Arts And Crafts Short Quotes

Be a good reader first if you wish to become a good writer.

Turn those deep feelings and obsessions of your heart into captivating pieces of literature.

For my present purpose I require a word which shall embrace both the Sub-Creative Art in itself, and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of 'unreality' (that is, of unlikeness to the Primary World), of freedom from the dominion of 'observed fact,' in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only 'not actually present,' but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most Potent. Fantasy, of course, starts out with an advantage: arresting strangeness. But that advantage has been turned against it, and has contributed to its disrepute. Many people dislike being 'arrested.' They dislike any meddling with the Primary World, or such small glimpses of it as are familiar to them. They, therefore, stupidly and even maliciously confound Fantasy with Dreaming, in which there is no Art; and with mental disorders, in which there is not even control; with delusion and hallucination. But the error or malice, engendered by disquiet and consequent dislike, is not the only cause of this confusion. Fantasy has also an essential drawback: it is difficult to achieve. . . . Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough -- though it may already be a more potent thing than many a 'thumbnail sketch' or 'transcript of life' that receives literary praise. To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode.

In my mind, no other flower can compete with the perfection and the fragrance of the Peony. The silky petals, delicate shape, romantic shades and graceful foliage make this flower my all time favorite and I’m not alone. Brides plan their wedding dates around peony season. Flower enthusiasts plant them all through their gardens. Florists go crazy over all the different shades available from white, to coral, yellow to reds and every imaginable pink!  Sadly, this bloom can only be enjoyed in nature for a very short time each year. That’s the reason their paper counterparts have become such a hit!

Art is progressive; the more you do it, the better you get. I defy anyone to write fifteen short stories and not have story #15 be at least marginally better than story #1. It’s simply not possible. Setting a date-certain for surrender often results in giving up just as you’re starting to get good at your craft.

If you are a singer, you must sing. If you are a dancer, you must dance. If you are a writer, you must write. Don’t suffocate your heart.

Life is too short to say no to paper flowers

All writers struggle at some point with the problem of balance between authority and involvement, seduction and revelation. Specifically, beginning writers wonder how much description to employ, and more advanced writers ask how much plot is too much or too little. And there is no better place to find answers than in the Victoria's Secret catalogue--or in any ad for lingerie--where the arts of seduction and revelation are so successfully practiced. After all, the secret of the effective lingerie ad is the secret of effective storytelling--to provide, moment by moment, the illusion of imminent expose, to give the viewer (read: reader) the uncanny sense that something fundamentally compelling is always just about to be revealed. Lingerie ads and storytelling balance the veiled and the unveiled, the seen and the unseen, the shown and the about-to-be-shown. In short, it is the art of the tease, the craft of selective 'coverage,' that, not just in lingerie but in storytelling, works to enthrall.

MY ART FOR YOUR HEART I'm writing you a poem; but the lights will soon be out in five minutes. Wow! I'm writing it in foreign; so, I hope you'll embrace the intention of the syntax. One word, two sentences, then a paragraph; I'm summing out my love for you in art. Now, will your smile warmly receive this craft; because I have signs, letters, and numbers for your heart?

Would any link be missing from the whole chain of science and art, if woman, if woman's work, were excluded from it? Let us acknowledge the exception - it proves the rule - that woman is capable of perfection in everything which does not constitute a work: in letters, in memoirs, in the most intricate handiwork - in short, everything which is not a craft; and precisely because in the things mentioned woman perfects herself, because in them she obeys the only artistic impulse in her nature, which is to captivate.

On the Craft of Writing:  The Story Grid: What Good Editors Know by Shawn Coyne The Elements of Style by William Strunk Jr. and E. B. White 2K to 10K: Writing Faster, Writing Better, and Writing More of What You Love by Rachel Aaron  On Writing: A Memoir of the Craft by Stephen King Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker  You Are a Writer (So Start Acting Like One) by Jeff Goins Prosperity for Writers: A Writer's Guide to Creating Abundance by Honorée Corder  The Artist's Way by Julia Cameron The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield Business for Authors: How To Be An Author Entrepreneur by Joanna Penn  On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark On Mindset:  The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results by Gary Keller and Jay Papasan The Art of Exceptional Living by Jim Rohn Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results by Honorée Corder The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change by Stephen R. Covey Essentialism: The Disciplined Pursuit of Less by Greg Mckeown Mastery by Robert Greene The Success Principles: How to Get from Where You Are to Where You Want to Be by Jack Canfield and Janet Switzer The Game of Life and How to Play It by Florence Scovel Shinn The Compound Effect by Darren Hardy Taking Life Head On: How to Love the Life You Have While You Create the Life of Your Dreams by Hal Elrod Think and Grow Rich by Napoleon Hill In

