Psychology Themes And Variations Deals For Psychology: Themes And Variations Briefer Version [Paperback]

Psychology Themes And Variations See Psychology: Themes and Variations Briefer Version [Paperback] Details

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as of 2012-09-27 11:09 AM

Tantric Lovemaking and the Art of Kissing

Kissing is one of the most important aspects of love making and can often make or break a relationship.A kiss is often the first intimate physical contact that you have with a possible new lover or partner.From a kiss a person can often tell what kind of a lover you are or at least some say they can.Some people can reach orgasm by kissing alone.Not wanting to be kissed by your partner can be a signal of trouble in the relationship.If a kiss feels wrong, many women will just say good-bye to the guy.Unfair you say.Well maybe not.You see from a Tantric perspective kissing is a powerful way to awaken, arouse and titillate your lover.To become a great kisser is really to become an artist with ones tongue and mouth.Now I know this may sound fairly easy.I mean after all most of you have been kissing in one way or another for years and there are many variations of this theme.But what I am addressing here is the art of kissing to release the nectar that resides within the tantric subtle body as well as the electrical current that runs from the mouth to other erogenous zones.Making kissing a daily ritual will juice up your relationship and re-ignite your passion.There are many different kinds of kisses. slow, wet, quick, deep, hard, soft, breathy, and then there is Tantric kissing.Kiss your lover at least twice a day and experiment with these different kinds of kisses.(Dr.Ava Cadell).1.The Tantric Kiss - In this kiss you are actually breathing in your partner's breath.You are not using tongues or any movement of any kind, but rather you share breath together.This kiss is very intimate.What could be more intimate that sharing the breath of your lover? This kiss can bring you into a state of harmony and flow with your partner.You forget time and space and are just breathing in and out with each other.To begin with, sit in Yab Yum or lie prone facing each other.Legs can be wrapped around each other or whatever way is most comfortable.Then, just touching lips, exhale into your lover's mouth as they inhale your breath.Then your lover exhales while you inhale.It may take some practice to get the flow moving easily, but once achieved it is truly a kiss from heaven.Keep in contact with your lover by maintaining eye contact at least every now and then.I have found that I generally will close my eyes and just lose myself in the rhythm of our breathing.2.Butterfly Kissing - Begin by very lightly and gently kissing your partner's face, exploring their chin, cheeks, nose, eyelids and forehead with your lips.Take your time and build the energy.Like the wings of a butterfly your lips move over your lover's face.Lightly kiss your partner's lips.Take your tongue and brush gently over them.Then just gently kiss your partner's lips from one corner to the other, sweet and flickering.3.Libation Kiss - To release the nectar from your partner's subtle body, take your tongue and rub it gently along the inside of their upper lip.The nectar is not saliva, but is warm and watery and stimulates the release of a 'sexual dew' that spills down through the body from the crown or uppermost chakra.In tantra remember you are not only working in the physical body but also the energetic and subtle bodies.4.The Slow Deep Kiss - Now put your heart and body into a slow kiss alternating the pressure from gentle to deep with mouth slightly open.5.The Nibble Kiss - Kiss your partner and gently nibble on their lower lip.This will send a jolt of electricity directly to the nipples or yoni of a woman, and to the lingam of a man.6.Sucking Kiss - Wrap your lips around your lover's tongue and suck passionately alternating your speed from slow to quick.7.Exploratory Kiss - Explore the inside of your lover's mouth with your tongue by running it in small and large circles.8.Quick Silver Kiss - Dart your tongue in and out of your lover's mouth rapidly and then slowly as if you were having intercourse.Remember to use your entire body and make all those wonderful sounds of love.9.Melting Kiss - Begin by kissing gently.Then relax your lips, open your mouth just a bit and go deeper.Allow your mouth to melt into your partner's and your tongue to relax.This type of kiss is truly my favorite.No one is directing it, and you and your partner can just flow with each other.Remember to be creative and find if you like try chocolate, liquors or fruit when kissing, it can be a bit messy but oh so delicious.The art of kissing takes lots and lots of practice.So create time with your lover or partner to kiss often.Kiss when you are walking down the street together.Kiss when you are waiting in the elevator.Kiss when you are walking the dog, cooking, doing the wash, when you first wake up and when you go to sleep.Practice, practice, practice.Try all of the above and invent a few of your own kissing techniques.And remember to have fun.If you would like to study the art of kissing even more, why not try a kissing class at the Loveolog University.

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How to Have Better Sex & Improve Your Love Life Creatively

Is sexual boredom the proverbial elephant in your bed? Routine, vanilla sex can become a BIG problem most couples just want to ignore.We all hope it will get better like it used to be.Great sex is extremely important in your relationship.With a bit of creativity, you can easily get the sizzle back in your love life.So fire up your creative energy and sexual desire - choose to be a dragon in your pleasure den and chase boredom out of your bedroom.With a simple creativity technique, you will discover how to heat up the passion and lust in your relationship and become a more exciting lover.You can satisfy the cravings both you and your lover have for novel sexual thrills and erotic adventure.It is time to step out of your comfort zone to try something fresh and experience new tantalizing pleasures for both your mind and body.Great sex is not just physical.We all need to stimulate our emotions and our imagination.Everyone wants the thrill of doing something wild, naughty and new.Even if you think you have tried everything before, try them again but add a twist.For instance, the missionary position is an old favorite for most couples.It is intimate and comfortable in bed.Now try it on the front lawn in the morning dew - just a little more exciting.Now to get your creative juices flowing so you can surprise your lover with novel bedroom ideas and reinvigorate your love life.One of the easiest ways to come up with something new and different is to randomly combine multiple ideas.Then see how you can make them work together.You will be amazed how your mind can take seemingly weird combinations and make sense of them.Even if the ideas appear totally unrelated, give it a chance and they will trigger new thoughts you can use.Elements of great sex can be grouped into six categories. Sensual Accessories. various types of sex toys, different styles of lingerie, food, flavored lubes, bondage equipment, etc.How many pleasuring accessories do you have in your drawer, closet or refrigerator? Settings & Themes. location, style, mood, fantasy and role play.Your sexual desire can range from a sensual massage one day to a wild quickie in an elevator the next.Will you make love in bed, on the kitchen table, on the stairs or the back seat of a car? Will she role play a maid, call girl or a dominatrix? Foreplay for Him. there are so many pleasure points to focus on besides the obvious one of course.How many male hot spots and stimulation techniques can you think of? Foreplay for Her. think of using your lips, tongue, fingers and other body parts to lovingly caress and sensually explore her body.How many of her erogenous zones have you pleasured recently? Are you missing or neglecting any? Sex Play Activities. sex play may involve multiple positions as you build arousal - it is more than just intercourse.There are so many imaginative positions and variations to experiment with.Manual and oral pleasuring also adds to the fun.The Climax. consider how you will finish your sex session.What position or activity will result in orgasm? Will you both drift off to sleep, wash up for work or try to rev up for more?Alone or with your partner, create a list of ideas for each category.By mixing and matching an idea from each group together, you will have all the elements required for a night of frisky fun.Although you most likely have a huge list of your own sexy ideas, sometimes you may want an extra source of inspiration.Books are one of the best sources for lovemaking ideas.The number and variety of erotic ideas people come up with are fantastic.There is something for everyone and every desire.Once you come up with your lists of naughty ingredients for your erotic menu, randomly select a few and surprise your partner with wild combinations of pleasure possibilities.It is really that easy.Sex does not have to be spontaneous.With planned random sex and a little imagination, you will enjoy more creative loving.Give it a whirl.Your sex life will never be the same again - it will be much more fun.Just remember to leave your lover satisfied but always wanting more.

