Creative Visualization Quotes

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- But Abraham, you mean I'm supposed to make stuff up !?!? - You are creators, you make stuff up all the time!
Esther Hicks
We always attract into our lives whatever we think about most, believe most strongly, expect on the deepest level, and imagine most vividly.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.
Kamand Kojouri
Every moment of your life is infinitely creative and the universe is endlessly bountiful. Just put forth a clear enough request, and everything your heart truly desires must come to you.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
The clearer and stronger your intention, the more quickly and easily your creative visualization will work.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
About writing:The trick is to make sure you love what you've produced--to Believe..in order to convince.
Christina Westover
creative forces comes only when there is a completely rounded-out thought, when there is a fully developed mental picture, or when the imagination can visualize the fulfillment of our ambition and see in our mind a picture of the object we desire...
Claude M. Bristol (The Magic of Believing)
For all the care you put into artistry, visual polish frequently doesn’t matter if you are getting the story right.
Ed Catmull (Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration)
I became an artist because I wanted to be an active participant in the conversation about art.
Kamand Kojouri
Every great artist gives birth to a new universe, in which the familiar things look the way they have never before looked to anyone.
Rudolf Arnheim (Art and Visual Perception: A Psychology of the Creative Eye)
We have to understand in a deep way that having what we truly want in life contributes to the general state of human happiness and supports others in creating more happiness for themselves.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Nothing can be imagined, nothing can be visualized in our minds, until we have a word for it. Therefore, when I give myself to the free flow of any words that trip off my tongue without predetermination, I am tapping into the primal creative power at the heart of the cosmos. Or maybe I'm just a bullshit artist.
Dean Koontz (Odd Apocalypse (Odd Thomas, #5))
All this happened in much less time than it takes to tell, since I am trying to interpret for you into slow speech the instantaneous effect of visual impressions.
Joseph Conrad (Lord Jim)
This, or something better, now manifests for me in totally satisfying and harmonious ways, for the highest good of all concerned.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
At Apple, we never would have dreamed of doing that, and we never staged any A/ B tests for any of the software on the iPhone. When it came to choosing a color, we picked one. We used our good taste—and our knowledge of how to make software accessible to people with visual difficulties related to color perception—and we moved on.
Ken Kocienda (Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs)
To get in touch with different aspects of your self-image, begin to ask yourself “How do I feel about myself right now?
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Every great narrative contains its end in its beginning and its beginning in its end,
Rudolf Arnheim (Art and Visual Perception: A Psychology of the Creative Eye)
If you wait for a better time to create, better than this very moment, if you wait until you feel settled, divinely inspired, perfectly centered, unburdened of your usual worries, or free of your own skin, forget about it. You will still be waiting tomorrow and the next day, wondering why you never managed to begin, wondering
Eric Maisel (Coaching the Artist Within: Advice for Writers, Actors, Visual Artists, and Musicians from America's Foremost Creativity Coach)
The process of change does not occur on superficial levels, through mere “positive thinking.” It involves exploring, discovering, and changing our deepest, most basic attitudes toward life.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
When dreams are not clear, the results are often as blurred. You won't be able to arrive at your desired destination if you are not certain of where you're going. You have to be able to see clearly and perfectly.
Jan Mckingley Hilado (Rich Real Radical: 40 Lessons from a Magna Cum Laude and a College Drop Out)
Let us imagine that life is a river. Most people are clinging to the bank, afraid to let go and risk being carried along by the current of the river. At a certain point, each of us must be willing to simply let go, and trust the river to carry us along safely. At this point, we learn to “go with the flow” — and it feels wonderful. Once we have become accustomed to being in the flow of the river, we can begin to look ahead and guide our course onward, deciding where the course looks best, steering the way around boulders and snags, and choosing which of the many channels and branches of the river we prefer to follow, all the while still “going with the flow.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
By "Suprematism" I mean the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling.
Kazimir Malevich (The Non-Objective World: The Manifesto of Suprematism)
Communication is not only about words and numbers. Some thoughts can’t be properly expressed in these ways at all. We also think in sounds and images, in movement and gesture, which gives rise to our capacities for music, visual arts, dance, and theater in all their variations.
Ken Robinson (Creative Schools: The Grassroots Revolution That's Transforming Education)
Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you. For every one that asketh, receiveth; and he that seeketh, findeth; and to him that knocketh it shall be opened. — Matthew 7: 7, 8
Shakti Gawain (The Shakti Gawain Essentials: 3 Books in 1: Creative Visualization, Living in the Light & Developing Intuition)
What is art? Art is tar, rearranged. Art is tar on canvas or tar on tarp or tar on a naked body. Art is a bird chirping changed into something visual. Art is an image of a thousand beaks breaking into the office of a quack doctor. I know that doctor, and I've personally spoken to ten of those beaks. Art is rhythm, two hands clapping at a urinal while a third shakes off pee to the beat. Good art stays with you your whole life, especially if that good art is a tattoo. Good art is my name, written backwards, inked on your upper lip in a furry font. Art imitates life, just as life imitates Orafoura. Art can be anything from a Manet to a Monet to a painting of money to a missile. Art can save the world, or devastate it. (We could drop another big bomb on Japan, though I'm not advocating dumping Basquiat paintings on Hiroshima). Art rhymes with a bodily function, and everybody should let their creativity rip everywhere from the privacy of their bathrooms to small heated boxes with four of their closest friends. Art is thinking outside that box, and desperately trying to escape.
Jarod Kintz (This Book is Not for Sale)
The mere exposure to masterworks does not suffice. Too many persons visit museums and collect picture books without ever gaining access to art. The inborn capacity to understand through the eyes has been put to sleep and must be reawakened. This is best accomplished by handling pencils, brushes, chisels and perhaps cameras.
Rudolf Arnheim (Art and Visual Perception: A Psychology of the Creative Eye)
I feel very strongly that every artist has one central story to tell. The struggle is to tell and retell that story over and over again, visual form, and try to challenge that story. But at the core that story remains the same. It's like the defining story of who you are. -Gregory Crewdson, "Brief Encounters" http://www.gregorycrewdsonmovie.com/
Gregory Crewdson
The truth about this earth is that it is an infinitely good, beautiful, nourishing place to be. The only “evil” comes from a lack of understanding of this truth. Evil (ignorance) is like a shadow — it has no real substance of its own; it is simply a lack of light.
