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Consciously Creating Your Career Path
August 19, 2020 Debra Berndt Maldonado & Robert Maldonado, PhD. — Life Coach Training & Personal Transformation Experts. Season 2 Episode 24
Aug 19, 2020 Season 2 Episode 24
Current events have left many people wondering what is next? For most people, they look for signs and opportunities to guide them to next steps, but they end up procrastinating and feeling frustrated that nothing is changing.
In this episode we will talk about how to consciously create your career path. This is for you if you are already successful but feel stuck in an unfulfilling career or job. Whether or not you know what you want or are afraid to really do what you love because you think you will fail at something new, this will inspire you to see opportunities and take bold action to go for an extraordinary career and life.
We will explain:
Why most people settle for shadow careers that make them feel trapped in life.
How to begin to discover what is your true career path that matches your true self.
How life coach training can help you understand yourself and help others in a meaningful way and aligns with your passions and interests.
Why NOW is the perfect time to reinvent yourself and your career to finally do something that fills your soul.
Life Coach Certification with Creative Mind Method offers an in-depth Jungian coaching model so you can enhance every part of your own life while helping others. Developed by a Ph.D and Master Life Coach, this 6-month online course is based in Jungian psychology, philosophy, and Eastern spirituality. Enrolling now for our September 15th Life Coach Training Program. Click to Learn More.
Consciously Create Your Career Path
Tue, 8/18 2:55PM • 47:43
Welcome to Creative Mind Living, a podcast for personal growth based on the works of Carl Jung neuroscience and Eastern philosophies. We're your hosts Debra Berndt Maldonado and Dr. Rob Maldonado, founders of Creative Mind Coaching. All right, everyone, welcome to our soul session today, which is called Consciously Creating Your Career Path.
Is there any other way?
Is there any other way? Where do we want to blindly just do our career like we've always done wait for opportunities, hope and pray that things will change. This specific episode, we're going to inspire you to believe in what you've probably thought maybe before this, this lesson was impossible.
No big no pressure.
No pressure, no pressure. So we're going to talk about why people are settled for the wrong career, where they feel stuck in their career, and why it's so hard to change out of it. And we're going to talk a little bit about life coaching, and maybe that is a possible career change for you. So whether you want to be a coach or get a coach, or learn more about young in psychology and coaching, we are here to answer all your questions. So we're here on crowdcast. If you have a question, there's a button on the bottom, you can press it so we can answer it at the end of our chat and say hello, would love to see you and welcome you to this live discussion.
So can I start with the big picture?
Why don't we I was thinking of starting with just a meditation.
Oh, that'd be great.
Really? Okay. So I want everyone to if you're not driving, if you're listening, most people are home, close your eyes for a minute. And I want you to just imagine a beautiful light above your head. And imagine that light be just being warm, peaceful energy. And imagine that light moving down into your scalp and flowing all through your body and moving out your toes, just like a waterfall just as beautiful, calm, relaxing light. And as you're holding your mind in that light, I want you to just be present to this moment. Imagine there's no past, no tomorrow, just right now. And in this space of just this moment, be open to the idea that anything is possible. Just contemplate the idea. Anything is possible for me. Just notice how you relax just with that idea. You don't have to figure out how to get anywhere or do anything, just be in that possibility. And I want you to bring that attitude back as you open your eyes back into what we're about to share today that anything is possible.
I Iike that.
So big picture, Rob?
Yeah, so I like the big picture. To me, it makes sense. That's the way my brain works. So the big picture is this. We as human beings have to undergo three separate births, not just one birth. The first birth, of course, is we're born as biological beings. As this body, we start off as little babies. And our primary mission then is to survive. And we're good at it. We survived. We got here. Our second birth 3D begins in the process of entering the social world.
Like a teenager?
Yeah, it's a process because it really begins when you first go to school when you realize there's other people besides my family. Right. There's a society. There's social order, and you have to fit in somehow. And that birth is this psychological, emotional, social birth.
So at first we're just surviving. We're learning how to like, make sure we're fed and our diapers cleaned, and we're learning to walk and how to speak and communicate. And then the second level is a social level that's very interesting, that birth of your social life.
That's right. You don't call it the persona. We create a persona to go out there and interact with the world. And then the third one, which very few of us really get to do is the spiritual birth. Now, it's not religion. That's part of the social part of the culture, part of socialization, but the religious one, I mean, the spiritual birth is really understanding who you are, what your higher purpose is.
I love that. That is really puts everything in very easy perspective.
Yeah. And if you don't go through these cycles, these these kind of challenges that life sets up for us, you feel frustrated you feel out of sorts.
Do you feel though, let me ask you a question. Does someone need to complete the cycle of social birth where they learn to socialize where they're not? You know, they're functioning socially, in order to get the spiritual birth Is that necessary? Because there's some people that are antisocial and they're like, kind of, they really can't make friends, and they're really just having a lot of issues around that.
I would say you have to come to terms with it somehow.
Yeah, you have to come to terms. You don't have to do it, like most people are doing it or like anybody else says it has to be done. But you have to come to terms with it at some level.
Okay. And so when we are talking about career, we were not thinking about a career when we were five years old, but when we start going to kindergarten
I wanted to be a pilot.
When I was like in kindergarten or preschool, we started thinking about, a lot of people ask you even as a little three or four year old adults always say, what do you want to be when you grow up? Jimmy, what do you want to be when you grow up? And for me, I wanted to be an actress. I wanted to be on movies and on television on videos, and I wanted to write books. And I even had a sign in my room that said, don't touch me. I'm a star. And I would like, and I was always still have it and I started to put on shows. And I would be the one in charge of producing the shows for the kids that they would put on for the parents. And so it was always that kind of part of myself was there, and I always thought that was what I wanted to do. But then that didn't happen. I ended up feeling kind of going into socially with the herd expected of you and the people around you. And I think it depends, the social part really depends on who you hang out with. What part of the, where you live, and who your friends are because you could be in the same community and you gravitate to certain people and their path to sense to match with yours. And then there are some people as you grow up where you kind of fall apart, you know. You go to college and then you don't really keep in touch with people from high school, or you know, you get a job and then, you know, keep in touch with Jimmy the crazy partyier in college. You're kind of outgrown, and we kind of go through those phases. But you do have a lot of influence from the people around you and the culture in the society telling you what you should do for a career, what you should do for a living, what your aspirations should be. Your parents also, your family tells you what's possible for you.
Yeah, well, if you notice, it's like a labyrinth. Like an obstacle course that we have to run. Even biological birth is difficult like it demands a lot.
We come out crying.
Yeah, it demands a lot of us. The mother, everyone kind of pulling together to give you a chance to come out and enjoy experiences, life. And it's tough, you know. It requires everything you got, you know. Your immune system has to kick in. Your circulation has to come online as soon as you're born so that you take your first breath. Yeah, it's an incredible thing. Just like that challenge that's presented to us biologically, socially, we go through the same kind of obstacle course. The same challenge.
So kindergarten is really hard because then you start picking who you're going to hang out with. And then, for me, I felt Junior High was the worst because you're kind of not a kid anymore. And then the meanwhile I'm a girl so it was like we had to deal with the mean girls. The boys had to deal with the bullies, you know. That was eating up, like we were emotionally attacking each other where men, I think, physically attack each other. Junior High.
I don't know what's easier.
I don't know. But the mean girls, it was all about what you look like, you know. You're pretty and you're ugly or, you know, nerdy. You're not cool. And then you end up hanging out like the smart kids. You're kind of gauged by how smart you are. And the cheerleaders gauge themselves on who's the prettiest, who has the boyfriend. And it becomes this really, it's a struggle of your defining yourself again basically compared to what everyone expects you to be. And we kind of get lost in not knowing who we are. And like you said the persona.
Yeah, so the whole creation of the persona, and here's the thing that we used to have, like in tribes and in kind of more traditional cultures, there were institutions that helped us navigate those challenges.
They had like rituals that would take you through each step.
That's why very important rituals, the church, the schools, guilds and secret societies all were there to help us do those videos.
Part of the secret society?
I'm not going to say it's got to be a secret.
I had brownies.
Right. But now those have fallen away, most of us would say that most people figure it out but by themselves, right? They find some way to challenge themselves. It's either moving to another city and kind of testing out your wings and see how you do by yourself, joining the army, going off to college, joining a cult. You know, somehow, people find a way to test themselves socially, psychologically.
And would you say that the goal of the social stage, the social birth, is to find where you belong?
So you're finding where you belong. And so that's a real strong, like first phase is survival. Second stage is belonging and being accepted by a group. So that's why groups and communities are very powerful to be a part of it but then to break away from that is the challenge. For the third stage, which is a spiritual stage, which Jung called leaving that herd mentality. The ego did such a great job of creating this persona. And now it has to abandon all that to become your true self. And it's like, in Lord of the Rings, they, you know, they left the Shire, and they were going on this journey. And it's, I remember that one thing he said, if I take one more step, this is the farthest I've been from the Shire, which means the farthest I've been out of my comfort zone. And then that's the spiritual journey. That's a spiritual birth. And it always, I feel like it always comes in the form of a turning point in our life. You know, where we're feeling like we were talking about the content, consciously creating your career path, why people feel stuck is this point, right? It's a choice point where if we don't feel this whole thing that we built up is really what we want, we have this like deep feeling. It's like your soul is saying, What are you doing? What about those big ideas you had when you were younger? What about your passions? And it's like you've been suppressing them.
So Jung says the unconscious is prompting us from the inside to become something else.
Not to stay stuck in the social level.
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Now we don't want to get rid of the social identity, and we don't want to get rid of survival. It's just that there's a
A higher level like you keep the two but then there's another level.
There's another level and if you don't do it, you're always dissatisfied. That's why people fall into addictions and kind of escape mechanisms right? Or they're always looking to escape and even the spiritual stuff becomes a way of escaping instead of really using it as a birthing process, as a new level of being.
