Maybe you have played with the idea of leaving your corporate life and pursuing your dream: become an entrepreneur, and transform your hobby into a business.
Becoming confident is about learning to manage those feelings in order to achieve your long-term goals. You can take control over your body language and send the nonverbal messages you want to communicate.
Psychologist at Harvard Business School, Amy Cuddy, ran an experiment in which people were directed to adopt either high-power or low-power poses for 2 minutes. Cuddy presented the results of the experiment two years ago in her famous TED Talk which has over 18 million views. Confidence is not a static measure, our confidence to perform roles and tasks can increase and decrease; some days we may feel more confident than others. You can use any universal expression of power – chest lifted, head held high, arms either up or propped on the hips. Practice eye contact with yourself, and remember to make warm and friendly eye contact with every person you are going to talk to today.
Do a simple breathing exercise to relax your whole body, breathing in count 2 and breathing out count 6. Now give yourself a friendly pat on the shoulder – you are ready to face the world (and yourself) with confidence.
Well, ..5 daily exercises to boost and keep your confidence What comes to mind when we talk about confidence?
I'm pretty relaxed though I worry a bit about our OL we do have the better offense and defense.
I'm over visiting my Uncle today, he's a big Cowboy fan, first thing he says to me the hawks are winning the super bowl again this year.
CHawk wrote:I'm over visiting my Uncle today, he's a big Cowboy fan, first thing he says to me the hawks are winning the super bowl again this year.
I suffer from battered Seahawks fan syndrome (not to make light of the more serious and hideous DV done in relationships).After decades of torment don't expect me to be running around beating on my chest.
Leon Washington 2010-2012 Red Bryant 2008-2013 Golden Tate 2010-2013 Breno Giacomini 2011-2013 - Gone but not forgotten. The only concern I have and I mean only is that Bevell will get cute and pass even though Lynch is gaining yardage. Zoom Pavilion is an interactive installation that consists of immersive projection on three walls, fed by 12 computerized surveillance systems trained on the public.
The Airborne series is a set of interactive installations designed to animate literary, scientific and philosophical texts on the subjects of entropy, complexity, chance and non-linear dynamics. Pulse Corniche was an interactive canopy of powerful light beams projected into to the sky by robotic searchlights whose brightness and orientation was controlled by the heart-rate of visitors to the Abu Dhabi’s Corniche.
For example, when the work is configured to show military spending per capita, on the far left of the wall the public can hear the anthems of countries without military forces like Costa Rica, Iceland and Andorra while at the far right they can hear Saudi Arabia, Israel and the United States, which spend more than $2,000 per person per year. Vicious Circular Breathing is a hermetically-sealed apparatus that invites the public to breathe the air that was previously breathed by participants before them. An installation designed to transform the Park Avenue Tunnel in New York City with 300 theatrical spotlights that produce glimmering arches of light along the tunnel’s walls and ceiling.
Friendfracker is a service that automatically deletes a set of friends from your Facebook account.
Two front surface mirrors are suspended from a thread and move with the air flow and with a small motor. A plano-convex lens is suspended from a thread and moves with the air flow and with a small motor. An interactive artwork that allowed participants’ voices to transform the sky over Philadelphia.
Interactive installation originally developed for Urdaibai Art 2012 in which the public can water the lawn at the Torre de Madariaga using a water hose with a heart rate sensor built-in. A small Y-shaped branch, similar to a divining rod, is suspended from a thread and moves with the air flow and with a small motor.
Last Breath is an installation designed to store and circulate the breath of a person forever.
Rows of motorised measuring tapes record the amount of time that visitors stay in the installation.
As a participant speaks into an intercom, his or her voice is automatically translated into flashes of light and then the unique blinking pattern is stored as a loop in the first light of the array.
