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our attention  QUOTES

31 " *Breathing in, I know this is my in-breath.
Breathing out, I know this is my out-breath.*

It's very simple, but very effective. When we bring our attention to our in-breath and our out-breath, we stop thinking of the past; we stop thinking of the future; and we begin to come home to ourselves...Don't think this practice doesn't apply to you. If we don't go home to ourselves, we can't be at our best and serve the world in the best way... Our quality of being is the foundation for the quality of our actions.

*Breathing in, I'm aware of my whole body.
Breathing out, I'm aware of my whole body.*

Breathing mindfully brings us back to our bodies. We have to acknowledge our bodies first because tension and suffering accumulate in the body. Breathing in this way, we create a kind of family reunion between mind and body. The mind becomes an embodied mind.

...We can't do our best if we don't know to release the tension and pain in ourselves.

*Breathing in, I'm aware of the tension in my body.
Breathing out, I'm aware of the tension in my body.*

When we look at the suffering around us, at poverty, violence, or climate change, we may want to solve these things immediately. We want to do something. But to do something effectively and ethically, we need to be our best selves in order to be able to handle the suffering...

*Breathing in, I am aware of a painful feeling arising.
Breathing out, I release the painful feeling.*

This is a nonviolent and gentle way to help our bodies release tension and pain. It is possible to practice mindful breathing in order to produce a feeling of joy, a feeling of happiness. When we are well-nourished and know how to create joy, then we are strong enough to handle the deep pain within ourselves and the world. "

Thich Nhat Hanh , Good Citizens: Creating Enlightened Society

35 " If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'.

A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray.

Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present. "

Alain de Botton , The Art of Travel