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This is classic Carmack...
Just a blinding blur of mental cognition only slowed down by linguistics and the foolishness of communication.
Communicating one's ideas somehow always softens the focus...
Greg is an amazing speaker, a great thinker, and I can only wonder at what's REALLY in his mind...as what he shares is just awe-inspiring.
The visual pathway has been mapped more comprehensively than almost any other perceptual process. Given vision’s privileged status in forming knowledge (“I see”), science has considerable confidence that we are beginning to “know how we know.” But if we focus on a single aspect of sight – proprioceptive sight, or so-called “blindsight,” or color, or synesthesia, or the plasticity of mind that takes haptic signals and “remaps” them onto the visual cortex – we encounter much more complicated terrain. Artists are tireless empiricists when it comes to visual cognition; this session put them in discussion with scientists, mathematicians, and philosophers to engage new questions about sight, beginning with color.
Moderator: Caroline Jones, Professor of Art History, Theory & Criticism, MIT
Participants:
Tauba Auerbach, Artist
Bevil Conway, Associate Professor of Neuroscience, Wellesley College
Alma Steingart, Junior Fellow of the Harvard Society of Fellows
For more information: artsm.it/1BhPOTh
Photo by L. Barry Hetherington
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October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
ppc agency
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Ben Schneiderman (University of Maryland), Bernardo Huberman (HP Information Dynamics Lab), Amy Bruckman (Georgia Tech), and Cameron Marlow (Facebook).
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(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
Developed by D. R. De Wet
Year: 1962
The Tilting Chair Test was a perception test used to determine field-dependence or field-independence a concept of cognition where individuals reference their own internal informational sources, or make reference to external informational sources when making decisions.
October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
23 June 2022; Never wait in line again - Jordan Fisher, Standard Cognition on Centre Stage during day three of Collision 2022 at Enercare Centre in Toronto, Canada. Photo by Eóin Noonan/Collision via Sportsfile
(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
My monument started with the intention of remembering the lives of the neurodivergent people across time -- in the past, the present, and the future. That brought in the symbolic shape (the sine-cosine wavy shape that represents 'seeing' the world differently when the 'light' reflects our eyes) in the first place.
However, the more I worked on the project, the more I felt that the "emphasis" on the shape and the word "neurodivergent or neurodiversity" might separate people into groups. At this point, I struggled to find my stance/ground between all the intertwined relationships and connections between propaganda, politics, arts, communication, education, slogans, instruction, and others -- in terms of "monument" or being monumental.
By definition, neurodiversity is for everyone and 'is' every human and every cognition. By definition, neurodiversity draws on the spectrum of human cognition, including those with clinical diagnosis/labels, such as ADHD, Tourettes, ASD, and dyslexia, and those without clinical labels, celebrating the diversity of human cognition and brains. However, this understanding is not widespread yet in the world. The word 'neurodiversity,' in this contemporary era/time, seems to be used to "help" a group of people -- and when done legally and for paperwork, it is conducive, but in everyday lives, I am not sure. (It is kind of a similar discussion for the label dyslexia -- many people in the neurodiversity communities prefer to use words like 'holistic thinkers' and '3D thinkers' for everyday life (not legal/paperwork) when possible.)
Therefore, after experiencing the sense of unsatisfaction from where I was heading for the first half of the project, I decided to add the idea of 'the foundation of human existence' and 'widening focal points, rather than emphasizing the shape solely.' As a result of contemplation on three main ideas (1. breathing as anchoring, 2. the birth string on one arm, 3. monument in Greece), a vivid image of the performance came out with the essences from all of these three ideas without making things complicated and too much.
I see the performing part as part of, not the whole of, my monumental sculpture.
During the critic, I did not receive feedback from my classmates. I received questions from them. Expressing something about ontology or the foundation of human existence always brings in the sense of abstractness in art -- at least for me. So they asked questions about the meanings of each piece of my performance. The questions were about the 'objects' used in the performance rather than what I did during the performance. At that point, my subconscious or unconscious started to worry that maybe this was an indication that I did not consider who the audience members would be when planning the performance. I saw this performing -- extended -- self of the monument is between performance art and theater art; so, being away from theatrical art which carefully investigates the target audience and its intended impact on the audience, I did not really put my time in who the audience would be and their possible awareness level(?) of neurodiversity and human existence related thoughts.