You know, that's a really good point. When I first moved to Colorado, I wanted to start over my life. I was in the wrong relationship. I was feeling, I wanted to do something else, but I didn't know what it was. And I just said, I'm just gonna move to Colorado. My cousin lives there. I don't know why, but I just felt like just wide open space. Get out in New York City. My cousin lived there. I adored him. We were like kind of brother and sister. And I remember meeting a lot of spiritual people. And I remember it was really everything I was learning was very all about escaping the past or getting rid of the past, you know, healing the wounds of the childhood and really rejecting everything that was built up to help me as a healthy person, as a healthy ego. But I still felt that there was, I couldn't figure out what I wanted to do. And I think what happens is that I ended up just settling again. I was 30-29 when I moved there, and I kept settling. And for five more years, I just went right back into marketing and working in the entertainment industry and advertising. And I just kept thinking, well, it'll come sometime. And I think a lot of people do that. They just wait. They're waiting for something external to tell them what to do next, like something's going to happen externally. And meanwhile, inside, I felt this desire to write. I would write on weekends, but I never showed anyone my writing. It was just like it was there. The seeds were there, but I just didn't have, it was almost, I didn't even think it would be possible to make a change. So it's like waiting for something to save me. Does that sound?
Yeah, because if you think about the three stages, right? The survival is really kind of creating your ego, right? You're defining yourself as I'm separate from the world, and I'm myself, and I'm going to survive as I. Then the at the social level, you have to consider what is my part? How do I contribute to the tribe group?
And because you can't survive on an island, you need other people. Money comes through other people, bosses, co workers.
And it forces you then to at least come to terms with the ego somehow. Then there are others to consider. And then if you fall in love, then you really have to deal with your ego because it's not about just you surviving. Now it's we are contributing. These aspirational, communal goals, and it gives people meaning. But they think a lot of people think that that's it. That that's all there is to find.
If I'm in the right tribe, then I have meaning.
Yeah, and that's not the end of the story. You know, life continues and then there's always more to grow and to know. And if people think that's all there is, that's when they get into trouble. Because that's not where you're supposed to stop.
And so the spiritual level birth is a soul inside that internal, something's not right here. Something is calling me to do something else. And I always felt that, like we always think, oh, I don't like this kind of feeling of dissatisfaction or this feeling of frustration or this feeling. And we think it's actually a good thing for you to feel dissatisfied because if we're blindly satisfied, we are not really truly happy with it. And we're always dissatisfied. We're not truly happy either. But the dissatisfaction is a sign. And for me, it was you deserve more. There's more to life to you. And so I believe that we all have something already in us that we've known from when we were little or a passion or a craft or a gift that we were born, our soul was born with to express and to experience. But the world most of the time isn't set up for most people to express those gifts in the most positive, in the most expansive way. It's more survival. So an artist may have this great art, but now he has to, you know, limit it to selling it and then creating commercial stuff. You see this with musicians. A lot of times they're really talented, but then they put them in the pot box and they have to do their pop hits. And they're really not satisfied. It's that dissatisfaction and it's the soul saying, there's so much more to you. It's an awakening. And I think that when you're in that kind of 30s, that's the spiritual awakening time. Jung says at the time of individuation is when we really get to feel that discomfort in a most intense way. It's like the midlife crisis they call it a lot of times, but it really is the soul kind of saying, you know, I can't play this game anymore. I can't play this persona game anymore. It's not working anymore. Like it worked for a while, but you just, the soul is kind of like come on already. You said you wanted to write a book. You said you wanted to help people. You said you wanted to do all these things. You say you want to sing. You say you want to draw. You say you want to do something big with your life. You want to have meaning. What are you waiting for? And it's that kind of, we don't listen to that voice because it's a threat to our social survival. It's a threat to that previous stage. It's if I leave this tribe, and I go off and I fail, then I'm not gonna be able to go back to the tribe and then I'm gonna be really alone. And that's really the fear I think most people have. It's not that they're going to be poor, you know, and not make money, but more it's the shame of failure or the shame of not making it. And everyone else saying I told you so. You shouldn't have left that cushy job you had. You should have just stayed where you were. Stay like us. And I think that's really where the challenge is.
Jung says this. Look, it's a moral dilemma because of what you explained. That you belong to a tribe. And now you're saying, you want to be something more than that. The rest of the tribe is going to say who the hell you think you are?
You belong with us.
Yeah, you belong here with us. You're saying you have ideas. You want to do something different? That's a betrayal to us. Right? That's the way they read it emotionally. And so people back off and they say, I can't do it, you know. I can't betray my family, my tribe. They, you know, they're the ones that sustain me, condition me, supported me through college and all this stuff. Now, I'm going to, you know, do something transcendent. But you have to do it. That's part of the challenge here, just like we have to leave the womb initially in order to become somebody separate from our mother. And then psychologically, we have to leave our families to become somebody socially distinct from our families. Now, we have to become somebody distinct, spiritually. The self. Jung call that the true self.
It's almost like we're anchored to the worlds in the biological and social part like the external world is kind of where we find our comfort. And we have to basically pivot our attention inward and find the bigger guy, the Divine Self, the true self within us, that unbreakable, unstoppable, unlimited self and find our industry, basically our connection to that. You could still have the spiritual world. You could still survive in your body. The Spirit wants to survive in the body. It doesn't want you to die because that's the vehicle you want to serve, you know, to express it. But it's challenging, though, because a lot of people think I have to abandon the external in order to go to the spiritual and some people want to bypass it. They think, oh, I don't want any money. Money's evil, or I don't want a relationship there. It's too hard. I'm just going to have a relationship with God. I'm going to be a nun. And I'm just going to be a very spiritual person, and I'm calling off, and I'm keeping toxic people out of my life. And I'm just only going to surround myself with people who agree with me and are nice. And then we end up bypassing.
But but we don't understand that the people that we consider those distasteful people are really showing us something about ourselves.
That's part of how you prove you're ready for the spiritual life, that you do your social life. Well that you are, like I said, that at least you come to terms with it. You're not bypassing it. You're not rejecting it because if you're rejected, that's just antisocial. Right? You're saying to hell with everyone.
Or I don't want to deal with difficult people. I just want to, yeah, deal with people that agree with me, that aren't aren't difficult and you know.
You have to get it. Jung says you have to get your hands dirty, meaning you have to do life.
Yeah, you have to engage with life. It's not escaping life. And I think when I was doing spiritual work, I felt like I wanted to just wall off myself from everyone and just be in my little apartment and put my music on and go to like my spiritual happy place and, you know, just spend the whole day with myself. But it was more like dilution of me escaping versus me really getting to know who I was and to know life.
And so, yeah, we're born with these gifts that we want to express. For me, I always I felt like writing has always been one of my gifts. Just the way I can communicate. I have a lot of ideas. I have a lot of ideas. That creativity was something very natural for me.
Got a million of them.
Yeah, but the thing is, when I went into a career, I just wanted to get married. I ended up being a legal secretary, which is the least creative. It was more of this kind of just surviving, and I was just waiting for my husband to show up so I can quit my job and have babies like that was my plan. And then at 30, I said, okay, there's no husband, and I did feel this like passion for writing. So I would just start writing. I wrote this whole book. I still haven't published it, but I wrote this book, and I kept it for myself and it was like my little thing. I was afraid to put it out in the world. It was almost like, it was just like a little like a hobby. You know, it wasn't really something I can express. I didn't have in me that it was possible for me to have a better life for me to reach my dreams. No one around me told me, Debbie, you could go. You can be anything you want to be. Everyone told me, why don't you just pick a nice husband, you know? I'm sticking. And so your social people around you if you're around people that are up to something. And when I moved to Colorado, that was actually the one gift I had was I started meeting people who were entrepreneurial. And I was like, oh, they don't have to work in an office like that's possible. Like you could have a job outside of a cubicle and started to see that there's so much more that could be possible. And and that's where I think where the shift happens is when you start to believe that something else can change. But then my question to you is, how do we consciously create that then? How do we, first of all, we have to believe it's possible. But then how do we create it?
Yeah. We know that consciousness works on the principle of expectation. What we expect to see, we will see. It's an incredible thing. It has to do with projection. It has to do with the way we experience the world.
Cognitive distortions. Bias?
In a sense. Our our biology is set up to construct our reality from the inside. We do take in information from the world. But the world the way we perceive it in the way we experience it, they call it quality. The quality of life is an internal process. It's we're experiencing our own mind our own creation of the world, which is an incredible thing if you think about it. We are the creators of our own world. And once you start to understand that principle then you start to say, okay if I am the creator of the world and then you reach that spiritual kind of borderline or, let's say, the frontier of it.
The edge of the end of the world.
You know you want to go beyond your social persona self.
The threshold.
Yeah, the threshold. You want to go beyond. You know that something is calling you to do that. Then you you have to ask yourself, if I don't have to be who my parents told me I should be, a new society told me I could be, then who am I? And that question is left totally up to us. We can create ourselves from our imagination, from our inspiration.
And when you make a career change, for me, what happened is that I had to shift my self perception. First of all, initially, I was a secretary. So I was like this submissive, you know, low level job. And then I became a director of marketing and was a boss and had a team, and so I had to make that like kind of persona shift. And then the next level is I had to leave that identity as a marketing director and become the teacher, become someone who is a, you know, hypnotherapist at first, a coach. It's completely and so I would run into my old friends and they'd be like, oh, look at Debbi she's giving like, she wrote a book on love and she, you know, I know her single life. They see me as that old persona and to be willing to stand for who you're becoming instead of who everyone expects you to be is individuation. And I remember at my book signing in New York City and my family came. And I was thinking they don't think of me as Little Debbi and you know, just not, you know, doing anything great. And here I was, best selling book and published by a major publisher in New York City and Barnes and Noble, and hundreds of people there. And I had to, it was like, weird because it was like the people from my past, seeing me as this other person, you know? And I think that it is kind of bizarre, and I think it feels a little uncomfortable because you're kind of being someone else. And I think our ego tends to want to be the person they want you to be because it's part of being in that tribe as part of that agreement, right? Is that kind of why we want to stay back there because we feel we made an agreement with them. That this is who I am, and now I'm changing that agreement.
Yeah, it's like Maslow and Erickson say that you have to meet these challenges. That at each stage of the game, there are challenges that you have to resolve somehow. And if you don't resolve them, there's always a pull to want to go back and fix them or deal with them somehow, you know. But a lot of therapy is based on that idea that let's look at your childhood and try to fix it somehow or get back to resolving it. But those events are gone. Essentially, they only exist in your mind.