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Psychology Themes And Variations What Is The Best Price For Weiten, Wayne's Psychology: Themes And Variations - Text Only 8th (eighth) Edition By Weiten, Wayne Published By Wadsworth Publishing [Hardcover] (2008)

Psychology Themes And Variations See Weiten, Wayne's Psychology: Themes and Variations - Text Only 8th (eighth) edition by Weiten, Wayne published by Wadsworth Publishing [Hardcover] (2008) Details

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as of 2012-09-26 11:07 PM

Just Another Day at the Office - How to Get Better Results in Auditions

Welcome!"Just another day at the office." was originally written for classical musicians as an aid in preparing for auditions and other solo performances.  However, the information in this article can be applied to anyone in a 'high-pressure' performance situation!   Introduction Throughout the course of your performing life, opportunities to audition for jobs or perform in solo recitals don't usually come along too often.If you're an active job-seeker, you may have the chance to attend four or five auditions per year.As a student, you might perform one or two sixty-minute solo recitals per year.And as a full-time professional orchestral musician or choral singer, solo performances may be very few and far between indeed.Auditions and other solo performances are 'under the spotlight' events, and are often experienced by many performers with high levels of performance arousal.   ."Performance arousal? What's that?".You've no doubt heard of or even experienced feelings of anxiety before and at times during performances.This anxiety, or performance anxiety as it is commonly referred to, is the negative form of performance arousal.Performance anxiety can affect you negatively in performing situations.Excitement on the other hand, or the feeling of looking forward to a performance, is the positive form of performance arousal, and can have a positive effect on your ability to perform.But this is only true if the level of excitement you experience is appropriate for your particular performing situation.In other words if the level of excitement you experience is inappropriate (i.E.Too much or too little) for your performing situation, then this excitement will have a negative effect on your ability to perform.  So in short, the term "performance arousal" describes the excitement or anxiety you may feel before and at times during performances.Performance arousal can be particularly strong in 'under the spotlight' events, or other performing situations that you perceive as 'high-pressure'."Ok.So how much positive performance arousal (excitement) do I need to get the best results?".As a classical musician or singer performing in a recital or audition situation, high levels of excitement may make you feel like you are out of control.Likewise, performance anxiety can also make you feel out of control, and in addition may be accompanied by unpleasant physical sensations such as muscular tension, hyperventilation, sweaty palms, nausea, and so on.So, in traditional recital or audition situations, a moderately low level of positive performance arousal (excitement) will in most cases allow you to achieve your best possible results."That sounds like it should work in theory.But how do I actually make it happen?".In this article you'll be shown the simple yet powerful technique of Intense Positive Visualisation .This technique has been specifically designed to help you obtain an ideal state of mind for your performing situations, regardless of your field of performance.Using Intense Positive Visualisation, you can achieve better results in auditions, and see how other 'high-pressure' performance situations may be perceived as easy, comfortable, and dare I say, even a joy to experience!    .Familiarity.To begin with, let's take a situation quite apart from a musical one.Let's imagine for a minute that you are an office worker beginning your first day at a new job.As with a recital or audition, this is a situation that can put you in the stressful position of not knowing exactly what will happen throughout the course of the experience.You might have a certain amount of information, but there are still many variables and details that are either unfamiliar, or completely unknown.You are also quite naturally aware that the outcome of the actual event is significant, especially given the importance placed on first impressions.What are some of the physical and mental responses that you might experience before and/or during your 'ever-important' first day at the office? Perhaps you might have sweaty palms, shallow breathing, a churning stomach, or possibly mixed feelings of excitement and anxiety.However, after experiencing your new environment for a few days, you begin to perceive being at the office as no big deal.When this happens, the heightened excitement or anxiety (performance arousal) you experienced on your first day starts to disappear.Now, compare the number of times you've heard of the phrase "I'm starting my new job today.Wish me luck!" with the phrase "It's my 30th day at the office today.Wish me luck!" and not to mention "It's my 2,623rd day at the office today.Wish me luck!" It starts to sound ridiculous, doesn't it? So therefore, and this really is the crux of the matter, what is the difference between the ever so slightly ridiculous sounding 2,623rd day at the office and the 1st day at the office?   The answer is familiarity!   And it is a special sort of familiarity that helps us feel at ease, calm, confident and in control.This sort of familiarity can be referred to as positive conditioning.   .Riding the Roller Coaster.To explain positive conditioning in plain English, picture this.You are at a theme park and are very nervous or anxious about riding that big, scary roller coaster for the first time.Even thinking about taking the plunge starts you off on a serious emotional roller coaster! "Should I? Shouldn't I? I don't really want to after all.But I do want to try it, and all my friends are doing it.I can do it.I can't do it.It might be fun!? But what happens if we crash? Maybe I should have just stayed in bed this morning!".Eventually you decide to board the roller coaster, and experience the ride.Riding the roller coaster turns out to be a positive experience - you survived and even enjoyed it in some weird way! This makes your brain suddenly say "Hey! That wasn't so bad after all!" The next time you think about riding the roller coaster, you are perhaps only a little nervous or anxious.You make the decision to ride the roller coaster again, and again it turns out to be a positive experience - you even had your eyes open this time! Your brain now says to you "Hey! That was actually kinda fun! I want to do it again!" And so the next time you think about riding the roller coaster, you are looking forward to it, because you know it will be a fun, enjoyable experience! This is basically how positive conditioning works.    However, what if your experiences are negative? For example, what happens if the first time you ride the roller coaster you get stuck at the top of the ride and are forced to dangle upside-down for 6 hours because of a technical problem? If this happens, your brain is probably going to say to you the next time you think about riding a roller coaster, "Oi! Remember that last roller coaster experience?? It was horrible! I don't ever want to go through that again - get me outta here!" This is negative conditioning in action. ."The Routine" - Part 1.So, how do we ensure your brain tells you that auditions, recitals, and other 'high-pressure' performing situations are easy and fun? How do you achieve positive conditioning when you only get one shot at something??? We'll answer these questions very soon! But for now, it's back to the office!   After 30 days at the office, you know the routine. .* Wake up with the alarm clock, hit the 'snooze' button, and sleep for an extra 10 minutes   * Get out of bed when the alarm rings for the second time   * Eat breakfast   * Have a shower and get dressed   * Brush teeth   * Shoes on   * Leave the house after locking the door   * Walk to the bus stop.Aim to arrive there in time to get on the number 85 bus that you know always leaves 2 or 3 minutes earlier than it's supposed to   * Board the bus   * Get off the bus at the appropriate stop   * Walk up to the building and in through the main entrance    ."The Routine" - Part 2 A.* Greet the receptionist   * Sign in   * Walk up the stairs, bidding a fellow colleague a good day on the way   * Greet the other office workers as you pass them on your way to your desk   * Arrive at your desk, sit down, and start the day's work   * Lunch break for 45 minutes   * Work through to the late afternoon   * When it's time to leave, walk back down the stairs, out of the office, and out of the building All of these small but necessary actions are completed each day as part of your routine.Thinking back to your first day at the office, you didn't have this routine - your first day was completely unfamiliar! This is the reason why you may have been feeling anxious or even over-excited (high performance arousal level), and the reason why you asked your partner, flatmate, friends, or family to "wish you luck."    .Now, if it feels like we have wandered from the path of an 'under the spotlight' performance situation, read the bullet points in "The Routine" - Part 1 again, and then skip directly to "The Routine" - Part 2 B below. ."The Routine" - Part 2 B.* Walk around to the stage door of the venue   * Greet the receptionist at the desk   * Sign in   * Walk up the stairs and along the corridor to warm-up room marked 'Soloist 1'   * Take out your instrument, and begin your warm-up routine   * After some time, your accompanist enters the warm-up room   * With 15 minutes until your audition is scheduled to start, you rehearse entries and certain problem passages   * The stage manager knocks on the door, and asks if you are both ready   * You follow the stage manager to the wings in the off-stage area   * You walk confidently on stage, with your accompanist following closely behind   * You acknowledge the audition jury   * You begin the audition calmly, and confidently   * The performance begins, and continues in the most musical way you can possibly imagine   * You finish the last audition piece, acknowledge the jury, and finally walk off stage.So, if you're a performer, and get the chance to be 'at the office' for 30 days (performing in recitals or auditions every day for 30 days) you can get to know the routine, and become quite comfortable and familiar with it.But wait a second! You might be thinking. "Ok, but the office worker has the opportunity to learn the routine and get familiar with it as they are in reality at the office every weekday.I'm not doing a recital or audition everyday.I only get one shot at this!"    .What?You're right! You're not performing in a recital or audition everyday, but you should be! "What? Auditions and recitals don't come along everyday!" In reality, no they don't! But in your mind, you can perform auditions and recitals as often as you wish!  ."What do you mean?!? How does this work?".By using specially designed visualisation techniques, you can use your mind to rehearse any 'one-shot' performance as many times as you wish! Therefore, you can become familiar with your 'one-shot' performing situation, well before it even happens! So, if you practise visualisation techniques, when you walk into your performing situation in reality, you're just like the office worker going to work on their 30th or even 2,623rd day at the office! In other words, you can feel, calm, confident, and in control in any performance situation!  .The Proof."But wait just another second! Surely there is a vast difference between experiencing an event in reality and experiencing the same event in your imagination? After all, the office worker actually is at the office every day, and if I use visualisation, I'm only going to imagine myself being at 'the office'.Can this really be the same thing?"   The short answer to this question is YES!   According to many studies on visualisation in the field of sports psychology, the subconscious mind doesn't know the difference between actually experiencing an event, and simply imagining an event in vivid detail!    .Look at this example..One study on visualisation in sports psychology involved the members of three basketball teams of approximately equal skill level, practising shooting '3-pointers', for a period of 30 days.One of the teams practised neither physically on the court, nor in their minds during the duration of the study.Their improvement at the end of the study was not surprisingly 0%.Another team practised physically - that is, on the basketball court - for a period of one hour each day.After 30 days, their improvement was measured at 24%.The third team did not practise physically at all but was told to mentally visualise the game for one hour each day.At the end of the thirty day period, their improvement was a remarkable 23%.  What was the reason for this?   The sports scientists concluded that the subconscious mind cannot differentiate between what is real and what is imagined.Therefore, since the subconscious mind has a large influence on how you perform, positively conditioning your subconscious mind using Intense Positive Visualisation can have a huge effect on your success as a performer! Find out how to practise Intense Positive Visualisation in the next section!    .Intense Positive Visualisation.Visualisation techniques can help you positively condition yourself to achieve an ideal state of mind, helping you to gain optimal results in your performing situations.  In short, when visualising, you train your mind by entering a relaxed state and imagining the exact results you would like to achieve.By regularly practising visualisation techniques, you can condition yourself for success! In the book Performing in The Zone, three different types of visualisation techniques are explained..* Snap Shot   * Intense Positive Visualisation   * The 5 Sense Visualisation Method  .Here in "Just Another Day at the Office." you're going to see exactly how the simple yet powerful technique of Intense Positive Visualisation can help you in your performing situations! Read on!  .Different points of view .Intense Positive Visualisation can be carried out in the 1st person or 3rd person perspective.Using the 1st person perspective, you put yourself in the centre of the visualisation.For example, if you are a concert pianist, you would imagine yourself performing on stage from your own eyes, seeing your hands and the piano keyboard in front of you, taking in the experience as if you were actually carrying it out in reality.In the 3rd person perspective, you would see yourself from a distance, possibly from a seat in the audience, the back of the room, or even a position up in the ceiling somewhere above, behind, or beside you.Some performers find a 1st person visualisation to be more powerful and real, whereas others may find a 3rd person visualisation to be most effective.Experiment using both viewpoints, and discover which one works best for you.   .Intense Positive Visualisation explained.To practise Intense Positive Visualisation, you will need to be undisturbed for a period of anywhere from ten minutes to an hour, depending on the length of the performance you are about to visualise.Intense Positive Visualisation is best carried out lying down on your back with your hands resting gently on your solar-plexus.You may choose to lie flat on the floor or on a yoga mattress.Lying down on a bed can be an acceptable alternative, and is at times preferable if practising this exercise just before sleeping.It's important to keep the body at a comfortable temperature throughout the duration of the visualisation, and therefore covering yourself with a blanket might be necessary.To begin Intense Positive Visualisation, gently close your eyes, and lightly touch your tongue to the front part of the roof of your mouth, just behind the teeth.This is a Qi Gong technique which forms an 'energy bridge' to allow freer flow of energy in the human energy system.Try to keep the root of your tongue relaxed at all times.If you have trouble with this, simply let your tongue sit in its natural position and come back to this Qi Gong energy bridge technique at a later stage.Whilst in a horizontal position, allow the floor to take your weight.Feel your limbs becoming heavier the more relaxed they feel.Trust the floor - it will hold you.Give in to the support from underneath.Trust, relax, and let go.Breathe gently through your nose.Allow your body to breathe as it needs to.The next section is designed to help you understand how Intense Positive Visualisation works.It is an example of one possible visualisation, taken from the perspective of a musician giving a recital, requiring a performance arousal level of +1 before the performance, +2 for the majority of the recital, and +3 for the climax of the concert.After reading the following example and understanding the process of Intense Positive Visualisation, you can then create your own personal visualisation to meet your specific needs.When creating your visualisation, remember to visualise events exactly as you want them to be.   .Start of Intense Positive Visualisation example..You begin by imagining yourself at home, taking your performance clothes out of the wardrobe.You check to see that everything is in order with your clothes and your performance shoes.You put your performance clothes and shoes in a suit bag, pick up your instrument case, check to see if you have your keys and wallet, and leave the house, locking the door behind you.You walk down the stairs and out on to the street in a relaxed pace.Arriving at the metro (underground train/'tube') station, you use your ticket to pass the barrier, and board your train.It's going to be a great show.Your performance arousal level is at +1.You feel relaxed, positive, and calm.Getting off at the right stop, you stroll towards the recital hall, taking in the scenery on the way.Perhaps a seagull is calling in the distance? How do the trees look? Are there other people out walking? You take out your Cue Card and slowly read over your key words.Your performance arousal level is at +1.You feel relaxed, positive, and calm.You arrive at the venue and greet the receptionist on the way in.After signing in, you head to your warm up room where your accompanist is already waiting for you.You ask your accompanist for 15 minutes by yourself so that you can prepare yourself and warm up.You unpack your instrument, and begin your warm up routine.It feels fantastic to start warming up.You know your accompanist is going help you put on a great show.You know that the venue has a warm acoustic.Your performance clothes are ironed and your shoes polished.You are ready.You are about to share part of yourself with some people who want to hear you - they want to be touched by you.It's going to be a warm, giving, rewarding experience for both them and you.It's going to be great! Your performance arousal level is at +1.You feel relaxed, positive, and calm.After 15 minutes your accompanist walks in to the room.Before you begin to rehearse, you check your Cue Card again, and go through your Pre-Performance Ritual, "C3" - calm, controlled, confident - the "C3" and "+1" on your Cue Card gives you a familiar, friendly reminder.You rehearse the beginning of the first piece with your accompanist.It's easy and free.  The acoustic in the practise room is dry, but you know that out there in the hall the space will take care of you - the warm reverb will beautify every nuance and add to the experience for everyone.Your performance arousal level is at +1.You feel relaxed, positive, and calm.When it is time, you are called to the wings of the stage.You take one final look at your Cue Card and go through the "C3" exercise again.You can hear the chatter of the audience, and see the stage in front of you.You walk calmly, securely, and with purpose on to the stage where you are greeted by applause.They like you and you haven't even done anything yet! This is going to be a fun performance!Your performance arousal level is at +1.You feel relaxed, positive, and calm.Whilst your accompanist adjusts the piano stool, you look out into the audience and make visual contact with the people you are about to touch with your performance.Your body language exudes confidence and assuredness.You greet the audience, introducing yourself and your accompanist, and begin to talk about the evening's programme.Your voice is stable, powerful, and reflects the perfect +1 state of performance arousal that you are currently in.Your voice resonates effortlessly to the back of the hall.You are in The Zone.After your brief introductory talk, you look to your accompanist who is ready to work with you.This is going great! You begin your performance, and your performance arousal gently rises to a +2.(At this point in the visualisation I strongly suggest that you visualise your entire performance - that is, see and hear yourself giving the most musical, fantastic, controlled, inspired, moving performance you can possibly imagine.Use either 1st or 3rd person perspective.In your visualisation you are doing everything right - it feels fantastic and sounds amazing.You are at an ideal level of performance arousal for this performing situation, and totally in The Zone.) Just before the climax of the final piece, you turn the page, and see the familiar figure of "+3" that you wrote earlier at the top of your music.You step it up a notch, and raise your performance arousal level to +3.The music takes on a new life and energy and this is felt by you, your accompanist, and the audience.Finishing the concert at a +3 level your audience erupts in cheers and applause.You did it! It was great!! You were in The Zone! You acknowledge the audience, and walk off stage. .End of Intense Positive Visualisation example.When you feel ready, slowly begin to move your body again.How did it feel to give that amazing performance? You were great! Everything just 'clicked'.You were totally and completely in The Zone throughout the entire process.  Intense Positive Visualisation can be practised every day before a performance.By doing so, you can condition yourself to perform in The Zone.Intense Positive Visualisation is highly recommended to all performers about to give important performances, auditions or recitals.The earlier you begin Intense Positive Visualisation the better, but at least one week prior to the performance event should be the minimum.In your own visualisations, remember to assess how much positive performance arousal you need at various moments. +1, +2, +3, +4, or +5.Do you need to be at the same activation level for the entire event, or does your performance arousal level need to modulate at various times?Remember that imagining yourself calm and relaxed probably isn't going to give you the best results if you are preparing for an intensely physical, fast-paced performance situation.Likewise, visualising getting yourself psyched up and exploding out of the gates isn't going to help you if you are preparing for a more delicate +1 situation, such as a slow movement of a concerto.  Visualising performing with an ideal level of performance arousal is important!   By using Intense Positive Visualisation, you are using positive conditioning to become familiar with as many elements of your performance day as possible, and become used to experiencing these always in a positive light.Notice also that Intense Positive Visualisation goes into as much detail as possible, both before and during your performance.This is to help take away as many surprises and unknown factors on the day of your performance as possible.It may help the accuracy and intensity of your visualisation to do some reconnaissance by actually visiting the performance venue prior to your performance event.This is easily possible for students giving final recitals for example, or sportspeople playing at a local venue.Try to also incorporate some variations in your visualisations.Perhaps the audience isn't ready and takes an extra 5 minutes to get seated? Perhaps your accompanist arrives later than expected due to traffic problems?Maybe the stage curtains are blue and not red? Perhaps the warm up room is bigger or smaller? Regardless of what happens, you are prepared, and you stay in your ideal level of positive performance arousal.You are completely stable, and in The Zone, always.  By using Intense Positive Visualisation every day over a period of one week, you have in effect carried out your performance successfully 7 times.Practise this visualisation 3 times per day for a week and you've completed 21 successful, positive, great, fantastic, easy, ideal performances, and have been in The Zone every single time! Remember that your subconscious doesn't differentiate between what is real and what is imagined.Therefore by using Intense Positive Visualisation diligently, you are conditioning yourself for success by becoming familiar with performing in The Zone! By using the technique of Intense Positive Visualisation, you can experience your next audition, recital or 'high-pressure' performance as just another day at the office!   thezonebook.Com.