Materiality and Moment. The in-between of these was what I was experimenting with by extending the life of my sculpture by adding the performing part.
What surprised me was my inner response after the performance. I started to feel awful. I think that my knowledge of that quite a lot of the students at this college does not know what neurodiversity is has been suppressed by my conscious self, but during and/or after the performance, I felt like I was facing this knowledge right in front of me. This brought up all the traumatic memories that I have silenced for my entire life regarding being dyslexic/neurodivergent. At this line of thought chain, I thought, "the word traumatic is so cliche these days." And my stronger/future-oriented self said that, as an artist working between performance art and sculpture, I should be able to channel these feelings in the process of art-making.
For this project, I channeled it during the performance, especially when anchoring in existence (between time-space) by breathing, but I do think that channeling all these "lived experiences" during the art-making processes will 1000000000000999999999222888333377744422% enhance my artworks and the artistic endeavors and processes.
(About two weeks ago, I was questioning "lived experience vs. art," and it is interesting this question and this writing come together just perfectly like this.)
Contextualizing this part in terms of my learning in the course, I think the sculpture-making process, for me, is weaving the threads of 'thinking through making -- embodied cognition' and 're-living experiences, blooming lived experience.' Seeing and touching the symbolic magenta shape (sine-cosine shape) visually has immensely helped me safely, effectively, and creatively arrive at recognizing lived experiences in the world and within myself.
Also, during the critic, Professor Lee shared her feedback that she would have added more visual cues/clues about the symbolic shape (sine-cosine shape) on my clothes or mask. When I first heard that during the critic, it enhanced my thought processes of the audience's eyes and the performance space. What if I came closer to them? What if I instructed them to sit more closely with one another so that the overall angles are not too spread out? What if?
I personally did not want to add more shapes (the symbolic shape), so I kept thinking about the dim lighting, the far distance between myself and the audience, and the audience seat.
Professor did share similar thoughts about one or two weeks ago, such as drawing the shape on the mask. However, I decided not to include that because I did not want to visually force the viewers to see the shape during the transient performance, which is about every human existence, rather than one "archetypal" neurodiverse individual. Also, I would display the sculpture after the performance, which the audience can come closer and see and observe.
For the performance aspect of my monument sculpture, I wanted to convey (in my own way, which people sometimes verbally described as abstract, depending on their viewpoints) the feeling of the very foundational image of existence as well as the feeling of 'being.' In this sense, the ontological justification of self-advocacy is the same for every single person, regardless of having a clinical label or diagnosis or being neurodivergent. Through this window of contemplation, I wanted to show the similar-ness between all existing humans while giving an indirect clue about the performer (neurodivergent individual) having their own way of experiencing its existence through space and time by "growing" the shape biologically and "breathing" the shape every day.
In May 2018 I was invited as artist on board on Kleronia, a 18 mt. cutter, in team with a video maker, a writer and a few skippers, to support the “Cognition in the wind” research project directed by Roberto Casati (Institut Jean Nicod, CNRS ENS EHESS, Paris). We navigate between Rome, the Pontine Islands and Gaeta. Watch a video here: www.youtube.com/watch?v=7TpY-AeXRNk
Scanner (aka Robin Rimbaud) and Stephen Vitiello’s residency investigates the spatial dimensions of sonic environments as a common territory in visual research, music and cognition. The artists traverse the experimental terrain between sound, space, image and form, creating genre-crossing sound pieces that use technology in unconventional ways and disrupt perceptions of the surrounding space. Through this residency, the ongoing investigations of space advanced by the MIT Program in Art Culture and Technology are combined with cutting-edge aural research.
Scanner (Robin Rimbaud) and Stephen Vitiello’s residency is presented by the MIT Center for Art, Science and Technology, Professor Gediminas Urbonas and the MIT Program in Art, Culture and Technology.
