Art Enrichment Quotes

What does one person give to another? He gives of himself, of the most precious he has, he gives of his life. This does not necessarily mean that he sacrifices his life for the other—but that he gives him of that which is alive in him; he gives him of his joy, of his interest, of his understanding, of his knowledge, of his humor, of his sadness—of all expressions and manifestations of that which is alive in him. In thus giving of his life, he enriches the other person, he enhances the other's sense of aliveness by enhancing his own sense of aliveness. He does not give in order to receive; giving is in itself exquisite joy. But in giving he cannot help bringing something to life in the other person, and this which is brought to life reflects back to him.

Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end it's about enriching the lives of those who will read your work, and enriching your own life as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy. ...this book...is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.

No one would take me just as I was, no one loved me; I shall love myself enough, I thought, to make up for this abandonment by everyone. Formerly, I had been quite satisfied with myself, but I had taken very little trouble to increase my self-knowledge; from now on, I would stand outside myself, watch over and observe myself; in my diary I had long conversations with myself. I was entering a world whose newness stunned me. I learned to distinguish between distress and melancholy, lack of emotion and serenity; I learned to recognize the hesitations of the heart, and its ecstasies, the splendor of great renunciations, and the subterranean murmurings of hope. I entered into exalted trances, as on those evenings when I used to gaze upon the sky full of moving clouds behind the distant blue of the hills; I was both the landscape and its beholder: I existed only through myself, and for myself… My path was clearly marked: I had to perfect, enrich and express myself in a work of art that would help others to live.

In a world where education is predominantly verbal, highly educated people find it all but impossible to pay serious attention to anything but words and notions. There is always money for, there are always doctrines in, the learned foolery of research into what, for scholars, is the all-important problem: Who influenced whom to say what when? Even in this age of technology the verbal humanities are honoured. The non-verbal humanities, the arts of being directly aware of the given facts of our existence, are almost completely ignored.

Why does man need bread? To survive. But why survive if it is only to eat more bread? To live is more than just to sustain life - it is to enrich, and be enriched by, life.

Suddenly, this romantic agony was enriched by a less romantic one: I had to go to the bathroom. Needless to say, I couldn't let her know about this urge, for great lovers never did such things. The answer to "Romeo Romeo, wherefore art thou, Romeo?" was not "In the men's room, Julie.

The mistaken and unhappy notion that a man is an enduring unity is known to you. It is also known to you that a man consists of a multitude of souls, of numerous selves. The separation of the unity of the personality into these numerous pieces passes for madness. Science has invented the name schizomania for it. Science is in this so far right as no multiplicity maybe dealt with unless there be a series, a certain order and grouping. It is wrong insofar as it holds that one only and binding lifelong order is possible for the multiplicity of subordinate selves. This error of science has many unpleasant consequences, and the single advantage of simplifying the work of the state-appointed pastors and masters and saving them the labors of original thought. In consequence of this error many persons pass for normal, and indeed for highly valuable members of society, who are incurably mad; and many, on the other hand, are looked upon as mad who are geniuses...This is the art of life. You may yourself as an artist develop the game of your life and lend it animation. You may complicate and enrich it as you please. It lies in your hands. Just as madness, in a higher sense, is the beginning of all wisdom, so is schizomania the beginning of all art and all fantasy.

The point is, art never stopped a war and never got anybody a job. That was never its function. Art cannot change events. But it can change people. It can affect people so that they are changed... because people are changed by art – enriched, ennobled, encouraged – they then act in a way that may affect the course of events... by the way they vote, they behave, the way they think.

The great art of life is to moderate our passions. Objects of affection are like other belongings. We must love them enough to enrich our lives while we have them, not enough to impoverish our lives when they are gone.

To be scientifically illiterate is to remain essentially uncultured. And the chief virtue of a cultural activity--be it art, music, literature, or science--is the way it enriches our lives.

There are so many things that art can’t do. It can’t bring the dead back to life, it can’t mend arguments between friends, or cure AIDS, or halt the pace of climate change. All the same, it does have some extraordinary functions, some odd negotiating ability between people, including people who never meet and yet who infiltrate and enrich each other’s lives. It does have a capacity to create intimacy; it does have a way of healing wounds, and better yet of making it apparent that not all wounds need healing and not all scars are ugly.

Of course I am not referring to those outburts of passions that drive us to do and say things we will later regret, that delude us into thinking we cannot life without a certain person, that set us quivering with anxiety at the mere possibility we might ever lose that person-a feeling that impoverishes rather than enriches us because we long to possess what we cannot, to hold on what we cannot. No. I speak of a love that brings sight to the blind. Of a love stronger than fear. I speak of a love that breathes meaning into life, that defies the natural laws of deterioration, that causes us to flourish, that knows no bounds. I speak of the triumph of the human spirit over selfishness and death.

most widespread gains in brain training come from programs that simultaneously address multiple aspects of a person, such as traditional martial arts training and enriched school curricula.

We like beauty, don’t we? Something good on the eye cheers us. Does something to us on a cellular level, makes us feel alive and enriched. Beautiful art opens our eyes to the beauty of the world, Ulysses. It repositions our sight and judgment. Captures forever that which is fleeting. A meager stain in the corridors of history, that’s all we are. A little mark of scuff.

More than anyone I’d ever met, he seemed to participate in life as if it were art, and to practice a studied, careful carefreeness. His sense of what is worthy seemed to overlap very little with any conventional sense of what is useful, and if there were one precept that could be said to govern his life, it is that one’s highest calling is to engage in enriching escapades at every turn.

You may feel the human realm is a difficult place, but there is surely no better world to live in. You will find another only by going to the nonhuman; and the nonhuman realm would surely be a far more difficult place to inhabit than the human. So if this best of worlds proves a hard one for you, you must simply do your best to settle in and relax as you can, and make this short life of ours, if only briefly, an easier place in which to make your home. Herein lies the poet's true calling, the artist's vocation. We owe our humble gratitude to all practitioners of the arts, for they mellow the harshness of our human world and enrich the human heart. Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes.

Storytelling is shaped by two contrary, yet complementary, impulses—one toward brevity, compactness, artful omission; the other toward expansion, amplification, enrichment.

There is nectar in your soul. Meditation is the art of discovering that nectar, enriching it and distributing it for the welfare of the humanity.

It’s not what you add that enriches your life—it’s what you omit.

An artist is the magician put among men to gratify--capriciously--their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships--and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes--husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer...

Learning and practicing the art of creating rather than waiting; throwing the net wide in order to meet a lot of people, men and women alike, who will enrich your life; operating from a mindset of abundance, not scarcity; developing and adhering to the attributes of a woman of high value; upholding your own standards; understanding that you are in control of your own choices—these skills strengthen your sense of self-worth and will improve all areas of your life. It’s the project of a lifetime.

Black culture has contributed hugely to American society: The civil rights movement brought meaning to American notions of equality and freedom; black contributions to politics, science, music, and art have helped enrich all of us. To demean these accomplishments and contributions by listing rap among them is to demean black culture as a whole.

