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Tag: Strength

  • Charting a path to powered exoskeletons

    Charting a path to powered exoskeletons

    Exoskeletons are devices that are worn for protection or support—like a suit of armor or a helmet. Those and other passive devices have been around for millennia, but today’s researchers are developing powered exoskeleton systems that, in the future, could take humans to new levels of strength and endurance.

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  • Spinoza’s Ethics of Strength of the Emotions in W Somerset Maughm’s Of Human Bondage

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    The writer probes on the complex world of W. Somerset Maughm’s protagonist in the novel Of Human Bondage, using the propositions the Jewish Portuguese philosopher Baruch Spinoza postulated in his book Ethics in 1674. Some of Spinoza’s propositions are as follows( Morgan, 2006, pp 108-120):

    The following propositions of Spinoza enlighten the changing character of Philip in his own bildungsromans of his life. The force and increase of any passive emotion and its persistence in existing is defined not by the power whereby we ourselves endeavour to persist in existing, but by the power of external causes compared with our own power;

    The force of any passive emotion can surpass the rest of man’s activities or power so that the emotion stays firmly fixed in him;

    An emotion cannot be checked or destroyed except by a contrary emotion which is stronger than the emotion which is to be checked;

    Knowledge of good and evil is nothing other than the emotion of pleasure or pain insofar as we are conscious of it;

    An emotion whose cause we think to be with us in the present is stronger than it would be if we did not think the said cause to be with us;

    We are affected toward a future thing which we imagine to be imminent mo intensely than if we were to imagine its time of existence tofarther away from the present. We are also affected by a remembrance of a thing we imagine to belong to the near past more intensely if we were to imagine it to belong to the distant past;

    An emotion toward a thing which we think of as inevitable [necessarius] is more intense, other things being equal, than emotion toward a thing possible or contingent, that is, not inevitable;

    Emotion toward a thing which we know not exist in the present, and which we imagine to be possible, is, other things being equal, more intense than emotion toward a contingent thing;

    Emotion toward a contingent thing which we know not to exist in the present, is, other things being equal, feebler than emotion toward a thing past;

    No emotion can be checked by the true knowledge of good and evil, insofar as it is true, but only insofar as it is;

    Desire that arises from the true knowledge of good and evil can be extinguished or checked by many other desires that arise from the emotions by which we are assailed;

    The desires that arises from a knowledge of good and evil insofar as this knowledge has regard to to the future can be the more easily checked or extinguished by desire of things that are attractive in the present;

    Desire that arises from the true knowledge of good and evil insofar as this knowledge is concerned with contingent things can be even more easily checked by desire for things which are present;

    Desire arising from pleasure is, other things being equal, stronger than desire arising from pain;

    Every man, from the laws of his nature, necessarily seeks or avoids what he judges to be good or evil.

    The more every man endeavours and is able to seek advantage, that is, to preserve his own being, the more he is endowed with virtue. On the other hand insofar as he neglects to preserve what is to his advantage, that is, his own being to that extent he is weak.

    Philip is highly affected by nature. There is in Nature no individual thing that is surpassed in strength and power by some other thing. Whatsoever thing there is, there is another more powerful by which the said thing can be destroyed. And he was able to surpass all his problems because of the incoming different emotions, problems which proved to make him stronger if not released from “Human Bondage”.

    The force whereby a man persist in existing is limited, and infinitely surpassed by the power of external causes.

    Philip’s deformity limits his own persistence to live. But his meeting with Hayward, Clutton and Lawson, his former classmates in France, who taught him that life is all about passion and the pursuit of it, he became engross in his art. France did not also care about his clubfoot. Cronshaw taught him more philosophy in life about living in let live. Cronshaw even on his death bed, defied doctors’ prohibition. His life is anyway to end just like any other’s lives.

    Set in Kent, England, a sub-urban near London, the novel presents the multifaceted personal, social, political and religious experiences of Philip carey from his childhood to his middle age of thirty. A bildungsroman (1991, Smiley) in style, which highlights the formation of a youngman’s character through education, travels and early life experiences. Philip at the age of nine, as a young boy, is set apart from his peers by some misfortune and undergoes a humiliating experience that later proves strengthening. his first experience of love is unsuccessful or problematic one that nevertheless paves the way to a happy marriage with a suitable mate. The novel has ample observation, if not criticism, with the character’s institutions such as schools, churches and class structures.

