Art Workshop Quotes

No. I cannot expect you to believe it. Take it as a lie--or a prophecy. Say I dreamed it in the workshop. Consider I have been speculating upon the destinies of our race until I have hatched this fiction. Treat my assertion of its truth as a mere stroke of art to enhance its interest. And taking it as a story, what do you think of it?

One thing, however, did become clear to him—why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing—mystery. That was what dreams and truly great works of art had in common: mystery.

How come you write the way you do?” an apprentice writer in my Johns Hopkins workshop once disingenuously asked Donald Barthelme, who was visiting. Without missing a beat, Don replied, “Because Samuel Beckett was already writing the way he does.” Asked another, smiling but serious, “How can we become better writers than we are?” “Well," DB advised, “for starters, read through the whole history of philosophy, from the pre-Socratics up through last semester. That might help.” “But Coach Barth has already advised us to read all of literature, from Gilgamesh up through last semester...” “That, too,” Donald affirmed, and twinkled that shrewd Amish-farmer-from-West-11th-Street twinkle of his. “You’re probably wasting time on things like eating and sleeping. Cease that, and read all of philosophy and all of literature. Also art. Plus politics and a few other things. The history of everything.

Art is the elimination of the unnecessary.” —Pablo Picasso

All I knew that for all our art, for all our writing, for all our self-defense workshops, for all our banding together in our cities and oases, queer survival was still not guaranteed.

Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked to most essential thing—mystery. That was what dreams and truly great works of art had in common: mystery... It is mystery I love and pursue.

The suburb of Saffron Park lay on the sunset side of London, as red and ragged as a cloud of sunset. It was built of a bright brick throughout; its sky-line was fantastic, and even its ground plan was wild. It had been the outburst of a speculative builder, faintly tinged with art, who called its architecture sometimes Elizabethan and sometimes Queen Anne, apparently under the impression that the two sovereigns were identical. It was described with some justice as an artistic colony, though it never in any definable way produced any art. But although its pretensions to be an intellectual centre were a little vague, its pretensions to be a pleasant place were quite indisputable. The stranger who looked for the first time at the quaint red houses could only think how very oddly shaped the people must be who could fit in to them. Nor when he met the people was he disappointed in this respect. The place was not only pleasant, but perfect, if once he could regard it not as a deception but rather as a dream. Even if the people were not "artists," the whole was nevertheless artistic. That young man with the long, auburn hair and the impudent face -- that young man was not really a poet; but surely he was a poem. That old gentleman with the wild, white beard and the wild, white hat -- that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself? Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.

Collaborative workshops and writers' peer groups hadn't been invented when I was young. They're a wonderful invention. They put the writer into a community of people all working at the same art, the kind of group musicians and painters and dancers have always had.

One of the most magical things about photography happens when you place one picture next to another picture to create new meanings.

...if these hours be dark, as indeed in many ways they are, at least do not let us sit deedless, like fools and fine gentlemen, thinking the common toil not good enough for us, and beaten by the muddle; but rather let us work like good fellows trying by some dim candle-light to set our workshop ready against to-morrow's daylight...

To my lovely starling, Maybe there are magical words that will make you understand, but if so, I do not know them. Words are your domain. I've always been better with pictures. I fear you think I am a monster. It's true I've disrupted many graves. The way I see it, the dead are dead. If, after their death, we can learn things from the about the human form - things that will increase the sum of human knowledge and the possibilities of art - what harm is that? After death, new life, new beauty. How can that be wrong? My friends and I have made use of some of the bodies as models. some we sell to surgeons who study them with the hopes of learning something about the frail mechanisms of the human body. I don't know exactly what Dottor de Gradi does in his workshop on the Rialto, and I was as surprised as you were to stumble on it. He couldn't - he wouldn't tell me if your friend's body ended up there. But he did assure me all of his work is focused solely on extending human life. I won't lie. I did it for the money as well. Don Loredan is holding a private exhibition in his palazzo tomorrow. The entry fee was quite steep but two of my paintings were accepted. This could be the beginning for me. I could find my own patrons. I could be more than just a peasant. Tommaso's assistant. So yes; a little for money. But mostly I did for the art. I don't expect these words to change how you feel. I simply want you not to see me as a monster. I don't want to be a monster. Not anymore. Not after meeting you. I know that we disrupted you dear friend's body, and for that I am deeply regretful. But if we had not done so, if I had not lingered in the San Domenico churchyard after standing guard for my friends, you and I might never have met. Meeting you is one thing I will never regret. I hope you like the painting. Consider tit a wedding gift. How stupid of me to let my heart go. It was a lovely fantasy while it lasted, though, wasn't it? Yours, Falco

Incredibly, there are people—smart people—who think a prim disdain for drama is somehow a sign of “good taste.” It is more often the reverse: a lamentable insensitivity to the essence of the art, a failure to “get it” on the most essential level. It is more often a sign not of good taste but of artistic insecurity. Not knowing how far to go, the writer goes nowhere. Lifelessness is not a form of elegance you should pursue.

A random guy I met at a party I went to in high school told me not to study creative writing because in his opinion studying creative writing as a major sucks the love of writing out of you (he was a creative writing major, so he said he would know). I did not want the love of writing sucked out of me, so I followed his advice (however, I did take a few creative writing workshops at IU and I enjoyed them very much). Instead, I had the love of art sucked out of me. Years later I met that guy from the party again in New York City where I moved after college to be an illustrator, and we got married.

William Morris championed the movement for Arts and Crafts. He believed that when we build a house with our hands, make furniture in our workshops, make pots and paintings in our studios, plant fruits and flowers in our gardens, we transform ourselves into alchemists, turning ordinary into extraordinary.

Wealth is what Nature gives us and what a reasonable man can make out of the gifts of Nature for his reasonable use. The sunlight, the fresh air, the unspoiled face of the earth, food, raiment and housing necessary and decent; the storing up of knowledge of all kinds, and the power of disseminating it; means of free communication between man and man; works of art, the beauty which man creates when he is most a man, most aspiring and thoughtful--all things which serve the pleasure of people ... This is wealth. Nor can I think of anything worth having which does not come under one or other of these heads. But think, I beseech you, of the product of ... the workshop of the world, and will you not be bewildered, as I am, at the thought of the mass of things which no sane man could desire, but which our useless toil makes -- and sells?