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A Good Sex Guide Can Pave the Way With the Right Starters

You can save on commuting time by exploring the various sites on the internet.Information on any topic is freely available.Enhancement products, beauty tips and lovemaking techniques and positions can be purchased on line and the product is directly shipped to your door.If you are looking for a good sex guide to widen your spectrum on the sexuality aspect, check out several sites highly recommended by the advanced search engines and remove those blinkers!When you look for information, you should keep an open mind and accept your limitations.If the information you seek does not fit in with your way of thinking or acceptance levels, you may shrug your way out and look for material that does not involve much participation from your end.Every sexual encounter need not be the same.You can try out variations, plan themes and generally make the experience special.If you arm yourself with a good sex guide, you can expect the unexpected.You learn the art of making proper conversation to set the pace for the evening.You can get your partner in the mood, by telling her how hot you are getting, or by just mentioning that sexy negligee she wore when you were with her last.Subconsciously, she is planning her moves to make you feel hornier.It is up to you to create the right ambiance and mood for the evening.If you have zoned in the right guide, you will know what moves to make when she arrives, what foods to dish out to remove those inhibitions, which areas to tease and which to fondle and stroke.Be the complete master by following instructions from a good sex guide and making the evening memorable for both of you.Be consistent and gentle and try not to prolong the duration of your love making by not prematurely ejaculating.Some guides tell you that if you ejaculate quickly, then you have time to work on her leisurely before you are sufficiently aroused.This may help to allow her to reach her orgasmic peaks and provoke her to join in the extended love game with abandon.

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Psychology Themes And Variations Cheap Psychology: Themes And Variations, Briefer Edition (with Concept Charts) 8th Edition By Weiten, Wayne Published By Wadsworth Publishing Hardcover

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The Road to Good PR

I don't know of a single company or organization that doesn't want to increase sales.Do you? Probably not.That is why virtually every company does marketing and public relations in some form or another in the hope that they will get new customers or clients and retain existing business as well.When you look at the typical marketing or PR campaign, they all tend to look alike.While there are numerous variations and nuances, the underlying theme in all marketing is "our company's product is better, so buy from us.".This is said in uncountable ways and through numerous marketing vehicles from paid advertising to direct mail to websites to e-blasts to billboards to publicity - you name it.The slogans, approaches and budgets vary greatly, but the message is the same.Buy from us.And who can blame companies from saying this? A company is in the business of selling a product or service and they want people to buy it.What better way to convey this message than to just come straight out and ask for the sale.The problem with this approach is little thought goes into why people buy a particular product or service over another.There is little understanding of what motivates people to make a purchase.Is it price? Sometimes, but not always.Is it quality? Maybe, but debatable.It is customer service? Perhaps.But it doesn't take a lot of thought to convey messages that your company, organization, product or service is the best.Further, the problem is that everybody says they are the best.Why should someone believe you? Because you run a TV commercial?That is why public relations or PR, is such a critical element in the marketing process.Good PR takes thought.It takes an understanding of the sales process.It takes some understanding of psychology.It takes more than a catchy jingle to get peoples' attention.What too many organizations don't understand, or refuse to accept, is that sales are a multi-step process.We all want the sale today.We all want the new client today.We have sales figures to report.We have our bosses to please.Unfortunately, in today's over-informational age, making a sale is not so easy and not so quick.Just with the internet, YouTube, Twitter, Facebook, any person can investigate ANY product or service in a matter of seconds and make a determination whether they want to do business with a company or buy a particular product.Proof is easy.Go to YouTube and type in any product with the word "review" next to it.Up will come dozens of videos from people who purchased the product and who will not be shy to talk about how great it is, or what a rip off it is.A few bad YouTube videos, and there goes your advertising right out the window.We will engage in a more in-depth discussion of the PR/sales process in future articles, but there is one point I want to get across in this introductory article, and that is people want to feel good about the company they do business with and the products they buy.Is this obvious? It should be.People want to give their money to companies they believe deserve their money.People want to patronize companies they feel have tried their best to produce the best products and stand behind their products.Nobody wants to feel as though they were fooled or duped into buying something.How do people feel good about a company? That is where good PR comes in.With a strategic PR campaign that understands customer needs, a company can develop and project a personality that customers want to engage with.The sales process is a relationship.Companies want (or should want) to keep customers happy so they buy more products from them, tell their friends about them and go on YouTube with glowing reviews.In a way a sale is like dating.You want to make a good impression so you get a second date.If a company is in business for a one night stand, they will either be out of business soon, or spend countless amounts of money trying to get new customers.Stay tuned for future articles on how your company can reach out into the marketplace and start developing relationships with your customers and future customers.