    Philip’s personal life is truly an amalgam of life’s tragedies. But how he surpassed the seemingly insurmountable heap of oppressing weight, if not the meaninglessness or nothingness of life, is the focus of this attempt anchored on Spinoza’s propositions. To enumerate, at an early age, his mother died of tuberculosis and his father, a medical doctor, died of lung cancer. His innocence never understood the situation. He has only the temporary joy of travelling to Blackstable to live with his uncle William and childless Auntie Louisa. Forcibly liking his second family as an orphan, he is left reading his books without noise for his uncle, a Vicar in the community, is irated with children’s unruly behaviour. Aunt Louisa is incapable of understanding Philip. he is left with the care of the governess. His personal disability or deformity, being born with a club-foot, proves to be the stigma of his life forever. His early education in Kingston School, caused his early childhood bitter as his peers laughed at him, mocked and physically abused him because of his physical abnormality. Then, his adolescence which brings him to Heidelberg, Germany to study foreign languages, is never sweet. Girls chided him for his deformity. the consolation is meeting friends like Hayward and Miss Wilkinson, who flirted with him, to his disgust. His sojourn to France, albeit, his uncle’s disappointment, proves to be annihilating. His lack of talent in painting plus his deformity, made him a mediocre student. His classmate Fanny Price, who fell in love with him, on the pretext of sharing the same abnormality (hers is lack of beauty), committed suicide out of hunger and wretchedness.

    Then everything escalated to its height, when realizing that painting is not his passion, he goes back to England. He decides to change again to pursue what his uncle William tells him to do: to follow the footsteps of his father. To be a doctor. feeling he has nothing to do, he embraces the new idea. Sauntering along the Parliamentary Street of London, he is driven to dine in a cafe where he meets the slatternly waitress Mildred Rogers who awakens his sexual desire. But his languid mien, caused by his club-foot proves to be a disadvantage. the waitress prefers rugged and rich men. But his desire to pursue the pale, anaemic, aloof Mildred, beomes a challenge to him. Gradually, the two becomeclose. But the ambitious and materialistic waitress always insults him because of his deformity. to slander him cripple, would totally “cripple” his mood and emotion. Even when Philip is generous to the moody Mildred, she hurt him by marrying a German businessman Miller. His desperation is tantamount to his yearning for Mildred. He is left believing that one day, he would see Mildred again. His concentration with his medical study is forlorned. And Mildred came back,looking sickly, with a child. His generosity and forgiveness for his first love, who hurts him the most, is even greater than life. The ingrate waitress after a little recovery from poverty, elopes with Griffith, Philip’s handsome and robust classmate. That is the height of Mildred’s shamelessness. So her expected return is welcomed with derision by the newly awakened Philip. Even when Mildred turns into a prostitute, Philip is only capable of compassion, without passion or sexual desire. She is freed at last. And Philip is extricated from the pains excruciatingly caused by the destitute Mildred.

    His obsession to Mildred costs Philip his fortune and gradually his savings is left with seven pounds. He is forced to stop from his medical studies that brings him to experience unbelievable poverty. He meets the generous Athelneys who fed and sheltered him in his misery. His uncle’s death, leaving an average fortune, helps him to finish his medical studies. His fateful shelter with the Athelneys brings him to his final, harmonious and peaceful resolution to marry Sally Athelney and go on with his life beautifully. Shakespeare is affirmed by saying that “all is well that ends well.

    At this juncture, it is noteworthy to enumerate Spinoza’s propositions to elucidate Philip’s “bondage” and his strength of his emotion. Spinoza in his preface to his philosophical treatise wrote:

    I assign the term “bondage” to man’s lack of power to control and check the emotions. For a man at the mercy of his emotions is not his own master but is subject to fortune, in whose power he so lies that he is often compelled, although he sees the better course, to pursue the worse. In this Part I have set myself the task of demonstrating why is so, and also what is good and what is bad in emotions. But before I begin, I should like to make a few preliminary observations on perfection and imperfection, and on good and bad ( Morgan, 2006).

    In the beginning, Philip is a slave if not a victim of his emotion. His physical deformity, his club-foot, caused him too much pain. He learned to hate his classmates and,worst, abandoned his belief in God. He could not appreciate the God of his uncle vicar when God cannot give him the miracle he wanted to have normal feet. His painful childhood in school changed him to be rough character. He never wanted to become a vicar anymore. His obsession to Mildred indeed showed his real weakness as a man, and even wretchedness as a human being because of his deformity. he would always think that women cannot love him as he is because of his deformity.

    He who has undertaken something and has brought it to completion will say that the thing is completed; and not only he but everyone who rightly knew, or thought he knew, the intention and aim of the author of that work. For example, if anyone sees a work (which I assumed is not yet finished) and knows that the aim of author is to build a house, he will say the house is imperfect. On the other hand, as soon as he sees that the work has been brought to the conclusion that its author had intended to give it, he will say that the house is perfect. But if anyone sees a work whose like he had never seen before, and he does not know the artifecer’s intention, he cannot possibly know whether the work is perfect or imperfect.

    This appears to have been the original meaning of these terms. But when men began to form general ideas and to devise ideal type of houses, buildings, towers, and so on, and to prefer some models to others, it came about that each called “perfect” that which he saw at variance with his own preconceived ideal, although in the artifecer’s opinion it had been fully completed. There seems to be no other reason why even natural phenomena (those not made by human hand) should commonly be called perfect or imperfect. For men there are wont to form general ideas both natural phenomena and artifacts, and these ideas they regard as models, and they believed that Nature (which they consider does nothing without an end in view) looks to this ideas and holds them before herself as models. So when they see something occurring in Nature at variance with their preconceived ideal of the thing in question, they believed that Nature has then failed or blundered and has left that thing imperfect from their own preconceptions rather than from true knowledge.

