Destruction Art Quotes

The urge to destroy is also a creative urge.

Every morning I jump out of bed and step on a landmine. The landmine is me. After the explosion, I spend the rest of the day putting the pieces together.

the way to create art is to burn and destroy ordinary concepts and to substitute them with new truths that run down from the top of the head and out of the heart

No, sir, destruction is not necessary for art.” I said that, not because I was certain, but because I thought my saying it would help me believe it.

I suddenly realized. The zebra. It is not something outside of us. The zebra is something inside of us. Our fears. Our own self-destructive nature. The zebra is the worst part of us when we are face-to-face with our worst times. The demon is us!

Everything worthwhile in life is won through surmounting the associated negative experience. Any attempt to escape the negative, to avoid it or quash it or silence it, only backfires. The avoidance of suffering is a form of suffering. The avoidance of struggle is a struggle. The denial of failure is a failure. Hiding what is shameful is itself a form of shame. Pain is an inextricable thread in the fabric of life, and to tear it out is not only impossible, but destructive: attempting to tear it out unravels everything else with it. To try to avoid pain is to give too many fucks about pain. In contrast, if you’re able to not give a fuck about the pain, you become unstoppable." ~~~~ Mark Manson

Every act of creation is first of all an act of destruction." ― Pablo Picasso

Chronic anxiety is a state more undesirable than any other, and we will try almost any maneuver to eliminate it. Modern man is living in anxious anticipation of destruction. Such anxiety can be easily eliminated by self-destruction. As a German saying puts it: 'Better an end with terror than a terror without end.

My fear of life is necessary to me, as is my illness. Without anxiety and illness, I am a ship without a rudder. My art is grounded in reflections over being different from others. My sufferings are part of my self and my art. They are indistinguishable from me, and their destruction would destroy my art. I want to keep those sufferings.

Vogon poetry is of course, the third worst in the universe. The second worst is that of the Azgoths of Kria. During a recitation by their poet master Grunthos the Flatulent of his poem "Ode to a Small Lump of Green Putty I Found in My Armpit One Midsummer Morning" four of his audience died of internal haemorrhaging and the president of the Mid-Galactic Arts Nobbling Council survived by gnawing one of his own legs off. Grunthos was reported to have been "disappointed" by the poem's reception, and was about to embark on a reading of his 12-book epic entitled "My Favourite Bathtime Gurgles" when his own major intestine, in a desperate attempt to save humanity, leapt straight up through his neck and throttled his brain. The very worst poetry of all perished along with its creator, Paul Neil Milne Johnstone of Redbridge, in the destruction of the planet Earth. Vogon poetry is mild by comparison.

Humanity’s self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order.

There is probably no better or more reliable measure of whether a woman has spent time in ugly duckling status at some point or all throughout her life than her inability to digest a sincere compliment. Although it could be a matter of modesty, or could be attributed to shyness- although too many serious wounds are carelessly written off as "nothing but shyness"- more often a compliment is stuttered around about because it sets up an automatic and unpleasant dialogue in the woman's mind. If you say how lovely she is, or how beautiful her art is, or compliment anything else her soul took part in, inspired, or suffused, something in her mind says she is undeserving and you, the complimentor, are an idiot for thinking such a thing to begin with. Rather than understand that the beauty of her soul shines through when she is being herself, the woman changes the subject and effectively snatches nourishment away from the soul-self, which thrives on being acknowledged." "I must admit, I sometimes find it useful in my practice to delineate the various typologies of personality as cats and hens and ducks and swans and so forth. If warranted, I might ask my client to assume for a moment that she is a swan who does not realzie it. Assume also for a moment that she has been brought up by or is currently surrounded by ducks. There is nothing wrong with ducks, I assure them, or with swans. But ducks are ducks and swans are swans. Sometimes to make the point I have to move to other animal metaphors. I like to use mice. What if you were raised by the mice people? But what if you're, say, a swan. Swans and mice hate each other's food for the most part. They each think the other smells funny. They are not interested in spending time together, and if they did, one would be constantly harassing the other. But what if you, being a swan, had to pretend you were a mouse? What if you had to pretend to be gray and furry and tiny? What you had no long snaky tail to carry in the air on tail-carrying day? What if wherever you went you tried to walk like a mouse, but you waddled instead? What if you tried to talk like a mouse, but insteade out came a honk every time? Wouldn't you be the most miserable creature in the world? The answer is an inequivocal yes. So why, if this is all so and too true, do women keep trying to bend and fold themselves into shapes that are not theirs? I must say, from years of clinical observation of this problem, that most of the time it is not because of deep-seated masochism or a malignant dedication to self-destruction or anything of that nature. More often it is because the woman simply doesn't know any better. She is unmothered.

