Chaos And Creativity Quotes

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One must still have chaos in oneself to be able to give birth to a dancing star.
Friedrich Nietzsche
Every morning I jump out of bed and step on a landmine. The landmine is me. After the explosion, I spend the rest of the day putting the pieces together.
Ray Bradbury (Zen in the Art of Writing: Releasing the Creative Genius Within You)
Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos; the materials must, in the first place, be afforded: it can give form to dark, shapeless substances, but cannot bring into being the substance itself.
Mary Wollstonecraft Shelley (Frankenstein)
I have never seen battles quite as terrifyingly beautiful as the ones I fight when my mind splinters and races, to swallow me into my own madness, again.
Nicole Lyons (Hush)
The overman...Who has organized the chaos of his passions, given style to his character, and become creative. Aware of life's terrors, he affirms life without resentment.
Friedrich Nietzsche
The creative act is a letting down of the net of human imagination into the ocean of chaos on which we are suspended, and the attempt to bring out of it ideas. It is the night sea journey, the lone fisherman on a tropical sea with his nets, and you let these nets down - sometimes, something tears through them that leaves them in shreds and you just row for shore, and put your head under your bed and pray. At other times what slips through are the minutiae, the minnows of this ichthyological metaphor of idea chasing. But, sometimes, you can actually bring home something that is food, food for the human community that we can sustain ourselves on and go forward.
Terence McKenna
Love is the bee that carries the pollen from one heart to another.
Slash Coleman (Bohemian Love Diaries: A Memoir)
Why does everyone think a guy who prefers love to people is missing something in his life?
Slash Coleman (Bohemian Love Diaries: A Memoir)
I could write about how I feel when I sing, write and create something from heartbreak, sorrow, sadness or just simply nothingness. How nothingness can become the most beautiful, unexplainable feeling that makes you forget about gravity for an hour.
Charlotte Eriksson (Empty Roads & Broken Bottles: in search for The Great Perhaps)
Like it or not, we are constantly forced to juggle tasks and battle unwanted distractions—to truly set ourselves apart, we must learn to be creative amidst chaos.
Jocelyn K. Glei (Manage Your Day-To-Day: Build Your Routine, Find Your Focus, and Sharpen Your Creative Mind)
I am part of everyone I ever dated on OK Cupid.
Slash Coleman (Bohemian Love Diaries: A Memoir)
In the information-communication civilization of the 21st Century, creativity and mental excellence will become the ethical norm. The world will be too dynamic, complex, and diversified, too cross-linked by the global immediacies of modern (quantum) communication, for stability of thought or dependability of behaviour to be successful.
Timothy Leary (Chaos & Cyber Culture)
A certain amount of creativity and rebellion must be tolerated - or welcomed, depending on your point of view - to maintain the process of regeneration. Every rule was once a creative act, breaking other rules.
Jordan B. Peterson (Beyond Order: 12 More Rules For Life)
In the creation story, God entered chaos and made order and beauty. In making my bed I reflected that creative act in the tiniest, most ordinary way. In my small chaos, I made small order.
Tish Harrison Warren (Liturgy of the Ordinary: Sacred Practices in Everyday Life)
Human female choosiness is also why we are very different from the common ancestor we shared with our chimpanzee cousins, while the latter are very much the same. Women’s proclivity to say no, more than any other force, has shaped our evolution into the creative, industrious, upright, large-brained (competitive, aggressive, domineering) creatures that we are.42 It is Nature as Woman who says, “Well, bucko, you’re good enough for a friend, but my experience of you so far has not indicated the suitability of your genetic material for continued propagation.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
The beginning of wisdom, I believe, is our ability to accept an inherent messiness in our explanation of what's going on. Nowhere is it written that human minds should be able to give a full accounting of creation in all dimensions and on all levels. Ludwig Wittgenstein had the idea that philosophy should be what he called "true enough." I think that's a great idea. True enough is as true as can be gotten. The imagination is chaos. New forms are fetched out of it. The creative act is to let down the net of human imagination into the ocean of chaos on which we are suspended and then to attempt to bring out of it ideas.
Rupert Sheldrake
The level of intelligence has been tremendously increased, because people are thinking and communicating in terms of screens, and not in lettered books. Much of the real action is taking place in what is called cyberspace. People have learned how to boot up, activate, and transmit their brains. Essentially, there’s a universe inside your brain. The number of connections possible inside your brain is limitless. And as people have learned to have more managerial and direct creative access to their brains, they have also developed matrices or networks of people that communicate electronically. There are direct brain/computer link-ups. You can just jack yourself in and pilot your brain around in cyberspace-electronic space.
Timothy Leary (Chaos & Cyber Culture)
The maker of a sentence launches out into the infinite and builds a road into Chaos and old Night, and is followed by those who hear him with something of wild, creative delight.
Ralph Waldo Emerson
The creative artist is the one wanting to make order out of chaos. The rest of us just accept disorder -if we even recognize it- and get a bang out of our five beautiful senses, if we’re lucky.
Ursula Nordstrom (Dear Genius: The Letters of Ursula Nordstrom)
Meditate. I practice Transcendental Meditation and believe that it has enhanced my open-mindedness, higher-level perspective, equanimity, and creativity. It helps slow things down so that I can act calmly even in the face of chaos, just like a ninja in a street fight. I’m not saying that you have to meditate in order to develop this perspective; I’m just passing along that it has helped me and many other people and I recommend that you seriously consider exploring it.
Ray Dalio (Principles: Life and Work)
we are continuing God’s work of forming, filling, and subduing. Whenever we bring order out of chaos, whenever we draw out creative potential, whenever we elaborate and “unfold” creation beyond where it was when we found it, we are following God’s pattern of creative cultural development.
Timothy J. Keller (Every Good Endeavor: Connecting Your Work to God's Plan for the World)
The reflection of chaos is creativity.
Lionel Suggs
Black and white thinking limits understanding and feedback, two necessary ingredients for successful resolution in creative conflict and successful understanding.
David Walton Earle
Let us be those creative dissenters who will call our beloved nation to a higher destiny, to a new plateau of compassion, to a more noble expression of humanness.
Martin Luther King Jr. (Where Do We Go from Here: Chaos or Community? (King Legacy Book 2))
Unrest has entered the hearts of men. When unrest is left to fester, Chaos will soon follow.
S.D. Ferrell (The Shadow of Erebos (the Whipple Wash Chronicles #2))
The system loves resistance. Resistance is often creative and it feeds on creativity until the subversive becomes just another pre-packaged lifestyle on special offer. So Cease to Resist. Relax and enjoy the PandaemonAeon. Believe everything and anything. Seek not proof, but take pleasure in your choice of belief. Wipe that superior sneer of your face and try smiling (if only inwardly) at the people/institutions/beliefs that you've waged your personal war against. Wouldn't it be more fun if you didn't run around quite so hard trying to be an individual, or fighting to prove or uphold your chosen belief-system?
Phil Hine (Rebels & Devils; A Tribute to Christopher S. Hyatt)
Maya Angelou said, "People will forget what you said, people will forget what you did, but people will never forget how you made them feel." I'm proud that Mike Schur and I rejected the idea that creativity needs to come from chaos. I like how we ran our writers' room and our set. People had a great time when they came to work on our show and that mattered to us. I like to think the spirit we had on set found its way onto the show.
Amy Poehler (Yes Please)
The creative mind can turn chaos into a master piece and call it Art.
