Chaos And Creativity Quotes

One must still have chaos in oneself to be able to give birth to a dancing star.

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.

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.

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.

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.

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.

Love is the bee that carries the pollen from one heart to another.

Why does everyone think a guy who prefers love to people is missing something in his life?

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.

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.

Our imagination enhances our mental resilience, boosts our creativity, and furthers significance amid chaos, letting our minds create space for shelter, clarity, and direction. ( "The umbrella of our imagination")

I am part of everyone I ever dated on OK Cupid.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Black and white thinking limits understanding and feedback, two necessary ingredients for successful resolution in creative conflict and successful understanding.

The reflection of chaos is creativity.

Unrest has entered the hearts of men. When unrest is left to fester, Chaos will soon follow.

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?

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.

The creative mind can turn chaos into a master piece and call it Art.

An embroidery machine has to do chaotic motions to create beautiful patterns. Chaos in life means that creation of something beautiful is in progress.

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.

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".

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

Life itself is chaos, the artist’s life is often one that tends to give that chaos its full extension.

When you marry operating excellence with innovation, you multiply the value of your creativity.

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.

Chaos is a part of the order of reality.

Creativity happens in the transition between order and chaos.

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.

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

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.

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.

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.

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.

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.

(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.

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.

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.

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.

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.

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

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.

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.

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.

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.

Embroidery is beautiful not only for what you see, but for all you don’t. From the back, it’s a messy map—absolute chaos, all switchbacks and starts. Knots upon knots, pulled with teeth and pricked fingers. Each one a prayer, on a string.

On 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 the 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.

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

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

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

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.

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?

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.

•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.

Accepting that the chaos is normal and natural will help us claim our creative potential in it. Accepting the chaos allows us to stop demanding impossible things from each other (such as clear prophetic answers on how everything in the future is going to work) and shift into inviting each other into co-creation of futures that work for us.

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.

This is what it means to create: not to make something out of nothing, but to make order out of chaos. A creative scientist or historian does not make up facts but orders facts; he sees connections between them rather than seeing them as random data. A creative writer does not make up new words but arranges familiar words in patterns which say something fresh to us.

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.

But now day breaks! I waited and saw it come, And what I saw, the hallowed, my word shall convey, For she, she herself, who is older than the ages And higher than the gods of Orient and Occident, Nature has now awoken amid the clang of arms, And from high Aether down to the low abyss, According to fixed law, begotten, as in the past, on holy Chaos, Delight, the all-creative, Delights in self-renewal.

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

There is no message in all of that. There is no reason for those particular people to be afflicted rather than others. These events do not reflect God’s choices. They happen at random, and randomness is another name for chaos, in those corners of the universe where God’s creative light has not yet penetrated. And chaos is evil; not wrong, not malevolent, but evil nonetheless, because by causing tragedies at random, it prevents people from believing in God’s goodness.

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.

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.

A great athlete is one who takes advantage of the ability that genetics have brought him in order to secure great achievements, but an exceptional athlete is one who can swim in the waters of complexity and chaos, making what seems difficult easy, creating order from chaos. Creative individuals search for chaos in order to explore all the places they can imagine beyond the frontiers of consciousness, following the irrational forces that come from within themselves and from their environment.

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.

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.

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

That edge, where artists are always transforming chaos into order, can be a very rough and dangerous place. Living there, an artist constantly risks falling fully into the chaos, instead of transforming it. But artists have always lived there, on the border of human understanding. Art bears the same relationship to society that the dream bears to mental life. You are very creative when you are dreaming. That is why, when you remember a dream, you think, “Where in the world did that come from?” It is very strange and incomprehensible that something can happen in your head, and you have no idea how it got there or what it means. It is a miracle: nature’s voice manifesting itself in your psyche. And it happens every night. Like art, the dream mediates between order and chaos. So, it is half chaos. That is why it is not comprehensible. It is a vision, not a fully fledged articulated production. Those who actualize those half-born visions into artistic productions are those who begin to transform what we do not understand into what we can at least start to see. That is the role of the artist, occupying the vanguard. That is their biological niche. They are the initial civilizing agents.

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.

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.

Nietzsche's response to this situation is not to seek narcotics in a return to the past or a flight to the supersensible, but instead to assert, and in a deeper form to accept, even to accelerate, the approach of nihilism on a European, if not global, scale. A rejuvenation of the human spirit is possible only through a complete destruction of the decadent present. Like very few before him, Nietzsche sees the necessary link between radical creativity, on the one hand, and war, courage, and brutality, on the other. The great creators abominate everything that interferes with the full expression of their will to power; they are not egalitarians, democrats, or refined and tolerant appreciators of the poems of their competitors. The bestiality of the blonde beast may be understood not simply as an expression of the need to destroy in order to create but as a consequence of Nietzsche's fundamental identification of Being and history History is the dissolution of Being into chaos, as reorganized by the shifting perspectives of man, the highest incarnation of the will to power. As we have seen, a reliance upon courage led Nietzsche to invoke the unleashing of the blonde beasts and wars of universal destruction as the negative prelude to the advent of positive nihilism.