O Rose, thou art sick. The invisible worm That flies in the night In the howling storm Has found out thy bed Of crimson joy, And his dark secret love Does thy life destroy.

Art is the symbol of the two noblest human efforts: to construct and to refrain from destruction.

There are five dangerous faults which may affect a general: (1) Recklessness, which leads to destruction; (2) cowardice, which leads to capture; (3) a hasty temper, which can be provoked by insults; (4) a delicacy of honor which is sensitive to shame; (5) over-solicitude for his men, which exposes him to worry and trouble.

Deep knowledge is to be aware of disturbance before disturbance, to be aware of danger before danger, to be aware of destruction before destruction, to be aware of calamity before calamity. Strong action is training the body without being burdened by the body, exercising the mind without being used by the mind, working in the world without being affected by the world, carrying out tasks without being obstructed by tasks.

Ground on which we can only be saved from destruction by fighting without delay, is desperate ground.

The Symbol of all Art is the Prism. The goal is destructive. To break up the white light of objective realism into the secret glories it contains.

If an emotion can't change the condition or the situation you're dealing with, it is likely an unhelpful emotion. Or, quite possibly, a destructive one. But it's what I feel. Right, no one said anything about not feeling it. No one said you can't ever cry. Forget "manliness." If you need to take a moment, by all means, go ahead. Real strength lies in the control or, as Nassim Taleb put it, the domestication of one's emotions, not in pretending they don't exist.

Withholding love is a bit like drinking poison and expecting the other person to die.

Forgiveness is a personal process that doesn’t depend on us having direct contact with the people who have hurt us.

Loretta said that, a couple months ago, Cindy asked her what assassination meant. She told her the truth, of course—that an assassination is when someone kills you to make a point. Which was correct enough, Stella supposed, but only if you were an important man. Important men became martyrs, unimportant ones victims. The important men were given televised funerals, public days of mourning. Their deaths inspired the creation of art and the destruction of cities. But unimportant men were killed to make the point that they were unimportant—that they were not even men—and the world continued on.

They seemed to forget that the increase of known truths stimulates the investigation, establishment and growth of the arts; not their dimination or destruction.

Analysis is the art of creation through destruction.

Perhaps the most extraordinary characteristic of current America is the attempt to reduce life to buying and selling. Life is not love unless love is sex and bought and sold. Life is not knowledge save knowledge of technique, of science for destruction. Life is not beauty except beauty for sale. Life is not art unless its price is high and it is sold for profit. All life is production for profit, and for what is profit but for buying and selling again?

To live, we must daily break the body and shed the blood of Creation. When we do this knowingly, lovingly, skillfully, reverently, it is a sacrament. When we do it ignorantly, greedily, clumsily, destructively, it is a desecration. In such desecration we condemn ourselves to spiritual and moral loneliness, and others to want.

The difference between a path and a road is not only the obvious one. A path is little more than a habit that comes with knowledge of a place. It is a sort of ritual of familiarity. As a form, it is a form of contact with a known landscape. It is not destructive. It is the perfect adaptation, through experience and familiarity, of movement to place; it obeys the natural contours; such obstacles as it meets it goes around.

There are five dangerous faults which may affect a general: (1) Recklessness, which leads to destruction; (2) cowardice, which leads to capture; (3) a hasty temper, which can be provoked by insults; (4) a delicacy of honor which is sensitive to shame; (5) over-solicitude for his men, which exposes him to worry and trouble.

Important men became martyrs, unimportant ones victims. The important men were given televised funerals, public days of mourning. Their deaths inspired the creation of art and the destruction of cities. But unimportant men were killed to make the point that they were unimportant—that they were not even men—and the world continued on.