Nikki Rowe
The philosopher Schopenhauer said, 'Opposites throw light upon each other.' Beauty does not belong exclusively to the regions of light and loveliness, cut off from the conversation of oppositions. The vigour and vitality of beauty derives precisely from the heart of difference. No life is one-sided; the life of each of us is animated by the inner conversation of forces which counter and complement each other. Beauty inhabits the cutting edge of creativity -- mediating between the known and unknown, light and darkness, masculine and feminine, visible and invisible, chaos and meaning, sound and silence, self and others.
John O'Donohue
We assume that rules will irremediably inhibit what would otherwise be the boundless and intrinsic creativity of our children, even though the scientific literature clearly indicates, first, that creativity beyond the trivial is shockingly rare96 and, second, that strict limitations facilitate rather than inhibit creative achievement.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
Psychiatrist David Shainberg argued that mental illness, which appears chaotic, is actually the reverse. Mental illness occurs when images of the self become rigid and closed, restricting an open creative response to the world.
John Briggs (Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change)
We must become aware of the astonishing fact that as a species we are the victims of an instance of traumatic abuse in childhood. As human beings, we once had a symbiotic relationship with the world-girdling intelligence of the planet that was mediated through shamanic plant use. This relationship was disrupted and eventually lost by the progressive climatic drying of the Eurasian and African land masses.
Rupert Sheldrake (Chaos, Creativity and Cosmic Consciousness)
Where the Divine and the Human Meet" shows how important it is to meet the world with the creativity of an artist, particularly in these uncertain times: "What do we do with chaos? Creativity has an answer. We are told by those who have studied the processes of nature that creativity happens at the border between chaos and order. Chaos is a prelude to creativity. We need to learn, as every artist needs to learn, to live with chaos and indeed to dance with it as we listen to it and attempt some ordering. Artists wrestle with chaos, take it apart, deconstruct and reconstruct from it. Accept the challenge to convert chaos into some kind of order, respecting the timing of it all, not pushing beyond what is possible—combining holy patience with holy impatience--that is the role of the artist. It is each of our roles as we launch the twenty-first century because we are all called to be artists in our own way. We were all artists as children. We need to study the chaos around us in order to turn it into something beautiful. Something sustainable. Something that remains".
Matthew Fox (Creativity)
Restructuring is a favorite tactic of antisocials who have reached a senior position in an organization. The chaos that results is an ideal smokescreen for dysfunctional leadership. Failure at the top goes unnoticed, while the process of restructuring creates the illusion of a strong, creative hand on the helm.
Manfred F.R. Kets de Vries (The Leader on the Couch: A Clinical Approach to Changing People and Organizations)
Christians must revive a centuries-old view of humankind as made in the image of God, the eternal Craftsman, and of work as a source of fulfillment and blessing not as a necessary drudgery to be undergone for the purpose of making money, but as a way of life in which the nature of man should find its proper exercise and delight and so fulfill itself to the glory of God. That it should, in fact, be thought of as a creative activity undertaken for the love of the work itself; and that man, made in God’s image, should make things, as God makes them, for the sake of doing well a thing that is well worth doing.
Dorothy L. Sayers (Creed or Chaos?: Why Christians Must Choose Either Dogma or Disaster; Or, Why It Really Does Matter What You Believe)
That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilized form of autobiography, as it deals not with events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind...The best that one can say of most modern creative art is that it is just a little less vulgar than reality, and so the critic, with his fine sense of distinction and sure instinct of delicate refinement, will prefer to look into the silver mirror or through the woven veil, and will turn his eyes away from the chaos and clamor of actual existence, though the mirror be tarnished and the veil be torn. His sole aim is to chronicle his own impressions. It is for him that pictures are painted, books written, and marble hewn into form.
Oscar Wilde (The Critic As Artist: With Some Remarks on the Importance of Doing Nothing and Discussing Everything (Green Integer))
But unpredictability was not the reason physicists and mathematicians began taking pendulums seriously again in the sixties and seventies. Unpredictability was only the attention-grabber. Those studying chaotic dynamics discovered that the disorderly behavior of simple systems acted as a creative process. It generated complexity: richly organized patterns, sometimes stable and sometimes unstable, sometimes finite and sometimes infinite, but always with the fascination of living things. That was why scientists played with toys.
James Gleick (Chaos: Making a New Science)
The common strands that seemed to transcend all creative fields was an openness to one’s inner life, a preference for complexity and ambiguity, an unusually high tolerance for disorder and disarray, the ability to extract order from chaos, independence, unconventionality, and a willingness to take risks. This
Scott Barry Kaufman (Wired to Create: Unraveling the Mysteries of the Creative Mind)
Real science is creative, as much so as painting, sculpture, or writing.Beauty, variously defined, is the criterion for art, and likewise a good theory has the elegance, proportion, and simplicity that we find beautiful. Just as the skilled artist omits the extraneous and directs our attention to a unifying concept, so the scientist strives to find a relatively simple order underlying the apparent chaos of perception.
Robert O. Becker (The Body Electric: Electromagnetism and the Foundation of Life)
Understand: the greatest generals, the most creative strategists, stand out not because they have more knowledge but because they are able, when necessary, to drop their preconceived notions and focus intensely on the present moment. That is how creativity is sparked and opportunities are seized. Knowledge, experience, and theory have limitations: no amount of thinking in advance can prepare you for the chaos of life, for the infinite possibilities of the moment. The great philosopher of war Carl von Clausewitz called this “friction”: the difference between our plans and what actually happens. Since friction is inevitable, our minds have to be capable of keeping up with change and adapting to the unexpected. The better we can adapt our thoughts to changing circumstances, the more realistic our responses to them will be. The more we lose ourselves in predigested theories and past experiences, the more inappropriate and delusional our response.
Robert Greene (The 33 Strategies of War)
Creativity happens in the transition between order and chaos.
L.A. Davenport
the “edge of chaos.” They define that edge as “the estuary region where rigid order and random chaos meet and generate high levels of adaptation, complexity, and creativity.
Dan Senor (Start-up Nation: The Story of Israel's Economic Miracle)
When you marry operating excellence with innovation, you multiply the value of your creativity.
Jim Collins (Great by Choice: Uncertainty, Chaos, and Luck—Why Some Thrive Despite Them All)
Chaos is a part of the order of reality.
Julie J. Morley (Future Sacred: The Connected Creativity of Nature)
Life itself is chaos, the artist’s life is often one that tends to give that chaos its full extension.
Matthew Specktor (Always Crashing in the Same Car: On Art, Crisis, and Los Angeles, California)
And was it not perhaps more childlike and human to lead a Goldmund-life, more courageous, more noble perhaps in the end to abandon oneself to the cruel stream of reality, to chaos, to commit sins and accept their bitter consequences rather than live a clean life with washed hands outside the world, laying out a lonely harmonious thought-garden, strolling sinlessly among one's sheltered flower beds. Perhaps it was harder, braver and nobler to wander through forests and along the highways with torn shoes, to suffer sun and rain, hunger and need, to play with the joys of the senses and pay for them with suffering. At any rate, Goldmund had shown him that a man destined for high things can dip into the lowest depths of the bloody, drunken chaos of life, and soil himself with much dust and blood, without becoming small and common, without killing the divine spark within himself, that he can err through the thickest darkness without extinguishing the divine light and the creative force inside the shrine of his soul.
