suicidal concept #1

After visiting some websites concerning suicide and the correlated warning signs, I was wondering if the psychologists and the society accept the general concept of suicide or refusal to live.
In order to start to understand the basic concepts and assumptions that emerge as the sole, bitter fact and shut all the open doors we need to think of some possible questions. I believe one needs to realize the basic steps of cognition happening in consciousness which leads to such decisions.
Is there any concept behind the whole thing? Or is there any logic to justify the fact that a suicidal or depressed person decides to refuse to live? Do they need to be understood? What kind of help do they need? Should we see what they see? Do we need to respect their view point?
In order to understand the concept and the logic, one needs to have a thorough and precise study on entire process of the developmental and cognitive aspect of men mindsets. There is a strong logic that keeps them away from reconsidering and even listening to the advice. There is undoubtedly a great deal of flexibility needed to help the therapist and society to understand the suicidal person. This is a very crucial matter in the study and treatment of a soul who is just ready to submit his life-resignation. What we need to care for is the need of suppressed because at the suicide point there is no time to learn to face life. In my opinion time is the very thing that is needed to give time to the new concepts of hope and all the concepts that had been already ignored.
Before going any further we need to discuss the questions and the issues mentioned.
I was wondering why WE sometimes leave things undone and ignore all the motifs and possible choices; then I came across the fact that there are some principles apart from spiritualities, namely the things either directly or indirectly related to our every day desires and regrets- the matters that can as easy as stretching a hand out to save some one. I do not intend to generalize the concept; it is just one aspect in my personal opinion. Now here we are not discussing whether the concepts are true or they exist in reality since the reality is relative to the nervous system signals which can be randomly generated. Random signals are just one cause of disordered thoughts which are produced under various conditions that leads to mental instability.

Always take suicide warning signs seriously!!!

by Kevin Caruso

Suicide Warning Signs:
Appearing depressed or sad most of the time.(Untreated depression is the number one cause for suicide.)
Talking or writing about death or suicide.
Withdrawing from family and friends.
Feeling hopeless.
Feeling helpless.
Feeling strong anger or rage.
Feeling trapped -- like there is no way out of a situation.
Experiencing dramatic mood changes.
Abusing drugs or alcohol.
Exhibiting a change in personality.
Acting impulsively.
Losing interest in most activities.
Performing poorly at work or in school.
Giving away prized possessions.
Writing a will.
Feeling excessive guilt or shame.
Acting recklessly.
It should be noted that some people who die by suicide do not show any suicide warning signs.
But about 75 percent of those who die by suicide do exhibit some suicide warning signs, so we need to be aware of what the suicide warning signs are and try to spot them in people. If we do see someone exhibiting suicide warning signs, we need to do everything that we can to help them.

International Suicide Statistics

Over one million people die by suicide worldwide each year.
The global suicide rate is 16 per 100,000 population.
On average, one person dies by suicide every 40 seconds somewhere in the world.
1.8% of worldwide deaths are suicides.
Global suicide rates have increased 60% in the past 45 years.

U.S. Suicide Statistics (2005)

Actual Suicides
1.3% of all deaths are from suicide.
On average, one suicide occurs every 16 minutes.
Suicide is the eleventh leading cause of death for all Americans.
Suicide is the third leading cause of death for young people aged 15-24 year olds.(1st = accidents, 2nd = homicide)
Suicide is the second leading waus of death for 25-34 year olds.
Suicide is the second leading cause of death among college students.
More males die from suicide than females.(4 male deaths by suicide for each female death by suicide.)
More people die from suicide than from homicide.(Suicide ranks as the 11th leading cause of death; Homicide ranks 13th.)
There were over 800,000 suicide attempts in 2005 .

"Make A Difference"

The Starfish Story

Story by: Loren Eisley

One day a man was walking along the beach when he noticed a boy picking something up and gently throwing it into the ocean.
Approaching the boy, he asked, “What are you doing?”
The youth replied, “Throwing starfish back into the ocean. The surf is up and the tide is going out. If I don’t throw them back, they’ll die.”
“Son,” the man said, “don’t you realize there are miles and miles of beach and hundreds of starfish? You can’t make a difference!”
After listening politely, the boy bent down, picked up another starfish, and threw it back into the surf. Then, smiling at the man, he said…”I made a difference for that one.”

