FUTURE BUSINESS
If you have an idea to start some future business between Mexico and Any other country and you want the services of an International Student here is my Curriculum Vitae:
" CURRICULUM VITAE " Name: Juan Carlos Moya Macedo.
Age: 23 years old.
Date and Place of Birth: 25-03-78. Toluca State of Mexico.
Adress: Poeldijkstraat #207 A. 1059 VL Amsterdam.
e-mail: [email protected]
Primary School: Anexa a la Normal de Profesores ( Toluca , Mexico) 1984 - 1990
Secondary School: "Estado de Mexico" (Toluca Mexico) 1990-1992.
"Spring Woods High School"(Houston Texas) 1992-1993.
. High School: "Argos" College (Toluca Mexico) 1993-1994.
" Cultural Institute Didaskalos" 1995-1998.
University Studies: Universidad Iberoamericana (Mexico City)1998
Career: International Relations: Foreign Affairs.
1998-2001 Current Studies: Exchange year with "Amsterdam School of Business".
Work Experience: Member of the first model of the United Nations . Universidad Iberoamericana. 1999. Member of the Students Association of International Relations.
Cultural Director.1999-2000 Coordinator of the third model of the United Nations Universidad Iberoamericana. 2000
Writer for a magazine in Mexico city called Forum Universitarium. since 1998.
Working at the embassy of Mexico in the Netherlands: International Press, Human Rights, OPAQ etc.
Hobbies: Write about existence listen music, read and write poetry, art and human cultures.
THIS IS MY BROTHER AND MY MOTHER:
Here are some of my influences in life:
Everyone must have an aim. Without aims, one will go nowhere. Aim is necessary in the work, but it cannot be an arbitrary or invented aim. There can be only one aim-to awake-and it can only come when you realize that you are asleep, otherwise there is no necessity for it. All other aims, however one may formulate them, must be in line with that. Self-Observation One of the fundamental practices of life is observing oneself impartially without changing anything one sees.
Self-Remembering One of the fundamental practices of his teaching remembering oneself and resisting one's own mechanics. There are thousands of ways to self-remember. External Considering Putting oneself into another's shoes is an antidote to internal considering.
Three Lines of School Work One must work on three lines of work in order to achieve anything in a school. Verification The first principle of the Work is to verify everything for yourself; never accept anything on faith, and never accept anything you are told.
Requirements and Circumstances Certain factors in one's life must be in place before one can work on oneself. There are also characteristic inner obstacles to one's work. Valuation Valuation of something is your estimation of its worth, or the price you would put on it.
Actions speak louder than words. Sincerity We must be sincere with ourselves, with the members of our societyl, and we must try and avoid useless insincerity in life. It is not possible to work with people who are insincere.
Danger to follow the path of knoledge iinvolves many dangers. It is dangerous because you are risking what you are, to have the chance of becoming more than what you are at the moment.
Impressions We need three kinds of food to survive. The first food is physical food, the second is the air we breathe, and the third is the external and internal impressions that flood into our organs of perception every second.
Alarm Clocks One technique to help you see when you are being mechanical, and remind you to make efforts to be less mechanical and more awake.
Suffering: one is willing to give up anything but suffering; it is the last thing one wants to lose. But we must give up our unnecessary suffering. There is some suffering that it is necessary to endure, voluntary suffering.
Physical Work The lower centres are connected in a particular way and energies are distributed between them in a certain specific way.
When people are lazy, centres try to do one another's work and use one another's energy. Physical work is a reliable method of making them work better. School as a Cosmos A school is a certain influence, originating in a higher world, which acts upon Mankind to assist the general evolutionary process and counterbalance the involutionary flow in the Ray of Creation.
