about the town with a coffin on his back. As fear of the plague spreads, “the town was looking for a scapegoat,” the titles say, and Knock creeps about on rooftops and is stoned, while the street is filled with dark processions of the coffins of the newly dead. Ellen Hutter learns that the only way to stop a vampire is for a good woman to distract him so that he stays out past the first cock’s crow. Her sacrifice not only saves the city but also reminds us of the buried sexuality in the Dracula story. Bram Stoker wrote with ironclad nineteenth-century Victorian values, inspiring no end of analysis from readers who wonder if the buried message of Dracula might be that unlicensed sex is dangerous to society. The Victorians feared venereal disease the way we fear AIDS, and vampirism may be a metaphor: The predator vampire lives without a mate, stalking his victims or seducing them with promises of bliss—like a rapist or a pickup artist. The cure for vampirism is obviously not a stake through the heart, but nuclear families and bourgeois values. Is Murnau’s Nosferatu scary in the modern sense? Not for me. I admire it more for its artistry and ideas, its atmosphere and images, than for its ability to manipulate my emotions like a skillful modern horror film. It knows none of the later tricks of the trade, like sudden threats that pop in from the side of the screen. But Nosferatu remains effective: It doesn’t scare us, but it haunts us. It shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death. In a sense, Murnau’s film is about all of the things we worry about at three in the morning—cancer, war, disease, madness. It suggests these dark fears in the very style of its visuals. Much of the film is shot in shadow. The corners of the screen are used more than is ordinary; characters lurk or cower there, and it’s a rule of composition that tension is created when the subject of a shot is removed from the center of the frame. Murnau’s special effects add to the disquieting atmosphere: the fast motion of Orlok’s servant,
Roger Ebert (The Great Movies)
Training Effect Our perception of the threat has a direct and dramatic effect of the rate and severity that Body Alarm Reaction will occur. By continual exposure to certain aspects of an attack, or visual perception of an attacker, we can reduce the speed and degree that we fall into automatic body response. By doing realistic self-defense drills we can condition ourselves to the threat of a “haymaker” punch. The more we practice against a specific threat our brain and body becomes well conditioned to that particular stimulus. The more realistic the practice, by increasing speed and intensity, the greater the conditioning level to a realistic attack. This is referred to as Training Effect. An individual that has never practiced any self-defense technique against a “haymaker” punch will ascend into a higher state of Body Alarm Reaction than someone that practices against them. Likewise, someone that trains against full speed, high intensity “haymaker” punches will be in a less state than someone that trains at half-speed. Training Effect can give any martial artist a false sense of security. By developing a high level of skill in the execution of a particular technique, one can be lulled into the falsehood of believing that they have moved beyond the “hold” of Body Alarm Reaction. What they do not realize is that by introducing an Unconditioned Element into the situation that they will automatically slip into Body Alarm Reaction to some degree. The addition of an unconditioned element can occur at any time during a self-defense encounter. Let us assume that someone is attacking with a “haymaker” punch. You have spent many hours perfecting a technique to defend against such an attack and are confident on your ability to execute it properly. You have incorporated the knowledge of what occurs during Body Alarm Reaction into the technique. You have practiced this technique at full speed and from every conceivable angle. It works and you know that it works. You feel confident about the technique and have successfully conditioned yourself to this type of attack — you think. Now as this actual attack is taking place, all that is required to send you into full-blown Body Alarm Reaction is the introduction of an unconditioned element. It can be a slip on wet pavement during the initial execution. It can be an overly large and aggressive attacker. Someone that is much larger, and more frightening, than the training partners that you have worked with in honing this technique. It can be the addition of another potential attacker that is the friend, or colleague, of the one that you are facing. It can be any number of events or circumstances that will cause you to start slipping into Body Alarm Reaction. It is necessary to understand that any one of us can become a victim of this automatic response, even if we have been incorporating the knowledge into our training methods. We are also prone to fall into Body Alarm Reaction due to our perception of visual threats. Our visual recognition of a potential threat has a direct bearing on the initial onset of Body Alarm Reaction.
Rand Cardwell (The 36 Deadly Bubishi Points: The Science and Technique of Pressure Point Fighting - Defend Yourself Against Pressure Point Attacks!)
You can often get this effect by setting your lens to its smallest aperture - usually f22 or greater. You can shoot your landscapes - showing the sun as a star burst. This can add some visual interest to a sun that is just sitting there. Give it a try!
Dan Eitreim (Building a Portrait (On Target Photo Training))
According to accepted standards of internet marketing, an online presence is essential to the success of today's business. Unfortunately, the success of the Internet has also given the opportunity for unqualified and unprofessional Minneapolis web designers to market their services making it very difficult for clients to determine to best web designer for them. If your web site is made by a dreadful web designer, it can have a harmful effect on your business and cost you dearly! there has been a major increase in the use of Internet-related knowledge. An increase in the request of information technology in diverse fields has opened wider career opportunities. Operating a small business without a website is like trying to push an incredibly heavy rock up an impossibly steep hill. But a web presence means that your branding needs to be look at first. One part of that is finding the right branding agency Minneapolis not only has the best talent, but also professionals who understand that the heart is the target for any visual branding effort. Minneapolis web design aims at deliver the best customer solution in any . All these are obtainable with the intention of as long as you with an outstanding service so that we know about your services and the way you function.
facebook game development india FuGenX, a leading Facebook game development company India, the technical team provides a real world gaming experience. Our Facebook app developers integrate exciting features to enjoy the pleasure of playing games with real identities, that can offer rich competition among other Facebook game development companies in India. We take you through the journey of addictive gaming thrill with all the audio visual effects and allow you to make use of the well-known interactive and responsive features, on the social networking site.
facebook game development india
Downdraughts and Upwellings Just the mention of a downcurrent is enough to inspire fear in many divers as they visualize themselves getting caught by an irresistible force that drags them into the abyss with no opportunity for escape. The natural response when confronted with a situation like this where you feel out of control is to panic but there is no need. Normally, downdraughts or downcurrents are localized phenomena that occur along reef walls: think of them as waterfalls in the sea. When you encounter one, the first thing to do is get out of the flow by moving closer in to the wall so that the contours offer you shelter. Once out of the stream, relax, exhale, take a few deep full breaths, check your air supply, depth and decompression status, look around you and plan. Look to see where the big fish are hiding or if there is a place where the sea whips are not waving around. It is not a good idea to fight a downcurrent. It is a struggle you cannot win. The oft-quoted tactic of inflating your BCD to counteract its efforts to carry you down is potentially dangerous as the current might suddenly release you from its hold and you will find yourself on a runaway ascent to the surface, which will do you much more harm than the current could do. Unless you have spotted a place further along the wall that seems calm, usually the best advice is to swim laterally out away from the reef towards the blue. If you find yourself being carried a little deeper initially, stay calm and keep swimming, you will emerge from the pull of the downcurrent before long or its effect will weaken and allow you to begin your ascent and return to the wall. Think of upwellings as reverse down currents. The same advice applies. First move into the wall out of the flow, relax, think, observe and act calmly.