Photo ©Elisa Young
artsm.it/1gS4gtz
Dirk Adams
the sensation of moving slowly back in time
Dirk Adams creates work in a variety of media including performance, sound, installation, and video. His work is concerned with language, memory, and culture, and frequently investigates current events, popular culture, and politics.
the sensation of moving slowly back in time is a presentation of objects, materials, and tools that have been created over the past four years in his yarden (yard/garden). The installation and performances in this show represent a point in his explorations of physical processes of materials and investigations into human consciousness, the slow mutative processes of evolution, and notions of meaning-making as they relate to cultural production and the idea of humans as brains in bodies in environments, which comes out of the field of embodied cognition.
artist's websites
March 6 - April 8, 2017
Opening Performance: Friday, March 10, 7PM
Closing Performance: Saturday, April 1, 3PM
Photo Credit: Vela Oma
23 June 2022; Never wait in line again - Jordan Fisher, Standard Cognition on Centre Stage during day three of Collision 2022 at Enercare Centre in Toronto, Canada. Photo by Eóin Noonan/Collision via Sportsfile
Joe Novak, Professor Emeritus, Cornell University and Senior Research Scientist, and Alberto Cañas ( Institute for Human and Machine Cognition, University of West Florida , USA ). I took this shot on the 14th of September, 2004.
"Cognition" - Watercolor on 30"x22" textured sheet
For inquiries regarding price and purchase, please contact sarahluttrell.art@gmail.com with the name of the piece.
Paisley spent the first two years of her life in an orphanage after her parents in Russia refused her at birth because of Down syndrome. A 15% increase in cognition would mean that this sweet girl, once thrown away, could do great big things in this world. She's already changing lives...imagine what she could do with that 15%! — Renee, Lake Charles, LA
(Staff Photos by Rob Mattson/Amherst College, Office of Public Affairs) Howard Gardner, an Amherst College Trustee and John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education, gives the keynote address "Educating in the Liberal Arts and Sciences: Glancing Backward, Imagining Forward," at Amherst College's Buckley Recital Hall, in Amherst, Mass., Friday afternoon, September 20, 2013. Gardner's keynote address is part of the series of events to celebrate the completion and success of Amherst College's "Lives of Consequence" fundraising campaign. To read more about the campaign and weekend of events, visit www.amherst.edu/campaign.
Author: Platina
Title: Historia delle vite de i sommi pontefici, dal Salvator Nostro sino a Paolo V. / scritta già da Battista Platina Cremonese, dal P.F. Onofrio Panvinio da Verona, & da Antonio Cicarelli da Foligno: et hora ampliata da D. Gio. Stringa Veneto delle vite di Clemente VIII. di Leone XI. & di Paolo V. Illustrata con le annotationi del Panvinio, nelle vite descritte dal Platina, & con la Cronologia ecclesiastica dell'istesso, tradotta in lingua Italiana, & ampliata dal R.M. Bartolomeo Dionigi da Fano, e da D. Lavro Testa. Ornata nvovamente di bellissimi ritratti di tutti essi pontefici dal naturale. Arrichita co i nomi, cognomi, patrie, e titoli di tutti quei cardinali, de i quali se n'ha potuto hauer cognitione, raccolti per il sodetto Dionigi dall'opere del Panvinio, e da gli atti della Cancellaria Apostolica. Et in questa vltima impressione reuista, & ricorretta dal sodetto D. Lauro Testa...
Date: 1613
Location & Publisher: Venetia: Appresso i Givnti
Dimensions: 25 cm
Language: Latin
Click here to see the book in the Loyola online catalogue.
Click here to see all images from this book.
This image was photographed and uploaded as part of the Jesuit Libraries Provenance Project (Loyola University Chicago)
Tricks of the Mind | March 2013TRICKS OF THE MIND - March 2013
If you can't view this email, please click here.
Hi,
A question we're often asked is what is Mind Magic? Mind Magic is using magic (of the conjuring variety) to create the illusion that you can read minds, influence people and demonstrate paranormal & extraordinary powers, e.g. ESP, moving objects with the power of your mind and predicting the future.
It is sometimes called mentalism, although we use the term Psychological Artistry, and has been shown to be popular in the programmes of Derren Brown and other magicians. The workshops we run not only reveal these often guarded tricks and secrets, but merge them with psychology and neuroscience so that we can use and apply these approaches in therapy, coaching, business etc. For more information on these workshops, please see mindsways.com/SMS/
All of our workshops, Sleight of Mind Set and The Fascination all use Mind Magic tricks, tools and techniques and Psychological Artistry. There is one overriding theme within them all; that is the Show Not Tell principle. The Show Not Tell principle is all about making people experience and feel the message rather than just be told. The Show Not Tell principle is about engaging through emotions, not just logic and reasoning. The intellect finds the logic to justify what the emotions have decided.