It's 4am again and I'm just getting started. People are boring and I want to burn with excitement or anger and bleed, bleed through my words. I want to get all fucked up and write real and raw and ugly and beautifully. I bet you're sleeping safe and calm, and you can stay there, it's safer there, and you wouldn't stand one night on this journey my mind wanders off to every night you close your eyes. I'll stay here one day and I will never come down. I promise I can fly before I hit the ground. It doesn't even hurt anymore. I swear, it doesn't hurt.

Self-destruction is an art; cursed are the exponents.

It was not the privileged and the fortunate who took in the Jews in France. It was the marginal and damaged, which should remind us that there are real limits to what evil and misfortune can accomplish. If you take away the gift of reading, you create the gift of listening. If you bomb a city, you leave behind death and destruction. But you create a community of remote misses. If you take away a mother or a father, you cause suffering and despair. But one time in ten, out of that despair rises as indomitable force. You see the giant and the shepherd in the Valley of Elah and your eye is drawn to the man with sword and shield and the glittering armor. But so much of what is beautiful and valuable in the world comes from the shepherd, who has more strength and purpose than we ever imagine.

But the floor retained an unparalleled measure of excellence with a decorative array of ceramic tiles precisely laid by an anonymous Muslim artisan with limitless patience, pride, or skill.  He left behind an ornate work of art in a short, squat, non-descript building near the most dangerous piece of real estate on the planet.  Silva often wondered how an architect so careless came to work with a craftsman so precise.  Looking at that floor, she often thought that if everyone applied just a fraction of his dedication to their own work, it might cancel out the hatred driving the destruction.

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

In the loss of skill, we lose stewardship; in losing stewardship we lose fellowship; we become outcasts from the great neighborhood of Creation. It is possible - as our experience in this good land shows - to exile ourselves from Creation, and to ally ourselves with the principle of destruction - which is, ultimately, the principle of nonentity. It is to be willing in general for being to not-be. And once we have allied ourselves with that principle, we are foolish to think that we can control the results. (pg. 303, The Gift of Good Land)

I have learned that feeling empty sometimes is okay. I’ve got to refill myself with something at some point. Art, love, solitude, random acts of kindness. I really don’t know, but that’s what makes being whole again so exciting.

Destruction is as valid an artistic statement as construction. Both statements echo the model of the society we live in. The only invalid art is utopian

The Destructive Arts are exactly like Martial Arts, except they don't have uniforms or usefulness and the end result doesn't resemble art in any way.

Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are "merely aesthetic". That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity.

We have seen that improved agents of destruction advance production by continually enlarging its outlets. The security of civilisation has been assured neither by the arts of peace nor yet by those of war, but by the cooperation of both

What is in mind is a sort of Chautauqua...that's the only name I can think of for it...like the traveling tent-show Chautauquas that used to move across America, this America, the one that we are now in, an old-time series of popular talks intended to edify and entertain, improve the mind and bring culture and enlightenment to the ears and thoughts of the hearer. The Chautauquas were pushed aside by faster-paced radio, movies and TV, and it seems to me the change was not entirely an improvement. Perhaps because of these changes the stream of national consciousness moves faster now, and is broader, but it seems to run less deep. The old channels cannot contain it and in its search for new ones there seems to be growing havoc and destruction along its banks. In this Chautauqua I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated. "What's new?" is an interesting and broadening eternal question, but one which, if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow. I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now. Now the stream of our common consciousness seems to be obliterating its own banks, losing its central direction and purpose, flooding the lowlands, disconnecting and isolating the highlands and to no particular purpose other than the wasteful fulfillment of its own internal momentum. Some channel deepening seems called for.

This, I feel, is the advantage to creating art at this point in time: When we realize that we are temporary, we are facing our self-destruction, we are realizing our fate and we must confront it. Art is the only sensible primal response to an outlook of possible destruction (obliteration).

You look at these mountains now, and they look so permanent and peaceful, but they're changing all the time and the changes aren't always peaceful. Underneath us, beneath us here right now, there are forces that can tear this whole mountain apart.

I have come more and more to the belief that we owe our arts a thousand times what we are paying them. We support our cigarette factories, soap manufacturers, beauticians, all the luxury and pleasure businesses of our over-indulged civilization, but we pay our painters an average wage... and yet when the future digs us from the past they won't care how we smell, what we smoke, or if we bathed. All they’ll know of us will be our architecture, our paintings, sculpture, poems, laws, philosophy, drama, our pottery and fabrics, the things which our hands made and our minds thought up - oh, the machines they’ll dig up too, but perhaps they’ll point to them as our destruction, the wheels that drove us down to death.