Simon Pridmore (Scuba Confidential - An Insider's Guide to Becoming a Better Diver)
Anyone who has held an iDevice or a smoothly machined MacBook has felt the result of Steve Jobs’s obsession with visual and experiential perfection. But the most important lesson to learn from Jobs has nothing to do with aesthetics. The greatest thing Jobs designed was his business. Apple imagined and executed definite multi-year plans to create new products and distribute them effectively.
Peter Thiel (Zero to One: Notes on Startups, or How to Build the Future)
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.
Mortimer Adler How to read a book
Staying relaxed was helping him cope with the drug induced juddering vision that could be best described as being like a Hitchcockian visual effect operated by a hyperactive squirrel that shook the whole universe closer and farther away. If you went with it, it was quite pleasant, as long as you didn't introduce any lateral movement like turning your head or the car. This caused the universe to try and slide away from underneath you. The other side effect was the constant feeling you ought to try to twist your head off, in a good way.
Dylan Perry (Gods Just Want To Have Fun)
aperture. Certain formats make use of this extra area as an intermediate step before the final print is made, and it is not uncommon for visual effects elements to be shot "full-ap" to reap the benefits of a higher-resolution image. An example of the full aperture framing is shown in Figure D.1 of Appendix D, as well as for the rest of the 35mm formats we will be discussing. 1.85 An aspect ratio of 1.85 is by far the most common framing for movies that are shown in the United States. (In Europe, a 1.66 aspect ratio is much more common, and in the rest of the world it varies between the two standards.) Projecting an image that was shot with normal Academy aperture in a 1.85 format is simply
Brinkmann, Ron (The Art and Science of Digital Compositing)
Work we have yet to complete, or any aspect of our life that distracts us, creates existential overhead. As existential overhead mounts, our effectiveness diminishes. Visualizing work reduces the distractions of existential overhead by transforming fuzzy concepts into tangible objects that your brain can easily grasp and prioritize.
Jim Benson (Personal Kanban: Mapping Work | Navigating Life)
The important takeaway is to know that you don’t have to wait until you win something to access the winner effect: You can do it in any moment by engaging and getting proficient at mental rehearsal or visualization.
Hendrie Weisinger (Performing Under Pressure: The Science of Doing Your Best When It Matters Most)
Metamorphoses by 'Death Posture' (by 'Zeno of Elea') Powers of visualization, self-discipline and concentration are the qualities necessary. All magical practice, to be effective, needs great courage. By means of the Death Posture, total transportation of consciousness into the sex-centre occurs. This brings about pure aesthesis and the creation of a new sexuality by autotelic concept: the subsequent ecstasy is a sublimation. Because every other sense is brought to nullity by sex-intoxication, it is called the 'Death Posture'. Everything is 'a priori' to the act. The 'a posteriori' illumination reveals the inter-sexual correspondences of all things, and great emotiveness becomes... My desires have made a sentient soul, an obsession, a vampire, an insatiable negress of pendulous breasts and fatted thighs riding me into the abysses of the quadriga sexualis...
the regular practice of negative visualization has the effect of transforming Stoics into full-blown optimists.
William B. Irvine (A Guide to the Good Life: The Ancient Art of Stoic Joy)
On a professional basis, when I’m asked what I want to be known for, my answer is simple: My work with children. I believe that every child is a leader and should be seen as such. When it comes to children, don’t define them by their behaviors. Visualize and affirm them as leaders. Leadership is affirming people’s worth and potential so clearly that they are inspired to see it in themselves. We can raise a generation of leaders by teaching the children their innate worth and goodness, by helping them see within themselves the great power and potential they have. I am so pleased to see that thousands of schools around the world are now teaching the 7 Habits to children, teaching them who they really are and what they are capable of. We’re teaching them integrity, resourcefulness, self-discipline, the win-win way of life. We’re teaching them to welcome instead of distrust people who are different from them. We’re teaching them how to “sharpen the saw,” to never stop growing and improving and learning. This is being done through our The Leader in Me program that is being implemented in thousands of schools around the world. In these schools they learn that everyone is a leader, not just a few popular ones. They learn the difference between primary success that comes from real, honest achievement and secondary success—worldly recognition—and they learn to value primary success. They learn that they have this marvelous gift of choice, that they don’t have to be discouraged victims or cogs in a machine. Imagine the future if children grow up deeply connected to these principles, banishing victimism and dependency, suspicion and defensiveness—as fully responsible citizens who take very seriously their obligations to others. That future is possible. That’s what I want to be remembered for.
