Work Immersion Experience Quotes

it is hard to find one’s calling because many mistakenly believe they need to look only within to discover their passion. Although it is true that we have innate interests and talents, we often do not know what they are until we have real-life experiences. Having a wide range of experiences can help you uncover your inner passion. Try various part-time jobs and internships, or volunteer. Don’t be afraid of rolling up your sleeves and diving in. While immersed in a job’s reality, you will discover whether it’s a good fit. Work experiences may unlock the door to a career opportunity you hadn’t considered. Third,

Habits are undeniably useful tools, relieving us of the need to run a complex mental operation every time we’re confronted with a new task or situation. Yet they also relieve us of the need to stay awake to the world: to attend, feel, think, and then act in a deliberate manner. (That is, from freedom rather than compulsion.) If you need to be reminded how completely mental habit blinds us to experience, just take a trip to an unfamiliar country. Suddenly you wake up! And the algorithms of everyday life all but start over, as if from scratch. This is why the various travel metaphors for the psychedelic experience are so apt. The efficiencies of the adult mind, useful as they are, blind us to the present moment. We’re constantly jumping ahead to the next thing. We approach experience much as an artificial intelligence (AI) program does, with our brains continually translating the data of the present into the terms of the past, reaching back in time for the relevant experience, and then using that to make its best guess as to how to predict and navigate the future. One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself. (It’s so inefficient!) Alas, most of the time I inhabit a near-future tense, my psychic thermostat set to a low simmer of anticipation and, too often, worry. The good thing is I’m seldom surprised. The bad thing is I’m seldom surprised.

This is one of the chief differences between a child's experience of a favorite book and an educated adult's. For the adult, a book may be a work of art, possibly a very great one, but for the child reader, certain books are universes. If we are lucky, we retain some of that capacity to be immersed in a story.

Civilization, which is about to self-destruct, thinks of itself as the superior culture that has answers for all the world’s people…The addict, truly, is a person who is emotionally dependent on things: television, substances, personality routines, other people, mental ideologies, total immersion in some cause or work. If the object of dependency is moved, addicts will experience insecurity, discomfort, distress, the symptoms of withdrawal – William H Koettke

And even though these words are moving into you through a visual medium—the printed words on this page—as you became immersed in this book, you no longer saw the words as a visual input. You’d left that surface orientation behind. You began, then, to work with, and experience, the meanings that these words are only the containers for.

You know that feeling of invincibility you sometimes get, especially when young and testing yourself - well that could be because actually know deep down that we are indeed eternal. We come into this world to live a life, to experience it, from somewhere else, some other plane, but we are programmed by all around us to deny or forget this - until one day we may remember again. That feeling of blissful reconnection with our source can be invoked through nature, beautiful writing or art or music, any detailed craft or work of discovery or personal dedication, meditation or other mentally balancing practice, or even through religious experience if there is a pure communion (not a pretence of it). But we should not yearn to return too soon, we should accept that we have come here for the duration of each life, and revel in the chance to learn and grow on this splendid planet. We can draw a deep sense of being-ness. peace, and love from this connection, which will sustain us through any trial. Once nurtured, this becomes stronger than any other connection, so of course our relationships here are most joyful when they allow us the personal freedom to spend time developing and celebrating that connection. Our deepest friendships form with those we can share such time and experiences with - discussing, meditating, immersing ourselves in nature, or creating our music, art, written or other works. Our journeys here are voyages of discovery, opening out the wonders within and all around. What better companions could we have than those who are able to fully share in such delights with us?

Working simultaneously, though seemingly without a conscience, was Dr. Ewen Cameron, whose base was a laboratory in Canada's McGill University, in Montreal. Since his death in 1967, the history of his work for both himself and the CIA has become known. He was interested in 'terminal' experiments and regularly received relatively small stipends (never more than $20,000) from the American CIA order to conduct his work. He explored electroshock in ways that offered such high risk of permanent brain damage that other researchers would not try them. He immersed subjects in sensory deprivation tanks for weeks at a time, though often claiming that they were immersed for only a matter of hours. He seemed to fancy himself a pure scientist, a man who would do anything to learn the outcome. The fact that some people died as a result of his research, while others went insane and still others, including the wife of a member of Canada's Parliament, had psychological problems for many years afterwards, was not a concern to the doctor or those who employed him. What mattered was that by the time Cheryl and Lynn Hersha were placed in the programme, the intelligence community had learned how to use electroshock techniques to control the mind. And so, like her sister, Lynn was strapped to a chair and wired for electric shock. The experience was different for Lynn, though the sexual component remained present to lesser degree...

Arjuna, immerse your mind in me and I will uplift you from the ocean of recurring death. If you cannot do that, then practise yoga and work on your mind. If you cannot do that, then do your work as if it is my work. If you cannot do that, then make yourself my instrument and do as I say. If you cannot do that, then simply do your job and leave the results to me.—Bhagavad Gita: Chapter 12, verses 6 to 11 (paraphrased). My deha is different from yours. My hungers are different from yours. My assumptions are different from yours. My capabilities are different from yours. My experiences are diferent from yours. My expressions are different from yours.

One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself.

Loftus grew up with a cold father who taught her nothing about love but everything about angles. A mathematician, he showed her the beauty of the triangle's strong tip, the circumference of the circle, the rigorous mission of calculus. Her mother was softer, more dramatic, prone to deep depressions. Loftus tells all this to me with little feeling "I have no feelings about this right now," she says, "but when I'm in the right space I could cry." I somehow don't believe her; she seems so far from real tears, from the original griefs, so immersed in the immersed in the operas of others. Loftus recalls her father asking her out to see a play, and in the car, coming home at night, the moon hanging above them like a stopwatch, tick tick, her father saying to her, "You know, there's something wrong with your mother. She'll never be well again. Her father was right. When Loftus was fourteen, her mother drowned in the family swimming pool. She was found floating face down in the deep end, in the summer. The sun was just coming up, the sky a mess of reds and bruise. Loftus recalls the shock, the siren, an oxygen mask clamped over her mouth as she screamed, "Mother mother mother," hysteria. That is a kind of drowning. "I loved her," Loftus says. "Was it suicide?" I ask. She says, "My father thinks so. Every year when I go home for Christmas, my brothers and I think about it, but we'll never know," she says. Then she says, "It doesn't matter." "What doesn't matter?" I ask. "Whether it was or it wasn't," she says. "It doesn't matter because it's all going to be okay." Then I hear nothing on the line but some static. on the line but some static. "You there?" I say. "Oh I'm here," she says. "Tomorrow I'm going to Chicago, some guy on death row, I'm gonna save him. I gotta go testify. Thank God I have my work," she says. "You've always had your work," I say. "Without it," she says, "Where would I be?

victory is something one experiences everyday, if he immerses himself in the joy of his craft, and in his sincere quest for learning it. Blood, sweat, and tears are fine. But rather than bleeding from wounds, is it not better to bleed from passion? Rather than sweating from a maniacal adherence to “hard work,” is it not better to sweat from an innocent immersion in one’s craft? Rather than tears of pain, is it not better to have tears of joy?

In contexts of colonial oppression, intellectuals, especially those who advocate and work for justice, cannot be just-or mere- intellectuals, in the abstract sense; they cannot but be immersed in some form or another of activism, to learn from fellow activists through real-life experiences, to widen the horizons of their sources of inspiration, and to organically engage in effective, collective emancipatory processes, without the self-indulgence, complacency, or ivory-towerness that might otherwise blur their moral vision. In short, to be just intellectuals, committed to justice as the most ethical and durable foundation of peace.