What better way of avoiding work than going to a workshop?

There are absolutely no rules in art

Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing—mystery. That was what dreams and truly great works of art had in common: mystery... It is mystery I love and pursue.

I like blank paper. To meet people I find interesting. Writing puts me into a world that has not been written yet. I spend much of my time contemplating love and death. When I am writing a surge of complete happiness takes over. To make readers hear the sound of their own heartbeats, that sound that whispers up to us: you are alive. When I manage to turn pages and pages of crap into a little bit of art, I feel like that girl in the Diamonds Are Forever ad. Writing gives me permission to be a child and to play with words the way that children play with blocks or twigs or mud. Writing makes me a god, each new page enabling me to create and destroy as many worlds as I please. It allows me to spy on my neighbors. It’s the only socially acceptable way to be a compulsive liar. I want to cleanse the past. To discover, to express, to celebrate, to acknowledge, to witness, to remember who I am. I find out what might have been, what should have happened, and what I fear will happen. It’s a means of asking questions, though the answers may be as puzzling as a rune. This question drives me crazy. There is nothing else I want to do more. My soul will not be still until the words are written on paper. Because I can. Because I must. I can’t not. If I don’t I will explode. I want to be good at something and I’ve tried everything else.

Enmerson's interest is in the workshop phase, the birthing stage of art, not the museum moment, the embalming phase. Poetry mimics Creation and is therefore sacred. More precisely, just as God may indeed be a verb (as Mary Daly insists), poetry is the act of creating. The process of poetry also mimics the process of nature. 'This expression or naming is not art, but a second nature, grown out of the first, as a leaf out of a tree. What we call nature is a certain self-regulated motion or change.' Another aspect of nature is genius, which, as Emerson observes, 'is the activity which repairs the decays of things.

One of the most magical things about photography happens when you place one picture next to another picture to create new meanings. When you see a picture of a person and another of a place, your mind automatically fills in the gaps as if they're connected.

Once, at a writing conference, a white man asked me if destruction was necessary for art. His question was genuine. He leaned forward, his blue gaze twitching under his cap stitched gold with ’Nam Vet 4 Life, the oxygen tank connected to his nose hissing beside him. I regarded him the way I do every white veteran from that war, thinking he could be my grandfather, and I said no. “No, sir, destruction is not necessary for art.” I said that, not because I was certain, but because I thought my saying it would help me believe it. But why can’t the language for creativity be the language of regeneration? You killed that poem, we say. You’re a killer. You came in to that novel guns blazing. I am hammering this paragraph, I am banging them out, we say. I owned that workshop. I shut it down. I crushed them. We smashed the competition. I’m wrestling with the muse. The state, where people live, is a battleground state. The audience a target audience. “Good for you, man,” a man once said to me at a party, “you’re making a killing with poetry. You’re knockin’ ’em dead.

We get lulled into the false belief that knowing the category of the gathering—the board meeting, workshop, birthday party, town hall—will be instructive to designing it. But we often choose the template—and the activities and structure that go along with it—before we’re clear on our purpose.

Whiteness isn’t antithetical to non-whiteness, it’s contingent on it. Creative writing is ethnic studies, is gender and sexual studies, is political science, is religion, is history, is sociology. The dichotomy is a sham. All art is political art. Everything less is denial, denial being the most political of all.

What is the use of composing if it is to confine the product within the precinct of the concert or the solitude of listening to the radio? To compose, at least by propensity, is to give to do, not to give to hear but to give to write. The modern location for music is not the concert hall, but the stage on which the musicians pass, in what is often a dazzling display, from one source of sound to another. It is we who are playing, though still it is true by proxy; but one can imagine the concert - later on? - as exclusively a workshop, from which nothing spills over - no dream, no imaginary, no short, no 'soul' and where all the musical art is absorbed in a praxis with no remainder.

That young man with the long, auburn hair and the impudent face—that young man was not really a poet; but surely he was a poem. That old gentleman with the wild, white beard and the wild, white hat—that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself? Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.

For many years Minos has been lucky to have in his court the most gifted inventor, the most skilled artificer outside of the Olympian forges of Hephaestus. His name is Daedalus and he is capable of fashioning moving objects out of metal, bronze, wood, ivory and gemstones. He has mastered the art of tightly coiling leaves of steel into powerful springs, which control wheels and chains to form intricate and marvellous mechanisms that mark the passage of the hours with great precision and accuracy, or control the levels of watercourses. There is nothing this cunning man cannot contrive in his workshop. There are moving statues there, men and women animated by his skill, boxes that play music and devices that can awaken him in the morning. Even if only half the stories of what Daedalus can achieve are true then you can be certain that no more cunning and clever an inventor, architect and craftsman has ever walked this earth.

Not only in antiquity but in our own times also laws have been passed...to secure good conditions for workers; so it is right that the art of medicine should contribute its portion for the benefit and relief of those for whom the law has shown such foresight...[We] ought to show peculiar zeal...in taking precautions for their safety. I for one have done all that lay in my power, and have not thought it beneath me to step into workshops of the meaner sort now and again and study the obscure operations of mechanical arts.