And how you remember them.
And how you interpret that. And in the Eastern philosophy, it simply says that they don't really exist at all. They're simply thoughts, right?
Stories that that your mind is holding on to. Now, they're very powerful. They do admit that they're very powerful because you're giving them all the weight of your creative mind. And you're saying, this is what's real for me. And so we're always bringing the past into the present.
And so how do we know what, how can someone consciously create their career path?
As you start to understand that these are just thoughts, that it is a narrative, it is an interpretation. You start to free yourself.
You're not pushing it away into the story anymore.
Yeah. Because you don't have to push it away. If you understand its nature, if you understand that, oh, it's not real, it's a way my mind creates meaning for me. And it's a way it connects me to past experiences and people.
But it's not who I am. This story, this experience doesn't define me.
The experience, the past conditioning, the sum total of your past does not define you like Jung says.
And anything in the future doesn't define you. So if you create a business and it doesn't work, that doesn't define you. That doesn't make you more or less worthy than anyone else. But we tend to, in our world, I think the social structure of that stage is all about achievement and being recognized for achievements like in school and society. If you get married at a certain time, you have children, you stay married. People don't leave their husbands because the shame of divorce. People don't leave their jobs because what if I leave and I fail and then I have to go find another job. What are people gonna think? So I think, you know, one is that we have to understand that our mind is always going to want to pull us back to what's familiar with this previous stage. It wants you to stay in that previous stage. But we want to cross the threshold to have our spiritual birth, which is living our true purpose. And most of us find that purpose. Most of us don't find that purpose when we're 20 years old. We find it when we face our true self. We have to have that spiritual rebirth or third birth to really live our purpose. And we have to come to terms, I think, with the social part, why we created the ego we did. It's not about jumping over the ego and getting rid of it. But it's like saying, oh, I understand all the mechanisms and why it's there, understanding my patterns but not buying into them.
Yeah, you know, the way I see it is, it's just like when we're in the womb. We need the the environment of the womb to sustain us. It's actually what nourishes us, right, and holds us in that space. Then in the social level, at the social level, we have the culture that holds us in that space, like it creates a bubble of reality.
Almost like the umbilical cord. In early stages the mother and then the world becomes our mother. We have our umbilical cord to the world and the world is our sustenance or gives us our fuel for life.
And it's very powerless to be in that stage. I mean, at first it, you know, works for us because we have to function in the world, but then it becomes inhibited.
Yeah, it's a necessary stage. We have to go there just like we can't be born with a gestation.
We don't walk out, saying I can do anything I want.
We don't just appear. In other words, we go through a process that prepares us for life. So the culture essentially serves that purpose or is supposed to serve purpose to prepare us for our spiritual life.
But again, the mechanisms have often been lost. Now, the knowledge is kind of distorted or not there at all. And so we have defined our own way through it. Jung's work, the way he saw his work was that he was trying to create a psychology that actually provided some of those mechanisms for us.
And so again, this isn't about having like something's wrong with you or that you have some wounds from the past that you have to come to terms with in order to have the things you want. If this is a natural process, the social building up of the persona is a necessary part of that process. And it's a sign of a healthy mind having defenses and having our patterns are all part of a healthy mind. It's just part like we needed the womb. Now we need the womb of the world and now we're breaking free and becoming spiritual beings. Why is it, why now? What do you think? Because of this time in history, the challenges that humanity is facing right now, especially with a pandemic, why is it so important now that people need this kind of work, that need this transformation?
Yeah, there's always a clock ticking. And you know, I used to look at some of the old Renaissance paintings. There was these beautiful scenes, beautiful people, and beautiful clothes and art and beauty. But then off in the corner, there was a little skeleton with an hourglass to remind people we don't have all the time in the world.
And so really, this time is really I think a lot of people are asking themselves, what have I done with my life? For me, it's brought up all the places I haven't traveled yet, and now we can't travel. There's so many things I wanted to do, people I wanted to see, family members that have been putting off traveling to. And now I can't, and it's like, life was passing me by and what other things do I need to do with my life? And it does when you're forced not to do the things all of a sudden you want them more. Right. And so I think now people are home. They're more internal, I think, and they're really ready for some change in their career.
Yeah. The Upanishad's Buddhist texts to always emphasize life is impermanent. Life is, you know, I think the the way it's translated the life is suffering is not really the right way. What it means simply that life contains suffering. Right? That you're going to suffer. You're going to live. The experience of suffering is almost unavoidable. It is unavoidable. But having said that, there are ways to work with it. There's a meaning to the suffering that it's meant to wake you up. Yeah, it's meant to give you a way to proceed.
They're catalysts for you. A calling. And a lot of people, you know, people talk about clearing blocks, like I gotta clear my blocks, and we don't see them as blocks. When you're not getting what you want, we see them. The block is a bridge. It's the whatever's stopping you or you feel there's something in the way, it's finding what that is as a bridge to your true self versus I need to get rid of this so I can have the material thing I wanted. It's how do I use whatever is resistance is showing up as a bridge and a birthing as a part of our birth canal to our spiritual self? And so, you know, a lot of us, we talk about our life coach training, and I think that there's a lot of misconceptions of what life coach training is. And I think, life coach training, I don't think I know, life coach training is the ultimate thing you should do, especially Jungian life coach training, because it's individuation. If you don't know your purpose, or you're not sure what you want to do, but you know that there's more in you, it's perfect for someone who is in that stage where what's next in life. What is next? And so it helps you discover your purpose and see your potential. It's changing the way you perceive the world and yourself, so you can create whatever you want. And so, you know, there's misconceptions of that. A lot of people think life coaching is therapy, that you're going to help people with their wounds and they're healing their traumas and their childhood, and no life coach training is really forward focused. It's about how do you bring a high functioning individual, not someone who needs therapy, there's plenty of therapists out there. There's nothing wrong with therapy, and there's a place for therapy. But life coaching is about taking a functioning human being who just needs to understand their psyche, understand their patterns in a way that can be used to help them create the potential in their life, to live their potential.
Have that third birth.
Yeah, they're ready for that third birth because they're social. They don't have social issues or dysfunctions in that way. They're really, you know, they're functioning, confident people successful in their careers and built up great lives, but they're kind of dissatisfied, and they're looking for that spiritual connection. Another misconception, a lot of people say, well, I have to work on myself first. I don't feel like I can help anyone because I am confused. And the best way to be to help others is to teach others and so there's always someone who knows less than you. There's always someone who's a little bit behind the process than you. So as you grow, there's people that you can help that haven't reached that stage yet. But you don't have to be enlightened. I think a lot of people think they will have to be enlightened. I have to have all the answers. And if I don't then, you know, why would people come to me? Or they don't feel confident. And it's going through the process of individuation helps you experience yourself. So then you're clear that when someone's stuck in their own stuff, you don't have to know why the source of it or all those things and have them work through it. You have to say, well, here's the potential. And you're kind of moving them forward, and it's understanding the mind. If you understand your mind, you understand others. You don't have to diagnose them.
No, on the contrary. Often the challenges that we have become our greatest strengths.
And I love how you said that. The blocks are really the bridges.
Yes. And so people that come to you aren't looking to be fixed in our model. They're coming to find the bridge, and the coaches are the bridge. The coach can show them, oh wait, you're seeing this thing here and you're seeing it as a whole. I'm making a bridge for you. I'm taking you and I'm showing you the way to go up versus how to get out of that hole. Like you're already, you know, it's not a hole. It's a potential. And, you know, I see this all the time where people will coach people and they'll be in this, you know, life transition, whether it's job or career, relationship. And it's in that wrestling with the conflict that's happening is what gives them the fuel for their growth and for their enlightenment. And so you don't have to fix their problems a lot. Another misconception is, oh, if I'm a life coach, everyone's going to dump their problems on me, and that's not your responsibility. You're not taking on people's problems. You're giving them solutions. So if you want to listen to problems all day, maybe you should be a therapist. But if you want to help people reach their potential and get them out of this past and move them to the present seeing their potential, then you should look into coaching. Another misconception is that if you take life coach training, you have to be a life coach, that you just have to be a coach. Most people that take our training, actually, they don't end up being coaches. They end up using the tools in their practice or their company. Some become leadership coaches, leadership people in their companies. Some people take their beautiful talents of music and art and use the tools as a way to express that in a different way, helping other artists become successful. But they're not just life coaches, you know, they're using it in a more creative way. And that's really what I love. Some of our coaches that graduates are medical doctors are in the medical field and nurses and healers in that kind of traditional medical field, and they want to do something more spiritual and kind of working with consciousness and mind body. So they're integrating the consciousness and the spiritual work into their work. And so Life Coaching can be a bridge, to bring in your gifts and talents that your soul wants, help you realize it through the process of becoming your true self, and then be able to fit it into something that feels right to you and fulfilling and meaningful.
Yeah, I was talking to a student recently and she was telling me that how incredible it was that we were able to fit like a deep philosophy in a practical way. Right, that you can apply it where you're at right now in whatever position or job you have. But you can also create a business for yourself, you know, if you choose to. You're essentially working to free other people, to give other people the chance to be born at a higher level. And as well as developing yourself in the process. Yes. And if this is not for you, find your home. Find your spiritual path because it is the only world worthwhile thing that we do in life really, at the end of it all. It's what will give you meaning, purpose, direction, everything. So thanks for the great questions, and we'll see you next time.
Yes, have a great rest of your day and we'll talk soon. Take care. Are you looking for a satisfying career that has meaning and purpose? Are you seeking a path of growth and wish you can have it all in one program? Well our Jungian Life Coach Program does just that. It gives you a new career as a certified life coach, as well as take you through our Jungian methodology to help you become your true self and make amazing transformation in your life and the lives of others. Our next class begins on September 15. So visit jungianlifecoach.com. Click on Apply and speak with me Debra directly so we can discuss your future and possibilities in becoming a certified life coach. That's jungianlifecoach.com.