I am very often asked why, at the age of eighty-five, I continue to practice. Tip number eighty-five (sheer coincidence that I am now eighty-five years old) begins with a simple declaration: my work with patients enriches my life in that it provides meaning in life. Rarely do I hear therapists complain of a lack of meaning. We live lives of service in which we fix our gaze on the needs of others. We take pleasure not only in helping our patients change, but also in hoping their changes will ripple beyond them toward others. We are also privileged by our role as cradlers of secrets. Every day patients grace us with their secrets, often never before shared. The secrets provide a backstage view of the human condition without social frills, role-playing, bravado, or stage posturing. Being entrusted with such secrets is a privilege given to very few. Sometimes the secrets scorch me and I go home and hold my wife and count my blessings. Moreover, our work provides the opportunity to transcend ourselves and to envision the true and tragic knowledge of the human condition. But we are offered even more. We become explorers immersed in the grandest of pursuits—the development and maintenance of the human mind. Hand in hand with patients, we savor the pleasure of discovery—the “aha” experience when disparate ideational fragments suddenly slide smoothly together into a coherent whole. Sometimes I feel like a guide escorting others through the rooms of their own house. What a treat it is to watch them open doors to rooms never before entered, discover unopened wings of their house containing beautiful and creative pieces of identity. Recently I attended a Christmas service at the Stanford Chapel to hear a sermon by Rev. Jane Shaw that underscored the vital importance of love and compassion. I was moved by her call to put such sentiments into practice whenever we can. Acts of caring and generosity can enrich any environment in which we find ourselves. Her words motivated me to reconsider the role of love in my own profession. I became aware that I have never, not once, used the word love or compassion in my discussions of the practice of psychotherapy. It is a huge omission, which I wish now to correct, for I know that I regularly experience love and compassion in my work as a therapist and do all I can to help patients liberate their love and generosity toward others. If I do not experience these feelings for a particular patient, then it is unlikely I will be of much help. Hence I try to remain alert to my loving feelings or absence of such feelings for my patients.

a metaphor, visiting the Sistine chapel does more than conceptually advance your knowledge of Michaelango’s view of final judgment, as visiting the Grand Canyon does more than provide you information about the history of the Colorado River. There are sensibilities and emotions that are shaped by the whole experience. So also patristic and medieval theology can function to shape theological values and inclinations we will likely lack so long as we work narrowly within Reformation and modern theology alongside the Bible. It is an enriching, formative experience, comparable to traveling to a foreign country and being immersed in the culture and geography.

According to Shaivism, anupaya may also be reached by entering into the infinite blissfulness of the Self through the powerful experiences of sensual pleasures. This practice is designed to help the practitioner reach the highest levels by accelerating their progress through the sakta and sambhava upayas. These carefully guarded doctrines of Tantric sadhana are the basis for certain practices, like the use of the five makaras (hrdaya) mentioned earlier. The experience of a powerful sensual pleasure quickly removes a person’s dullness or indifference. It awakens in them the hidden nature and source of blissfulness and starts its inner vibration. Abhinavagupta says that only those people who are awakened to their own inner vitality can truly be said to have a heart (hrdaya). They are known as sahrdaya (connoisseurs). Those uninfluenced by this type of experiences are said to be heartless. In his words: “It is explained thus—The heart of a person, shedding of its attitude of indifference while listening to the sweet sounds of a song or while feeling the delightful touch of something like sandalpaste, immediately starts a wonderful vibratory movement. (This) is called ananda-sakti and because of its presence the person concerned is considered to have a heart (in their body) (Tantraloka, III.209-10). People who do not become one (with such blissful experiences), and who do not feel their physical body being merged into it, are said to be heartless because their consciousness itself remains immersed (in the gross body) (ibid., III.24).” The philosopher Jayaratha addresses this topic as well when he quotes a verse from a work by an author named Parasastabhutipada: “The worship to be performed by advanced aspirants consists of strengthening their position in the basic state of (infinite and blissful pure consciousness), on the occasions of the experiences of all such delightful objects which are to be seen here as having sweet and beautiful forms (Tantraloka, II.219).” These authors are pointing out that if people participate in pleasurable experiences with that special sharp alertness known as avadhana, they will become oblivious to the limitations of their usual body-consciousness and their pure consciousness will be fully illumined. According to Vijnanabhairava: “A Shiva yogin, having directed his attention to the inner bliss which arises on the occasion of some immense joy, or on seeing a close relative after a long time, should immerse his mind in that bliss and become one with it (Vijnanabhairava, 71). A yogin should fix his mind on each phenomenon which brings satisfaction (because) his own state of infinite bliss arises therein (ibid., 74).” In summary, Kashmir Shaivism is a philosophy that embraces life in its totality. Unlike puritanical systems it does not shy away from the pleasant and aesthetically pleasing aspects of life as somehow being unspiritual or contaminated. On the contrary, great importance has been placed on the aesthetic quality of spiritual practice in Kashmir Shaivism. In fact, recognizing and celebrating the aesthetic aspect of the Absolute is one of the central principles of this philosophy. — B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 124–125.

I lie on the seashore, the sparkling flood blue-shimmering in my dreamy eyes; light breezes flutter in the distance; the thud of the waves, charging and breaking over in foam, beats thrillingly and drowsily upon the shore—or upon the ear? I cannot tell. The far and the near become blurred into one; outside and inside merge into one another. Nearer and nearer, friendlier, like a homecoming, sounds the thud of the waves; now, like a thundering pulse, they beat in my head, now they beat over my soul, wrapping it round, consuming it, while at the same time my soul floats out of me as a blue waste of waters. Outside and inside are one. The whole symphony of sensations fades away into one tone, all senses become one sense, which is one with feeling; the world expires in the soul and the soul dissolves in the world. Our little life is rounded by a great sleep. Sleep our cradle, sleep our grave, sleep our home, from which we go forth in the morning, returning again at evening; our life a short pilgrimage, the interval between emergence from original oneness and sinking back into it! Blue shimmers the infinite sea, where the jelly-fish dreams of that primeval existence to which our thoughts still filter down through aeons of memory. For every experience entails a change and a guarantee of life’s unity. At that moment when they are no longer blended together, when the experient lifts his head, still blind and dripping, from immersion in the stream of experience, from flowing away with the thing experienced; when man, amazed and estranged, detaches the change from himself and holds it before him as something alien—at that moment of estrangement the two sides of the experience are substantialized into subject and object, and at that moment consciousness is born.33

on a daily basis. To create is to bring something into existence that wasn’t there before. It could be a conversation, the solution to a problem, a note to a friend, the rearrangement of furniture in a room, a new route home to avoid a traffic jam. What you make doesn’t have to be witnessed, recorded, sold, or encased in glass for it to be a work of art. Through the ordinary state of being, we’re already creators in the most profound way, creating our experience of reality and composing the world we perceive. In each moment, we are immersed in a field of undifferentiated matter from which our senses gather bits of information. The outside universe we perceive doesn’t exist as such. Through a series of electrical and chemical reactions, we generate a reality internally. We create forests and oceans, warmth and cold. We read words, hear voices, and form interpretations. Then, in an instant, we produce a response. All of this in a world of our own creation.

