A Quote by Marshall B. Rosenberg

I find that my cultural conditioning leads me to focus attention on places where I am unlikely to get what I want. I developed NVC as a way to train my attention-to shine the light of consciousness-on places that have the potential to yield what I am seeking.
Let’s shine the light of consciousness on places where we can hope to find what we are seeking.
NVC is a reminder; to focus our attention where we are most likely to get our needs met.
I find that somehow, by shifting the focus of attention, I become the very thing I look at, and experience the kind of consciousness it has; I become the inner witness of the thing. I call this capacity of entering other focal points of consciousness, love; you may give it any name you like. Love says "I am everything". Wisdom says "I am nothing". Between the two, my life flows. Since at any point of time and space I can be both the subject and the object of experience, I express it by saying that I am both, and neither, and beyond both.
I am a fragment of a mirror whose whole design and shape I do not know. Nevertheless, with what I have - I can reflect light into the dark places of this world - into the black places in the hearts of men - and change somethings in some people. Perhaps others may see and do likewise. This is what I am about. This is the meaning of my life.
The point of my music? The point I just want to get across is I'm me and I exist. Just letting people know who I am. Ever since I was young, I was the little attention grabber; I always loved attention. I want to grab people's attention. I want them listen to me and know that this is really good music. Whether they like it or not, they're gonna listen.
I'm terribly attention-seeking. It's very different once you get all this attention, though. Because then you want to control it. And you can't exactly.
When it comes to female fan attention, I'm married, so obviously I avoid the places where you might get unwanted female attention - clubs and social environments, bars and public spaces.
There are places where it is easy to see, places of illumination, where one moves into illumined states of attention.
When I'm the person in front of the microphone, and I'm the person in the light, I want to reflect and refract the light onto places where they need the attention, where I don't need it.
Don't be afraid of your dark places. ... If you can shine a light on them, you'll find treasure there.
The rhyme always knows better than you, and leads you to places where you wouldn't otherwise have gotten to and that is absolutely the case. Leading off from formal poetry, there is something about when you pay attention to form and you allow it to have its own laws and you listen to those laws you really do end up in places you wouldn't otherwise go. Which isn't to say that I believe in following the rules when I write. I don't. Each of the forms in my books feels to me new.
Real people are places to me as much as persons: I want to see them, as I want to see the places I am fond of, in all weathers and at all times of the year.
I can interpret my own work honestly. And performing by myself seems to focus the attention in the right places.
You can't be positive to everybody. A lot of people want to focus on flaws and negativity, especially on the Internet because that's their only voice. I don't pay attention to that kind of stuff. I pay attention to opportunities coming my way, gays and lesbians telling me what I've done for them, organizations in my community that always want to work with me.
From the simplest lyric to the most complex novel and densest drama, literature is asking us to pay attention. Pay attention to the frog. Pay attention to the west wind. Pay attention to the boy on the raft, the lady in the tower, the old man on the train. In sum, pay attention to the world and all that dwells therein and thereby learn at last to pay attention to yourself and all that dwells therein.
I am not a hound; I am an attention-seeker. Very different animal. My kind of attention requires greater finesse.
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