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Home News Isuzu MU-X 2021 – photo and price, sales start date in Russia, specifications
Isuzu MU-X 2021 – photo and price, sales start date in Russia, specifications
In Thailand, the premiere of the new generation Isuzu MU-X SUV took place. Note that the predecessor was an official clone of the Chevrolet TrailBlazer model, but the car in a new body was developed by the Japanese brand on its own.
Isuzu MU-X 2021 is built on the basis of the new D-Max 3 pickup. Externally, the SUV turned out to be a lot like a truck, although more aggressive headlights and an original radiator grill are installed in the front.
Isuzu lineup
Note that from the outside, the basic versions of the model are minor "naked" off-road vehicles, but there are also rich options in the range, flaunting 20-inch wheels and LED head optics.
Salon MU-X also largely repeats the interior decoration of the original pickup, differing from the latter only in decor. Compared to its predecessor, the interior of the car has become noticeably richer and of better quality, as evidenced by the softer plastic finish.
As before, the SUV has a three-row interior, while the developers report an increase in the adjustment ranges of the seats in the second row. In addition, they promised a more spacious gallery.
The new 2021 Isuzu MU-X body is based on the "Isuzu Dynamic Drive" platform with a different frame, which is not only lighter, but also stiffer than the previous one, which was achieved through the use of additional transverse amplifiers. To ensure better weight distribution, the Japanese moved the engine a little closer to the cabin.
The front axle of the model still uses an independent double wishbone suspension, while a continuous axle is involved. On the sister D-Max pickup, the latter is suspended on springs, and the SUV has a spring suspension. Compared to its predecessor, the levers are made longer, which has increased comfort and suspension travel.
The car is characterized by a wider use of high-strength steels, while its fifth door is made of plastic and can now have an electric drive. The overall length of the Isuzu MU-X II is 4,850 mm, the wheelbase is 2,855, the width is 1,870, the height is 1,875, the ground clearance is 235 millimeters, and the fuel tank is designed for 80 liters (+ 15).
The SUV is based on a 1.9-liter turbodiesel with 150 hp. and 350 Nm, which can work both with the mechanics of our own design, and with the six-speed automatic Aisin. Plus, the model can be ordered with a 3.0-liter four-cylinder turbo diesel 4JJ3 with a capacity of 190 forces (450 Nm) – this unit is exclusively equipped with an automatic transmission.
In Thailand, almost all versions of the Isuzu MU-X come with rear-wheel drive – and only the version with a three-liter engine can be ordered with a full one. However, other combinations are possible in other markets. The all-wheel drive transmission itself implies a rigidly connected front axle and a downshift with a gear ratio of 2.48: 1. Note that the four-wheel drive versions have Rough Terrain Mode with imitation of locks.
As for the equipment, in the cheapest versions there are only two airbags and a stabilization system. In the top-end versions, there are already six pillows, and the driver has a whole arsenal of electronic assistants at his service, including automatic braking and a lane tracking system.
In the Thai market, the Isuzu MU-X SUV in a new body began to be sold in November of the twentieth, there is no information on prices. Over time, the geography of sales of the model will be expanded, while it is expected that such a car will appear in Russia as well – the start of sales is scheduled for 2022, the exact dates will be announced later.
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redpajama_set_name: RedPajamaCommonCrawl