Shakti Gawain (The Shakti Gawain Essentials: 3 Books in 1: Creative Visualization, Living in the Light & Developing Intuition)
Our fears arise from things we don’t confront. Once we are willing to look fully and deeply at the source of a fear, it loses its power.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Seeing shapes and colours without the burden of thinking about what they are will liberate your creative mind, inform your visual resources and alleviate intellectual interference.
Philippa Stanton (Conscious Creativity: Look, Connect, Create)
Divine light and divine love are flowing through me and radiating from me to everything around me.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Next time there’s an anxiety-inducing task at hand, why not visualize doing it in front of someone who’s delighted at everything you do?
Felicia Day (Embrace Your Weird: Face Your Fears and Unleash Creativity)
Our experiences and ideas tend to be common but not deep, or deep but not common.
Rudolf Arnheim (Art and Visual Perception: A Psychology of the Creative Eye)
In creative visualization you use your imagination to create a clear image, idea, or feeling of something you wish to manifest.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
The purpose of creative visualization is: To connect us with our being. To help us focus and facilitate our doing. To deepen, expand, and align our having.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
It is often very helpful to use creative visualization in picturing yourself as a more relaxed, open person, flowing, living in the here and now, and always connected with your inner essence.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
the ultimate point of creative visualization — to make every moment of our lives a moment of wondrous creation, in which we are just naturally choosing the best, the most beautiful, the most fulfilling lives we can imagine. . . .
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
I don't create my images as visual equations to be solved, but rather, i create them as internal landscapes that the viewer can explore. I enjoy sharing the why behind the what, of my creations... but my way, isn't the only way, to experience them. There is no correct way to interpret them. Perception is reality and yours may be different from mine and that's okay.
Jaeda DeWalt
Musicians do not get on stage without hearing the song singing inside of them. Poets do not write as if they are jotting down a sermon, they see everything in their subconscious before presenting it to the conscious, which they later turn to  readable materials. Artist do not draw and paint without painting in dream states, trance, or see an art form that others do not see. Being creative does not calls for being any supernatural entity, but in creating with the entities inside of you.
Michael Bassey Johnson (The Infinity Sign)
What this means for our practical purposes is that if you learn to relax deeply and do creative visualization, you may be able to make far more effective changes in your life than you would by thinking, worrying, planning, and trying to manipulate things and people.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Creation and Free Will are constantly moving, hand in hand, like children traveling along a path full of impulses and inspirations.Through the use of the Dragonflame philosophy they become superior artistic beings able to enjoy and share the fruits of creative labor.
Lawren Leo (Dragonflame: Tap Into Your Reservoir of Power Using Talismans, Manifestation, and Visualization)
Personal Power and a Positive attitude after praying, you should also completely men-tally, emotionally and physically “act as if it is already accomplished!” In truth, it already has been accomplished in GOD, and that is the only true “permanent’ reality of life! Taking this one step further, you should even experience this truth with all five senses. See it being real, hear it, touch it, smell it and taste it! As far as you are concerned, for all intents and purposes, the prayer has already been completely answered and you should live your life on every level of your being as if this was the case! If ever you start to slip from this “immaculate conception” in your own mind, you should immediately do an affirmation and positive creative visualization to reaffirm the “Truth of GOD” back into your reality. The other way to reaffirm this truth back into your being is to repeat the prayer! Just the Act of doing the Prayer is an affirmation in and of itself!
Joshua D. Stone (The Golden Book of Melchizedek: How to Become an Integrated Christ/Buddha in This Lifetime Volume 1)
Then I spoke with proven shapers I knew—Bill Gates, Elon Musk, Reed Hastings, Muhammad Yunus, Geoffrey Canada, Jack Dorsey (of Twitter), David Kelley (of IDEO), and more. They had all visualized remarkable concepts and built organizations to actualize them, and done that repeatedly and over long periods of time. I asked them to take an hour’s worth of personality assessments to discover their values, abilities, and approaches. While not perfect, these assessments have been invaluable. (In fact, I have been adapting and refining them to help us in our recruiting and management.) The answers these shapers provided to the standardized questions gave me objective and statistically measurable evidence about their similarities and differences. It turns out they have a lot in common. They are all independent thinkers who do not let anything or anyone stand in the way of achieving their audacious goals. They have very strong mental maps of how things should be done, and at the same time a willingness to test those mental maps in the world of reality and change the ways they do things to make them work better. They are extremely resilient, because their need to achieve what they envision is stronger than the pain they experience as they struggle to achieve it. Perhaps most interesting, they have a wider range of vision than most people, either because they have that vision themselves or because they know how to get it from others who can see what they can’t. All are able to see both big pictures and granular details (and levels in between) and synthesize the perspectives they gain at those different levels, whereas most people see just one or the other. They are simultaneously creative, systematic, and practical. They are assertive and open-minded at the same time. Above all, they are passionate about what they are doing, intolerant of people who work for them who aren’t excellent at what they do, and want to have a big, beneficial impact on the world.
Ray Dalio (Principles: Life and Work)
We each have an infinite supply of love and happiness within us. We have been accustomed to thinking that we have to get something from outside of us in order to be happy, but in truth it works the other way: We must learn to contact our inner source of happiness and satisfaction and flow it outward to share with others — not because it is virtuous to do so, but because it feels really good! Once we tune into it we just naturally want to share it because that is the essential nature of love, and we are all loving beings.
Shakti Gawain (The Shakti Gawain Essentials: 3 Books in 1: Creative Visualization, Living in the Light & Developing Intuition)
You realize that life can be basically good, abundant, and often fun, and that having what you truly want, without struggle and strain, is part of your natural birthright
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
The practice of engaging in affirmations allows us to begin replacing some of our stale, worn-out, or negative mind chatter with more positive ideas and concepts.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
God is working through me now. I am filled with creative energy. The light within me is creating miracles in my life here and now.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Remember, you are a new person at every new moment. Every day is a new day, and each one is an opportunity to realize the wonderful, loving, and lovable person you truly are. .
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Knowledge is borrowed. Imagination is original. It is the power of imagination that makes us different from our animal ancestors.