Nave Solar is an interactive installation featuring a fake Sun that is activated by the pendular motion of the public as they hang from a rope and swing along the nave of a 16th Century catholic inquisition church. A circular display that simulates the turbulence at the surface of the Sun using mathematical equations. A small format artwork where over 500,000 combinations of proper names, companies and cities are presented as random inequalities by two electronic paper displays. Sandbox is a large-scale interactive installation created originally for Glow Santa Monica. Please Empty your Pockets is an installation that consists of a conveyor belt with a scanner that records and accumulates everything that passes under it. An installation designed to displace the public’s image in real-time, creating a platform for embodiment and interpenetration.
Twenty modified padlocks can be interconnected to create chains or assemblages, as the collector or curator sees fit. Pulse Phone is an application that measures your heart rate by using the iPhone's built-in camera and flash. An interactive installation featuring powerful robotic searchlights that create static columns of light in a dark room.
In this intervention the emblematic Place du Capitole in Toulouse was transformed by a projection of The Book of Two Origins, a 13th-century heretical manuscript compiling the theological beliefs of the dualist cathars. There are many fears to overcome, fear of failure, criticism, not being good enough, lack of experience, and giving up comfortable, financially secure lifestyle.
It is your conscious choice, being confident doesn’t come with genes, gender, being tall or short, or being young or old. Numerous studies have shown that body language is more important in how we perceive others than the words spoken.
It’s not faking, because actually it can help you to rewire your own beliefs and thoughts about yourself. The results were shocking: high-power posers showed an 8% increase in testosterone, low-power posers had a 10% decrease in the hormone. So it’s important to take daily care of your confidence as you take care of your bodily hygiene. You can do the whole routine, or one of the exercises before facing any challenging situation, for example before a job interview or public speaking. Remember, that keeping smile on your face will exude positivity while also sending a signal that you are approachable. For the Cards to win there will have to be a series of unlikely events - both their team playing exceptionally well (especially at QB) and our team playing exceptionally poorly. So I expect a low scoring game that is close until midway in the 3rd quarter that we win by 10-14 points in the end. The piece uses face recognition algorithms to detect the presence of participants and record their spatial relationship within the exhibition space.
The piece is suspended from pulleys and has a counterweight so that it can be raised and lowered easily.
The piece shows a grid of thousands of random numbers extracted from addresses photographed by Google Street View.
People were free to participate by holding a sensor placed in the centre of the plaza that converted the electrical activity of their heart into a unique lighting sequence.
The speakers are precisely arranged to visualize national statistics: population, GDP, area, number of women in parliament, GINI, year of independence, HDI and so on. If no one is in the exhibition room all the speakers are silent, but as a visitor approaches a particular set of speakers these start playing automatically, creating a positional panoramic playback of anthems associated to similar statistics View Details. The display writes over 22 billion different combinations of the number 1984, which change at a user-specified speed. The size of each sphere is directly proportional to how prolific the composer was, for example the sphere for Johann Sebastian Bach has 48 cm diameter and holds 1100 loudspeakers playing simultaneously Bach's 1100 different compositions, while the sphere for Hildegaard Von Bingen only has 11 cm diameter and 69 loudspeakers.
The installation consists of a glass room with double sliding doors, two emergency exits, carbon dioxide and oxygen sensors, a set of motorized bellows, an electromagnetic valve system, and 61 brown paper bags hanging from respiration tubes.
Participants control the intensity of each light by speaking into an intercom at the tunnel’s center which records their voice and loops it.
The clock's reference systems are all synchronized so that precisely at noon they all zero and start over.
Upon authenticating your data on the website, the service deletes 1 to 10 friends at random. Participants blocked the light of two projectors casting their shadows on a 900 sqm wall, and these were tracked by computerized surveillance systems. Projected on the wall behind the mirrors is a real-time virtual representation of the public as seen from the perspective of the mirrors. Projected on the wall behind the lens is a set of artificial lens flares generated by equations that take into account the orientation of the lens in relation to the viewing public. Using a website or a free iPhone app participants could record a voice message and listen to and rate other entries. Projected on the wall behind the branch is its shadow, only you can see the entire tree from where the branch came.
The piece consists of a small brown paper bag which inflates and deflates automatically thanks to motorized bellows similar to those found in artificial respirators in hospitals.

