LINK TO SQUIDOO.COM

Go check out my "lenses" at Squidoo.com,
for now I've got two of them, one is about my music,
the other is a gathering of information on Stevie Wonder...

Here's the link:

http://www.squidoo.com/lensmaster/referral/PKinG222

HOW TO DETECT LIES

Become a Lie Detector

Introduction to Detecting Lies:

The following techniques to telling if someone is lying are often used by police, and security experts. This knowledge is also useful for managers, employers, and for anyone to use in everyday situations where telling the truth from a lie can help prevent you from being a victim of fraud/scams and other deceptions.

Warning: Sometimes Ignorance is bliss; after gaining this knowledge, you may be hurt when it is obvious that someone is lying to you.

Signs of Deception:

Body Language of Lies:

• Physical expression will be limited and stiff, with few arm and hand movements. Hand, arm and leg movement are toward their own body the liar takes up less space.

• A person who is lying to you will avoid making eye contact.

• Hands touching their face, throat & mouth. Touching or scratching the nose or behind their ear. Not likely to touch his chest/heart with an open hand.

Emotional Gestures & Contradiction

• Timing and duration of emotional gestures and emotions are off a normal pace. The display of emotion is delayed, stays longer it would naturally, then stops suddenly.

• Timing is off between emotions gestures/expressions and words. Example: Someone says "I love it!" when receiving a gift, and then smile after making that statement, rather then at the same time the statement is made.

• Gestures/expressions don’t match the verbal statement, such as frowning when saying “I love you.”

• Expressions are limited to mouth movements when someone is faking emotions (like happy, surprised, sad, awe, )instead of the whole face. For example; when someone smiles naturally their whole face is involved: jaw/cheek movement, eyes and forehead push down, etc.

Interactions and Reactions

• A guilty person gets defensive. An innocent person will often go on the offensive.

• A liar is uncomfortable facing his questioner/accuser and may turn his head or body away.

• A liar might unconsciously place objects (book, coffee cup, etc.) between themselves and you.

Verbal Context and Content

• A liar will use your words to make answer a question. When asked, “Did you eat the last cookie?” The liar answers, “No, I did not eat the last cookie.”

•A statement with a contraction is more likely to be truthful: “ I didn't do it” instead of “I did not do it”

• Liars sometimes avoid "lying" by not making direct statements. They imply answers instead of denying something directly.

• The guilty person may speak more than natural, adding unnecessary details to convince you... they are not comfortable with silence or pauses in the conversation.

• A liar may leave out pronouns and speak in a monotonous tone. When a truthful statement is made the pronoun is emphasized as much or more than the rest of the words in a statement.

• Words may be garbled and spoken softly, and syntax and grammar may be off. In other
words, his sentences will likely be muddled rather than emphasized.

Other signs of a lie:

• If you believe someone is lying, then change subject of a conversation quickly, a liar follows along willingly and becomes more relaxed. The guilty wants the subject changed; an innocent person may be confused by the sudden change in topics and will want to back to the previous subject.

• Using humor or sarcasm to avoid a subject.

Final Notes:

Obviously, just because someone exhibits one or more of these signs does not make them a liar. The above behaviors should be compared to a persons base (normal) behavior whenever possible.

Flow (psychology)

From Wikipedia, the free encyclopedia

Flow is the mental state of operation in which the person is fully immersed in what he or she is doing, characterized by a feeling of energized focus, full involvement, and success in the process of the activity. Proposed by psychologist Mihaly Csikszentmihalyi, the concept has been widely referenced across a variety of fields.

Components of flow

As Csikszentmihalyi sees it, components of an experience of flow can be specifically enumerated; he presents the following:

1. Clear goals (expectations and rules are discernible).
2. Concentrating and focusing, a high degree of concentration on a limited field of attention (a person engaged in the activity will have the opportunity to focus and to delve deeply into it).
3. A loss of the feeling of self-consciousness, the merging of action and awareness.
4. Distorted sense of time - one's subjective experience of time is altered.
5. Direct and immediate feedback (successes and failures in the course of the activity are apparent, so that behavior can be adjusted as needed).
6. Balance between ability level and challenge (the activity is neither too easy nor too difficult).
7. A sense of personal control over the situation or activity.
8. The activity is intrinsically rewarding, so there is an effortlessness of action.
9. When in the flow state, people become absorbed in their activity, and focus of awareness is narrowed down to the activity itself, action awareness merging (Csikszentmihalyi, 1975. p.72).

Not all are needed for flow to be experienced.

Etymology

Flow is so named because during Csikszentmihalyi's 1975 interviews several people described their 'flow' experiences using the metaphor of a current carrying them along. The psychological concept of flow as becoming absorbed in an activity is thus unrelated to the older phrase "to go with the flow" which means "to conform".

Group flow

Csikszentmihalyi suggests several ways in which a group could work together so that each individual member could achieve flow. The characteristics of such a group include:

• Creative spatial arrangements: Chairs, pin walls, charts, however no tables, therefore primarily work in standing and moving.
• Playground design : Charts for information inputs, flow graphs, project summary, craziness (here also craziness has a place), safe place (here all may say what is otherwise only thought), result wall, open topics
• Parallel, organized working
• Target group focus
• Advancement of existing one (prototyping)
• Increase in efficiency through visualization
• Existence of differences among participants represents an opportunity, rather than an obstacle.

