Creative Go Green Quotes

There are many paths to mastery, and if you are persistent you will certainly find one that suits you. But a key component in the process is determining your mental and psychological strengths and working with them. To rise to the level of mastery requires many hours of dedicated focus and practice. You cannot get there if your work brings you no joy and you are constantly struggling to overcome your own weaknesses. You must look deep within and come to an understanding of these particular strengths and weaknesses you possess, being as realistic as possible. Knowing your strengths you can lean on them with utmost intensity. Once you start in this direction, you will gain momentum. You will not be burdened by conventions and you will not be slowed down by having to deal with skills that go against your inclinations and strengths. In this way, your creative and intuitive powers will be naturally awakened.

The human mind is naturally creative, constantly looking to make associations and connections between things and ideas. It wants to explore, to discover new aspects of the world, and to invent. To express this creative force is our greatest desire, and the stifling of it the source of our misery. What kills the creative force is not age or a lack of talent, but our own spirit, our own attitude. We become too comfortable with the knowledge we have gained in our apprenticeships. We grow afraid of entertaining new ideas and the effort that this requires. to think more flexibly entails a risk-we could fail and be ridiculed. We prefer to live with familiar ideas and habits of thinking, but we pay a steep price for this: our minds go dead from the lack of challenge and novelty; we reach a limit in our field and lose control over our fate because we become replaceable.

cultivate profound dissatisfaction with your work and the need to constantly improve your ideas, along with a sense of uncertainty—you are not exactly sure where to go next, and this uncertainty drives the creative urge and keeps it fresh.

Here are some of the essential take-homes: we all need nearby nature: we benefit cognitively and psychologically from having trees, bodies of water, and green spaces just to look at; we should be smarter about landscaping our schools, hospitals, workplaces and neighborhoods so everyone gains. We need quick incursions to natural areas that engage our senses. Everyone needs access to clean, quiet and safe natural refuges in a city. Short exposures to nature can make us less aggressive, more creative, more civic minded and healthier overall. For warding off depression, lets go with the Finnish recommendation of five hours a month in nature, minimum. But as the poets, neuroscientists and river runners have shown us, we also at times need longer, deeper immersions into wild spaces to recover from severe distress, to imagine our futures and to be our best civilized selves.

I watched her with the crab as she ignored all my admonitions that the poor crab just needed to be set free if he was to have any chance of surviving. And God showed up there on that beach to teach me a lesson. Nothing survives when it's being smothered. Life, real life, requires being free to move about in the great big ocean, not being cradled in little hot hands that will stifle independence and creativity. We can't keep our crabs (or our kids) in a bucket and expect them to go far in life.

Quick Review of Core Behavior Patterns Reds are quick and more than happy to take command if needed. They make things happen. However, when they get going, they become control freaks and can be hopeless to deal with. And they repeatedly trample on people’s toes. Yellows can be amusing, creative, and elevate the mood regardless of who they’re with. However, when they are given unlimited space, they will consume all the oxygen in the room, they won’t allow anyone into a conversation, and their stories will reflect reality less and less. The friendly Greens are easy to hang out with because they are so pleasant and genuinely care for others. Unfortunately, they can be too wishy-washy and unclear. Anyone who never takes a stand eventually becomes difficult to handle. You don’t know where they really stand, and indecision kills the energy in other people. The analytical Blues are calm, levelheaded, and think before they speak. Their ability to keep a cool head is undoubtedly an enviable quality for all who aren’t capable of doing that. However, Blues’ critical thinking can easily turn to suspicion and questioning those around them. Everything can become suspect and sinister.

"Lights go green and even with you," she sings, "same old road leading nowhere new." "What about--" Riley's head lifts in surprise hearing my voice, hunger in her eyes. I know it's not only for creative collaboration. "Lights go green, and maybe with you," I say softly, slightly revising the line's ending, "same old road can lead somewhere new.