Hermann Hesse
A person does not reach the pinnacle of self-realization without relentlessly exploring the parameters of the self, exhausting their psychic energy coming to know oneself. Without society to rebel against and to sail away from, there would be no advances in civilization; there would be no need for healers and mystics, priests and artist, or shaman and writers. It is our curiosity and refusal to be satisfied with the status quo that compels us to challenge ourselves to learn and continue to grow. We only establish inner peace of mind with acceptance of the world, with the recognition of our connection to the entirety of the universe, and understanding that chaos and change are inevitable. We must also love because without love there are no acts of creation. Without love, humankind is a spasmodic pool of brutality and suffering. Love is a balm. It cures human aches and pains; it unites couples, families, and cultures. Love is a creative force, without love there is no art or religion. Art expresses thought and feelings, an articulation of adore and reverence.
Kilroy J. Oldster (Dead Toad Scrolls)
Reduce words Embrace emotions Describe, don’t preach Involve your child in the discipline Reframe a no into a conditional yes Emphasize the positive Creatively approach the situation Teach mindsight tools
Daniel J. Siegel (No-Drama Discipline: The Whole-Brain Way to Calm the Chaos and Nurture Your Child's Developing Mind)
The very word erotic comes from the Greek word eros, the personification of love in all its aspects - born of Chaos, and personifying creative power and harmony. When I speak of the erotic, then, I speak of it as an assertion of the lifeforce of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives.
Audre Lorde (Uses of the Erotic: The Erotic as Power)
In an attempt to deeper explore the infinite game of Life, we explore: • Earth that is fixed, rigid, static and quiet, and symbolizes your world of senses; • Water that is the primordial Chaos, is fluidity and flexibility, and symbolizes your subconscious mind; Intuition is a deeper perception. Without clear evidence or proof, intuition perceives the subtle inner relationships and underlying processes creatively, and imaginatively. • Fire that is boundless and invisible, and is a parching heat that consumes all, or within its highest manifestation, becomes the expression of Divine Love. It is a symbol of your emotions, and • Air that has no shape and is incapable of any fixed form. It symbolizes your world of thoughts. It is a rational, systematic process, it is our intellectual comprehension of things. All elements are bound by: • Soul that stands at the center of the four elements as an Essence, an Observer, Consciousness coming forth to experience the magic of Life.
Nataša Pantović (Mindful Being)
Life is a cracked surface at best. Fiction is a nice edifice. / every word/sentence/paragraph gives a writer an opportunity to reinforce or deliberately crack the edifice by screwing with meaning, structure, grammar, the fourth wall, etc. / different types and degrees of cracking produce different arrangements of order and chaos.
K.J. Bishop
That same brutal principle of unequal distribution applies outside the financial domain—indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
As long as the sole ruler and disposer of the universe, the nous, remained excluded from artistic activity, things were mixed together in a primeval chaos: this was what Euripides must have thought; and so, as the first "sober" one among them, he had to condemn the "drunken" poets. Sophocles said of Aeschylus that he did what was right, though he did it unconsciously. This was surely not how Euripides saw it. He might have said that Aeschylus, because he created unconsciously, did what was wrong. The divine Plato, too, almost always speaks only ironically of the creative faculty of the poet, insofar as it is not conscious insight, and places it on a par with the gift of the soothsayer and dream-interpreter: the poet is incapable of composing until he has become unconscious and bereft of understanding.
Friedrich Nietzsche (The Birth of Tragedy / The Case of Wagner)
Chaos, the eternal feminine, is also the crushing force of sexual selection. Women are choosy maters (unlike female chimps, their closest animal counterparts). Most men do not meet female human standards. It is for this reason that women on dating sites rate 85 percent of men as below average in attractiveness. It is for this reason that we all have twice as many female ancestors as male (imagine that all the women who have ever lived have averaged one child. Now imagine that half the men who have ever lived have fathered two children, if they had any, while the other half fathered none).41 It is Woman as Nature who looks at half of all men and says, “No!” For the men, that’s a direct encounter with chaos, and it occurs with devastating force every time they are turned down for a date. Human female choosiness is also why we are very different from the common ancestor we shared with our chimpanzee cousins, while the latter are very much the same. Women’s proclivity to say no, more than any other force, has shaped our evolution into the creative, industrious, upright, large-brained (competitive, aggressive, domineering) creatures that we are.42 It is Nature as Woman who says, “Well, bucko, you’re good enough for a friend, but my experience of you so far has not indicated the suitability of your genetic material for continued propagation.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
(Q: From an outsider’s perspective, what you call “chaos magick” has a lot of rules, discipline, and order involved, and doesn’t seem very chaotic at all. What would you say to such a person?) A: I differentiate sternly between Chaos and Entropy. Only highly ordered and structured systems can display complex creative and unpredictable behaviour, and then only if they have the capacity to act with a degree of freedom and randomness. Systems which lack structure and organisation usually fail to produce anything much, they just tend to drift down the entropy gradient. This applies both to people and to organisations.
Peter J. Carroll
We are called to stand in for God here in the world, exercising stewardship over the rest of creation in his place as his vice regents. We share in doing the things that God has done in creation—bringing order out of chaos, creatively building a civilization out of the material of physical and human nature, caring for all that God has made. This is a major part of what we were created to be. . . . Work has dignity because it is something that God does and because we do it in God’s place, as his representatives.
Timothy J. Keller (Every Good Endeavor: Connecting Your Work to God's Plan for the World)
Imagine the case of someone supervising an exceptional team of workers, all of them striving towards a collectively held goal; imagine them hardworking, brilliant, creative and unified. But the person supervising is also responsible for someone troubled, who is performing poorly, elsewhere. In a fit of inspiration, the well-meaning manager moves that problematic person into the midst of his stellar team, hoping to improve him by example. What happens?—and the psychological literature is clear on this point.64 Does the errant interloper immediately straighten up and fly right? No. Instead, the entire team degenerates. The newcomer remains cynical, arrogant and neurotic. He complains. He shirks. He misses important meetings. His low-quality work causes delays, and must be redone by others. He still gets paid, however, just like his teammates. The hard workers who surround him start to feel betrayed. “Why am I breaking myself into pieces striving to finish this project,” each thinks, “when my new team member never breaks a sweat?” The same thing happens when well-meaning counsellors place a delinquent teen among comparatively civilized peers. The delinquency spreads, not the stability.65 Down is a lot easier than up.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
The creative act is primitive. Its principles are of birth and genesis. Babies are born in blood and chaos; stars and galaxies come into being amid the release of massive primordial cataclysms. Conception occurs at the primal level. I’m not being facetious when I stress, throughout this book, that it is better to be primitive than to be sophisticated, and better to be stupid than to be smart. The most highly cultured mother gives birth sweating and dislocated and cursing like a sailor. That’s the place we inhabit as artists and innovators. It’s the place we must become comfortable with. The hospital room may be spotless and sterile, but birth itself will always take place amid chaos, pain, and blood.
Steven Pressfield (Do the Work)
Butterflies have often been used as a metaphor for freedom. Turning every single hobby into a hustle is akin to walking around with a cyanide-filled jar to kill and pin every butterfly you see. Sometimes it’s better to just enjoy the chaos of your creative flow without trying to capture and catalyze it.