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.

The last name made Ro unleash an impressive string of ogre curses. “I take it that means you know the guy?” Keefe asked. Sophie could see every one of Ro’s pointed teeth when she said, “I do.” “And?” Keefe pressed. “It’s none of your business,” Ro snapped back. “Pretty sure it is, since Foster’s supposed to trust him with her life,” Keefe argued. Ro muttered a few more creative words under her breath. “Bo’s a loyal Mercadir. That’s not the issue.” “You call him Bo?” Keefe noted as Sophie asked, “Then what’s the issue?” Ro ignored both of them. “Stay here,” she told Keefe, “and don’t even think about leaving until I return.” “Where are you going?” Elwin called as she headed for the exit. “To throttle my father.” The door slammed hard enough to shake the walls, and Sophie, Keefe, and Elwin all shared a look. “Yeah . . . we definitely need to get the story on Bo and Ro,” Keefe decided. Sophie nodded. “Do you think they dated?” “Ohhhhhhhh, now I do! And I’ve been trying to get dirt like that on Ro since she got here!” He cracked his knuckles. “Okay, this is going to call for some epic-level snooping—and if that doesn’t work, I guess I know what my next bet will be!” “No more betting,” Elwin warned. “At least not on my watch. And today’s lesson better be chaos-free or I’m nixing these little sessions.” “Aw, we can’t have that. Foster would miss me too much. Who knew the way to her heart was my mad teaching skills?

Pete has a few methods he uses to help manage people through the fears brought on by pre-production chaos. “Sometimes in meetings, I sense people seizing up, not wanting to even talk about changes,” he says. “So I try to trick them. I’ll say, ‘This would be a big change if we were really going to do it, but just as a thought exercise, what if …’ Or, ‘I’m not actually suggesting this, but go with me for a minute …’ If people anticipate the production pressures, they’ll close the door to new ideas—so you have to pretend you’re not actually going to do anything, we’re just talking, just playing around. Then if you hit upon some new idea that clearly works, people are excited about it and are happier to act on the change.” Another trick is to encourage people to play. “Some of the best ideas come out of joking around, which only comes when you (or the boss) give yourself permission to do it,” Pete says. “It can feel like a waste of time to watch YouTube videos or to tell stories of what happened last weekend, but it can actually be very productive in the long run. I’ve heard some people describe creativity as ‘unexpected connections between unrelated concepts or ideas.’ If that’s at all true, you have to be in a certain mindset to make those connections. So when I sense we’re getting nowhere, I just shut things down. We all go off to something else. Later, once the mood has shifted, I’ll attack the problem again.

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.

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.

9:36a    ἰδὼν δὲ τούς ὄχλους ἐσπλαγχνίσθη πεϱὶ αὐτῶν seeing the crowds, his insides were moved with pity for them THE JEWS AND THE GREEKS could not succeed in making pity and compassion into a purely mental act. It sounds archaic, hardly short of embarrassing, to say that “Jesus saw the crowds and felt pity for them in his bowels.” But, in fact, any translation that omits compassion’s element of viscerality (for σπλάγχνα, the root of the verb here, means “viscera”, “bowels”, “womb”) has already betrayed the depth of Jesus’ divine and human pity. We all know how the strongest emotions—whether sorrow, fear, joy, or desire—are all initially registered in the abdominal region, and this physiological reaction is one of the proofs of the authenticity of our emotions. The same teacher, herald, and healer who surpassed all others in these crafts finally reveals himself in utter silence and inactivity in his deepest nature: the Compassionate One who is affected by suffering more elementally than the sufferers he sees around him. If Mary’s womb was proclaimed blessed for having borne such a Child, we now see in the Son the Mother’s most precious quality: wide-wombed compassion. When we allow ourselves to be moved in this way, we are already hopelessly involved with the object of our pity: no possibility here of a distanced display of “charity” that refuses to become tainted by contact with the stench of human misery. Jesus looks at the crowds, then, and is viscerally moved. What power in the gaze of a Savior who pauses in the midst of his activity in order to take into himself the full, wounded reality about him! Jesus never protects himself against the claims of distress. He is not content with emanating the truth, joy, and healing power that are his: he must become a fellow sufferer. His loving gaze is like an open wound that filters out no sorrow. He has already done so much for them; but as long as he sees misery, nothing is enough; and so he wonders what else remains to be done. His contemplative sorrow becomes a stimulant to his creative imagination. He nestles all manner of plight within his person, and every human need becomes a churning in his inward parts. He interiorizes the chaos of the surrounding landscape, but, by entering him, it becomes contained, comprehended, embraced and saved.