It might be imagined that certain people in history—the naturally gifted, the geniuses—have either somehow bypassed the Apprenticeship Phase or have greatly shortened it because of their inherent brilliance. To support such an argument, people will bring up the classic examples of Mozart and Einstein, who seemed to have emerged as creative geniuses out of nowhere. With the case of Mozart, however, it is generally agreed among classical music critics that he did not write an original and substantial piece of music until well after ten years of composing. In fact, a study of some seventy great classical composers determined that with only three exceptions, all of the composers had needed at least ten years to produce their first great work, and the exceptions had somehow managed to create theirs in nine years. Einstein began his serious thought experiments at the age of sixteen. Ten years later he came up with his first revolutionary theory of relativity. It is impossible to quantify the time he spent honing his theoretical skills in those ten years, but is not hard to imagine him working three hours a day on this particular problem, which would yield more than 10,000 hours after a decade. What in fact separates Mozart and Einstein from others is the extreme youth with which they began their apprenticeships and the intensity with which they practiced, stemming from their total immersion in the subject. It is often the case that in our younger years we learn faster, absorb more deeply, and yet retain a kind of creative verve that tends to fade as we get older.

Choosing Careers Many people with social anxiety do not have the job they would like the most because of fear. They hold jobs in which their duties are clear and repetitive. They let other people make decisions because they do not want to be responsible. Social anxiety often causes people to find careers in which they can work alone. Many women with social anxiety immerse themselves in family to avoid the workplace altogether. People suffering from social anxiety often remain at the same position for a long time because they are not seen as leaders. They avoid managerial roles and usually have a hard time communicating. As a result, work becomes boring, uninspired, and unfulfilling. Debra has worked at the Boston Public Library for five years, returning books to the shelves. It is a very peaceful job and the only time she has to speak with people is when they ask her where to find certain books. She has always been a big reader, and the job seems like the perfect fit. Lately, however, she has been feeling dissatisfied with her life. The library job doesn’t pay very much so she still lives with her parents, at age twenty-seven. Most people she went to school with have exciting jobs and are getting married. Often, Debra feels like life is passing her by. However, when she thinks about applying for a new job, Debra becomes very anxious. She is embarrassed that she has limited work experience and fears people will not take her seriously. She reads the Help Wanted section of the paper every day but is too scared to call for more information or to send out her résumé.

You can’t get caught up in perfect. It’s not about what the paddle says. If you immerse yourself every single day for three months in this journey, you’re going to grow. You’re going to learn stuff about yourself; you’re going to overcome your obstacle--be it physical or emotional. That’s what’s important. But I want to be 100 percent honest here: there are days when I’m freaking out and I don’t have the answers. I get frustrated, but I try and see it as a temporary situation and a separate entity from who I am. I step away from it. I’ve learned a ton about myself and how to manage myself and my expectations. There have been days when I’ve said to my partner, “I need you to help me today.” I put them in the teacher role, and they wind up giving me the pep talk: “We can do this, Derek. We can do it.” They’re saying it, they’re doing it, they’re believing it. Before DWTS, my work was instinctual and internal. It was something I could never put into words. But being a teacher forced me to dissect what I was doing and explain it. Some partners I could be really tough with and they’d respond to me. Others would shut down. If I got a little intense with Jennifer Grey, it was counterproductive, because she would block me out. But if I did this to Maria Menounos, she would get a fire in her belly and try harder. I have to learn to adjust myself to cater to each partner’s needs and style of learning. If the look I get from her is deer in the headlights, I know I am on the wrong path. I have to find a way to make them understand. Great teachers strive to get through. My fulfillment comes when the lightbulb goes on and they experience that aha moment. They see not just what I want them to do, but what they’re capable of.

Moore’s Law, the rule of thumb in the technology industry, tells us that processor chips—the small circuit boards that form the backbone of every computing device—double in speed every eighteen months. That means a computer in 2025 will be sixty-four times faster than it is in 2013. Another predictive law, this one of photonics (regarding the transmission of information), tells us that the amount of data coming out of fiber-optic cables, the fastest form of connectivity, doubles roughly every nine months. Even if these laws have natural limits, the promise of exponential growth unleashes possibilities in graphics and virtual reality that will make the online experience as real as real life, or perhaps even better. Imagine having the holodeck from the world of Star Trek, which was a fully immersive virtual-reality environment for those aboard a ship, but this one is able to both project a beach landscape and re-create a famous Elvis Presley performance in front of your eyes. Indeed, the next moments in our technological evolution promise to turn a host of popular science-fiction concepts into science facts: driverless cars, thought-controlled robotic motion, artificial intelligence (AI) and fully integrated augmented reality, which promises a visual overlay of digital information onto our physical environment. Such developments will join with and enhance elements of our natural world. This is our future, and these remarkable things are already beginning to take shape. That is what makes working in the technology industry so exciting today. It’s not just because we have a chance to invent and build amazing new devices or because of the scale of technological and intellectual challenges we will try to conquer; it’s because of what these developments will mean for the world.

You already know what you know, after all—and, unless your life is perfect, what you know is not enough. You remain threatened by disease, and self-deception, and unhappiness, and malevolence, and betrayal, and corruption, and pain, and limitation. You are subject to all these things, in the final analysis, because you are just too ignorant to protect yourself. If you just knew enough, you could be healthier and more honest. You would suffer less. You could recognize, resist and even triumph over malevolence and evil. You would neither betray a friend, nor deal falsely and deceitfully in business, politics or love. However, your current knowledge has neither made you perfect nor kept you safe. So, it is insufficient, by definition—radically, fatally insufficient. You must accept this before you can converse philosophically, instead of convincing, oppressing, dominating or even amusing. You must accept this before you can tolerate a conversation where the Word that eternally mediates between order and chaos is operating, psychologically speaking. To have this kind of conversation, it is necessary to respect the personal experience of your conversational partners. You must assume that they have reached careful, thoughtful, genuine conclusions (and, perhaps, they must have done the work tha justifies this assumption). You must believe that if they shared their conclusions with you, you could bypass at least some of the pain of personally learning the same things (as learning from the experience of others can be quicker and much less dangerous). You must meditate, too, instead of strategizing towards victory. If you fail, or refuse, to do so, then you merely and automatically repeat what you already believe, seeking its validation and insisting on its rightness. But if you are meditating as you converse, then you listen to the other person, and say the new and original things that can rise from deep within of their own accord. It’s as if you are listening to yourself during such a conversation, just as you are listening to the other person. You are describing how you are responding to the new information imparted by the speaker. You are reporting what that information has done to you—what new things it made appear within you, how it has changed your presuppositions, how it has made you think of new questions. You tell the speaker these things, directly. Then they have the same effect on him. In this manner, you both move towards somewhere newer and broader and better. You both change, as you let your old presuppositions die—as you shed your skins and emerge renewed. A conversation such as this is one where it is the desire for truth itself—on the part of both participants—that is truly listening and speaking. That’s why it’s engaging, vital, interesting and meaningful. That sense of meaning is a signal from the deep, ancient parts of your Being. You’re where you should be, with one foot in order, and the other tentatively extended into chaos and the unknown. You’re immersed in the Tao, following the great Way of Life. There, you’re stable enough to be secure, but flexible enough to transform. There, you’re allowing new information to inform you—to permeate your stability, to repair and improve its structure, and expand its domain. There the constituent elements of your Being can find their more elegant formation. A conversation like that places you in the same place that listening to great music places you, and for much the same reason. A conversation like that puts you in the realm where souls connect, and that’s a real place. It leaves you thinking, “That was really worthwhile. We really got to know each other.” The masks came off, and the searchers were revealed. So, listen, to yourself and to those with whom you are speaking. Your wisdom then consists not of the knowledge you already have, but the continual search for knowledge, which is the highest form of wisdom.