Banani Ray (Awakening Inner Guru)
Design is a methodology for applying critical and creative thinking to understand, visualize, and describe complex, ill-structured problems and develop approaches to solve them.
Peter Sims (Little Bets: How Breakthrough Ideas Emerge from Small Discoveries)
with no lyrics. Don’t neglect your other senses, either. Visual clutter in your space can be creatively fertile or a huge distraction
Chase Jarvis (Creative Calling: Establish a Daily Practice, Infuse Your World with Meaning, and Succeed in Work + Life)
Very often, in the visual arts, if you take the first work of a visual artist, it already includes almost everything they do later.
Hans Ulrich Obrist
I trust my own process. I always have everything I need.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Visualization shapes art. Visualization turns abstract dreams into a reality.
Michael Bassey Johnson (The Oneironaut’s Diary)
Nature inspires creativity in a child by demanding visualization and the full use of the senses.
Richard Louv (Last Child in the Woods: Saving Our Children From Nature-Deficit Disorder)
Adopt a clear mindset. Strive for pure ideas. Communicate in a matter that needs no further explanation. Avoid shades of grey. Focus on the fundamentals, and share them to the world
William Wyatt (Creativity: NOW! Top Keys to Unleash Your Creativity, Come Up With Brilliant Ideas & Increase Your Productivity Tenfold! Lead Innovation Through Creativity, ... Writing, Copywriting, Visualization))
Teaching is a dialogue, and it is through the process of engaging students that we see ideas taken from the abstract and played out in concrete visual form. Students teach us about creativity through their personal responses to the limits we set, thus proving that reason and intuition are not antithetical. Their works give aesthetic visibility to mathematical ideas.
Martha Boles (Universal Patterns (The Golden Relationship: Art, Math & Nature, Book 1))
We create art, and those artworks shape us into what we are. We, as human beings, are capable of creating art. Or, perhaps, because of these arts, we have the capacity to become humans humanely.
Ashmita Acharya (Art Adventure: Visual Arts (Volume 1))
Wake up in the morning with a specific goal to look forward to. Creative individuals don’t have to be dragged out of bed; they are eager to start the day. This is not because they are cheerful, enthusiastic types. Nor do they necessarily have something exciting to do. But they believe that there is something meaningful to accomplish each day, and they can’t wait to get started on it. Most of us don’t feel our actions are that meaningful. Yet everyone can discover at least one thing every day that is worth waking up for. It could be meeting a certain person, shopping for a special item, potting a plant, cleaning the office desk, writing a letter, trying on a new dress. It is easier if each night before falling asleep, you review the next day and choose a particular task that, compared to the rest of the day, should be relatively interesting and exciting. Then next morning, open your eyes and visualize the chosen event—play it out briefly in your mind, like an inner videotape, until you can hardly wait to get dressed and get going. It does not matter if at first the goals are trivial and not that interesting. The important thing is to take the easy first steps until you master the habit, and then slowly work up to more complex goals. Eventually most of the day should consist of tasks you look forward to, until you feel that getting up in the morning is a privilege, not a chore.
Mihály Csíkszentmihályi (Creativity: Flow and the Psychology of Discovery and Invention)
The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things. Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us. On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena. But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind.
Kenneth Grant (Outside the Circles Of Time)
All things considered, I’ve learned more from talking to painters than talking to writers. Not that painters are smarter than writers, such is seldom the case, but in conversation writers are inclined to waste an inordinate amount of time either bragging or bellyaching about reviews and royalties, complaining about their publishers, or dissing other authors. Painters, being equally insecure, can likewise come across as boring and bitchy -- it’s tough being creative in a materialistic society -- but since they labor not in vineyards of verbiage but upon ice floes of visual images, they tend to function with fewer inhibitions than the wordsmiths when it comes to vocally exploring and expressing ideas. Since no one judges their speech, comparing it to their written work, they don’t feel so acutely the weight of language.
Tom Robbins (Tibetan Peach Pie: A True Account of an Imaginative Life)
five suggestions that can work to open mathematics tasks and increase their potential for learning: Open up the task so that there are multiple methods, pathways, and representations. Include inquiry opportunities. Ask the problem before teaching the method. Add a visual component and ask students how they see the mathematics. Extend the task to make it lower floor and higher ceiling. Ask students to convince and reason; be skeptical.
Jo Boaler (Mathematical Mindsets: Unleashing Students' Potential through Creative Math, Inspiring Messages and Innovative Teaching (Mindset Mathematics))
Poetry encourages creativity and imagination, both for the poets who create it and the readers who engage with it. It invites readers to visualize, interpret, and think critically about the imagery and symbolism presented.
Oscar Auliq-Ice (Simple Essays: Unlocking the Power of Concise Expression)
Einstein was remarkable for his powers of concentration; he could work uninterruptedly for hours and even days on the same problem. Some of the topics that interested him remained on his mind for decades. For relaxation he turned to music and to sailing, but often his work would continue during these moments as well; he usually had a notebook in his pocket so that he could jot down any idea that came to him. Once, after the theory of relativity had been put forth, he confessed to his colleague Wolfgang Pauli, "For the rest of my life I want to reflect on what light is." It is perhaps not entirely an accident that a focus on light is also the first visual act of the newborn child.
Howard Gardner (Creating Minds: An Anatomy of Creativity as Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Gandhi)
The color white is a blank canvas, just waiting to be written on. Compared to other more stimulating colors it is a refreshing change, a soothing and calm visual experience for the mind, which allows for imagination growth and creativity.
Chantal Larocque (Bold & Beautiful Paper Flowers: More Than 50 Easy Paper Blooms and Gorgeous Arrangements You Can Make at Home)
The most important factor in every function is: ‘Is it under our control or not?’ So when imagination is under our control we do not even call it imagination; we call it by various names—visualization, creative thinking, inventive thinking—you can find a name for each special case. But when it comes by itself and controls us so that we are in its power, then we call it imagination. Again, there is another side of imagination which we miss in ordinary understanding. This is that we imagine non-existent things—non-existent capacities, for instance. We ascribe to ourselves powers which we do not have; we imagine ourselves to be self-conscious although we are not. We have imaginary powers and imaginary self-consciousness and we imagine ourselves to be one, when really we are many different ‘I’s. There are many such things that we imagine about ourselves and other people. For instance, we imagine that we can ‘do’, that we have choice; we have no choice, we cannot ‘do’, things just happen to us.