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What Color Is Your Advertising? How Color Theory Can Make Your Marketing More Effective

If you're planning a marketing or advertising campaign, color is sure to play a key role in the success of your venture.After all, it's pretty much the first thing your consumers will notice*, making color your best - and sometimes only - chance to get a message across.Use of color in most design for marketing and advertising is dictated by certain obvious requirements; the need to reflect a specific brand, as well as the attempt to communicate a certain mood dictated by the product itself.Company branding is pretty straightforward - specific colors dictated by logos and other devices will need to be incorporated into at least part of your design.It's the choice of color scheme for conveying the 'personality' of a product that's often a lot harder to come up with.Sometimes the decision is partly intuitive - most people understand even at a very basic level that bright, saturated colors will convey a different kind of mood to neutral grays or browns.Experienced designers, of course, go further still, selecting and implementing colors on the basis of their effectiveness in the overall design.Here, the guidelines of traditional color theory often come into play as a kind of balancing act to ensure that all parts work together well and that the right kind of colors are used.But what if some colors are actually more right than others?We're about to embark on an exploration of color related not just to its use in layout, but rather, the psychological and physical impact it's likely to have on a viewer.A big, and sometimes controversial undertaking, and we'll first need to get a couple of things straight.While people often talk about a psychology of color, in reality, most psychologists would find fault with the accuracy of this term.This is because the significance given to various colors isn't universal and unchanging - in many ways it's quite the opposite. various cultures quite often associate the same color with very different emotions and ideas.*.Yet colors and their underlying fabric of sociological and historical connotation certainly do produce specific reactions in particular contexts - emotions, associations and even physical effects that can help advertisers in their quest for ever more accurate targeting.And if this all sounds a bit hokey, at the very least, the idea that color can actively influence consumers shouldn't be disregarded entirely.So let's take a look at what colors seem to be telling us.Red.Red, the most vibrant and powerful of colors, seems like a good place to start.Particularly since studies have shown that it's the first color babies recognize, and one that continues to appeal to most people throughout their childhood and into their adult lives.At a purely symbolic level, it's the color of fire and blood, an association that's common to all cultures and therefore extremely powerful.Less specifically, it's a color that seems to be associated with energy, war, danger and power, not to mention passion, desire, and love.So what does that mean for marketing?To start with, some of these associations are so deeply ingrained that it wouldn't be wise to use a color other than red to represent certain states.Try depicting extreme emotions such as violence or passion with shades of blue and you're going to run into problems.What's more, it has been shown that in its brighter variations (tomato, pillar-box), red actually provokes a physical response by raising respiration rate and blood pressure.For this reason, its use in 'sexy' advertising scenarios or as an erotically charged statement (on lips or fingernails) should quite literally set hearts beating faster - and unusually, it's regarded as equally arousing by men and women.Whether the physiological 'red effect' occurs simply as a result of its associations; or because the color itself somehow provokes such a response; or, if, indeed, this effect relies on a combination of the two isn't something that necessarily matters here.What is important is that red, like virtually every other color, exerts a measurable influence on the consumer.More about the 'red effect'.Quite apart from any physical reactions it might provoke, red's association with force, and therefore power, is an extremely dominant one.Consider all the small details in our everyday lives that support this notion. red icons on switches to indicate their 'on' state, the plastic coating on 'live' wires, the tiny red glow that tells us an electrical appliance is working.All of which makes red an ideal color to suggest fast-moving action or extreme force - examples of products that might fall into this category include computer games, action-adventure books or movies.This deep-rooted association with power, coupled with the fact that it actually raises metabolic speed, also makes red a good candidate for any product that seeks to impart the idea of improvement, rapidity or physical change.Just a few of many possible examples include anything related to sport or speed (think of those red sports cars), energy drinks, self-help guides, or batteries.Even 'fast-acting' or 'powerful' over-the-counter drugs can support their status with at least a dash of red.Perhaps as a result of all that heavy breathing, red also increases appetite, making it an excellent choice for advertising food (it's popularly claimed that Chinese restaurants often use red color schemes for this reason, but there's little truth in this - red simply happens to be a very popular and 'lucky' color in Chinese culture).However, if enticing diners to eat heartily is something you're aiming to do, an all-red environment is a good way to get stomachs rumbling.Pink.Although it derives from red, pink has little of its big brother's forceful qualities.In fact, although it's usually perceived as a warm and fairly upbeat color, it is, of course, popularly associated with femininity and even passivity.A cliche, perhaps, but its vigor-reducing reputation has again been shown to have some basis in fact.Famously, a shade of bubble-gum pink used in certain cells in a men's prison was unexpectedly found to placate aggressive inmates.Research corroborated the fact that pink did indeed have significant calming qualities - although subsequent study revealed that after a certain time these effects were dramatically reversed as prisoners became more agitated and aggressive than before.(Surprised? You try living in a bubble gum pink environment).Nevertheless, the fact that pink does induce at least a temporary sensation of calm makes it a powerful factor in the color-coordinated approach to advertising.Its peaceful, relaxing qualities and general evocation of comfort and softness have long made it a favorite for items such as toilet paper, cotton wool and 'gentle on the skin' toiletries, especially baby lotions.This association could possibly be explored further as a background or accent color for items where comfort is key, such as bedding, sofas or carpets.Apply with caution, however - the strong association with femininity means that anything 'too' pink is likely to be snubbed by men.There's one other area in which pink has an interesting effect, however - and one that's far less likely to alienate males.It's well known that a high concentration of color in foodstuffs will lead consumers to believe they're tastier, or even identify a flavor that isn't actually present.