My ideal was contained within the word beauty, so difficult to define despite all the evidence of our senses. I felt responsible for sustaining and increasing the beauty of the world. I wanted the cities to be splendid, spacious and airy, their streets sprayed with clean water, their inhabitants all human beings whose bodies were neither degraded by marks of misery and servitude nor bloated by vulgar riches; I desired that the schoolboys should recite correctly some useful lessons; that the women presiding in their households should move with maternal dignity, expressing both vigor and calm; that the gymnasiums should be used by youths not unversed in arts and in sports; that the orchards should bear the finest fruits and the fields the richest harvests. I desired that the might and majesty of the Roman Peace should extend to all, insensibly present like the music of the revolving skies; that the most humble traveller might wander from one country, or one continent, to another without vexatious formalities, and without danger, assured everywhere of a minimum of legal protection and culture; that our soldiers should continue their eternal pyrrhic dance on the frontiers; that everything should go smoothly, whether workshops or temples; that the sea should be furrowed by brave ships, and the roads resounding to frequent carriages; that, in a world well ordered, the philosophers should have their place, and the dancers also. This ideal, modest on the whole, would be often enough approached if men would devote to it one part of the energy which they expend on stupid or cruel activities; great good fortune has allowed me a partial realization of my aims during the last quarter of a century. Arrian of Nicomedia, one of the best minds of our time, likes to recall to me the beautiful lines of ancient Terpander, defining in three words the Spartan ideal (that perfect mode of life to which Lacedaemon aspired without ever attaining it): Strength, Justice, the Muses. Strength was the basis, discipline without which there is no beauty, and firmness without which there is no justice. Justice was the balance of the parts, that whole so harmoniously composed which no excess should be permitted to endanger. Strength and justice together were but one instrument, well tuned, in the hands of the Muses. All forms of dire poverty and brutality were things to forbid as insults to the fair body of mankind, every injustice a false note to avoid in the harmony of the spheres.

Since the arrows of criticism aimed at these legendary masters, who directed the workshops of their day now frequently strike me in the back, I want you to know that the hackneyed accusations leveled at us are entirely unfounded. These are the facts: 1. The reason we don’t like anything innovative is that there is truly nothing new worth liking. 2. We treat most men like morons because, indeed, most men are morons, not because we’re poisoned by anger, unhappiness or some other flaw in character. (Granted, treating these people better would be more refined and sensible.) 3. The reason I forget and confuse so many names and faces—except those of the miniaturists I’ve loved and trained since their apprenticeships—is not senility, but because these names and faces are so lackluster and colorless as to be hardly worth remembering.

Walt Disney's orchestration of his animation studio was often likened to that of a Renaissance artist's workshop: 'Of all the things I've done,' he stated, 'the most vital is coordinating the talents of those who work for us and pointing them at a certain goal.' Disney understood the amorphous nature of his role as repeatedly relayed in what may be an apocryphal anecdote: 'You know,' Disney said, 'I was stumped one day when a little boy asked, 'Do you draw Mickey Mouse?' I had to admit I do not draw any more. 'Then you think up all the jokes and ideas?' 'No,' I said, 'I don't do that.' Finally, he looked at me and said, 'Mr. Disney, just what do you do?' 'Well,' I said, 'Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody.' I guess that's the job I do.

The past is gone and the future is still to happen. Only the present moment is real. I believe we all know this very well. As for me, I have been practising the art of being in the here and now for three decades. I have used many techniques aimed at focusing the attention on the present, while releasing attachment to past and future. There are also many courses and workshops on the topic. And I can provide details, if you are interested. Yet, I warn you, learning to be in the present requires lots of hard work, time and money. Yet there is one circumstance when results are immediate, with no effort and also free of charge. This is when both looking ahead or backwards is so painful and horrible, that the only option is looking straight into the present. Hence, if it is the case for you now, rejoice, this may be your greatest chance, and you are in good company!

Because, to do manual work now, means in reality to shut yourself up for ten or twelve hours a day in an unhealthy workshop, and to remain chained to the same task for twenty or thirty years, and maybe for your whole life. It means to be doomed to a paltry wage, to the uncertainty of the morrow, to want of work, often to destitution, more often than not to death in a hospital, after having worked forty years to feed, clothe, amuse, and instruct others than yourself and your children. It means to bear the stamp of inferiority all your life; because, whatever the politicians tell us, the manual worker is always considered inferior to the brain worker, and the one who has toiled ten hours in a workshop has not the time, and still less the means, to give himself the high delights of science and art, nor even to prepare himself to appreciate them; he must be content with the crumbs from the table of privileged persons.

There was no reason whatever to make a wholesale choice between handicraft and machine production: between a single contemporary part of the technological pool and all the other past accumulations. But there was a genuine reason to maintain as many diverse units in this pool as possible, in order to increase the range of both human choices and technological inventiveness. Many of the machines of the nineteenth century, as Kropotkin pointed out, were admirable auxiliaries to handicraft processes, once they could be scaled, like the efficient small electric motor, to the small workshop and the personally controlled operation. William Morris and his colleagues, who almost single-handed salvaged and restored one ancient craft after another, by personally mastering the arts of dyeing, weaving, embroidering, printing, glass-painting, paper-making, book-binding, showed superior technological insight to those who scoffed at their romanticism.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

Rebecca Wallace-Segall, who teaches creative-writing workshops for kids and teens as director of Writopia Lab in New York City, says that the students who sign up for her classes “are often not the kids who are willing to talk for hours about fashion and celebrity. Those kids are less likely to come, perhaps because they’re less inclined to analyze and dig deep—that’s not their comfort zone. The so-called shy kids are often hungry to brainstorm ideas, deconstruct them, and act on them, and, paradoxically, when they’re allowed to interact this way, they’re not shy at all. They’re connecting with each other, but in a deeper zone, in a place that’s considered boring or tiresome by some of their peers.” And these kids do “come out” when they’re ready; most of the Writopia kids read their works at local bookstores, and a staggering number win prestigious national writing competitions. If your child is prone to overstimulation, then it’s also a good idea for her to pick activities like art or long-distance running, that depend less on performing under pressure. If she’s drawn to activities that require performance, though, you can help her thrive. When I was a kid, I loved figure skating. I could spend hours on the rink, tracing figure eights, spinning happily, or flying through the air. But on the day of my competitions, I was a wreck. I hadn’t slept the night before and would often fall during moves that I had sailed through in practice. At first I believed what people told me—that I had the jitters, just like everybody else. But then I saw a TV interview with the Olympic gold medalist Katarina Witt. She said that pre-competition nerves gave her the adrenaline she needed to win the gold. I knew then that Katarina and I were utterly different creatures, but it took me decades to figure out why. Her nerves were so mild that they simply energized her, while mine were constricting enough to make me choke. At the time, my very supportive mother quizzed the other skating moms about how their own daughters handled pre-competition anxiety, and came back with insights that she hoped would make me feel better. Kristen’s nervous too, she reported. Renée’s mom says she’s scared the night before a competition. But I knew Kristen and Renée well, and I was certain that they weren’t as frightened as I was