Anne-Laure Le Cunff
This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal. I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art.” —Toni Morrison
Austin Kleon (Keep Going: 10 Ways to Stay Creative in Good Times and Bad)
That same brutal principle of unequal distribution applies outside the financial domain— indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists. A tiny proportion of musicians produces almost all the recorded commercial music. Just a handful of authors sell all the books. A million and a half separately titled books (!) sell each year in the US. However, only five hundred of these sell more than a hundred thousand copies. 12 Similarly, just four classical composers (Bach, Beethoven, Mozart, and Tchaikovsky) wrote almost all the music played by modern orchestras. Bach, for his part, composed so prolifically that it would take decades of work merely to hand- copy his scores, yet only a small fraction of this prodigious output is commonly performed.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
I am leaving this tower and returning home. When I speak with family, and comments are always the same, 'Won't you be glad to get back to the real world?' This is my question after two weeks of time, only two weeks, spent with prairie dogs, 'What is real?' What is real? These prairie dogs and the lives they live and have adapted to in grassland communities over time, deep time? What is real? A gravel pit adjacent to one of the last remaining protected prairie dog colonies in the world? A corral where cowboys in an honest day's work saddle up horses with prairie dogs under hoof for visitors to ride in Bryce Canyon National Park? What is real? Two planes slamming into the World Trade Center and the wake of fear that has never stopped in this endless war of terror? What is real? Forgiveness or revenge and the mounting deaths of thousands of human beings as America wages war in Afghanistan and Iraq? What is real? Steve's recurrence of lymphoma? A closet full of shoes? Making love? Making money? Making right with the world with the smallest of unseen gestures? How do we wish to live And with whom? What is real to me are these prairie dogs facing the sun each morning and evening in the midst of man-made chaos. What is real to me are the consequences of cruelty. What is real to me are the concentric circles of compassion and its capacity to bring about change. What is real to me is the power of our awareness when we are focused on something beyond ourselves. It is a shaft of light shining in a dark corner. Our ability to shift our perceptions and seek creative alternatives to the conundrums of modernity is in direct proportion to our empathy. Can we imagine, witness, and ultimately feel the suffering of another.
Terry Tempest Williams
Love is creative and redemptive. Love builds up and unites; hate tears down and destroys. The aftermath of the ‘fight with fire’ method which you suggest is bitterness and chaos, the aftermath of the love method is reconciliation and creation of the beloved community. Physical force can repress, restrain, coerce, destroy, but it cannot create and organize anything permanent; only love can do that. Yes, love—which means understanding, creative, redemptive goodwill, even for one’s enemies—is the solution to the race problem.
Martin Luther King Jr.
We all need quiet time to create the life that we want to live. That quiet time nurtures our creativity and helps us deal with the chaos that surrounds us.
Cristina Smith (The Word Search Sage- Yoga for the Brain)
they have figured out a daily practice—a repeatable way of working that insulates them from success, failure, and the chaos of the outside world.
Austin Kleon (Keep Going: 10 Ways to Stay Creative in Good Times and Bad)
It begs for a gospel of perseverance through inevitable failure... There is no antidote to the chaos of creative markets. Only the brute doggedness to endure it.
Derek Thompson (Hit Makers: Why Things Become Popular)
Keep your life creative and simple: what needs to be done now in these three minutes? That’s all you ever need to ask, and you’ll never have anything like procrastination bother you again.
Steve Chandler (Time Warrior: How to defeat procrastination, people-pleasing, self-doubt, over-commitment, broken promises and chaos)
We are always and simultaneously at point “a” (which is less desirable than it could be), moving towards point “b” (which we deem better, in accordance with our explicit and implicit values). We always encounter the world in a state of insufficiency and seek its correction. We can imagine new ways that things could be set right, and improved, even if we have everything we thought we needed. Even when satisfied, temporarily, we remain curious. We live within a framework that defines the present as eternally lacking and the future as eternally better. If we did not see things this way, we would not act at all. We wouldn’t even be able to see, because to see we must focus, and to focus we must pick one thing above all else on which to focus. But we can see. We can even see things that aren’t there. We can envision new ways that things could be better. We can construct new, hypothetical worlds, where problems we weren’t even aware of can now show themselves and be addressed. The advantages of this are obvious: we can change the world so that the intolerable state of the present can be rectified in the future. The disadvantage to all this foresight and creativity is chronic unease and discomfort. Because we always contrast what is with what could be, we have to aim at what could be. But we can aim too high. Or too low. Or too chaotically. So we fail and live in disappointment, even when we appear to others to be living well.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
The wild is an integral part of who we are as children. Without pausing to consider what or where or how, we gather herbs and flowers, old apples and rose hips, shiny pebbles and dead spiders, poems, tears and raindrops, putting each treasured thing into the cauldron of our souls. We stir our bucket of mud as if it were, every one, a bucket of chocolate cake to be mixed for the baking. Little witches, hag children, we dance our wildness, not afraid of not knowing. But there comes a time when the kiss of acceptance is delayed until the mud is washed from our knees, the chocolate from our faces. Putting down our wooden spoon with a new uncertainty, setting aside our magical wand, we learn another system of values based on familiarity, on avoiding threat and rejection. We are told it is all in the nature of growing up. But it isn't so. Walking forward and facing the shadows, stumbling on fears like litter in the alleyways of our minds, we can find the confidence again. We can let go of the clutter of our creative stagnation, abandoning the chaos of misplaced and outdated assumptions that have been our protection. Then beyond the half light and shadows, we can slip into the dark and find ourselves in a world where horizons stretch forever. Once more we can acknowledge a reality that is unlimited finding our true self, a wild spirit, free and eager to explore the extent of our potential, free to dance like fireflies, free to be the drum, free to love absolutely with every cell of our being, or lie in the grass watching stars and bats and dreams wander by. We can live inspired, stirring the darkness of the cauldron within our souls, the source, the womb temple of our true creativity, brilliant, untamed
Emma Restall Orr
In all of these areas, the human brain is asked to do and handle more than ever before. We are dealing with several fields of knowledge constantly intersecting with our own, and all of this chaos is exponentially increased by the information available through technology. What this means is that all of us must possess different forms of knowledge and an array of skills in different fields, and have minds that are capable of organizing large amounts of information. The future belongs to those who learn more skills and combine them in creative ways. And the process of learning skills, no matter how virtual, remains the same. In the future, the great division will be between those who have trained themselves to handle these complexities and those who are overwhelmed by them—those who can acquire skills and discipline their minds and those who are irrevocably distracted by all the media around them and can never focus enough to learn. The Apprenticeship Phase is more relevant and important than ever, and those who discount this notion will almost certainly be left behind. Finally, we live in a culture that generally values intellect and reasoning with words. We tend to think of working with the hands, of building something physical, as degraded skills for those who are less intelligent. This is an extremely counterproductive cultural value. The human brain evolved in intimate conjunction with the hand. Many of our earliest survival skills depended on elaborate hand-eye coordination. To this day, a large portion of our brain is devoted to this relationship. When we work with our hands and build something, we learn how to sequence our actions and how to organize our thoughts. In taking anything apart in order to fix it, we learn problem-solving skills that have wider applications. Even if it is only as a side activity, you should find a way to work with your hands, or to learn more about the inner workings of the machines and pieces of technology around you. Many Masters
Robert Greene (Mastery)
What do we do with chaos? Creativity has an answer. We are told by those who have studied the processes of nature that creativity happens at the border between chaos and order. Chaos is a prelude to creativity. We need to learn, as every artist needs to learn, to
Matthew Fox (Creativity)
One study showed that an individual in an open relationship tends to be "individualistic, an academic achiever, creative, nonconforming, stimulated by complexity and chaos, inventive, relatively unconventional and indifferent to what others said, concerned about his/her own personal values and ethical systems, and willing to take risks to explore possibilities." Because open relationships require well-developed relationship skills, people in them tend to have more self-awareness, better communication skills and a better sense of self.