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

I was lucky to receive it. Most rogue interns never get a second chance. And here it’s worth mentioning that I benefited from what was known in 2009 as being fortunate, and is now more commonly called privilege. It’s not like I flashed an Ivy League gang sign and was handed a career. If I had stood on a street corner yelling, “I’m white and male, and the world owes me something!” it’s unlikely doors would have opened. What I did receive, however, was a string of conveniences, do-overs, and encouragements. My parents could help me pay rent for a few months out of school. I went to a university lousy with successful D.C. alumni. No less significantly, I avoided the barriers that would have loomed had I belonged to a different gender or race. Put another way, I had access to a network whether I was bullshit or not. A friend’s older brother worked as a speechwriter for John Kerry. When my Crisis Hut term expired, he helped me find an internship at West Wing Writers, a firm founded by former speechwriters for Bill Clinton and Al Gore. In the summer of 2009, my new bosses upgraded me to full-time employee. Without meaning to, I had stumbled upon the chance to learn a skill. The firm’s partners were four of the best writers in Washington, and each taught me something different. Vinca LaFleur helped me understand the benefits of subtle but well-timed alliteration. Paul Orzulak showed me how to coax speakers into revealing the main idea they hope to express. From Jeff Shesol, I learned that while speechwriting is as much art as craft, and no two sets of remarks are alike, there’s a reason most speechwriters punctuate long, flowy sentences with short, punchy ones. It works.

They heard Hugo ask if the plan for the hors d'oeuvres was still in operation, and they heard Colette ask about plucking the feathers off crows, and they heard Kevin complain that he didn't know whether to hold the birdpaper in his right hand or his left hand, and they heard Mr. Lesko insult Mrs. Morrow, and the bearded man sing a song to the woman with the crow-shaped hat, and they heard a man call for Bruce and a woman call for her mother and dozens of people whisper to and shout at, argue with and agree upon, angrily accuse and meekly defend, furiously compliment and kindly insult dozens of other people, both inside and outside the Hotel Denouement, whose names the Baudelaires recognized, forgot, and had never heard before. Each story had its story, and each story's story was unfathomable in the Baudelaire orphans' short journey, and many of the stories' stories are unfathomable to me, even after all these lonely years and all this lonely research. Perhaps some of these stories are clearer to you, because you have spied upon the people involved. Perhaps Mrs. Bass has changed her name and lives near you, or perhaps Mr. Remora's name is the same, and he lives far away. Perhaps Nero now works as a grocery store clerk, or Geraldine Julienne now teaches arts and crafts. Perhaps Charles and Sir are no longer partners, and you have had the occasion to study one of them as he sat across from you on a bus, or perhaps Hugo, Colette, and Kevin are still comrades, and you have followed these unfathomable people after noticing that one of them used both hands equally. Perhaps Mr. Lesko is now your neighbor, or Mrs. Morrow is now your sister, or your mother, or your aunt or wife or even your husband. Perhaps the noise you hear outside your door is a bearded man trying to climb into your window, or perhaps it is a woman in a crow-shaped hat hailing a taxi. Perhaps you have spotted the managers of the Hotel Denouement, or the judges of the High Court, or the waiters of Cafe Salmonella or the Anxious Clown, or perhaps you have met an expert on injustice or become one yourself. Perhaps the people in your unfathomable life, and their unfathomable stories, are clear to you as you make your way in the world, but when the elevator stopped for the last time, and the doors slid open to reveal the tilted roof of the Hotel Denouement, the Baudelaires felt as if they were balancing very delicately on a mysterious and perplexing heap of unfathomable mysteries.

Whether it means producing a piece of art, writing a short story, or simply bringing beauty into our home or into the lives of others, consider for a moment that we each have the capacity to be creative.The masterpiece, then, is not something we create to hang on our wall but something in ourselves as we fulfill our God-given potential, utilizing the talents He gave us.

Writers are decent people, they live quiet, normal lives while working to perfect their craft. They spend their entire lives, dedicated to creating art through words with very little recognition and appreciation. That artwork immortalizes their thoughts through poetry, short stories and novels, in the form of a book. That immortalization of thoughts through writing becomes their Legacy. Long after an Author has departed this world, his stories, his poetry, his novels will live on... As his/her Legacy. A Legacy for future generations for both, family and potential writers to reflect upon and learn from. A Legacy built on love, a love for writing. That's the beauty of writing, That's why I do what I do.

Seibel: What's your desert-island list of books for programmers? Peyton Jones: Well, you should definitely read Jon Bentley's Programming Pearls. Speaking of pearls, Brian Hayes has a lovely chapter in this book Beautiful Code entitled, “Writing Programs for ‘The Book’” where I think by “The Book” he means a program that will have eternal beauty. You've got two points and a third point and you have to find which side of the line between the two points this third point is on. And several solutions don't work very well. But then there's a very simple solution that just does it right. Of course, Don Knuth's series, The Art of Computer Programming. I don't think it was ever anything I read straight through; it's not that kind of book. I certainly referred to it a lot at one stage. Chris Okasaki's book Purely Functional Data Structures. Fantastic. It's like Arthur Norman's course only spread out to a whole book. It's about how you can do queues and lookup tables and heaps without any side effects but with good complexity bounds. Really, really nice book. Everyone should read this. It's also quite short and accessible as well. Structure and Interpretation of Computer Programs. Abelson and Sussman. I loved that. And Compiling with Continuations, Andrew Appel's book about how to compile a functional program using continuation passing style. Also wonderful. Books that were important to me but I haven't read for a long time: A Discipline of Programming by Dijkstra. Dijkstra is very careful about writing beautiful programs. These ones are completely imperative but they have the “Hoare property” of rather than having no obvious bugs they obviously have no bugs. And it gives very nice, elegant reasoning to reason about it. That's a book that introduced me for the first time to reasoning about programs in a pretty watertight way. Another book that at the time made a huge impression on me was Per Brinch Hansen's book about writing concurrent operating systems. I read it lots of times.

