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Each exercise is based on both research and what wise men and women have taught those seeking the good life to practice down the ages.
If thoughts make their presence known,  observe them and continue breathing; the same with feelings. At the end of a minute, sooner if you want, take a deep breathe in, hold it for a count of five.
Also surround  yourself with what you find beautiful you can practice this exercise off and on throughout the day. Dr Anders Ericsson said in the early 1990 that it takes 10,000 hours (20 hours for 50 weeks a year for ten years = 10,000)  of deliberate practice to become an expert in almost anything. The good news? EFTI promotes starring in your life, not on the stage or the athletic playing field.
Diane Thodos is an artist and art critic and was a student of Donald Kuspit at the School of Visual Arts in New York City from 1987 to 1992. DK: I think ita€™s over for a lot of those people and one of the things I see happening is a return to tradition in a variety of ways (without mimicking it).
DT: Regarding the postmodern problem I remember you once raised the question in class about why is it artists dona€™t allow themselves to go back to being influenced by a tradition. DT: And at this point when you think of the incredible diversity that occurred (I remember you talking about the a€?Big Banga€? of Modernist creativity at the beginning of the last century around 1905 a€“ 24) we still have these rich aesthetic Modernist traditions that have barely scratched the surface of their possibilities in a sense.
DK: They probably do have emotions in their lives a€“ I dona€™t see how they couldna€™t a€“ but they split it off and deal with a€?official a€? issues of art. DT: You have often written about the exclusion of experiential depth in the great morass of conceptual art that dominates todaya€™s art world. DK: Well, as you know certain groups a€“ for example October most notoriously - have attacked humanism quite explicitly.
DT: Yes - referring to the title of the book written by Jacques Ellul The Technological Society. DT: Yes - they are playing video games all the time, they are on the cell phone all the time, or constantly texting. DT: Like what Picabia was talking about when he had his Orphic ideas in painting and then transformed them into the Dadaist idea of the machine?
DK: Most subtle, and the most complicated organ apparently ever created by nature from what I have read.
I feel this writing reflects a historical a€?revisiona€? of Muncha€™s work that intends to desublimate the power of his work by making him into an everyday huckster. DT: This brings me to the question a€“ do we have historical revisionism today thata€™s working as a means of not merely avoiding the presence of emotion in art, but being destructive of the importance of emotional sublimation in art?
DK: What I would say has happened is the avant-garde a€“ avant gardism - has become institutionalized.
DT: He was part of the Modernist movement even though he was complicit in horrible atrocities. DT: In the Leni Riefenstahl film Triumph of the Will it is interesting how rigidly the soldiers march in tight box formations.
DT: And that hea€™s a hustler, that we are all the same, and that this is an everyday kind of thing. DT: Do you see shades of George Orwella€™s book 1984 when the Whitney Museum claims there is great diversity in art when there is just the opposite. DK: I am telling you he is getting the award this year - or why is Bruce Nauman in the Whitney Biennale? DT: Getting into a big subject here - on your suggestion I have read Jacques Ellula€™s book The Technological Society [first published in 1964] and was struck by his prophetic insight about the present. DK: Not only do you get more and more efficient, is shuts out what you call the a€?dark areaa€? - it shuts out emotion, because emotion is inefficient. DT: Ita€™s not like watching an Andre Tarkovsky film where you get this incredible Dostoyevskian poetic depth. DK: Ita€™s very interesting to see this a€“ the sets, the clothing, the environments they create - this Americana scene. DK: When people talk about Americanization they are talking about standardization with a vengeance.
DT: Do you feel, in reference to Jacque Ellula€™s book The Technological Society, that technique as an absolute standardization of means also relates to how artists have become these sort of glorified commercial producers of brand name products: in other words formatting the product to streamline the marketing system? DK: Yes a€“ but remember when there used to be the Soho Guggenheim that was at the corner of Prince Street and West Broadway? DK: I dona€™t think they do this anymore, but the shoes are brought out every morning and exhibited like precious objects. DT: Is marketing as you see it a€“ the way this American Capitalist marketing system operates a€“ part of the efficiency of technique in a sense?