As a computerised tracking system detects the presence of a person, the closest measuring tape starts to project upwards. Each new recording pushes all previous recordings one position down and gradually one can hear the cumulative sound of the 288 previous recordings. Using tracking systems, the installation detects the motion of participants and generates smoke that accumulates on the ceiling of the apse as well as activates the Sun's flares, surface turbulence and sun spots. As a participant points one of these levers three powerful robotic searchlights automatically intersect in the sky to create an apex at that location. The piece reacts to the presence of the public by varying the speed and type of animation displayed. Live and recorded eyeballs extracted from the video accumulate on the bottom of the display, similar to traditional representations of St. The piece consists of two small sandboxes where one can see tiny projections of people who are at the beach.
The public may place any small object on the conveyor belt: once it passes under the scanner, the object reappears on the other side beside projected objects from the memory of the installation. The concept of self-creation described by Chilean biologists Maturana and Varela is an inspiration for all art that depends on participation to exist. The piece consists of floor-mounted projectors that cast the shadow of the public onto a wall and another set of hanging projectors which project images inside the shadows. Commissioned by the Light in Winter Festival in Melbourne, the piece features the world’s largest spherical balloon, custom-manufactured for the project, which is tethered over Federation Square and animated using five projectors. The piece displays data for the last 765 and over participants in a stepped display that creates a horizon line of skin.
The application detects small variations in the opacity of your finger as blood flows through it and calculates your pulse in beats per minute using this information. This piece shows the live camera view constructed out of a palette of named colour swatches that can be rendered by computers.
If several people stroll through the signs they get disoriented as they try their best to confront each person with his or her left. As each Seismoscope registers any seismic wave it is programmed to draw an illustration of a single Skeptical philosopher, over and over again.
Each hair was coated with a gold film, FIB engraved with words and photographed with an electron microscope.
Instead of using regular white fluorescent light tubes to illuminate the print, the pieces have over one hundred thousand light emitting diodes (LEDs), which can highlight tiny features within the image. The blinking speed is directly proportional to the trading volume of any commodity index chosen by the collector or curator, say NASDAQ or Apple or FTSE100.
This piece shows thousands of internet videos of couples looking at each other: as soon as someone stands in front of the display his or her silhouette is shown and all the couples within it begin to kiss. Their intensity is entirely modulated by a sensor that measures the heart rate of participants and the resulting effect is the visualization of vital signs, arguably our most symbolic biometric, in an urban scale.
This piece shows the viewer's presence revealing and blending pictures of people who have recently looked at the work. Commissioned for the opening of the Center for Contemporary Culture in Moscow in the constructivist Bakhmetevsky Bus Garage, the piece is inspired by engineer Vladimir Shukov who worked with Melnikov on this emblematic building from 1926-28. When someone tries to walk into a light beam, a computer automatically moves the searchlight so that the beam is pointed somewhere else on the room. Each microphone has been modified so that inside its head is a tiny loudspeaker and a circuit board connected to a network of hidden control computers.
As a participant speaks into an intercom, their voice is translated into corresponding flashes of light and this light pattern is transmitted visually along one of the several possible pathways through the network. As the viewer stands in front of the piece his or her silhouette is shown on the display and within it reporters begin to talk.
When someone approaches the work, a computerised surveillance system detects their presence and the closest chairs automatically begin to lift off the ground, creating the crest of a wave that then spreads over the whole room. Inspired by Antonioni, the piece is intended as a an exercise to underline the construction of presence through a simulated, live compound eye. The piece consists of a series of incandescent lightbulbs that light up in reaction to the participants’ positions, in such a way that the shadows cast on the opposing wall are always overlapping. Ten metal sculptures detected the pulse of people who held them: the readings were immediately converted into light pulses by the computers and also determined the orientation of the beams. This piece shows the viewer's shadow revealing hundreds of tiny videos of other people who have recently looked at the work. This piece shows the viewer's shadow revealing hundreds of tiny words that are in fact all the verbs of the dictionary conjugated in the third person.
The installation consists of 144 white fluorescent light tubes which are hung from 72 robotic fixtures on the ceiling of the exhibition space, equally spaced.
