Quotes of All Topics . Occasions . Authors
The rules of engagement around building a brand have changed significantly over the past 10 to 15 years. Where companies at one time could spread their message through traditional marketing, consumers now seek an enduring emotional connection with the companies they patronize. The foundation of that connection is the most important characteristic of building a world-class brand: trust. Trust with your people and trust with your customers.
When we love others, we naturally want to talk about them, we want to show them off, like emotional trophies. We invest them with a power to do to others what they do to us; a vain hope, as the lovers of others are rarely of much interest to us. But we listen in patience, as friends must, and as Isabel now did, refraining from comment, other than to encourage the release of the story and the attendant confession of human frailty and hope.
The fields of clinical psychology and psychiatry exist specifically to help the emotionally unstable become more stable and lead happier, healthier lives. Unlike in the eras of Vincent Van Gogh and Abraham Lincoln, there is now professional help available for those who suffer from emotional illness. Treatment may require therapy or even medication, but hope is now available every single day in practically every city in the civilized world.
Paradigms power perception and perceptions power emotions. Most emotions are responses to perception - what you think is true about a given situation. If your perception is false, then your emotional response to it will be false too. So check your perceptions, and beyond that check the truthfulness of your paradigms - what you believe. Just because you believe something firmly doesn't make it true. Be willing to reexamine what you believe.
I was having an epiphany. A moment of supreme clarity, leading to what I dubbed a “realization of solitude” that goes like this: I’m lonely. But when I left that girl in the window I was sure I’d never felt more godforsaken in my life. There’s a big difference between being alone and being lonely. And I’m guessing that once you’ve discovered this distinction you can’t go back to solitary confinement without serious emotional repercussions.
I love fear, and fear breeds creativity. It forces you to react instinctively, which is the essence of movement. Movement is a creativity - a sense of an emotional movement. And the more instinctual you can make that, the more pleasurable it is. It's like an infant drawing. You're completely uninhibited because creativity is a wonderful expression. Good or bad, who cares? That's part of the past. The act of creativity is what's interesting.
Detached forgiveness—there is a reduction in negative feelings toward the offender, but no reconciliation takes place. Limited forgiveness—there is a reduction in negative feelings toward the offender, and the relationship is partially restored, though there is a decrease in the emotional intensity of the relationship. Full forgiveness—there is a total cessation of negative feelings toward the offender, and the relationship is fully restored.
The fears that assault us are mostly simple anxieties about social skills, about intimacy, about likeableness, or about performance. We need not give emotional food or charge to these fears or become attached to them. We don’t even have to shame ourselves for having these fears. Simply ask your fears, “What are you trying to teach me?” Some say that FEAR is merely an acronym for “False Evidence Appearing Real.” From Everything Belongs, p. 143
There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.
There are some superficial things that connect me to the stream. There's instrumentation, there's timbre, use of electronics, the way that samples are used, the way the electric guitar is used. I'm thinking of things that are particular to this era. But I don't always feel particularly close to the music of my peers. I often feel that I have more in common with writers and visual artists. I try to connect to people in an emotional kind of way.
I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome... I believe that's my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained.
Mystical experience of nature can be of particular relevance to our troubled age, bringing deeper into our consciousness and emotions the logic that nature sustains humanity as humanity must, in turn, sustain nature. Rationality alone, however, cannot be our guide in the task of restoring our environment. A spiritual connection to nature must inspire the emotional commitment that is the yin, complementing the yang of intellectual understanding.
Although I haven't experienced violence in a relationship, I know that two women every week in England and Wales are killed by their partner or ex-partner, and that unless we act now, many more women will die because of domestic violence. We must speak out now against all forms of domestic violence, not only physical abuse but also the emotional, sexual and financial abuse which means that many women are afraid to be at home with their partner.
Most of us have become Ecozombies, desensitized, environmental deadheads. On average, society conditions us to spend over 95% of our time and 99.9% of our thinking disconnected from nature. Nature's extreme absence in our lives leaves us abandoned and wanting. We feel we never have enough. We greedily, destructively, consume and, can't stop. Nature's loss in our psyche produces a hurt, hungering, void within us that bullies us into our dilemmas.