Something must be wrong then in art, or the happiness of life is sickening in the house of civilization. What has caused the sickness? Machine-labour will you say? Well, I have seen quoted a passage from one of the ancient Sicilian poets rejoicing in the fashioning of a water-mill, and exulting in labour being set free from the toil of the hand-quern in consequence; and that surely would be a type of man's natural hope when foreseeing the invention of labour-saving machinery as 'tis called; natural surely, since though I have said that the labour of which art can form a part should be accompanied by pleasure, so one could deny that there is some necessary labour even which is not pleasant in itself, and plenty of unnecessary labour which is merely painful. If machinery had been used for minimizing such labour, the utmost ingenuity would scarcely have been wasted on it; but is that the case in any way? Look round the world, and you must agree with John Stuart Mill in his doubt whether all the machinery of modern times has lightened the daily work of one labourer. And why have our natural hopes been so disappointed? Surely because in these latter days, in which as a matter of fact machinery has been invented, it was by no means invented with the aim of saving the pain of labour. The phrase labour-saving machinery is elliptical, and means machinery which saves the cost of labour, not the labour itself, which will be expended when saved on tending other machines. For a doctrine which, as I have said, began to be accepted under the workshop-system, is now universally received, even though we are yet short of the complete development of the system of the Factory. Briefly, the doctrine is this, that the essential aim of manufacture is making a profit; that it is frivolous to consider whether the wares when made will be of more or less use to the world so long as any one can be found to buy them at a price which, when the workman engaged in making them has received of necessaries and comforts as little as he can be got to take, will leave something over as a reward to the capitalist who has employed him. This doctrine of the sole aim of manufacture (or indeed of life) being the profit of the capitalist and the occupation of the workman, is held, I say, by almost every one; its corollary is, that labour is necessarily unlimited, and that to attempt to limit it is not so much foolish as wicked, whatever misery may be caused to the community by the manufacture and sale of the wares made.

THE VISION EXERCISE Create your future from your future, not your past. WERNER ERHARD Erhard Founder of EST training and the Landmark Forum The following exercise is designed to help you clarify your vision. Start by putting on some relaxing music and sitting quietly in a comfortable environment where you won’t be disturbed. Then, close your eyes and ask your subconscious mind to give you images of what your ideal life would look like if you could have it exactly the way you want it, in each of the following categories: 1. First, focus on the financial area of your life. What is your ideal annual income and monthly cash flow? How much money do you have in savings and investments? What is your total net worth? Next . . . what does your home look like? Where is it located? Does it have a view? What kind of yard and landscaping does it have? Is there a pool or a stable for horses? What does the furniture look like? Are there paintings hanging in the rooms? Walk through your perfect house, filling in all of the details. At this point, don’t worry about how you’ll get that house. Don’t sabotage yourself by saying, “I can’t live in Malibu because I don’t make enough money.” Once you give your mind’s eye the picture, your mind will solve the “not enough money” challenge. Next, visualize what kind of car you are driving and any other important possessions your finances have provided. 2. Next, visualize your ideal job or career. Where are you working? What are you doing? With whom are you working? What kind of clients or customers do you have? What is your compensation like? Is it your own business? 3. Then, focus on your free time, your recreation time. What are you doing with your family and friends in the free time you’ve created for yourself? What hobbies are you pursuing? What kinds of vacations do you take? What do you do for fun? 4. Next, what is your ideal vision of your body and your physical health? Are you free of all disease? Are you pain free? How long do you live? Are you open, relaxed, in an ecstatic state of bliss all day long? Are you full of vitality? Are you flexible as well as strong? Do you exercise, eat good food, and drink lots of water? How much do you weigh? 5. Then, move on to your ideal vision of your relationships with your family and friends. What is your relationship with your spouse and family like? Who are your friends? What do those friendships feel like? Are those relationships loving, supportive, empowering? What kinds of things do you do together? 6. What about the personal arena of your life? Do you see yourself going back to school, getting training, attending personal growth workshops, seeking therapy for a past hurt, or growing spiritually? Do you meditate or go on spiritual retreats with your church? Do you want to learn to play an instrument or write your autobiography? Do you want to run a marathon or take an art class? Do you want to travel to other countries? 7. Finally, focus on the community you’ve chosen to live in. What does it look like when it is operating perfectly? What kinds of community activities take place there? What charitable, philanthropic, or volunteer work? What do you do to help others and make a difference? How often do you participate in these activities? Who are you helping? You can write down your answers as you go, or you can do the whole exercise first and then open your eyes and write them down. In either case, make sure you capture everything in writing as soon as you complete the exercise. Every day, review the vision you have written down. This will keep your conscious and subconscious minds focused on your vision, and as you apply the other principles in this book, you will begin to manifest all the different aspects of your vision.

We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins; it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization.

Now it was called The Texaco Star Theater; the Mighty Allen Art Players became the Texaco Workshop Players, and the show opened in the traditional Texaco manner, with a siren and a bell. The opening was toned down after Dec. 7, 1941, because of growing public tension and the use of sirens to warn of air raids.

Because, to do manual work now, means in reality to shut yourself up for ten or twelve hours a day in an unhealthy workshop, and to remain riveted to the same task for twenty or thirty years, and maybe for your whole life. It means to be doomed to a paltry wage, to the uncertainty of the morrow, to want of work, often to destitution, more often than not to death in a hospital, after having worked forty years to feed, clothe, amuse, and instruct others than yourself and your children. It means to bear the stamp of inferiority all your life, because, whatever the politicians tell us, the manual worker is always considered inferior to the brain worker, and the one who has toiled ten hours in a workshop has not the time, and still less the means, to give himself the high delights of science and art, nor even to prepare himself to appreciate them; he must be content with the crumbs from the table of privileged persons.

Critics can point out the problems in your manuscript, they can offer the right diagnosis, but they may not be able to suggest a remedy. It takes an excellent teacher, someone who has mastered the art of writing, to tell you how to correct a problem. Agents and publishers don’t have time to be teachers (and may not know the solution). A lot of critics (including those in writer’s workshops) want to help, but may not know what the correct remedy is. But that should not stop a dedicated writer. Listen to the criticism, even if it hurts. Learn from it. Even if your critic can’t offer a solution, you will be able to find one, eventually. It may mean slaving over the manuscript until you’re ready to burn it, or it may mean putting it aside until you can look at it with fresh eyes. Let the sting of criticism drive you toward excellence.