Tristan Taormino (Opening Up: A Guide to Creating and Sustaining Open Relationships)
But science also emerges from an ancient longing, and from an older narrative of our complex relationship with the natural world. Its primary creative grammar is the question, rather than the answer. Its primary energy is imagination rather than fact. Its primary experience is more typically trial than triumph--the journey of understanding already travelled always appears to be a trivial distance compared with the mountain road ahead. But when science recognises beauty and structure it rejoices in a double reward: there is delight both in the new object of our gaze and in the wonder that our minds are able to understand it. Scientists recognise all this--perhaps that is why when, as I have often suggested to my colleagues, they pick up and read through the closing chapters of the Old Testament book of Job, they later return with responses of astonishment and delight.
Tom McLeish (Faith and Wisdom in Science)
What if the formula “more stuff equals more happiness” is bad math? What if more stuff often just equals more stress? More hours at the office, more debt, more years working in a job I don’t feel called to, more time wasted cleaning and maintaining and fixing and playing with and organizing and reorganizing and updating all that junk I don’t even need. What if more stuff actually equals less of what matters most? Less time. Less financial freedom. Less generosity, which according to Jesus is where the real joy is. Less peace, as I hurry my way through the mall parking lot. Less focus on what life is actually about. Less mental real estate for creativity. Less relationships. Less margin. Less prayer. Less of what I actually ache for? What if I were to reject my culture’s messaging as a half-truth at best, if not a full-on lie, and live into another message? Another gospel?
John Mark Comer (The Ruthless Elimination of Hurry: How to Stay Emotionally Healthy and Spiritually Alive in the Chaos of the Modern World)
There is a new science of complexity which says that the link between cause and effect is increasingly difficult to trace; that change (planned or otherwise) unfolds in non-linear ways; that paradoxes and contradictions abound; and that creative solutions arise out of diversity, uncertainty and chaos.
Andy Hargreaves
Here, there was something almost intimate about kneeling. Spirits gathered in warm places. Or rather, warmth was a sign they were near. They were unseen as of yet. You had to draw them forth—but they wouldn’t come to the beck of just anyone. You needed someone like Yumi. You needed a girl who could call to the spirits. There were many viable methods, but they shared a common theme: creativity. Most self-aware Invested beings—be they called fay, seon, or spirit—respond to this fundamental aspect of human nature in one way or another. Something from nothing. Creation. Beauty from raw materials. Art. Order from chaos. Organization.
Brandon Sanderson (Yumi and the Nightmare Painter)
•I lost money in every way possible: I misplaced checks and sometimes found them when they were too old to take to the bank. If I did find them in time, I missed out on the interest they could’ve made in my savings account. I paid late fees on bills, even though I had money in the bank — I’d just forgotten to pay them or lost the bill in my piles. I bought new items because they were on sale with a rebate, but forgot to mail the rebate form. •I dealt with chronic health worries because I never scheduled doctor’s appointments. •I lived in constant fear of being “found out” by people who held me in high regard. I always felt others’ trust in me was misplaced. •I suffered from nonstop anxiety, waiting for the other shoe to drop. •I struggled to create a social life in our new home. I either felt I didn’t have time because I needed to catch up and calm some of the chaos, or I wasn’t organized enough to make plans in the first place. •I felt insecure in all my relationships, both personal and professional. •I had nowhere to retreat. My life was such a mess, I had no space to gather my thoughts or be by myself. Chaos lurked everywhere. •I rarely communicated with long-distance friends or family. •I wanted to write a book and publish articles in magazines, yet dedicated almost no time to my creative pursuits.
Jaclyn Paul (Order from Chaos: The Everyday Grind of Staying Organized with Adult ADHD)
When speaking of initiation, I mean engaging in practices that establish an exchange between conscious reflection and the unconscious material, and developing a form of analogical language: the acquisition of a poetic literacy. I believe this literacy of the imagination arises from a creative dialogue with the unconscious and involves recurring motifs or symbols that transform with time and seduce the initiate. And of course as conscious thought is not independent of the world, similarly the unconscious draws its ancient forms from all things around us in the this secret dialogue. New forms arise out of chaos. As the alchemists proclaimed, there can be no generation without decay.
Stephen J. Clark
Igor Stravinsky said that “the more constraints one imposes, the more one frees oneself.” I’d come across the quote years before, but I only now got it. When water is confined in a narrow space like a tube or a ravine, it will rush forward with power; when it has infinite room to expand, it becomes a puddle. The same thing happens with our creative
Jennifer Fulwiler (One Beautiful Dream: The Rollicking Tale of Family Chaos, Personal Passions, and Saying Yes to Them Both)
Let us imagine the lineaments of an economics of disorder, disequilibrium, and surprise that could explain and measure the contributions of entrepreneurs. Such an economics would begin with the Smithian mold of order and equilibrium. Smith himself spoke of property rights, free trade, sound currency, and modest taxation as conditions necessary for prosperity. He was right: disorder, disequilibrium, chaos, and noise inhibit the creative acts that engender growth. The ultimate physical entropy envisaged as the heat death of the universe, in its total disorder, affords no room for invention or surprise. But entrepreneurial disorder is not chaos or mere noise. Entrepreneurial disorder is some combination of order and upheaval that might be termed “informative disorder.
George Gilder (Knowledge and Power: The Information Theory of Capitalism and How it is Revolutionizing our World)
Igor Stravinsky said that “the more constraints one imposes, the more one frees oneself.” I’d come across the quote years before, but I only now got it. When water is confined in a narrow space like a tube or a ravine, it will rush forward with power; when it has infinite room to expand, it becomes a puddle. The same thing happens with our creative juices. If I had had perfect control over my
Jennifer Fulwiler (One Beautiful Dream: The Rollicking Tale of Family Chaos, Personal Passions, and Saying Yes to Them Both)
The dissolving, uniting forces combine what to us have been incompatible: attraction with repulsion, darkness with light, the erotic with the destructive.  If we can allow these opposites to meet they move our inner resonance to a higher vibratory plane, expanding consciousness into new realms.  It was exciting, through my explorations some of which I share in later chapters, to learn firsthand that the sacred marriage or coniunctio, the impulse to unite seeming opposites, does indeed seem to lie at the heart of the subtle body’s imaginal world. One important characteristic of the coniunctio is its paradoxical dual action.  The creative process of each sacred marriage, or conjoining of opposites, involves not only the unitive moment of joining together in a new creation or ‘third,’ but also, as I have mentioned, a separating or darkening moment.5 The idea that “darkness comes before dawn” captures this essential aspect of creativity.  To state an obvious truth we as a culture are just beginning to appreciate.  In alchemical language, when darkness falls, it is said to be the beginning of the inner work or the opus of transformation. The old king (ego) must die before the new reign dawns. The early alchemists called the dark, destructive side of these psychic unions the blackness or the nigredo.  Chaos, uncertainty, disillusionment, depression, despair, or madness prevails during these liminal times of  “making death.” The experiences surrounding these inner experiences of darkness and dying (the most difficult aspects were called mortificatio) may constitute our culture’s ruling taboo. This taboo interferes with our moving naturally to Stage Two in the individuating process, a process that requires that we pass through a descent into the underworld of the Dark Feminine realities of birthing an erotic intensity that leads to dying. Entranced by our happily-ever-after prejudiced culture, we often do not see that in any relationship, project or creative endeavor or idea some form of death follows naturally after periods of intense involvement.  When dark experiences befall, we tend to turn away, to move as quickly as possible to something positive or at least distracting, away from the negative affects of grieving, rage, terror, rotting and loss we associate with darkness and dying. As
Sandra Dennis (Embrace of the Daimon: Healing through the Subtle Energy Body: Jungian Psychology & the Dark Feminine)
Order Out of Chaos ... At the right temperature ... two peptide molecules will stay together long enough on average to find a third. Then the little trio finds a fourth peptide to attract into the little huddle, just through the random side-stepping and tumbling induced by all the rolling water molecules. Something extraordinary is happening: a larger structure is emerging from a finer system, not in spite of the chaotic and random motion of that system but because of it. Without the chaotic exploration of possibilities, the rare peptide molecules would never find each other, would never investigate all possible ways of aggregating so that the tape-like polymers emerge as the most likely assemblies. It is because of the random motion of all the fine degrees of freedom that the emergent, larger structures can assume the form they do. Even more is true when the number of molecules present becomes truly enormous, as is automatically the case for any amount of matter big enough to see. Out of the disorder emerges a ... pattern of emergent structure from a substrate of chaos.... The exact pressure of a gas, the emergence of fibrillar structures, the height in the atmosphere at which clouds condense, the temperature at which ice forms, even the formation of the delicate membranes surrounding every living cell in the realm of biology -- all this beauty and order becomes both possible and predictable because of the chaotic world underneath them.... Even the structures and phenomena that we find most beautiful of all, those that make life itself possible, grow up from roots in a chaotic underworld. Were the chaos to cease, they would wither and collapse, frozen rigid and lifeless at the temperatures of intergalactic space. This creative tension between the chaotic and the ordered lies within the foundations of science today, but it is a narrative theme of human culture that is as old as any. We saw it depicted in the ancient biblical creation narratives of the last chapter, building through the wisdom, poetic and prophetic literature. It is now time to return to those foundational narratives as they attain their climax in a text shot through with the storm, the flood and the earthquake, and our terrifying ignorance in the face of a cosmos apparently out of control. It is one of the greatest nature writings of the ancient world: the book of Job.