When people enter the space, the system generates a subtitle for each person and projects it onto him or her: the subtitle is chosen at random from a list of all the verbs conjugated in the third person.
Each photo shows a volunteer climbing a ladder about to reach the camera with his or her hand. The bottles spin on the table with patterns generated by cellular automata algorithms that simulate the neuronal connections in the brain.
Controlled by a computerized tracking system, the belts rotate automatically to follow the public, turning their buckles slowly to face passers-by. This space can be transformed automatically by scanning a website to extract its images, texts, colours and sounds. A computerised tracking system detects participants' shadows, which are projected on a wall of the exhibition space. However, rather than being sent directly, the messages are encoded as unique sequences of flashes with twenty robotically-controlled searchlights, not unlike the patterns that make up Morse code. Once a vibrant community in several regions of Europe, the believers in the two origins of the Universe were virtually annihilated by the brutal crusades that gave birth to the Inquisition and France's expansion. Thousands of photographic portraits, previously taken on the streets of the host city, are shown using robotically controlled projectors. The automated questions are presented at a rate of 33 per minute --the threshold of legibility-- on 21 tiny LCD screens encrusted on the support columns of the exhibition hall or mounted on a wall.
Wireless 3D sensors calculated where participants pointed to on the façade and a large animated projection of a hand was shown at that location.
A virtual reality installation allows participants to tour the first Able Skin, which covers Palladios Villa Rotonda. The piece consists of light vectors, sounds and graphics that respond to the movement of the participants. Present-day computerised surveillance techniques employed by the Department of Homeland Security in the United States through the Patriot Act, provide a new and distressing backdrop for this piece.
Confident people are comfortable with themselves, can deal with any social situation, and seem to be always in control.
In fact I'm the guy that pisses everybody at work off by talking about how quiet it has been, turning off the lights in all the empty labor rooms (if you work at a hospital you understand that these are cardinal sins). Emotionally, I don't trust those things I cannot control.I will be kicking stuff if these guys fall on their face tomorrow. I'm confident enough that we will be hosting our second consecutive NFCCG in January that I made reservations for a Seattle trip that weekend. As visitors introduce their head inside the sphere, they see a mise en abyme reflection multiplied kaleidoscopically, creating both a spacious, yet isolated, self-centered experience. Scanned by Google from the front doors of buildings around the world, the numbers have an immense variety of fonts, colours, textures, and styles. The piece will always fail to make a positive match, as we know that the students were likely murdered, but the commemorative side of the project is the relentless search for them and their overlap with the public's own facial features. The intensity and direction of the lights visualized the different biometric rhythms of each participant, in an urban scale. Typing any number onto an onboard keyboard starts a count-down or count-up until eventually the number 1984 is reached.
In the piece, visitors’ breath is kept circulating and made visible by automatically inflating and deflating the brown paper bags around 10,000 times a day, the normal respiratory frequency for an adult at rest.
Louder speech increases the lights’ brightness proportionally, creating a Morse-like code of flashes throughout the tunnel.
The public may change the statistics by manually scrolling through the list using small push-buttons under the built-in display.
Out of the shadows emanated bellowing smoke which was mapped onto the wall and accumulated in it. The public is represented as patterned 3D silhouettes anchored in a reference prism that rotates with the mirrors. The project generates fake light beams that go through the real lens: the lens then diffracts and scatters the fake light creating light source aberrations, directional haze and chromatic distorsion.
The apparatus hangs on a wall and is activated 10,000 times a day, the typical respiratory frequency for an adult at rest, including 158 sighs.
The participant may direct the apex anywhere over the city in real-time, creating an animated tetrahedron inspired by the work of Richard Buckminster Fuller. As participants reach out to touch these small ghosts, a camera detects their hands and relays them live to two of the world's brightest projectors, which hang from a boom lift and which project the hands over 8,000 square feet of beach. As a real item is removed from the conveyor belt, it leaves behind a projected image of itself, which is then used to accompany future objects. The solar animation on the balloon is generated by live mathematical equations that simulate the turbulence, flares and sunspots that can be seen on the surface of the Sun. For the New York performances, Isabella Rossellini read a libretto co-written by Brian Massumi, which included seminal philosophical texts on skepticism, color and perception, including writings by Kandinsky, Deleuze, Sanches, Simon Baron-Cohen and Alexander Luria.