I'm curious,' he said casually. The amber in his green eyes was glowing. Perhaps not all traces of that beast-warrior were gone. 'Are you ever going to use that knife you stole from my table?' I stiffened. 'How did you know?' Beneath the mask, I could have sworn his brows were raised. 'I was trained to notice those things. But I could smell the fear on you, more than anything.' I grumbled. 'I thought no one noticed.' He gave me a crooked smile, more genuine than all the faked smiles and flattery he'd given me before. 'Regardless of the Treaty, if you were to stand a chance at escaping my kind, you'll need to think more creatively than stealing dinner knives. But with your affinity for eavesdropping, maybe you'll someday learn something valuable.

It's a stupendous day for Dr. Seuss fans, with the announcement of a new, previously unpublished picture book, What Pet Should I Get? , to be released on July 28th.  When Dr. Seuss (aka Ted Geisel) passed away in 1991 he left behind pages of text and sketches for book ideas and projects he had worked on over the years but hadn't completed before his death. Where were these hidden gems, you might ask?  Locked away in a safe? Buried in the backyard? Hidden behind a secret wall in his hat closet?  No.  Like many utterly ordinary people, Seuss had a box in his office filled with a paper trail of ideas and bursts of creativity--only in this case, it was a veryspecial box of creative bits and pieces... Who knew, when his wife, Audrey Geisel, packed away that box shortly after Seuss' death, that when she opened it up over two decades later, she would discover the complete manuscript and illustrations for What Pet Should I Get? . I'm envisioning a ray of bright green and blue and red sunshine beaming down on that moment...  In point of fact, the brilliant colors of Seuss' stories came later in the evolution of his books, so color is being added to the black and white sketches of What Pet Should I Get? by Seuss' former art director, Cathy Goldsmith, who worked with him on the last book he published before his death, Oh, The Places You'll Go!   I can't even imagine the goosebumps Goldsmith must have felt to see and hold never-before-seen Seuss artwork... So while we have to wait until the sun is beating down and summer vacation is nearing an end before we can get our hands on a brand new Dr. Seuss story, can also look forward to hearing about what else was found in that treasure trove of Seussy goodness--two more stories are promised as a result of the findings.

Whoooa! Red! Green! Yellow! Brown! Purple! Even black! Look at all those bowls full of brilliantly colored batter!" She used strawberries, blueberries, matcha powder, cocoa powder, black sesame and other natural ingredients to dye those batters. They look like a glittering array of paints on an artist's palette! "Now that all my yummy edible paints are ready... ...it's picture-drawing time!" "She twisted a sheet of parchment paper into a piping bag and is using it to draw all kinds of cute pictures!" "You're kidding me! Look at them all! How did she get that fast?!" Not only that, most chefs do rough sketches first, but she's doing it off the cuff! How much artistic talent and practice does she have?! "All these cutie-pies go into the oven for about three minutes. After that I'll take them out and pour the brown sugar batter on top..." "It appears she's making a roll cake if she's pouring batter into that flat a pan." "Aah, I see. It must be one of those patterned roll cakes you often see at Japanese bakeries. That seems like an unusually plain choice, considering the fanciful tarts she made earlier." "The decorations just have to be super-cute, too." "OOOH! She's candy sculpting!" "So pretty and shiny!" That technique she's using- that's Sucre Tiré (Pulled Sugar)! Of all the candy-sculpting arts, Sucre Tiré gives the candy a glossy, nearly glass-like luster... but keeping the candy at just the right temperature so that it remains malleable while stretching it to a uniform thickness is incredibly difficult! Every step is both delicate and exceptionally difficult, yet she makes each one look easy! She flows from one cutest technique to the next, giving each an adorable flair! Just like she insisted her apple tarts had to be served in a pretty and fantastical manner... ... she's even including cutesy performances in the preparation of this dish!