Applications

Applications suggested by Csikszentmihalyi versus other practitioners

It is worth noting that only Csikszentmihalyi seems to have published suggestions for extrinsic applications of the Flow concept, such as design methods for playgrounds to elicit the Flow experience. Other practitioners of Csikszentmihalyi's Flow concept focus on intrinsic applications, such as spirituality, performance improvement or self-help. Reinterpretations of Csikszentmihalyi's Flow process exist to improve performance in areas as diverse as business [1], sport psychology [2], and standup comedy [3].

Religion and spirituality

Csikszentmihalyi may have been the first to describe this concept in Western psychology, but as he himself readily acknowledges he was most certainly not the first to quantify the concept of Flow or develop applications based on the concept.

For millennia, practitioners of Eastern religions such as Buddhism and Taoism have honed the discipline of overcoming the duality of self and object as a central feature of spiritual development. Eastern spiritual practitioners have developed a very thorough and holistic set of theories around overcoming duality of self and object, tested and refined through spiritual practice instead of the systematic rigor and controls of modern science.

The phrase "being at one with things" is a metaphor of Csikszentmihalyi's Flow concept. Practitioners of the varied schools of Zen Buddhism apply concepts similar to Flow to aid their mastery of art forms, including, in the case of Japanese Zen Buddhism, Kendo and Ikebana.

The idea of overcoming duality of self and object is a key theme of Zen and the Art of Motorcycle Maintenance: An Inquiry into Values by Robert Pirsig (1974). "When you're not dominated by feelings of separateness from what you're working on, then you can be said to 'care' about what you're doing. That is what caring really is: 'a feeling of identification with what one's doing.' When one has this feeling then you also see the inverse side of caring, quality itself." (page 290)

Education

In education, there is the concept of overlearning which seems to be an important factor in this technique, in that Csikszentmihalyi states in his book Flow: The Psychology of Optimal Experience that overlearning enables the mind to concentrate on visualizing the desired performance as a singular, integrated action instead of a set of actions.

Sports

The concept of "being in the zone" during an athletic performance fits within Csikszentmihalyi's description of the Flow experience, and theories and applications of "being in the zone" and its relationship with athletic competitive advantage are topics studied in the field of sport psychology.

The legendary soccer player Pele described his experience of being in the zone: "I felt a strange calmness.. . a kind of euphoria. I felt I could run all day without tiring, that I could dribble through any of their team or all of them, that I could almost pass through them physically."^{[citation needed]}

Here's a link to an interesting website on the topic of "flow" :

http://c2.com/cgi/wiki?MentalStateCalledFlow

MUSIC: HISTORY

Allegory of Music on the Opéra Garnier

Figurines playing stringed instruments, excavated at Susa, 3rd millennium BC. Iran National Museum.

The history of music predates the written word and is tied to the development of each unique human culture. Although the earliest records of musical expression are to be found in the Sama Veda of India and in 4,000 year old cuneiform from Ur, most of our written records and studies deal with the history of music in Western civilization^{[citation needed]}. This includes musical periods such as medieval, renaissance, baroque, classical, romantic, and 20th century era music. The history of music in other cultures has also been documented to some degree, and the knowledge of "world music" (or the field of "ethnomusicology") has become more and more sought after in academic circles. This includes the documented classical traditions of Asian countries outside the influence of western Europe, as well as the folk or indigenous music of various other cultures. (The term world music has been applied to a wide range of music made outside of Europe and European influence, although its initial application, in the context of the World Music Program at Wesleyan University, was as a term including all possible music genres, including European traditions. In academic circles, the original term for the study of world music, "comparative musicology", was replaced in the middle of the twentieth century by "ethnomusicology.")

Popular styles of music varied widely from culture to culture, and from period to period. Different cultures emphasised different instruments, or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical & artistic communication, but also extensively for propaganda.

As world cultures have come into greater contact, their indigenous musical styles have often merged into new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the US' multi-ethnic "melting pot" society.

There is a host of music classifications, many of which are caught up in the argument over the definition of music. Among the largest of these is the division between classical music (or "art" music), and popular music (or commercial music - including rock and roll, country music, and pop music). Some genres don't fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz music).

Genres of music are determined as much by tradition and presentation as by the actual music. While most classical music is acoustic and meant to be performed by individuals or groups, many works described as "classical" include samples or tape, or are mechanical. Some works, like Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music. Many current music festivals celebrate a particular musical genre.

There is often disagreement over what constitutes "real" music: late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era jazz, hip hop, punk rock, and electronica have all been considered non-music by some critics when they were first introduced.

ORIGIN OF FUNK

The word "funk", once defined in dictionaries as body odor or the smell of sexual intercourse, commonly was regarded as coarse or indecent. African-American musicians originally applied "funk" to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm because of the word's association with sexual intercourse. This early form of the music set the pattern for later musicians.

The music was slow, sexy, loose, riff-oriented and danceable. Funky typically described these qualities. In jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank ("stink"/funk) on it!" At least as early as 1907, jazz songs carried titles such as Buddy Bolden's "Funky Butt." As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of soul music, the terms still were considered indelicate and inappropriate for use in polite company.

The distinctive characteristics of African-American musical expression are rooted in West African musical traditions, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel and blues. In more contemporary music, gospel, blues and blues extensions and jazz often flow together seamlessly. Funky music is an amalgam of soul music, soul jazz and R&B.