To see more information about The Fascination, please see mindsways.com/the-fascination. For more on Sleight of Mind Set workshops, please go to mindsways.com/SMS/ and for more about the Show Not Tell principle, please look at mindsways.com/SNT/
TRICKS OF THE MIND
The real power of Mind Magic and Psychological Artistry lies not with just the tricks, but the effect that the delivery of the tricks have on people. On the workshops and in the packs we give you the tricks, however, learning to use them and turn them into effects is where the real power lies.
Delivering these effects, you can evoke the making of the extraordinary. By combining the tricks with the energy of your words, your message and your personality, you make yourself stand out, stimulate fascination and create interest in you. This is when the real magic happens, in the minds of others. To see what other's have said about the workshops, please see mindsways.com/about/what-people-say/
To see a few interesting examples of how magic can be used in communication, please see mindsways.com/the-fascination# PsychologicalTED
WHAT IS PSYCHOLOGICAL ARTISTRY?
To start with there are many definitions of psychology, but the one that sums it up for me is "the science of how we think". Next is the Artistry part, again, there have been many definitions but I like to think that artistry is a blend of:
Creating connection, rapport and emotions
Telling stories
Gaining and holding attention
Producing insights
Displaying human nature
Cognition
Show, Not Tell
Multiple Moments of Interest, Interaction and Insights (MMI's)
Therefore, Psychological Artistry is the blending of these two to create a method for successful communication. Psychological Artistry is where science and art meet Mind Magic.
Psychological Artistry is a route to form:
New Ideas
New Voices
New Questions
New Perspectives
New Expressions for our Passions
New Experiments
Expanded horizons
Emotional Engagement
Using Psychological Artistry is a way to express your personality, it:
Improves personal delivery
Increases your visibility
Enhances personal image and style
Powerful differential
Creates presence and raises profile
Increases perceptual awareness
Learning Psychological Artistry and Mind Magic is all about gaining access to valuable and guarded secrets.
Interesting examples of how all is not as it appears are the McGurk effect and Prof. Richard Wiseman's "The Incredible Colour Changing Card Effect", a well-known Fred Astaire clip and Rory Sutherland's Perspective Is Everything talk. Please take a look here or go to mindsways.com/SMS. These illustrate both the power and the approach of Psychological Artistry. I would love to know what you think.
MINDFUL ILLUSIONS
Understanding how powerful a role illusions can play in our life is extremely important. We can get dragged into the illusion that we cannot change ourselves, and this can affect us very deeply. We have to keep in mind that these beliefs are based on neuro-pathways that have wired themselves together in our past, and though they may even dominate our thoughts now, brain plasticity means we do not have to have this in our future. To see more about this, please mindsways.com/SMS#InfiniteMind
The SNT kit, which you get included in the price for the Sleight of Mind Set workshop, clearly illustrates that this previous wiring does not have to equal the future. It clearly shows us that we cannot believe what we see, but we see what we believe. For more on the SNT kit, please see mindsways.com/SNT/
THE ART OF CRITICAL THINKING
Our mind is our greatest strength, but is also the root of many of our flaws and weaknesses. We are emotional beings and do not always follow logic and critical thinking. However, logic and critical thinking are learned skills that still play an important role in our lives. This is another benefit of learning about Mind Magic and Psychological Artistry, because logic and critical thinking are skills and abilities that can be deliberately practised and developed through Mind Magic.
We all have flaws in thinking, including;
Logical fallacies
False assumptions
Unreliable memories
Rule of thumbs thinking
Beliefs through illusions
These fallacies are all used and highlighted by magicians. Learning and understanding Mind Magic is about applying a rational and logical system to our emotional situation. It is this ability that allows you to demonstrate you value, engage people on a deeply interesting level and help others which dramatically increases with your understanding of Mindful Illusions, Mind Magic and Psychological Artistry.
THE WORKSHOPS
All the workshops start at 10:00 a.m. and finish at 4:30 p.m. These are being held around the country, in:
Sleight of Mind Set
Scunthorpe | 29th March 2013
London | 2nd May 2013 (NEW DATE)
Birmingham | 7th May 2013 (NEW DATE)
To register your place on the Sleight of Mind Set, please go to mindsways.com/SMS#BookNow
The Fascination
London | 2nd April 2013
Bath | 10th April 2013
Birmingham | 16th April 2013
To register your place on The Fascination, please see mindsways.com/the-fascination#BookNow
REGISTER YOUR PLACE NOW
In the workshops, we will explore how Psychological Artistry and Mind Magic provide important insights into how we think, how we learn and how we experience the world, whilst training you in the tricks of the trade. As part of this workshop, you are supplied with whole new sets of routines and ideas in The Fascination Pack. This pack has been purpose-built to combine the psychology of fascination with the allure of Mind Magic.