Every few minutes the piece automatically switches to show the live view made with a variety of culturally-significant colour palettes from computer and videogame history, including the 4 shades of green of the original Nintendo Gameboy, the eight colours of teletext, and the sixteen colours of the Commodore 64, the Apple II and the ZX Spectrum.

The piece consists of a metal frame that holds the hair inside a test-tube, a backlit transparency and a certificate from the Brockhouse Institute for Materials Research. The first piece shows the Tijuana-San Diego border with Mexico illuminated red by default while the US is dark. In a slow day, or when the market is closed, the lines of illuminated text will only switch every 8 seconds, while on the busiest trading day they may blink every 2 seconds.
The massive array of make-out sessions continues for as long as someone is in front of the work, --as he or she moves away all the kissing ends.
To participate, insert your finger into one of the four cylinders on the side of the tank or put your hands flat on the front panel; the computer will detect your pulse and activate a solenoid which will hammer your heart rate onto the tank. A video tracking system observes the room and makes sure that the lights are always illuminating empty spaces where there is no one. When a public member speaks into a microphone, it records his or her voice and immediately plays back the voice of a previous participant, as an echo from the past. Every 5 minutes the piece switches the video clips - from a database of 1600 - and classifies them along gender, race and country, so that for instance on the left there are only American reporters and on the right only Mexicans.
The piece is inspired by the phantasmagorias on the one hand and surveillance and digital analysis on the other. When a viewer approaches the piece, the system automatically starts recording and makes a video of him or her.
The portrait of the viewer is drawn in real time by active words, which appear automatically to fill his or her silhouette. As soon as a public member is detected, his or her presence triggers the miniature video portraits to wake up: hundreds of people simultaneously turn to look at the visitor directly, creating an uncanny experience that questions who is the observer and who is the observed. Each light tube measures 1.83 m long and is rotated using a computer-controlled stepper motor. An interface placed on a side of the room has a sensor that detects the heart rate of participants. The two signs are to be placed in two separate rooms, even if they are in different cities. The hands rotate along their forearm axis, following the visitor with the open palms always facing him or her.
The only way of getting rid of a subtitle is to touch another person, which leads to the two subtitles being exchanged. As people walk around the area, their shadows are cast on the ground, revealing the video-portraits in short sequences. Every few minutes the bottles are reset automatically and seeded with new initial conditions for the algorithm, so that the movement patterns are never repeated. When several people are in the room their presence affects the entire group of belts, creating chaotic patterns of interference. The system analyzes the contents of the submitted webpage and uses them to furnish and decorate the room, "branding" the space with a layer of live media.
The shadows scan the radio waves with their presence and position, while their size controls the volume of the signal.
To make these images, a powerful projector (110,000 ANSI lumens of intensity for images of up to 70 x 70 metres) was placed on a 12-ton truck with a generator. However the portraits only appear inside the projected shadows of the passers-by, whose silhouettes can measure between two and twenty-five metres depending on how close or far away they are from the powerful light sources positioned on the ground. These searchlights, whose powerful beams could be seen within a 15 kilometers radius, were controlled by an online 3D simulation program and visualised by digital cameras. The participant's motion controls the point of view in the projected environments on the wall and the floor.
Two interactive stations are needed for the piece; these are interconnected with a normal ISDN digital line so they can be in the same exhibition hall, on either side of a city or in different cities.
Confident people know how to put up with these feelings and deal with their situation regardless. More likely you would trust a person who doesn’t say a word, but keeps eye-contact and maintains an open stance. However, five min after I made the reservation, the waiter brought out the fortune cookies for my kid (big Hawks fan) and I. We'll be conservative on offense, so it will be an ugly game, but we're going to win it.Well, is it possible that the Cardinals score ZERO and still beat us? We'll be conservative on offense, so it will be an ugly game, but we're going to win it.Basically this. Zoom Pavilion marks the first collaboration between artists Rafael Lozano-Hemmer and Krzysztof Wodiczko. As a viewer walks in front of the piece, his or her silhouette is represented within the display, and within its form, all numbers countdown to show the number 1984 repeated throughout.