He salutes ingratitude as an experience which shall enrich his soul. His ecstasy is terrifying at times, but it is still happiness, because it is the continual adoration of truth.

Re-programming your mind, body & spirit is like planting a garden, if the soil isn't right nothing will grow.

In the tradition of warriorship, to celebrate moment to moment is called discipline. Discipline is not a sense of oppression or being punished; it is freedom from our own self-perpetuating laziness.

The designer's real goal is to enrich the player's internal experiences. That goal is harder to achieve, and it's damned difficult to measure. But it's the truth. And pursuing that truth makes your designs smaller, simpler, more focused, and more elegant than they could ever get by strategy counting.

Even if you’re not broadcasting your personal life to the universe through social media, choose your confidants wisely and with discretion. Your ability to keep your personal details close to your vest will encourage others to feel that you are trustworthy enough to be trusted with their personal details.

Beginning a conversation is an act of bravery. When you initiate a conversation, you fearlessly step into the unknown. Will the other person respond to favorably or unfavorably? Will it be a friendly or hostile exchange? There is a feeling of being on the edge. That nanosecond of space and unknowing can be intimidating. It shows your vulnerability. You don't know what is going to happen. You feel quite exposed. There's a chance you'll experience embarrassment. Yet this very feeling is what allows you to connect to the other person.

It was partly the war, the revolution did the rest. The war was an artificial break in life-- as if life could be put off for a time-- what nonsense! The revolution broke out willy-nilly like a sigh suppressed too long. Everyone was revived, reborn, changed, transformed. You might say that everyone has been through two revolutions-- his own, personal revolution as well as the general one. It seems to me that socialism is the sea, and all these separate streams, these private, individual revolutions, are flowing into it-- the sea of life, the sea of spontaneity. I said life, but I mean life as you see it in a great picture, transformed by genius, creatively enriched. Only now people have decided to experience it not in books and pictures, but in themselves, not as an abstraction but in practice.

Your life is written in indelible ink. There's no going back to erase the past, tweak your mistakes, or fill in missed opportunities. When the moment's over, your fate is sealed. But if look closer, you notice the ink never really dries on any our experiences. They can change their meaning the longer you look at them. Klexos. There are ways of thinking about the past that aren't just nostalgia or regret. A kind of questioning that enriches an experience after the fact. To dwell on the past is to allow fresh context to trickle in over the years, and fill out the picture; to keep the memory alive, and not just as a caricature of itself. So you can look fairly at a painful experience, and call it by its name. Time is the most powerful force in the universe. It can turn a giant into someone utterly human, just trying to make their way through. Or tell you how you really felt about someone, even if you couldn't at the time. It can put your childhood dreams in context with adult burdens or turn a universal consensus into an embarrassing fad. It can expose cracks in a relationship that once seemed perfect. Or keep a friendship going by thoughts alone, even if you'll never see them again. It can flip your greatest shame into the source of your greatest power, or turn a jolt of pride into something petty, done for the wrong reasons, or make what felt like the end of the world look like a natural part of life. The past is still mostly a blank page, so we may be doomed to repeat it. But it's still worth looking into if it brings you closer to the truth. Maybe it's not so bad to dwell in the past, and muddle in the memories, to stem the simplification of time, and put some craft back into it. Maybe we should think of memory itself as an art form, in which the real work begins as soon as the paint hits the canvas. And remember that a work of art is never finished, only abandoned.

The truth about any artist, however terrible, is better than the silence.... I know many writers fight fanatically to keep their published self separate from their private reality.... But I've always thought of that as something out of our social, time-serving side; not our true artistic ones. I don't see how the "lies" we write and the "lies" we live can or should be divided. They are seamless, one canvas, for me. While we live we can keep them apart, but not command the future to do the same. The outrage some Thomas Hardy fans have shown over all the revelations about the private man seems to me hypocritical in the extreme. They hugely enrich our understanding of him.... I have had to convince a number of friends and relatives that the kindest act to the [writer] is remembering them - and that all art comes from a human being, not out of mysterious thin air. (Letter to Jo Jones, September 15, 1980, arguing for the preservation of John Collier's personal papers)

Specialization in every sphere of intellectual work is producing an ever widening gulf between the intellectual worker and the non-specialist, which makes it more difficult for the life of the nation to be fertilized and enriched by the achievements of art and science.

Translation is like any art: in the best of cases, it helps shed light on ourselves, on those hidden corners of ourselves that we barely knew existed, and whose discovery has enriched us. It exposes us to minds and voices able to awaken in us a particular sense of delight, an irreplaceable thrill of discovery that is avail- able nowhere else. The ability of these minds and voices to do this is unique, not because they come from a foreign land—or at least, not solely because of it—but because they are sui generis, as exceptional in their own culture as they appear in ours.

Life batters and shapes us in all sorts of ways before it's done, but those original selves which we were born with, and which I believe we continue in some measure to be no matter what, are selves which still echo with the holiness of their origin. I believe that what Genesis suggests is that this original self, with the print of God's thumb still upon it, is the most essential part of who we are and is buried deep in all of us as a source of wisdom and strength and healing which we can draw upon or, with our terrible freedom, not draw upon as we choose. I think that among other things all real art comes from that deepest self – painting, writing music, dance, all of it that in some way nourishes the spirit and enriches the understanding. I think that our truest prayers come from there too, the often unspoken, unbidden prayers that can rise out of the lives of unbelievers as well as believers whether they recognize them as prayers or not. And I think that from there also come our best dreams and our times of gladdest playing and taking it easy and all those moments when we find ourselves being better or stronger or braver or wiser than we are.

The most important idea he gleaned from the swift, learned talk was that religion and knowledge could exist side by side, enriching each other. Greece and Rome, before the dawn of Christianity, had built gloriously in the arts, humanities, sciences, philosophy. Then for a thousand years all such wisdom and beauty had been crushed, declared anathema, buried in darkness. Now this little group of men, the sensual Poliziano, the lined Landino, the tiny Ficino, the golden-haired Pico della Mirandola, these few fragile men, led and aided by Lorenzo de' Medici, were attempting to create a new intellect under the banner of a word Michelangelo had never heard before: Humanism. What did it mean?

Wonder of time,' quoth she, 'this is my spite, That, thou being dead, the day should yet be light. 'Since thou art dead, lo, here I prophesy: Sorrow on love hereafter shall attend: It shall be waited on with jealousy, Find sweet beginning, but unsavoury end, Ne'er settled equally, but high or low, That all love's pleasure shall not match his woe. 'It shall be fickle, false and full of fraud, Bud and be blasted in a breathing-while; The bottom poison, and the top o'erstraw'd With sweets that shall the truest sight beguile: The strongest body shall it make most weak, Strike the wise dumb and teach the fool to speak. 'It shall be sparing and too full of riot, Teaching decrepit age to tread the measures; The staring ruffian shall it keep in quiet, Pluck down the rich, enrich the poor with treasures; It shall be raging-mad and silly-mild, Make the young old, the old become a child. 'It shall suspect where is no cause of fear; It shall not fear where it should most mistrust; It shall be merciful and too severe, And most deceiving when it seems most just; Perverse it shall be where it shows most toward, Put fear to valour, courage to the coward. 'It shall be cause of war and dire events, And set dissension 'twixt the son and sire; Subject and servile to all discontents, As dry combustious matter is to fire: Sith in his prime Death doth my love destroy, They that love best their loves shall not enjoy.