Stephen R. Covey (The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change)
Roediger goes on to describe how although some might explicitly avoid speaking of race, there are those who make wordless racial appeals and offer coded messages by linking nonracially identified ideas with visually racial representations. This effectively denigrates people of color and links them with issues such as welfare reform, job-training programs, criminality, and sexual promiscuity.17 For example, a US News & World Report cover once used a picture of seven women to illustrate its article on welfare. Six of the seven women were women of color, most were
Shelly Tochluk (Witnessing Whiteness)
suffered greater wetland loss than watersheds with smaller surrounding populations. Most watersheds have suffered no or only very modest losses (less than 3 percent during the decade in question), and few watersheds have suffered more than a 4 percent loss. The distribution is thus heavily skewed toward watersheds with little wetland losses (that is, to the left) and is clearly not normally distributed.6 To increase normality, the variable is transformed by twice taking the square root, x.25. The transformed variable is then normally distributed: the Kolmogorov-Smirnov statistic is 0.82 (p = .51 > .05). The variable also appears visually normal for each of the population subgroups. There are four population groups, designed to ensure an adequate number of observations in each. Boxplot analysis of the transformed variable indicates four large and three small outliers (not shown). Examination suggests that these are plausible and representative values, which are therefore retained. Later, however, we will examine the effect of these seven observations on the robustness of statistical results. Descriptive analysis of the variables is shown in Table 13.1. Generally, large populations tend to have larger average wetland losses, but the standard deviations are large relative to (the difference between) these means, raising considerable question as to whether these differences are indeed statistically significant. Also, the untransformed variable shows that the mean wetland loss is less among watersheds with “Medium I” populations than in those with “Small” populations (1.77 versus 2.52). The transformed variable shows the opposite order (1.06 versus 0.97). Further investigation shows this to be the effect of the three small outliers and two large outliers on the calculation of the mean of the untransformed variable in the “Small” group. Variable transformation minimizes this effect. These outliers also increase the standard deviation of the “Small” group. Using ANOVA, we find that the transformed variable has unequal variances across the four groups (Levene’s statistic = 2.83, p = .41 < .05). Visual inspection, shown in Figure 13.2, indicates that differences are not substantial for observations within the group interquartile ranges, the areas indicated by the boxes. The differences seem mostly caused by observations located in the whiskers of the “Small” group, which include the five outliers mentioned earlier. (The other two outliers remain outliers and are shown.) For now, we conclude that no substantial differences in variances exist, but we later test the robustness of this conclusion with consideration of these observations (see Figure 13.2). Table 13.1 Variable Transformation We now proceed with the ANOVA analysis. First, Table 13.2 shows that the global F-test statistic is 2.91, p = .038 < .05. Thus, at least one pair of means is significantly different. (The term sum of squares is explained in note 1.) Getting Started Try ANOVA on some data of your choice. Second, which pairs are significantly different? We use the Bonferroni post-hoc test because relatively few comparisons are made (there are only four groups). The computer-generated results (not shown in Table 13.2) indicate that the only significant difference concerns the means of the “Small” and “Large” groups. This difference (1.26 - 0.97 = 0.29 [of transformed values]) is significant at the 5 percent level (p = .028). The Tukey and Scheffe tests lead to the same conclusion (respectively, p = .024 and .044). (It should be noted that post-hoc tests also exist for when equal variances are not assumed. In our example, these tests lead to the same result.7) This result is consistent with a visual reexamination of Figure 13.2, which shows that differences between group means are indeed small. The Tukey and
Evan M. Berman (Essential Statistics for Public Managers and Policy Analysts)
The law of attraction says, “You get what you think about, because your subconscious draws actions, thoughts and events to your life based on the program you set.” Let’s see how it works. Every time you imagine that you already achieved a goal, your subconscious receives a task, “Please make my dream a reality.” When you visualize your desire often, your creative brain thinks about potential ideas and solutions actively. Eventually you get necessary answers and make your dream a reality. Draw a picture of your goal and hang it near your desk or bed. Every time you look at it imagine as vividly as possible that you have already achieved your dream. Your subconscious will get activated and will think about ways to make the picture from your imagination a reality. You can be sure that one day your goal will be achieved, no matter how big it is. The law of attraction is one of the most effective techniques that exist not only for generating ideas but also for achieving goals. Use it for small goals that are achievable within a week, use it for average goals that are achievable within a month, and use it for huge strategic goals that you want to achieve within a decade. You can use the law of attraction as many times as you want and every time it will bring you whatever you ask for. Visualization works perfectly in combination with the “Think and Rest” technique. Remember also that to make your subconscious think actively you need to have a burning desire to find a solution and a 100% confidence that you will generate great ideas.
Andrii Sedniev (The Business Idea Factory: A World-Class System for Creating Successful Business Ideas)
STEWARDSHIP DELEGATION Stewardship delegation is focused on results instead of methods. It gives people a choice of method and makes them responsible for results. It takes more time in the beginning, but it’s time well invested. You can move the fulcrum over, you can increase your leverage, through stewardship delegation. Stewardship delegation involves clear, up-front mutual understanding and commitment regarding expectations in five areas. DESIRED RESULTS. Create a clear, mutual understanding of what needs to be accomplished, focusing on what, not how; results, not methods. Spend time. Be patient. Visualize the desired result. Have the person see it, describe it, make out a quality statement of what the results will look like, and by when they will be accomplished. GUIDELINES. Identify the parameters within which the individual should operate. These should be as few as possible to avoid methods delegation, but should include any formidable restrictions. You wouldn’t want a person to think he had considerable latitude as long as he accomplished the objectives, only to violate some long-standing
Stephen R. Covey (The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change)
The fourth concept is that of the observer effect, which states that observation changes outcome. When observed, electrons tend to behave like particles; when not being observed, they behave like probability waves. The results of quantum experiments depend on whether or not someone is looking! (This again sheds light on the intent and visualization factors of our prayer work. Are we really there, actively engaged in our manifestations, or are we reciting by rote, hardly paying attention, barely even observing?) These concepts drove scientists nuts until they decided to factor in conscious observation and intention, which is our fifth concept. Research shows that consciousness changes the outcome of experiments. Consciousness cannot be removed from the equation, because everything that we are aware of exists in the field of our consciousness. Scientist Dean Radin, director of the Consciousness Research Laboratory at the University of Nevada, writes that consciousness: • Extends beyond the individual • Has quantum-field-like properties • Affects outcomes of events • Affects inanimate objects • Is non-local in nature
Josefine Stark (Kuan Yin's Miracle Mantras: Awakening the Healing Powers of the Heart)
John Maddox, the editor of the British journal Nature, had immediately suggested that the minister should be told that the Higgs boson can be explained similarly to the way we visualize the W and Z bosons: as carriers of information and effects. They permit us to understand effects that would otherwise look like long-distance action across empty space in the absence of any carrier.
Henning Genz (Nothingness: The Science Of Empty Space)
The biggest shift was from a bar graph to a line graph. As we’ve discussed, line graphs typically make it easier to see trends over time. This shift also has the effect of visually reducing discrete elements, because the data that was previously five bars has been reduced to a single line with the end points highlighted. When we consider the full data being plotted, we’ve gone from 25 bars to 4 lines. The organization of the data as a line graph allows the use of a single x-axis that can be leveraged across all of the categories. This simplifies the processing of the information (rather than seeing the years in a legend at the left and then having to translate across the various groups of bars).
Cole Nussbaumer Knaflic (Storytelling with Data: A Data Visualization Guide for Business Professionals)
I hope that one day the audience will demand the same degree of martial realism in a fight as it demands visual realism in special effects. The
Guy Windsor (The Swordsman's Companion)
She learned that the best writing used dialogue almost in counterpoint to the visuals, so that what was heard was different from what was seen; she found that a well-made scene could unfold over many pages, with a beginning, middle and end just like a self-contained story; and she observed that each of the best screenplays was driven by an underlying idea that the writer wanted to convey about life itself. It was this that touched her the most, because it meant films could have meaning and be just as effective in catalyzing change as her work in schools.