P.D. Ouspensky (The Fourth Way)
It cannot be overstated that the emphasis on visual thinking among German-speaking scientists and engineers circa 1900 was widespread. Yet in 1905 it was Einstein who combined visual thinking with Gedanken experiments and quasiaesthetic notions with dazzling results.
Howard Gardner (Creating Minds: An Anatomy of Creativity as Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Gandhi)
During dreaming, we’re tuned inward, we experience vivid visual imagery, our conventional logic system is turned down, and social norms are loosened, all of which can lead to making more creative associations than we make when we’re awake and our brain is censoring the illogical,” she says.
Andrea Rock (The Mind at Night: The New Science of How and Why We Dream)
Visualization—or the act of creating compelling and vivid pictures in your mind—may be the most underutilized success tool you possess because it greatly accelerates the achievement of any success in three powerful ways.     1. Visualization activates the creative powers of your subconscious mind.     2. Visualization focuses your brain by programming its reticular activating system (RAS) to notice available resources that were always there but were previously unnoticed.     3. Visualization magnetizes and attracts to you the people, resources, and opportunities you need to achieve your goal.
Jack Canfield (The Success Principles: How to Get from Where You Are to Where You Want to Be)
Awareness In most of our daily activities we choose the agenda and develop a strategy to achieve the goal at hand. We create the program. Awareness moves differently. The program is happening around us. The world is the doer and we are the witness. We have little or no control over the content. The gift of awareness allows us to notice what’s going on around and inside ourselves in the present moment. And to do so without attachment or involvement. We may observe bodily sensations, passing thoughts and feelings, sounds or visual cues, smells and tastes. Through detached noticing, awareness allows an observed flower to reveal more of itself without our intervention. This is true of all things. Awareness is not a state you force. There is little effort involved, though persistence is key. It’s something you actively allow to happen. It is a presence with, and acceptance of, what is happening in the eternal now. As soon as you label an aspect of Source, you’re no longer noticing, you’re studying. This holds true of any thought that takes you out of presence with the object of your awareness, whether analysis or simply becoming aware that you’re aware. Analysis is a secondary function. The awareness happens first as a pure connection with the object of your attention. If something strikes me as interesting or beautiful, first I live that experience. Only afterward might I attempt to understand it. Though we can’t change what it is that we are noticing, we can change our ability to notice. We can expand our awareness and narrow it, experience it with our eyes open or closed. We can quiet our inside so we can perceive more on the outside, or quiet the outside so we can notice more of what’s happening inside. We can zoom in on something so closely it loses the features that make it what it appears to be, or zoom so far out it seems like something entirely new. The universe is only as large as our perception of it. When we cultivate our awareness, we are expanding the universe. This expands the scope, not just of the material at our disposal to create from, but of the life we get to live.
Rick Rubin (The Creative Act: A Way of Being)
Create a Clear Idea or Picture Create an idea, a mental picture, or a feeling of the object or situation exactly as you want it. You should think of it in the present tense as already existing the way you want it to be. Imagine yourself in the situation as you desire it, now. Include as many details as you can.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
To my surprise, I found that geology demanded a type of whole-brain thinking I hadn't encountered before. It creatively appropriated ideas from physics and chemistry for the investigation of unruly volcanoes and oceans and ice sheets, It applied scholarly habits one associates with the study of literature and the arts - the practice of close reading, sensitivity to allusion and analogy, capacity for spatial visualization - to the examination of rocks. Its particular form of inferential logic demanded mental versatility and a vigorous but disciplined imagination. And its explanatory power was vast; it was nothing less than the etymology of the world.
Marcia Bjornerud (Timefulness: How Thinking Like a Geologist Can Help Save the World)
Then I transition into visualizing myself in a world where I have just achieved my three most important goals. I live through the feelings that come along with each achievement, imagining all of it in as much detail as possible: sounds, smells, emotions. What would it look, feel, taste, smell, and sound like to accomplish those goals?
Chase Jarvis (Creative Calling: Establish a Daily Practice, Infuse Your World with Meaning, and Succeed in Work + Life)
Certain moments in the creative process, moments when I am really seeing, are weirdly expansive, and I develop a hyper-attuned visual awareness, like the aura-ringed optical field before a migraine. Radiance coalesces about the landscape, rich in possibility, supercharged with something electric, insistent. Time slows down, becomes ecstatic.
Sally Mann (Hold Still: A Memoir with Photographs)
universe is unfolding perfectly. I don’t have to hang on. I can relax and let go. I can go with the flow. I trust my own process. I always have everything I need. I have all the love I need within my own heart. I am a lovable and loving person. I am whole in myself. Divine love is guiding me and I am always taken care of. The universe always provides.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
Children surrounded by fast-paced visual stimuli (TV, videos, computer games) at the expense of face-to-face adult modeling, interactive language, reflective problem-solving, creative play, and sustained attention may be expected to arrive at school unprepared for academic learning—and to fall farther behind and become increasingly “unmotivated” as the years go by.
Jane M. Healy (Endangered Minds: Why Children Dont Think And What We Can Do About I)
Except on a rare day with extenuating circumstances, I’ll follow my meditation with a three-minute gratitude and visualization practice. I begin with my eyes closed and make a short list of three genuine and heartfelt moments I’m grateful to have had in my life—and I relive them as if watching the experience through my own eyes and feeling those moments as fully as possible.
Chase Jarvis (Creative Calling: Establish a Daily Practice, Infuse Your World with Meaning, and Succeed in Work + Life)
Maybe it’s just that before anything came the word, and words are the roots of everything that our senses perceive. Nothing can be imagined, nothing can be visualized in our minds, until we have a word for it. Therefore, when I give myself to the free flow of any words that trip off my tongue without predetermination, I am tapping into the primal creative power at the heart of the cosmos.