In other words, the more differentiated, relatively developed societies have cultivated a comparatively high tolerance for highly individualised ways of further developing the existing art canon; this facilitates experimentation and the breaching of stale conventions and can thus help to enrich the artistic pleasures available through seeing and hearing.

Well-crafted and open-ended questions typically begin with What, Why, When, Who, How, and Where, all of which can prompt the most delightful of conversations.

Do you approach people with a heart of service or with a hidden agenda? Make no mistake, will feel your intentions, even when not spoken.

Learn to choose your battles carefully. When you exercise discretion, you will realize that most fights are best avoided. Let those sleeping dogs sleep!

The truth may be true, but a discreet person understands that speaking the truth isn’t always helpful. It can also be hurtful and harmful.

1. Building Trust & Rapport. Trust and rapport are the heartbeat of business, the backbone of high performing teams, and the secret sauce for healthy relationships.

Be Interested & Interesting. People will be more interested in you when you are interested in them. If you want to impress, talk to them about . . . them.

Rapport allows you to create a friendly compatibility and easy companionship which feels comfortable and enjoyable.

As soon as someone believes you cannot be trusted, you are stopped dead in your tracks. Whether this perceived loss of trustworthiness is true or false, the perception alone can be damaging.

When a leader nurtures an environment of trust, respect, and honesty—business soars, creativity and problem-solving are inspired, and collaboration enables people get more done in less time.

When we look at our words and deeds in this context, it strengthens our resolve to be incredibly selective. Everything we say and do becomes a part of who we are and how we connect to others.

Well, we spent enough on gymnastics.' 'Christ, did we,' said Maureen. 'So many lessons.' So many lessons, it was true: art and music and ice-skating; Lily's every fleeting interest enthusiastically, abundantly indulged. Not to mention the many more practical investments--chemistry tutoring when she struggled, English enrichment when she excelled, SAT courses to propel her to the school and then, presumably, the career of her dreams. What costs had been sunk, what objections had been suppressed, to deliver their daughter into the open and waiting arms of her beautiful life.

What may at first appear as an obstacle, detour or meander in life, can in truth, often be the most direct, ground breaking, enriching, fruitful and enlightened... or clear path moving forward!

So, how can you move beyond awkward silence with virtual strangers to becoming new friends? By asking great questions! Once a few inquiring questions were placed, I would let them do all the talking.

With the best of intentions, the generation before mine worked diligently to prepare their children to make an intelligent case for Christianity. We were constantly reminded of the superiority of our own worldview and the shortcomings of all others. We learned that as Christians, we alone had access to absolute truth and could win any argument. The appropriate Bible verses were picked out for us, the opposing positions summarized for us, and the best responses articulated for us, so that we wouldn’t have to struggle through two thousand years of theological deliberations and debates but could get right to the bottom line on the important stuff: the deity of Christ, the nature of the Trinity, the role and interpretation of Scripture, and the fundamentals of Christianity. As a result, many of us entered the world with both an unparalleled level of conviction and a crippling lack of curiosity. So ready with the answers, we didn’t know what the questions were anymore. So prepared to defend the faith, we missed the thrill of discovering it for ourselves. So convinced we had God right, it never occurred to us that we might be wrong. In short, we never learned to doubt. Doubt is a difficult animal to master because it requires that we learn the difference between doubting God and doubting what we believe about God. The former has the potential to destroy faith; the latter has the power to enrich and refine it. The former is a vice; the latter a virtue. Where would we be if the apostle Peter had not doubted the necessity of food laws, or if Martin Luther had not doubted the notion that salvation can be purchased? What if Galileo had simply accepted church-instituted cosmology paradigms, or William Wilberforce the condition of slavery? We do an injustice to the intricacies and shadings of Christian history when we gloss over the struggles, when we read Paul’s epistles or Saint Augustine’s Confessions without acknowledging the difficult questions that these believers asked and the agony with which they often asked them. If I’ve learned anything over the past five years, it’s that doubt is the mechanism by which faith evolves. It helps us cast off false fundamentals so that we can recover what has been lost or embrace what is new. It is a refining fire, a hot flame that keeps our faith alive and moving and bubbling about, where certainty would only freeze it on the spot. I would argue that healthy doubt (questioning one’s beliefs) is perhaps the best defense against unhealthy doubt (questioning God). When we know how to make a distinction between our ideas about God and God himself, our faith remains safe when one of those ideas is seriously challenged. When we recognize that our theology is not the moon but rather a finger pointing at the moon, we enjoy the freedom of questioning it from time to time. We can say, as Tennyson said, Our little systems have their day; They have their day and cease to be; They are but broken lights of thee, And thou, O Lord, art more than they.15 I sometimes wonder if I might have spent fewer nights in angry, resentful prayer if only I’d known that my little systems — my theology, my presuppositions, my beliefs, even my fundamentals — were but broken lights of a holy, transcendent God. I wish I had known to question them, not him. What my generation is learning the hard way is that faith is not about defending conquered ground but about discovering new territory. Faith isn’t about being right, or settling down, or refusing to change. Faith is a journey, and every generation contributes its own sketches to the map. I’ve got miles and miles to go on this journey, but I think I can see Jesus up ahead.

The laws of nature are sublime, but there is a moral sublimity before which the highest intelligences must kneel and adore. The laws by which the winds blow, and the tides of the ocean, like a vast clepsydra, measure, with inimitable exactness, the hours of ever-flowing time; the laws by which the planets roll, and the sun vivifies and paints; the laws which preside over the subtle combinations of chemistry, and the amazing velocities of electricity; the laws of germination and production in the vegetable and animal worlds, — all these, radiant with eternal beauty as they are, and exalted above all the objects of sense, still wane and pale before the Moral Glories that apparel the universe in their celestial light. The heart can put on charms which no beauty of known things, nor imagination of the unknown, can aspire to emulate. Virtue shines in native colors, purer and brighter than pearl, or diamond, or prism, can reflect. Arabian gardens in their bloom can exhale no such sweetness as charity diffuses. Beneficence is godlike, and he who does most good to his fellow-man is the Master of Masters, and has learned the Art of Arts. Enrich and embellish the universe as you will, it is only a fit temple for the heart that loves truth with a supreme love. Inanimate vastness excites wonder; knowledge kindles admiration, but love enraptures the soul. Scientific truth is marvellous, but moral truth is divine; and whoever breathes its air and walks by its light, has found the lost paradise. For him, a new heaven and a new earth have already been created. His home is the sanctuary of God, the Holy of Holies.