So what's on the menu?" "We soak prunes in whisky and tea, dip them in honey, and stuff them with walnuts. These are mixed with sausage for the stuffing. I usually soak the prunes for several days, but we'll make do." "My God. That sounds fabulous." Elliott nodded, but said nothing. He was staring at her intently. "And..." "And..." What was he waiting for? He started to fiddle with the pencil. Finally she realized he was waiting for her input! He had no idea how to banter back-and-forth or to brainstorm creatively. She broke the awkward silence. "Elliott, are you waiting for my suggestions for dinner?" "Aye. I'm waiting." "I think... we should go with the honey." "I use heather honey in North Berwick. But I'm sure the honey here will be fine." "My favorite is from the Akins Apiary. They have delicious apple honey. It's rare, but I'll see if they have some in the pantry." "Excellent. What... what else do you like about the honey?" Sophia tried not to laugh out loud at Elliott's stilted and awkward attempt at conversation. The give-and-take was clearly not a natural process for him. "Let's use the honey in all our dishes. How about roasted vegetables in a balsamic-honey dressing? With thyme? I think rutabaga and turnips would be a nice side for the turkey." He scratched something on his tablet. "Keep going." "And how about a bitter green salad? Maybe arugula and dandelion greens with a honey vinaigrette That will cut the richness of the bird." Elliott nodded. "I like both of those ideas. This meal will showcase the best of both of us... a traditional Scottish roast bird and various preparations for the vegetables and greens.

you must let go of your need for comfort and security. Creative endeavors are by their nature uncertain. You may know your task, but you are never exactly sure where your efforts will lead. If you need everything in your life to be simple and safe, this open-ended nature of the task will fill you with anxiety. If you are worried about what others might think and about how your position in the group might be jeopardized, then you will never really create anything. You will unconsciously tether your mind to certain conventions, and your ideas will grow stale and flat.

Laura's mind was already racing with the creative possibilities presented to her. She whipped out her sketchbook and started to work away with a stump of charcoal, trying to capture the sweep of the hills and the patterns made by the blocks of light and dark. She half closed her eyes, the better to appreciate the variations in tone and depth. She was astonished to find just how brash and vivid and wonderfully discordant colors in nature could be. At this time of year there was no sense that things were attempting to blend or mingle or go unseen. Every tree, bush, and flower seemed to be shouting out its presence, each one louder than the next. On the lower slopes the leaves of the aged oak trees sang out, gleaming in the heat. On every hill bracken screamed in solid swathes of viridian. At Laura's feet the plum purple and dark green leaves of the whinberry bushes competed for attention with their own indigo berries. The kitsch mauve of the heather laughed at all notions of subtlety. She turned to a fresh page and began to make quick notes, ideas for a future palette and thoughts about compositions. She jotted down plans for color mixes and drew the voluptuous curve of the hills and the soft shape of the whinberry leaves.

Of course, most of us, in the service of sanity, don’t fixate on the end. We go about the world focused on worldly concerns. We accept the inevitable and direct our energies to other things. Yet the recognition that our time is finite is always with us, helping to shape the choices we make, the challenges we accept, the paths we follow. As cultural anthropologist Ernest Becker maintained, we are under a constant existential tension, pulled toward the sky by a consciousness that can soar to the heights of Shakespeare, Beethoven, and Einstein but tethered to earth by a physical form that will decay to dust. “Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order blindly and dumbly to rot and disappear forever.”2 According to Becker, we are impelled by such awareness to deny death the capacity to erase us. Some soothe the existential yearning through commitment to family, a team, a movement, a religion, a nation—constructs that will outlast the individual’s allotted time on earth. Others leave behind creative expressions, artifacts that extend the duration of their presence symbolically. “We fly to Beauty,” said Emerson, “as an asylum from the terrors of finite nature.”3 Others still seek to vanquish death by winning or conquering, as if stature, power, and wealth command an immunity unavailable to the common mortal. Across the millennia, one consequence has been a widespread fascination with all things, real or imagined, that touch on the timeless. From prophesies of an afterlife, to teachings of reincarnation, to entreaties of the windswept mandala, we have developed strategies to contend with knowledge of our impermanence and, often with hope, sometimes with resignation, to gesture toward eternity. What’s new in our age is the remarkable power of science to tell a lucid story not only of the past, back to the big bang, but also of the future. Eternity itself may forever lie beyond the reach of our equations, but our analyses have already revealed that the universe we have come to know is transitory. From planets to stars, solar systems to galaxies, black holes to swirling nebulae, nothing is everlasting. Indeed, as far as we can tell, not only is each individual life finite, but so too is life itself. Planet earth, which Carl Sagan described as a “mote of dust suspended on a sunbeam,” is an evanescent bloom in an exquisite cosmos that will ultimately be barren. Motes of dust, nearby or distant, dance on sunbeams for merely a moment. Still, here on earth we have punctuated our moment with astonishing feats of insight, creativity, and ingenuity as each generation has built on the achievements of those who have gone before, seeking clarity on how it all came to be, pursuing coherence in where it is all going, and longing for an answer to why it all matters. Such is the story of this book.