A Design Challenge start with “How might we…”, or “What can we do to…

Design Thinking is about to connect ideas and methods from different areas of thought, in order to create new structures, new associations, new combinations.

Putting the customer’s needs first makes innovation possible

In the course of the vicious Gothic Wars of the mid-sixth century and their still more miserable aftermath, the last commercial workshops of book production folded, and the vestiges of the book market fell apart. Therefore, again almost inadvertently, monastic rules necessitated that monks carefully preserve and copy those books that they already possessed. But all trade with the papyrus makers of Egypt had long vanished, and in the absence of a commercial book market, the commercial industry for converting animal skins to writing surfaces had fallen into abeyance. Therefore, once again almost inadvertently, monastic rules necessitated that monks learn the laborious art of making parchment and salvaging existing parchment. Without wishing to emulate the pagan elites by placing books or writing at the center of society, without affirming the importance of rhetoric or grammar, without prizing either learning or debate, monks nonetheless became the principal readers, librarians, book preservers, and book producers of the Western world.

Added to the problem of establishing their dates, it is difficult to know if workshops fabricated these gems exclusively for Christian patrons or whether they could have been owned or used by anyone—Christian or otherwise—as magical amulets. The existence of two other crucifixion gems, one of them a possible forgery, supports the latter possibility.

We do not know whether Jewish manuscripts were usually made by Jewish artists to order in Christian workshops, but they were certainly made in the styles locally current in their countries of adoption.

Get involved in a workshop – Finding a workshop or writing partner can help you

Even in prison, deprived of nearly everything, some freedoms remain. Your mind remains your own (if you’re lucky, you have books) and you have time—lots of time. Carter did not have much power, but he understood that that was not the same thing as being powerless. Many great figures, from Nelson Mandela to Malcolm X, have come to understand this fundamental distinction. It’s how they turned prison into the workshop where they transformed themselves and the schoolhouse where they began to transform others.

Workshop! Then you consider yourself a New Woman, do you?” Mrs. Hackley looked down her nose at her plate. “It’s my opinion, and that of many social commentators, that when a woman joins the ranks of men in workshops, her morals sink, so mind your step.” “She’s employed in the arts, Mrs. Hackley, not in a carriage factory, and the arts are a moral force.

I began my talk by explaining how opportunities for women in craft workshops had come about through Mrs. Candace Wheeler’s Society of Decorative Art for Women in New York. “The biggest step forward was to convince women that the work of their hands deserved payment and wasn’t just a pleasant domestic pastime.

Christian formation is more than concepts and creeds. What is required is a lifelong transformation at the hands of the Master Artist through the use of specific tools of the Spirit. The phrase Benedict uses, instrumenta artis spiritalis, literally means 'instruments of spiritual arts.' He viewed the faith community as God's workshop or art studio--a place where God's artwork in our soul takes place.

irony here is kind of cringe-inducing, too. If I try to put the effect of that earliest workshop into less bromidic words, the best I can do is this: it was like having my world turned upside-down, and then realizing that, in fact, the world had always been upside-down, and I had just come right-side up. There was a sense of relief in knowing that all those things that had looked so wrong—the injustice of violence against women, the limits placed on us because of our gender, the fear of losing our mothers, our sisters, ourselves—were, in fact, wrong. That I was right to be angry about them. Empowerment-based self-defense training left me with a completely new way of looking at self-defense—a perspective diametrically opposed to mainstream approaches to safety.

Here is a youth hard pressed by poverty and labor; confined long hours in an unhealthy workshop; unschooled, and lacking all the arts of refinement. But he dreams of better things; he thinks of intelligence, of refinement, of grace and beauty. He conceives of, mentally builds up, an ideal condition of life; the vision of a wider liberty and a larger scope takes possession of him; unrest urges him to action, and he utilizes all his spare time and means, small though they are, to the development of his latent powers and resources. Very soon so altered has his mind become that the workshop can no longer hold him. It has become so out of harmony with his mentality that it falls out of his life as a garment is cast aside, and, with the growth of opportunities, which fit the scope of his expanding powers, he passes out of it forever. Years later we see this youth as a full-grown man. We find him a master of certain forces of the mind, which he wields with worldwide influence and almost unequalled power. In his hands he holds the cords of gigantic responsibilities; he speaks, and lo, lives are changed; men and women hang upon his words and remould their characters, and, sunlike, he becomes the fixed and luminous center round which innumerable destinies revolve. He has realized the Vision of his youth. He has become one with his Ideal.

Coomaraswamy could acknowledge that machines had come to stay, so that he was simply of his age in asking by what means they might be controlled: how could “a curse” be transformed into “a blessing”. For, as he suggested in his Introduction, “a community cannot afford to dispense with the intellectual and imaginative forces, the educational and ethical factors which go with the existence of skilled craftsmen and small workshops”. The divorce of art from labor has an outcome injurious to both. From the point of view of the worker, “through the division of labor [he is] no longer able to make any whole thing [but is] confined to making small parts of things. . . . He can never [thereby] rise in virtue of his knowledge or experience in the craft itself. That craft is for him destroyed as a means of culture,3 and the community has lost one more man’s intelligence”.

a community cannot afford to dispense with the intellectual and imaginative forces, the educational and ethical factors which go with the existence of skilled craftsmen and small workshops”. The divorce of art from labor has an outcome injurious to both. From the point of view of the worker, “through the division of labor [he is] no longer able to make any whole thing [but is] confined to making small parts of things. . . . He can never [thereby] rise in virtue of his knowledge or experience in the craft itself. That craft is for him destroyed as a means of culture,3 and the community has lost one more man’s intelligence”.