Stephen Galloway (Leading Lady: Sherry Lansing and the Making of a Hollywood Groundbreaker)
A good affirmation has five basic ingredients: it's personal, it's positive, it's present tense, it's visual, and it's emotional.
Stephen R. Covey (The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change (The Reader's Guide Edition))
Sit and let your body relax. Find the rhythm of deep breathing that has worked best for you so far. Breathe in, breathe out. Be aware of your breath as we continue with this meditation. Close your eyes if you wish. Let the muscles in your face relax. Release the tension in your jaw. To release tension in your neck, let your head hang forward, and then roll it gently around, making sure to stretch your neck muscles often. We are going to empty your mind. Empty it of worries. Empty it of cares. We are going to just let go. With your eyes closed, feel your mind become a void. Let your concerns and stress slip away. You may wish to visualize darkness or light filling your mind. This is not a painful emptiness. It is a soothing absence of thought. Your mind is calm. Become aware of your body. Notice your breathing and heartbeat. Breathe and relax in the silence until you are ready to open your eyes. Repeat again for three minutes later in the
Alexis G. Roldan (Zen: The Ultimate Zen Beginner's Guide: Simple And Effective Zen Concepts For Living A Happier and More Peaceful Life (Meditation, Mindfulness, Happiness, Peacefulness, Stress, Relieve Stress))
Sit and let your body relax. Find the rhythm of deep breathing that has worked best for you so far. Breathe in, breathe out. Be aware of your breath as we continue with this meditation. Close your eyes if you wish. Let the muscles in your face relax. Release the tension in your jaw. To release tension in your neck, let your head hang forward, and then roll it gently around, making sure to stretch your neck muscles often. We are going to empty your mind. Empty it of worries. Empty it of cares. We are going to just let go. With your eyes closed, feel your mind become a void. Let your concerns and stress slip away. You may wish to visualize darkness or light filling your mind. This is not a painful emptiness. It is a soothing absence of thought. Your mind is calm. Become aware of your body. Notice your breathing and heartbeat. Breathe and relax in the silence until you are ready to open your eyes. Repeat again for three minutes later in the day. 
Alexis G. Roldan (Zen: The Ultimate Zen Beginner's Guide: Simple And Effective Zen Concepts For Living A Happier and More Peaceful Life (Meditation, Mindfulness, Happiness, Peacefulness, Stress, Relieve Stress))
Close your eyes if you wish and begin the breathing exercise that works best for you. Let yourself relax, as we get ready to clear your mind. Feel your mind start to empty. When a thought pops up disrupting this process, we want to acknowledge it, and then let it go. Imagine it vanishing away from your mind. If a certain thought remains, use one of these two visualizations to help release it. The first is to imagine tying your thought to a balloon and releasing the balloon to fly away. Feel the thought float out of your mind. If that doesn’t work for you, imagine you are wrapping a present. Place your thought into the box and wrap it up. Then set it aside for later. Repeat this process until your mind is emptied of thoughts and concerns. Enjoy the calmness of your mind. When you are ready, open your eyes. 
Alexis G. Roldan (Zen: The Ultimate Zen Beginner's Guide: Simple And Effective Zen Concepts For Living A Happier and More Peaceful Life (Meditation, Mindfulness, Happiness, Peacefulness, Stress, Relieve Stress))
Today is a day of practice. You are to combine the exercises of the past week in a way that works best for you. Here are some combinations for inspiration: Thinking about becoming an artist? Practice image meditation while breathing through your nostrils to help stimulate your mind and bring inspiration to you. Having trouble getting some sleep? Empty your mind using the balloon visualization technique while you practice circle breathing. Picture the balloon within your mind floating away, making sure to do it every time you exhale. Did someone do something to upset you? Find your center and breathe as deeply as you can while clearing your mind. Acknowledge all that you are feeling as you breathe, but dismiss feelings as soon as the thoughts occur.
Alexis G. Roldan (Zen: The Ultimate Zen Beginner's Guide: Simple And Effective Zen Concepts For Living A Happier and More Peaceful Life (Meditation, Mindfulness, Happiness, Peacefulness, Stress, Relieve Stress))
Especially in live presentation settings, repeated iterations of the same visual, with different pieces emphasized to tell different stories or different aspects of the same story (as demonstrated in Figures 4.7, 4.8, and 4.9), can be an effective strategy. This allows you to familiarize your audience with your data and visual first and then continue to leverage it in the manner illustrated.
Cole Nussbaumer Knaflic (Storytelling with Data: A Data Visualization Guide for Business Professionals)
General Questions What are the business issues (service quality, product quality, speed, capacity, cost, morale, competitive landscape, impending regulations, etc.) we wish to address? What does the customer want? What measurable target condition(s) are we aiming for? Which process blocks add value or are necessary non-value-adding? How can we reduce delays between processes? How can we improve the quality of incoming work at each process? How can we reduce work effort and other expenses across the value stream? How can we create a more effective value stream (greater value to customers, better supplier relationships, higher sales conversion rates, better estimates-to-actuals, lower legal and compliance risk, etc.)? How will we monitor value stream performance?
Karen Martin (Value Stream Mapping: How to Visualize Work and Align Leadership for Organizational Transformation)
Variation Management Is there internally produced variation (e.g., end-of-quarter sales incentives)? How can we level incoming workload along the value stream to reduce variation and achieve greater flow? Can we reduce variation in customer or internal requirements? How can necessary variation be addressed most effectively? Are there common prioritization rules in place throughout the value stream?