Dr. Levy has extensive experience as a teacher, therapist, and researcher. He earned his doctorate in social psychology, and has served as a visiting professor of psychology at Leningrad State University. He holds licenses both in psychology and in marriage and family therapy, and is actively involved in clinical practice and supervision. Dr. Levy's numerous theoretical and empirical research studies have been published in scientific journals and presented at professional conferences. His areas of research and teaching include social cognition, interpersonal influence, media psychology, and the improvement of critical thinking skills.


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Ginger Chutney Powder/Shunti Chutney Pudi goes well with idli, dosa, hot steamed rice and a dash of ghee. It gives good relief for cold and your taste buds will stimulated. Ginger has a long history of use for relieving digestive problems such as nausea, loss of appetite, motion sickness and pain.
1. Wash, peel and finely chop ginger or grate ginger.
2. Roast channa dal on medium flame till you get golden/aroma.
4. Add grated coconut and fry for a minute, keep aside.


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Q: Determine self.view size in loadView of UIViewController I have a custom UIViewController subclass and I want to override the loadView method. I bumped into the problem that I need the size of the self.view before it is added to its parent (which is a UIViewControllerWrapperView). How can I get the size of the UIViewControllerWrapperView that my view is going to be added to?
If this is not the method that is commonly used, then what should I do to determine the future size of my view manually (and not rely on autosizing)?
EDIT:
Also, when is this UIViewControllerWrapperView created and sized?

A: It seems that what I want is not possible with the current SDK possibilities, apart perhaps from trying to calculate the space on your screen by yourself.
I solved my problem by setting the autosizing masks of my views in a bit cleverer way.
EDIT: It turned out that I can determine the size I needed in -(void)viewWillAppear:(BOOL)animated .

A: If you're overriding your view controller's -loadView method, you'll need to create the entire view hierarchy there.
Edit: I previously suggested calling [super loadView], but I notice that the docs say not to do that.

A: According to the View Controller Programming Guide:

If a view controller is not loaded from a storyboard, create a
  custom initialization method that is specific to your view controller.
  This method should call the super class's init method and then perform
  any class specific initialization.