Dean Koontz (Odd Apocalypse (Odd Thomas #5))
Embrace Cursive Schools are downplaying—and even eliminating—the need to learn to write cursive, despite its necessity to engage highly complex cognitive processes and achieve mastery of a precise motor coordination. (It takes children years to master handwriting and some stroke victims relearn language by tracing letters with their fingers.) Writing in cursive also increases a sense of harmony and balance, and writing on paper provides creative options: to manipulate the medium in multidimensional, innovative, or expressive ways (such as cutting, folding, pasting, ripping, or coloring the paper). Also, when you write in longhand on paper and then edit, there’ll be a visual and tactile record of your creative process for you and others to study. Learning to write (and writing) in cursive, on paper, fosters creativity and should not be surrendered.
Susan Reynolds (Fire Up Your Writing Brain: How to Use Proven Neuroscience to Become a More Creative, Productive, and Succes sful Writer)
Focus on It Often Bring your idea or mental picture to mind often, both in quiet meditation periods, and also casually throughout the day when you happen to think of it. In this way it becomes an integrated part of your life, and it becomes more of a reality for you. Focus on it clearly, yet in a light, relaxed way. It’s important not to feel like you are striving too hard for it or putting an excessive amount of energy into it — that tends to hinder rather than help.
Shakti Gawain (Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life)
In a world dominated by violent and passive-aggressive men, and by male institutions dispensing violence, it is extraordinary to note how often women are represented as the perpetrators of violence, most of all when we are simply fighting in self-defense or for our children, or when we collectively attempt to change the institutions that are making war on us and on our children. In reality, the feminist movement could be said to be trying to visualize and make way for a world in which abortion would not be necessary; a world free from poverty and rape, in which young girls would grow up with intelligent regard for and knowledge of their bodies and respect for their minds, in which the socialization of women into heterosexual romance and marriage would no longer be the primary lesson of culture; in which single women could raise children with a less crushing cost to themselves, in which female creativity might or might not choose to express itself in motherhood. Yet, when radical feminists and lesbian/feminists begin to speak of such a world, when we begin to sketch the conditions of a life we have collectively envisioned, the first charge we are likely to hear is a charge of violence: that we are “man-haters.” We hear that the women’s movement is provoking men to rape; that it has caused an increase in violent crimes by women; and when we demand the right to rear our children in circumstances where they have a chance for more than mere physical survival, we are called fetus-killers. The beating of women in homes across this country, the rape of daughters by fathers and brothers, the fear of rape that keeps old—as well as young—women off the streets, the casual male violence that can use a car to run two jogging women off a country road, the sadistic exploitation of women’s bodies to furnish a multibillion-dollar empire of pornography, the decision taken by powerful white males that one-quarter of the world’s women shall be sterilized or that certain selected women—poor and Third World—shall be used as subjects for psychosurgery and contraceptive experiments—these ordinary, everyday events inevitably must lead us to ask: who indeed hates whom, who is killing whom, whose interest is served, and whose fantasies expressed, by representing abortion as the selfish, willful, morally contagious expression of woman’s predilection for violence?
Adrienne Rich (On Lies, Secrets, and Silence: Selected Prose 1966-1978)
Jobs spent part of every day for six months helping to refine the display. “It was the most complex fun I’ve ever had,” he recalled. “It was like being the one evolving the variations on ‘Sgt. Pepper.’ ” A lot of features that seem simple now were the result of creative brainstorms. For example, the team worried about how to prevent the device from playing music or making a call accidentally when it was jangling in your pocket. Jobs was congenitally averse to having on-off switches, which he deemed “inelegant.” The solution was “Swipe to Open,” the simple and fun on-screen slider that activated the device when it had gone dormant. Another breakthrough was the sensor that figured out when you put the phone to your ear, so that your lobes didn’t accidentally activate some function. And of course the icons came in his favorite shape, the primitive he made Bill Atkinson design into the software of the first Macintosh: rounded rectangles. In session after session, with Jobs immersed in every detail, the team members figured out ways to simplify what other phones made complicated. They added a big bar to guide you in putting calls on hold or making conference calls, found easy ways to navigate through email, and created icons you could scroll through horizontally to get to different apps—all of which were easier because they could be used visually on the screen rather than by using a keyboard built into the hardware.
Walter Isaacson (Steve Jobs)
Where visual artists are concerned, the Baroque sculptor and architect Bernini and the painter and sculptor Picasso were clearly adept at both experiential and instrumental attending, says Tellegen, as is the modern architect Frank Gehry. Choosing a literary example, he says that F. Scott Fitzgerald once admitted to "wrapping one of his romantic flings in cellophane" for later artistic use and notes that "this kind of heartless but honest professionalism is not uncommon among creative people.
Winifred Gallagher
When, without the bitterness of impotent rebellion, we have learnt both to resign ourselves to the outward rules of Fate and to recognise that the non-human world is unworthy of our worship, it becomes possible at last so to transform and refashion the unconscious universe, so to transmute it in the crucible of imagination, that a new image of shining gold replaces the old idol of clay. In all the multiform facts of the world--in the visual shapes of trees and mountains and clouds, in the events of the life of man, even in the very omnipotence of Death--the insight of creative idealism can find the reflection of a beauty which its own thoughts first made. In this way mind asserts its subtle mastery over the thoughtless forces of Nature. The more evil the material with which it deals, the more thwarting to untrained desire, the greater is its achievement in inducing the reluctant rock to yield up its hidden treasures, the prouder its victory in compelling the opposing forces to swell the pageant of its triumph. Of all the arts, Tragedy is the proudest, the most triumphant; for it builds its shining citadel in the very centre of the enemy's country, on the very summit of his highest mountain; from its impregnable watchtowers, his camps and arsenals, his columns and forts, are all revealed; within its walls the free life continues, while the legions of Death and Pain and Despair, and all the servile captains of tyrant Fate, afford the burghers of that dauntless city new spectacles of beauty. Happy those sacred ramparts, thrice happy the dwellers on that all-seeing eminence. Honour to those brave warriors who, through countless ages of warfare, have preserved for us the priceless heritage of liberty, and have kept undefiled by sacrilegious invaders the home of the unsubdued.
Bertrand Russell
There was almost certainly a genetic contribution to Einstein’s dopaminergic traits. One of his two sons became an internationally recognized expert on hydraulic engineering. The other was diagnosed with schizophrenia at the age of twenty, and died in an asylum. Large population studies have also found a genetic component of a dopaminergic character. An Icelandic study that evaluated the genetic profile of over 86,000 people discovered that individuals who carried genes that placed them at greater risk for either schizophrenia or bipolar disorder were more likely to belong to a national society of actors, dancers, musicians, visual artists, or writers.