For pretty much my whole life, I thought I was living to better myself, to create the best life possible. About a year ago, that mindset changed. I now believe I’m here to create the best world possible. This shift from me to everyone is what altered my entire understanding of passion, and my purpose. Ben Horowitz is one of my digital mentors (meaning I follow his blog). I find him very insightful. Whenever he says (or writes about) anything, I inevitably start nodding my head until my neck is sore. Here’s an excerpt from the commencement speech he gave at Columbia, his alma mater: “Following your passion is a very me centered view of the world, and as you go through life, what you’ll find is that what you take out of the world over time—be it…money, cars, stuff, accolades—is much less important than what you put into the world. And so my recommendation would be to follow your contribution. Find the thing that you’re great at, put that into the world, contribute to others, help the world be better. That is the thing to follow." Most of the time, if you follow your contribution, it’s either already a passion, or likely to become one. Doing something you’re good at is intoxicating, as is contributing to the world. Writing and launching The Connection Algorithm was a full year of hard work. It was the result of countless hours of reflection, deeply philosophical thinking, and brutal honesty. Throughout the entire process, I felt driven, passionate, and motivated. At first, I thought this was because I was doing it on my own. But I’ve come to realize it was something else—something far more profound. Shortly after the book was released, I began receiving emails from people who had read the book and been deeply impacted by it. A highschooler in Miami. An entrepreneur in Amsterdam. A small business owner in the midwest. People were also leaving reviews on Amazon—people I didn’t know, saying the book helped them live a better life. And on my Kindle, I could see passages that people were highlighting. People weren’t just reading my book, they were taking notes on useful things to remember. The craft of writing has been unbelievably fulfilling for me. And so I’m continuing the pursuit. My motivation is no longer to make a buck, or “win at life.” Rather, I’m working to improve the world. I think of myself as an inventor, creating a new piece of art for the world to discover. When you make the world better, you get rewarded. So find your craft, and then determine the best contribution you can make with it.

The art of sentence making comes down to experimentation, skill, and variety. Just because you can do the three-and-a-half-somersault tuck off the high board doesn’t mean you must ditch the gorgeous swan dive. Good sentences can be short and muscular, and they can be long and graceful.

Math—realized I left my homework at Dad’s. Mr. Gower gave me a short-tempered Elliott when I told him that. Mr. Gower is not my favorite. Language Arts—listened to more information about our business project. We’re going to have to make a slideshow, poster, and four-page document just for the proposal. That’s just to get approval—that’s not even the final project! I am trying very hard not to think about it. Lunch—I sit with Gilbert, Kunal, Drew, and Victor because I don’t know what else to do. They don’t say “no offense” at any point, so that’s good. But the entire time they talk about their school project. Victor has the idea to make Kingdom of Krull catapults out of wooden craft sticks. Which, honestly, sounds amazing.

In Art and Fear Bayles and Orland say simply that as a creative person, your job is to do the work that is your work, the creative work you and you alone are meant to do. They do not say why we have this work to do because the answer is the same as the answer to the question, “Why were we born?” and “Why do I exist?” We don’t know, we may not be able to ever know, and the question might not even be valid. Get to work. Steven Pressfield famously has said that the secret to success for a creative person is to overcome Resistance by working at your craft every day. And when you do your work every day your muse, your guardian angle, will visit you with inspiration. In short, truly creative moments are a metaphysical experience. Other inspired writers list Art Making as one of the core talents that human beings can be born with and are here in this earthly dimension to experience. Ainslie MacLeod lists ten in “The Instruction.” But I like what screen writers Sigal and Lake wrote in “Frida”: “If you're a real painter, you'll paint because you can't live without painting. You'll paint till you die.” Alfred Molina as Diego Rivera. And that is why real artists create. It is a choice between creating and dying.

I want to express the tree’s inner beauty. So I am watching the way that the trunk and branches move,” said bonsai artist Kunio Kobayashi.

Masters give all of their life to their art; they invest more effort, sweat, toil, and tears into mastering their craft than ordinary people. Mastery demands grit, determination, and total focus.

When you see the right thing, do it—this may look like more work in the short term, but it’s the path of least effort in the long run. If you don’t know what the right thing is, do the minimum necessary to get the job done, at least until you figure out what the right thing is. To do the Unix philosophy right, you have to be loyal to excellence. You have to believe that software design is a craft worth all the intelligence, creativity, and passion you can muster. Otherwise you won’t look past the easy, stereotyped ways of approaching design and implementation; you’ll rush into coding when you should be thinking. You’ll carelessly complicate when you should be relentlessly simplifying—and then you’ll wonder why your code bloats and debugging is so hard.