This seems to indicate that the child view controller should be passed the parent's view size information via a customized initializer.

A: The correct way to handle the size of the current view (or view controller) is not to worry about it, and just use AutoLayout or (older way) auto resizing masks to lay things out naturally within this view.
At some point you can of course figure out what your own dimensions are, but you should try to redo your design so that your layout is all relative. Instead of saying "my width is 320, so this subview should have width 280 with 20 px on each side" you can use AutoLayout to effectively say "make the subview have a 20 px buffer on the left and right, and occupy whatever width remains". etc.

redpajama_set_name: RedPajamaStackExchange


Diller Scofidio + Renfro. Rendering of Museu da Imagem e do Som, Rio de Janeiro. Projected completion date 2016.
For the first decade and a half of her career, Elizabeth Diller and her partner Ricardo Scofidio built almost nothing. Research and provocations, theater designs and video installations, were more their thing. Yet since the early 2000s they have become prolific specialists in buildings for cultural institutions. In 2015–16, Diller and her firm are opening three different museums, with divergent programs in divergent urban settings: the private collection Broad in Los Angeles, the encyclopedic Berkeley Art Museum, and the media-oriented Museu da Imagem e do Som in Rio de Janeiro. And hovering in the distance is her firm's heftiest museum project: a coming overhaul of the Museum of Modern Art in New York. When (very premature) plans were unveiled in early 2014, they were greeted with near-universal disapproval — not least because they necessitated the demolition of the building next door, the former home of the American Folk Art Museum.
You trained as an architect in the 1970s, but you always had a strong interest in art. You were an artist first, if I'm not mistaken.
In fact, I was an art student at Cooper Union. I had a desire to make films, ultimately. I took an architecture class just for amusement. It was called "Architectonics," and I had no idea what it meant. It just sounded cool. That was where I brushed elbows with John Hejduk.
Correct. He was not known as a builder, but Hejduk was a poet and a guru, and he was huge — looming, wore sweaters with big holes, and had this very affected Bronx accent and spoke in riddles.
And I was really intrigued; I thought this could be a more interesting place. What was interesting about the architecture school was that there was a sense of accountability to ideas that you didn't find in the art school. You had an idea, and then you had to turn that idea into some kind of material thing. There was a constant back and forth. It was like a contract: you had a hypothesis about something, and then you'd do it. So I figured architecture school would be a place more suited to me. It didn't really matter what the medium was, and no one in the architecture school was talking about building anyway.
And I suppose this was taking place against the backdrop of New York in the 1970s: this mythical beast. Those of us who didn't live through the period sometimes idealize that period of loft culture. Cheap rent in SoHo. The interdisciplinary nature of things.
I was interested in crossover work. Dance, theater, installations and performance art was all right there and in front of me. I was interested in Richard Foreman, and Wooster Group was around then. Mabou Mines. Karole Armitage. Trisha Brown.
When I was in the second year of architecture school, my closest friend was a musician in Steve Reich's orchestra. He was older, in his thirties, and I have no idea what brought him to architecture school, but I learned more from him than I learned from all of my professors. He had also worked with Phil Glass, and he provided my entrée into that culture. I spent as much time in museums and at performances, and also the Institute for Architecture and Urban Studies — the institution that Peter Eisenman ran, which was a central hub for intellectual exchange, a bit like the AA in London. There were lectures, there were symposia, there was an education program. October was very connected with them. In New York, you didn't really have to go to school to be educated.
You met Ric at Cooper?
Yes, he was my teacher. I was interested in the way his mind worked, and we had really interesting conversations when I was a student. When I was no longer his student, we started a relationship which carried on all the way through my studies. He had a small practice at the time, and he was kind of fed up with it. So when I finished school, we decided we'd work together. We started to share a lot of things: a bank account, a bed, and a practice.
Together, you built very little in the 80s and 90s. There were unrealized projects, like Slow House, and more experimental projects, like the Blur Building. You did a lot of theater design, a lot more on the boundary between art and architecture. To what degree did you even care about the word "architecture," about the parameters of architecture?
We were always interested in the conventions of space. One of our very first projects was for Art on the Beach, down in Battery Park, on a landfill that was temporarily used by Creative Time. They asked if there was some way we could create a gate (you had to pay a modest admission). We made this very simple plane, a place of exchange of information and actual money. Bisecting that plane was a bowl, a perfectly hemispherical bowl, where one hand would meet another hand to accept the admission fee.
We were at that point thinking about what it meant to make an interface, an optical interface. Also, what makes something mediated. A lot of this came from Cooper Union, actually. It was driven into our brains that there was this hard line between media and real experience, authentic experience, and anything that reduces that sense of immediacy is somehow bad. That was drilled into us, but I never bought it. It was just a formulation of John Hejduk, who was resistant to technology.
When we got to Slow House, we were really interested in framing the context. And the context was this beautiful view in the Hamptons, looking out over the bay. As far as the eye could see was this protected view. We were really interested in how you see this context, and it only becomes a view when it's in context. A discrete view out to the horizon and the water. And we were asking ourselves the question, is the view from a video camera a live view? Why is that more mediated than the architecture framing the view itself?
I suppose museum architecture poses the same question: how space directs one's gaze, how walls and glass edit.
Two decades after Slow House, it's this same framing. Editing everything you don't want to see from everything you do.
We did the same thing on the High Line over Tenth Avenue with the sunken overlook, the one that drops down; all you see are the taillights of cars disappearing into the perspective. All we did was frame something that's already there and super mundane. But it works because our productive generation, or couple of generations, is used to doing things in the time that we have. If we're not working, we're burning calories at the gym, or we're consulting devices. We're always sending messages or getting messages. But on the High Line, you're not permitted to do anything except walk, and sit, and watch. You can't bike there, you can't play ball there, and you can't bring a dog. The notion of distraction, and filtering out the notion of being in production, and really doing nothing in that space…. It's the ultimate Jerry Seinfeld moment of nothing, and I think we found the sweet spot in the urban fabric where it's actually fine to do that.
I suppose as the High Line has got almost too successful, those pauses and disruptions become more important.
It's an interesting problem. When we got there, most of the meatpacking was already gone. Dia was the first pioneering effort to bring a different culture there. Slowly it started to transform. Artists beget restaurants beget boutiques beget condos. That's the order of evolution in the city. And the High Line helped to accelerate that, somewhat unwittingly. We expected, conservatively, that 300,000 people would visit the High Line annually. It turned out last year to be six million and probably growing. What we're seeing beyond the specifics of the High Line — we see it in museums today and all over — is that mass tourism has generated a handful of places that everyone feels very attracted to, including the Museum of Modern Art and the Met, as well as the High Line. What can we do? Do we want to deter people from coming there?
In the 70s, your student days, it was the moment of how to democratize these spaces, but now people are moaning about exactly the opposite.
It's a problem that we all share, but also a victory we all share. We have to think about how to make today's spaces, which are adequate, not feel too small tomorrow.
Let's talk about that in specifics. At the Broad, can you outline how the veil/vault relationship works, and how it's articulated to someone coming into the museum?
It stems out of a very strange paradox. The project brief for the Broad asked the architects to figure out how to put almost an equal amount of storage as exhibition space in the building. It's largely a warehouse — but it's a warehouse on Grand Avenue, a place that is supposed to be part of this effort to urbanize downtown LA. How does such a place contribute to this urbanization strategy? Not to mention that it's right across the street from [Frank Gehry's] Disney Hall, arguably one of the most interesting buildings of our time. Our building is on a much smaller footprint, with a lower height restriction. A much tighter space.
And it's largely storage! These spaces are typically off-site, or out of sight. More recently, the ability to look at open storage, for scholars to have access — there is more of an interest in that crossover, but when we were thinking about it, it was a liability. And below us was a parking garage. The typical LA experience: there are cars everywhere, even if you don't see them.
So we asked ourselves, what if art storage became the protagonist of the building? What if it became a figure? What if you were constantly in touch with it? What if it was accessible, visually, physically? We came up with this idea of the vault, holding the art and back-of-house, as being a largely opaque element that was sculptural and floating in the middle of the building. It was shrouded on all sides by the veil. So, that alliteration, veil and vault, became the entire thing.
It's the public/private game again, the visibility game. Eli Broad is one of our major collectors, and his collection isn't going to LACMA or MOCA. This is one man's stash.
We've worked together very well, against everyone's predictions that we'd either quit or be fired. I've actually found working with Eli and the foundation to be really collaborative. I think that maybe a lot has to do with the fact that this is such an important personal project for Eli. This is his collection that he wants to share with the public. It's free of charge; it's in this very prominent location. It's going to be very fluid with the street: people can come off the street, work their way through the gallery, come and go as they please. Part of urban life.
It was an interesting challenge for us. It's not what we did at the ICA in Boston, or what we are doing at MoMA or Berkeley. It's a private collection. It's idiosyncratic; it doesn't try to be complete; it doesn't necessarily tell a story. We wanted the public to always be reminded of that, and that's why the vault plays such a prominent role. You're always reminded that that stuff is there, and that it gets put into different stories all the time.
Turning to Berkeley, which is the opposite in some ways programmatically. It's a universal, encyclopedic museum.
We started with this beautiful building — I think only architects can be champions of Brutalism — but in this case, it was in a seismic zone. The museum took a different site, a little bit more urban, on the edge of the school. It was the site of a 1930s printing plant, and it was to be an adapt-and-reuse strategy, with a more modest budget, but still with the intention of showing the encyclopedic collection with very high levels of museum environmental controls, and with space for contemporary exhibitions. In addition to that, the home of the Pacific Film Archive.
We just took a different approach, trying to optimize the conditions of that site. By undermining the printing press. We found space below, and we're using the skylights that were already there. We still have columns, a lot of the existing shell, but that's part of the charm of that building, that you don't have to build from scratch.
A lot of our work — Lincoln Center and the High Line — attempts to reread the past, to reinvent it. We're not preservationists. We don't believe in mummifying old structures. We do believe in breathing life into old things where we can. Sometimes it's not possible.
Folk Art. But I think that that general ethos is very much in our work throughout. We're not the first ones to get there. Those programs have been there before, and it's up to you to be a good reader and write between the lines.
Well, at first, the Museu da Imagem e do Som appears totally out of context; it's nearly your old plan for Eyebeam in Chelsea, teleported to Copacabana. On the other hand, the exterior plugs directly into Roberto Burle Marx's promenade. The sinuousness reminds you of Niemeyer.
The museum is devoted to the culture of Rio. It's music, dance, films, comedy, literature, telenovelas, and it has the Carmen Miranda collection of headdresses and shoes — what could be better? And in our reading, in the public imagination too, Rio has this fantastic romance of beauty and the body: the single tan body on the beach, all the riches and sensual aspects of Rio and the beauty of the site. The buildings that line the beach are hotels or condos. But a couple of blocks back, it becomes more depressed. We observed though that the most democratic site in Rio is the beach. It's free. Anyone can go there. These huge festivals are held at the beach, where a million people can gather, or a single person. Anything can happen there.
We were interested in merging a museum-going population with a beach-going population. They're different, and so how could we make this building fuse these cultures? We took the prompt of the Burle Marx mosaic on Avenida Atlântica. Rolling it onto the building, so that you could effectively walk up the side of the building from the sidewalk, and have a drink and watch a free movie. Or if you chose to go inside, you would pay admission. And these populations would merge and cross over on these stairs.
One of the experiments in the building is the façade. There is a kind of screen that is very deep, made up of tubes ganged together but facing different ways. It allows you, as you walk up the stairs on the inside, to have sweeping but framed views. We convinced the foundation here that their best holding was the view of Copacabana beach and the sea. If you could dispense it or frame it, it could be a part of your entire experience. You see moving traffic, the sand of the beach, or one of the mountains, or the sea itself, or the sky.
All of this construction is taking place against a sea change in the urban role of museums. And the role of art museums more generally. The 19th-century idea of the museum as a place of social improvement, the V&A model, is over. The 20th-century model of the white cube, the museum as secular church, is dying too. Now museum building is much more an urbanistic challenge, a challenge of public space, as well as of the display and preservation of art.
As art grows more and more popular, what is the duration of the museum experience? What are the other experiences one has in a museum? How do you look into the future of what art making will be? You make a building that feels right for today, but what is it going to be tomorrow? That's the problem with museums: they are geo-fixed and fixed in time. What is the language of that? We're thinking about that with Culture Shed, since it's a start-up and doesn't have a prehistory. The best thing to do is claim space and provide an open infrastructure for anything to happen. Any kind of collaboration across the disciplines of any scale.
But do you not worry that keeping options allegedly "open" might in fact privilege certain types of production? Performance and installation over small-scale painting, for example. You can't do calligraphy in the Culture Shed.
Certainly certain kinds of spaces are conducive to certain things. In Culture Shed, we have a lot of museum-quality gallery space that is 22 and 24 feet high, that I imagine paintings will be displayed in. But then we have a third level, that's open to different kinds of programs, and the shed itself, where you can do anything. Of course, you could do a beautiful reading of a poet in the middle of a vast space and it could be very powerful. And you don't have to always fill it.
Yet then you look at the atrium in Taniguchi's MoMA. Certainly over the last ten years, the MoMA curators have got better at using it. And yet, even when it's used correctly, it still seems to resist the art — more of a catch-nothing than a catch-all. How do you keep options open without letting everything be so open that it becomes un-programmatic?
I agree that this space, at first, was this monument that no one could figure out how to touch, and then came a batch of great installations and performances. And I think it's now sought after as a space. If one could say that spaces and art forms are somehow related, and the possibility of the loft produced in the 70s a different way of thinking of art, installation, dance, and music, then one could say that the prompt of spaces, even when they are inherited accidentally, can be creatively undertaken.
That puts enormous pressure on you. It's one thing to design a white cube, but if the future of art might be in some way determined by the architectural parameters in which it finds itself, then you have an ethical responsibility.
You're in the trenches with MoMA, then.
It's super complicated. You have these collections you want to build, and you want to expose more. MoMA has so much in storage, and has the motivation to show more of it and show it better than the galleries allow now, with the motivation to show it across disciplines. It's huge. We were very motivated to help MoMA allow that to happen.
Renderings were made public, and were not at all well received. Were you surprised at the scale of the backlash?
Were we surprised by the backlash? I think that our story was really simple. In our minds, we were the best answer to save the [Folk Art Museum] building. We were super sensitive to the issues. We tried to make it work as an adapt-and-reuse, and we couldn't make it work. And we were the second-opinion doctors, and we found the patient couldn't be saved. But you don't blame the doctor for killing the patient! It's just a second opinion.
I think it was a kind of lightning rod for so many anxieties about the power of MoMA. The expansionist mentality. The previous renovations that people may not have been happy with. A midtown rezoning that everyone was afraid of, and totally justified concerns about removing buildings that still had life to them. I can't say that I'm on the side of the developers. I'm on the side of the preservationists and the architectural community when it comes to saving buildings. And we do our best to try to do that, and sometimes it just can't be.
This backlash also came from art lovers. In the light of mass tourism, the museum experience was compromised. How do you reconcile the fact that art is popular? The very institution that we accused of being elitist decades ago is now accused of being overrun with tourists, and our individual, beautiful experience with paintings is compromised. All of this came out in the backlash, and I also think it was something of a David and Goliath story. Big, bad MoMA.
It's also about the shortcomings of the Taniguchi building. A very good architect, one of the most accomplished museum architects of our time, produced a building we all have a lot of problems with. You have a fixer-upper on your hands, and it's only ten years old.
It's nice that the ticket-takers have been moved and are now by the stairs.
That was our very first thing: let's change operations before we start changing the space. Just by decongesting the tunnel, there's a different fluidity throughout the museum. You feel it right from the beginning.
We don't have to always solve things with walls. We started by observing how MoMA works, and where it doesn't work. Now, at the end of our second year of working with MoMA, we feel like we know the institution much better. We are starting to create plans that work in different ways. Our work isn't just restricted to that zone of expansion, but actually touches a lot of the organism of MoMA. We can't look at just its one arm without looking at its heart and brain.
This is not a museum that ever really got it 100% right in its architecture. It's a mid-block jumble.
It started to grow by agglutination. The Johnson was totally different from the Goodwin and Stone, which was totally different from the Cesar Pelli, which is totally different from the Taniguchi. The Nouvel tower was already set in stone before we arrived. We are at the intersection of all of those histories.
But I have to say, this criticism of the congestion of MoMA — you know, one of the folks at MoMA read this letter from a patron, complaining about the congestion of the galleries. "It's really hard to move from one space to another, you don't have privileged space with the art." And the letter was written in 1950-something! It was really interesting to hear it because it's effectively the same criticism. You make more space, and it fills up more.
It's kind of like different traffic lanes on a highway: you have your slow, medium and fast. I do think there are different kinds of spaces; circulation spaces don't have to be only getting from here to there. There can be spaces to pause, palate-cleansing spaces where you can do other things, rather than being on a relentless circuit of galleries. Spaces where you can stop and understand where you are, from a navigation standpoint and a city standpoint. We thought about that at the Broad, and now at MoMA. There are more moments to get your bearings.
At MoMA, we are trying to change the relationship between fat and muscle. All spaces should be art spaces. At the same time, we want to decongest those spaces. Using new technologies to rethink ticketing or accelerate coat check. Offering different routes, not having a singular way of moving through the museum. Opening up the arteries.
Which goes directly against the old Alfred Barr model of MoMA, in which a single narrative of the development of modernism was choreographed in space.
But it already doesn't really work that way. People don't understand the circulation. They don't begin by going to the fifth floor [where the painting and sculpture collection begins]. Chronologies are still important to curators, but I don't think they're so purist about starting at the beginning. You can start at the end, or in the middle. I'll leave those discussions to them, but from a circulation standpoint there can be so much more freedom. Expanding collection space is one part, but so is adding new galleries that allow the museum to do things it couldn't do before.
All that said, MoMA's legacy is one you were somewhat resistant to as a student. It's an irony.
One of our very early projects, Para-Site (1989), was the first architectural use of MoMA's old project room. A room which disappeared in the Taniguchi building. We did a surveillance project there, at the edges of institutional critique, looking very closely at the thresholds of the museum, the gallery, the garden. We came in with a lot of hesitation and skepticism about the museum and its power and its role.
And I think, over time, as we crossed the wall, and as we started to make exhibitions at the invitation of the museum, and curated projects in museums, and now as we begin to make the actual walls of the museum, we haven't relaxed our vigilance — we're still always thinking about how to soften the edge and democratize space, and how to adjust and calibrate. But it's not a resistance. We're stepping into the middle, to change things from the center, as opposed to from its margins.