    So perfection and imperfection are in reality only models of thinking, notions which we are wont to invent from comparing individuals of the same species or kind; and it is for this reason that I previously said (Def. 6, II) that by reality and perfection I mean the same thing. For we are wont to classify all the individuals in Nature under one genus which is called the highest genus, namely, the notion of Entity, which pertains to all the individuals in Nature without exception. Therefore insofar as we classify individuals in Nature under this genus and compare them with one another and find that some have more being or reality than others, to that extent we say that some are more perfect than the others. And insofar as we attribute to them something involving negotiation, such as limit, end, impotence and so on, to that extent we call them imperfect because they do not affect our minds as much as those we call perfect, and not because they lack something of anything except that which follows from the necessity of nature of its efficient cause; and whatever follows from the necessity of the nature of its efficient cause must be necessarily be so.

    To be a master of his emotion is to attain perfection. It may not be physical but spiritual, mental and emotional. His challenges may have hardened him but enlightened him to loosen up and later, embrace the beauty of life. The unattainable perfection, was answered, through his friend Cronshaw, a poet whom he met in France, that the meaning of life cannot be answered unless one lives it. he realized that men are born, study, work, marry, have children and die is the most beautiful pattern that the Persian rug edifies.

    As for the terms “good” and “bad,” they likewise indicate nothing positive in things considered in themselves, and nothing but models of thinking, or notions which we form from comparing things with one another. For one and the same thing can at the same time be good and bad, and also indifferent. For example, music is good for one who is melancholy, bad for one in mourning, and neither good or bad for the deaf. However, although this is so, these terms ought to be retained. For since we desire to form the idea of man which we may look to as model of human nature, we shall find it useful to keep these terms in the sense I have indicated. So in what follows I shall mean by “good” that which we certainly know to be the means for our approaching nearer to the model of human nature that we set before ourselves, and by “bad” that which we certainly know prevents us from reproducing the said model. For it is important to note that when I say somebody passes from a state of less perfection, to a state of greater perfection, and vice versa, I do not mean that he changes from one essence or to form to another (for example, a horse is as completely destroyed if it changes into a man as it would be if it were to change into an insect), but that we conceive his power of activity, insofar as this is understood through his nature, to be increased or diminished.

    Philip may have been both good and bad due to circumstances. he was good in the Blackstable with his Auntie Louisa and Uncle William. he became bad in school because his classmates taunted him because of his clubfoot. In Heidelberg, he is good to all the people even if he did not understand their silence and even their insolence. In France, was forced to become bad, to protect himself from the looming abuses of other foreigners. The death of an anti-social fanny Price, showed him to be the only compassionate painting student.

    Hence, after a series of Philip’s tragedy, his experiences, his meeting with different people, his education, his travel to Heidelberg, to Paris and to London, his affluence and reversal of his fortune to poverty taught him greatest lessons in life. That life can be beautiful if man knows to master his emotion, moderate his desire and be reasonable in every decision. A man is finally freed from the chains and cufflinks ” Of Human Bondage”.

    References:

    Maughm, Somerset W. (1991). Of Human Bondage.

    Canada: Bantam Book Doubleday.

    Morgan, Michael (ed.). (2006). The Essential Spinoza: Ethics And Related Writings.

    Cambridge: Hackett Publishing, Inc.

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    Source by Wilfredo M. Valois

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  • Entrepreneurship – Craze of Present Generation

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    An Entrepreneurship sets up an enterprise for profit motive and rightly so. But if you start your business with the 'Show me the money' attitude, rest be assured that you will not go very far!

    Ever wondered why in the world of Entrepreneurship, some carve a niche for themselves and stand out from the crowd, while others, even though successful, have a mundane existence?

    Well it all lies on certain qualities that an Entrepreneur may possess or the way certain activities are conducted by him / her. Here are special skills which you need to hone to become the Successful Entrepreneur.

    Everybody has a certain goal in life which just refuses to go away or change. You must understand this goal to be the calling of your life. Write down this goal – It will time and again remind you, how important it is to achieve this goal and will not let you sleep until you achieve it and become a celebrated Entrepreneur.

    Share your Dream with Right people – Law of Entrepreneurship

    In this world of make belief, you should be able to distinguish between the good, bad and the ugly. Many Entrepreneurial dreams die a quite death because somebody labeled it 'stupid' and constantly put you down until you also started believing your dream to be stupid and chose to abandon it. Share your dreams with only those whom you trust and are actually the propellers of your life.

    Find yourself a Mentor – Key Role in Entrepreneurship

    Someone who has already been there after many trials and turbulence is the right person to advice you. Somebody who has been there and done with can impart some priceless wisdom which you can use to carve a niche for yourself. But you must be very clear about what you will gain from the mentor-men-tee relationship. This will determine whom you can tap for assistance. The right Mentor will always short-cut your leaning process and give you the push you need and help you to stay task focused.

