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Our agency boasts a 2000+ member network of ethnically diverse influencers from coast to coast, spanning a variety of blog topics including lifestyle and entertainment that we activate in various types of influencer marketing campaigns. For more details you can visit us at viralnation.com/influencer-talent-agency/ or drop us an e-mail at info@viralnation.com.
Influence of Natural Objects in Calling Forth and Strengthening the Imagination in Boyhood and Early Youth
By William Wordsworth
This is one piece of thirty that I painted on myself. They were all painted on top of one another and then peeled off in one big sheet.
Check it out at www.philinthecircle.com/influence
December 18,2008
UGH...
today i woke up at 8 with a stomach ache
and 3 hours later i threw up
ive been feeling light headed all day...almost fell getting out of the shower..
but yea this picture/pictures..
haha well i didnt take them today..
couldnt take a picture (u wouldn't want to see what i look like)
but me bestie jamie helped me with the double-frame..
thanks babe!
p.s. i didnt edit this picture at all...it was jus the lighting in the room....
Word of the Day:
toilethugger
inspiration:
living above the influence
Youtubere støtter Redningsselskapet i forbindelse med Giving Tuesday 2017 - www.ntbinfo.no/pressemelding/youtubere-hjelper-redningsse...
Opening reception for the exhibition Visions from the Forests: The Art of Liberia and Sierra Leone
Celebrate the opening of “Visions from the Forest: The Art of Liberia and Sierra Leone” with Voice of Culture Drum and Dance.
The group is a multifaceted organization of artists who express themselves through African arts and culture. “As Black Americans, we are proud of our rhythmic ancestry, and we perform traditional West African drum and dance on authentic instruments with influences of jazz, hip hop, and other diasporic styles,” director Kenna-Camara Cottman says. “We strive to demonstrate professional skills and teach young people about working artistry.” The group has performed at the Walker Art Center, the Southern Theater, the Ritz, and the Capri, among other Twin Cities venues, and has opened for artists such as Toki Wright, Big Daddy Kane, the Chicago Afrobeat Project, and the Black Storyteller’s Annual Concert.
England were not disgraced even though the margin was a large one: outside influences had much to do with the result. The faith of Australians that their side, in which Brown, Darling, Rigg and Fleetwood-Smith appeared, in place of Chipperfield, O'Brien, Badcock and McCormick, would atone for the two previous disappointments was reflected in the attendances. All records for attendances and receipts in a cricket match were broken. On the third day alone there were 87798 people present- the takings were £7405- and the aggregate attendance for the match was 350534 and the full receipts £30124.
As things turned out Bradman won the match for Australia when he won the toss and his tactics influenced the result. On the second day he took the unusual procedure in a played-to-a-finish Test Match of declaring his first innings closed and sent England in to bat on a pitch from which the ball often reared up almost straight and at other times kept low. It is important to mention that on the first day, when Australia were batting, the wicket was lifeless and unhelpful to spin bowlingand yet England got down six wickets for 130 and would probably have done still better had not rain set in and led to the bowlers being handicapped by the wet ball. Next day rain held up a resumption of the match until after lunch. The difficulties of the wicket quickly became apparent, and batsmen experienced such an unhappy time that in about three hours thirteen wickets fell.
England after losing nine wickets for 76, also declared so that for the first time in Test cricket each side closed its first innings.
It is possible England would have done better had Allen's declaration been made earlier but, as one authority put it, the England captain could not be expected to possess second sight. At the close of play on the second day, one Australian- O'Reilly- had been dismissed for three runs and a Sunday without rain enabled the wicket to recover so that when Australia took up their second innings again the conditions were more favourable for batting than at any previous time in the match.
Following the dismissal of Fingleton from a weak stroke after he had promised great things, McCabe was Australia's hero on the first day. Towards the end of the afternoon, with six wickets down, McCabe suddenly found his best form and revelled in a hectic ten minutes of big hitting, in which he was joined enthusiastically by Oldfield. The England bowlers were steady all day and the field gave nothing away.
Play on the second day, Saturday, was sensational throughout. On the "glue pot wicket" Australia's apparently feeble total of 200 assumed formidable proportions. Leyland was the one real success for England. Hammond scored more runs, and made some daring if desperate shots with a close ring of fieldsmen almost within touch of his bat; Leyland never seemed in difficulties. Both men were out to extraordinary catches by Darling at short-leg; just as Rigg had fallen to Verity on the first day- catches that would have been missed ninety-nine times out of a hundred.
