Success in Business Strategy

To hand down the wisdom he had gained from years of battles, more than two millennia ago the famous Chinese general Sun Tzu wrote the classic work on military strategy, The Art of War. Because business, like warfare, is dynamic, fast-paced, and requires an effective and efficient use of scarce resources, modern executives have found value in Sun Tzu’s teachings. The Art of War is arranged for the military leader , so making connections between ancient warfare and today’s corporate world is fairly trasperent.

 Sun Tzu’s strategic principles can be successfully applied to modern business situations. The synthesis of Sun Tzu’s ideas into strategic principles for the business executive is invaluable.

There are many modern examples like GE, Microsoft, AT&T, BMW, Southwest Airlines, FedEx, and many others, some of the America’s best companies that are still following the wisdom of history’s most respected strategist.  Executives can avoid the pitfalls of management fads and achieve lasting competitive advantage.

Download your free copy from “The Art of  War” by Sun Tzu

About panic attacks in layman terms

What is a panic attack?

Everyone knows what panic is, and it is common to feel panicky from time to time:

• You get the sense that you are being followed on your way home from a party, late at night.

• You discover you have had your wallet stolen.

• You are sitting an exam. You look at the paper and realise you don’t know the answers to any of the questions.

• Someone runs in front of your car and you almost hit them.

It would be normal in any of these situations to feel a sense of panic. The feeling would be understandable and would pass fairly quickly.

A panic attack is a bit like ‘normal’ panic, but different in a number of ways:

The feelings seem to come ‘out of the blue’ and are not usually related to the sort of frightening situation described above.

The feelings are a lot stronger.

As the feelings are UNEXPECTED and STRONG they can feel extremely frightening.

Panic attacks affect people in many different ways, but there is usually a frightening feeling that something really awful is about to happen.

 Lots of people have panic attacks, although they can affect people in different ways. Some people have only one, others may have them for many years. Some people have them every day, some people only once in a while.

Some physical conditions can cause symptoms similar to panic attacks as well.

For example: certain medicines taken together;

  • thyroid problems;
  • drinking too much caffeine;
  • hormonal dis-balance
  • pregnancy;
  • low blood sugar; etc

It is a good idea to consult with a medical doctor to overrule any concerns that your problem may have a physical cause.

Spiritual healing, relaxation and auditing can help to rejuvenate your inner self into a confident mode. An individual auditing program can address your spiritual disproportions and release the build up stressful charge. Panic affects your body, your mind and the way you behave.


Disclaimer : This article is for general information purpose. Please consult medical professionals in respect to any medical conditions and treatments.

The Spiritual in Art

Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks but we can still recall our past lives and create in the new reality adding effects consistent with our spiritual growth. In some way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning.

 There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age. An example of this today is our sympathy, our spiritual relationship, with the Primitives. Like ourselves, these artists sought to express in their work only internal truths, renouncing in consequence all consideration of external form.


This all-important spark of inner life today is at present only a spark. Our minds, which are even now only just awakening after years of materialism, are infected with the despair of unbelief, of lack of purpose and ideal. The nightmare of materialism, which has turned the life of the universe into an evil, useless game, is not yet past; it holds the awakening soul still in its grip. Only a feeble light glimmers like a tiny star in a vast gulf of darkness. This feeble light is but a presentiment, and the soul, when it sees it, trembles in doubt whether the light is not a dream, and the gulf of darkness reality. This doubt, and the still harsh tyranny of the materialistic thinking, divide our soul sharply from that of the Primitives. Our soul rings cracked when we seek to play upon it, as does a costly vase, long buried in the earth, which is found to have a flaw when it is dug up once more. For this reason, the Primitive phase with its temporary similarity of form, can only be of short duration.

There are two possible resemblances between the art forms of today and those of the past that will be at once recognized as diametrically opposed to one another. The first, being purely external. The second, being internal. After the period of materialist effort, which held the soul in check until it was shaken off as evil, the soul is emerging, purged by trials and sufferings. Shapeless emotions such as fear, joy, grief, etc., which belonged to this time of effort, will no longer greatly attract the artist. He will endeavour to awake subtler emotions, as yet unnamed. Living himself a complicated and comparatively subtle life, his work will give to those observers capable of feeling them lofty emotions beyond the reach of words.