    Observe deeply and Practice Incessantly

    An Entrepreneur must consciously set aside some quite time to take on board any new ideas, things to learn and allow your mind to wander. You never know what your 'downtime' can fetch your business! Similarly only incessant practice will make an Entrepreneur perfect. Short cuts have never helped anyone in life. It is only your endurance for more and more practice that will give you results.

    Seek Challenges in Life

    The yardstick of success of an Entrepreneur is measured by the challenges he / she has overcome. Never be scared to consciously seek challenges in your Entrepreneurial life. Remember challenges are not setback of life. They are simply life's way of requesting you to make full use of the resources and tools available with you to resolve them.

    As an Entrepreneur you must have the skill set to select the right tool at the right time to overcome the challenge.

    Welcome Criticism – Challenge in Entrepreneurship

    In your journey as an Entrepreneur, be ready to welcome criticism from associates / citizens / clients / and sometimes even friends and family. There will be people out, there highly critical of your product / service. You must possess the gall to take such criticism in your stride and take them positively. If praise motivates you, then criticism must stimulate you to do better and better, not the opposite. If you cannot accept criticism, then your ego is getting in the way of your best judgement.

    Be Self Driven not Ego Driven

    An Entrepreneur must be proud, confident, self assured but not ego driven. Be humble and let your feet be planted firmly on the ground. Let your actions and achievements speak for you, not your boating and bragging. The more you brag, the more will sound phony. Remember, it is the empty vessel which makes the most noise.

    Carve a niche for yourself

    An entrepreneur must try to find out his niche area. Each of us has a special ability, a quite story which sets us apart from others. Play around with this strength and craft your own persona. Of you try to become a carbon copy of some you admire, you will never be able to make a name for yourself. Remember, the original always looks better than the copy. So leave your idol on the pedestal to be admired from a distance.

    What Goes Around Comes Back.

    As an Entrepreneur, you must try and help and benefit others. Give whatever you have in abundance- your time. your service or knowledge to those who are badly in need of it. You will be amazed at what you stand to gain when you give it to others.

    Value Learning over Money – Basics of Entrepreneurship

    An Entrepreneur sets up an enterprise for profit motive and rightly so. But if you start your business with the 'Show me the money' attitude, rest be assured that you will not go very far! Instead show humility and value what you have learnt in your journey as an Entrepreneur. Money will follow you steadily and surely, if you apply what you have learnt.

    Be Thankful

    Be thankful that you could become an Entrepreneur, be thankful that you could learn your failures, be thankful that you are at the receiving end of so many blessings and above all, be thankful that you are alive!

    Gratitude always unlocks the fullness of your life and indeed will make you the celebrated "A Successful" Entrepreneur.

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    Source by Akshay Lendey

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  • Numerology’s Secret Strength – Your Habit Challenge

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    Where do you turn in times of crisis? How do you find the inner strength to face problems which are beyond your normal strength? Numerology can tell you where your hidden strength lies, ready to come forth in the face of problems beyond your normal resources. This hidden strength is known as your Habit Challenge. This ability is also known as the Submerged Characteristic or Habit number. Normally it lays dormant, hidden in everyday life until you truly need it; Then it blossoms becoming a useful tool to be called on.

    Finding your Habit Challenge

    This is one of the simplest calculations in Numerology. You simple count the number of letters in your use name and then reduce the value with fadic addition. Your use name is what your friends call you, or how you introduce yourself. Note that since this can change through out your lifetime, your Habit Challenge will change as well. As an example, actress Angelina Jolie has a Habit Challenge value of (4) as shown below.

    Angelina Jolie (Habit Challenge) = (8 + 5) = (13) = (4)

    Habit Challenge (1) – Originality

    People with this value respond to crisis by turning to their originality. They are best served by looking to themselves to find the answers they need, usually to the complete surprise of those around them.

    Habit Challenge (2) – Collaborator

    People with this value respond to crisis by teaming up with others. They are best served by being a good follower and trusting their partners to direct them in reaching their goal. If a need for diplomacy occurs, they are truly in their element and will bring good results.

    Habit Challenge (3) – Creativity

    People with this value respond to crisis by turning to their imagination. If there is an artistic solution to their problems, then they will solve them. These souls will also find an ability to put aside their fears and not take their problems seriously, letting them work with little pressure.

    Habit Challenge (4) – Analysis

    People with this value respond to crisis by turning to pure logic and their analytical skills. They will be able to turn off their emotions and work towards a practical and orthodox solution to their problems. They will never break down or lose their head until the crisis has passed.

    Habit Challenge (5) – Flexible

    People with this value respond to crisis by being flexible. They will accept change and take risk as necessary to reach their goals. If there is a New or unusual solution to the crisis, they will find it. These people will exhibit great versatility and quick thinking throughout the crisis.

    Habit Challenge (6) – Responsible

    People with this value respond to crisis by showing sympathy for others and taking on responsibility for the problem they face. These souls will work to shield their friends and family from the affects of the crisis and offer to sacrifice themselves to resolve the problem.