The final principle is that, more often than not, originality lies on the far side of unoriginality. The Finnish American photographer Arno Minkkinen dramatizes this deep truth about the power of patience with a parable about Helsinki’s main bus station. There are two dozen platforms there, he explains, with several different bus lines departing from each one—and for the first part of its journey, each bus leaving from any given platform takes the same route through the city as all the others, making identical stops. Think of each stop as representing one year of your career, Minkkinen advises photography students. You pick an artistic direction—perhaps you start working on platinum studies of nudes—and you begin to accumulate a portfolio of work. Three years (or bus stops) later, you proudly present it to the owner of a gallery. But you’re dismayed to be told that your pictures aren’t as original as you thought, because they look like knockoffs of the work of the photographer Irving Penn; Penn’s bus, it turns out, had been on the same route as yours. Annoyed at yourself for having wasted three years following somebody else’s path, you jump off that bus, hail a taxi, and return to where you started at the bus station. This time, you board a different bus, choosing a different genre of photography in which to specialize. But a few stops later, the same thing happens: you’re informed that your new body of work seems derivative, too. Back you go to the bus station. But the pattern keeps on repeating: nothing you produce ever gets recognized as being truly your own. What’s the solution? “It’s simple,” Minkkinen says. “Stay on the bus. Stay on the fucking bus.” A little farther out on their journeys through the city, Helsinki’s bus routes diverge, plunging off to unique destinations as they head through the suburbs and into the countryside beyond. That’s where the distinctive work begins. But it begins at all only for those who can muster the patience to immerse themselves in the earlier stage—the trial-and-error phase of copying others, learning new skills, and accumulating experience.

Set aside time on a regular basis to immerse yourself in books, films, magazines, and other resources that stoke the fire of your curiosity. Keep a list of resources that strike you as interesting, and set aside time to experience them each day. I keep a “Stimulus Queue,” which is a list of all of the interesting books, films, or articles that I come across throughout my day and I want to revisit later, during my study time. I also use a variety of Web-based tools to stockpile articles I come across for later viewing. I then work through them systemically, take notes, and consider how they may apply to my work. Always leave time at the end of any reading/study session to reflect on what you’ve read and to consider how it is relevant to your work. The next great idea for your work will probably not come from watching your competitors, but from taking an insight from an unrelated industry and applying it to your own. Read and experience broadly, and with focus on your deeper questions.

WISDOM KEEPER: My Extraordinary Journey to Unlock the Sacred Within “Chloe’s heartfelt journey is the real deal here to inspire us all. She takes the reader on a journey of darkness to light, struggle to freedom, fear to love. Thank you, Chloe, for this incredible ride. A must read for all who want true transformation.”— Dr. Shannon South, Award-Winning Therapist, Best-Selling Author, and Founder of the Ignite Your Life and business programs “There is a healing purpose in every experience written by Chloe in this spiritual memoir. She shares processes for healing in the physical, emotional and spiritual realms, showing us our ability to use all levels of energy to achieve deep and lasting healing. Chloe reveals to us the importance of connection—with the spiritual and physical world, and our past lives to the present. She reminds us we are essential in the Universe; when we heal, our loved ones, people around us, and the Earth also heals. Chloe inspires us to do the same thing. Well done. I appreciate it very much. This book is truly for everyone. — Eduardo Morales, Shamanic Curandero, Tepoztlán, Mexico “WISDOM KEEPER is filled with wonderful personal experiences on the power of healing, visualizations, dreams, and listening to our inner voices. Chloe Kemp describes encounters with others on a multitude of levels, including sacred beings, shamans, and other deep-souled humans. This book inspires the reader to go deep within themselves and invite their own personal self-healer to emerge. Chloe helps us to understand that anything is possible.”—River Guerguerian, Sound Immersion Healer, Musician, Composer, and Educator  “Having met and worked with Chloe personally, I know she is a genuine woman with a mission and clear determination to fulfill her purpose in this life. She has followed the call from Spirit to share stories from her life and wisdom she has gained, weaving energies and expressing a frequency of consciousness that has a way of bringing readers to a deeper state of awareness and potency upon their own unique journey. Chloe's book shines a light on our ability to reconnect with the origin of what makes us each a special part of the Divine plan, and she does it in a very humble and approachable way."—Michael Brasunas, Holistic Energy Healer and Bodyworker “Your inspiring memoir is engaging and thought-provoking throughout. It brings together the highest spiritual insights and practical frameworks that everyone can understand and apply.”—Louise, Australia  “A fascinating read!”—Caleb, USA  “The narrative is immensely raw and deeply personal. It engaged all of my emotions completely.”—Abantika, India   “A remarkable story.”—Michael, USA “The writing style is amazing.Your life experiences are so unique.”—Taibaya, Pakistan  “You have a gift for spiritual healing and telling a story. You created a hopeful, sincere, compelling, interesting, and important story.”—Jessica, USA “You tell events, dreams, and moments in your life in a very engaging and thought-provoking way.”—Josh, USA  “Very entertaining, awakening, and engaging; as well as informative, practical, motivating and inspiring.”—Susan, USA      

Music, like architecture, is an immersive experience – it surrounds you. One can turn away from a painting or a work of sculpture, while music and architecture engulf the body in space.

discover you’re gradually adopting a life of contemplation and humility. Many of our friends say these can be the best years of your life. A friend shared the story of her grandfather who lived actively, walking in Rittenhouse Park every day and immersed in charity work until his last six weeks. He had three rules: Surround yourself with people of all ages. Have interests beyond your family because family members have their own lives to lead. Learn something new every day. At some point you’ll probably begin to experience some physical and mental limitations. For instance, you may begin to find travel more difficult and instead wish to seek activities that reduce stress. You may no longer want to take on complex responsibilities that require you to lead and redefine your involvement so that you’re active but not in charge.

you want to subtract? How much time do you want to dedicate to technology, and in what form? Are there certain apps you want to eliminate entirely, or do you want to limit the time that you spend using your phone? For drinking, you might look at whether you think you need to quit entirely, whether you want to experiment with a dry month to see what you learn about yourself, or whether you want to limit yourself. The third step is to swap in new behavior. There are two general approaches that I recommend—choose the one that best suits your personality. The monk way is to go all in. If immersion and extremes work best for you, you might commit to eliminating social media entirely for a week or a month. Or you might, as I mention

Luck in life is self-generated. You see more when you know more. You get more if you work more. But the billions of people on this planet will disagree with what I just said and invent some idiotic theory to comfort their ignorance on what life truly is. In fact, they will deny any of your efforts, and the harder you work, the more they will question your morality and claim some special secret to your results that they too could get if they knew about it. The average person is so immersed in their own ego that they can't possibly grasp all the unimaginable parts of reality. Reality is largely inaccessible and therefore unreal. The more you talk about it, the less you are understood, the more you are seen as a madman. Because those who don't know have to comfort their ignorance for lack of better options. Eventually, there comes a point in life when no explanation can sustain what you had before, including your ability to explain yourself to others. In fact, the more you say or try to explain, the more jealousy and slander you get. It is predestined that the more one works to better himself, the more hatred he receives from the vast masses of mediocre minds. Isolation is then not a choice, but a fate that precedes extraordinary success. One must experience it for one's own sanity, but also to fulfill what one has planted in one's soul. It must happen that the people who change the world the most are the most hated by the same people they help. As such, we must then assume that friends are for fools, as fertilizer is for plants. A real person is hardly understood by the masses. He is lucky if he finds a real friend. But as soon as he realizes that his friend is on the same intellectual level as he is, even that is proven to be predestined.

