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|Parens, Henri||Karnac Books||ePub|
By virtue of its genetic pre-eminence and its long duration, the childhood dependence of man is an important determinant in the epigenesis of personality development and has a developmental line which Anna Freud has sketched: “from dependency to emotional self-reliance and adult object relationships” (1963, p. 247).
Of course, age-appropriate dependence in the adult is not the same as it is in the child. As the individual develops, he moves from one condition of dependence to another, a result of the evolving character of his needs and his changing object cathexes. Thus, within the framework of an anaclitic life-condition, he progresses from beginnings of helplessness to a position of self-reliance wherein he can determine the means by which to gratify his recurring needs. There is in this line of development a complemental series: dependence vs. self-reliance. We see an economic condition that determines the equilibrium of this complemental equation: The degree to which one is self-reliant is largely determined by the stability of what we have called libidinal inner sustainment (Saul, 1970; Parens, 1970b). Inner sustainment reflects the state of the organism's libidinal economy which results from the interplay of the psychic forces within him. That is, it derives from the dynamic and economic states within the psychic organization that lead to feeling loved and supported from within. The degree to which one is libidinally sustained from within is reflected by the degree to which one is free from the need for sustainment from without.See All Chapters
One argument often used as an objection to shorter working hours is that the average American needs to work long hours “just to make ends meet.” But what is missed in this argument is that the ends themselves are all too often the result of time pressure and overwork. “Convenience” products do save time—on cooking, for example—but they usually cost more and thus increase the amount of time we have to work to pay for them. This sort of thing can reach absurd heights. Take, for example, a new product I saw recently—microwavable pre-scrambled eggs. Since all you do is heat them in the microwave, you save about five minutes in time over what you would have spent if you’d broken some real eggs and scrambled them yourself. But the pre-scrambled eggs cost about 20 times as much as plain old eggs do, about 12 minutes in working time for someone making an average salary. So where is the time savings here? Vicki Robin’s popular book, Your Money or Your Life, has helped millions of people around the world reassess their spending habits and decrease their personal spending by an average of 25 percent, thus, at the same time, reducing their need for long working hours. Vicki is an acknowledged international leader of the simplicity movement, founder of the Simplicity Forum and one who walks her talk, living simply and joyfully and inspiring others to do the same. —JdGSee All Chapters
|New World Library||ePub|
We all have in us as part of our nature a deep desire to create, to bring something into being that never existed, to make something new. It may not be a painting, a novel, or a musical composition — the products typically associated with the creative process. We may want to create a new scientific explanation, a flower arrangement, a computer program, a business, or simply good health.
People are, by nature and instinct, creators. But very few people have been trained to create. Why has the creative process been made to seem like a mystery? Why have most people had such little exposure to it?
The process has been mystified in part because misconceptions have grown up around it. Many people think that great ideas descend from on high and visit special mortals who are blessed — or plagued — with sudden realization, vision, and inspiration. They fail to understand that creating is a process of which everyone is capable.
So how does one go about creating? The best way to learn to create is by creating. Practice is always more important than theory. We can sit all day and talk about the creative process, but it is only when we start creating that we begin to have real knowledge, experience, and command of the subject. Only after involving ourselves in many experiences of creating can we become better at it.See All Chapters
|Rafiq Elmansy||O'Reilly Media||ePub|
There are two methods by which you can start working with Flash Catalyst: you can either import artwork as Photoshop PSD, Illustrator AI, or FXG for Adobe Fireworks, or create the artwork in Flash Catalyst. Flash Catalysts default components are only useful as wireframe tools, as they do not provide creative artwork, so if you are using Flash Catalyst to add interactivity to your creative design, it is preferable to create the artwork in Photoshop or Illustrator.
Figure3-1.The New document dialog box
When you want to create a Flash Catalyst file from scratch, a dialog box appears for setting the files dimensions and background color. But before you can create a Flash Catalyst file based on the imported Photoshop artwork, a dialog box appears where you can set the following:
The Artboard size and color lets you set the file size and background color.
The Fidelity section lets you choose from the following:
Keep the image layers editable or flatten its effects.
Crop or flatten the shape layers.See All Chapters
|Chris Smith, John Mosca and John Riley||University of North Texas Press||ePub|
July of 1955 was one of the most important months in Mel's career. The Kenton Orchestra had hit their stride, and jazz critics began to notice Mel's drumming and the orchestra's lighter swinging style. Jazz journalist Nat Hentoff heard the band during their famous July engagement at Birdland in New York City and proclaimed:
The new Stan Kenton band is still working itself into a more balanced, more relaxed shape, but as of its Birdland bow, it displays a crisp arsenal of power, exuberance, and several swinging soloists. In line with the last two years, this is a leaner, far less pretentious sounding band than some of the crews Stan used to front. In fact, in its better, unstiff moments, this band swings unusually hard to the extent that one late entrant on opening night shook a skeptical head and asked, “Are you sure this is a Kenton band?”1
Burt Korall also heard the band at Birdland and took note of Mel's control of the ensemble stating, “Mel Lewis plays with a surety that gives the band definition and much of the small group feel that is essential to moving it off the ground. He is technically proficient and very much at home in the band.”2 Korall's statement highlighted Mel's unique ability to play with the subtlety and interaction of a small group drummer in a big band setting. Though he never intended to, Mel truly invented a small group approach to big band drumming.See All Chapters
Business & Economics