Daniel Z. Lieberman (The Molecule of More: How a Single Chemical in Your Brain Drives Love, Sex, and Creativity―and Will Determine the Fate of the Human Race)
All of the stimuli of awe and wonder, whose capacity is invested in the human mind, have been appropriated by religious faiths across centuries, in masterpieces of literature, the visual arts, music, and architecture. Three thousand years of Yahweh have wrought an aesthetic power in these creative arts second to none. There is nothing in my own experience more moving than the Roman Catholic Lucernarium, when the lumen Christi (light of Christ) is spread by Paschal candlelight into a darkened cathedral; or the choral hymns to the standing faithful and approaching procession during an evangelical Protestant altar call. These benefits require submission to God, or his Son the Redeemer, or both, or to His final chosen spokesman Muhammad. This is too easy. It is necessary only to submit, to bow down, to repeat the sacred oaths. Yet let us ask frankly, to whom is such obeisance really directed? Is it to an entity that may have no meaning within reach of the human mind—or may not even exist? Yes, perhaps it really is to God. But perhaps it is to no more than a tribe united by a creation myth. If the latter, religious faith is better interpreted as an unseen trap unavoidable during the biological history of our species. And if this is correct, surely there exist ways to find spiritual fulfillment without surrender and enslavement. Humankind deserves better.
Edward O. Wilson (The Social Conquest of Earth)
Visualize a purpose and an outcome. This concept really struck me from reading Frankl, and it’s a lesson all leaders need to master. Think of it as a mental dress rehearsal for what will happen (notice I said will, not could). If you picture a positive result, it trains your brain to look for the resources that will help you achieve it. Seeing what you want stimulates your creativity and strengthens your confidence. This is more than just daydreaming. It’s eliminating the self-doubt and negativity that can deter you, and putting in place a plan that will lead you on your desired path. And once you know that there’s a light at the end of the tunnel, it’s much easier to face the dark.
Derek Hough (Taking the Lead: Lessons from a Life in Motion)
Therein lies the key, I think, to Einstein’s brilliance and the lessons of his life. As a young student he never did well with rote learning. And later, as a theorist, his success came not from the brute strength of his mental processing power but from his imagination and creativity. He could construct complex equations, but more important, he knew that math is the language nature uses to describe her wonders. So he could visualize how equations were reflected in realities—how the electromagnetic field equations discovered by James Clerk Maxwell, for example, would manifest themselves to a boy riding alongside a light beam. As he once declared, “Imagination is more important than knowledge.”6
Walter Isaacson (Einstein: His Life and Universe)
Visual images of the Goddesses stand in stark contrast to the image of God as an old white man, jarring us to question our culture's view that all legitimate power is male and that female power is dangerous and evil. The image of the naked Eve brazenly taking the apple from the serpent, then cowering in shame before a wrathful male God, tells us not only that female will is the source of all the evil in the universe, but also that the naked female body is part of the problem. This image communicates to the deep mind the message that female will and female nakedness must be controlled and punished by male authority. In contrast, the Goddesses show us that the female can be symbolic of all that is creative and powerful in the universe. The simplest and most profound meaning of the image of the Goddess is the legitimacy and goodness of female power, the female body, and female will.
Carol P. Christ (Rebirth of the Goddess: Finding Meaning in Feminist Spirituality)
Nowadays, whether we like it or not, we are stuck with one form or another of advanced technology and we have got to make it work safely and efficiently: this involves, among other things, the intelligent application of structural theory. However, man does not live by safety and efficiency alone, and we have to face the fact that, visually, the world is becoming an increasingly depressing place. It is not, perhaps, so much the occurrence of what might be described as 'active ugliness' as the prevalence of the dull and the commonplace. Far too seldom is the heart rejoiced or does one feel any better or happier for looking at the works of modern man. Yet most of the artefacts of the eighteenth century, even quite humble and trivial ones, seem to many of us to be at least pleasing and sometimes incomparably beautiful. To that extent people—all people—in the eighteenth century lived richer lives than most of us do today. This is reflected in the prices we pay nowadays for period houses and antiques. A society which was more creative and self-confident would not feel quite so strong a nostalgia for its great-grandfathers' buildings and household looks.
J.E. Gordon (Structures: Or Why Things Don't Fall Down)
With our desire to have more, we find ourselves spending more and more time and energy to manage and maintain everything we have. We try so hard to do this that the things that were supposed to help us end up ruling us. We eventually get used to the new state where our wishes have been fulfilled. We start taking those things for granted and there comes a time when we start getting tired of what we have. We're desperate to convey our own worth, our own value to others. We use objects to tell people just how valuable we are. The objects that are supposed to represent our qualities become our qualities themselves. There are more things to gain from eliminating excess than you might imagine: time, space, freedom and energy. When people say something is impossible, they have already decided that they don't want to do it. Differentiate between things you want and things you need. Leave your unused space empty. These open areas are incredibly useful. They bring us a sense of freedom and keep our minds open to the more important things in life. Memories are wonderful but you won't have room to develop if your attachment to the past is too strong. It's better to cut some of those ties so you can focus on what's important today. Don't get creative when you are trying to discard things. There's no need to stock up. An item chosen with passion represents perfection to us. Things we just happen to pick up, however, are easy candidates for disposal or replacement. As long as we stick to owning things that we really love, we aren't likely to want more. Our homes aren't museum, they don't need collections. When you aren't sure that you really want to part with something, try stowing it away for a while. Larger furniture items with bold colors will in time trigger visual fatigue and then boredom. Discarding things can be wasteful. But the guilt that keeps you from minimizing is the true waste. The real waste is the psychological damage that you accrue from hanging on to things you don't use or need. We find our originality when we own less. When you think about it, it's experience that builds our unique characteristics, not material objects. I've lowered my bar for happiness simply by switching to a tenugui. When even a regular bath towel can make you happy, you'll be able to find happiness almost everywhere. For the minimalist, the objective isn't to reduce, it's to eliminate distractions so they can focus on the things that are truly important. Minimalism is just the beginning. It's a tool. Once you've gone ahead and minimized, it's time to find out what those important things are. Minimalism is built around the idea that there's nothing that you're lacking. You'll spend less time being pushed around by something that you think may be missing. The qualities I look for in the things that I buy are: - the item has a minimalistic kind of shape and is easy to clean - it's color isn't too loud - I'll be able to use it for a long time - it has a simple structure - it's lightweight and compact - it has multiple uses A relaxed moment is not without meaning, it's an important time for reflection. It wasn't the fallen leaves that the lady had been tidying up, it was her own laziness that she had been sweeping away. We are what we repeatedly do. Excellence, then, is not an act but a habit. With daily cleaning, the reward may be the sense of accomplishment and calmness we feel afterward. Cleaning your house is like polishing yourself. Simply by living an organized life, you'll be more invigorated, more confident and like yourself better. Having parted with the bulk of my belongings, I feel true contentment with my day-to-day life. The very act of living brings me joy. When you become a minimalist, you free yourself from all the materialist messages that surround us. All the creative marketing and annoying ads no longer have an effect on you.