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When I work with experimental gadgets, like new variations on virtual reality, in a lab environment, I am always reminded of how small changes in the details of a digital design can have profound unforeseen effects on the experiences of the humans who are playing with it. The slightest change in something as seemingly trivial as the use of a button can sometimes completely alter behavior patterns. For instance, Stanford University researcher Jeremy Bailenson has demonstrated that changing the height of one's avatar in immersive virtual reality transforms self-esteem and social self-perception. Technologies are extensions of ourselves, and, like the avatars in Jeremy's lab, our identities can be shifted by the quirks of gadgets. It is impossible to work with information technology without also engaging in social engineering.

Has there ever been a more important subject, in all the world, than children and families? These are, after all, the foundation and ultimate purpose of any society. Moreover, the overall purpose of this experience is not merely survival or just the day after day (after day) exercise of going through the motions of meeting basic needs. Rather, it was meant to be a long, deep immersion of a work in progress, a life-long celebration of sorts, steeped in love, beauty, and joy. Anything less is a travesty and is tragically off the mark of true success for the parent and the child, and amiss of the essentials for a fullness of life for both.

For example, every year, I rent Intuit’s TurboTax so I can do my income taxes. I pay for something I only need for a few weeks in February even though it holds my data for the entire year. That is because it has my data from the previous year (and for years before that). It simply asks if my financial situation has changed or if I have unique needs for a given tax year. It even has built-in, crowd-based support to help me when I get stuck. TurboTax meets many of the lovability requirements. It solves my problem, meets needs I did not know I had, makes my life easier, and adapts as my circumstances change. Best of all, I pay a reasonable price to rent it every year. But how does Intuit really know what I need? Well, Intuit is famous for a program they call Follow Me Home. It sounds exactly like what it is — a way to observe customers in their homes or offices in order to understand how they actually use Intuit’s products. The founding team used Follow Me Home as a way to help their teams get an immersive look at what customers liked and what they needed, as well as what worked and what did not work. By observing customers in their own spaces, the Intuit team was able to see how often customers were interrupted while trying to use their product, or if they started on one device and finished the task on another. They were able to funnel that information back to their development team to make updates in subsequent releases. It is important to note that they were not following customers home to look for bugs in the product. No, they had a deeper purpose — to truly understand the experience of their customers and if their products were making their work and life easier. That deep commitment to understanding customers helped Intuit find elegant ways to help them. It is a simple concept and one that more product builders would benefit from.

Immerse yourself in good books. Read one to two hours per week if you can, more if time permits. Become acquainted with the literary classics. Read as much as you can on personal improvement (self help), history, people, business, and finances. Study the great works of the philosophers. Study scriptures and read about religions and anything that adds value to religious beliefs. Invest in yourself! Learn as much as you can and become a student of life. You can learn a great deal from the experiences of others, from their great successes and also from their failures. Everything you read becomes part of you. Carefully choose what you read on a daily basis. Be very careful with what you choose to read. The words you choose to read play an important role in your personal development and overall outlook on life. Be open-minded about what you read and often take what you read with a grain of salt. Much of what we read is written through colored lenses and is the summation of someone else’s thought, habit, education, beliefs, and past and present life experiences.

neighborhood. So the school, being unable to utilize this everyday experience, sets painfully to work, on another tack and by a variety of means, to arouse in the child an interest in school studies. (Dewey, 1959, pp. 76–77) During Dewey’s tenure at the University of Chicago, he and his colleagues created a model of an educational process that sought to immerse children in those fundamental community activities from which the contemporary academic disciplines have emerged. Using such perennial vocations as gardening, cooking, carpentry, and clothing manufacture, students at the Laboratory School were drawn into the forms of problem-solving and investigation that led to the invention of biology, mathematics, chemistry,

Of the many strange things Einstein’s work revealed, the fluidity of time is the hardest to grasp. Whereas everyday experience convinces us that there is an objective concept of time’s passage, relativity shows this to be an artifact of life at slow speeds and weak gravity. Move near light speed, or immerse yourself in a powerful gravitational field, and the familiar, universal conception of time will evaporate. If you’re rushing past me, things I insist happened at the same moment will appear to you to have occurred at different moments. If you’re hanging out near the edge of a black hole, an hour’s passage on your watch will be monumentally longer on mine.

Advance Praise for THE GREAT NEW ORLEANS KIDNAPPING CASE: RACE, LAW, AND JUSTICE IN THE RECONSTRUCTION ERA "Michael Ross' The Great New Orleans Kidnapping Case has all the elements one might expect from a legal thriller set in nineteenth-century New Orleans. Child abduction and voodoo. 'Quadroons.' A national headline-grabbing trial. Plus an intrepid creole detective.... A terrific job of sleuthing and storytelling, right through to the stunning epilogue." --Lawrence N. Powell, author of The Accidental City: Improvising New Orleans "When little Mollie Digby went missing from her New Orleans home in the summer of 1870, her disappearance became a national sensation. In his compelling new book Michael Ross brings Mollie back. Read The Great New Orleans Kidnapping Case for the extraordinary story it tells--and the complex world it reveals." --Kevin Boyle, author of Arc of Justice: A Saga of Race, Civil Rights, and Murder in the Jazz Age "Michael Ross's account of the 1870 New Orleans kidnapping of a white baby by two African-American women is a gripping narrative of one of the most sensational trials of the post-Civil War South. Even as he draws his readers into an engrossing mystery and detective story, Ross skillfully illuminates some of the most fundamental conflicts of race and class in New Orleans and the region." --Dan T. Carter, University of South Carolina "The Great New Orleans Kidnapping Case is a masterwork of narration, with twists, turns, cliff-hangers, and an impeccable level of telling detail about a fascinating cast of characters. The reader comes away from this immersive experience with a deeper and sadder understanding of the possibilities and limits of Reconstruction." --Stephen Berry, author of House of Abraham: Lincoln and The Todds, a Family Divided by War "The Great New Orleans Kidnapping Case is such a great read that it is easy to forget that the book is a work of history, not fiction. Who kidnapped Mollie Digby? The book, however, is compelling because it is great history. As Ross explores the mystery of Digby's disappearance, he reconstructs the lives not just of the Irish immigrant parents of Mollie Digby and the women of color accused of her kidnapping, but also the broad range of New Orleanians who became involved in the case. The kidnapping thus serves as a lens on the possibilities and uncertainties of Reconstruction, which take on new meanings because of Ross's skillful research and masterful storytelling." --Laura F. Edwards, Duke University

What I found in the form is that shorter works inspire far more immersion than the time it takes to read them. The work is but a seed. Planted, the central element of the speculative fiction is left to grow. The impact of a great short story happens days and often years later. Rather than have the author hand every answer on a silver platter, she buries it and allows your mind and your life experiences to handle the rest.   There