Australia batted all the third day. It was inevitable that Bradman should find his form soon, and he chose the moment of his county's greatest need to do so. Rain feel in the afternoon and between- and during- the showers the England bowlers were handicapped by a wet ball which they wiped with a towel between each delivery. Bradman took full advantage of this and, though not quite his old scintillating self, and eschewing the off drive, he thrilled the crowd and subdued the bowlers. Scoring 270 he played his highest innings against England in Australia. Not until the evening was it revealed that Bradman was suffering from a severe chill. That explained his sedateness. In Rigg he found a splendid partner; a man who had been on the fringe of the Australian XI for a long time and looked good enough a cricketer to have gained a place earlier. Rigg, reputed a poor starter, showed none of this failing, and the free use of his arms and wrists proved his class. Hereabouts came the first glimpse during the tour of the Bradman known to England. It was after a stoppage for rain and he faced Voce. He took 13 off the over (of eight balls) and 2 and 3 off the first two balls of Allen's next over. Another shower cut short the burst of hitting.
The fact, on the fourth day, Bradman and Fingleton put up a sixth wicket record of 346- actually the highest stand for any wicket in a Test match in Australia- was due to Bradman sending in his tail-end batsmen first. Usually those two players would have been associated for the second wicket. The pitch had become as perfect as any batsman could wish, and though the England bowlers remained steady they had little chance of beating Bradman or Fingleton. One admired the brilliant fielding of the Englishmen all day. Hammond, Worthington, Allen and others were top class, while Robins was magnificent, constantly winning applause from the huge crowd. Only when Robins and Sims were bowling did the batsmen show real mastery.
Bradman, still suffering from mild influenza, was quickly dismissed on the morning of the fifth day, and immediately after lunch England opened their second innings wanting 689 runs to win. Such a task had never been achieved in Test history but the wicket was still very easy and a dour fight was anticipated. However, Leyland alone of the earlier batsmen, and Robins, towards the end of the day, batted really well. Hammond made a splendid 50 and then was out to a rather careless stroke. The scoring was certainly fast and delighted the spectators, but this was not quite the type of cricket the situation demanded.
On the sixth morning Leyland and Robins rose to their greatest heights. Previously, Leyland had carried such responsibility that he had repressed many of his most spectacular shots, but this time he exploited them all, his hitting through the covers being reminiscent of his finest innings in England. With Robins out England virtually were all out, and Leyland remained undefeated with a noteworthy 111.
The Australian team looked better balanced than in the first two Tests. Batting for six and a half hours, Fingleton not only scored his second century of the series- like Leyland- but also saved something like 60 more runs with his fine fielding close to the wicket. Sievers bowled very well, but Fleetwood-Smith's figures, five for 124 in the second innings, were flattered by his dismissing Voce and Sims with the last two balls of the match. Against Hammond, he seemed incapable of bowling a length. Ward failed with the ball and Darling, though fielding well, did not justify his being brought back into the team.
The Australians never allowed their initial advantage of winning the toss to slip from their grasp. Allen's captaincy was above criticism, for the chance he might have taken in an earlier declaration when the wicket was bad would have looked ludicrous if the weather had changed. He had his men on their toes the whole time, and neither he nor they lost heart through the defeat. Voce and Verity were outstanding England bowlers. The latter kept an immaculate length and allowed no batsman to take liberties with him. It can be recorded with truth that Voce never bowled quite as well as in the first three Tests of this tour. He was untiring in his work and maintained his concentration and deadliness right through each innings.
© John Wisden & Co
Made by Catherine Duggan, 1994.
98x198cm
Influence: Inspired by a cubist painting called "The Sea", by Maimie Jellet.
Technique: Hand appliqué, machine quilting, cotton.
This quilt was part of an exhibition of quilts from members of the Irish Patchwork Society in 2006/07. This exhibition shows quilts from the past 25 years. For more information about patchwork and quilting in Ireland see www.irishpatchwork.ie
A former private residence in the Wudadao neighborhood of Tianjin, China with German-influenced architecture.