When I hear myself speak French, I look at myself differently. Certain aspects will feel closer to the way I feel or the way I am and others won't. I like that - to tour different sides of yourself. I often find when looking at people who are comfortable in many languages, they're more comfortable talking about emotional stuff in a certain language or political stuff in another and that's really interesting, how people relate to those languages.
I realize that there are certain hardships that only females must endure, such as childbirth, waiting in lines for public-restroom stalls, and a crippling, psychotic obsession with shoe color. Also, females tend to reach emotional maturity very quickly, so that by age 7 they are no longer capable of seeing the humor in loud inadvertent public blasts of flatulence, whereas males can continue to derive vast enjoyment from this well into their 80s.
Write what you know. Every guide for the aspiring author advises this. Because I live in a long-settled rural place, I know certain things. I know the feel of a newborn lamb's damp, tight-curled fleece and the sharp sound a well-bucket chain makes as it scrapes on stone. But more than these material things, I know the feelings that flourish in small communities. And I know other kinds of emotional truths that I believe apply across the centuries.
There are many reasons why the general public doesn't really understand our monetary system. In the first place, money is something that people tend to get emotional about. After all, money involves, and always has involved, something closely akin to faith-which probably explains why in many past societies the money system has been in the hands of a priesthood, the subject of magical rites, and the ceremonial services of the tribe's medicine man.
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
I think we start suffering as soon as we come out of the womb. I think that people tend to stereotype. When they think of suffering, they think of abuse - physical abuse, emotional abuse, poverty, that kind of thing. There's different levels of suffering. I don't think that it has to do with how much money you have - if you were raised in the ghetto or the Hamptons. For me it's more about perception: self-perception and how you perceive the world.
Too much of what led up to the crisis in the old bubble days—the conspicuous consumption, the latter-day Gatsbyism—was fueled by a need to fill a huge emotional and psychological void left by the absence of meaningful work. When people cease to find meaning in work, when work is boring, alienating, and dehumanizing, the only option becomes the urge to consume—to buy happiness off the shelf, a phenomenon we now know cannot suffice in the long term.
I should say that feminism gave me permission to deal with my own emotional life and put it up front in certain ways, or use film as a way to examine, at that time, my own heterosexual experience. Lives of Performers was the beginning of that kind of investigation. But also, the film was influenced by the aesthetics and structures of experimental film as that was taking place at the same time. Hollis Frampton was a big influence on me at that time.
I recently read in the book My Stroke of Insight by brain scientist Jill Bolte Taylor that the natural life span of an emotion—the average time it takes for it to move through the nervous system and body—is only a minute and a half. After that we need thoughts to keep the emotion rolling. So if we wonder why we lock into painful emotional states like anxiety, depression, or rage, we need look no further than our own endless stream of inner dialogue.
I'd realized then just how strong our connection was, how perfectly we understood each other. I'd been skeptical about people being soul mates in the past, but at that moment, I knew it was true. And the emotional connection had come a physical one. Dimitri and I had finally given in to the attraction. We'd sworn we never would, but... well, our feelings were just too strong. Staying away from each other had turned out to be impossible. ~Rose, Pg.74
It was as if personality itself had a 'face'. This non-physical face of personality seemed to be the real key to personality change. It remained scarred, distorted, 'ugly' or inferior the person himself acted out this role in his behaviour regardless of the changes in physical appearance. If this 'face of personality' could be reconstructed, if old emotional scars could be removed, then the person himself changed, even without facial plastic surgery.
In our childhoods we either get all the social and emotional and ethical skills we need to be well adjusted adults, or we don't. Some of us don't know how to tell someone we like them. A lot of us get depressed and get wasted. Why don't we do something that makes us feel better? Because we don't know any other way. When I didn't have enough skills I compensated with drugs and alcohol. It's like there was a hole in the wall and I put a poster over it.