Tom McLeish (Faith and Wisdom in Science)
Every thing must have a beginning, to speak in Sanchean phrase; and that beginning must be linked to something that went before. The Hindoos give the world an elephant to support it, but they make the elephant stand upon a tortoise. Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos; the materials must, in the first place, be afforded: it can give form to dark, shapeless substances, but cannot bring into being the substance itself.
Mary Wollstonecraft Shelley (Frankenstein: or The Modern Prometheus)
Attempted Theory #1: Hey, back to our initial question. Perhaps this is the big reason why we write fiction—as a way of understanding ourselves and the world around us. The fiction writer takes a fragment of reality and examines it from several angles until it starts to make some damn sense. By focusing life through the lens of fiction, truths are revealed and magnified and understood. Order is made from chaos. It’s like therapy but cheaper and more fun, and perhaps even more effective.
Alexander Steele (Gotham Writers' Workshop Writing Fiction: The Practical Guide From New York's Acclaimed Creative Writing School)
Perhaps I can follow a heroic existential nihilist’s sterling example of surviving the harshness of reality by employing an attentive narrative examination of my recalcitrant life to extract shards of personal truth and elicit a synthesizing purposefulness of my being from the darkness, anarchy, and chaos of existence. Perhaps through the act of engaging in a deliberative examination of the ontological mystery of being and investigating the accompanying stark brutal doubt that renders a materialistic life intolerably senseless, absurd, and meaningless, I can confront the baffle of being and establish a guiding set of personal values to live by in an indifferent world. Perhaps by using the contemplative tools of narrative storytelling, I can strictly scrutinize the key leaning rubrics veiled within an array of confusing personal life experiences. Perhaps by engaging in a creative act of discovery I can blunt the pain and anguish that comes from the nightmarish experience of suffering from an existential crisis.
Kilroy J. Oldster (Dead Toad Scrolls)
The world has enjoyed a notably long period marked by relative peace and security. Nevertheless, the forecasts of increasing fragile states, mounting conflicts born of natural resource scarcity, and the rising risk in the incidence of terrorism around the world all point to an increasingly politically volatile world, one that is worsened by economic uncertainty. The Horizon 2025: Creative Destruction in the Aid Industry report cautions that within the next decade more than 80 percent of the world’s population will live in fragile states, susceptible to civil wars that could spill into cross-border conflicts.4 The US National Intelligence Council has published a similarly dire forecast of more clashes in decades to come. While this study focuses largely on the prospect of natural resource conflicts, water especially, it underscores the political vulnerability of many economies. A 2016 report by the Institute for Economics and Peace concludes 2014 was the worst year for terrorism in a decade and a half, with attacks in ninety-three countries resulting in 32,765 people killed; 29,376 people died the year before, making 2013 the second worst year.5
Dambisa Moyo (Edge of Chaos: Why Democracy Is Failing to Deliver Economic Growth-and How to Fix It)
Einstein preferred to believe that "God does not play dice with the cosmos." It may be that Einstein and the Book of Genesis are right. A system left to itself may evolve in the direction of randomness. On the the other hand, our world may not be a system left to itself. There may in fact be a creative impulse acting on it, the Spirit of God hovering over the dark waters, operating over the course of millennia to bring order out of chaos, It may yet come to pass that, as "Friday afternoon" of the world's evolution ticks towards the Great Sabbath which is the End of Days, the impact of random evil will be diminished. Or it may be that God has finished His work of creating eons ago, and left the rest to us. Residual chaos, chance and mischance, things happening for no reason, will continue to be with us, the kind of evil that Milton Steinberg has called "the still unremoved scaffolding of the edifice of God's creativity." In that case, we will simply learn to live with it, sustained and comforted by the knowledge that earthquakes and the accidents, like the murder and the robbery, are not the will of God, but represents that aspect of reality which stands independent of His will, and which angers and saddens God even as it angers and saddens us.
Harold S. Kushner (When Bad Things Happen to Good People)
Only through our adherence to nonviolence— which also means love in its strong and commanding sense —will the fear in the white community be mitigated. A guilt-ridden white minority fears that if the Negro attains power, he will without restraint or pity act to revenge the accumulated injustices and brutality of the years. The Negro must show that the white man has nothing to fear, for the Negro is willing to forgive. A mass movement exercising nonviolence and demonstrating power under discipline should convince the white community that as such a movement attained strength, its power would be used creatively and not for revenge.
Martin Luther King Jr. (Where Do We Go from Here: Chaos or Community?)
Nietzsche believed that no true human excellence, greatness, or nobility was possible except in aristocratic societies. In other words, true freedom or creativity could arise only out of megalothymia, that is, the desire to be recognized as better than others. Even if people were born equal, they would never push themselves to their own limits if they simply wanted to be like everyone else. For the desire to be recognized as superior to others is necessary if one is to be superior to oneself. This desire is not merely the basis of conquest and imperialism, it is also the precondition for the creation of anything else worth having in life, whether great symphonies, paintings, novels, ethical codes, or political systems. Nietzsche pointed out that any form of real excellence must initially arise out of discontent, a division of the self against itself and ultimately a war against the self with all the suffering that entails: "one must still have chaos in oneself to give birth to a dancing star." Good health and self-satisfaction are liabilities. Thymos is the side of man that deliberately seeks out struggle and sacrifice, that tries to prove that the self is something better and higher than a fearful, needy, instinctual, physically determined animal. Not all men feel this pull, but for those who do, thymos cannot be satisfied by the knowledge that they are merely equal in worth to all other human beings.
Francis Fukuyama (The End of History and the Last Man)
You might get up at noon and work at home in your dressing gown, in a pigsty of a living room. You might check into a different hotel room every day and work on the bed. Your creative process and working habits might look like total chaos to an outsider, but if they work for you, that’s all that matters. And there will be some method in the madness – patterns in your daily activities that are vital to your creativity. These are the things you need to do to keep your imagination alive – whether it’s sitting at a desk by 6am, using the same pen, notebook or make of computer, hitch-hiking across America, putting rotten apples in your desk so that the scent wafts into your nostrils as you work, or sitting in your favourite café with a glass of absinthe.