DK: Unless you want to have success for five minutes after getting out of the program - ita€™s shorter than 15 minutes these days. DT: Conceptualism wants to create ita€™s own self-fulfilling propaganda and have no dialectical relationship outside of that?
DK: He just stuck with it and made this special amalgamation of expressionism and the figure a€“ but he had the strength of will to do that.
DT: So you need the strength of will to separate yourself from the things that do not give you the diversity of experience you need? DK: And there is the argument that Harold Rosenberg made in relation to Arshile Gorky, that his apprenticeship was good a€“ Picasso to Miro a€“ and his work was quite different from theirs, derivative but an interesting derivation at that. DT: Getting back to the issue of exclusion and censorship I remember once you talked about a€“ and I think ita€™s absolutely true a€“ in the late 80a€™s how women were starting to enter the art world more and more but their work was very novelty oriented in the neo-conceptual art mode.
DK: It has been a lucky experience that I have met women artists in their 60a€™s who have been working for years and who I think are making pretty profound art. DT: That is a very important point because their schooling would have dated from a time when you could learn techniques.


DK: What these artists have is also a persistent curiosity about learning and are knowledgeable about many other things.
DT: So ita€™s like the stream of life is the effective force that brings the art along, as witness to it.
DT: When I was a student here in New York at School of Visual Arts from 1987 a€“ 1989, one thing that confused me tremendously was how trends occurred in the art world.
DT: I was in New York from 1987 a€“ 1992 starting with two years graduate school when you were my teacher. DK: Whatever you may think of Thatcher, Saatchi understood the connection of art and advertising in a way that even Warhol didna€™t a€“ the connection of art and publicity. DK:A  And art openings have an atmosphere a little different than if we met in a boardroom or a restaurant where we would eat, chat, or make our deal. DT:A  Everything is getting extremely distended and abstracted from any meaningfulness in terms of what is sold and what the art actually is.
Now in America the art may have to do with some sense of Puritanism - a sense of shame about a€?letting it all hang outa€? unless of course you got a TV camera in front of you. DT:A  Knowable human content is easier to grasp that the sort of attenuation of abstraction into, if you will, more and more of a conceptual mode? DT:A  He had draughtsmanship, he loved Soutine, and you could see the lushness of the color.
DT:A  I remember very clearly the day in class you described the difference between the erotic and the pornographic. DT:A  And also about how the Christian religion downgraded the body and split the body from the spirit, demonizing Eros. DK:A  They talked about how there was uncertainty that was entering the art auctions.A  Whata€™s the relationship between this blob and one and a half million dollars? DK:A  From a New York perspective the money seems to veil the art a€“ to be the clothing of the art.
DT:A  This is the a€?technological societya€? where the media is in collusion with the promotion of this art. DK:A  Look at how thick it is with advertisements filled with current art images with nice color and all that a€“ so therea€™s marketing.
DK:A  All I can say is I know and respect those who know the money side and they say the whole thing is a Ponzi scheme.
DK:A  So you can look, leta€™s say, at our Hoover vacuum cleaner man and you can analyze that a€“ you can do a very interesting interpretation of what thata€™s all about. DT:A  Well now they will go see a kitsch skull by Damien Hirst and it will be just as sensational, which is really a sad thing. DK:A  Well, there is a wonderful thing - there is this Bonham Gallery and they are selling meteoritesa€¦. DK:A  I looked at this stuff and I said to myself this is a terrific expression of sculpturea€¦ha! DT:A  What about what the artist Otto Dix experience in WWI expressed in his War Series prints?
DT: Another question- you had Theodore Adorno as your teacher and a very strong background in philosophy.A  Can you comment on how this enriched your approach to critical interpretation in a nutshell?