I think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.
IN PERSIA I SAW that poetry is meant to be set to music & chanted or sung--for one reason alone--because it works.A right combination of image & tune plunges the audience into a hal (something between emotional/aesthetic mood & trance of hyperawareness), outbursts of weeping, fits of dancing--measurable physical response to art. For us the link between poetry & body died with the bardic era--we read under the influence of a cartesian anaesthetic gas.
The guitar is a means of expressing music, When you get into the emotional side of it, then it's not the guitar that matters so much as the music itself. But the guitar is the vehicle I use. It's how I express myself. As for the emotional side, music takes up where language leaves off. To try and verbalize what music says, emotionally and spiritually, is futile. Let me put it this way, Louis Armstrong once said if you've got to ask, you'll never know.
We want character but without unyielding conviction; we want strong morality but without the emotional burden of guilt or shame; we want virtue but without particular moral justifications that invariably offend; we want good without having to name evil; we want decency without the authority to insist upon it; we want more community without any limitations to personal freedom. In short, we want what we cannot possibly have on the terms that we want it.
Here above the farms and ranches of the Great Plains aviation lives up to the promise that inspired dreamers through the ages. Here you are truly separate from the earth, at least for a little while, removed from the cares and concerns that occupy you on the ground. This separation from the earth is more than symbolic, more than a physical removal - it has an emotional dimension as tangible as the wood, fabric, and steel that has transported you aloft.
But man has other needs as well: emotional needs. These, too, are few, but every bit as important as his physical requirements, yet not so simple. If they aren't met, they can be as devastating as physical hunger, as uncomfortable as a lack of shelter, as incapacitating as thirst. The frustration, isolation and anxiety brought about by unmet emotional needs can, like physical privation, produce death or a degree of living death - neurosis and psychosis.
I think it's really important, when you're redefining a character [ Spider-Man], for the audience to experience things that they haven't experienced, from the ground up. I wanted to build a character. I feel like point of view is a really crucial thing in the story, and that you need to build up the emotional building blocks, so that you can experience all the other emotions in a very specific way, rather than just experiencing it in an intellectual way.
Selfishly, perhaps, Catti-brie had determined that the assassin was her own business. He had unnerved her, had stripped away years of training and discipline and reduced her to the quivering semblance of a frightened child. But she was a young woman now, no more a girl. She had to personally respond to that emotional humiliation, or the scars from it would haunt her to her grave, forever paralyzing her along her path to discover her true potential in life.
I have received emails from readers who have said that they were emotionally impacted by the books, and they feel they are more environmentally aware and energized to do more. So that's hopeful to me. It is at least evidence of what I'm trying to do - trying to convey very intense emotional experiences by being very close in on character points of view to make you feel it in your body. That's one way to get the point across, by evoking a visceral response.
I think things go wrong when there's not a very specific plan and specific emotional roadmap. You need to know what a scene needs to get across, and what story point that needs to be advanced, whether it's discovering someone for the first time or whether it's seeing a relationship get strained. What I do as a director is really create a safe environment that everyone can feel very comfortable in and experiment within so that they don't hold back anything.
I wanted to see if I could create something that is emotional between people. Existing games are about killing each other or killing something together. The idea of social emotion means people need to share feelings. At that moment, the players are in sync. The problem [with many games] is there's no chance to share emotion. Most of them are busy, [there are] explosions everywhere. So we got rid of all the background noise and we had to get rid of the guns.
I think the emotion that song carries makes it good. Because you have to produce around something - an emotional attachment and a feeling. The melody itself has a feeling in it. The keys, the tones, frequency, sonics, all of those have feelings in it. Like, it's the ghost within, the music itself. That's what makes the song even have a possibility of being great. The emotional connection. Because if you don't have that, I don't think you really have a song.
the writer must resist this temptation [to quote] and do his best with his own tools. It would be most convenient for us musicians if, arrived at a given emotional crisis in our work, we could simply stick in a few bars of Brahms or Schubert. Indeed many composers have no hesitation in so doing. But I have never heard the practice defended; possibly because that hideous symbol of petty larceny, the inverted comma, cannot well be worked into a musical score.