Radatz described MK12’s first week on the job, ‘We felt like kid astronauts with keys to an actual shuttle, like someone was going to call our bluff at any minute.’139 MK12’s initial creative brief was to explore the element at the heart of the film – water: We learned that we’d been thinking about the film from an opposite perspective than that of Marc and the producers: where we saw water as the central theme, they saw the lack of water as Bond and Greene’s motivation. Our initial concept set Bond in a landscape made of backlit female forms submerged in water. After mulling over random ideas for a few days, it occurred to us that the same technique could be transplanted to a desert scenario, with the female forms instead becoming sand dunes.

His snowshoe paws are encased in chains as he hops on his hind legs. On his forehead was placed a wreath of thorns, crimson and blasphemous it was. His eyes were drenched in white, no colors can be discerned whatsoever in the reflection of his pupils, only a harrowing stillness of nothingness can be glimpsed through his gaze. He was the image of a ghostly figure, his silhouette swirling like the clouds in the loftiest mountains in eternal Paradise; a divine messenger before all animals and humanity. He wears shimmering chest armor resembling the scorching rays of the sunlight, with a fire crown of thorns burning on his forehead, which embodies the colors of the Earth's horizon, showcasing seventeen stars in its center. He had a voluminous, metallic beard, which was made of arctic sand from the Northern Winter lands - it was wizardly like - something out of a mythical folk tale that comes from a children's novel. His body glistens like the shattered fragments from the Moon, with his fur appearing like green moss surrounded by waterfalls flowing from each corner on his appearance - evolving into snowflakes, ice, as well as winter storms if you inflict your might at his anguish. He’s a supernatural being that all the Witches of the globe worshiped. He is greater, more superior, more virtuous than all deities people pray to on Earth. He’s the lunar father of all the Heavens and Earth, the All-father of all Animals and Mankind. When you see the Hare flying in the skies of the Universe, He’s bestowing the blessings of Sprout, Summer, Autumn, Winter. As the Hare Lunar King steps on the green grass, the mountains will begin to shake, the oceans will become huge typhoons, earthquakes will rumble across the nations as mankind annihilates each other in the guise of the Hare Lunar Emperor. However, the hare will grieve for all humankind, for he knows that the Earth is devoid of vengeance, so he must demolish it in preparation to reconstruct it from a pristine foundation. That future is nigh, that soon will arrive - it’s unfolding as I converse. The Lunar Rabbit King is coming back with his swarm of rabbits - mankind will not evade the menace of long ears - for their King will tell the sinister world with a voice of a thundering lion roar, ‘it is completed! go into the depths of your abysmal eternity, and enslave yourself as the locust of the earth in the fires of tribulation, for you will be tormented from sunrise to sunset, where sunlight is no more; forevermore.