Don Juan and Castaneda is celebrating a 'private joke'... -oo- Years before, I had been both very moved and very confused by don Juan's tremendous dedication to helping me. I could not imagine why he should show me such kindness. It was evident that he did not need me in any way in his life. He was obviously not investing in me. But I had learned, through life's painful experiences, that nothing was free; and being unable to foresee what don Juan's reward would be made me tremendously uneasy. One day I asked don Juan point-blank, in a very cynical tone, what he was getting out of our association. I said that I had not been able to guess. "Nothing you would understand," he replied. His answer annoyed me. Belligerently I told him I was not stupid, and he could at least try to explain it to me. "Well, let me just say that, although you could understand it, you are certainly not going to like it," he said with the smile he always had when he was setting me up. "You see, I really want to spare you." I was hooked, and I insisted that he tell me what he meant. "Are you sure you want to hear the truth?" he asked, knowing I could never say no, even if my life depended on it. "Of course I want to hear whatever it is you're dangling in front of me," I said cuttingly. He started to laugh as if at a big joke; the more he laughed, the greater my annoyance. "I don't see what's so funny," I said. "Sometimes the underlying truth shouldn't be tampered with," he said. "The underlying truth here is like a block at the bottom of a big pile of things, a cornerstone. If we take a hard look at the bottom block, we might not like the results. I prefer to avoid that." He laughed again. His eyes, shining with mischievousness, seemed to invite me to pursue the subject further. And I insisted again that I had to know what he was talking about. I tried to sound calm but persistent. "Well, if that is what you want," he said with the air of one who had been overwhelmed by the request. "First of all, I'd like to say that everything I do for you is free. You don't have to pay for it. As you know, I've been impeccab1e with you. And as you also know, my impeccability with you is not an investment. I am not grooming you to take care of me when I am too feeble to look after myself. But I do get something of incalculable value out of our association, a sort of reward for dealing impeccably with that bottom block I've mentioned. And what I get is the very thing you are perhaps not going to understand or like." He stopped and peered at me, with a devilish glint in his eyes. "Tell me about it, don Juan!" I exclaimed, irritated with his delaying tactics. "I want you to bear in mind that I am telling you at your insistence," he said, still smiling. He paused again. By then I was fuming. "If you judge me by my actions with you," he said, "you would have to admit that I have been a paragon of patience and consistency. But what you don't know is that to accomplish this I have had to fight for impeccability as I have never fought before. In order to spend time with you, I have had to transform myself daily, restraining myself with the most excruciating effort." Don Juan had been right. I did not like what he said. I tried not to lose face and made a sarcastic comeback. "I'm not that bad, don Juan," I said. My voice sounded surprisingly unnatural to me. "Oh, yes, you are that bad," he said with a serious expression. "You are petty, wasteful, opinionated, coercive, short-tempered, conceited. You are morose, ponderous, and ungrateful. You have an inexhaustible capacity for self-indulgence. And worst of all, you have an exalted idea of yourself, with nothing whatever to back it up. "I could sincerely say that your mere presence makes me feel like vomiting." I wanted to get angry. I wanted to protest, to complain that he had no right to talk to me that way, but I could not utter a single word. I was crushed. I felt numb. My expression, upon hearing the bottom truth, must have been something, for don Juan broke into such gales of laughter I thought he was going to choke. "I told you you were not going to like it or understand it," he said. "Warriors' reasons are very simple, but their finesse is extreme. It is a rare opportunity for a warrior to be given a genuine chance to be impeccable in spite of his basic feelings. You gave me such a unique chance. The act of giving freely and impeccably rejuvenates me and renews my wonder. What I get from our association is indeed of incalculable value to me. I am in your debt." -The Power of Silence
"The 'turn', the moving meditation done by Mevlevi dervishes, originated with Rumi. The story goes that he was walking in the goldsmithing section of Konya [Turkey] when he heard a beautiful music in their hammering. He began turning in harmony with it, an ecstatic dance of surrender and yet with great centered discipline. He arrived at a place where ego dissolves and a resonance with universal soul comes in. Dervish literally means 'doorway'. When what is communicated moves from presence to presence, darshan occurs, with language inside the seeing. When the gravitational pull gets even stronger, the two become one turning that is molecular and galactic and a spiritual remembering of the presence at the center of the universe. Turning is an image of how the dervish becomes an empty place where human and divine can meet. To approach the whole the part must become mad, by conventional standards at least. These ecstatic holy people, called matzubs in the sufi tradition, redefine this sort of madness as true health. "When he saw the dervishes in Cairo in 1910, Rainer Maria Rilke, the great spiritual poet of this century, said the turn was a form of kneeling. 