    Habit Challenge (7) – Meditation

    People with this value respond to crisis by using meditation or other techniques to seek knowledge from within themselves to resolve their problems. These souls will reject advice which they have not asked for, and instead look to their intuition for ways to solve their problems. They will always act with perfect timing while the crisis last.

    Habit Challenge (8) – Ruthless

    People with this value respond to crisis by being ruthless and efficient in their actions toward solving their problems. These souls are willing to set ambitious goals and work tirelessly until they are met. They will exhibit determination and infinite patience until the crisis has passed.

    Habit Challenge (9) – Idealist

    People with this value respond to crisis by being an idealist. They will be broad minded in their dealings with others, and generous with their time and resources while the crisis last. These souls will react dramatically with great flare towards those who oppose them until their problems are resolved.

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    Source by Keith Abbott

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  • 3 Attitudes You Need To Make Marital Conflict Resolution Work

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    One of the biggest contributors to divorce is fatigue and emotional exhaustion. Couples allow things to get so bad that by the time meaningful intervention is sought one or both are unwilling to do what is necessary. You might finally have a solution that works but no longer have the strength or will to act.

    It is very sad when you see a couple get to the point where they lose the will to keep trying. Your attitude will add energy to your relationship or add fuel to the many unresolved conflict causing issues. Trying to do the right thing with the wrong attitude will not bring back the love and passion in your marriage. The 3 attitudes that will help repair, protect and save your marriage are:

    An Attitude of Forgiveness

    As issues are identified they will be directly or indirectly attached to you or your spouse in most instances. If you start seeing yourself or your spouse as ‘The Problem’ this opens doors for resentment. In order to move forward you must have a heart of forgiveness.

    You must be mature enough mentally and emotionally to live out your vows of ‘for better or worse’. We must be able to wake up in the morning knowing that we will have an attitude of forgiveness towards any issue that may arise. Making a proactive decision to forgive prepares you mentally and emotionally to honestly deal with marital issues.

    An Attitude of Friendship

    One of the worst things about constant fights and conflict in marriage is feeling like you lost your best friend. You feel unable to freely express your love and affection. The home becomes a hostile environment that you want to avoid instead of a place of solace, love and passion.

    In marriage you will not always like each other. One of the marriage killers is when a couple stops being friends. Making a proactive decision to remain friends reminds your mind to keep doing nice things for the person you fell in love with, while you are working through an issue. You instinctively want to do nice things for a friend so do not get in the habit of seeing your spouse as the enemy.

    An Attitude of Fidelity

    Divorce happens when one person decides the best option is to leave the marriage. They feel like it is no longer worth it to remain in the relationship. Identification, isolation and improvement have to do with your approach to conflict resolution. Forgiveness, friendship and fidelity have to do with love.

    Marriages are built on love and managed by healthy approaches to everyday living and dealing with issues. It is difficult for a marriage to flourish in love when you have a list of things that will make you seek divorce. Making a proactive decision of fidelity reminds you of your commitment to work through every issue.

    It is impossible for any issue to get the upper hand in your marriage when the attitudes of forgiveness, friendship and fidelity are the foundation of your relationship. Change your attitude and change the course of your marriage.

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    Source by Kerwyn Joseph

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  • Healing Grief & Loss – A Fresh Start

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    Every Day Can Be A Fresh Start

    “There are no constraints on the human mind, no walls around the human spirit, no barriers to our progress except those we ourselves erect.”

    ~ Ronald Reagan

    7 DAILY FRESH START BULLET POINTS can help you heal your grief and loss. You have special unique empowerment to seize the moment again and again. Erect possibilities. Erect personal healing solutions. Erect your own peace. Erect hope. Every hour of every day can be a fresh start. Your condition may limit what you are able and desire to perform. However, constraints, walls or barriers don’t need to be in your mind. The opportunities for healing and progress toward a better you are abundant even if done in small baby steps; and on a few occasions one step forward and two steps back. There are keys to minimize the constraints in your mind. 7 must-consider steps to make every day a fresh start follow:

    *Fresh Start #1 Erect Possibilities

    “Seeds of great discoveries are constantly floating around us,

    but they only take root in minds well prepared to receive them.”

    ~ Joseph Henry

    Your grief loss happening may have sent you on a personal detour filled with discouragement and despair. On this detour confusion and hopelessness may jump in front of you on every turn of your healing journey. This is the essential time to explore all possibilities to reconcile your sorrow and grief. Undiscovered possibilities are available. Now is time to be open to receive all possible healing opportunities. Will you prepare to receive them? Search diligently for unrecognized or hidden possibilities.

    *Fresh Start #2 Erect Personal Healing Solutions

    Especially after a horrendous grief experience your life can be confusing and without meaning. It is essential to recognize you bring the meaning to every living moment. The meaning of your life is what you ascribe it to be. Being alive and proactive determines your healing solutions.