A discreet person . . . • is strong, yet humble; • expresses genuine concern and interest; • exercises caution to avoid unnecessary risks; • knows intuitively when a situation or conversation is heading in the wrong direction; • does not need to tear others down to build himself up; • refrains from using foul language or speaking brashly; • regulates her reactions and responds appropriately; • takes the higher road rather than wrestling in the mud; • remains gracious and poised in the heat of the moment; • refrains from unnecessary confrontations; • does not break confidence or share other people’s secrets with which they have been entrusted; • communicates with deliberation and confidence.

Humphry Repton, the leading garden theorist of the nineteenth century, defined a garden as 'a piece of ground fenced off from cattle, and appropriated to the use and pleasure or man: it is, or ought to be, cultivated and enriched by art'.

to be a Jew is to belong to an old harmless race that has lived in every country in the world; and that has enriched every country it has lived in. "It is to be strong with a strength that has outlived persecutions. It is to be wise against ignorance, honest against piracy, harmless against evil, industrious against idleness, kind against cruelty! It is to belong to a race that has given Europe its religion; its moral law; and much of its science-perhaps even more of its genius-in art, literature and music. "This is to be a Jew; and you know now what is required of you! You have no country but the world; and you inherit nothing but wisdom and brotherhood. I do not say there are no bad Jews-userers; cowards; corrupt and unjust persons-but such people are also to be found among Christians. I only say to you this is to be a good Jew. Every Jew has this aim brought before him in his youth. He refuses it at his peril; and at his peril he accepts it.

Poetry is like an innocent young maiden who is extremely beautiful, and whom many other maidens, who are the other fields of knowledge, are careful to enrich, polish, and adorn, and she must be served by all of them. Her alchemy is such that the person who knows how to treat her will turn her into purest gold of inestimable value...she should not be allowed in the company of scoundrels or the ignorant mob incapable of knowing or appreciating the treasures that lie within her.

Tolstoy teaches us that compassion is of value and enriches our life only when compassion is severe, which is to say that we can perceive everything that is good and bad about a character but are still able to feel that the sum of us as human beings is probably a little more good than awful. In any case, good or bad, it reminds us that life is like a gladiators’ arena for the soul and so we can feel strengthened by those who endure, and feel awe and pity for those who do not.

What are those behaviors that make us take pause to think twice about a person’s trustworthiness? Guarded body language, lack of eye contact, nervous fidgeting, interrupting, speaking ill of others, lying, arrogance, and gossip to name a few.

Everyone who has any talent at all in sketching, painting, sculpturing or carving, should have the opportunity to use that talent. The expression is important for the person, and can tremendously enrich the lives of other people. What can you do?

In De Rerum Natura, Lucretius pointed out a very central truth concerning the examined life. That is, that the man of science who concerns himself solely with science, who cannot enjoy and be enriched by art, is a misshapen man. An incomplete man.

Joy is not the satisfied contemplation of an accomplished result, the emotion of victory, the satisfaction of having succeeded. It is the sign of an energy that is deftly deployed, it is a free affirmation: everything comes easy. Joy is an activity: executing with ease something difficult that has taken time to master, asserting the faculties of the mind and the body. Joys of thought when it finds and discovers, joys of the body when it achieves without effort. That is why joy, unlike pleasure, increases with repetition, and is enriched. When you are walking, joy is a basso continuo. Locally, of course, you may run into effort and difficulty. You will also find immediate moments of contentment: a proud gaze backwards to contemplate the long steep plunge of the slope behind you. Those satisfactions, though, too often present an opportunity to reintroduce quantities, scores, figures (which track? how long? what altitude?). And walking becomes a competition. That is why expeditions in high mountain country (conquering peaks, each one a challenge) are always slightly impure: because they give rise to narcissistic gratification. What dominates in walking, away from ostentation and showing off, is the simple joy of feeling your body in the most primitively natural activity.

Communicating on the surface can be easy. But when you want to dig deeper and connect with more profound impact, you’ll need to achieve greater understanding, especially when others have personalities, experiences, needs, and preferences different from your own.

Read. Read as much as possible. Read the big stuff, the challenging stuff, the confronting stuff, and read the fun stuff too. Visit galleries and look at paintings, watch movies, listen to music, go to concerts – be a little vampire running around the place sucking up all the art and ideas you can. Fill yourself with the beautiful stuff of the world. Have fun. Get amazed. Get astonished. Get awed on a regular basis, so that getting awed is habitual and becomes a state of being. Fully understand your enormous value in the scheme of things because the planet needs people like you, smart young creatives full of awe, who can minister to the world with positive, mischievous energy, young people who seek spiritual enrichment and who see hatred and disconnection as the corrosive forces they are. These are manifest indicators of a human being with immense potential. Absorb into yourself the world’s full richness and goodness and fun and genius, so that when someone tells you it’s not worth fighting for, you will stick up for it, protect it, run to its defence, because it is your world they’re talking about, then watch that world continue to pour itself into you in gratitude. A little smart vampire full of raging love, amazed by the world – that will be you, my young friend, the earth shaking at your feet.

Whether it is in a sales situation, love at first sight, a husband and wife having an important conversation, a parent disciplining a child, or a teacher instructing her students, eye contact is a powerful body language for enriching engagement, focus, and communication.

I’ve Got to Trust You to Like You People want to do business with people whom they like and trust. If anything in a business presentation raises concerns or doubt about your trustworthiness, everything shuts down. And then there's little hope of moving forward in a positive way—you’re done.

What gives you your sense of importance and makes you feel special? Who and what bring out the best in you? What does it take to make you feel like a million bucks and ready to take on the world? When people make you feel important, doesn’t it elevate them in your eyes? Learn to do the same for others.

What Hurts the People There are five things that hurt the people: There are local officials who use public office for personal benefit, taking improper advantage of their authority, holding weapons in one hand and people’s livelihood in the other, corrupting their offices, and bleeding the people. There are cases where serious offenses are given light penalties; there is inequality before the law, and the innocent are subjected to punishment, even execution. Sometimes serious crimes are pardoned, the strong are supported, and the weak are oppressed. Harsh penalties are applied, unjustly torturing people to get at facts. Sometimes there are officials who condone crime and vice, punishing those who protest against this, cutting off the avenues of appeal and hiding the truth, plundering and ruining lives, unjust and arbitrary. Sometimes there are senior officials who repeatedly change department heads so as to monopolize the government administration, favoring their friends and relatives while treating those they dislike with unjust harshness, oppressive in their actions, prejudiced and unruly. They also use taxation to reap profit, enriching themselves and their families by exactions and fraud. Sometimes local officials extensively tailor awards and fines, welfare projects, and general expenditures, arbitrarily determining prices and measures, with the result that people lose their jobs. These five things are harmful to the people, and anyone who does any of these should be dismissed from office.