The observer of today, however, is seldom capable of feeling such emotions. He seeks in a work of art a mere imitation of nature which can serve some definite purpose (for example a portrait in the ordinary sense) or a presentment of nature according to a certain convention , or some inner feeling expressed in terms of natural form. Kandinsky uses the words “essential spirit”. All those varieties of picture, when they are really art, fulfil their purpose and feed the spirit (the mind). Though this applies where the spectator does feel a corresponding thrill in himself. Such harmony or even contrast of emotion cannot be superficial or worthless; indeed the Stimming of a picture can deepen and purify that of the spectator. Such works of art at least preserve the soul from coarseness; they “key it up,” so to speak, to a certain height, as a tuning-key the strings of a musical instrument. But purification, and extension in duration and size of this sympathy of soul, remain one-sided, and the possibilities of the influence of art are not exerted to their utmost.

Imagine a building divided into many rooms. The building may be large or small. Every wall of every room is covered with pictures of various sizes; perhaps they number many thousands. They represent in colour bits of  nature–animals in sunlight or shadow, drinking, standing in water, lying on the grass; near to, a Crucifixion by a painter who does not believe in Christ; flowers; human figures sitting, standing, walking; apples and silver dishes; portrait of Councillor So and So; sunset; lady in red; flying duck; portrait of Lady X; flying geese; lady in white; calves in shadow flecked with brilliant yellow sunlight; portrait of Prince Y; lady in green.

All this is carefully printed in a book–name of artist–name of picture. People with these books in their hands go from wall to wall, turning over pages, reading the names. Then they go away, neither richer nor poorer than when they came, and are absorbed at once in their business, which has nothing to do with art. Why did they come? In each picture is a whole lifetime imprisoned, a whole lifetime of fears, doubts, hopes, and joys.

Here and there are people with eyes which can see, minds which can correlate. They say to themselves: “If the science of the day before yesterday is rejected by the people of yesterday, and that of yesterday by us of today, is it not possible that what we call science now will be rejected by the men of tomorrow?” And the bravest of them answer, “It is possible.” Then people appear who can distinguish those problems that the science of today has not yet explained. And they ask themselves: “Will science, if it continues on the road it has followed for so long, ever attain to the solution of these problems? And if it does so attain, will men be able to rely on its solution?” In these segments are also professional men of learning who can remember the time when facts now recognized by the Academies as firmly established, were scorned by those same Academies. There are also philosophers of aesthetic who write profound books about an art which was yesterday condemned as nonsense. In writing these books they remove the barriers over which art has most recently stepped and set up new ones which are to remain forever in the places they have chosen. They do not notice that they are busy erecting barriers, not in front of art, but behind it. And if they do notice this, on the morrow they merely write fresh books and hastily set their barriers a little further on. This performance will go on unaltered until it is realized that the most extreme principle of aesthetic can never be of value to the future, but only to the past. No such theory of principle can be laid down for those things which lie beyond, in the realm of the immaterial. That which has no material existence cannot be subjected to a material classification. That which belongs to the spirit of the future can only be realized in feeling, and to this feeling the talent of the artist is the only road. Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past.

On the other hand, the number is increasing of those men who put no trust in the methods of materialistic science when it deals with those questions which have to do with “non-matter,” or matter which is not accessible to our minds. Just as art is looking for help from the primitives, so these men are turning to half-forgotten times in order to get help from their half- forgotten methods. However, these very methods are still alive and in use among nations whom we, from the height of our knowledge, have been accustomed to regard with pity and scorn.

When religion, science and morality are shaken, the two last by the strong hand of Nietzsche, and when the outer supports threaten to fall, man turns his gaze from externals in on to himself. Literature, music and art are the first and most sensitive spheres in which this spiritual revolution makes itself felt. They reflect the dark picture of the present time and show the importance of what at first was only a little point of light noticed by few and for the great majority non-existent. Perhaps they even grow dark in their turn, but on the other hand they turn away from the soulless life of the present towards those substances and ideas which give free scope to the non-material strivings of the soul.

Spiritual darkness, the insecurity of ignorance and fear pervade the world in which they move. The gloom of the spiritual atmosphere, the terrible, but all-guiding hand, the sense of utter fear, the feeling of having strayed from the path, the confusion among the guides, all these are clearly felt in art works.