* And pink coloring is a particularly effective way of suggesting sweetness.This may relate to the fact that it's often used as a coloring in candies, but whatever the case, the association is powerful enough to substantially increase a food's perceived sugariness or even depth of flavor.Pink sprinkles or toppings will add oomph to vanilla ice cream, and pink marshmallows are often assumed to be sweeter than white ones (they aren't).Although in these health-conscious times sweet, sugary foods have lost much of their popularity, the marketing of certain products is still likely to benefit from a little pink-appeal. feel-good desserts, ice creams, shakes and certainly artificial sweeteners.It's also a color that could be used to make sugar-free, healthier foods seem more enticing to kids - as long as Mom and Dad are able to see through the ruse themselves.Green.Occurring naturally as a sign of plant growth and renewal, green is one of those colors that's universally seen as positive, fresh and fertile.It's also a color that, once again, produces noticeable physical effects.It's the easiest color for the eye to assimilate and therefore one of the most relaxing; it induces feelings of calm and restfulness, and can even improve vision.In short, it's a very positive color indeed.This emphasis on nature, freshness and renewal means that it's commonly used to emphasize the cleansing, 'regenerative' aspect of household items such as bleaches, detergents, air fresheners.But if you notice a certain irony in this, well-spotted, because green, of course, has steadily evolved into the symbol of all that's ecologically aware.Which isn't a label that applies to most cleaning products.The widespread acceptance of 'green' in its current sense is actually a fairly recent phenomenon*, but with increasing focus on ecological issues it's extremely powerful and will only gain in strength.So much so, in fact, that real care needs to be taken now that use of green doesn't suggest a product is all-natural, organic or additive-free if it isn't.Congruity in advertising - or the notion that what's implied about a product should be supported by its reality - is one of the most vital aspects of marketing.Get this wrong, and there's no consumer forgiveness.Yet despite green requiring caution in advertising, its current associations have equally led to opportunities for more refined targeting.Wholesome, healthy food items are likely to be quickly identified as such through predominant use of green, and the same can be said for products or services associated with any type of healing, spirituality, or personal growth. yoga, slimming programs, alternative medicines.Different greens, different meanings.Green is a symbolically complex color, and particular shades transmit subtly different messages.Darker greens - the classic color of bank-notes and bills - have long held an association with finance.The added implication of growth and fertility therefore makes green a good choice for promotion of many financial products, particularly saving schemes, pensions and insurance plans.Lime greens, which emerged as popular trend color in the '90s, denote an especially vibrant freshness due to their close relationship to effervescent yellows.As such, they make excellent keynote colors for fresh, healthy, energy-inducing products such as juices, tonics, vitamin supplements and energy drinks.Finally, a further modern-day association with green stems from its use in traffic systems to signify 'go'.This link with movement, forward motion and vehicles make it a potentially good choice for anything related to transport. carriers, train networks, buses.And for online advertising, try using green for buttons or links you'd particularly like clicked - you're practically inviting a user to go ahead and do so.Blue.Blue is by far the world's most popular color.And as one that, like green, occurs in nature - the hue of skies, water and sea - it's not surprising that it's so well loved.With such universal associations and widespread appeal, blue is an important asset to any color theorist.Unlike very warm colors, which provoke impulsive, passionate responses, blue is a cerebral color that's commonly associated with clear thinking and intellect.For good reason, too, as its use in offices and workplaces has been shown to dramatically increase productivity and a sense of well-being.Perhaps more surprisingly, other studies indicate that blue can even improve physical prowess - weight-lifters typically perform better in blue surroundings.However, this is probably a secondary effect of its ability to sharpen concentration.This association with clear thought and precision make blue a good choice for anything involving a high degree of complex manufacture, such as computing products, electronic goods or hi-tech appliances in general.Darker blues emphasize this association even further, and their widespread appeal among men provide a perfect keynote for high-end, precision-made items with a masculine focus - expensive cars, bespoke tailoring, luxury grooming products.Given such a setting, it's no real surprise either that blue emerges as a clear favorite in the corporate world.Its implication of steadiness and reason continue to make it an effective choice for much company branding, although its white collar associations can also suggest stuffiness and conservatism.In its lighter, brighter shades, blue loses much of its cool aloofness and takes on happier, sparkling and spontaneous overtones.The pure and natural aspect of such blues convey a sense of cleanliness and freshness and are often used for cleaning products, detergents, deodorants and toothpastes.Bright blue is also an obvious choice for the typical vacation.Evocative of cloudless skies and inviting pools or seas, it also gives a tantalizing taste of tranquility and relaxation by slowing down the metabolism and producing feelings of calm and well-being.A powerful message indeed, and one that makes blue an equally effective choice for health spas, beauty clinics and any other service where deep relaxation or therapy is a key selling point.In fact, blue is such a flexible and well-liked color that it's almost impossible to mis-use - with one major exception.Foods, particularly meats, dairy products and staples such as pasta or rice, really don't benefit from any kind of association with blue.To start with, that drop in metabolism will certainly reduce the appetite; but this doesn't explain the fact that a blue/food combo can even induce feelings of nausea.(Try it.Add a little coloring to pasta, white sauce, or even better, light-fleshed meat such as pork or chicken.See how far you get before pushing your plate to one side).It's been suggested that we instinctively associate the color with something that's rotten and unsafe to eat, but whatever the case, it's not a great choice for marketing a ready-meal.And if you find yourself running low at your next dinner party, bring out the blue plates.There won't be many requests for second helpings.Yellow.Yellow is clearly vibrant, energetic and fun - it's the color of sunshine, flame and fire and is closely associated with warmth, happiness and the positive energy such states create.It produces bodily responses that are perfectly in keeping with this reading, too; an instant feeling of well-being along with a noticeable boost to mental activity.For this reason, it's a color that effectively communicates the nature of products associated with vitality and stimulus, such as energy drinks, sports equipment, vitamin supplements or remedies.And as the perfect feel-good color, it's a great choice too for promoting group leisure activities, clubs and social networks.Visually, yellow has a high impact that's hard to ignore, a fact reflected in its use for items such as sticky notes and highlighter inks.Since it demonstrably sharpens attention, too (back to the notes and highlighter pens!) it's worth considering lighter yellows as a background for large amounts of text, especially copy that requires close attention such as tutorials, instructions, or rules and regulations.Yellow does requires a certain amount of care, however.Very light yellows can often appear drab, especially on-screen, while brighter shades tend to become overpowering.The yellow effect is an intense one, and its enervating qualities can quickly put people on edge.Yellow rooms make babies cry more, and they also provoke hot tempers and arguments.And finally, while it's a color that can be used to market most products to women - from washing up gloves to expensive scents - men are far less likely to appreciate its use with expensive or luxury goods.White.Pristine and pure, white appropriately signifies cleanliness, spiritual health and, of course, purity in most cultures.It's considered a non-color to which nothing has been added, making it an ideal choice for products wanting to accentuate their unadulterated, un-tampered with goodness. no-frills items, reduced fat, low-sugar or no-additive foods, pure juices, skin-care products.White is also the classic 'clean' color, providing the easiest way to add a sense of uncluttered spaciousness to print or screen graphics.Yet its association with cleanliness and hygiene (white clearly shows dirt so is commonly used in hospitals, for example) lends it a certain clinical quality that can deprive a marketing message of warmth or even context.For this reason, it's best used with an accent color to combine the best of two worlds - the visual clarity of white and the emotional resonance of a carefully chosen highlight.Remember, too, that on-screen, the combination of light-filled white with black text is fairly hard on the eye.Try choosing a tinted background for large quantities of copy (yellow is often a good choice, as mentioned above) or change the color of the text itself.Black.Although in western culture the color black certainly holds several negative linguistic connotations (black magic, black