    *Fresh Start #3 Erect Your Own Peace

    You are absolutely correct. SOMETIMES LIFE IS TOUGH! In fact, life is not always fair. To be at peace because of grief circumstances can be extremely challenging. Finding your own personal peace can be enhanced by counting all the reasons why you can be grateful. Writing down a gratitude list can buoy up your spirit. No matter your condition after your grief there are blessings you can count. Counting your blessings can bring you peace.

    *Fresh Start #4 Erect Hope

    “When you get into a tight place and everything goes against you, till it seems you cannot hold on a minute longer, never give up then, for that is just the place and time the tide will turn.”

    ~ Harriet Beecher Stowe

    Hope and peace go together. Nonetheless, without hope you cannot have personal peace. Hope is a powerful and vital quality to own and magnify. Consider all the ways you might create hope in your attitude and in your actions. Holding hope in a strong grasp every day will turn your tide to more happiness, hope and peace.

    *Fresh Start #5 Erect Barrier Deletes

    Learn to erase negative thinking. Erase hopelessness from your daily thinking. Everyone gets discouraged. Life grief experiences may be joined with partners of despair, confusion, uncertainty, and even anger. Were it that you could simple press a delete button and erase all things that are barriers to your happiness. Essential to your transformation from your grieving experience to a happier state of mind are behaviors that will eradicate negative thinking. It begins and ends with your attitude. Others can help but you are the one who must press the delete button over and over again until your mind is full of positive thinking. You can.

    *Fresh Start #6 Erect Empowerment Discovery

    I like to think of a tool box inside each of us. Perhaps a hammer, chisel, screwdriver, measuring tape, a pair of pliers, a small level, to mention a few. I dare say it has been a long time since you have used all of those tools – maybe never. However, the time may very well come when a simple use of a pair of pliers will be vital to you. Just like the foregoing tools mentioned are empowerment tools for your mind and attitude. Perhaps you have not needed them before. Maybe they were not needed until your grief loss experience. They might not have ever been used. You may need to dig deep within. If you do you will discover empowerment strength you were unaware you always had. Asking again and again, what can I do will help you discover your personal needed empowerment. Strength will begin to grow in your mind.

    *Fresh Start #7 Erect A Daily Fresh Start

    Even without a horrendous grief experience a fresh start can be invigorating and revitalizing. Erect each day with a fresh attitude of positive possibilities and opportunities. Seek for all healing solutions. Count your blessings. Delete all negative thinking. Search for your own empowerment. Begin each day with a positive attitude. Think about how you can gain more hope with a daily fresh healing attitude.

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    Source by Duane Marchant

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  • What Is the DXY Dollar Index?

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    The DXY is an indicator that many market watchers and commentators reference and quote. So what is the DXY or US Dollar index?

    The DXY is a geometrically weighted index of some of the major trading partners of the United States. The composition if the DXY Index is heavily weighted towards the Euro and European countries that have not joined the European common market. The components of the DXY Index are (by weighting): Euro (57.6%), Japanese Yen (13.6%), Great Britain- Pounds Sterling (11.9%), Canadian Dollar (9.1%), Swedish Krona (4.2%), and Swiss Franc (3.6%). Because of the composition of the DXY, it is sometimes referred to as the Anti-Euro Index.

    The DXY is a convenient index to use as a simple method for referencing strength and weakness of the US Dollar (USD). But its ubiquity disguises the fact that it does not reflect the value of the dollar against a broad enough basket of currencies. The DXY was created by JP Morgan in 1973, and it has only been updated once, for the introduction of the Euro currency.

    The DXY is heavily weighted towards European currencies, it underweight’s the Canadian Dollar, as a proportion of US trade, and it largely ignores important Asian and Pacific trading partners, including Korea, Australia, Taiwan and necessarily China. Even if one were interested in including the Chinese Renminbi (Yuan) it would be both difficult and of questionable informational value to include the Renminbi because China keeps their currency pegged to a range that is based on the dollar.

    A more accurate basket of currencies to track the relative value of the USD would be to value the dollar against the top US trading partners. The top 6 US trading partners, from high to low are: Canada, China, Mexico, Japan, Germany and the UK. It’s hard to say why JP Morgan created this index and how it came into such prominence. One odd thing about this index is you cannot trade it. There is no market that you can go to and buy the DXY. The closest you can get are futures and options contracts traded on the InterContinental Exchange (ICE).

    If it’s so inaccurate, then why is it so widely quoted? While there are more accurate ways to benchmark the USD, absolute precision is not always important for an indicator. Many traders and institutions likely have their own indices that they use to track the USD, but for the sake of comparison, it is very convenient to have a common index. The DXY is also highly correlated to a trade-weighted index most of the time. Relative strength or weakness moves by the USD represents huge flows of money. As I’ve written previously, the recent +10% move by the DXY represents more than $1 trillion of nominal wealth destruction. Moves of this magnitude do not happen in a vacuum and the relative weakness of the DXY is mirrored by corresponding weakness in the trade-weighted index.

    While there are shortcomings, the DXY does serve as a reliable indicator of USD strength and weakness and can be used as such, as long as one keeps in mind that it will occasionally be skewed if there are large currency moves that occur in the Euro.