Karen Martin (Value Stream Mapping: How to Visualize Work and Align Leadership for Organizational Transformation)
Things may even be worse than that, however. There’s some reason to think that the rise in ethical consumerism could even be harmful for the world, on balance. Psychologists have discovered a phenomenon that they call moral licensing, which describes how people who perform one good action often compensate by doing fewer good actions in the future. For example, in a recent experiment, participants were told to choose a product from either a selection of mostly “green” items (like an energy-efficient lightbulb) or from a selection of mostly conventional items (like a regular lightbulb). They were then told to perform a supposedly unrelated visual perception task: a square box with a diagonal line across it was displayed on a computer screen, and a pattern of twenty dots would flash up on the screen; the subjects had to press a key to indicate whether there were more dots on the left or right side of the line. It was always obvious which was the correct answer, and the experimenters emphasized the importance of being as accurate as possible, telling the subjects that the results of the test would be used in designing future experiments. However, the subjects were told that, whether or not their answers were correct, they’d be paid five cents every time they indicated there were more dots on the left-hand side of the line and five cents every time they indicated there were more dots on the right-hand side. They therefore had a financial incentive to lie, and they were alone, so they knew they wouldn’t be caught if they did so. Moreover, they were invited to pay themselves out of an envelope, so they had an opportunity to steal as well. What happened? People who had previously purchased a “green” product were significantly more likely to both lie and steal than those who had purchased the conventional product. Their
William MacAskill (Doing Good Better: How Effective Altruism Can Help You Make a Difference)
I was now able to logically decipher my behavior and analyze my actions. I understood all the conditioning that the exploitation and disgrace had in creating the different personality parts and behavioral traits that dwelt in my depths. I started to understand how criticism and insults painfully intensified my ignominious impression of myself, causing me to take everything personally. The numb, confused, and skeptic defender parts now made sense to me. I could see how they contributed to the various problems I incurred throughout my life. I comprehended why I mistrusted and did pernicious things to loved ones—for fear they would do them to me first. The need to self-medicate made sense. I began to recognize the urge for porn. The need to commit acts of perversion was a result of my adolescent mind being manipulated and programmed to believe it was acceptable. I perceived that the reason why I wanted to be humiliated sexually was because the shameful part from the humiliation of the maltreatment wanted to be reinforced. The logic of it all—how all the parts fit together, their roles and reasons for being—became apparent to me. I opened my eyes for a brief moment. Keith was leaning forward with his right elbow resting on his leg, his hand supporting his chin, staring at me as if he was trying to analyze my thoughts. I gazed off in a distance, remembering my numerous misbehaviors. I could trace the main contributing factor for why I acted the way I did to the resulting ignominy from the desecration. But the most significant understanding I had was, that even though it wasn’t my fault, I was still responsible for my behavior. My lengthy musings came to a halt when Keith said, “Marco? Where are you now ... tell me what you’re seeing, thinking.” I proceeded to explain to him my current revelation. “Excellent work, Marco,” Keith said, cracking a smile. “Now think about your next step.” My next step was to cleanse and reprogram the inadequate part. I closed my eyes again and began to concentrate. The only way to accomplish this was to create a tangible picture in my mind of the inadequate part being exorcised of all its imperfect characteristics. Once I was able to concentrate on this step, I looked up into his gaze. “I see myself overlooking a canyon during a sunset. As the sun descends, I envision its rays reflecting off the sparse layers of cloud cover, creating a beautiful multi-layer spectrum of blazing colors. I imagine a cool breeze flowing across my body, as a warm illuminating light from above shines on me and creates a white-out effect that is the cleanest, brightest white I can imagine. I picture the whiteness as a soothing cleansing treatment for the blackness within. I’m feeling as pure and clean as the brilliant color itself.” "And now how do you want to orchestrate the inadequate part?" I stood up and puffed out my chest. "I want it to be the exact opposite—confident, strong, and stable. It should be at peace with itself and not paranoid about what other people think.” Sitting back down, I folded my hands over my crossed knees. “I don't want to feel as if I have to worry about working to exhaustion in my personal life. On the job, or in the gym, I shouldn’t feel I have to be perfect in order to be accepted in society. I want to move past that. I want to feel good and proud of myself. But most of all, I want to feel morally acceptable." I now had a better understanding of the inadequate part, its defender parts, and what they wanted. I was able to see the un-blending taking place within me. The unburdening and bearing witness process got me to the point of reprogramming the misconception that the inadequate part thought about itself. I could go straight to the visualization technique of cleansing and reprogramming the part whenever I felt its symptoms coming on. CHAPTER
Marco L. Bernardino Sr. (Sins of the Abused)
and a measurable clinical effect. In fact, the Council for the Protection of Rural England (CPRE), founded in 1926, devoted itself to these places, promoting a “sustainable future” for the English countryside. A “tranquil zone” was later defined by the CPRE as “anywhere that lies at least 4 km [about 2.5 miles] from a large power station, 3 km from a major motorway, major industrial area or large city, 2 km from other motorways, trunk roads or smaller towns, 1 km from busy local roads carrying more than 10,000 vehicles per day or the busiest main-line railways. It should also lie beyond the interference of civil and military aircraft.” In addition, one of the criteria was the ability to turn 360 degrees and not have any visual interference from power
Bernie Krause (Sounds from The Great Animal Orchestra (Enhanced): Earth)
When I read Dawkins, it occurred to me that his theory suggested a useful way to think about the effects of psychoactive plants on culture—the critical role they’ve played at various junctures in the evolution of religion and music (think of jazz or rock improvisation), of poetry, philosophy, and the visual arts. What if these plant toxins function as a kind of cultural mutagen, not unlike the effect of radiation on the genome? They are, after all, chemicals with the power to alter mental constructs—to propose new metaphors, new ways of looking at things, and, occasionally, whole new mental constructs. Anyone who uses them knows they also generate plenty of mental errors; most such mistakes are useless or worse, but a few inevitably turn out to be the germs of new insights and metaphors. (And the better part of Western literature, if literary theorist Harold Bloom’s idea of “creative misreading” is to be believed.) The molecules themselves don’t add anything new to the stock of memes resident in a human brain, no more than radiation adds new genes. But surely the shifts in perception and breaks in mental habit they provoke are among the methods, and models, we have of imaginatively transforming mental and cultural givens—for mutating our inherited memes. •         •         • At the risk of discrediting my own idea, I want to acknowledge that it owes a debt—how large I can’t say—to a psychoactive plant. The notion that drugs might function as cultural mutagens occurred to me while reading The Selfish Gene while high on marijuana, which may or may not be an advisable thing to do.
Michael Pollan (The Botany of Desire: A Plant's-Eye View of the World)
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
Maggie Macnab (Decoding Design: Understanding and Using Symbols in Visual Communication)
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.
Zach Gemignani (Data Fluency: Empowering Your Organization with Effective Data Communication)
Hadn't Gary Gygax simply invented a game, and an esoteric one at that? It was hardly a footnote in the increasingly fast and complex information age that we live in. What was all the fuzz about? The reason for all the fuzz among those who understood his work was simple. Gary Gygax and his seminal game creation, Dungeons & Dragons, had influenced and transformed the world in extraordinary ways. Yet, much of his contribution would also go largely unrecognised by the general public. Although it is debatable whether D&D ever became a thoroughly mainstream activity, as a 1983 New York Times article had speculated, referring to it as the great game of the 1980's, D&D and its RPG derivatives are beloved by a relatively small but dedicated group of individuals affectionately known as 'geeks'. Although the term 'geek' is not exclusive to role-playing gamers, the activities of this particular audience have often been viewed as the most archetypal form of 'geekiness'. Labels aside, what is notable is that the activities of this RGP audience were highly correlated with interests in other activities such as early computers, digital technologies, visual effects, and the performing arts. In this way, these geeks, though relatively small in number, became in many instances the leaders and masters of this era. With the advent of the digital age, geeks worldwide found opportunity and recognition never previously available to their predecessors. Icons and innovators such as George R. R. Martin, Mike Myers, Richard Garriott, Vin Diesel, Tim Duncan, Anderson Cooper, David X. Cohen, John Carmak, Tim Harford, Moby, and the late Robin Williams, to name just a few, were all avid role-playing gamers in their younger years. The list of those who include D&D as a regular activity while growing up is both extensive and impressive.