To register your place on either of the workshops, please go to mindsways.com/SMS and mindsways.com/the-fascination
Thanks,
George
P.S. Both the SNT kit and The Fascination Pack are available separately. To see more, please go to mindsways.com/SNT and mindsways.com/TFP
07976 356 082
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Writing a book here: open.spotify.com/show/3mMrq70ofFvPputOjQIiGU?si=kwclM6f8Q...
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Follow me on:
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#visionary #illustration #2danimation #digitalpainting #conceptart #characterdesign #visualdevelopment #conceptdesign #characterartist #photoshop #environmentdesign #story #storytelling #movie #gaming #industry #Photo #Photography #work #talk #3d #cg #blender #brechtcorbeel #psyberspace #psyberverse #Xrystal #Aescermonium #rapthraeXeum #Xomplex #Xaethreal #Xrapthreum
Tricks of the Mind | March 2013TRICKS OF THE MIND - March 2013
If you can't view this email, please click here.
Hi,
A question we're often asked is what is Mind Magic? Mind Magic is using magic (of the conjuring variety) to create the illusion that you can read minds, influence people and demonstrate paranormal & extraordinary powers, e.g. ESP, moving objects with the power of your mind and predicting the future.
It is sometimes called mentalism, although we use the term Psychological Artistry, and has been shown to be popular in the programmes of Derren Brown and other magicians. The workshops we run not only reveal these often guarded tricks and secrets, but merge them with psychology and neuroscience so that we can use and apply these approaches in therapy, coaching, business etc. For more information on these workshops, please see mindsways.com/SMS/
All of our workshops, Sleight of Mind Set and The Fascination all use Mind Magic tricks, tools and techniques and Psychological Artistry. There is one overriding theme within them all; that is the Show Not Tell principle. The Show Not Tell principle is all about making people experience and feel the message rather than just be told. The Show Not Tell principle is about engaging through emotions, not just logic and reasoning. The intellect finds the logic to justify what the emotions have decided.
To see more information about The Fascination, please see mindsways.com/the-fascination. For more on Sleight of Mind Set workshops, please go to mindsways.com/SMS/ and for more about the Show Not Tell principle, please look at mindsways.com/SNT/
TRICKS OF THE MIND
The real power of Mind Magic and Psychological Artistry lies not with just the tricks, but the effect that the delivery of the tricks have on people. On the workshops and in the packs we give you the tricks, however, learning to use them and turn them into effects is where the real power lies.
Delivering these effects, you can evoke the making of the extraordinary. By combining the tricks with the energy of your words, your message and your personality, you make yourself stand out, stimulate fascination and create interest in you. This is when the real magic happens, in the minds of others. To see what other's have said about the workshops, please see mindsways.com/about/what-people-say/
To see a few interesting examples of how magic can be used in communication, please see mindsways.com/the-fascination# PsychologicalTED
WHAT IS PSYCHOLOGICAL ARTISTRY?
To start with there are many definitions of psychology, but the one that sums it up for me is "the science of how we think". Next is the Artistry part, again, there have been many definitions but I like to think that artistry is a blend of:
Creating connection, rapport and emotions
Telling stories
Gaining and holding attention
Producing insights
Displaying human nature
Cognition
Show, Not Tell
Multiple Moments of Interest, Interaction and Insights (MMI's)
Therefore, Psychological Artistry is the blending of these two to create a method for successful communication. Psychological Artistry is where science and art meet Mind Magic.
Psychological Artistry is a route to form:
New Ideas
New Voices
New Questions
New Perspectives
New Expressions for our Passions
New Experiments
Expanded horizons
Emotional Engagement
Using Psychological Artistry is a way to express your personality, it:
Improves personal delivery
Increases your visibility
Enhances personal image and style
Powerful differential
Creates presence and raises profile
Increases perceptual awareness
Learning Psychological Artistry and Mind Magic is all about gaining access to valuable and guarded secrets.
Interesting examples of how all is not as it appears are the McGurk effect and Prof. Richard Wiseman's "The Incredible Colour Changing Card Effect", a well-known Fred Astaire clip and Rory Sutherland's Perspective Is Everything talk. Please take a look here or go to mindsways.com/SMS. These illustrate both the power and the approach of Psychological Artistry. I would love to know what you think.