I don't judge a scene or a line of dialog by whether or not it advances the plot, for example. Imagine an edit of Tarantino's Pulp Fiction wherein only dialog that advances the plot was allowed to remain. I don't obsess over the balance of conflict and interaction. I don't generally fret over the possibility that something I do may cause some reader to experience a "disconnect" (what an odious metaphor). I don't think in dramatic arcs. I don't spend a lot of time wondering if the plot is getting lost in description and conversation. To me, this all seems like a wealth of tedious confusion being introduced into an act that ought to be instinctive, natural, intuitive. I want to say, stop thinking about all that stuff and just write the story you have to tell. Let the story show you how it needs you to write it. I don't try to imagine how the reader will react to X or if maybe A, B, and C should have happened by page R. It's not that I don't want the story to be read. I desire readers as much as anyone. But I desire readers who want to read what I'm writing, not readers who approach fiction with so many expectations that they're constantly second-guessing and critiquing the author's every move, book in one hand, some workshop checklist in the other, and a stopwatch on the desk before them. If writing or reading like this seems to work for you, fine. I mean, I've always said that when you find something that works, stick with it. But, for me, it seems as though such an anal approach to creating any art would bleed from it any spark of enjoyment on the part of the artist (not to mention the audience). It also feels like an attempt to side-step the nasty issue of talent, as if we can all write equally well if we only follow the rules, because, you know, good writing is really 99% craft, not inexplicable, inconvenient, unquantifiable talent.

I was once hired by an organization to deliver a workshop on networking. The goal was to provide their engineers with tools and strategies for expanding their circles of influence—to foster innovation, collaboration, and teambuilding. One of the engineers raised her hand in the middle of the program and bluntly said, “I’m happy with the people in my life and don’t care to add any more.” I respect and appreciate her position and have sometimes felt the same way. But, as long as we are alive, we will meet, greet, and interact with new people. Even if we are not inviting them into our personal lives, being socially brave will open new doors which may have remained closed otherwise.

Every time a new client hires me for a keynote, workshop, or coaching session, the first questions I ask them are, “What are the 3 top challenges your organization is dealing with? What are your goals? What problems would you like for me to help solve?” Using their own answers, I am able to design a program that is customized specifically around their needs. It takes the focus off of Susan and centers my complete attention toward making them feel important.

For many of my subjects from that first study—all writers associated with the Iowa Writers’ Workshop—mental illness and creativity went hand in hand. This link is not surprising. The archetype of the mad genius dates back to at least classical times, when Aristotle noted, “Those who have been eminent in philosophy, politics, poetry, and the arts have all had tendencies toward melancholia.” This pattern is a recurring theme in Shakespeare’s plays, such as when Theseus, in A Midsummer Night’s Dream, observes, “The lunatic, the lover, and the poet / Are of imagination all compact.” John Dryden made a similar point in a heroic couplet: “Great wits are sure to madness near allied, / And thin partitions do their bounds divide.

English teachers, workshops, and myths try to make writers slow down. We are the ONLY ART on the planet that tells young artists to not practice and do less to get better. Head-shaking in its stupidity. And new writers buy into that.

And how do you make your way from beginning to end? You can be guided at every step by only one intuition: your own sense of rightness. But the sense of rightness can come only after you have been guided away from ten thousand wrong turns by your sense for what is wrong. The sense of rightness and the sense of what is wrong have no independent existence: Each is the other's reverse side. Most good stories die before they are born simply because their authors fail to understand this. That little voice inside says to them, “This is wrong, all wrong,” and they panic, they think they have failed, and they quit. They think that inner voice—wrong; this is wrong—is a reason for stopping. In fact, it is your art's best friend, the other voice of rightness. You must listen to them both, trusting that your intellect is capable of responding to their cues and discerning at least many of their mute meanings. They will be in play every hour you spend at your desk, and they alone can guide you on your path from perplexity, complexity, and conflict to the inevitable. That movement from the improbable to the inevitable is the truest course of a story, and it defines your path.

Several years ago, I asked the then up-and-coming literary agent Noah Lukeman (he has now very much come up) to speak to my advanced group of students at the New York Writers Workshop. At that meeting, Noah was asked his opinion of the Master of Fine Arts degree in creative writing. He gave us, he said, the same answer he gives every one who asks that question: “Take the $35,000–$50,000 you're going to spend on the degree, buy yourself a good laptop and printer and a bundle of paper, and go off to a cabin and write. At the end of two years, the worst that can happen is you have nothing. Less than nothing is what you'll almost certainly have at the end of your MFA program, because, besides nothing, you'll also have a mountain of debt.” That may seem like a harsh assessment of the value of MFA programs; it is certainly not uncommon, especially among MFA graduates.

because I had been taught that that kind of change was impossible. The only explanations that fit my experience completely contradicted everything I had learned in optometry school. So I left my training behind to develop a new approach to natural vision improvement, one that was based on the fundamental self-healing properties of the body/mind. As I introduced this new approach to my patients, I noticed that it did a lot more than help people improve their eyesight. In fact, vision improvement was just a small part of the powerful transformations that began to occur. In the twenty years since then, I have seen over and over that changing your vision is the same as changing your life. Jonathan Swift said a long time ago that “vision is the art of seeing [the] invisible.” My clinical experience has proven that he was absolutely right—clearing our vision allows us to, literally, see the parts of ourselves, of our lives, that were invisible to us before. In the ancient traditions, the concept of “vision” did not refer to eyesight; it was synonymous with wisdom. Real wisdom, even what we call genius, flows naturally from the clarity of our perception. The belief that eyesight occurs only in our eyes limits more than our vision; it limits our entire worldview. The eyes have been described most accurately as the windows of the soul. Light energy enters our being through our eyes, but our vision of reality is determined more by what we see with our mind’s eye than what we see with our physical eye. In fact, I’ve found that our eyesight is simply a reflection of our view of reality. So when the mind begins to see more clearly, the eyes also begin to see more clearly—and that shift can be instantaneous. I now spend most of my time speaking and giving workshops all over the world, and everywhere I travel, I meet ordinary people who have miraculously healed their eyesight. They all suddenly saw a new possibility. Vision is so much more than eyesight. The eyes are simply one focal point in a vast perceptive field. But if we live in a chronic state of fear or anger, all our sensory functions contract; we literally become narrow-minded. After a while that contraction begins to feel “normal.” Most of us seem to have closed down some aspects of our perception.