Michael Witwer (Empire of Imagination: Gary Gygax and the Birth of Dungeons & Dragons)
Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The
Jimmy Maher (The Future Was Here: The Commodore Amiga (Platform Studies))
Keriat haTorah therefore means not reading, but proclaiming the Torah, reading it aloud. The one who reads it has the written word in front of him, but for the rest of the gathering it is an experience not of the eye, but of the ear. The divine word is something heard rather than seen. Indeed, it was only with the spread of manuscripts, and the invention of printing in the fifteenth century, that reading become a visual rather than auditory experience. To this day the primary experience of keriat haTorah involves listening to the reader declaim the words from the Torah scroll, rather than following them in a printed book. We miss some of the most subtle effects of Torah if we think of it as the text seen, rather than the word heard.
Jonathan Sacks (Genesis: The Book of Beginnings (Covenant & Conversation 1))
This turns out to be a huge amount of mental work for a visual thinker with AD/HD. You have to listen, remember, decide, propose, consider, compromise, and plan. All of these require holding a number of thoughts or pieces of data in mind, going back and forth between them, and making decisions based on preferences, cause and effect, and priorities. They take a lot of focus and concentration, they require a very well-functioning active working memory, and they’re tiring. There always will be something to avoid or put off.
Jeffrey Freed (4 Weeks To An Organized Life With AD/HD)
Fieldking rotavator is better as it saves fuel, Time, soil compaction & wear and tear of the tractor as it accomplishes better pulverization in no time. And with Robust Multi Speed now no need for multiple operations of the cultivator, disc harrow, and leveler. Fielding Rotary Tillers is economical series and it can be coupled with 30 to 60 HP tractors quite easily. It is mainly intended with a rigid structure, multi-speed Gearbox, Visual Oil Level Indicator, Features of Fielding Rotavator Innovation – neatly designed keeping in mind minimum diesel consumption & breakages Better Production – It helps in holding wet of the soil and will increase soil porousness and aeration which boosts germination and growth of crops. Hard truth – Rigid structure, Multi-speed shell, Mechanical oil seal, Advanced designed Front support and serious duty back guard (Trialing board) makes it appropriate and effectively on object yet as in wet and paddy condition. Technically advanced – It specially installs with Spiral shapes of the rotor assembly to cut back the load on tractors, scale back fuel consumption and avoids tire slippage. Smartly Placed – Visual oil level indicator, scale back the possibilities to breakage of gears thanks to inaccessibility of minimum oil level within gear transmission. King of Crop – It makes the simplest bed to victimization at before and once rain. it’s in the main appropriate for every type of crops like cotton, castor, vegetable, sugarcane, banana, wheat, maize, and paddy. Easy to use – It will simply take away residues components of the previous crop, cut into items and completely combine it them into the soil in kind of organic manure to extend productivity. Long life – Powder coated glorious resistance to corrosion, maintains the machine in just-bought condition for a extended amount.
Julia Smith
I discovered that it was far more effective to focus their efforts not on the days to come or the far-distant finish line they couldn’t yet see, but instead on a physical goal immediately in front of them—the beach marker, landmark, or road sign a hundred yards ahead. If we could execute with a monumental effort just to reach an immediate goal that everyone could see, we could then continue to the next visually attainable goal and then the next. When pieced together, it meant our performance over time increased substantially and eventually we crossed the finish line at the head of the pack.
Jocko Willink (Extreme Ownership: How U.S. Navy SEALs Lead and Win)
Affirmation and visualization are forms of programming, and we must be certain that we do not submit ourselves to any programming that is not in harmony with our basic center or that comes from sources centered on money-making, self interest, or anything other than correct principles.
Stephen R. Covey (The 7 Habits of Highly Effective People)
Let the thoughts emerge spontaneously in your mind. Think about the thoughts, examine the thoughts and slowly build on these thoughts. This is the time when your subconscious is interacting with your conscious thoughts. Your subconscious is feeding your thoughts, and simultaneously it is fed by the thoughts. In this state, you are neither fully conscious nor asleep. You are not dreaming because you are aware of your thoughts. Creative visualization should last about ten minutes daily. Develop a routine in which your meditation practice is followed by creative visualization. Do not expect instant results. The combined practice will slowly dissolve the clutter in your mind, and slowly you will discover the positive effects.  You can't dig through the clutter in a hurry. There is no shortcut, but the process which has been described here will certainly direct your life to spectacular success.
Mark Creed (Essentialism: Your Guide to The Power of Less: Set your Mind with Practical Tips to Make Your Life More Manageable and Become a Happy Essentialist (The Power of Habit))
In many of these discussions, the Dalai Lama’s primary method of overcoming anger and hatred involved the use of reasoning and analysis to investigate the causes of anger, to combat these harmful mental states through understanding. In a sense, this approach can be seen as using logic to neutralize anger and hatred and to cultivate the antidotes of patience and tolerance. But that wasn’t his only technique. In his public talks he supplemented his discussion by presenting instruction on these two simple yet effective meditations to help overcome anger. Meditation on Anger: Exercise 1 “Let us imagine a scenario in which someone who you know very well, someone who is close or dear to you, is in a situation in which he or she loses his or her temper. You can imagine this occurring either in a very acrimonious relationship or in a situation in which something personally upsetting is happening. The person is so angry that he or she has lost all his or her mental composure, creating very negative vibrations, even going to the extent of beating himself or herself up or breaking things. “Then, reflect upon the immediate effects of the person’s rage. You’ll see a physical transformation happening to that person. This person whom you feel close to, whom you like, the very sight of whom gave you pleasure in the past, now turns into this ugly person, even physically speaking. The reason why I think you should visualize this happening to someone else is because it is easier to see the faults of others than to see your own faults. So, using your imagination, do this meditation and visualization for a few minutes. “At the end of that visualization, analyze the situation and relate the circumstances to your own experience. See that you yourself have been in this state many times. Resolve that ‘I shall never let myself fall under the sway of such intense anger and hatred, because if I do that, I will be in the same position. I will also suffer all these consequences, lose my peace of mind, lose my composure, assume this ugly physical appearance,’ and so on. So once you make that decision, then for the last few minutes of the meditation focus your mind on that conclusion; without further analysis, simply let your mind remain on your resolution not to fall under the influence of anger and hatred.