In facing a serious problem—controlling superior numbers—Sparta reacted like an animal that develops a shell to protect itself from the environment. But like a turtle, the Spartans sacrificed mobility for safety. They managed to preserve stability for three hundred years, but at what cost? They had no culture beyond warfare, no arts to relieve the tension, a constant anxiety about the status quo. While their neighbors took to the sea, learning to adapt to a world of constant motion, the Spartans entombed themselves in their own system. Victory would mean new lands to govern, which they did not want; defeat would mean the end of their military machine, which they did not want, either. Only stasis allowed them to survive. But nothing in the world can remain stable forever, and the shell or system you evolve for your protection will someday prove your undoing. In the case of Sparta, it was not the armies of Athens that defeated it, but the Athenian money. Money flows everywhere it has the opportunity to go; it cannot be controlled, or made to fit a prescribed pattern. It is inherently chaotic. And in the long run, money made Athens the conqueror, by infiltrating the Spartan system and corroding its protective armor. In the battle between the two systems, Athens was fluid and creative enough to take new forms, while Sparta could grow only more rigid until it cracked.

Value Learning above Everything Else As you progress in life, you will become addicted to the fat paycheck and it will determine where you go, how you think, and what you do. Eventually, the time that was not spent on learning skills will catch up with you, and the fall will be painful. Instead, you must value learning above everything else. This will lead you to all of the right choices. You will opt for the situation that will give you the most opportunities to learn, particularly with hands-on work. You will choose a place that has people and mentors who can inspire and teach you. A job with mediocre pay has the added benefit of training you to get by with less—a valuable life skill. You must never disdain an apprenticeship with no pay. In fact, it is often the height of wisdom to find the perfect mentor and offer your services as an assistant for free. Happy to exploit your cheap and eager spirit, such mentors will often divulge more than the usual trade secrets. In the end, by valuing learning above all else, you will set the stage for your creative expansion, and the money will soon come to you.

We can explain this pattern in the following way: If we remained as excited as we were in the beginning of our project, maintaining that intuitive feel that sparked it all, we would never be able to take the necessary distance to look at our work objectively and improve upon it. Losing that initial verve causes us to work and rework the idea. It forces us to not settle too early on an easy solution. The mounting frustration and tightness that comes from single-minded devotion to one problem or idea will naturally lead to a breaking point. We realize we are getting nowhere. Such moments are signals from the brain to let go, for however long a period necessary, and most creative people consciously or unconsciously accept this. Daily Law: Walk away when you’re blocked. Do something else. The brain will eventually lead you back. Mastery, V: Awaken the Dimensional Mind—The Creative-Active

Thus my peripatetic starving-artist years passed without hunger. The always-unpopular chicken tights and pork shoulder, combined with an untranslated pantry and daily effort, made me richer, though unemployed, than an assistant professor. Tofu, ruined for most by baking, quadrupled the meat in stir-fries. No. 9 thin spaghetti could be lo mein, otherwise found in undersized pouches under "Ethnic." Peeled broccoli stems, cut on the diagonal, had the crispness of water chestnuts, minus the can. Picked animal bones could be simmered into broth; to discard them was a crime. Yesterday's rice, fried with frozen peas, an egg, and yesterday's ham, made lunchtime new. Ugly leaves could hide in pot stickers, on whose beauty many held forth, with none left over. Scallion whites would not be privileged over greens. Rice bowls had to be emptied. Thus my freedom--provided I made semi-annual trips to gather basics, from whatever Asian grocery store could be found. In some towns the shop would be Mexican; each helped the other out. In any cased I could never get everything. Items were regionals, names slightly off. Neither I nor the owner nor the food being local, no one could explain. I'm reticent anyway in these contests, speaking too little of what might be the wrong language, knowing only the look and taste of the finished dish, not what to call it. But what I kept going back, wish list in hand, never thinking of starvation, only of creativity: that which I wanted to make, and that which had made me.