market) it's also very positively associated with authority, prestige and exclusivity (black tie event, black credit card, black mercedes).A slightly confusing message, but in general, black can be used very effectively to denote cool sophistication and a powerful sense of extreme luxury or expense.Pair this with the fact that visually, it's a color that creates a real sense of depth while also focusing the attention more completely than white, and black makes an ideal backdrop for images of luxury goods or services such as high-end hotels.Men seem to respond particularly well to such a combination - perhaps because it's also been shown that for guys, black is a color with marked erotic overtones (combine it with red and you're onto a testerone-charged winner that's bound to attract male attention!).Black is also by far the most common text color; perfect in print, although on-screen the contrast with white can often seem harsh.A good tip is to consider using a very dark gray instead.And colored text against a black background is rarely a good idea except in small areas, as black backgrounds diminish readability and will quickly tire viewers.Orange.With Its combination of energetic reds and feel-good yellows, orange is a color that's clearly suggestive of fun, warmth and pleasure.And like its constituents, orange exerts an invigorating effect by increasing oxygen to the brain and stimulating mental activity.It's therefore an excellent choice for any product associated with energy and vigor, such as sporting equipment or services, adventure holidays, theme park rides, energy drinks.Think you've read something like this before? Well in fact, orange can impart very similar messages to red, but importantly, without its slightly aggressive edge.Of all the colors, orange is also the best at stimulating appetite.So good in fact, that you may notice a lot of it in the snack or candy shelves near a checkout.Strategic thinking, because the orange ability to generate sudden hunger pangs will often lead to impulse purchases.Yet orange, particularly in its brighter shades, is also a color that's perceived as lacking prestige.Perhaps this is because its high visibility means it's a frequent factor in motel signs, fast food outlets and similar 'low-frills' businesses, but whatever the reasons, it's a color that's become associated with lower-budget options and shouldn't be used extensively for products wanting to impart a high quality message.(The opposite also holds true, however, making it a very good choice to indicate value for money, savings and discounts).Purple.Mysterious, alluring, and very definitely regal, purple is a relatively uncommon color in nature.In the ancient world, its scarcity meant that it was highly valued, and rare, expensive purple dyes were used exclusively by nobility.This association with wealth and prestige remains to this day, making purple, especially in its darker shades, an excellent complement to luxury items.In fact, the association with expense is so strong that it can even be used to add a touch of instant class to cheaper products.For example, a bus company using purple livery would almost certainly be perceived as more luxurious than one using orange.The risk here, though, is that the consumer's perception of comparative price might also rise accordingly - even if fares are identical.Purple secrets.Purple also has some interesting hidden talents.It's been noted, for instance, that many women find it an extremely erotic color, making it the female equivalent of the guys' libido-enhancing black.In fact, purple turns out to be a very girly color indeed - far more so than pink, the usual suspect.It's a definite hit amongst young and adolescent girls for example, with some studies claiming that almost 75% rate it their favorite color.So while men seem fairly neutral about purple, if you're looking for a color that speaks directly to the ladies, this may well be the one to choose.Brown.And what about the guys? Well if you tried to guess, chances are you'd get it right.Brown, along with blue, is consistently voted a favorite color by men.And why not? Solid, earthy, dependable; it might lack the zing of the brighter primaries, but it resonates with a sense of trustworthiness and dependability.And if that's the kind of message you're looking to add to your marketing strategy, brown is often the right color to convey it - especially of course, if the product's aimed specifically at males.An interesting off-shoot of all this earnestness is the fact that brown is often claimed to be a highly 'believable' color, too.In other words, it's more likely to add credibility to an advertising message - an important factor if your communication makes claims that may seem extravagant.Bear in mind though, that if used too extensively brown can also have a stodgy, dampening effect.And whatever message your marketing is ultimately trying to convey, its main purpose is to stimulate enough visual interest to attract and excite instant attention.But even in this respect, brown turns out to be pretty dependable. it easily converts into lighter and darker shades without losing depth, and can also be mixed with more dynamic colors - reds, yellows, oranges for a much more upbeat feel.So use the color recommendations given here to spice up a brown accordingly.Planning an ad for well-made, hard-wearing, yet sporty gear for guys? Brown combined with a hint of red should give just the right message.FOOTNOTES.* While images are generally more noticeable than flat blocks of color, they are, of course, usually dominated by a particular color in order to enhance and support an overall layout.* One example would be the use of white clothing to signify mourning in India and many parts of Asia.In this article I'm focusing on color in the context of western culture.* Numerous studies have shown that higher levels of coloring in food or drinks leads to the belief that they are stronger in taste than identical items with less color.Assumptions regarding color-taste correlation can even cause errors when identifying flavor; for example, a cherry-flavored drink colored purple may well be identified as grape.* The color green has long been a symbol of ecologically motivated political parties and movements, but it's only in recent years that this meaning has become completely mainstream through widespread media emphasis on global warming and other ecological issues.* Oddly enough, red in this context don't seem to provoke a 'stop' response and will also work well for buttons, particularly if a quick decision is required.Green, however, will always be perceived as a less risky click.REFERENCES.Bellizzi, Joseph A., Ayn E.Crowley, and Ronald W.Hasty (1983), "The Effects of Color in Store Design," Journal of Retailing, 59 (1) --, and Robert E.Hite (1992), "Environmental Color, Consumer Feelings and Purchase Likelihood," Psychology and Marketing, 9 (5).Birren, Faber (1978), Color and Human Response, New York. Van Nostrand Reinhold.Gorn, Gerald J., Amitava Chattopadhyay, Tracey Yi, and Darren W.Dahl (1997), "Effects of Color as an Executional Cue in Advertising. They're in the Shade," Management Science, 43 (10) --, and Patricia C.Smith (1959), "A System of Color Preferences," American Journal of Psychology, 72 (4).Hall, Richard H., and Patrick Hanna (2004), "The Impact of Web Page Text-Background Colour Combinations on Readability, Retention Aesthetics and Behavioral Intention," Behaviour and Information Technology, 23 (May/June).Hevner, Kate (1935), "Experimental Studies of the Affective Value of Colors and Lines," Journal of Applied Psychology, 19 (2).Jacobs, Keith W., and James F.Suess (1975), "Effects of Four Psychological Primary Colors on Anxiety State," Perceptual and Motor Skills, 41 (1).Madden, Thomas J., Kelly Hewett, and Martin S.Roth (2000), "Managing Images in Different Cultures. A Cross-National Study of Color Meanings and Preferences," Journal of International Marketing, 8 (4).Meyers-Levy, Joan, and Laura A.Peracchio (1995), "Understanding the Effects of Color. How the Correspondence Between Available and Required Resources Affects Attitudes," Journal of Consumer Research, 22 (2), 121-138.Middlestadt, Susan E.(1990), "The Effect of Background and Ambient Color on Product Attitudes and Beliefs," in Advances in Consumer Research, vol.17, Rebecca Holman and Michael Solomon, eds., Provo, UT. Association for Consumer Research,.Schaie, Klaus W., and Robert Heiss (1964), Color and Personality, Berne, Switzerland. Hans Huber.Schindler, Pamela S.(1986), "Color and Contrast in Magazine Advertising," Psychology and Marketing, 3 (2).Wilson, Glenn D.(1966), "Arousal Properties of Red Versus Green," Perceptual and Motor Skills, 23 (3).