Our prevailing system of management has destroyed our people. People are born with intrinsic motivation, self-respect, dignity, curiosity to learn, joy in learning. The forces of destruction begin with toddlers—a prize for the best Halloween costume, grades in school, gold stars—and on up through the university. On the job, people, teams, and divisions are ranked, reward for the top, punishment for the bottom. Management by Objectives, quotas, incentive pay, business plans, put together separately, division by division, cause further loss, unknown and unknowable.

The Symbol of all Art is the Prism. The goal is unrealism. The method is destructive. To break up the white light of objective realism into the secret glories which it contains. e.e. cummings

Art is not neutral. It either upholds or disrupts the status quo, advancing or regressing justice. We are living now inside the imagination of people who thought economic disparity and environmental destruction were acceptable costs for their power. It is our right and responsibility to write ourselves into the future.

If there is no extant God and no extant gods, no good and no evil, no right and no wrong, no meaning and no purpose: if there are no values that are inherently valuable; no justice that is ultimately justifiable; no reasoning that is fundamentally rational, then there is no sane way to choose between science, religion, racism, philosophy, nationalism, art, conservatism, nihilism, liberalism, surrealism, fascism, asceticism, egalitarianism, subjectivism, elitism, ismism. If reason is incapable of deducing ultimate, non-arbitrary human ends, and nothing can be judged as ultimately more important than anything else, then freedom is equal to slavery; cruelty is equal to kindness; love is equal to hate; war is equal to peace; dignity is equal to contempt; destruction is equal to creation; life is equal to death and death is equal to life. Nihilism represents the ultimate logical conclusion of our great values and ideals- because we must experience nihilism before we can find out what value these "values" really had.

Poetry leads us to the unstructured sources of our beings, to the unknown, and returns us to our rational, structured selves refreshed. Having once experienced the mystery, plenitude, contradiction, and composure of a work of art, we afterward have a built-in resistance to the slogans and propaganda of oversimplification that have often contributed to the destruction of human life. Poetry is a verbal means to a nonverbal source. It is a motion to no-motion, to the still point of contemplation and deep realization.

All obstructions to the execution of the laws, all combinations and associations, under whatever plausible character, with the real design to direct, control, counteract, or awe the regular deliberation and action of the constituted authorities, are destructive of this fundamental principle, and of fatal tendency. They serve to organize faction, to give it an artificial and extraordinary force; to put, in the place of the delegated will of the nation the will of a party, often a small but artful and enterprising minority of the community; and, according to the alternate triumphs of different parties, to make the public administration the mirror of the ill-concerted and incongruous projects of faction, rather than the organ of consistent and wholesome plans digested by common counsels and modified by mutual interests.

If an emotion can’t change the condition or the situation you’re dealing with, it is likely an unhelpful emotion. Or, quite possibly, a destructive one.

Trying to impose our personal agenda on someone else’s experience is the shadow side of love, while real love recognizes that life unfolds at its own pace.

There is an Eastern fable, told long ago, of a traveller overtaken on a plain by an enraged beast. Escaping from the beast he gets into a dry well, but sees at the bottom of the well a dragon that has opened its jaws to swallow him. And the unfortunate man, not daring to climb out lest he should be destroyed by the enraged beast, and not daring to leap to the bottom of the well lest he should be eaten by the dragon, seizes s twig growing in a crack in the well and clings to it. His hands are growing weaker and he feels he will soon have to resign himself to the destruction that awaits him above or below, but still he clings on. Then he sees that two mice, a black one and a white one, go regularly round and round the stem of the twig to which he is clinging and gnaw at it. And soon the twig itself will snap and he will fall into the dragon's jaws. The traveller sees this and knows that he will inevitably perish; but while still hanging he looks around, sees some drops of honey on the leaves of the twig, reaches them with his tongue and licks them. So I too clung to the twig of life, knowing that the dragon of death was inevitably awaiting me, ready to tear me to pieces; and I could not understand why I had fallen into such torment. I tried to lick the honey which formerly consoled me, but the honey no longer gave me pleasure, and the white and black mice of day and night gnawed at the branch by which I hung. I saw the dragon clearly and the honey no longer tasted sweet. I only saw the unescapable dragon and mice, and I could not tear my gaze from them. and this is not a fable but the real unanswerable truth intelligible to all. The deception of the joys of life which formerly allayed my terror of the dragon now no longer deceived me. No matter how often I may be told, "You cannot understand the meaning of life so do not think about it, but live," I can no longer do it: I have already done it too long. I cannot now help seeing day and night going round and bringing me to death. That is all I see, for that alone is true. All else is false. The two drops of honey which diverted my eyes from the cruel truth longer than the rest: my love of family, and of writing -- art as I called it -- were no longer sweet to me. "Family"... said I to myself. But my family -- wife and children -- are also human. They are placed just as I am: they must either live in a lie or see the terrible truth. Why should they live? Why should I love them, guard them, bring them up, or watch them? That they may come to the despair that I feel, or else be stupid? Loving them, I cannot hide the truth from them: each step in knowledge leads them to the truth. And the truth is death.