To name a gathering affects the way people perceive it. The name signals what the purpose of the event is, and it also prepares people for their role and level of expected participation. If you’re hosting a half-day gathering for your team to discuss a new strategy, do you call it a “meeting,” a “workshop,” a “brainstorming session,” or an “idea lab”? Of these names, “brainstorming session” implies a heavier level of participation than perhaps “meeting” does. Part of what worked with our “I Am Here” days, I later realized, was that we gave it a name and that name primed people for what we most needed from them: presence.

Art is whatever you can get away with.

approach design as an exercise or a practice, not as a profession.

This copper engraving by Matthäus Merian the Elder from 1632 depicts a printing workshop. Merian is best known for his townscapes, but here it is the interior world of books that receives his attention. Printing was the German art and it was Germans who introduced it almost everywhere

Educational programs and workshops encourage personal reflection and foster dialogue.

Here is a youth hard pressed by poverty and labour; confined long hours in an unhealthy workshop; unschooled, and lacking all the arts of refinement. But he dreams of better things; he thinks of intelligence, of refinement, of grace and beauty. He conceives of, mentally builds up, an ideal condition of life; the vision of a wider liberty and a larger scope takes possession of him; unrest urges him to action, and he utilizes all his spare time and means, small though they are, to the development of his latent powers and resources. Very soon so altered has his mind become that the workshop can no longer hold him. It has become so out of harmony with his mentality that it falls out of his life as a garment is cast aside, and, with the growth of opportunities, which fit the scope of his expanding powers, he passes out of it forever. Years later we see this youth as a full- grown man. We find him a master of certain forces of the mind, which he wields with worldwide influence and almost unequalled power. In his hands he holds the cords of gigantic responsibilities; he speaks, and lo, lives are changed; men and women hang upon his words and remould their characters, and, sunlike, he becomes the fixed and luminous centre round which innumerable destinies revolve. He has realized the Vision of his youth. He has become one with his Ideal.

We may be artists or scientists; but none of us can do without things obtained by manual work — bread, clothes, roads, ships, light, heat, etc. And, moreover, however highly artistic or however subtly metaphysical are our pleasures, they all depend on manual labour. And it is precisely this labour — basis of life — that every one tries to avoid. We understand perfectly well that it must be so nowadays. Because, to do manual work now, means in reality to shut yourself up for ten or twelve hours a day in an unhealthy workshop, and to remain riveted to the same task for twenty or thirty years, and maybe for your whole life. It means to be doomed to a paltry wage, to the uncertainty of the morrow, to want of work, often to destitution, more often than not to death in a hospital, after having worked forty years to feed, clothe, amuse, and instruct others than yourself and your children. It means to bear the stamp of inferiority all your life, because, whatever the politicians tell us, the manual worker is always considered inferior to the brain worker, and the one who has toiled ten hours in a workshop has not the time, and still less the means, to give himself the high delights of science and art, nor even to prepare himself to appreciate them; he must be content with the crumbs from the table of privileged persons. We understand that under these conditions manual labour is considered a curse of fate. We understand that all men have but one dream — that of emerging from, or enabling their children to emerge from this inferior state; to create for themselves an “independent” position, which means what? — To also live by other men’s work! As long as there will be a class of manual workers and a class of “brain” workers, black hands and white hands, it will be thus.

As they went inside a shop they noticed they had attracted a following. ‘They had recognised George as we walked past them in the street, then turned to follow us,’ said Pattie. ‘One minute there were five, then 10, 20, 30 and 40 people behind us. I could hear them saying, “The Beatles are here, the Beatles are in town!”’299 For Harrison the area was far from the hippie utopia he had anticipated. ‘I went there expecting it to be a brilliant place, with groovy gypsy people making works of art and paintings and carvings in little workshops. But it was full of horrible spotty drop-out kids on drugs, and it turned me right off the whole scene. I could only describe it as being like the Bowery: a lot of bums and drop-outs; many of them very young kids who’d dropped acid and come from all over America to this mecca of LSD.

Here's the reality, guys: you save up for years to go 'Out West' and you spend everything you have in six months living in a roach infested hole in K-town, paying for "casting workshops" so you can meet managers and casting directors who don't give two shits about you. You cut your hair a little bit or grow a moustache and you have to get new headshots because people in Hollywood fundamentally lack imagination and can't even begin to fathom 'who you are as an actor' unless your headshot looks exactly like you do on the day of. And headshots cost $300 to shoot (on the cheap end) and $100 for make-up artists and $100 to retouch and $100 to print. Plus, you need a car to get around because mass transit in Los Angeles is a goddam joke. You need to get into class so you can learn how to unlearn all the shit you learned in college theater. Meanwhile, you're in love with the city because it's new and warm all the time and there are beautiful women everywhere. But you start getting this creeping sensation like everyone is a facade of a human being and beneath every beautiful face is spiritual rot, careerism, graft, nepotism, bull shit, lies, fakery, a need to be seen and an overwhelming whorism. But don't worry, guys, because you can always get a job working as a bartender where you can sneak booze from the well and forget for a few minutes what it's like to be on the bottom of the totem pole. That's a lot of fun, especially when you discover that cocaine means you can drink forever and not get too wasted until later. You'll get a DUI eventually, but fuck it, right? Around this time you start to get bitter. Really bitter, which you'll mistake as an 'evolution of your art.' You start looking for edgy rolls. You get a dumb haircut and try to make yourself look ugly. Maybe you hit the gym or start doing improv. Something to give you an edge. You start seeing young kids coming into town all bright eyed and bushy tailed and you say 'good luck' when you mean 'eat shit and die.' You wake up one day after endless commercial auditions that you really need to make rent but can't seem to book because you 'come off as an asshole' or don't smile enough...

In the course of the history of art and literature we repeatedly meet this stylistic differentiation according to subject-matter. For example, the dual manner of characterization employed by Shakespeare, according to which his servants and clowns speak in everyday prose but his heroes and lords in elaborately artistic verse, corresponds to this ‘Egyptian’, thematically determined alternation of style. For Shakespeare’s characters do not speak the different language of the various classes as they exist in reality, like the characters in a modern drama, for instance, who are all drawn naturalistically, whether they are of high or low degree, but the members of the ruling class are portrayed in a stylized manner and express themselves in a language non-existent in real life, whereas the representatives of the common people are described realistically and speak the idiom of the street, the inns and the workshop.