Something similar may be noticed in the music of Wagner. His famous leitmotiv is an attempt to give personality to his characters by something beyond theatrical expedients and light effect. His method of using a definite motive is a purely musical method. It creates a spiritual atmosphere by means of a musical phrase which precedes the hero, which he seems to radiate forth from any distance.  Musicians like Debussy create a spiritual impression, often taken from nature, but embodied in purely musical form. For this reason Debussy is often classed with the Impressionist painters on the ground that he resembles these painters in using natural phenomena for the purposes of his art. Whatever truth there may be in this comparison merely accentuates the fact that the various arts of today learn from each other and often resemble each other. But it would be rash to say that this definition is an exhaustive statement of Debussy’s significance. Despite his similarity with the Impressionists this musician is deeply concerned with spiritual harmony, for in his works one hears the suffering and tortured nerves of the present time. And further Debussy never uses the wholly material note so characteristic of programme music, but trusts mainly in the creation of a more abstract impression. Debussy has been greatly influenced by Russian music, notably by Mussorgsky.


Picasso is trying to arrive at constructiveness by way of proportion. In his latest works (1911) he has achieved the logical destruction of matter, not, however, by dissolution but rather by a kind of a parcelling out of its various divisions and a constructive scattering of these divisions about the canvas. But he seems in this most recent work distinctly desirous of keeping an appearance of matter. He shrinks from no innovation, and if colour seems likely to balk him in his search for a pure artistic form, he throws it overboard and paints a picture in brown and white; and the problem of purely artistic form is the real problem of his life. In their pursuit of the same supreme end Matisse and Picasso stand side by side, Matisse representing colour and Picasso form.

In each manifestation is the seed of a striving towards the abstract, the non-material. Consciously or unconsciously they are obeying Socrates’ command–Know thyself. Consciously or unconsciously artists are studying and proving their material, setting in the balance the spiritual value of those elements, with which it is their several privilege to work.

The achievement of the dance-art of the future will make possible the first ebullition of the art of spiritual harmony–the true stage-composition.

The composition for the new theatre will consist of these three elements:

(1) Musical movement (2) Pictorial movement (3) Physical movement and these three, properly combined, make up the spiritual movement, which is the working of the inner harmony. They will be interwoven in harmony and discord as are the two chief elements of painting, form and colour.


The artist is not born to a life of pleasure. He must not live idle; he has a hard work to perform, and one which often proves a cross to be borne. He must realize that his every deed, feeling, and thought are raw but sure material from which his work is to arise, that he is free in art but not in life.

The artist has a triple responsibility to the non-artists: (1) He must repay the talent which he has; (2) his deeds, feelings, and thoughts, as those of every man, create a spiritual atmosphere which is either pure or poisonous. (3) These deeds and thoughts are materials for his creations, which themselves exercise influence on the spiritual atmosphere. The artist is not only a king, because he has great power, but also because he has great duties.

If the artist be priest of beauty, nevertheless this beauty is to be sought only according to the principle of the inner need, and can be measured only according to the size and intensity of that need.


Presense by Victor Veritas

The more present you are, the less stressful your day, the less you will see everything in your life as a problem. In fact you will start to see problems as opportunities. When you recognize that the invitation to presence is a necessity for betterment in your life, you will see everything in its physical form is inviting you into the present moment. Everything you can see, feel, taste and touch feels surrounding you as magic. Your thinking grows in enjoyable thoughts to reflect on happy and positive events. Being present can clear up your mind as an instrument of expression. What changes with presence is that you are no longer a victim of the unconscious never ending stream of destructive thoughts to self and others. Your mind is not longer imprisoned to see yourself as a victim and you become a part of a new winning reality of your life. Only by liberating yourself from being constantly held in the past we can awaken in present. Presence is the key. Why is presence not being thought at schools? Lets teach ourselves how to be present, how to be in right relationship with your environment, what to do with this little thing called an ego.

Pierre made himself available to me and thought me how to be present. I experienced accelerated healing and peaceful joy. I am forever grateful for this magnificent change in my life. The rewarding benefits were priceless. My message to you is that everyone on the planet has a choice and with every choice there are consequences to follow. You are within your power to choose to be present and live in present time. You are within your power to leave the past behind and move on to a better future. Free yourself from that habituated state of mind and the ego’s resistance.

Abuse, injustice, inequality, racism, prejudice, control and manipulation are caused by the human reactive mind. All those things get acted out and we need to remember where the true problem resides. It is within us to become truly present and awake. It is within us to recapture control of our lives and live in harmony.