The interaction fills the screen slowly, showing tens of thousands of letters, at which point the text fades out, and begins to scroll again from the beginning. The project software is available for free download so that any university, cultural centre, gallery or institution can set-up the piece. As people are a couple metres away from a sphere they hear a quiet murmur of sounds, but as they approach and put their ear up close to individual speakers they can hone in on specific compositions. The piece includes warnings for asphyxiation, contagion and panic, and produces a faint mechanical sound, a quiet whir from the air flow and louder crackles from the crumpling bags.
The individual voices can be heard as pedestrians walk through the tunnel, on 150 loudspeakers, one beside each light arch and synchronized with it. The metrics come from government data, Harper’s Magazine, financial institutions, NGOs, academic studies and other trusted sources. Readable within the smoke were clouds of text, themselves turbulent, from salient poetic texts on light and shadow. As the built-in camera detects people, more solar flares are generated and the fake Sun shows more perturbation and activity.
In this way people share three scales: the tiny sandbox images, the real human scale and the monstrous scale of special effects. The piece remembers up to 600,000 objects which are displayed beside new ones that are added to the installation. This produces a constantly changing display that never repeats itself, giving viewers a glimpse of the majestic phenomena that are observable at the solar surface and that only relatively recent advances in astronomy have discovered. To participate, people introduce their finger into a custom-made sensor equipped with a digital microscope and a heart rate sensor; their fingerprint immediately appears on the largest cell of the display, pulsating to their heart beat. People may continually attempt to enter the spotlight but the system will adapt to ensure this can never be achieved. Several voices can be carried simultaneously and the short contributions going fast through the network and the longer ones taking longer.
Simultaneously, inside the viewer's silhouette videos are triggered that show up to 800 recent recordings. The collector may choose to display the words in English, Spanish or French, or a combination of the three languages. All lights are always on and typically constitute the only lighting in the exhibition hall, except for the natural light that spills into the space. When someone holds the interface, a computer detects his or her pulse and immediately sets off the closest bulb to flash at the exact rhythm of his or her heart. The piece can tune into any frequency between 150 kHz and 1.5 GHz, including air traffic control, FM, AM, short wave, cellular, CB, satellite, wireless telecommunication systems and radio navigation. A keyboard allows participants to log on to the building and add their own questions to the automatic flow. A personalised webpage was produced for every participant with images of their design and information such as their name, dedication, place of access and comments. The piece was made as a homage to George Orwell’s eponymous dystopian novel, 30 years after his predicted date for the collapse of privacy.
In addition, if the project is acquired by collectors, all proceeds will go to the affected community, in the form of scholarships for example. At any given time, the tunnel is illuminated by the voices of the past 75 participants: as new participants speak into the intercom, older recordings get pushed away by one position down the array of light fixtures until they leave the tunnel, so that the content of the piece is changing constantly. This piece presents a schizoid experience where our presence triggers a massive array of surveillance videos. Up to sixteen frequencies can be tuned simultaneously and the resulting sound environment forms a composition controlled by people's movements.
Cards will come out of the gate HEAVY, but if the Hawks can absorb that first shot and then deal a counter-punch, they should carry the day.They're a better team, and the better team tends to win. Irvin mentioned that the receivers are expecting to get laid out when the backup to a backup throws to a spot that allows the DB's to break them in half. Look at Denver's alligator arms after Kam got his signature SB 48 hit just a few minutes into the first quarter.
Their defense is good but not elite (except in the redzone where they are excellent) Seahawks should be able to move the ball on them just as they did in the first game.
AZ's receivers are most likely going to be all vying for all fly patterns all the time keeping the middle of the field unencumbered by offensive players.
He's not going to throw to Sherman's side so Maxwell will end up tipping the ball to Kam and Earl.

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