You know what I find amazing is within Christianity it is not uncommon to find [married] people who don't have sexual intimacy, don't have emotional intimacy, don't have spiritual intimacy, don't pray together, don't do their life together, don't put their schedules together, don't put their budgets together, but they don't get divorced. So they can pat themselves on the back and say, 'We're good Christians.' They're divorced in everything but the paperwork.
I'd seen her name on a call sheet for so many years and been called Jo so many times. If people said Jo in the street, I used to turn round because I was so used to being called Jo for five years on Spooks. You do get so used to being called something. Often, it was someone calling their young son... but sometimes it was people calling after me because they recognised me from the show. So, it was a big deal when it happened and it was quite an emotional end.
I think it's important to humanize history; fiction can help us remember. A lot of books I've read in the past have been so much more important than textbooks - there is an emotional connection with one particular person. I'm very much of a research-is-important type of fiction writer, even for contemporary fiction. I wrote about blogs in America and I've never blogged. But I read many, many blogs - usually about feminist things, or about race, or about hair.
The most difficult thing about acting and directing in a film is acting and directing in a film. Every ounce of your physical and emotional being, and your analytical and thoughtful and producorial being, is being exercised at all points. You are 100% working on overdrive, but because it is only for X amount of days, if you have the stomach for it, you hustle through. It's a massive undertaking, and I think preparation is the key to success for that endeavor.
Human beings are very unbalanced and prone to go off on tangents. In every area of life- with too great emphasis on one thing, leaving out another important thing altogether. None of us will ever be perfectly balanced in our spiritual lives, our intellectual lives, our emotional lives, our family lives, in relationships with other human beings, or in our business lives. BUT WE ARE CHALLENGED TO TRY, WITH THE HELP OF GOD. We are meant to live in the scriptures.
Bout time," she huffed, but her voice sounded thick and emotional too."I was at the hospital all day yesterday, but they wouldn't let me see you. I bolted past security but they called code ninetynine and chased me down, they escorted me out in handcuffs. The way I see it, the only criminal here is your mom. No visitors? I'm your best friend, or did she not get the memo every year for the past eleven? Next time I'm over, I'm going to lay into that woman." ~Vee
The process of inner self-examination brings about a knowledge that is as rigorous and supported by evidence as anything science has to offer. At the same time, this point of view redefines faith as a knowledge that is attained not only by intellectual means, but also through the rigorous development of the emotional side of the human psyche. Such emotional knowledge is unknown to the isolated intellect and has therefore been mistakenly labeled as "irrational."
The demons of the Devil don't use your weak weaknesses against you, they use your strong ones. If you're rational and logical, they argue their case rationally and logically. If you're loyal and faithful, they turn those against you. If you're passionate and emotional, they make you passionate and emotional about your worse fears. Your weak weaknesses are no use to them.... They find the strongest weaknesses you didn't know were yours and use those against you.
I think you approach a part the same way and just find out in what's making them tick and who they are. In a movie like this you may have a little less time and few dialogue scenes and exposition scenes for your character to really get that across, and so I wanted to be able to convey that she's not somebody who's just punching a clock but she has this weird emotional investment in her job to where she does get quite myopic and that's what makes her relentless.
I don't really identify with America, I don't really feel like an American or part of the American experience, and I don't really feel like a member of the human race, to tell you the truth. I know I am, but I really don't. All the definitions are there, but I don't really feel a part of it. I think I have found a detached point of view, an ideal emotional detachment from the American experience and culture and the human experience and culture and human choices.
If friendship is to transpire between two people, it is important that both be in a state of availability. I have often been in the company of those who complain that they have no friends. Inevitably, I have observed that this condition was due to their own lack of availability; they were too encumbered to be able to welcome another. Such unavailability may be exterior in nature; that is, people may lack the time or the emotional energy necessary for friendship.