MINDFUL ILLUSIONS
Understanding how powerful a role illusions can play in our life is extremely important. We can get dragged into the illusion that we cannot change ourselves, and this can affect us very deeply. We have to keep in mind that these beliefs are based on neuro-pathways that have wired themselves together in our past, and though they may even dominate our thoughts now, brain plasticity means we do not have to have this in our future. To see more about this, please mindsways.com/SMS#InfiniteMind
The SNT kit, which you get included in the price for the Sleight of Mind Set workshop, clearly illustrates that this previous wiring does not have to equal the future. It clearly shows us that we cannot believe what we see, but we see what we believe. For more on the SNT kit, please see mindsways.com/SNT/
THE ART OF CRITICAL THINKING
Our mind is our greatest strength, but is also the root of many of our flaws and weaknesses. We are emotional beings and do not always follow logic and critical thinking. However, logic and critical thinking are learned skills that still play an important role in our lives. This is another benefit of learning about Mind Magic and Psychological Artistry, because logic and critical thinking are skills and abilities that can be deliberately practised and developed through Mind Magic.
We all have flaws in thinking, including;
Logical fallacies
False assumptions
Unreliable memories
Rule of thumbs thinking
Beliefs through illusions
These fallacies are all used and highlighted by magicians. Learning and understanding Mind Magic is about applying a rational and logical system to our emotional situation. It is this ability that allows you to demonstrate you value, engage people on a deeply interesting level and help others which dramatically increases with your understanding of Mindful Illusions, Mind Magic and Psychological Artistry.
THE WORKSHOPS
All the workshops start at 10:00 a.m. and finish at 4:30 p.m. These are being held around the country, in:
Sleight of Mind Set
Scunthorpe | 29th March 2013
London | 2nd May 2013 (NEW DATE)
Birmingham | 7th May 2013 (NEW DATE)
To register your place on the Sleight of Mind Set, please go to mindsways.com/SMS#BookNow
The Fascination
London | 2nd April 2013
Bath | 10th April 2013
Birmingham | 16th April 2013
To register your place on The Fascination, please see mindsways.com/the-fascination#BookNow
REGISTER YOUR PLACE NOW
In the workshops, we will explore how Psychological Artistry and Mind Magic provide important insights into how we think, how we learn and how we experience the world, whilst training you in the tricks of the trade. As part of this workshop, you are supplied with whole new sets of routines and ideas in The Fascination Pack. This pack has been purpose-built to combine the psychology of fascination with the allure of Mind Magic.
To register your place on either of the workshops, please go to mindsways.com/SMS and mindsways.com/the-fascination
Thanks,
George
P.S. Both the SNT kit and The Fascination Pack are available separately. To see more, please go to mindsways.com/SNT and mindsways.com/TFP
07976 356 082
Iverley Road, Halesowen, United Kingdom, B63 3EP
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October 11-15, 2014
Stanford University: Automotive Innovation Facility (home to self-driving and solar powered cars)
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
This is a brown capuchin (Cebus apella) from the Tambopata Research Center. These monkeys, along with several other capuchin species, are thought to the most intelligent of the New World non-human primates, based largely on cognition studies performed in captive settings. In one study, researchers were able to train the monkeys to use money; money that they used, among other things, to buy Jell-O and solicit prostitutes. Read more about it on my blog!
wildtropics.wordpress.com/2014/05/22/monkeys-learn-to-use...
23 June 2022; Never wait in line again - Jordan Fisher, Standard Cognition on Centre Stage during day three of Collision 2022 at Enercare Centre in Toronto, Canada. Photo by Eóin Noonan/Collision via Sportsfile
Drawing of a dream about my son when he was 14 days away from birth + Drawing about his cognition ability at 4 months old + Photo of the sky when I traveled with my wife without him when he was 18 months old. Everything snapped into a polaroid format.
October 11-15, 2014
Meeting with Live!y (www.mylively.com/)
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California
Black musette bag, shown here with striped ribbon strap. Nice to have on a ride, bumming around town, at the grocery store, or carrying your beer and cowbell at a 'cross race. Stuff it in your pocket when you're done. Handy to have around!
Writing a book here: open.spotify.com/show/3mMrq70ofFvPputOjQIiGU?si=kwclM6f8Q...
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