Dalai Lama XIV (The Art of Happiness: A Handbook for Living)
The more we are able to draw upon our right brain capacity, the more fully we will be able to visualize, to synthesize, to transcend time and present circumstances, to project a holistic picture of what we want to do and to be in life.
Stephen R. Covey (The 7 Habits of Highly Effective People)
When you can present your own ideas clearly, specifically, visually, and most important, contextually—in the context of a deep understanding of other people’s paradigms and concerns—you significantly increase the credibility of your ideas.
Stephen R. Covey (The 7 Habits of Highly Effective People)
S-curves are helpful retrospective visualizations—but they aren’t as effective in real time. An S-curve helps us understand the adoption of a new technology like the smartphone, but it doesn’t allow us to visualize events along the route, since those events are independent variables, and they don’t necessarily build upon each other in the same way that technology advances do. Instead, we need to think in terms of roadblocks and express lanes. The more significant the event, the bigger the block, and the more time it will take to drive around it.
Amy Webb (The Signals Are Talking: Why Today's Fringe Is Tomorrow's Mainstream)
How Explainer Videos Work For Your Business If you wonder how to take your business to the next level, then explainer videos could be your answer. A short, crisp, informative piece of explainer video is the ultimate key to reach your ideal business leads. Henceforth, you need not worry about keeping your profits high. All you have to do is to invest a part of your money in getting quality, professional explainer videos to boost up your rankings on search engines. Google’s algorithm for search engine rankings includes a part that quantifies the amount of time spent by the visitors to your website. The longer time they spent, the higher will be your ranking. This is why your site needs an explainer video to keep the clock ticking for you. These videos are great ways to get the attention of your visitors; it really keeps them engaged for a long time, provided the videos are interesting. It has been found out that a human brain is more attentive to visuals rather than mere phrases. As readers spend only a few seconds to minutes on each site, quality content with a catchy title would grab their attention, but not always. On the other hand, if they confront an interesting and funny video, they will be attracted and urged to watch the content. That is why explainer videos are smart marketing tools. According to top marketing firms, websites with explainer videos rank higher than others in Google universal searches. In a business, an explainer video offers you a smart platform to reach your ideal customers and introduce your services to them with the reasons for them to choose you over your competitors. What could it be? An explainer video could be anything. You can share your identity, ideas, concepts, issues, solutions, products, services and even arguments. You can bring them all up with videos in just a few seconds. How long could it be? The shorter, the better. Videos more than a 90 seconds could be boring to your visitors. Keeping them short and engaging is the trick to make the visitors stay on your page, which in turn fetches the ranking. Here are a few reasons to justify the need for explainer videos for your business. 1. Creates a virtual connection: The most important aspect of online marketing is to showcase your personality in a smart manner. Your customer is with little or no contact with you in online business. So it is crucial to build a trustworthy bond with your customer to maintain a strong relationship. Explainer videos do this job for you; they offer you an identity that is recognized by your customers which wins their trust. 2. Gains popularity: A good and attractive explainer video is extremely contagious. It is not restricted to your website alone and can be shared with other video hosting sites like YouTube. This means your site gains popularity. People share videos on a higher scale rather than sharing web pages. Moreover, free video hosting sites like YouTube can be accessed even on a Smart phone which is an added advantage. 3. Holds all in one: Website clutter is a serious mistake that directly affects the rankings of a website. With the intention to hike rankings and boost sales, many website owners clutter their site with loads of images, colorful fonts, flash pictures and pop boxes. This could only have adverse effects on the site. It increases the load time of the website and leaves the visitors confounded that they wonder what your site conveys. On the contrary, an explainer video is can be designed to comprise all such smart aspects squeezed into a single video. 4. Resurrects your identity: PPT slides and pop up ads are obsolete and they don’t belong to this era of online business marketing. A colorful, funny and informative video with great visuals can do the magic; it grabs the attention of the audience. This is particularly suitable for multifaceted businesses with multiple products and services. You can create customized videos for each product and
Suboptimization occurs when you make an improvement to one component of a system while ignoring the effects of that change on the other components. A seemingly important improvement could cause the overall work system to perform more poorly.
Karen Martin (Value Stream Mapping: How to Visualize Work Flow and Align People for Organizational Transformation: Using Lean Business Practices to Transform Office and Service Environments)
going the gemba is an effective way to involve those who best understand what is actually happening within the value stream: the workers themselves.
Karen Martin (Value Stream Mapping: How to Visualize Work Flow and Align People for Organizational Transformation: Using Lean Business Practices to Transform Office and Service Environments)
Effective planning is a significant contributor in elevating value stream mapping from a tool to a management practice that produces long-lasting transformation
Karen Martin (Value Stream Mapping: How to Visualize Work Flow and Align People for Organizational Transformation: Using Lean Business Practices to Transform Office and Service Environments)
Now if I were sitting at that funeral we visualized earlier, and one of my children was about to speak, I would want his life to represent the victory of teaching, training, and disciplining with love over a period of years rather than the battle scars of quick fix skirmishes. I would want his heart and mind to be filled with the pleasant memories of deep, meaningful times together. I would want him to remember me as a loving father who shared the fun and the pain of growing up. I would want him to remember the times he came to me with his problems and concerns. I would want to have listened and loved and helped. I would want him to know I wasn’t perfect, but that I had tried with everything I had. And that, perhaps more than anybody in the world, I loved him.
Stephen R. Covey (The 7 Habits of Highly Effective People)
In 1989, Eugene Peniston and Paul Kulkosky used a specific neurofeedback protocol for the treatment of posttraumatic stress disorder (PTSD). They facilitated twilight states of learning by rewarding both alpha and theta. Their protocol has come to be called deep-states training (Robbins, 2000a). Guided visualizations and skin temperature (ST) training were also part of the protocol design. The first landmark study included a small population of Vietnam veterans. Two years later Peniston and Kulkosky studied the effect of neurofeedback training with veterans who had dual diagnoses of alcoholism and PTSD. Both studies had positive outcomes (Peniston & Kulkosky, 1999). They
John N. Demos (Getting Started with Neurofeedback (Norton Professional Books))
It is not my purpose here to document the destruction caused by war [...] The point is to ask ourselves why these accounts have not had greater effect. [...] Why is it that many of us are deeply moved by visual art, fiction, and firsthand accounts of destruction and yet accept war as a means of resolving conflict or defending ourselves?