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Psychology Themes And Variations Where Can I Buy Psychology: Themes And Variations, Brief Edition (with Concept Charts And Infotrac(r))

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Parenting, Fear and Relationship

The years of research on the brain have taught us that human beings are the most incredible, vulnerable, high maintenance creatures on the planet.It takes years to grow a child into a competent, capable, loving, contributing adult; or not.We know that the human brain has not completed its growth for executive functioning until the 25th year of life.We are more fragile than we realize and more resilient in our ability to grow beyond our traumas.Our basic survival needs for food, shelter, water, some type of medical care and education are minimally met for the most part, at least in the United States.One of the basic building blocks for a humane human is not met well world-wide.Children's emotional needs aren't even on the radar screen.We don't understand the impact of stress, trauma and fear-based parenting practices on the emotionally vulnerable child.I could give you all kinds of statistics but you can look them up; suffice it to say you can check out the news every day and find evidence that we are not doing very well in our relationships; children bullying children; adults bullying adults.In order to connect in relationships we have to be in a calm place so we can feel empathy, compassion, love, and set healthy limits and boundaries.The fear receptor of our brain helps us survive.It is called the amygdale.We are born to be on the look out for what might hurt us.We are also born to be in relationships.Another part of our brain that is supposed to help us calm down is called the hypothalmus.If we can't calm ourselves down our short-term memory (the hippocampus) gets suppressed and our thinking gets confused and distorted.It makes it difficult to connect to our centers of emotional and social control (the cortex).From a calmer more rational place we can reach out and care for another.But when we are stressed we feel angry, hostile and frustrated.Our amygdala is triggered and cannot be calmed by the hippocampus which slams the door temporarily on our cortex.The stress chemicals are gearing the body up to freeze, fight, or run.We are engaged in disconnecting from others because in that moment they are perceived as the enemy.Stress takes us out of relationship with each other.Stress takes us into fear.It is a wonder we don't do more awful things to each other.Our ability to regulate stress is established through our neurophysiological regulatory system.This system is established in the first year of life and research shows it begins in the womb.Our ability to regulate ourselves is critical for healthy attachment.When we are conceived, the bodymind system of the fetus and that of the mother is intricately connected through the placenta.What the mother feels for good or ill is felt in the developing fetus.After birth other caregivers are interconnected in an invisible world of neurophysiology that the baby feels and reacts to.A child's ability to learn to self-regulate is dependent on these relationships which happen at a felt-sense in the body.When a child becomes stressed and cries and someone comes and regulates him or her, over time and through repetition they learn how to regulate themselves.On the other hand if a child becomes dysregulated and no one comes, or they come in an angry way or variations on this theme the child does not get the experience necessary to learn self-regulate."Infants in well-regulated parental systems become effective self regulators in the face of stress as young children separate from the caregiver." (Sroufe, L.Alan.Emotional Development.New York. Cambridge University Press, 1995).Allan Schore states that the ability to develop attachment is dependent on the state of regulation.Without regulation a child cannot develop attachment and a parent figure cannot bond.The jury is no longer out on nature vs.Nurture.Our genetic endowment can be influenced by environmental factors and vice versa.Environments and experiences change the biology of the brain for good or ill.We all have a combination of both.What children need in early development is heart-felt attention, time-in, presence, talking, singing, smiling, joy; heart-felt affection like holding, rocking, kissing, carrying and staying attuned to the child's needs to know when they are hungry, wet, need soothing, holding, eye contact, and just being there for them.Early childhood experiences wire the brain in a way that later helps or hurts (or a mix) the development of social and emotional intelligence.An example of this is from my childhood.My parents divorce was final in August and I was born in September.I was breech and as was common in those days my mother was given twilight sleep.It is a combination of morphine and scopolamine which together provide childbirth without pain or without the memory of pain.A mother can't be fully present in the birth experience.It was found to depress the baby's central nervous system, at times inhibiting breathing.In the 1970's its use was halted.My early beginning was that the most important person was there but not consciously.The unspoken message was that I had to do everything all by myself.How interesting that pattern repeated itself over the course of my childhood.I learned that my dad, Nannie, great grandmother and grandfather were there and excited to meet me but I was behind the glass and alone.The drug induced dis-connection from my mother was only the precursor of the disconnections that were to come.I do believe that after that difficult start I had experiences where I felt loved and cared for by my mother but as her stress and depression grew so did the gap between us.Love, for me, meant I love you but leave me along.Words I heard too frequently.She told me one time that she read to us when we were children.I have no memories of her doing that.I am grateful that she gave me life and the resources of reading; it is a gift that keeps on giving (though it is a solitary experience).We know that children who are read to become good readers.I am a voracious reader which has been an ongoing source of comfort, inspiration and growth for me.So much of who we are is learned.I find comfort in knowing who this gift came from because for so long I could only see the pain and sadness between us.As I have connected to that sadness and pain a veil has lifted and I saw this gift.As I choose to accept this gift from my mother my body feels lightness and a sense of gratitude.We receive both positive and negative conditioning from our parents.I've been so stuck in the negative conditioning I couldn't see there was some positives.This is a more realistic 'truth' that gives me a 'felt sense' of balance.Not that the positives erase the negatives but that my bodymind system is validated that both exist within me.I am free to validate and acknowledge both.

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Are You Asleep?

People are often accused of being asleep.This assertion is made by people who believe that they are awake.Is this just a metaphor used to launch a pejorative statement?Or is it, like the difference between waking hours and sleeping hours, a condition where awareness is partially or completely absent?Actually, it appears to be more than a metaphor and also a part of the human condition to be asleep.Here are five ways we are all asleep.One, we fail to notice things.Due to the way our brains work, our minds can only notice a few possibilities out of an infinite sea.There are many reasons for this phenomena.Despite having 15 billion brain cells, the bulk of these are used for unconscious processes.Brain lateralization is one reason, for example.The left brain sees things differently from the right brain.And most people favor one over the other due to cultural bias.The left brain focuses on language, mathematics, logic, numbers, sequence, linearity, and analysis.The right brain focuses on forms and patterns, spatial manipulation, rhythm, musical appreciation, imagination, and daydreaming.Those who do use both sides, communicating ideas between the corpus callosum, are those who have adopted special measures to override the cultural bias, like meditation, to create whole brain thinking.Two, in a literal sense, the world is not what it appears to be.We appear to live in a world of spaces and objects, but actually this is an illusion created by the brain and the sense organs.The smallest thing that we can see is made up of atoms.To see the atoms in a tennis ball, we would have to blow it up to the size of the earth.The atoms in it would then be the size of grapes.If you were to now blow up an atom to see it more clearly, you would have to make it the size of a 14 story building.The largest part in the atom, the nucleus, would be the size of a grain of salt.However, since this is 2,000 times bigger than an electron, these would be the size of dust particles.The real world is mainly empty space, punctuated by bits of matter, whose real nature are not hard bits of something but patterns of vibrations.Three, we think of many things throughout the day, but most of this thinking is done in imaginary time.Imaginary time is the past, where things, events, people, and places have ceased to be.Sometimes they have passed away from our sense perceptions.Sometimes they may not exist at all.When we project the memory of the past into the future, we spend time in an imagined state where things will be different for us.The only real time is now.The only real place is here.However, are awareness is seldom on the here and now.While maintaining enough of our consciousness to be rooted and functioning in the present, we frequently drift of into imaginary time.The only difference between day dreaming and night dreaming is the intensity of our inner images.During the day, we are partially aware that we are not in imaginary time, and our experiences have a certain order to them.During the night, or when we are asleep in bed, we are completely aware of only imaginary time and our experiences have no clear logic, and one experience can transform into another within seconds and without an explanation.A fourth way, we are asleep is because we think that our consciousness is our own.This may not be true.Our thoughts are only borrowed from the general thoughts of all humankind.Further, we may all share in a collective unconscious.Thus, all our thoughts are only variations on the theme promoted by our environment and our cultural conditioning on what things mean.Finally, a fifth way we are asleep is that we assume that there are only four dimensions to reality, the three of space and the one of time.But both mystics and physicists often speak of the possibility of other dimensions.If we are all asleep, then, is an enlightened person awake?Only in a relative sense.They know they are dreaming, while everyone else is convinced that their dream is real.In a way, an enlightened person, is like a lucid dreamer, while others are convinced that all this sound and fury called life means something and that the hour we strut upon the stage is of some great significance.

More detail about Psychology Themes And Variations

Psychology Themes And Variations Where Can You Buy Influence And Power: Variations On A Messy Theme (Law And Philosophy Library)

Psychology Themes And Variations See Influence and Power: Variations on a Messy Theme (Law and Philosophy Library) Details

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This book will be of interest to legal, political and other social theorists/philosophers. Unique in its topics as well as in its approach, the book takes substantial steps towards answering essential questions about political influence. It analyses the concepts of social, political and legal power with a view towards arriving at an adequate and theoretically relevant distinction between power and influence. This volume contains an extensive overview and critical assessment; explores the conceptual relationship between freedom and power; assesses the distinctions made in existing scholarship between power and influence; presents the author's own proposal for a definition of influence as opposed to power; combines insights from political theory, legal philosophy and the general theory of norms; is densely argued, yet accessible to all interested readers without any prerequisite of special prior knowledge; is transparently structured, written in a clear style, avoiding social-scientific jargon and using ordinary language. "Exact but not exacting, this is a fine work of overview and analysis; it makes an excellent contribution to the literature on power and freedom." Philip Pettit, William Nelson Cromwell Professor of Politics, Princeton University "In this work, the author assumes the task of a 'logical clean-up' ' an extremely valuable contribution to the promotion of scientific rigour and clarity in political scholarship." [This book] "gives the reader orientation in a conceptual jungle." [It is] "an excellent analysis of the relationships between normative and social power." Ernesto Garzon Valdes, Prof. em. of Legal Philosophy, President of The Tampere Club "A genuinely pioneering contribution insofar as the author ' to my knowledge: for the first time ever ' succeeds in giving a conceptually rather clear profile to a descriptive-analytic and normative understanding of the phenomenon of influence and in elucidating ' again, by way of thorough and profound analysis ' that this is much more than an academic glass-bead game, because our understanding of such essential normative foundations of political theory as freedom and equality is inextricably linked to the concepts of power and influence, and because this is the only way how we can come to see the fundamental obstacles to a coherent interpretation and institutional realization of the idea of the democratic Rechtsstaat." Rainer Schmalz-Bruns, Prof. of Political Theory, Darmstadt University of Technology