text:
Ратнагири (; ) — округ в индийском штате Махараштра. Образован 1 мая 1960 года. Административный центр — город Ратнагири. Площадь округа — 8208 км². По данным всеиндийской переписи 2001 года население округа составляло 1 696 777 человек. Уровень грамотности взрослого населения составлял 75 %, что выше среднеиндийского уровня (59,5 %). Доля городского населения составляла 11,3 %.

Округа Махараштры

redpajama_set_name: RedPajamaWikipedia


text:
Kick Point
Fringe Theatre
Buying tickets from Fringe Theatre used to be frustrating because the site was so slow. It's not slow anymore!
The Fringe Theatre team approached us because they'd struggled with the previous versions of their website that didn't meet their business goals or the needs of ticket buyers.
They needed help managing API integrations with a complicated ticketing platform and a content strategy to assist in bringing in new attendees to the Festival as well as shows throughout the year.
About Fringe Theatre
Fringe Theatre has been delighting audiences with the Edmonton International Fringe Festival, which happens to be the largest Fringe Festival in North America since 1982. There is magic in storytelling and "fringing" is always an adventure! In addition to the yearly festival, Fringe provides year round entertainment to patrons, support to artists, and community engagement opportunities to school groups.
Client Goals
Sell more tickets online
Introduce more people to "fringing" (more first-time ticket buyers)
Be able to easily update the website themselves
Integrate the website properly with their chosen ticketing program
Fix issues caused by a previous agency's incorrect migration procedure
Website design, development, and migration
Content planning and editing
Social Media and AdWords training
Data and Analytics plan and training
The Fringe team had a good sense of what existing pages needed to be carried over to the new website. We also reviewed analytics and asked Fringe patrons (and people who had never been to the Fringe before) what they thought was missing to determine what new content needed to be developed.
There are two versions of the Fringe Theatre website: a Festival version (that only runs during the Festival) and an "evergreen" version for the rest of the year. The Festival version focuses on — you guessed it — tickets to shows at the Festival and information about the event. The other version that is live the other 347 days of the year still discusses the Festival, but prominently showcases the current season of shows and event space rentals. (Jump to the Evergreen vs Festival Content section of our Fringe Theatre Redesign blog post to learn how the two versions are configured.)
Ease-of-use was imperative! Fringe Theatre often relies on volunteers so we made sure that the administration area of the website was easy to use and provided:
Lots of on-page explanations for different fields
Content blocks that can be easily added and reordered on-page to control page layout
Custom templates for pages with extra functionality (like forms or accordions)
A searchable, living document user manual written to address the most common workflows first
Hurry Up or Get Left Behind
Google favours faster, lighter websites (and so do real human people). Fringe sees a traffic spike of over 4,000% during the Festival, so it was very important to keep performance top of mind during both design and development. The site is as lightweight as possible to accommodate the traffic spike and that started with making sure we weren't designing bells and whistles that could potentially compromise speed. We took measures to load fonts as fast as possible, and extensive image compression was incorporated to reduce file sizes across the site.
We love talking about speed! Check out our blog post on how we tested for performance during (and after) development.
Make Finding Shows Easier and Increase Ticket Sales
We didn't have a lot of control over the actual ticket buying experience, because it takes place off-site using a third-party platform. Finding information about a show on the ticket site was frustrating (and not very nice to look at), so we built a plugin to bring the show schedule and information pieces onto the actual Fringe website from the provider's SOAP API.
There are over two hundred shows at each Fringe Festival! That's a lot of shows to pick through to find the ones you want to see. To make things easier, we built a show-specific search and a 'drawer' that slides up and gives buyers one touch filters that they can apply to the shows. Learn more about how the filter works on both desktop and mobile by visiting our blog post on speed.
Sometimes random is best! The Fringe Theatre team is all about adventure and excitement — they always embrace the magic behind never knowing exactly what a trip to the Fringe Festival will be like. People like to have new experiences at the Festival, and what better way than clicking a button and having a random show chosen for you to go see?!
We built a shortcode that would use AJAX to retrieve the show data, find a random show, then return the name of the show and a link to the ticket site to buy your random tickets. The code ensured there would be a future performance for the show that was randomly selected so no one could get a recommendation for a show that had already finished its run!
The randomizer was used 22,014 times during the festival and led to over $28,000 in additional ticket sales.
2017 was a record breaking year for the Fringe Festival! An increase of 8,000 tickets sold from the previous year meant that there were 400 sold out performances and Fringe artists earned more than $1.15 million from ticket sales.
During the planning process for the redesign, our team pushed for a new page about box office information (and information about the Festival grounds in general) — this was an important piece of content to develop in order to attract new attendees. This new page saw 28,989 views and resulted in many sales to first-time ticket buyers.
Co-ordinating with the third party ticketing vendor was a challenge, but our team and the talented Fringe team worked hard to have open communication in that regard to ensure the needs of actual ticket buyers were met.
Unfortunately, the complicated ticket buying process that neither us or Fringe Theatre were able to control resulted in a significant loss of potential revenue. Only 67% of people who put tickets in their basket on the vendor's ticketing platform proceeded to the checkout page. Then, only 84% of people who made it to the ticket page actually bought tickets. That means that only 57% of people who intended to buy tickets online were able to do so successfully.
Note: Compared to industry averages, this is actually still a strong conversion rate — people who love fringing are committed to wading through frustrating processes to get their tickets!
We don't build websites and then forget them — we review analytics and results, and make continual recommendations for improvements. The focus between Festivals is on developing additional content to meet the needs of Fringe Theatre's growing audience, migrating to a hosting solution that can handle the huge traffic spike during the Festival, and on improving the ticket buying process.
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Sonia Alcantar Anguiano is wrapping up her second Science Undergraduate Laboratory Internship (SULI) at PNNL. During her internship, she prepared microbial soil samples in a lab at the Environmental Molecular Sciences Laboratory. PNNL recently hired Sonia as a researcher for the National Security Directorate.
The chemical and molecular sciences core capability advances the understanding, prediction, and control of chemical and physical processes in complex, multi-phase environments. We have significant expertise in condensed phase and interfacial molecular science, chemical physics, catalysis science, chemical separations and analysis, geochemistry, computational chemistry, and actinide science. This core capability has strong ties to the condensed matter physics and materials science, computational science, and the applied mathematics core capabilities. We leverage expertise in those areas to advance understanding of complex phenomena at molecular liquid-solid interfaces and produce high-fidelity simulations of molecular processes controlling macroscopic phenomena.
We steward the largest basic research effort in the national laboratory system in catalysis science and condensed phase and interfacial molecular science, which are the foundations of PNNL's Institute for Integrated Catalysis. These capabilities were essential for the award and renewal of an Energy Frontier Research Center in Molecular Electrocatalysis. Contributing to PNNL's strength in this area is NWChem, a unique computational chemistry software application developed and hosted by PNNL's Environmental Molecular Sciences Laboratory. NWChem is used by researchers worldwide to solve molecular science problems.
We expect to commence construction soon on a new chemistry facility at PNNL, the Energy Sciences Capability project. This facility will consolidate several PNNL's research groups to accelerate scientific discovery in chemical transformations by enabling close integration of synthesis with dynamic characterization capabilities and real-time computation capabilities.
This capability is the basis for PNNL's fundamental science programs in catalysis science, condensed phase and interfacial molecular science, computational and theoretical chemistry, geosciences, and separations and analysis. Applied programs include improved energy technologies, catalysis and reaction engineering, hydrogen storage, biomass conversions, environmental remediation, and carbon capture and sequestration.
This core capability is managed for several Department of Energy offices: the Office of Science, Basic Energy Sciences, Biological and Environmental Research, Fossil Energy, the Office of Environmental Management, the Office of Energy Efficiency and Renewable Energy, and the National Nuclear Security Administration. The capability also benefits the Department of Health and Human Services and the Department of Defense.