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    Source by Christian Koch

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  • Implementing the Character’s Emotion

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    Now that you’ve made your choices, how do you generate these emotions and make them readable to the audience? And in doing so, does the actor actually feel the emotions or simulate them? These are the questions often asked about portraying the emotion.

    It stands to reason if you want to affect the audience and move them, you, playing a credible character, must feel these emotions. But you must feel them in such a way that they are conveyed to the audience. The degree to which you feel each emotion will depend upon the method used to carry out this feat and your ability to master it.

    Actors involved in what is termed “Method Acting” use the affective memory to generate emotions. Here the actor recalls a specific event in his own life that has produced the required feeling. For example, remembering a fight you had with another student in high school could arouse the emotion of anger. Recalling the death of a close relative might generate the emotion of grief. The actor has to go back, replay the experience leading to the desired emotion, and relive those moments in his mind. Through this method, the required emotion is revived.

    There are some benefits and also some dangers in this type of emotional generation. Usually, emotions derived this way seem real and deeply moving, more so to the actor than the audience. That’s because there is a tendency to internalize these emotions so much that they are not fully evident to the viewer. The method does make producing emotions seemingly easy, but at a price.

    You will find that emotions take time to evolve naturally and resist abrupt changes when deeply seated in ones memories. This is one reason few method actors make it big in comedy. The changes come too quickly and the method actor usually lacks the required emotional agility. Likewise, the method process takes up valuable rehearsal and production time as the crew and cast wait for the actor to call up the right emotion.

    Actors using the method are likely to develop a self-indulgent feel “good” attitude which gravitates towards feelings closest to them and more comfortable for them to generate. The performance then becomes one that portrays the actor’s reality and not that of the character’s. You can see how this may stifle the actor’s imagination and limit the search for emotional truth. The method can likewise put a strain on the actor’s psyche. Using past events, some best left forgotten, can lead to situations where it affects the actor’s mental stability.

    Another danger is that of becoming bored with affected memory when repeated retakes or performances are required. There is also the possibility of being so caught up in past events one does not relate as the character.

    Another way to generate emotions is to rely on our emotional conditioning, the response to the word for each feeling, and the ability of the body to remember the resulting psychical (of the mind) and physical manifestations. This is the most simple way to produce a whole galaxy of emotions with little effort on our part. Through our childhood development, we are conditioned by the meaning of words, especially with regard to feelings. We respond to them without any conscious thought.

    Consider what happens when you are reading a good book or script. You become involved in the story and the characters. You see and feel their imaginary lives. And when you read the action description:

    She looks at his mangled body, then turns away in horror.

    The word itself is the key to what she felt. We don’t have to stop, reflect back on our own life and re-experience some past event. The response is there before we have time to think. The word itself is the signal to release all the information we have on that emotion and to invoke an immediate physical response.

    This response, while different for each person, still has common traits and a behavior that tells others which emotion is being felt. It’s almost a language in itself and a part of our non-verbal communications.

    The answer lies in the fact that in physiological terms, all emotions have similar traits. That is to say, if we were to test the breathing, heart rate, skin temperature, etc., of two people, one feeling rage and the other joy, the “physiological” signs would be similar. Only the face, gestures, and movements would signal which emotion they were actually feeling. But the flush face, the pulse and breathing rate, etc., all signifying the energy behind the emotion, would determine the size of the emotion.

    Through this process we have learned how to reach and find the emotion. But now, we must learn to nurture these feelings, making them big enough for the performance and adapting them to build credible characters.

    As we said before, emotions are feelings large enough to change your life or destroy it. They need to be powerful feelings, but all that you start with is the small sensation that the name of the emotion evokes. How can we make it bigger?

    As the word for the emotion is read, the actor feels a response centered somewhere in his body. For instance, the emotion “fear” might be felt in the stomach. For another actor, it might be in the shoulders and neck. “Suspicion” causes a response around the eyes. “Lust” in the hips or groin. “Desire” could be centered in the lips or eyes.

    For each actor, the physical response will vary. But the important thing is that the actor feels these responses and gains awareness of the physical symptoms in various parts of his body.

    How do we increase this energy level? There is a technique taught by Don Richardson, a well know TV director. It entails having the actor do some physical exercise, such as push-ups, until he’s completely out of breath. Then after a few moments, have him go directly into the scene with his intention and emotion located and his energy level at a peak. The result is astounding for the actor has no choice but to emote fully.

    The next step is to start from a totally relaxed state, retaining the selected intention and emotion, and then adding what one felt at the peak when doing the push-ups. The small emotion is now fired up by a burst of adrenaline flowing through the system as the body recalls the effect of the push-ups. The emotion is thus achieved on a large-scale as the body remembers the intense physiological state attained earlier.

    Now the emotion has to be adapted to create your specific character and make him credible. Credible emotions evolve out of the character’s perception of reality, their past experiences (emotional conditioning), and their struggles as they strive toward their goals. Character traits also play an important role in how emotions are adapted. For instance, is the person you are portraying mainly rational, mainly emotional, or a balance of the two, and as a result, would the feelings be out flowing, repressed, or even denied? Is there a great deal of inner conflict where the emotions hinder the character from attaining his objectives? What is the dynamic range of feelings, deep, shallow, explosive, etc? All these questions entail a good deal of research into creating the emotional side of a credible character.