I don’t know why it is, how it is, but it’s the authentic, the unique, the different that makes us feel enriched when we encounter it. And a bland, plastic, synthetic, universal can’t-tell-one-brand-of-coffee-from-another-brand-of-coffee by contrast makes life flat, uninteresting, and essentially uncreative.

Greeks and Romans were anti-Mediterranean cultures, in the sense of being at odds with much of the political heritages of Persia, Egypt, and Phoenicia. While Hellenism was influenced—and enriched—at times by Near Eastern, Egyptian, and Persian art, literature, religion, and architecture, its faith in consensual government and free markets was unique. Greek and Latin words for “democracy,” “republic,” “city-state,” “constitution,” “freedom,” “liberty,” and “free speech” have no philological equivalents in other ancient languages of the Mediterranean (and few in the contemporary languages of the non-West as well).

UN-Impressive Acts of Indiscretion • Forwarding other people's emails without getting permission. • Throwing other people under the bus to save yourself. • Talking loudly, being boorish and insensitive to the others around you. • Flagrant cheating. • Burning bridges. • Talking smack. • Dissing your competitor to your customer. • Oversharing and revealing too much personal information about yourself and others. • Breaking trust by sharing someone else’s secrets. • Being passive-aggressive to manipulate a situation or person. • Saying one thing and doing another. • Being two-faced. • Lying by omission. • Dispensing bulls#@%!

The finest SF comes to grips with life's mysteries, with our resentments against our own natures and our limited societies. It does so by asking basic questions in the artful, liberating way that is unique to this form of writing. Echoes of it are found in other forms of fiction - in the novel of ideas, in the historical novel, in the writings of the great philosophers and scientists; but the best SF does this all more searchingly, by taking what is in most people only a moment of wonder and rebellion against the arbitrariness of existence and making of it an art enriched by knowledge and possibility, expressing our deepest human longing to penetrate into the dark heart of the unknown.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

Life should be full of- Compassion, Peace, Companionship, Honor, Love, Honesty, Joy, Rapture, Euphoria, Friendship, Family, Spiritual Enrichment, Enlightenment, Trust, Truth, Loyalty, Passion, Cultural Enrichment, Unity, Serenity, Zen, Wonder, Respect, Beauty of All Kinds, Balance of all Creation, Philosophy, Adventure, Art, Happiness, Bliss, Serendipity, Kismet, Fantasy, Positivity, Yin, Yang, Color, Variety, Excitement, Sharing, Fun, Sound, Paradise, Magick, Tenderness, Strength, Devotion, Courage, Conviction, Responsibility, Wisdom, Justice, Satisfaction, Fulfillment, Purpose, Mystery, Healing, Learning, Virtue, History, Creativity, Imagination, Receptiveness and Faith. For through these things you are One with your Creator.

Oversharing Why do some people feel the need to share their deepest, darkest secrets with complete strangers or on social media? How could saying too much, too soon possibly help their case or earn the respect of others? Perhaps their insatiable need to share every sordid detail of their existence satisfies a yearning to get attention, gain sympathy, or make friends.

The irony is that their enthusiasm for personal revelation can backfire badly and have the opposite effect. People become their own worst enemies and don’t need anyone else’s help in making themselves the brunt of gossip, judgment, and ridicule. A person who overshares demonstrates a lack of dignity, maturity, and discrimination, and it may also be a strong indicator of self-absorbed narcissism and exhibitionism.

Be satisfied with the fact that although your art or talent may never be accepted by the world as anything 'great', and may never be your career, it can be used to enrich your day by day life:enrich it for you, and for the people with whom you live.... and come to the recognition of the fact that it is important for you to BE creative in this area to the extent of your talent: important for you as a person who IS a creative creature.

O Fabricius! What would your great soul have thought, if to your own misfortune you had been called back to life and had seen the pompous face of this Rome saved by your efforts and which your honourable name had distinguished more than all its conquests? 'Gods,' you would have said, 'what has happened to those thatched roofs and those rustic dwelling places where, back then, moderation and virtue lived? What fatal splendour has succeeded Roman simplicity? What is this strange language? What are these effeminate customs? What do these statues signify, these paintings, these buildings? You mad people, what have you done? You, masters of nations, have you turned yourself into the slaves of the frivolous men you conquered? Are you now governed by rhetoricians? Was it to enrich architects, painters, sculptors, and comic actors that you soaked Greece and Asia with your blood? Are the spoils of Carthage trophies for a flute player? Romans, hurry up and tear down these amphitheatres, break up these marbles, burn these paintings, chase out these slaves who are subjugating you, whose fatal arts are corrupting you. Let other hands distinguish themselves with vain talents. The only talent worthy of Rome is that of conquering the world and making virtue reign there. When Cineas took our Senate for an assembly of kings, he was not dazzled by vain pomp or by affected elegance. He did not hear there this frivolous eloquence, the study and charm of futile men. What then did Cineas see that was so majestic? O citizens! He saw a spectacle which your riches or your arts could never produce, the most beautiful sight which has ever appeared under heaven, an assembly of two hundred virtuous men, worthy of commanding in Rome and governing the earth.

I do not feel that artists have to spend hours a day to keep their technic efficient. If that were the case one would not be in a position to participate in the other joys of life. Nor could he enrich his art. Of course, mind you I am not saying that one should not work. But definitely I say that if one has developed a firm technic, it is not necessary to slave over the instrument for the rest of his life in order to keep in good form.

Environmentalists believe that monolithic solutions - be they in the auto, nuclear, or genetics field - are doomed to fail and lead only along the path to dependence. They feel rather that it is far more sensible to approach the future by opening up more possibilities. Likewise, polyamorists believe that monogamy sterilizes love and fosters unhealthy codependence, whereas multiple relationships feed off of each other's differences and ultimately lead to an enriching fulfillment.

One of them is a very familiar personage. Her name is “Mother Church.” She is, in many ways, an admirable and dedicated person, deeply concerned about her children, endlessly and tirelessly careful for every detail of their welfare. Her long experience has taught her to understand her family very well. She knows their capabilities and she knows their weakness even better. She is patient and imperturbable, quite unshockable (she has witnessed all of the considerable range of human wickedness in her time) and there are no lengths to which she ill not go to educate her family. She has a huge fund of stories, maxims and advice, all of them time-tested, and usually interesting as well. She is very talented, skilled din creating a beautiful home for her children; she can show them how to enrich their lives with the glory of music and art. And there is no doubt that she loves God, and wishes to guide her children according to his will. On the other hand, she is extremely inclined to feel that her will and God's are identical. In her eyes there can be no better, no other, way than hers. If she is unshockable, she is frequently cynical. She is shrewd, with a thoroughly earthy and often humorous shrewdness. She knows her children's limitations so well that she will not allow them to outgrow them. She will lie and cheat if she feels it is necessary to keep her charges safe; she uses her authority 'for their own good' but if it seems to be questioned she is ruthless in suppressing revolt. She is hugely self-satisfied, and her judgement, while experienced, is often insensitive and therefore cruel. She is suspicious of eccentricity and new ideas, since her own are so clearly effective, and non-conformists get a rough time, though after they are dead she often feels differently about them. This is Mother Church, a crude, domineering, violent, loving, deceitful, compassionate old lady, a person to whom one cannot be indifferent, whom may one may love much and yet fight against, whom one may hate and yet respect.

