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feel it in (one's) bones

I hopped on a plane, believing my sunshine would be enough to stop this spiral. I allow myself to hear why I am mad because I know answers are on the other side of that. Even if that means I cry in my car because I walked passed a flavor of ice cream that he enjoyed. Even if that means I cry for no other reason besides missing my brother.

I let it flow because I am alive and I can feel. Because of all of the human emotions that I get to endure, the one he would want me to amplify the most is wild, epic, unleashed happiness. As a professional beach-goer, the thing I can tell you about waves is that they have two extremes; if you work with the waves they are flowing and forgiving, if you fight against them they will pull you under to the depths.

This is how you move with grace through grief. The fight creates a deep abyss of suffering, the flow creates a space for forgiveness. And on the other side of that pain is forgiving and wild happiness that I like to think our lost pieces are sending to us. This is how I am strong through my grief. I am mad, sad, and happy sometimes all in one day. I feel pain and yet I live so passionately, exactly the way my brother would want me to. I am not strong because I am positive; I am strong because I feel it all. Strength hides in the depth of every emotion. Tap into each flow.

Megan Seamans is a life coach for women who want to get out of their head and on with the life they're obsessed with. She helps them get back to their core being by supporting them in moving out of blocks such as fear, doubt, overwhelm, and their comfort zone. Grab her free journal guide 6 Steps to Clarity here!

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Though I run this site, it is not mine. It's not about me. Your stories and your wisdom are just as meaningful as mine. Click here to read more. I continue to tell them strength comes because I feel it all.

I Feel You

The tumor on his spine seemed to disagree with me though. And then there was the cancer. My sunshine was not enough to bring him back to life. In a second TED talk, Milk playfully hypothesizes that storytelling began with cavemen relaying the tale of a hunt.

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After all, in video games, the creative challenge posed by a user and character sharing a body often requires game designers to leave underdeveloped the ostensible main character, precisely to accommodate the variety of user personalities. But Milk is onto something when he describes the technology this way. Despite the way VR has been discussed i. It has its own set of storytelling powers. VR can depict a series of events with immersive realism and render settings with astounding vividness. This is an awesome power, and some of the more interesting early passes at narrative VR have used setting imaginatively to lure viewers into engaging, alternative story-worlds.

Visit a Syrian refugee camp in Clouds over Sidra , by Milk and Gabo Arora, and you may learn something about what a Syrian refugee camp looks like. You may now believe in the reality of the place and its people, and you may even recall that you should care about their suffering.


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But you will not know what it is like to be a refugee. For example, imagine a city street.


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  • Pedestrians are crossing at the intersection ahead. A woman walks past you. What access does the sharing of this street corner afford you to her mind? Now imagine a bomb goes off. People are screaming, running. Now you and that woman are having a similar experience. Now you have some access to her inner life. This is only the brute similarity of deindividuating trauma. Would Kiya feel heard because we listened to her die? The deep work of real empathy lies in the labor of coming to understand the other, of coming to see, think, and feel as the other sees, thinks, and feels.

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    The work of the storyteller is one of precisely controlling directing, guiding, choreographing our attention. He or she brings certain features of a scene into relief, ignores others, and even determines the order and prominence of the elements of a given scene.

    We are, through our submission to the seeing-work of another, obliged to reckon with the point of view of someone else. In VR, however, I can turn my head and in some cases even walk around to examine any aspect of the scene I want.

    And that scene is rendered with uniform visibility in degrees.