    To assist you in this regard, I’ve compiled discussions on the various root emotions. These will aid you in adapting emotions to your specific character needs as well as improving your emotional range and awareness.

    The third way is indicating the emotions through mechanical acting. In this approach, the actor imitates the physical responses, mimicking the feelings as displayed by others.

    People often look down on mechanical acting. Yet sometimes, it becomes a necessity, either as a training or rehearsal tool exploring possible expressions and gestures, or when the actor’s capabilities cannot fulfill the complex demands of the scene. Demands such as acting style, blocking, stage business, and/or quick precise attitude and emotional changes. In such situations, producing the proper emotional illusion through a mechanical response will, at least, get the actor through these difficult moments. In addition, the director may specify certain emotional responses to attain his vision of the story, responses that may later be embellished by editing, music, and sound effects.

    In certain types of performances, particularly comedy sketches, parities, certain sit-coms, and stand up comedy, experience with mechanical acting is helpful. This is because the focus is centered on dialogue emphasis, precise timing, and clarity of attitudes. Likewise, exaggerated surface emotions have the potential to change unexpectedly while deeply felt realistic emotions lack this agility.

    This is not to say that the actor can not feel these emotions. In fact, he may feel them strongly, but the expression begins as a duplication of some physical response. Life studies, the observing of real people, nurture such emotional beginnings.

    ROOT EMOTIONS

    Root emotions are active feelings that clearly convey what is felt by the characters. They do not include happiness, sadness, sorrow, loneliness, or nervousness as these are not an emotion, but state of being. The state of being is the result of an emotion. Root emotions, on the other hand, are the cause and have the potential to affect change.

    Certain weak and complex emotions should likewise be avoided. Self-pity is weak in that it plays an effect and is often resented by the audience. Disinterest and boredom are likewise poor choices as there is no active force to motivate the character.

    Love is also a poor choice in that it is a complex emotion made up of many other feelings. Playing the feeling of love immobilizes the character rather than inviting action. A better choice would be to play a definitive emotion such as desire, lust, joy, exhilaration, or exaltation. In an unstable relationship, other emotions such as jealousy, suspicion, bewilderment, guilt, or embarrassment, along with certain other emotions, could be used. By using one single root emotion at a time, subtle shadings within the realm of love can be clarified as well as changes in the intensity.

    The emotions of the characters also plays into the psychological experience of the audience. It might be the voyeurism of spying on the character’s intimate moments. It could also be the vicarious experience of identifying with character’s situation or problems. It could also be the visceral feelings we experience as we watch the scene unfold, emotions moving us and giving us a sense of being entertained. Strong emotional choices and well-portrayed feelings, ones that connect with the viewer, can make for interesting and memorable scenes. They can help create anticipation, arouse curiosity, and hook us enough to be intrigue and involved.

    I’ve divided the most frequently used root emotions into five different categories. Each category is further clarified as to the focus of the emotion as well as the general clarifications.

    ROOT EMOTIONS

    DARK EMOTIONS (Active – Directed at or against someone, something.)

    Rage

    Anger

    Hatred

    Contempt

    Jealousy

    Envy

    SURVIVAL ORIENTED (Reactionary – Selfish – Focus usually on the expected or imagined.)

    Terror

    Horror

    Fear

    Dread

    Despair

    Grief

    Suspicion

    Apprehension

    GOAL ORIENTED (To find, to obtain, to provide – Focus usually on wants.)

    Revenge

    Ambition

    Greed

    Hope

    Desire

    Lust

    Determination

    Compassion

    Curiosity

    EGO ORIENTED (Self evaluation & result – Focus usually on masking or repressing the emotion.)

    Guilt

    Shame

    Indignation

    Intimidation

    Embarrassment

    Resentment

    BRIGHT EMOTIONS (Enjoyable – upbeat – Focus usually on the continued enjoyment.)

    Exaltation

    Joy

    Pride

    Exhilaration

    Wonderment

    Bewilderment

    In review, root emotions motivate you to fight for something, to change your (the character’s) life or destroy him (the character’s dramatic soul). To be a strong sympathetic character, always play the fighter’s side of the emotion, thinking you can win rather than loose. The physical look of one particular emotion will vary depending on the story situation, the characters, and the natural casting chemistry within and between actors.

    To further your knowledge on this subject, explore the physical sensations, sources, forms, and dynamics of the most common root emotions. Observe emotions in life as well as performances. What are the defining characteristics? Such research will also serve as a guide in stretching the clarity, strength, and polarity of your emotional repertoire.

    This chapter has covered the basic skills used in building and implementing dramatic emotions. Use these skills as tools to nurture and release the character’s true feelings, and make them readable to the audience. Most important, create emotions that serve the story, its genre and purpose.

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    Source by Erik Sean McGiven

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