Mark McGuinness (Time Management For Creative People)
Milton’s treatment of Satan reminds us of the rabbis’ description of the “evil inclination” that is inextricably combined with human progress and productivity. Satan embodies many of the achievements of early modernity. When he embarks on his dangerous journey through Chaos, he becomes an intrepid early modern explorer, courageously seeking a New World; in his plan to invade Eden, he becomes a European coloniser; and, of course, he shares Milton’s passion for republican liberty when he inveighs against the monarchical elevation of the Son. Looking back on his moment of rebellion, he declares that he “sdeind [i.e., disdained] subjection”: “Will ye submit your necks, and chuse to bend / The supple knee?” he asks his fellow angels: Who can in reason then or right assume Monarchie over such as live by right His equals, if in power and splendor less, In freedom equal?70 Like the rabbis, Milton implied that evil was not an alien, omnipotent force; it was rather intricately combined with the creativity and inventiveness that were essential to human nature and its achievements.
Karen Armstrong (The Lost Art of Scripture: Rescuing the Sacred Texts)
As Negroes move forward toward a fundamental alteration of their lives, some bitter white opposition is bound to grow, even within groups that were hospitable to earlier superficial amelioration. Conflicts are unavoidable because a stage has been reached in which the reality of equality will require extensive adjustments in the way of life of some of the white majority. Many of our former supporters will fall by the wayside as the movement presses against financial privilege. Others will withdraw as long-established cultural privileges are threatened. During this period we will have to depend on that creative minority of true believers. The hope of the world is still in dedicated minorities. The trailblazers in human, academic, scientific and religious freedom have always been in the minority. That creative minority of whites absolutely committed to civil rights can make it clear to the larger society that vacillation and procrastination on the question of racial justice can no longer be tolerated. It will take such a small committed minority to work unrelentingly to win the uncommitted majority. Such a group may well transform America’s greatest dilemma into her most glorious opportunity.
Martin Luther King Jr. (Where Do We Go from Here: Chaos or Community?)
In the days ahead we must not consider it unpatriotic to raise certain basic questions about our national character. We must begin to ask: Why are there forty million poor people in a nation overflowing with such unbelievable affluence? Why has our nation placed itself in the position of being God’s military agent on earth, and intervened recklessly in Vietnam and the Dominican Republic? Why have we substituted the arrogant undertaking of policing the whole world for the high task of putting our own house in order? All these questions remind us that there is a need for a radical restructuring of the architecture of American society. For its very survival’s sake, America must reexamine old presuppositions and release itself from many things that for centuries have been held sacred. For the evils of racism, poverty and militarism to die, a new set of values must be born. Our economy must become more person-centered than property- and profit-centered. Our government must depend more on its moral power than on its military power. Let us, therefore, not think of our movement as one that seeks to integrate the Negro into all the existing values of American society. Let us be those creative dissenters who will call our beloved nation to a higher destiny, to a new plateau of compassion, to a more noble expression of humaneness.
Martin Luther King Jr. (Where Do We Go from Here: Chaos or Community?)
Power needs balance,” said Amar. “Our game today, as our reign, is simply a matter of reaction. What can we do when chaos is flung into our face?” A sound sliced through the air. I looked up just in time to see an arrow heading straight for me. “What will you do?” asked Amar. His voice was everywhere at once. I felt a tug in my hands, a strange itch and restlessness. Without thinking, I threw up my hands, all my attention focused on the arrow. It stopped midair. I flicked my hand and it whirled to charge at Amar. He snapped his fingers and the arrow shivered, paled and turned into a blossom of ice. “I take it you’re angry,” said Amar. The brittleness from his voice wasn’t gone; if anything it seemed more pronounced. “Only two more days until the full moon. Then, if you want, you may certainly fling arrows into my back. Until then, try for more creativity. We cannot just spin problems back. We must do more.” More, I thought. I could do that. I don’t know how much time passed while we danced, spinning power between us like it was just another game. He tossed the ball of ice my way and I shattered it. “What were you thinking when you broke that?” he asked. Even though I saw him across the room, I could feel his voice at my ear, low and burning. “You.” He laughed and continued to conjure things out of the air and throw them to me.
Roshani Chokshi (The Star-Touched Queen (The Star-Touched Queen, #1))
The world can be validly construed as a forum for action, as well as a place of things. We describe the world as a place of things, using the formal methods of science. The techniques of narrative, however – myth, literature, and drama – portray the world as a forum for action. The two forms of representation have been unnecessarily set at odds, because we have not yet formed a clear picture of their respective domains. The domain of the former is the 'objective world' – what is, from the perspective of intersubjective perception. The domain of the latter is 'the world of value' – what is and what should be, from the perspective of emotion and action. The world as forum for action is 'composed,' essentially, of three constituent elements, which tend to manifest themselves in typical patterns of metaphoric representation. First is unexplored territory – the Great Mother, nature, creative and destructive, source and final resting place of all determinate things. Second is explored territory – the Great Father, culture, protective and tyrannical, cumulative ancestral wisdom. Third is the process that mediates between unexplored and explored territory – the Divine Son, the archetypal individual, creative exploratory 'Word' and vengeful adversary. We are adapted to this 'world of divine characters,' much as the 'objective world.' The fact of this adaptation implies that the environment is in 'reality' a forum for action, as well as a place of things. Unprotected exposure to unexplored territory produces fear. The individual is protected from such fear as a consequence of 'ritual imitation of the Great Father' – as a consequence of the adoption of group identity, which restricts the meaning of things, and confers predictability on social interactions. When identification with the group is made absolute, however – when everything has to be controlled, when the unknown is no longer allowed to exist – the creative exploratory process that updates the group can no longer manifest itself. This 'restriction of adaptive capacity' dramatically increases the probability of social aggression and chaos. Rejection of the unknown is tantamount to 'identification with the devil,' the mythological counterpart and eternal adversary of the world-creating exploratory hero. Such rejection and identification is a consequence of Luciferian pride, which states: all that I know is all that is necessary to know. This pride is totalitarian assumption of omniscience – is adoption of 'God’s place' by 'reason' – is something that inevitably generates a state of personal and social being indistinguishable from hell. This hell develops because creative exploration – impossible, without (humble) acknowledgment of the unknown – constitutes the process that constructs and maintains the protective adaptive structure that gives life much of its acceptable meaning. 'Identification with the devil' amplifies the dangers inherent in group identification, which tends of its own accord towards pathological stultification. Loyalty to personal interest – subjective meaning – can serve as an antidote to the overwhelming temptation constantly posed by the possibility of denying anomaly. Personal interest – subjective meaning – reveals itself at the juncture of explored and unexplored territory, and is indicative of participation in the process that ensures continued healthy individual and societal adaptation. Loyalty to personal interest is equivalent to identification with the archetypal hero – the 'savior' – who upholds his association with the creative 'Word' in the face of death, and in spite of group pressure to conform. Identification with the hero serves to decrease the unbearable motivational valence of the unknown; furthermore, provides the individual with a standpoint that simultaneously transcends and maintains the group.