DT:A  So in the Frankfurt School Adornoa€™s approach had a lot to do with dialectical thinking in philosophy and psychoanalysis. DT:A  It certainly is a voice which I find is distinctly different from your art criticism.A  How did your interest in writing this poetry develop and what were the motivating forces that brought it out in you? DK:A  Also some new things have been published on an online magazine, Per Contra, run by a wonderful literary person named Miriam Kotzin. DT:A  I am always intrigued that there are different parts of oneself that have different needs that somehow extend themselves into other forms and types of spaces.A  Was it the growing up with the Germanic tradition in poetry that began your motivation?A  Was it French Symbolist poetry? DT:A  It is remarkable to see that you can occupy different dimensions of space within writing.
DT:A  I enjoy the freedom that the poetry gives a€“ the emotional breath about it, the atmospheric breadth it has. DT:A  Well, it takes sitting down and reading poetry too, and sometimes the spoken element is different from just reading the words. DK:A  This may not be what the official system loves, you may never get a museum show, but it will have its validity.
DT:A  I have this internal environment that is absolutely jam pack filled with things that have to be created. Our team of studied professional actors possesses both a strong business acumen and a passion for helping corporate professionals reach their full potential. While some competitors struggle with tailoring their off-the-shelf programs to their customersa€™ unique requirements, Ovation Communication creates flexible, highly customized solutions based on the needs, nuances and budget of the specific client. Ovation Communication is a professional communication skills consulting firm that specializes in speaker coaching, presentation skill development and relationship building. Find beauty in the water, the setting sun, the sun’s reflection, the moss covered log, or the sand under the log.
Use pictures, beautiful music, flowers, sea shells or even rocks to create beauty spots wherever you sit.
Consider purchasing the eBook, Twelve Easy Emotional Fitness Exercises to Tame Mad, Bad, and Sad Feelings. A The Rijka€™s museum exhibit of Damien Hirsta€™s Skull is also an attempt to destroy the authentic art that was already there in the museum. A Originally he had set up his print shop Studio 17 in Paris where a lot of the avant-garde artists there came to print. A I was very confused about how it operated - what was its modus operandi.A  By that time in the late 1980a€™s anti-art already had a very strong hold within the art world. A I needed someone who could give me some real answers.A  I recall you had once criticized certain art of the 1980a€™s as being the equivalent of junk bonds.


The problem, maybe, today because of both the society of the spectacle and because of the anti-art tendency anti- aesthetic tendency, is that ita€™s become confused. A Art is the certain moment when you reach an idea of the transvaluation of values, and the thing acquired a certain value.A  Now, whatever else is going on, say, with Mr.
Ita€™s a dialectical integration of opposites and it carries forward into psychoanalytic thinking which is where a lot of Adornoa€™s ideas come from a€“ conflict theory.
For organizations that want to empower employees, produce better public speakers, hone talent and subdue those presentation nerves, Ovation Communication is your ultimate wingman a€“ no matter your occupation or industry.Our team is comprised of studied working actors possessing both a strong business acumen and a passion for helping corporate professionals reach their full potential. To strengthen its effect as a calming tool, after the first breath, add a two or three word calming mantra as you continue breathe in and out. Get in the habit of thanking not just people, but all the good things you encounter as you go about your day. Moreover, most of you already practice some of the exercises that built emotional intelligence. He fled France because of the invading German army during World War II.A  He had been producing pamphlets in his print shop on how to blow up German tanks.
A Many came to Studio 17 to have contact with members of the European avant-garde who they revered. A I believe anyone could study there as long as you were a serious printmaker and you followed his instruction making the experimental test plate.A  At the time Hayter did not have a high profile status the way DeKooning and Pollock did. A A In todaya€™s art world do you see the work of Jeff Koons and those like him being similar to toxic assets - both financially and spiritually - to use a current terminology? Pairing real-world business experience with innovative communication techniques, we bring out the best in your organizationa€™s employees, teams, new hires and event speakers, developing highly efficient business professionals with the skills to advance their career and knock the socks off an audience.