Doom, meanwhile, had a long-term impact on the world of gaming far exceeding even that of Myst. The latest of a series of experiments with interactive 3D graphics by id programmer John Carmack, Doom shares with Myst only its immersive first-person point of view; in all other respects, this fast-paced, ultraviolent shooter is the polar opposite of the cerebral Myst. Whereas the world of Myst is presented as a collection of static nodes that the player can move among, each represented by a relatively static picture of its own, the world of Doom is contiguous. As the player roams about, Doom must continually recalculate in real time the view of the world that it presents to her on the screen, in effect drawing for her a completely new picture with every frame using a vastly simplified version of the 3D-rendering techniques that Eric Graham began experimenting with on the Amiga back in 1986. First-person viewpoints had certainly existed in games previously, but mostly in the context of flight simulators, of puzzle-oriented adventures such as Myst, or of space-combat games such as Elite. Doom has a special quality that those earlier efforts lack in that the player embodies her avatar as she moves through 3D space in a way that feels shockingly, almost physically real. She does not view the world through a windscreen, is not separated from it by an adventure game’s point-and-click mechanics and static artificiality. Doom marks a revolutionary change in action gaming, the most significant to come about between the videogame’s inception and the present. If the player directs the action in a game such as Menace, Doom makes her feel as if she is in the action, in the game’s world. Given the Amiga platform’s importance as a tool for noninteractive 3D rendering, it is ironic that the Amiga is uniquely unsuited to Doom and the many iterations and clones of it that would follow. Most of the Amiga attributes that we employed in the Menace reconstruction—its scrolling playfields, its copper, its sprites—are of no use to a 3D-engine programmer. Indeed, the Intel-based machines on which Carmack created Doom possess none of these features. Even the Amiga’s bitplane-based playfields, the source of so many useful graphical tricks and hacks when programming a 2D game such as Menace, are an impediment and annoyance in a game such as Doom. Much preferable are the Intel-based machines’ straightforward chunky playfields because these layouts are much easier to work with when every frame of video must be drawn afresh from scratch. What is required most of all for a game such as Doom is sufficient raw processing power to perform the necessary thousands of calculations needed to render each frame quickly enough to support the frenetic action for which the game is known. By 1993, the plebian Intel-based computer, so long derided by Amiga owners for its inefficiencies and lack of design imagination, at last possessed this raw power. The Amiga simply had no answer to the Intel 80486s and Pentiums that powered this new, revolutionary genre of first-person shooters. Throughout

What is this plan, then? What does the great ceiling really mean? To understand it fully, we have to experience it the way that Michelangelo created it and meant it to be interpreted: step by step, layer by layer. It is important to keep in mind that originally all visitors to the chapel entered through the front door, to experience the sanctuary as an organic whole, first seeing the entire length of the hall from the portal and then slowly immersing themselves in the imagery, step by step. Michelangelo’s purpose was twofold: On the one hand, the impact of the large-scale all-encompassing view served as powerful inspiration; one could not help but be overwhelmed, both visually and emotionally. But there is another function—a brilliant technique to conceal the deeper and more dangerous messages in his work. Michelangelo put so many different ingredients into the mix that the average viewer is distracted, unsettled, and ultimately disoriented.

Your purpose lies within the activities you naturally gravitate towards and can't wait to engage in. It often resides in those nostalgic pursuits–the moments of pure joy. It's in those magical instances where you feel inspired with each breath, love with every word, and experience a touch of magic in everything you do. You're fully immersed and focused when you're working on your purpose, and you don't even notice time passing by. When you're engaged in your passion, your soul kind of goes beyond time, and you lose track of hours.

Remember that excitement and fulfillment aren’t the same things. As you learn to eliminate external stimulations and immerse yourself in your work, hobbies, or relationships, you’ll experience a deeper sense of fulfillment and will feel much better. You will also end up becoming far more productive and accomplishing many of your goals and dreams.

A flow state is the experience of being “in the zone” and fully immersed in an activity. Scientists have tried to quantify this feeling. They found that to achieve a state of flow, a task must be roughly 4 percent beyond your current ability. In real life it’s typically not feasible to quantify the difficulty of an action in this way, but the core idea of the Goldilocks Rule remains: working on challenges of just manageable difficulty—something on the perimeter of your ability—seems crucial for maintaining motivation. Improvement requires a delicate balance. You need to regularly search for challenges that push you to your edge while continuing to make enough progress to stay motivated. Behaviors need to remain novel in order for them to stay attractive and satisfying. Without variety, we get bored. And boredom is perhaps the greatest villain on the quest for self-improvement.

There are three steps to follow on a daily basis to go through and last a tough, challenging, phase in Life: 1. Be expectationless. 2. Soak in bhakti – devotion, offer yourself and everything that you do to a higher energy. 3. Deep dive into what you love doing – your bliss, your purpose or even just your work. If your current circumstances prevent you from doing this, choose the next best activity, whatever else you can do, in this realm to practice immersion. There is no order to following these steps. Just do them daily. Let them consume your waking hours. Celebrate the inner peace and joy that you experience.

The trance-state of prophecy is like no other visionary experience. It is not a retreat from the raw exposure of the senses (as are many trance-states) but an immersion in a multitude of new movements. Things move. It is an ultimate pragmatism in the midst of Infinity, a demanding consciousness where you come at last into the unbroken awareness that the universe moves of itself, that it changes, that its rules change, that nothing remains permanent or absolute throughout all such movement, that mechanical explanation for anything can work within precise confinements and, once the walls are broken down, the old explanations shatter and dissolve, blown away by new movements. The things you see in this trance are sobering, often shattering. They demand your utmost effort to remain whole and, even so, you emerge from that state profoundly changed.

Using virtual reality dates back as far as 1947 with the work of Morton Hailing. He developed the Sensorama Simulator, which produced an immersive experience featuring a goggle-based interface, stereoscopic 3D and stereo sound.

The idea that we should not concern ourselves unduly about the future because “expectancy is the main impediment to living” has to be qualified for other reasons too. At the societal level, too much focus on present goods, like lower taxes or gas prices, at the expense of future goods such as a cleaner environment and an adequately funded welfare state, is hardly praiseworthy, and we would do well to worry about the consequences of this shortsightedness. With respect to both individuals and communities, it is hard to make significant plans and engage in long-term projects without worrying about the ways in which they might be derailed. This is true whether one is raising a child, planting crops, running a business, carrying out research, writing a book, building an organization, or working for a cause. Yet immersing ourselves in such projects and bringing them to fruition yields some of our most valuable experiences and accomplishments. It hardly makes sense to eschew long-term enterprises on the grounds that they usually produce anxiety as well as (one hopes) satisfaction. And it is hard to really throw oneself into a project without worrying about its prospects for success. The advice not to worry unduly about the future thus has to be quite restricted if it is to be reasonable. It amounts to telling us not to spoil the present through excessive anxiety about the future, and not to worry unduly about the loss of things that do not really matter. One of the merits of simple living is that it demonstrates how little we need to possess in order to be content, and how much of what we consider necessary is in fact superfluous. Keeping these points in mind may help us become, in Epicurus’s phrase, “fearless of fortune,” at least with respect to wealth and possessions. But it is less obvious how living simply helps one to achieve greater detachment from other things one values, such as loved ones, meaningful projects, or political causes.