His studies in aesthetic theory taught him that the artist did not succeed simply by learning and applying a given set of rules, but rather that those rules had significance only as indications of what great artists had actually done, and had to be modified as the innovations and perceptions of new generations enriched the comprehension of their subject. All art, all thought (for as Clausewitz himself expressed it, all thought is art), was a creative activity, not an imitative or derivative one. And the same applied with a particular force to the conduct of war.

LIFE BATTERS AND shapes us in all sorts of ways before it’s done, but those original selves which we were born with and which I believe we continue in some measure to be no matter what are selves which still echo with the holiness of their origin. I believe that what Genesis suggests is that this original self, with the print of God’s thumb still upon it, is the most essential part of who we are and is buried deep in all of us as a source of wisdom and strength and healing which we can draw upon or, with our terrible freedom, not draw upon as we choose. I think that among other things all real art comes from that deepest self—painting, writing music, dance, all of it that in some way nourishes the spirit and enriches the understanding. I think that our truest prayers come from there too, the often unspoken, unbidden prayers that can rise out of the lives of unbelievers as well as believers whether they recognize them as prayers or not. And I think that from there also come our best dreams and our times of gladdest playing and taking it easy and all those moments when we find ourselves being better or stronger or braver or wiser than we are.

8 Ways to Shine a Positive Light on Others 1. Let the other person appear smart. The person who desperately tries to be the smartest person in the room inevitably comes off as the least. 2. Don’t bring attention to anything which may embarrass another person. Whether your conversation partner has poor grammar, a pimple on his chin, or lacks social grace, a discreet person does not say or do anything which would make another feel ashamed, embarrassed, or humiliated. Allow the other person to maintain his own grace and dignity. 3. Ask their opinions, seek their advice, ask them inquiring questions. By allowing them to reveal their opinions and knowledge, you will demonstrate respect and make them feel important. 4. Practice patience. Sometimes it takes a person a moment to gather her thoughts, process information, or respond appropriately. Your patience is respectful and appreciated. 5. Maintain your calm. Rather than react with anger or defensiveness, regulate your response and shift the energy into a more positive direction. 6. Put your ego aside. Allow another to triumph and enjoy the spotlight. 7. Be aware and concerned for the feelings of others. 8. Purposely seek ways to put others at ease and make them feel comfortable.

My only heroes are translators. I especially love those who are experts in the art of simultaneous translation. I love them in particular when they're also passionate readers and propose translations themselves. Thanks to them, Italian-ness travels through the world, enriching it. And the world, with its many languages, passes through Italian-ness and modifies it. Translators transport nations into other nations. They are the first to reckon with distant modes of feeling. Even their mistakes are evidence of a positive force. Translation is our salvation. It draws us out of the well in which, entirely by chance, we are born.

If you do nothing about this desire to use your artistic ability, there is a frustration, and you put part of yourself in a 'plaster cast' which will stunt your personality rather than develop it. There is also the danger of you becoming a complaining, whining, warped sort of person with self pity eating away inside you and coming out in caustic, jealous remarks. In fact, it is wasteful not to use your talents to the full. It can be a form of pride not to use your abilities as 'Hidden Art' which will fulfill your own needs, and enrich the lives of others with whom you live, instead of submitting them to the frustrated you!

To have a life devoted to art, to spiritual practice, to service to one’s community and ecosystem, restores faith in our collective human enterprise. Work on the culture is work on the self. Art can serve activism by teaching an attentiveness to existence and by enriching the culture in which our roots are set down. Culture is both the crop we grow and the soil in which we grow it. And human culture is the most powerful evolutionary force on Earth these days…art is necessary because it gives us a new way of thinking and speaking, shows us what we are and what have been blind to, and gives us a new language and forms in which to see ourselves

The absence of models, in literature as in life, to say nothing of painting, is an occupational hazard for the artist, simply because models in art, in behavior, in growth of spirit and intellect--even if rejected--enrich and enlarge one's view of existence. Deadlier still, to the artist who lacks models, is the curse of ridicule, the bringing to bear on an artist's best work, especially his or her most original, most strikingly deviant, only a fund of ignorance and the presumption that as an artist's critic one's judgement is free of the restrictions imposed by prejudice, and is well informed, indeed, about all the art in the world that really matters.

Whereas painters of the early and middle 1400s enriched their own (and their countrymen's) understanding of the Gospel by recreating it in reality, their successors used this technique to study (and broaden) their entire world view. Hieronymus Bosch mastered a whole genre by merging the realism of Flemish painting with fantastic allegories of the human condition. His pictures of vermin and birds in men's clothing, atrocities, and weirdly juxtaposed objects use the realism of the earlier masters as a means of stark caricature. It was in this form, the most extreme possible, that character and moral differentiation were introduced into the realm of realistic depiction.

Everywhere you will find that the wealth of the wealthy springs from the poverty of the poor. This is why an anarchist society need not fear the advent of a Rothschild who would settle in its midst. If every member of the community knows that after a few hours of productive toil he will have a right to all the pleasures that civilization procures, and to those deeper sources of enjoyment which art and science offer to all who seek them, he will not sell his strength for a starvation wage. No one will volunteer to work for the enrichment of your Rothschild. His golden guineas will be only so many pieces of metal — useful for various purposes, but incapable of breeding more.

13 Ways to Make Other People Feel Important 1. Ask people questions about themselves, their interests, their families, their passions and their lives. 2. Catch people doing things right, pat them on the back, and acknowledge them for a job well done. 3. Celebrate their successes. 4. Be lavish in your compliments and sincere in your praise. 5. Be appreciative and say thank you. 6. Listen with genuine interest. 7. Respect their opinions. 8. Encourage people with words of affirmation and validation. 9. Brag about people behind (and in front of) their backs. 10. Make the time and space to be fully present and engaged. 11. Spend quality time together. 12. Share your authentic self and be real. 13. Offer comfort and compassion.

Earning Trust & Cooperation The number one thing which stands between you and meeting a new person is tension. What is the number one thing which stands between a sales person and their prospect? You guessed it . . . tension. One of our first priorities as we initiate a first impression must be to focus on how to effectively minimize or eliminate tension. Regardless of your relationship or venue, when tension is high, trust and cooperation are low. When tension is reduced, trust and cooperation increase. It is an inverse relationship. So, how can you move to reduce tension in your first impressions to increase trust and cooperation? Put yourself in their shoes and seek to relate to them with an equal footing on a level playing field. Demonstrate how you can bring value to their lives.