She was the only one that we saw out of the fifty or so children in which they took care of. The same can be said for the boy, grant he had light brown hair, with a pinkish undertone. His goldish green eyes faded, with all creativity drained from them, just like them all I would presume. I think he was ten, he always seems to be distracted, he was a chatterbox, yet never said anything that made, you want to overhear, he would stutter a lot saying the words ‘smack’ and ‘bite’ over and over, yet I only saw him once in that house. I do believe that many erotic things were going on between the kids just by the way they appeared; I would go as far as to say there was incest. I remember seeing Alissa with her after we got back; she would be glaring at me, as most would do in town. Maybe she was afraid I would say something, or maybe she just wanted me back even now, that she cannot have me. I do not know how she feels, or what she feels, I never really did, and I do not care. Gracie, this girl she was always so pale-skinned like she never saw the light of day much- I believe that she did not see much sun, she didn't even know how to talk to anyone, other than a couple of minor phrases. When I was over at my girlfriend’s home both kids along with most of the others lived up in a dark damp room, that I would call their attic space. With one or two double beds, pushed together that they shared, or so that is what I have come to believe. I was never up there, yet sometimes you could hear the laughter and their tears, and even slight screams. You could hear their murmurs in the walls. I think I could hear them all being like rabbits and going at it, the thrusting thumps on the ceiling plus all the pitter-patter of little feet above! Yet that is what I was estimating was going on, and no my mind just does not think like that, something was very wrong! It made me nauseated just being in that house with her, it was that vile. Yet the lower parts that they live in were neat as a pin! Like all the girls’ rooms, except for Allison, there was food all over the place.

[Creation is first about attention;] Making something that people are going to pay attention to, and that's going to affect someone; it's going to make them laugh or make them think; and that's all that matters. That's where almost every Tiktoker is right now. And then at some point it gets to be that your graphs change a little bit and being able to sustain this activity is more important: to find ways to make money off of it; to have it be your job. [And then you get to a stage when you have an audience for your creations, you make money from your creations and at some point] it's almost as if you have enough of this to realize 1.) You have enough and 2.) Having more isn't going to make you much happier. You have to have enough before you can realise that more isn't going to make you much happier. That happens with audience, and that happens with money, and eventually you get to a point (and not everyone gets here), where it's like: "what's FUN though? What do I LIKE doing? What is the weird thing I can do that's interesting?

When Lombardi joined the Green Bay Packers in 1959, the team had gone eleven straight seasons without a winning record, and after winning only one of twelve games the previous year, the team fired Lombardi’s predecessor. Upon arriving at training camp as their new head coach, Lombardi made an immediate and indelible first impression on Bart Starr, a struggling third-string, fourth-year quarterback. After leading the players to a meeting room, Lombardi waited in front of a portable blackboard as the players sat down. He picked up a piece of chalk and began to speak. “Gentlemen,” he said, “we have a great deal of ground to cover. We’re going to do things a lot differently than they’ve been done here before . . . [We’re] going to relentlessly chase perfection, knowing full well we will not catch it, because perfection is not attainable. But we are going to relentlessly chase it because, in the process, we will catch excellence.”6 He paused and stared, his eyes moving from player to player. The room was silent. “I’m not remotely interested in being just good,” he said with an intensity that startled them all.

Healing on All Levels The body, mind, intellect, and the part of you that is immortal (soul, spirit, root light, etc.) all work together when all the chakras are aligned. Every chakra is working well at these times: you sense the state of your body, you communicate your creative ideas, you have the ability to meet obligations, your heart is open to receiving with appropriate boundaries, you are honest in your interactions, you look at your routines and practices of thinking clearly and critically, and you listen to the quiet place inside. What you feel, hear, tell, and line up when this happens, and in your life you will manifest what you want. You are in harmony with your body, mind, and central force that binds you with all of the universe's life and energy. You are able to manifest your dreams and focus on profoundly healing physical, intellectual, and emotional wounds through this, your connection to universal energy. It seems that in this fast-paced world, until something goes wrong, it is common not to focus on health. It seems normal to go on and on until you feel an ache or pain, and then you go to a doctor. Until the way you perform your daily activities is affected by a physical sign, it is easy to ignore how you feel. Part of Everyday Life Maintaining good health is an ongoing practice, not something to wait until you already have physical disease symptoms. As part of your ongoing self-care practice, chakra healing can be done regularly, and it will be a proactive and preventive way to take care of yourself and bring more joy to your life. Find at least one way of doing something for yourself every day. It may mean you get up fifteen minutes early to linger with a cup of green tea, or you may park your car in the fresh air to walk away from work. Find something to give you a healthy "me" time every day.