Wudadao (五大道), or the Five Main Avenues, are an affluent and historic section of Tianjin, China, in the Heping district just south of downtown. They five main avenues (streets more than avenues) are: Chongqing, Changde, Dali, Munan, and Machang. They take their names from cities in southwestern China.
This is a small, eminently walkable neighborhood (nearest subway station is Xiaobailou on line 1) that is most renowned for being eclectic. It is primarily residential, but sprinkled throughout the neighborhood are quite a few chic restaurants, trendy boutiques, a few sculptures, and a small park. The avenues have an east-west alignment and – from at least two of them – there are nice views of the Tianta Television Tower to the west that can be framed by the tree-lined avenues.
Wudadao is a photographers’ delight. Architecturally, it has a smattering of quite a few different styles: Renaissance, Greek, Gothic, and Romantic. The area designates 230 buildings as historic with those architectural styles from Britain, France, Germany, Italy, and Spain. About 50 of the houses have been lived in by local and national celebrities which also adds to the quirky attractiveness.
Strolling the avenues with a camera is a wonderful way to spend a morning or afternoon. Stop in and grab a bite at any of the restaurants in the neighborhood. (I’m personally quite fond of Chateau 35 on Changde Dao which is one of the best steakhouses in Tianjin.)
If you are tired of strolling – though the area isn’t terribly large – you also have the option of renting bikes to ride around (standard, tandem, or “bike carts”) or even touring the area by horse and buggy. You will most certainly run into photographers like me trolling the streets and probably be pleasantly surprised by the area.
ND400, diffused light, mid-day with strong open-sky above and diffused sunlight to camera left/behind.
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- Tricks of Influence - 7 Biases and Psychological Artistry -
September 2012
Hi
A key question for you is what do you think moves people to change behaviour? What are the 7 key biases that we all have which lie behind making decisions and choices?
Being able to answer these questions means understanding influence and decision making processes. Influence is the driving force for us making the most of our resources.
. Introduction
. Choices - The 7 Cognitive Biases
. Standing Out From Countless Distractions
. A Better Show-reel
. Sleight of Mind Set Workshops
. Feedback
. What Is Psychological Artistry?
. Examples of Psychological Artistry
. Other Services
. Contact Me
The ability to influence, appear to be able to dictate and predetermine people's choices and actions lie behind much that we cover in our SMS workshops. We're now very excited to be able to offer to you a number of open workshops dedicated to showing you mind magic and psychological artistry and how to apply it to what you do. We call this these the Sleight of Mind Set Workshops (click here for more information) or visit mindsways.com/SMS/
The ideas and material in this workshop is designed to reinforce and expand upon your delivery and interventions. Following on from the recent successes we are now holding the SMS workshops in Birmingham, Bath, Glasgow and London during November.
CHOICES - THE 7 COGNITIVE BIASES
Our choices are driven by our cognitive biases, 7 of the most important ones that we make use of in Psychological Artistry are:
Availability bias
Conformational bias
Illusion of control
Clustering or patterning fallacies
The Forer effect
Anchoring
Framing effect
There are many more, but understanding just these 7 gives us massive insights on our own decision making processes and also makes a large impact on how we influence other people's decisions and choices. In addition to these other biases come into play that have an impact on our lives and business. Some of these are:
Distinction bias
Egocentric bias
Information bias
Belief bias
We use to psychological artistry to both illustrate and understand these processes in a non threatening yet challenging way.
Mind Magic uses these and other techniques to give you the appearance of being able to accurately direct, dictate and influence people's choices. Being able to apply these techniques and ideas, as well as carry out these effects, increases your understanding of the psychological forces and shows others that you work with them.
These forces have real and practical impact on our lives daily. The SMS day uses mind magic as a lens to focus and clearly illustrate these psychological biases, whilst at the same time equipping you with an approach that is entertaining and engaging. This can prove a powerful way to engage a variety of people.