What if, upon completion of this course, participants: »​Engage in a supportive arts community »​Study one another’s writing to enhance their appreciation of the genre(s) »​Select readings from a living archive of multicultural texts that best inform their individual projects »​Curate their own literary anthologies with texts that appeal to their aesthetic preferences

Deakin假文凭【咨询办理Q微:202-6614433】如何在澳办（迪肯大学毕业证本科硕士文凭）一模一样毕业证，去哪办澳洲Deakin毕业证成绩单认证书。 JKSHKJSSKJSKJSSJSSSBSVBSSVSB David Hoon Kim is a Korean-born American educated in France, who took his first creative writing workshop at the Sorbonne before attending the Iowa Writers' Workshop and the Stegner Program. His fiction has appeared in The New Yorker, Brins d'éternité, Le Sabord and XYZ La revue de la nouvelle. He has been awarded fellowships from the Fine Arts Work Center in Provincetown, the Michener-Copernicus Society of America, the MacDowell Colony and the Elizabeth George Foundation, among others. Paris Is a Party, Paris Is a Ghost is his first book. He writes in English and in French.

When you’re working with wood, every stroke of the tool dulls the edge just a little. Once, in my last year at the violin-making school, I had been passing through the workshop when I overheard one of the younger students ask the instructor how it was that his tools stayed sharp so much longer than ours. “I use them less,” he said, looking out the window, which was where he addressed his replies to obvious questions. It took him two cuts to get where we took fifty. Art didn’t need to cut a hundred times to get where he wanted to be. He lived the life he wanted to live the first time around.

I spent the two and one-half months between my meeting with the Art Commission and the beginning of my actual mural work in soaking up impressions of the productive activities of the city. I studied industrial scenes by night as well as by day, making literally thousands of sketches of towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembling rooms; also of precision instruments, some of them massive yet delicate; and of the men who worked them all. I walked for miles through the immense workshops of the Ford, Chrysler, Edison, Michigan Alkali, and Parke-Davis plants. I was afire with enthusiasm. My childhood passion for mechanical toys had been transmuted to a delight in machinery for its own sake and for its meaning to man -- his self-fulfillment and liberation from drudgery and poverty. That is why now I placed the collective hero, man-and-machine, higher than the old traditional heroes of art and legend. I felt that in the society of the future as already, to some extent, that of the present, man-and-machine would be as important as air, water, and the light of the sun. This was the "philosophy," the state of mind in which I undertook my Detroit frescoes.

Brecht, Bertolt. Translated by John Willett. Brecht on Theatre. New York: Hill and Wang, 1964. Dramatists Sourcebook: Complete Opportunities for Playwrights, Translators, Composers, Lyricists and Librettists. New York: Theatre Communications Group, updated annually. Egri, Lajos. The Art of Dramatic Writing. New York: Simon and Schuster, 1960. Hatcher, Jeffrey. The Art & Craft of Playwriting. Cincinnati, Ohio: Story Press, 1996. Spencer, Stuart. The Playwright's Guidebook. New York: Faber and Faber, Inc., 2002.

I have no doubt that she is sincerely desirous of seeing all the evils of suffering humanity remedied, and that she thinks this might easily be done, if Government would only undertake it. But, alas! that poor unfortunate personage, like Figaro, knows not to whom to listen, nor where to turn. The hundred thousand mouths of the press and of the platform cry out all at once:-- "Organize labour and workmen. "Do away with egotism. "Repress insolence and the tyranny of capital. "Make experiments upon manure and eggs. "Cover the country with railways. "Irrigate the plains. "Plant the hills. "Make model farms. "Found social workshops. "Colonize Algeria. "Suckle children. "Instruct the youth. "Assist the aged. "Send the inhabitants of towns into the country. "Equalize the profits of all trades. "Lend money without interest to all who wish to borrow." "Emancipate Italy, Poland, and Hungary." "Rear and perfect the saddle-horse." "Encourage the arts, and provide us with musicians and dancers." "Restrict commerce, and at the same time create a merchant navy." "Discover truth, and put a grain of reason into our heads. The mission of Government is to enlighten, to develop, to extend, to fortify, to spiritualize, and to sanctify the soul of the people." "Do have a little patience, gentlemen," says Government in a beseeching tone. "I will do what I can to satisfy you, but for this I must have resources. I have been preparing plans for five or six taxes, which are quite new, and not at all oppressive. You will see how willingly people will pay them." Then comes a great exclamation:--"No! indeed! where is the merit of doing a thing with resources? Why, it does not deserve the name of a Government! So far from loading us with fresh taxes, we would have you withdraw the old ones. You ought to suppress "The salt tax, "The tax on liquors, "The tax on letters, "Custom-house duties, "Patents." In

Enjoy life. Act, but act in a relaxed way. The greatest art in life is to learn how to act in a relaxed way. Action is a must -- you cannot live without action -- but action can be almost inaction. That's what Lao Tzu means when he uses the word WU-WEI. That is very fundamental to Lao Tzu and that is very fundamental to me too: I would like you to learn WU-WEI. WU-WEI means action without action -- doing a thing in such a way that you are not tense in doing it, doing a thing in such a way that you are playful about it, doing a thing in such a way that you are not worried about it, doing it and yet remaining detached, doing it and yet remaining a witness. MAN NEEDS A BALANCE, and that balance is possible only if you learn the art of being active and yet remaining inactive inside. And that's what we are trying to do here, and in the bigger commune you will have more facilities to be active and inactive together. People who come to the ashram are a little puzzled. Many have written to me, "Everybody is working but nobody seems to be tense." In the office so many people are working, in the workshops, in the press office... so many people are working. Nearabout three hundred people are constantly working, and with no holiday -- the Sunday never comes. But nobody is tense. Work is beautiful if it can be done without any tension, if it can be done playfully, if it can be done without any hurry and yet without relapsing into laziness. It is a very subtle and delicate art.