Thomas skillfully crafts a narrative that not only delves into the complexities of Christopher's internal struggles but also unravels the dynamics of his family and friendships. The author presents a nuanced portrayal of a young man caught between the expectations of his family and the skepticism of his friends, adding layers of depth to the central conflict.   Cheryl Thomas's writing exudes authenticity and a deep understanding of human nature. Her characters come alive with actual personalities, problems, and relationships, creating a rich and immersive reading experience. The narrative not only explores the struggles of an individual but also touches on broader spiritual themes that add depth to the storytelling.   "The Last One" is not just a tale of personal choices but a profound exploration of destiny and the impact of one individual's decisions on the entire human race. As readers journey through this gripping narrative, they are invited to contemplate the profound implications of the choices we make and the redemptive power of divine intervention.   In conclusion, Cheryl Thomas's "The Last One" is a masterfully crafted work that combines elements of suspense, spiritual exploration, and dynamic character development. This book is a testament to Thomas's ability to breathe life into her storytelling, making it a must-read for those seeking a thought-provoking and immersive literary experience.

The problem with all of this, of course, is that it tends to leave us with little that is normative for two broad areas of concern — Christian experience and Christian practice. There is no express teaching on such matters as the mode of baptism, the age of those who are to be baptized, which charismatic phenomenon is to be in evidence when one receives the Spirit, or the frequency of the Lord’s Supper, to cite but a few examples. Yet these are precisely the areas where there is so much division among Christians. Invariably, in such cases people argue that this is what the earliest believers did, whether such practices are merely described in the narratives of Acts or found by implication from what is said in the Epistles. Scripture simply does not expressly command that baptism must be by immersion, or that infants are to be baptized, or that all genuine conversions must be as dramatic as Paul’s, or that Christians are to be baptized in the Spirit evidenced by tongues as a second work of grace, or that the Lord’s Supper is to be celebrated every Sunday. What do we do, then, with something like baptism by immersion? What does Scripture say? In this case it can be argued from the meaning of the word itself, from the one description of baptism in Acts of going “down into the water” and coming “up out of the water” (8:38 – 39), and from Paul’s analogy of baptism as death, burial, and resurrection (Rom 6:1 – 3) that immersion was the presupposition of baptism in the early church. It was nowhere commanded precisely because it was presupposed. On the other hand, it can be pointed out that without a baptismal tank in the local church in Samaria (!), the people who were baptized there would have had great difficulty being immersed. Geographically, there simply is no known supply of water there to have made immersion a viable option. Did they pour water over them, as an early church manual, the Didache (ca. AD 100), suggests should be done where there is not enough cold, running water or tepid, still water for immersion? We simply do not know, of course. The Didache makes it abundantly clear that immersion was the norm, but it also makes it clear that the act itself is far more important than the mode. Even though the Didache is not a biblical document, it is a very early, orthodox Christian document, and it may help us by showing how the early church made pragmatic adjustments in this area where Scripture is not explicit. The normal (regular) practice served as the norm. But because it was only normal, it did not become normative. We would probably do well to follow this lead and not confuse normalcy with normativeness in the sense that all Christians must do a given thing or else they are disobedient to God’s Word.

they not only recognize and comply with prescriptions to imagine but also themselves serve as reflexive props, generating by their actions and thoughts and feelings fictional truths about themselves, and imagining accordingly. Thus do appreciators immerse themselves in fictional worlds. They are carried away by the pretense, caught up in the story. Such immersion is not equally part of all appreciation, however. Sometimes appreciators participate scarcely at all. Some representations positively discourage participation, especially the psychological participation that would constitute the experience of being caught up in the story. That experience is perhaps the aim of much “romantic” art, broadly speaking, but works of certain other kinds shun it as sentimental excess, deliberately “distancing” the appreciator from the fictional world. Representations sometimes hinder even the imagining of what is fictional. In doing so they effectively undercut appreciators’ roles as reflexive props. For if one does not imagine a proposition, it is unlikely to be fictional that one knows or believes it; and if one imagines it with minimal vivacity, one is unlikely to have the experience of fictionally being concerned or upset or relieved or frightened or overjoyed by the fact that it is true.

If experiences are now more valued than possessions, marketers can drive sales through hands-on and immersive experiences. Think of it this way: the brand is the host and the consumer is the guest. Show customers a good time and they will keep coming back and will probably bring a few friends along.

Two Kinds of Hunger Hunger can come from your own experience. But it doesn't have to. There are two kinds of hunger: personal and vicarious. Because of my ministry, I was immersed in the pain of others. I felt their pain. I felt their hunger. I wanted to help.

And as the ESM studies confirmed, the more such flow experiences that occur in a given week, the higher the subject’s life satisfaction. Human beings, it seems, are at their best when immersed deeply in something challenging.

Only what you love doing, only what flows from within you, will give you an immersive experience. Only doing such work can make forget who you are, forget your worries, and make you really, really happy.

One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself. (It’s so inefficient!) Alas, most of the time I inhabit a near-future tense, my psychic thermostat set to a low simmer of anticipation and, too often, worry. The good thing is I’m seldom surprised. The bad thing is I’m seldom surprised.

interests and, as importantly, the entrance to the St. Lawrence River and therefore the French-controlled cities of Québec and Montréal. Thus the stone stronghold of Fortress Louisbourg was conceived and built. In its heyday, it was North America’s third-busiest port behind Boston and Philadelphia, home port of over 60 fishing schooners and a fleet of some 400 shallops (two-masted open boats for daily inshore fishing ventures). After possession changed several times between France and England as wars waxed and waned, the British finally destroyed it in 1758. In the 1960s, Parks Canada began a long reconstruction of the fortress (and the town within) to 1744 condition using an army of archeologists and unemployed coal miners. It became North America’s largest reconstruction project. Today, Louisbourg is a place to experience life inside a rough New World military stronghold. You arrive by boarding a bus at the interpretation center—no cars allowed near the fortress. As you climb down off the bus and are accosted by costumed guards, the illusion of entering a time warp begins. Farm animals peck and poke about. The smell of fresh baking drifts on salty air that might suddenly be shattered by the blast of a cannon or a round of musket fire. Soldiers march about and intimidate visitors who could be British spies. Children play the games of 3 centuries ago in the streets. Fishermen, servants, officers, and cooks greet guests at the doors of their respective homes and places of work. Meals here consist of rustic, historically accurate beef stew or meat pie sided by rum specifically made for the Fortress (a full meal is about C$15 in one of four restaurants designated by class—upper or lower). If you want a more complete immersion, you can become a colonial French military

They were mostly in their 20s and 30s, and, with a few exceptions, were playing a major role in a program for the first or second time. In many ways they resembled the teams that made up the Apollo Project: young engineers, often right out of school, with seemingly limitless confidence and energy. NASA people who worked on Apollo and stayed with the agency for twenty years or more hold the fondest memories for that frantic period and time of their life. In interviews for this book, there often was a similar sense of nostalgia and accomplishment among the F-8 DFBW alumni. However, if for many of those immersed in Apollo the rest of their careers seemed anti-climatic, this is not true of the F-8 engineers. They went on to several more projects before many of them landed on the administrative floor of Center Building 4800, each with challenges comparable to those of the fly-by-wire program.