A courtesan would receive years of training in literature, etiquette, dance and music before she was allowed to make her first public appearance. Courtesans have played quite a huge role in enriching our country’s traditions in music and art, you know. And sexuality – that too was considered an art, an ancient art…” What did it mean for the courtesans to have to make themselves available to the colonizer? To lay their bodies open to sex, to medical inspection, to laws? And all this to keep the military virile and marching towards the expansion of Empire! What happened to the women afterwards, that’s what I want to know! In fact, I don’t think it was very different from slavery in America – Black women eroticized, abused, discarded. No, the real story must have been far, far worse. Before the British, after the British.

The most important sphere of giving, however, is not that of material things, but lies in the specifically human realm. What does one person give to another? He gives of himself, of the most precious he has, he gives of his life. This does not necessarily mean that he sacrifices his life for the other—but that he gives him of that which is alive in him; he gives him of his joy, of his interest, of his understanding, of his knowledge, of his humor, of his sadness—of all expressions and manifestations of that which is alive in him. In thus giving of his life, he enriches the other person, he enhances the other’s sense of aliveness by enhancing his own sense of aliveness. He does not give in order to receive; giving is in itself exquisite joy. But in giving he cannot help bringing something to life in the other person, and this which is brought to life reflects back to him; in truly giving, he cannot help receiving that which is given back to him.

The gods had given me almost everything. I had genius, a distinguished name, high social position, brilliancy, intellectual daring: I made art a philosophy, and philosophy an art: I altered the minds of men and the colours of things: there was nothing I said or did that did not make people wonder: I took the drama, the most objective form known to art, and made it as personal a mode of expression as the lyric or the sonnet, at the same time that I widened its range and enriched its characterisation: drama, novel, poem in rhyme, poem in prose, subtle or fantastic dialogue, whatever I touched I made beautiful in a new mode of beauty: to truth itself I gave what is false no less than what is true as its rightful province, and showed that the false and the true are merely forms of intellectual existence. I treated Art as the supreme reality, and life as a mere mode of fiction: I awoke the imagination of my century so that it created myth and legend around me: I summed up all systems in a phrase, and all existence in an epigram. Along with these things, I had things that were different. I let myself be lured into long spells of senseless and sensual ease. I amused myself with being a flâneur, a dandy, a man of fashion. I surrounded myself with the smaller natures and the meaner minds. I became the spendthrift of my own genius, and to waste an eternal youth gave me a curious joy. Tired of being on the heights I deliberately went to the depths in the search for new sensations. What the paradox was to me in the sphere of thought, perversity became to me in the sphere of passion. Desire, at the end, was a malady, or a madness, or both. I grew careless of the lives of others. I took pleasure where it pleased me and passed on. I forgot that every little action of the common day makes or unmakes character, and that therefore what one has done in the secret chamber one has some day to cry aloud on the housetops. I ceased to be Lord over myself. I was no longer the Captain of my Soul, and did not know it. I allowed you to dominate me, and your father to frighten me. I ended in horrible disgrace. There is only one thing for me now, absolute Humility: just as there is only one thing for you, absolute Humility also. You had better come down into the dust and learn it beside me.

In this state a man enriches everything from out his own abundance: what he sees, what he wills, he sees distended, compressed, strong, overladen with power. He transfigures things until they reflect his power, — until they are stamped with his perfection. This compulsion to transfigure into the beautiful is — Art. Everything — even that which he is not, — is nevertheless to such a man a means of rejoicing over himself; in Art man rejoices over himself as perfection. — It is possible to imagine a contrary state, a specifically anti-artistic state of the instincts, — a state in which a man impoverishes, attenuates, and draws the blood from everything. And, truth to tell, history is full of such anti-artists, of such creatures of low vitality who have no choice but to appropriate everything they see and to suck its blood and make it thinner. This is the case with the genuine Christian, Pascal for instance. There is no such thing as a Christian who is also an artist ... Let no one be so childish as to suggest Raphael or any homeopathic Christian of the nineteenth century as an objection to this statement: Raphael said Yea, Raphael did Yea, — consequently Raphael was no Christian.

Even if there is no connection between diversity and international influence, some people would argue that immigration brings cultural enrichment. This may seem to be an attractive argument, but the culture of Americans remains almost completely untouched by millions of Hispanic and Asian immigrants. They may have heard of Cinco de Mayo or Chinese New Year, but unless they have lived abroad or have studied foreign affairs, the white inhabitants of Los Angeles are likely to have only the most superficial knowledge of Mexico or China despite the presence of many foreigners. Nor is it immigrants who introduce us to Cervantes, Puccini, Alexander Dumas, or Octavio Paz. Real high culture crosses borders by itself, not in the back pockets of tomato pickers, refugees, or even the most accomplished immigrants. What has Yo-Yo Ma taught Americans about China? What have we learned from Seiji Ozawa or Ichiro about Japan? Immigration and the transmission of culture are hardly the same thing. Nearly every good-sized American city has an opera company, but that does not require Italian immigrants. Miami is now nearly 70 percent Hispanic, but what, in the way of authentic culture enrichment, has this brought the city? Are the art galleries, concerts, museums, and literature of Los Angeles improved by diversity? Has the culture of Detroit benefited from a majority-black population? If immigration and diversity bring cultural enrichment, why do whites move out of those very parts of the country that are being “enriched”? It is true that Latin American immigration has inspired more American school children to study Spanish, but fewer now study French, German, or Latin. If anything, Hispanic immigration reduces what little linguistic diversity is to be found among native-born Americans. [...] [M]any people study Spanish, not because they love Hispanic culture or Spanish literature but for fear they may not be able to work in America unless they speak the language of Mexico. Another argument in favor of diversity is that it is good for people—especially young people —to come into contact with people unlike themselves because they will come to understand and appreciate each other. Stereotyped and uncomplimentary views about other races or cultures are supposed to crumble upon contact. This, of course, is just another version of the “contact theory” that was supposed to justify school integration. Do ex-cons and the graduates—and numerous dropouts—of Los Angeles high schools come away with a deep appreciation of people of other races? More than half a century ago, George Orwell noted that: 'During the war of 1914-18 the English working class were in contact with foreigners to an extent that is rarely possible. The sole result was that they brought back a hatred of all Europeans, except the Germans, whose courage they admired.

Necessary because it could not be suppressed, this role of poverty was necessary too because it made wealth possible. Because they labor and consume little, those who are in need permit a nation to enrich itself, to set a high value on its fields, its colonies, and its mines, to manufacture products which will be sold the world over; in short, a people would be poor which had no paupers. Indigence becomes an indispensable element in the State. In it is concealed the secret but also the real life of a society. The poor constitute the basis and the glory of nations. And their poverty, which cannot be suppressed, must be exalted and revered: "My purpose is merely to attract a share of that vigilant attention [that of the government] to the suffering portion of the People...; the succor it is owed derives essentially from the honor and the prosperity of an Empire, of which the Poor are everywhere the firmest support, for a sovereign cannot preserve and extend his realm without favoring the population, the cultivation of the Land, the Arts, and commerce; and the Poor are the necessary agents of these great powers which establish the true strength of a People." Here is an entire moral rehabilitation of the Pauper, which designates, at a deeper level, a social and economic reintegration of his role and character. In the mercantilist economy, the Pauper, being neither producer nor consumer, had no place: idle, vagabond, unemployed, he belonged only to confinement, a measure by which he was exiled and as it were abstracted from society. With the nascent industry which needs manpower, he once again plays a part in the body of the nation.