In the whole vast domain of living nature there reigns an open violence, a kind of prescriptive fury which arms all the creatures to their common doom. As soon as you leave the inanimate kingdom, you find the decree of violent death inscribed on the very frontiers of life. You feel it already in the vegetable kingdom: from the great catalpa to the humblest herb, how many plants die, and how many are killed. But from the moment you enter the animal kingdom, this law is suddenly in the most dreadful evidence. A power of violence at once hidden and palpable … has in each species appointed a certain number of animals to devour the others. Thus there are insects of prey, reptiles of prey, birds of prey, fishes of prey, quadrupeds of prey. There is no instant of time when one creature is not being devoured by another. Over all these numerous races of animals man is placed, and his destructive hand spares nothing that lives. He kills to obtain food and he kills to clothe himself. He kills to adorn himself, he kills in order to attack, and he kills in order to defend himself. He kills to instruct himself and he kills to amuse himself. He kills to kill. Proud and terrible king, he wants everything and nothing resists him. From the lamb he tears its guts and makes his harp resound ... from the wolf his most deadly tooth to polish his pretty works of art; from the elephant his tusks to make a toy for his child - his table is covered with corpses ... And who in all of this will exterminate him who exterminates all others? Himself. It is man who is charged with the slaughter of man ... So it is accomplished ... the first law of the violent destruction of living creatures. The whole earth, perpetually steeped in blood, is nothing but a vast altar upon which all that is living must be sacrificed without end, without measure, without pause, until the consummation of things, until evil is extinct, until the death of death.

Maybe it was true that only beauty would save the world, or truth, or some other high-flown garbage; but fear was still more powerful than anything else. Fear destroyed everything: everything born of beauty, the tender shoots of all that was fine, wise, eternal...

It has often been suggested to me that the Constitution of the United States is a sufficient safeguard for the freedom of its citizens. It is obvious that even the freedom it pretends to guarantee is very limited. I have not been impressed with the adequacy of the safeguard. The nations of the world, with centuries of international law behind them, have never hesitated to engage in mass destruction when solemnly pledged to keep the peace; and the legal documents in America have not prevented the United States from doing the same. Those in authority have and always will abuse their power. And the instances when they do not do so are as rare as roses growing on icebergs. Far from the Constitution playing any liberating part in the lives of the American people, it has robbed them of the capacity to rely on their own resources or do their own thinking. Americans are so easily hoodwinked by the sanctity of law and authority. In fact, the pattern of life has become standardized, routinized, and mechanized like canned food and Sunday sermons. The hundred-percenter easily swallows syndicated information and factory-made ideas and beliefs. He thrives on the wisdom given him over the radio and cheap magazines by corporations whose philanthropic aim is selling America out. He accepts the standards of conduct and art in the same breath with the advertising of chewing gum, toothpaste, and shoe polish. Even songs are turned out like buttons or automobile tires--all cast from the same mold.