Fumio Sasaki (Goodbye, Things: The New Japanese Minimalism)
DREAM INCUBATION: HOW TO SOLVE PROBLEMS IN YOUR SLEEP Choose a problem that’s important to you, one that you have a strong desire to solve. The greater the desire, the more likely it is that the problem will show up in a dream. Think about the problem before you go to bed. If possible, put it in the form of a visual image. If it’s a problem with a relationship, imagine the person it involves. If you’re looking for inspiration, imagine a blank piece of paper. If you’re struggling with some sort of project, imagine an object that represents the project. Hold the image in your mind, so it’s the last thing you think of before you fall asleep. Make sure you have a pen and paper next to your bed. As soon as you wake up from a dream, write it down, whether or not you think it’s related to the problem. Dreams can be tricky, and the answer may be disguised. It’s important to write down the dream immediately because the memory will evaporate in seconds if you begin to think about something else. Many people have had the experience of waking up from an intense dream, one that’s overflowing with personal meaning, and then being unable to recall any of the details less than a minute later. It may take a few nights before you find what you’re looking for, and the solution you get from your dream may not be the best solution. But it will probably be a novel solution, one that approaches the problem from a new direction.
Daniel Z. Lieberman (The Molecule of More: How a Single Chemical in Your Brain Drives Love, Sex, and Creativity―and Will Determine the Fate of the Human Race)
All analysis is thus a translation, a development into symbols, a representation taken from successive points of view from which are noted a corresponding number of contacts between the new object under consideration and others believed to be already known. In its eternally unsatisfied desire to embrace the object around which it is condemned to turn, analysis multiplies endlessly the points of view in order to complete the ever incomplete representation, varies interminably the symbols with the hope of perfecting the always imperfect translation. It is analysis ad infinitum. But intuition, if it is possible, is a simple act. This being granted, it would be easy to see that for positive science analysis is its habitual function. It works above all with symbols. Even the most concrete of the sciences of nature, the sciences of life, confine themselves to the visible form of living beings, their organs, their anatomical elements. They compare these forms with one another, reduce the more complex to the more simple, in fact they study the functioning of life in what is, so to speak, its visual symbol. If there exists a means of possessing a reality absolutely, instead of knowing it relatively, of placing oneself within it instead of adopting points of view toward it, of having the intuition of it instead of making the analysis of it, in short, of grasping it over and above all expression, translation or symbolical representation, metaphysics is that very means. Metaphysics is therefore the science which claims to dispense with symbols.
Henri Bergson (The Creative Mind: An Introduction to Metaphysics)
The motor activities we take for granted—getting out of a chair and walking across a room, picking up a cup and drinking coffee,and so on—require integration of all the muscles and sensory organs working smoothly together to produce coordinated movements that we don't even have to think about. No one has ever explained how the simple code of impulses can do all that. Even more troublesome are the higher processes, such as sight—in which somehow we interpret a constantly changing scene made of innumerable bits of visual data—or the speech patterns, symbol recognition, and grammar of our languages.Heading the list of riddles is the "mind-brain problem" of consciousness, with its recognition, "I am real; I think; I am something special." Then there are abstract thought, memory, personality,creativity, and dreams. The story goes that Otto Loewi had wrestled with the problem of the synapse for a long time without result, when one night he had a dream in which the entire frog-heart experiment was revealed to him. When he awoke, he knew he'd had the dream, but he'd forgotten the details. The next night he had the same dream. This time he remembered the procedure, went to his lab in the morning, did the experiment, and solved the problem. The inspiration that seemed to banish neural electricity forever can't be explained by the theory it supported! How do you convert simple digital messages into these complex phenomena? Latter-day mechanists have simply postulated brain circuitry so intricate that we will probably never figure it out, but some scientists have said there must be other factors.
Robert O. Becker (The Body Electric: Electromagnetism and the Foundation of Life)
Learning to meditate helped too. When the Beatles visited India in 1968 to study Transcendental Meditation at the ashram of Maharishi Mahesh Yogi, I was curious to learn it, so I did. I loved it. Meditation has benefited me hugely throughout my life because it produces a calm open-mindedness that allows me to think more clearly and creatively. I majored in finance in college because of my love for the markets and because that major had no foreign language requirement—so it allowed me to learn what I was interested in, both inside and outside class. I learned a lot about commodity futures from a very interesting classmate, a Vietnam veteran quite a bit older than me. Commodities were attractive because they could be traded with very low margin requirements, meaning I could leverage the limited amount of money I had to invest. If I could make winning decisions, which I planned to do, I could borrow more to make more. Stock, bond, and currency futures didn’t exist back then. Commodity futures were strictly real commodities like corn, soybeans, cattle, and hogs. So those were the markets I started to trade and learn about. My college years coincided with the era of free love, mind-expanding drug experimentation, and rejection of traditional authority. Living through it had a lasting effect on me and many other members of my generation. For example, it deeply impacted Steve Jobs, whom I came to empathize with and admire. Like me, he took up meditation and wasn’t interested in being taught as much as he loved visualizing and building out amazing new things. The times we lived in taught us both to question established ways of doing things—an attitude he demonstrated superbly in Apple’s iconic “1984” and “Here’s to the Crazy Ones,” which were ad campaigns that spoke to me. For the country as a whole, those were difficult years. As the draft expanded and the numbers of young men coming home in body bags soared, the Vietnam War split the country. There was a lottery based on birthdates to determine the order of those who would be drafted. I remember listening to the lottery on the radio while playing pool with my friends. It was estimated that the first 160 or so birthdays called would be drafted, though they read off all 366 dates. My birthday was forty-eighth.