THIS IS A BOOK ABOUT FRENCH CINEMA, specifically the women of today’s French cinema—a subject as vital as life and as irresistible as movies. Yet many Americans, unfamiliar with French film, will hear “women of today’s French cinema” and immediately imagine something forbidding or austere. Other more refined cineastes may know and appreciate the French movies that play at art houses and arrive on DVD in this country, but they can’t know the full story. They are not in a position to know that what they are seeing is just a hint of something vast and extraordinary. The full story is that for the last two decades France has been in the midst of an explosion of female talent. What is happening in France today is a blossoming of female brilliance and originality of a kind that has never happened anywhere or at any period of film history, with but one glorious exception—in the Hollywood of the 1930s. Indeed, today’s Hepburns, Davises, Crawfords, Garbos, and Stanwycks are not American. They’re French. They are working constantly, appearing up to three or four times each year in films geared to their star personalities and moral meaning. These films, often intelligent, personal, and insightful investigations into what it means to be human in the twenty-first century, are the kinds of films that many Americans want to see. And they wonder why no one is making them. But people are making them, just not in the United States. Moreover, women are not only working in front of the camera in France but behind it, too. Important actresses are writing and directing films, and many of the country’s biggest and most acclaimed directors are women. Truly, this is a halcyon period, happening as we speak, and to miss this moment would be like living in 1920 and never seeing a silent comedy, or like living in 1950 and never seeing a film noir. It would be to miss one of the most enriching cinematic movements of your time. Yet most Americans, virtually all Americans, have been missing it.

MY PROCESS I got bullied quite a bit as a kid, so I learned how to take a punch and how to put up a good fight. God used that. I am not afraid of spiritual “violence” or of facing spiritual fights. My Dad was drafted during Vietnam and I grew up an Army brat, moving around frequently. God used that. I am very spiritually mobile, adaptable, and flexible. My parents used to hand me a Bible and make me go look up what I did wrong. God used that, as well. I knew the Word before I knew the Lord, so studying Scripture is not intimidating to me. I was admitted into a learning enrichment program in junior high. They taught me critical thinking skills, logic, and Greek Mythology. God used that, too. In seventh grade I was in school band and choir. God used that. At 14, before I even got saved, a youth pastor at my parents’ church taught me to play guitar. God used that. My best buddies in school were a druggie, a Jewish kid, and an Irish soccer player. God used that. I broke my back my senior year and had to take theatre instead of wrestling. God used that. I used to sleep on the couch outside of the Dean’s office between classes. God used that. My parents sent me to a Christian college for a semester in hopes of getting me saved. God used that. I majored in art, advertising, astronomy, pre-med, and finally English. God used all of that. I made a woman I loved get an abortion. God used (and redeemed) that. I got my teaching certification. I got plugged into a group of sincere Christian young adults. I took courses for ministry credentials. I worked as an autism therapist. I taught emotionally disabled kids. And God used each of those things. I married a pastor’s daughter. God really used that. Are you getting the picture? San Antonio led me to Houston, Houston led me to El Paso, El Paso led me to Fort Leonard Wood, Fort Leonard Wood led me back to San Antonio, which led me to Austin, then to Kentucky, then to Belton, then to Maryland, to Pennsylvania, to Dallas, to Alabama, which led me to Fort Worth. With thousands of smaller journeys in between. The reason that I am able to do the things that I do today is because of the process that God walked me through yesterday. Our lives are cumulative. No day stands alone. Each builds upon the foundation of the last—just like a stairway, each layer bringing us closer to Him. God uses each experience, each lesson, each relationship, even our traumas and tragedies as steps in the process of becoming the people He made us to be. They are steps in the process of achieving the destinies that He has encoded into the weave of each of our lives. We are journeymen, finding the way home. What is the value of the journey? If the journey makes us who we are, then the journey is priceless.

MT: Mimetic desire can only produce evil? RG: No, it can become bad if it stirs up rivalries but it isn't bad in itself, in fact it's very good, and, fortunately, people can no more give it up than they can give up food or sleep. It is to imitation that we owe not only our traditions, without which we would be helpless, but also, paradoxically, all the innovations about which so much is made today. Modern technology and science show this admirably. Study the history of the world economy and you'll see that since the nineteenth century all the countries that, at a given moment, seemed destined never to play anything but a subordinate role, for lack of “creativity,” because of their imitative or, as Montaigne would have said, their “apish” nature, always turned out later on to be more creative than their models. It began with Germany, which, in the nineteenth century, was thought to be at most capable of imitating the English, and this at the precise moment it surpassed them. It continued with the Americans in whom, for a long time, the Europeans saw mediocre gadget-makers who weren't theoretical or cerebral enough to take on a world leadership role. And it happened once more with the Japanese who, after World War II, were still seen as pathetic imitators of Western superiority. It's starting up again, it seems, with Korea, and soon, perhaps, it'll be the Chinese. All of these consecutive mistakes about the creative potential of imitation cannot be due to chance. To make an effective imitator, you have to openly admire the model you're imitating, you have to acknowledge your imitation. You have to explicitly recognize the superiority of those who succeed better than you and set about learning from them. If a businessman sees his competitor making money while he's losing money, he doesn't have time to reinvent his whole production process. He imitates his more fortunate rivals. In business, imitation remains possible today because mimetic vanity is less involved than in the arts, in literature, and in philosophy. In the most spiritual domains, the modern world rejects imitation in favor of originality at all costs. You should never say what others are saying, never paint what others are painting, never think what others are thinking, and so on. Since this is absolutely impossible, there soon emerges a negative imitation that sterilizes everything. Mimetic rivalry cannot flare up without becoming destructive in a great many ways. We can see it today in the so-called soft sciences (which fully deserve the name). More and more often they're obliged to turn their coats inside out and, with great fanfare, announce some new “epistemological rupture” that is supposed to revolutionize the field from top to bottom. This rage for originality has produced a few rare masterpieces and quite a few rather bizarre things in the style of Jacques Lacan's Écrits. Just a few years ago the mimetic escalation had become so insane that it drove everyone to make himself more incomprehensible than his peers. In American universities the imitation of those models has since produced some pretty comical results. But today that lemon has been squeezed completely dry. The principle of originality at all costs leads to paralysis. The more we celebrate “creative and enriching” innovations, the fewer of them there are. So-called postmodernism is even more sterile than modernism, and, as its name suggests, also totally dependent on it. For two thousand years the arts have been imitative, and it's only in the nineteenth and twentieth centuries that people started refusing to be mimetic. Why? Because we're more mimetic than ever. Rivalry plays a role such that we strive vainly to exorcise imitation. MT