About Confidence

Success is a journey. When you dream,  dream big. Don’t let your biggest obstacle be yourself and do not be afraid to laugh at yourself when learning from your mistakes.  Don’t let fear stop you , challenge yourself to move forward and turn your guilt into gratitude, believe that you deserve your  accomplishments.

Picture yourself in a career in science, engineering or technology. It may be hard to imagine yourself in a place where you don’t think you belong. You can develop your confidence in your own abilities and better your critical thinking skills to feel more like at home in highly professional environment. Turn the page of your past and develop your NEW you. We are spiritual beings who are human. All of us are born with restlessness that is like a fire and this fire presents with a tremendous opportunity. It is important to express what you need and conceptualize with your spirituality. Jump into every opportunity to discuss the real issues and real values in life, share your ideas in collaborative spiritual environment. Do not hesitate to openly talk about your spiritual needs, personal needs and relational needs.

Some socializations often breed lack of confidence and ambition. People tend to underestimate their own abilities and shy away from new challenges. It is important to picture yourself making a difference, that fits better with your personal values and that have an environment more accommodating of your life balance. We were thought that “ignoring the obvious” saves everyone the embarrassment. There is a need to step outside of your comfort zone as you start to see how you could make a meaningful difference in the lives of others and step forward in a positive direction. As you bring diversity and positive change, you will gain confidence, contacts and invaluable knowledge. As you gather your confidence you will see the real barriers and take advantage of  great new opportunities.

Creative Expressions by Vincent Magni

Many of us get messages from an early age that our individual creative expression, which is another way of saying who we really are, is somehow not good enough. We lose touch with our natural creative source and thus lose touch with that core energy that allows us to feel nourished, grounded, fully alive and connected to ourselves and others.

Creative self expression is an important and often underutilized tool for those of us on the path of spiritual growth. Creativity is an essential ingredient of success and satisfaction in any area of our lives.

Getting back in touch with your creative self can reconnect you with a sense of meaning and purpose, regain your joy and help you maintain greater flexibility in the face of life’s many challenges. Creativity is one of the most unique and precious aspects of who we are.

 Vincent Magni has been a painter and sculptor since 1986 and has exhibited internationally since 1991. Vincent Magni’s unique talent has been recognized both nationally and internationally and his art has been exhibited throughout France, Switzerland, Germany, Belgium, Austria and the U.S.A. His works can be found in corporate and private collections throughout the world. If you do not own a Picasso, Vincent Magni’s paintings can be your best alternative.

Have a look at the artist website to discover his contemporary art before you queue to see his works in the world’s major museums.

Magni’s unique mobile sculptures, which move when touched, are a delight to behold. The viewer can easily recognize their forms although you can see right through them. These wire sculptures are refreshingly innovative; they immediately bring smiles to the viewer as they dance and nod in appreciation for being touched. Each sculpture is original in design and personality and moves in its own unique way, occupying and defying space simultaneously.

Magni’s other wire figures are densely formed, not only does the material fill the human figure, but it does so with a less deliberate precision. In these works a fully developed and balanced body is composed of randomly directed wire, its static stance is contradicted by the material’s frenzied appearance. Magni’s work is compelling because of this old dichotomy; it is solid yet empty, static yet kinetic.

Note:  Pierre audited Vincent on OT VIII

Vincent Magni – OT VIII, Class 5 Auditor, gave $25,000 to the IAS, France


Music Digitally Crafted by Geir Isene

I have found music to be one of the best methods for pulling people into creative mode. Music can be very inspirational and spiritually fulfilling. When I was younger I realized I was a person who is very visual. I can imagine full scenes in my mind, I can turn things around in my head and when somebody gives me directions, I see a 3D movie of what they are telling me. I played piano growing up, and that really fed my soul. I often talked about bands I loved and took art classes to learn how to paint. The teacher would use music to increase the creative flow. I was astounded to see how it amplified my creativity. I was hooked, and I began my search to find the music that resonated with my soul.

Here are few comment from Geir Isene about this wornderful world of creativity:

My creativity got a solid boost back in ’96 when I did OT 1-2-3. But especially on OT 1 & 2, I felt a real surge in creativity. This has never stopped, and just today I uploaded my first video on YouTube, featuring my arrangement of Mussorgsky’s “Pictures at an Exhibition; The Old Castle”, complete with some of my digital artwork.

Geir Isene :)”