Nel Noddings (Peace Education: How We Come to Love and Hate War)
Chapter 7: Heal Yourself With Chakras There are a lot of ways in which you can balance your chakras. Some of the methods are visualization and meditation, these methods are the most popular ones, sound is a good method as well, sight is another method like making use of yantras and mandalas and smell works well too in the form of aromatherapy. Yoga is a very popular method for this as well. The list of methods that you can make use of for healing your chakras is numerous.   The effectiveness of all these methods depends on different things. It is important that you understand that each of these healing methods is closely related with each one of the chakras and one particular method might work better for one particular chakra and the other one might work better for another chakra. For instance, when the sixth and the seventh chakras are the third eye chakra and the crown chakra respectively and for these chakras the methods that work well for balancing them are visualization, meditation and pure energy. These methods work well because they are in the realm of a higher frequency.
Robert Capital (Chakras: Your Shortcut to Happiness--Improve Health, Feel Good and Be Happy By Opening & Balancing Your Chakras)
Until researchers started measuring the effects of cell-phone distractions under controlled conditions, nobody had any idea how profoundly they can impair a driver. It’s like driving drunk. Recall that large fractions of a second are consumed every time the brain switches tasks. Cell-phone talkers are more wild in their “following distance” behind the vehicle in front of them, a half second slower to hit the brakes in emergencies, and slower to return to normal speed after an emergency. In a half second, a driver going 70 mph travels 51 feet. Given that 80 percent of crashes happen within three seconds of some kind of driver distraction, increasing your amount of task switching increases your risk of an accident. More than 50 percent of the visual cues spotted by attentive drivers are missed by cell-phone talkers. Not surprisingly, they get in more wrecks than anyone except very drunk drivers. Putting on makeup, eating, and rubbernecking at an accident aren’t much better. One study showed that simply reaching for an object while driving a car multiplies the risk of a crash or near-crash by nine times.
John Medina (Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School)
Not only do the games improve visual attention; Bavelier and Green have found similar effects on auditory attention. Bevalier has even shown that video-game training can improve eyesight, as measured by an individual’s ability to perceive subtle differences in shades of gray, something that had previously been demonstrated only with surgery or glasses. Incredibly, that improved ability to perceive shading gradients might even be life-extending: poor contrast sensitivity was found to be among the strongest risk factors for dying in the subsequent nineteen years in a study of 4,097 women who were in their sixties when researchers first met them.
Dan Hurley (Smarter: The New Science of Building Brain Power)
I blur things so that they do not look artistic or craftsman like but technological … I also blur out the excess of unimportant information” (fig. 1.6).30 The usual critical response to these works is to see the blurring as a reference to accidental effects in amateur photography, to the artlessness and thus authenticity of such “mistakes.” Hawker eloquently explains why Richter’s translation from photo to paint is significant: At the same time that the blur is able to evoke the medium of photography so effectively and economically, in using it as a sign of photography’s idiom, Richter fastens upon something incidental to and quite apart from the medium’s central unifying characteristics (whatever these might be). It is the double duty that the blur does for Richter – its ability to be incidental to photography at the same time as central to painting – that makes it such a powerfully affecting device in his painting.31
Lynda Jessup (Negotiations in a Vacant Lot: Studying the Visual in Canada (McGill-Queen's/Beaverbrook Canadian Foundation Studies in Art History))
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
Zach Gemignani (Data Fluency: Empowering Your Organization with Effective Data Communication)
I have not done enough for effect." Horace Greeley
Harold Holzer (Lincoln and the Power of the Press: The War for Public Opinion)
real object, yet it exists only within the computer. Even though the way we are interacting with the object is still based on a two-dimensional display device (the computer's monitor), the model itself is a mathematical simulation of a true three-dimensional object. This model can be lit, textured, and given the ability to move and change. Once a particular camera view is chosen and the color, lighting, and animation are acceptable, special software will render the scene to produce a sequence of images. While the 3D aspect of visual effects seems to get a great deal of recognition,
Brinkmann, Ron (The Art and Science of Digital Compositing)
Our roles expanded quite a bit with Empire,” Tippett adds. “For the first time probably since King Kong [1933], stop-motion animation was actually being used in a big-budget motion picture. Previously, it’d been displaced to the gulag of low-budget fantasy pictures, which Ray Harryhausen had pretty much kept alive during the ’50s and the ’60s. But now George was going into that territory—and he was upping the production value, bringing his cinematic expertise and design to it. He was very well read and studied in the history of visual effects and knew what you could get.
J.W. Rinzler (The Making of Star Wars: The Empire Strikes Back (Enhanced Edition))
they all share the ability to connect visually, intellectually, emotionally, and verbally.
John C. Maxwell (Everyone Communicates, Few Connect: What the Most Effective People Do Differently)
Your success must never be left to others. You must be able to visualize it and see it through your own eyes, whilst others assist you to see it better and make it clearer.
Archibald Marwizi (Making Success Deliberate)
If you cannot see it in your mind, then it becomes difficult to get. If you can personally visualize it, it becomes easier and more realistic to achieve.
Archibald Marwizi (Making Success Deliberate)
The art of visual effects involves nothing less than making words into pictures, technology into art, and magic into reality
Beginning with the radio evangelist Billy Sunday in the twenties, American fundamentalists, with their black-and-white view of every issue, have made effective use of each new medium of mass communication. Liberal religion, with its many shades of gray and determination to make room for secular knowledge in the house of faith, does not lend itself as readily to media packaging and is at an even greater disadvantage in the visual media than it was on the radio.
Susan Jacoby (The Way We Live Now: from The Age of American Unreason in a Culture of Lies (A Vintage Short))
In recent years there have been many proposals for geoengineering through solar radiation management. Some involve literally making the earth whiter (say, by using white roofs and roads). Perhaps the easiest to visualize is putting millions of little mirror-like particles 20 miles above the earth. For example, we might artificially increase sulfate aerosols in the stratosphere above background levels. This would increase the planetary albedo or whiteness and reduce incoming solar radiation. Climate scientists have calculated that reflecting about 2 percent of solar output could offset the warming effect of a doubling of CO2. The right number of particles in the right place could reduce solar radiation and cool the earth by the desired amount.
William D. Nordhaus (The Climate Casino: Risk, Uncertainty, and Economics for a Warming World)
The second you open your eyes after visualizing your day, you can forget about the future. You can forget about the past. You're free to inspire your students, to laugh and love, and to enjoy the journey.
Michael Linsin (The Happy Teacher Habits: 11 Habits of the Happiest, Most Effective Teachers on Earth)