Jordan B. Peterson (Maps of Meaning: The Architecture of Belief)
The pacifist-humanitarian idea may indeed become an excellent one when the most superior type of manhood will have succeeded in subjugating the world to such an extent that this type is then sole master of the earth. This idea could have an injurious effect only in the measure in which its application became difficult and finally impossible. So, first of all, the fight, and then pacifism. If it were otherwise, it would mean that mankind has already passed the zenith of its development, and accordingly, the end would not be the supremacy of some moral ideal, but degeneration into barbarism and consequent chaos. People may laugh at this statement, but our planet moved through space for millions of years, uninhabited by men, and at some future date may easily begin to do so again, if men should forget that wherever they have reached a superior level of existence, it was not as a result of following the ideas of crazy visionaries but by acknowledging and rigorously observing the iron laws of Nature. What reduces one race to starvation stimulates another to harder work. All the great civilisations of the past became decadent because the originally creative race died out, as a result of contamination of the blood. The most profound cause of such a decline is to be found in the fact that the people ignored the principle that all culture depends on men, and not the reverse. In other words, in order to preserve a certain culture, the type of manhood that creates such a culture must be preserved, but such a preservation goes hand in hand with the inexorable law that it is the strongest and the best who must triumph and that they have the right to endure. He who would live must fight. He who does not wish to fight in this world, where permanent struggle is the law of life, has not the right to exist. Such a saying may sound hard, but, after all, that is how the matter really stands. Yet far harder is the lot of him who believes that he can overcome Nature, and thus in reality insults her. Distress, misery, and disease, are her rejoinders. Whoever ignores or despises the laws of race really deprives himself of the happiness to which he believes he can attain, for he places an obstacle in the victorious path of the superior race and, by so doing, he interferes with a prerequisite condition of, all human progress. Loaded with the burden of human sentiment, he falls back to the level of a helpless animal. It would be futile to attempt to discuss the question as to what race or races were the original champions of human culture and were thereby the real founders of all that we understand by the word ‘humanity.’ It is much simpler to deal with this question in so far as it relates to the present time. Here the answer is simple and clear. Every manifestation of human culture, every product of art, science and technical skill, which we see before our eyes to-day, is almost, exclusively the product of the Aryan creative power. All that we admire in the world to-day, its science and its art, its technical developments and discoveries, are the products of the creative activities of a few peoples, and it may be true that their first beginnings must be attributed to one race. The existence of civilisation is wholly dependent on such peoples. Should they perish, all that makes this earth beautiful will descend with them into the grave. He is the Prometheus of mankind, from whose shining brow the divine spark of genius has at all times flashed forth, always kindling anew that fire which, in the form of knowledge, illuminated the dark night by drawing aside the veil of mystery and thus showing man how to rise and become master over all the other beings on the earth. Should he be forced to disappear, a profound darkness will descend on the earth; within a few thousand years human culture will vanish and the world will become a desert.
Adolf Hitler (Mein Kampf)
Entrenched myth: Successful leaders in a turbulent world are bold, risk-seeking visionaries. Contrary finding: The best leaders we studied did not have a visionary ability to predict the future. They observed what worked, figured out why it worked, and built upon proven foundations. They were not more risk taking, more bold, more visionary, and more creative than the comparisons. They were more disciplined, more empirical, and more paranoid. Entrenched myth: Innovation distinguishes 10X companies in a fast-moving, uncertain, and chaotic world. Contrary finding: To our surprise, no. Yes, the 10X cases innovated, a lot. But the evidence does not support the premise that 10X companies will necessarily be more innovative than their less successful comparisons; and in some surprise cases, the 10X cases were less innovative. Innovation by itself turns out not to be the trump card we expected; more important is the ability to scale innovation, to blend creativity with discipline. Entrenched myth: A threat-filled world favors the speedy; you’re either the quick or the dead. Contrary finding: The idea that leading in a “fast world” always requires “fast decisions” and “fast action”—and that we should embrace an overall ethos of “Fast! Fast! Fast!”—is a good way to get killed. 10X leaders figure out when to go fast, and when not to. Entrenched myth: Radical change on the outside requires radical change on the inside. Contrary finding: The 10X cases changed less in reaction to their changing world than the comparison cases. Just because your environment is rocked by dramatic change does not mean that you should inflict radical change upon yourself. Entrenched myth: Great enterprises with 10X success have a lot more good luck. Contrary finding: The 10X companies did not generally have more luck than the comparisons. Both sets had luck—lots of luck, both good and bad—in comparable amounts. The critical question is not whether you’ll have luck, but what you do with the luck that you get.
Jim Collins (Great by Choice: Uncertainty, Chaos and Luck - Why Some Thrive Despite Them All)
Complex systems are more spontaneous, more disorderly, more alive than that. At the same time, however, their peculiar dynamism is also a far cry from the weirdly unpredictable gyrations known as chaos. In the past two decades, chaos theory has shaken science to its foundations with the realization that very simple dynamical rules can give rise to extraordinarily intricate behavior; witness the endlessly detailed beauty of fractals, or the foaming turbulence of a river. And yet chaos by itself doesn't explain the structure, the coherence, the self-organizing cohesiveness of complex systems. Instead, all these complex systems have somehow acquired the ability to bring order and chaos into a special kind of balance. This balance point—often called the edge of chaos—is were the components of a system never quite lock into place, and yet never quite dissolve into turbulence, either. The edge of chaos is where life has enough stability to sustain itself and enough creativity to deserve the name of life. The edge of chaos is where new ideas and innovative genotypes are forever nibbling away at the edges of the status quo, and where even the most entrenched old guard will eventually be overthrown. The edge of chaos is where centuries of slavery and segregation suddenly give way to the civil rights movement of the 1950s and 1960s; where seventy years of Soviet communism suddenly give way to political turmoil and ferment; where eons of evolutionary stability suddenly give way to wholesale species transformation. The edge of chaos is the constantly shifting battle zone between stagnation and anarchy, the one place where a complex system can be spontaneous, adaptive, and alive. Complexity, adaptation, upheavals at the edge of chaos—these common themes are so striking that a growing number of scientists are convinced that there is more here than just a series of nice analogies. The movement's nerve center is a think tank known as the Santa Fe Institute, which was founded in the mid-1980s and which was originally housed in a rented convent in the midst of
M. Mitchell Waldrop (Complexity: The Emerging Science at the Edge of Order and Chaos)
Just for a moment, imagine that you live in a magnificent ethereal world of indescribable beauty—a world consisting of subtle energies, where every thought you create instantly molds and shapes the immediate environment around you. Imagine a perfect world where your thoughts instantly create any reality you choose. Whatever your heart desires is suddenly made manifest before you. It is a glorious land overflowing with living light, a land where death, disease, and limitations are nonexistent. Imagine yourself in an ideal world where everyone is free to explore and develop their creative pursuits and experience their unlimited potential. Does this sound like heaven? Just think what an immature or undisciplined being could and would do in this ideal thought-responsive world. Picture the chaos and destruction that a single primitive mind could create. One undisciplined mind would wreak complete havoc, destroying the perfection of the subtle environments and the privacy of all the inhabitants. Now for a moment imagine what kind of educational environment would be the perfect training ground for this undisciplined mind. What kind of school would you create to educate this primitive state of consciousness? What kind of lessons would effectively train this disruptive mind to coexist in the thought-responsive heavenly dimensions? Welcome to the slowed-down molecular training ground of consciousness. Welcome to the dense training ground of matter, where focused thoughts are required in order to create and prosper. Welcome to the ideal environment where the young and undisciplined mind can learn by trial and error without contaminating the pure realm of spirit. Welcome to your life. This is one of the primary spiritual lessons we are here to learn. The unaware remain in the dense outer dimensions of the universe until they learn to exercise complete responsibility for their thoughts and actions. They then must learn to escape from the dense gravity field consisting of matter, form, and emotion. Eventually they recognize and break free from the illusions of form and to consciously pursue and experience their spiritual essence.
William Buhlman (The Secret of the Soul)