"|ERROR|UWPBluetoothDeviceInterface|WriteValue using txChar called with no txChar available"
This didn´t happen with the xbox gamepad so I am confused as what I should do I hope this is just a small easy problem to solve:sweat_smile: do you know what should I do? do you need any more information to check the problem? Thank you in advance for your help and for all these incredible haptics investigations, it is amazing !
That's a problem on our end. There's an issue with the Buttplug Server not looking for the correct device possibly. I'll file a bug to take a look at this, and I was already planning on releasing a new version of the server soon (in the next week or two), so hopefully it'll be fixed then.
Small edit in case it helps : I forgot to mention this, when "succesfully" connected to buttplug/playground/scriptplayer, the device vibrates as in a standar-flat-linear vibration I dont know how to explain it, for example like a "default vibration mode".


text:
package com.qyf404.box.core.query;

import java.util.LinkedHashMap;
import java.util.Map;

/**
 * query property.
 *
 * @author Huisheng Xu
 */
public class QueryProperty {

    public static final int RESULT_TYPE_LIST = 0;

    public static final int RESULT_TYPE_COUNT = 1;

    public static final int RESULT_TYPE_UNIQUE = 2;

    public static final int RESULT_TYPE_PAGE = 3;

    public static final int RESULT_TYPE_PAGE_COUNT = 4;

    public static final int RESULT_TYPE_PAGE_UNIQUE = 5;

    private int resultType = RESULT_TYPE_LIST;

    private int firstResult;

    private int maxResults;

    private Map<String, QueryCondition> conditions = new LinkedHashMap<String, QueryCondition>();

    private Map<String, String> orders = new LinkedHashMap<String, String>();

    private String key;

    public int getResultType() {
        return resultType;
    }

    public void setResultType(int resultType) {
        this.resultType = resultType;
    }

    // ~ ======================================================================
    public int getFirstResult() {
        return firstResult;
    }

    public void setFirstResult(int firstResult) {
        this.firstResult = firstResult;
    }

    public int getMaxResults() {
        return maxResults;
    }

    public void setMaxResults(int maxResults) {
        this.maxResults = maxResults;
    }

    // ~ ======================================================================
    public Map<String, QueryCondition> getConditions() {
        return conditions;
    }

    public void addCondition(String name, Object value, QueryOperator operator) {
        conditions.put(name, new QueryCondition(name, value, operator));
    }

    public boolean hasCondition(String name) {
        return conditions.containsKey(name);
    }

    public QueryCondition getCondition(String name) {
        return conditions.get(name);
    }

    public void removeCondition(String name) {
        conditions.remove(name);
    }

    // ~ ======================================================================
    public Map<String, String> getOrders() {
        return orders;
    }

    public void addOrder(String order, String dir) {
        orders.put(order, dir);
    }

    public String getKey() {
        return key;
    }

    public void setKey(String key) {
        this.key = key;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Is Tile Map Node better than manually adding SKShapeNodes in terms of performance? I recently read this raywenderlich article about using tile map node:
https://www.raywenderlich.com/1079-what-s-new-in-spritekit-on-ios-10-a-look-at-tile-maps
In my own project, I have coded the tiles myself using SKShapeNode. Works great, but there is one thing I noticed after reading the article:

In the tutorial it says that there are only 5 nodes, when there are clearly quite a lot more tiles; probably more than 100. In my own project however, using an 8*8 tile board, it says that I have more than 130 nodes.
So my questions are:

*

*Why does it say that there are only 5 nodes? Is there some magic with Tile Map Node that reduce the number of active nodes?

*If Tile Map Node really does decrease the nodes, does this mean that it increase performance in comparison to manually programing the tiles oneself, making Tile Map Node that much better in terms of performance?


text:
Морковные ()  подтриба двудольных растений трибы  семейства , или Зонтичные.

Роды
По данным NCBI подтриба включает в себя следующие роды:

Галерея

Примечания

 Морковные


Monica Ly recognised a number of opportunities for qualified CAs in wealth management, consumer and business banking at Westpac.
She's passionate about supporting up-and-coming talent and leads Westpac's finance and accounting graduate programme.
She collaborates across functions to support finance, analytics, human resources, marketing and communications.
Tell us about your role and a quick summary of your responsibilities.
My role is to [provide] advice and insights from a finance lens to help senior leaders understand their business and drive business outcomes. In addition to my day job, I also lead Westpac's finance and accounting graduate programme. I'm a huge supporter of helping young talent find their feet as they kick-start their careers.
What does the start of a typical day look like for you?
I start and end my days with a team huddle so everyone is kept in the loop on what is going on. It's also a chance to celebrate some team achievements. Working in an agile office, I'm typically in and out of meetings or working away from my desk, so it's important we stay connected.
If someone wanted to be you for the day, what's the one thing they need to know?
I'm known as a "doer" and for always getting the job done. Whether it be at home or at work, I am committed to my word. I always strive to make it easy for those around me to work together to deliver and get the job done.
What's the most helpful tool you have for getting the job done?
I live by my to-do lists. You can't go wrong by starting at the top and working your way down.
Be true to yourself. Always stand for who you are, authentically share who you are with those around you and create your own winning formulas.
I always strive to make it easy for those around me to work together to deliver and get the job done.
Why did you choose to become a chartered accountant?
There are very few professional qualifications that allow you to work cross-industry and across the world without further studies. That's why I was attracted to becoming a CA. Once I started at Westpac, there were even more opportunities for qualified CAs than I realised, including wealth management or consumer and business banking to more traditional group finance and support roles.
How does being a CA help you in your current role?
Being a CA, people look to you as the expert in numbers. Working within the finance function at Westpac, I've had many opportunities to collaborate across functions. From working with our frontline people and clients to supporting areas such as finance, analytics, human resources, marketing and communications, I've been able to help translate what people see in their numbers into actionable insights.
Have you been to a Chartered Accountants ANZ member event lately?
Not yet. However, I am drawn to events where people share their personal stories and am keen to attend upcoming member events like these to connect with fellow CA members.
What do you think are the most rewarding aspects of your role?
Working with people. My role is to understand what keeps people up at night and to use my knowledge and networks across the organisation to help people overcome their challenges.
I love food and television shows. Outside of work, I'm typically catching up with family and friends over a tasty meal or treating myself to a night in to binge on a few episodes of the latest television shows.
What is more important to you right now, career progression, great salary or work-life balance?
Work-life balance. With everything always on the go, I've made it a personal mission of mine to create boundaries to keep the balance between work and life.


The International Handbook of Survey Methodology covers all major methodological and statistical issues in designing and analyzing surveys. With contributions from the world's leading survey methodologists and statisticians, it provides guidance on collecting survey data and creating meaningful results. Featuring examples from a variety of countries, the book reviews such things as how to deal with sample designs, write survey questions, and collect data on the Internet. A thorough review of the procedures associated with multiple modes of collecting sample survey information and applying that combination of methods that fit the situation best is included.
The International Handbook of Survey Methodology opens with the foundations of survey design, ranging from sources of error, to ethical issues. This is followed by a section on design that reviews sampling challenges and tips on writing and testing questions for multiple methods. Part three focuses on data collection, from face-to-face interviews, to Internet and interactive voice response, to special challenges involved in mixing these modes within one survey. Analyzing data from both simple and complex surveys is then explored, as well as procedures for adjusting data. The book concludes with a discussion of maintaining quality.
Intended for advanced students and researchers in the behavioral, social, and health sciences, this "book appeals to those interested in conducting or using survey data from anywhere in the world, especially those interested in comparing results across countries. The book also serves as a state-of-the-art text for graduate level courses and seminars on survey methodology.
Details on the contents and supplementary material for the book and individual chapters can be found here. The handbook is published by The Psychology Press, an imprint of Taylor & Francis. The book can be ordered directly from the Psychology Press home page. The book is available in hardcover and as paperback.
Last changed: February 12, 2008.


text:
/**
 * Created by YuliyaPshinko on 07.11.2015.
 */
function StringCalculator () {}

StringCalculator.prototype.add = function (stringNumbers) {
    return (stringNumbers.match(/[-\d]+/g) || [])
        .reduce(function (previousValue, currentValue) {
            currentValue = Number(currentValue);
            if (currentValue > 1000) {
                currentValue = 0;
            } else if (currentValue < 0) {
                throw new Error('negatives not allowed');
            }
            return previousValue + currentValue;
        }, 0);
};


She started her film career with her debut film in Kollywood called Kangalal Kaithu Sei alongside actor Vaseegaran. The film was a flop at the box-office and she moved on to Malayalam and Telugu films owing to a lack of offers in Tamil films. She made her Telugu debut in Pellaina Kothalo with Jagapati Babu. Priyamani rose to fame with this film.
Priyamani has come up with an excellent performance in the movie. Her performance would be widely acclaimed." Adhu Oru Kana Kaalam was critically acclaimed but failed at the box office.