STANDING OUT FROM THE COUNTLESS DISTRACTIONS
With countless distractions coming at us from all angles, we must be able to stand out from the crowd, grab attention and more importantly, be able to hold attention. The skills and techniques that are embedded within Psychological Artistry are designed to do just that. I have coached and trained with this approach and found that through this, many areas can be dealt with, such as:
Developing confidence
Communication skills
Understanding behaviours
Biases ( social and cognitive)
How we experience the world
Self expression
Thinking skills
We are about uncovering the patterns of human behaviour whilst being
Entertained
Fascinated
Mystified
Enlightened
A BETTER SHOW-REEL
"To win more pitches, you need a better show-reel." John Hegarty - Hegarty on Advertising
We are looking to add to your "show-reel" by teaching you these techniques, routines and effects. A warning though, they must be treated like the special effects we see in films. They are there to enhance and illustrate what you do. A movie that is all special effects and no story makes for a boring film. Sometimes the best special effects are invisible. You will learn to use the Psychological Artistry toolbox of special effects to enhance and illustrate what you deliver.
SLEIGHT OF MIND SET WORKSHOPS
On these days, you will follow us down a path that will capture your imagination, giving you a complete skill set of astonishment, amazement and wonder. You will experience the worlds of Psychological Artistry, Neuroscience, Smart Thinking, Stagecraft and Magic, as well as partake in an experience that defies and twists logic and scientific understanding.
The day will challenge you to think about your delivery in entirely different ways. You will uncover your ability to step out of the logical box and view what you do from an entirely new perspective.
These workshops are all about enabling you to learn, appreciate and apply mind magic and psychological artistry to what you do. The approach is not traditional, but that is where its strength lies, particularly when advertising and adding value to others.
The programme includes two packs of material, the SNT (Show Not Tell) kit and the SMS (Sleight of Mind Set) pack; these include 20 discrete routines, ideas and techniques that allow you to deliver what you learn. The material here is not readily available but is assembled in packs ready for you to take away and use.
We are engaged with a wide range of people and organisations, but all of them have one thing in common; they are all people who work with people. They all want to increase their performance; they are all searching for methods to improve what they do, they are all seeking something different. It is our objective to meet this outcome and we are doing it through using Psychological Artistry. For more information about the workshops please click here or visit www.mindsways.com/SMS/.
FEEDBACK
We have both been very pleased with previous feedback, with people saying it was "mind blowing" and "totally new". We are now seeing that we are meeting your expectations and adding value, which is very important to us. To see what people have said see www.mindsways.com/about/what-people-say/
WHAT IS PSYCHOLOGICAL ARTISTRY?
Psychological Artistry has at its heart Mind magic a tradition that has intrigued, entertained and drawn people in for over a century. We wrap around and mix in the science of social psychology, NLP, neuroscience and smart thinking. We take the building blocks of magic and psychology, and transform them so that you can use them to show people what you do, as well as what makes you different and worthy of their time. This leads us down a path where our focus is on learning by doing and through showing not telling. This produces an approach that is different enough to draw people to your projects or ideas.
We do this by weaving together overlapping areas of delivery such as:
Psychology
Influence
NLP
Presentation Skills
Human Behaviour
Stagecraft
Performance
Confidence
Story Telling
Engagement
Magic ideas and techniques
Today in this society which is rapidly changing and evolving our visibility is vital. You must be able be visible. You must be able to deliver new ideas and present established ideas in new ways. One of the easiest ways to do this is to appeal to novelty.
The skills and experiences you can gain from Psychological Artistry allow you to absorb these new ideas into your world, full of your own experiences and thoughts. Use these for encouraging and illustrating self awareness and the power the environment and our circumstances has in how we think and behave.
This acts as a vehicle for you to stand out and make an impact with your ideas.
AN EXAMPLE OF PSYCHOLOGICAL ARTISTRY
A couple of 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". Please take a look here or visit mindsways.com/community. I would love to know what you think. These illustrate both the power and the approach of psychological artistry.
OTHER SERVICES
The SNT kit is available separately. We are currently shipping this worldwide with very positive feedback. If you are curious to see more, please click here.
We've found that on the Workshop, psychological artistry starts to mix itself in with the skill sets of of many different areas.
Please click on the links below to see Mindsways in
Business (www.mindsways.com/business/)
Therapy and Coaching (www.mindsways.com/therapy-and-coaching/)
The Community www.mindsways.com/community)
We also work with a limited number of individuals on a 1:1 mentoring, consulting and coaching basis, where they want to develop the expertise of being a Psychological Artist.
If you are curious or want to know more, or look at ways that we can work together, please look at www.mindsways.com/ or contact me directly.
Thanks
George
PS If you would like to know more about this subject, please take a look at www.mindsways.com/books/ to see some of what has influenced our approach.
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