Modern poetry VS Psychology

After flowing straight for a while, most rivers take a sudden turn. Likewise, literature does not always follow the straight path; when it takes a turn, that turn must be called modern. This modernity depends not upon time but upon temperament. Poetry had taken a new turn, beginning from Robert Burns, and the same movement brought forth many other great poets, such as Wordsworth, Coleridge, Shelley, and Keats.
The manners and customs of a society are shown in social usage. In countries where these social customs suppress all freedom and individual taste, man becomes a puppet, and his conduct conforms meticulously to social etiquette. Society appreciates this traditional and habitual way of life. Sometimes literature remains in this groove for long periods of time, and whosoever wears the sacred marks of perfect literary style is looked upon as a saintly person. During the age of English poetry that followed Burns, the barriers of style were broken down, and temperament made its debut. ``The lake adorned with lotus and the lily'' became a lake seen through the special view of official blinkers fashioned in the classic workshop. When a daring writer removes those blinkers and catch phrases, and looks upon the lake with open eyes, he also opens up a view through which the lake assumes different aspects and various fancies. But classic judgement cries ``fie for shame'' on him.
When we began to read English poetry, this unconventionally individualistic mood had already been acknowledge in literature, and the clamor raised by the Edinburgh Review had died down. Even so, that period of our life was a new era in modernism.
In those days, the sign of modernism in poetry was an individual's measure of delight. Wordsworth expressed in his own style the spirit of delight that he realized in nature. Shelley's was a Platonic contemplation, accompanied by a spirit of revolt against every kind of obstacle, political, religious or otherwise. Keat's poetry was wrought out of the meditation and creation of beauty. In that age, the stream of poetry took a turn from outwardness to inwardness.
A poet's deepest feelings strive for immortality by assuming a form in language. Love adorns itself; it seeks to prove inward joy by outward beauty. There was a time when humanity in its moments of leisure sought to beautify that portion of the universe with which it came into contact, and this outer adornment was the expression of its inner love, and with this love, there could be no indifference. In those days, in the exuberance of his sense of beauty man began to decorate the common articles of daily use; his inspiration lent creative power to his fingers. In every land and village, household utensils and the adornment of the home and person bound man, in color and form, to these outward insignia of life. Many ceremonies were evolved for adding zest to social life, many new melodies, arts and crafts in wood and metal, clay and stone, silk, wool and cotton. In those days, the husband called his wife: ``beloved disciple in the fine arts.'' The bank balance did not constitute the principal asset of the married couple in the work of setting up house; the arts were a more necessary item. Flower garlands were woven, the art of dancing was taught, accompanied by lessons in the vina, the flute and singing, and young women knew how to paint the ends of their saris of China silk. Then, there was beauty in human relationships. The English poets with whom we came into contact in my early youth saw the universe with their own eyes; it had become their personal property. Not only did their own imaginations, opinions and tastes humanize and intellectualize the universe, but they molded it according to their individual desires. The universe of Wordsworth was specially ``Wordsworthian,'' of Shelley, ``Shelleyan,'' of Byron, ``Byronic.'' By creative magic it also became the reader's universe. The joy that we felt in a poet's world was the joy of enjoying the delight of a particular world aroma. The flower sent its invitation to the bee through a distinctive smell and color, and the note of invitation was sweet. The poet's invitation possessed a spontaneous charm. In the days when the chief bond between man and universe was individuality, the personal touch in the invitation had to be fostered with care, a sort of competition had to be set up in dress and ornament and manners, in order to show oneself off to the best advantage.
Thus, we find that in the beginning of the nineteenth century the tradition which held priority in the English poetry of the previous age had given place to self-expression. This was called modernism. But now that modernism is dubbed mid-Victorian senility and made to recline on an easy chair in the next room. Now is the day of the modernism of lopped skirts and lopped hair. Powder is applied to the cheeks and rouge to the lips, and it is proclaimed that the days of illusion are over. But there is always illusion at every step of the creation, and it is only the variety of that illusions which plays so many tunes in so many forms. Science has throughly examined every pulse beat, and declares that at the root of things there is no illusion; there is carbon and nitrogen, there is physiology and psychology. We old-fashioned poets thought the illusion was the main thing and carbon and physiology the by-products. Therefore, we must confess that we had striven to compete with the Creator in spreading the snare of illusion through rhyme and rhythm, language and style. In our metaphors and nuances there was some hide-and-seek; we were unable to lift aside that veil of modesty which adorns but does not contradict truth. In the colored light that filtered through the haze, the dawns and evenings appeared in a beauty as tender as a new bride.
By Tagore
to be continued...

Sexual and social violance Vs classical conditioning ?

Dear friends,
well since march 9th turned out a holiday, there's no meeting. instead we can meet up on tuesday, 12:00 p.m-1:00 p.m, level 5 Wisma help. please let me know if you can make it. more over there will be a discussion concening the establishment and the main structure of the club. please join us if you are interested in participation and support.
please do some readings and prepare journals concerning classical conditioning and how possibly can be applied to sexual violence in order to reduce the number of the crime in society and families. see you then for discussion, hopefully... I know we are having tough time with projects and exams; therefore if you could not do any readings for the discussion, you can still join the meeting. please spread the words among your friends who are intrested to join the meeting.
((all are welcomed))