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Performance Quotes

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Performance Quotes

“Lose your excuses: You don’t want to feel bad. You feel held hostage. It’s just a small thing. I can’t hold this person accountable. My high performers will pick up the slack. It’s always been this way. All are excuses to tolerate stuff you shouldn’t. All of them are costly.”

“My call to action goes well beyond asking you to pressure your recruiting team to hire a couple of token employees. That's easy and you've been doing that for years. My call to action is that you dig deeper and place focus on making the work environment sustainable for the minorities you introduce to your team. I'm challenging you to refrain from the habitual practice of listening only to the jaded opinions of people that you are more familiar with. Consider that, although you may be under the impression that your employees have strong ethics, morals and values, there is a possibility that they mat not be telling you the entire truth when speaking about the performance or demeanor of minorities. Furthermore, I challenge you to accept that racism, ageism, ableism, classism, sizeism, homophobia, etc., are real and shaping the semblance of your organization. Accepting that fact does not mean that people you work with and trust are bad people. It simply means that many of them are naïve, fearful, and more comfortable with pointing fingers at the innocent than they are with facing and addressing their own unconscious and damaging biases.”

“Time dilation occurs at relativistic speeds, in the presence of intense gravitational fields, and while waiting for a webpage to load.”

“Tom Demarco, a principal of the Atlantic Systems Guild team of consultants ... and his colleague Timothy Lister devised a study called the Coding War Games. The purpose of the games was to identify the characteristics of the best and worst computer programmers; more than six hundred developers from ninety-two different companies participated. Each designed, coded, and tested a program, working in his normal office space during business hours. Each participant was also assigned a partner from the same company. The partners worked separately, however, without any communication, a feature of the games that turned out to be critical. When the results came in, they revealed an enormous performance gap. The best outperformed the worst by a 10:1 ratio. The top programmers were also about 2.5 times better than the median. When DeMarco and Lister tried to figure out what accounted for this astonishing range, the factors that you'd think would matter — such as years of experience, salary, even the time spent completing the work — had little correlation to outcome. Programmers with 10 years' experience did no better than those with two years. The half who performed above the median earned less than 10 percent more than the half below — even though they were almost twice as good. The programmers who turned in "zero-defect" work took slightly less, not more, time to complete the exercise than those who made mistakes. It was a mystery with one intriguing clue: programmers from the same companies performed at more or less the same level, even though they hadn't worked together. That's because top performers overwhelmingly worked for companies that gave their workers the most privacy, personal space, control over their physical environments, and freedom from interruption. Sixty-two percent of the best performers said that their workspace was acceptably private, compared to only 19 percent of the worst performers; 76 percent of the worst performers but only 38 percent of the top performers said that people often interrupted them needlessly.”

“What began as a form of self-defense (I will reassert myself as the owner of my ideas, my identity, my name!) became, gradually, a form of self-release. By creating a crisis in my personal brand (the one I always denied I had), and by introducing a hefty dose of ridiculousness into the seriousness with which I once took my public persona, and by showing me how terribly grim it is to spend your life chasing clout, Other Naomi has left me with no choice but to loosen the grip on that performed and partitioned version of me.”

“A human being always acts and feels and performs in accordance with what he imagines to be true about himself and his environment...For imagination sets the goal ‘picture’ which our automatic mechanism works on. We act, or fail to act, not because of ‘will,’ as is so commonly believed, but because of imagination.”

“On est alors au cœur du leadership qui suppose stratégie et planification, par ailleurs une gestion du développement des ressources humaines, des talents, des partenariats consentis, la gestion des processus et du changement. Mais le changement est dur et dès lors, l’une des dimensions du leadership devient alors le courage, la résolution et la confiance en soi.”

“I told Chris [Farley] and the writers, "Look. Whatever you do, the one thing to remember is: don't start from the ending [of the "van down by the river" sketch]. Start from the beginning, so that you have somewhere to go." Almost every time Chris did that sketch after I left SNL, he started by breaking the table. It just became one of those dangerous examples of becoming addicted to the big laugh. You become addicted as a performer to that big moment, and you ask yourself, Why am I not just doing my big thing that gets the big reaction? Why am I not just standing up there and doing that?”

“Everyone in the organizations is very important. From the sweeper to the security officer; from the messenger to the manager, everyone doing well at his post is a leader. The organization becomes a leading one when it’s made up of people leading in their roles.”

“We await their creative interpretations of works by others and we love how they freely adapt and alter the music we like and enjoy. The wonderful magical alchemy they co-create is enough to spur the imagination of the audience. There is no need for other instruments or vocals. The music alone suffices. Listening to them, we can close our eyes and be taken away to a faraway place, we can envision a story or embellish a memory. We can connect to spirit and source and what we connect to in our deepest being is akin to religious experience. They dedicate themselves to each performance fearlessly, courageously, passionately, and generously.”

“It's worth mentioning that if you do a shotty job at your last-minute frenzied effort, you might take it as evidence that you really are a fraud. But in the back of your mind you've also got a convenient, built in excuse for your poor performance. It doesn't feel good to do sub-standard work, but on some level you can tell yourself that it's because you left it to the last minute, and not because you gave it your best shot and failed. Which is terrifying - because it's your worst fear becoming reality.”

“I stared at the empty space where he'd been, waiting, waiting, not letting that expression off my face until a warm, strong finger traced a line down the edge of my right wing. It felt like- like having my ear breathed into. I shuddered, arching as a gasp came out of me. And then Rhys was in front of me, scanning my face, the wings behind me. 'How?' 'Shape-shifting,' I managed to say, watching the rain slide down his golden-tan face. And it was distracting enough that the talons, the wings, the rippling darkness faded, and I was left light and cold in my own skin. Shape-shifting... at the sight of part of the history, the male I had not really let myself remember. Shape-shifting- a gift from Tamlin that I had not wanted, or needed... until now. Rhys's eyes softened. 'That was a very convincing performance.' 'I gave him what he wanted to see,' I murmured.”

“You’re the person who apologizes for apologizing. Your emails start with “Just wondering if maybe...” and end with “Sorry for bothering you!” Your drafts have drafts, and your backup plans have backup plans. Perfection and hesitation are your second and third names.”

“You can reach maximum performance by engaging in physical activities.”

“As a Caribbean-born, I understand the self as a multi-geometric entropic process always connected with the communal self. I do not seek history as a way to find points of origin, but to articulate historical locations in a traveling interconnected knowledge system that provides solutions for my subjective migrant experience. In a deeper process, the encounter with these places of intersection, the crossroads, could become turning points to return, to depart, to convey, and to arrive to the present. African Aesthetics still nurtures contemporary artistic practices in the Caribbean, as well as in the African Americana Diaspora and the US Latino Diaspora. Writing the Decolonial Mariposa Ancestral Memory CARIBBEAN INTRANSIT ART JOURNAL Vol. 1, Issue 4, Spring 2013.”

“Can-Do Attitude: Essential to develop because all along the way people will hit you with questions like: Is it worth it? Why is it taking so long? This is a very hard business isn’t it? Are you sure you’re doing the right thing? and other questions that might make you doubt yourself. Just keep doing what you are doing and decide that whatever you need to do you will find a way to do and that you can do it, even though at the moment, you might not know how.”