The efficiencies of the adult mind, useful as they are, blind us to the present moment. We’re constantly jumping ahead to the next thing. We approach experience much as an artificial intelligence (AI) program does, with our brains continually translating the data of the present into the terms of the past, reaching back in time for the relevant experience, and then using that to make its best guess as to how to predict and navigate the future. One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself. (It’s so inefficient!) Alas, most of the time I inhabit a near-future tense, my psychic thermostat set to a low simmer of anticipation and, too often, worry. The good thing is I’m seldom surprised. The bad thing is I’m seldom surprised.

When we allow ourselves to have immersive experiences—through meditation, focused periods of work, painting, doing a crossword puzzle, weeding a garden, and many other forms of contemplative single-tasking—we’re not only more productive, we actually feel better.

Free will is, however, one of the problematic, perhaps even mistaken, beliefs of modernity that ultimately fuel the fires of consumption. Heidegger claims that actions follow from one’s immersion in a culture that socializes individuals to relate to the immediate world according to their historical experience, rather than from some context-free and autonomous choice. Choices are more akin to habits. Unless the actor understands the process and “chooses” it over the idea that the “free self” is at work, the resultant choice of action is inauthentic and lacks meaningfulness for the actor. The more that choice is propelled by social forces, such as advertising and peer pressure, the less authentic the action will be, and the less satisfaction will show up at the root of Being.8

Gospel Immersion I believe such fluency is what God wants his people to experience with the gospel. He wants them to be able to translate the world around them and the world inside of them through the lens of the gospel—​​​the truths of God revealed in the person and work of Jesus. Gospel-fluent people think, feel, and perceive everything in light of what has been accomplished in the person and work of Jesus Christ.

One of the most overlooked aspects of excellence is how much work it takes. Fame can come easily and overnight, but excellence is almost always accompanied by a crushing workload, pursued with single-minded intensity. Strenuous effort over long periods of time is a repetitive theme in the biographies of the giants, sometimes taking on mythic proportions (Michelangelo painting the ceiling of the Sistine Chapel). Even the most famous supposed exception, Mozart, illustrates the rule. He was one of the lighter spirits among the giants, but his reputation for composing effortlessly was overstated—Mozart himself complained on more than one occasion that it wasn’t as easy as it looked1—and his devotion to his work was as single-minded as Beethoven’s, who struggled with his compositions more visibly. Consider the summer of 1788. Mozart was living in a city that experienced bread riots that summer and in a country that was mobilizing for war. He was financially desperate, forced to pawn his belongings to move to cheaper rooms. He even tried to sell the pawnbroker’s tickets to get more loans. Most devastating of all, his beloved six-month old daughter died in June. And yet in June, July, and August, he completed two piano trios, a piano sonata, a violin sonata, and three symphonies, two of them among his most famous.2 It could not have been done except by someone who, as Mozart himself once put it, is “soaked in music,…immersed in it all day long.”3 Psychologists have put specific dimensions to this aspect of accomplishment. One thread of this literature, inaugurated in the early 1970s by Herbert Simon, argues that expertise in a subject requires a person to assimilate about 50,000 “chunks” of information about the subject over about 10 years of experience—simple expertise, not the mastery that is associated with great accomplishment.4 Once expertise is achieved, it is followed by thousands of hours of practice, study, labor.5 Nor is all of this work productive. What we see of the significant figures’ work is typically shadowed by an immense amount of wasted effort—most successful creators produce clunkers, sometimes far more clunkers than gems.6

Between all the time Casey had to think over the last two days and this line in the video game, in this moment, it hit Casey. The missing piece that put the whole thing together. He realized he had just thoroughly enjoyed a video game that he knew was fake and had already played. All of the challenges in the game were pre-determined and pre-coded, and the game operates with specific borders, rules, and controls that all worked towards a story that essentially had just one single path to one single predetermined end. Casey fundamentally had no control over how the game was played and where it went. He was just following the storyline as it already existed, experiencing the illusion of him actually creating and performing it. And yet, despite this and his knowledge of it, there he had been, totally and fully immersed, enjoying and finding meaning in it the whole way through. And his active participation was entirely necessary to the experience and the game through. Casey realized to himself, there was no other way to live. There was no escaping the illusion if the illusion was him. But there was no need to. Knowing something is an illusion does not stop the illusion from working. Illusions are illusions BECAUSE they work. “I am not my perceptions,” he thought to himself, “not my choices, not my actions, but I am still the experiencer of the whole. An observer of a consciousness that can observe and navigate and find meaning in the world. The greatest and most beautiful illusion ever created and experienced. And I have a front-row seat to it. Nothing changes. The illusion is real.

Benefits of Outsourcing to Architectural Rendering Companies The demand for high-quality visuals has never been greater. Whether it’s showcasing a futuristic skyscraper or visualizing a cozy residential home, architectural renderings have become an essential tool for architects, developers, and interior designers. Let’s explore the key benefits of outsourcing architectural rendering services, and how it can enhance efficiency, creativity, and business growth. 1. Access to Expertise and Advanced Tools Professional architectural rendering companies employ experienced designers, architects, and visual artists who specialize in creating high-quality renderings. They bring a level of expertise that may not always be available in-house, ensuring that every project benefits from top-tier skills and creativity. Additionally, these companies use the latest software and technology for architectural 3D modeling and rendering, including tools like AutoCAD, SketchUp, and V-Ray. Outsourcing gives businesses access to these cutting-edge resources without the need for expensive investments in software or training. 2. Cost Efficiency Building an in-house rendering team can be costly. It requires hiring skilled professionals, purchasing software licenses, and maintaining powerful hardware for rendering tasks. By outsourcing to architectural rendering services, businesses can save significantly on overhead costs. Instead of managing full-time staff, companies pay only for the services they need, whether it’s a single project or ongoing support. This flexibility allows firms to allocate resources more effectively while still delivering high-quality visuals to clients. 3. Faster Turnaround Times Time is often a critical factor in architectural and real estate projects. Meeting tight deadlines can be challenging when handling rendering tasks internally. Architectural rendering companies are equipped to manage large workloads efficiently, ensuring timely delivery of projects without compromising on quality. Their streamlined workflows and dedicated teams allow businesses to focus on core activities like design and client engagement, while the rendering experts handle the technical aspects. 4. Enhanced Creativity and Innovation Collaborating with specialized 3D architectural visualization services brings fresh perspectives to your projects. These companies often work with diverse clients across various industries, which helps them stay updated on the latest trends and techniques. Outsourcing allows firms to benefit from this creative expertise, resulting in visually stunning and innovative renderings that captivate clients and stakeholders. Whether it’s experimenting with unique lighting effects or creating immersive virtual reality experiences, the possibilities are endless. 5. Scalability for Projects of All Sizes The flexibility of outsourcing makes it ideal for businesses that handle projects of varying scales. Whether you need renderings for a single-family home or a multi-story commercial complex, architectural rendering services can adapt to your requirements. Outsourcing also allows firms to scale their rendering capacity based on demand. For instance, during peak periods or large-scale projects, outsourcing ensures that deadlines are met without overburdening in-house teams. 6. Improved Client Communication Visual presentations play a crucial role in architectural projects. By outsourcing to architectural rendering companies, firms can deliver photorealistic visuals that help clients understand and engage with the design. Detailed renderings and architectural 3D modeling make it easier to explain concepts, showcase material choices, and demonstrate spatial layouts. This clarity fosters better communication, reduces misunderstandings, and builds trust with clients.