Ray Dalio (Principles: Life and Work)
Remind yourself where you come from. I spent the majority of my life running away from Utah, from the life I led there, from the memories I associated with those early years. It felt very someone-else-ago to me. London changed me profoundly. When we were dancing on DWTS together, Jennifer Grey called me one night. She was having trouble with her back and wanted to see a physiotherapist. “Can you come with me?” she asked. She drove us through a residential section of Beverly Hills. We pulled into a house with a shed out back. Oddly, it didn’t look like a doctor’s office. There was a couch and incense burning. An Australian guy with a white beard came in : “Hey, mates.” I looked at Jen and she winked at me. This was no physical therapy. She’d signed us up for some bizarre couples therapy! The guy spoke to us for a while, then he asked Jennifer if she wouldn’t mind leaving us to chat. I thought the whole thing was pretty out there, but I didn’t think I could make a run for it. “So, Derek,” he said. “Tell me about your childhood.” I laid it all out for him--I talked for almost two hours--and he nodded. “You can go pick him up now.” I raised an eyebrow. “Pick who up?” The therapist smiled. “That younger boy, that self you left in Utah. You left him there while you’ve been on a mission moving forward so vigorously. Now you can go get him back.” I sat there, utterly stunned and speechless. It was beyond powerful and enlightening. Had I really left that part of me behind? Had I lost that fun-loving, wide-eyed kid and all his creative exuberance? When I came out of my therapy session, Jennifer was waiting for me. “If I’d told you this was where we were going, you wouldn’t have come,” she said. She was right. She had to blindside me to get me to grapple with this. She’s a very spiritual person, and she saw how I was struggling, how I seemed to be in some kind of emotional rut. Just visualizing myself taking the old Derek by the hand was an incredible exercise. I think we often tuck our younger selves away for safekeeping. In my case, I associated my early years with painful memories. I wanted to keep young Derek at a distance. But what I forgot was all the good I experienced with him as well: the joy, the hope, the excitement, the wonder. I forgot what a great kid Derek was. I gave myself permission to reconnect with that little boy, to see the world through his eyes again. It was the kick in the butt I needed. Jennifer would say, “Told ya so.
Derek Hough (Taking the Lead: Lessons from a Life in Motion)
Interestingly enough, creative geniuses seem to think a lot more like horses do. These people also spend a rather large amount of time engaging in that favorite equine pastime: doing nothing. In his book Fire in the Crucible: The Alchemy of Creative Genius, John Briggs gathers numerous studies illustrating how artists and inventors keep their thoughts pulsating in a field of nuance associated with the limbic system. In order to accomplish this feat against the influence of cultural conditioning, they tend to be outsiders who have trouble fitting into polite society. Many creative geniuses don’t do well in school and don’t speak until they’re older, thus increasing their awareness of nonverbal feelings, sensations, and body language cues. Einstein is a classic example. Like Kathleen Barry Ingram, he also failed his college entrance exams. As expected, these sensitive, often highly empathic people feel extremely uncomfortable around incongruent members of their own species, and tend to distance themselves from the cultural mainstream. Through their refusal to fit into a system focusing on outside authority, suppressed emotion, and secondhand thought, creative geniuses retain and enhance their ability to activate the entire brain. Information flows freely, strengthening pathways between the various brain functions. The tendency to separate thought from emotion, memory, and sensation is lessened. This gives birth to a powerful nonlinear process, a flood of sensations and images interacting with high-level thought functions and aspects of memory too complex and multifaceted to distill into words. These elements continue to influence and build on each other with increasing ferocity. Researchers emphasize that the entire process is so rapid the conscious mind barely registers that it is happening, let alone what is happening. Now a person — or a horse for that matter — can theoretically operate at this level his entire life and never receive recognition for the rich and innovative insights resulting from this process. Those called creative geniuses continuously struggle with the task of communicating their revelations to the world through the most amenable form of expression — music, visual art, poetry, mathematics. Their talent for innovation, however, stems from an ability to continually engage and process a complex, interconnected, nonlinear series of insights. Briggs also found that creative geniuses spend a large of amount of time “doing nothing,” alternating episodes of intense concentration on a project with periods of what he calls “creative indolence.” Albert Einstein once remarked that some of his greatest ideas came to him so suddenly while shaving that he was prone to cut himself with surprise.
Linda Kohanov (The Tao of Equus: A Woman's Journey of Healing and Transformation through the Way of the Horse)
Take your Inspire Empire box and spend some time making it a visual presentation of the life you want. Cut out inspirational words or positive pictures from magazines, write up motivational sayings in creative lettering, buy luxurious fabrics, use fun paints or markers—anything that resonates with you and evokes a symbolic or visual image of your future life. Be as creative as possible to make your Inspire Empire look like the life you will create.
Marla Majewski (The Girl I Used To Know: How To Find Yourself Again & Put Personal Priority Back On Your To-Do List)
Visual artists tend to like Tumblr, Instagram, or Facebook.
Austin Kleon (Show Your Work!: 10 Ways to Share Your Creativity and Get Discovered (Austin Kleon))
That uncertainty can make us uncomfortable. We humans like to know where we are headed, but creativity demands that we travel paths that lead to who-knows-where. That requires us to step up to the boundary of what we know and what we don’t know. While we all have the potential to be creative, some people hang back, while others forge ahead. What are the tools they use that lead them toward the new? Those with superior talent and the ability to marshal the energies of others have learned from experience that there is a sweet spot between the known and the unknown where originality happens; the key is to be able to linger there without panicking. And that, according to the people who make films at Pixar and Disney Animation, means developing a mental model that sustains you. It might sound silly or woo-woo, this kind of visualization, but I believe it’s crucial. Sometimes—especially at the beginning of a daunting project—our mental models are all we’ve got.
Ed Catmull (Creativity, Inc.: an inspiring look at how creativity can - and should - be harnessed for business success by the founder of Pixar)