Thinking more deeply about any thing develops critical thinking and that is an Emotional Intelligence skill. A The cells will be involved in the clearance of dead and dying cells and any foreign matter prior to the re-growth of new vascular channels and nerves into the damaged area. PainA results from the presence of noxious inflammatory chemicals and heightened mechanical sensitivity.Just as tissue damage always causes inflammation, so inflammation always causes the tissues to become hypersensitive (Levine and Taiwo 1994). This stage commonly lasts three toeight weeks depending on the histologic makeup and relative vascularity of the damaged tissue.
Generally speaking, the entire process and scar tissue formation is lengthened ifthe damaged tissue is less vascular (poor blood supply) in its non-traumatized state.A  For example, tendons and ligaments require more time for scar tissue formation than muscle or skin.
GranulationA In the repair phase cellular proliferation begins with rapid increase in collagen (protein) deposition. Although the scar tissue can be easily damaged in this phase, controlled movement is helpful. By the fourth or fifth day after injury the amount of collagen is significant and there is a continued but slower increase, up to six weeks, after injury.
Gentle tension from controlled movement, applied early in the healing process promotes greater tensile strength in the long run. Progressive increased movement should continue with the goal of full range by the third or fourth week.Inactivity During Repair (not good)Cellular activity is stimulated by physical stresses to the tissue.
With inactivity, collagen turnover still occurs and new collagen is made, but is poorly organized and not oriented along lines of stress. After three weeks it iscommon for the individual to experience recurrent bouts of pain when the repair is stressed.Treatment ObjectivesAt this stage the tissue is more amenable to therapeutic movement because collagen is being laid down at the injury site at an accelerated rate (tissue repair), forming weak hydrostatic bonds. This intermediate stage of care and healing presents an excellent opportunity for reshaping and molding of the scar that will form, without great risk of re-injury.A Therapeutic movement is achieved with various forms of passive (manual) and active movement therapy. If this phase of healing is left unattended, a greater amount of unorganized scar tissue may form leaving the soft tissues less elastic, less flexible and the joint less mobile.
Therapeutic movement helps promote more organized and more functional scar tissue, and more functional, stable joints.A From this stage we will transition you to more independent, active forms of therapy called rehabilitation.
Nonetheless, collagen synthesis is still occurring and additional therapeutic benefit can be attained with appropriate intervention as the tissues continue to mature (7).
Once the tissues mature, management becomes a more difficult proposition as the tissue reverts to a more inactive and non-pliable status. Most of your benefit at this stage will come from therapeutic exercise, typically performed at home. However, continued passive manual may still be beneficial during remodel because of the contractive nature of the healing dense connective tissue (ligaments).A  At this stage the treatment plan is to wean you off passive care as much as possible but at the same time carefully monitor and manage against intersegemental stiffening of the injured area. This theoretically is more applicable with spinal joints because of the multiple segments involved.
This is determined by how you feel and by clinical findings by palpation on each subsequent visit as we extend the period of time between visits.Remodeling can last for 12 months, sometimes more after injury. Because of the protracted nature of remodeling, it's important in many cases, to continue active therapeutic movement for some time after you feelA  better! The maturation (remodeling) time is different in every individual based on a multitude of independent variables unique to each individual. Without proper movement there is no balance between formation and lysis of the regenerating elements of the involved tissue. Proper alignment of collagen does not result and the scar tissue tends to remain poorly organized. With that, any small stress applied to an inappropriate tissue is sufficient to disrupt newly formed fibers in the healing breach.A  This in turn starts another inflammatory response and a vicious cycle of chronic repetitive disruptions of inferior quality connective tissue will result. Because of the protracted nature of remodeling, it's important in many cases, to continue active therapeutic movement for some time after you feelA  better!



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