'It is so truly the mystery of the kneeling of the deeply kneeling man. With Rumi the scale is shifted, for in following the peculiar weight and strength in his knees, he belongs to that world to which height is depth. This is the night of radiant depth unfolded.' December 17 is celebrated each year as Rumi's Wedding Night, the night he died in 1273 and reached full union." A secret turning in us makes the universe turn. Head unaware of feet, and feet head. Neither cares. They keep turning. The word DERVISH describes a Sufi who stands at the door of enlightenment. What is a SUFI ? A Sufi is a male member of the order of whirling dervishes famous throughout the world. A Sufi is a form of a mystic. The word Sufi is form the base Greek Greek word sophos which means wisdom. [Correction from Shaikh Abdullah Khalis El-Mevlevi: "...the word Sufi...[comes] from the Arabic word Sûf, it means wool. The correct word for Sufis is also tassawwuf and it means woolen."] In the Middle East it is believed that the dervish is in prayer & that his body becomes open to receive the energy of God. The Turkish Sultans often consulted the Dervishes in difficult times. Their spinning created a relaxing & hypnotic effect in which the Sultans could search for guidance. During this solemn religious ceremony it is believed that the power of the Heavens enters into the upward extended right palm & passes through the body & leaves the lower left palm to then enter into the Earth. The dervish does not retain the power nor is he to direct it. He accepts that he is the true instrument of God & therefore he does not question the power that comes & leaves him. There has been some discussion on which way to spin. My research has led me to this simple breakdown: Begin slowly & build up & then return slow again. Start walking a turn to your right (clockwise) with your arms down at your sides. After several complete turn bring your Rt. palm up (arm is fully extended) and your Lt. palm down (arm is fully extended). Continue turning to the Right several times. (the Sufi I broke this down from prefered 7 complete turns) NOW raise your Left hand half way above your shoulder but not as high as your head. At the same time tilt your head so the Left ear is to the Left shoulder continue turning to the Right. Drop your head forward so that your chin is close to your chest & your eyes look down at the floor. Arms remain high & you are still turning to the Right. Slant your head to the Right, your right ear rests close to the right shoulder & you are looking up to the Right hand. Continue turning to the Right. Drop your head to the back & look up at the Heavens Continue turning to the Right. Always begin the turn to the Right. Only after several full turns do you switch arm postions and reverse the turning to the Left (counterclockwise). One should always end with full turns to the Right. The head swings and circles may move in the opposite direction of the turn. I gladly welcome any comments or additional sharing of knowledge on this fascinating form of Middle Eastern Dance. Peace...
Dali embraced all the science of painting as a way to study the psyche through subconscious images. He called this process the Paranoiac Critical Method. As any paranoiac, the artist should allow these images to reach the conscience, and then do what the paranoiac cannot do: Freeze them on canvas to give consciousness the opportunity to comprehend their meaning. Later on, he expanded the process into the Oniric-Critical Method, in which the artist pays attention to his dreams, freezing them through art, and analyzing them as well. As Freud said, "A dream that is not interpreted is like a letter that is not opened."
Dali embraced all the science of painting as a way to study the psyche through subconscious images. He called this process the Paranoiac Critical Method. As any paranoiac, the artist should allow these images to reach the conscience, and then do what the paranoiac cannot do: Freeze them on canvas to give consciousness the opportunity to comprehend their meaning. Later on, he expanded the process into the Oniric-Critical Method, in which the artist pays attention to his dreams, freezing them through art, and analyzing them as well. As Freud said, "A dream that is not interpreted is like a letter that is not opened."
This are some of my influences, of course not all, I like also some clasical deep sentimental music,Bethoven,Paganinni,Wagner,Vivaldi also, Rock,Joe Satriani, Steve Vai and Heavy Metal, Led Zeppelin, Jimmy Hendrix, Some Blues Stevie Ray, BB King, and my latest influence in music: D.js: Tiesto, Sasha, Jean,Dimitri, Saint Germain among many others...
My plans in the future are so many but I have to start going back to Mexico check the best fast food store Taco Palenqe located in Toluca Mexico.finish my University in one year then come back to Europe and do a Master degree. Keep by the side of knoledge, Right now I have finished my first book I just need to publish it so I'm waiting for a good offer.
Well if you want to have any contact you can write to: [email protected]
SEE YOU AND HAVE FUN.