The greatest book in the world, the Mahabharata, tells us we all have to live and die by our karmic cycle. Thus works the perfect reward-and-punishment, cause-and-effect, code of the universe. We live out in our present life what we wrote out in our last. But the great moral thriller also orders us to rage against karma and its despotic dictates. It teaches us to subvert it. To change it. It tells us we also write out our next lives as we live out our present. The Mahabharata is not a work of religious instruction. It is much greater. It is a work of art. It understands men will always fall in the shifting chasm between the tug of the moral and the lure of the immoral. It is in this shifting space of uncertitude that men become men. Not animals, not gods. It understands truth is relative. That it is defined by context and motive. It encourages the noblest of men - Yudhishtra, Arjuna, Lord Krishna himself - to lie, so that a greater truth may be served. It understands the world is powered by desire. And that desire is an unknowable thing. Desire conjures death, destruction, distress. But also creates love, beauty, art. It is our greatest undoing. And the only reason for all doing. And doing is life. Doing is karma. Thus it forgives even those who desire intemperately. It forgives Duryodhana. The man who desires without pause. The man who precipitates the war to end all wars. It grants him paradise and the admiration of the gods. In the desiring and the doing this most reviled of men fulfils the mandate of man. You must know the world before you are done with it. You must act on desire before you renounce it. There can be no merit in forgoing the not known. The greatest book in the world rescues volition from religion and gives it back to man. Religion is the disciplinarian fantasy of a schoolmaster. The Mahabharata is the joyous song of life of a maestro. In its tales within tales it takes religion for a spin and skins it inside out. Leaves it puzzling over its own poisoned follicles. It gives men the chance to be splendid. Doubt-ridden architects of some small part of their lives. Duryodhanas who can win even as they lose.

Second, nothing about adolescence can be understood outside the context of delayed frontocortical maturation. If by adolescence limbic, autonomic, and endocrine systems are going full blast while the frontal cortex is still working out the assembly instructions, we’ve just explained why adolescents are so frustrating, great, asinine, impulsive, inspiring, destructive, self-destructive, selfless, selfish, impossible, and world changing. Think about this—adolescence and early adulthood are the times when someone is most likely to kill, be killed, leave home forever, invent an art form, help overthrow a dictator, ethnically cleanse a village, devote themselves to the needy, become addicted, marry outside their group, transform physics, have hideous fashion taste, break their neck recreationally, commit their life to God, mug an old lady, or be convinced that all of history has converged to make this moment the most consequential, the most fraught with peril and promise, the most demanding that they get involved and make a difference. In other words, it’s the time of life of maximal risk taking, novelty seeking, and affiliation with peers. All because of that immature frontal cortex.

An artistic person taps into the destructive emotional energy of guilt and shame and the longing to love and be loveable and transforms these powerful emotions into a creative force.

Each person entering our world brings either a contribution or destruction. Trying to be “always nice” is to invite certain disaster. Those with poisonous attitudes, strange opinions, and caustic conversations love to look for someone nice who will listen to them. They love to dump their verbal garbage into the mental factory of anyone willing to listen. A major challenge in life is for each person to learn the art of standing guard at the doorway of their mind. Carefully examine the credentials and authority of those seeking to enter within that place where your attitudes are formed.

If our mental processes become focused on our internal dogmas and isolated from the unfolding, constantly dynamic outside world, we experience mismatches between our mental images and reality. Then confusion and disorder and uncertainty not only result but continue to increase. Ultimately, as disorder increases, chaos can result. Boyd showed why this is a natural process and why the only alternative is to do a destructive deduction and rebuild one’s mental image to correspond to the new reality.

And so we know the satisfaction of hate. We know the sweet joy of revenge. How it feels good to get even. Oh, that was a nice idea Jesus had. That was a pretty notion, but you can't love people who do evil. It's neither sensible or practical. It's not wise to the world to love people who do such terrible wrong. There is no way on earth we can love our enemies. They'll only do wickedness and hatefulness again. And worse, they'll think they can get away with this wickedness and evil, because they'll think we're weak and afraid. What would the world come to? But I want to say to you here on this hot July morning in Holt, what if Jesus wasn't kidding? What if he wasn't talking about some never-never land? What if he really did mean what he said two thousand years ago? What if he was thoroughly wise to the world and knew firsthand cruelty and wickedness and evil and hate? Knew it all so well from personal firsthand experience? And what if in spite of all that he knew, he still said love your enemies? Turn your cheek. Pray for those who misuse you. What if he meant every word of what he said? What then would the world come to? And what if we tried it? What if we said to our enemies: We are the most powerful nation on earth. We can destroy you. We can kill your children. We can make ruins of your cities and villages and when we're finished you won't even know how to look for the places where they used to be. We have the power to take away your water and to scorch your earth, to rob you of the very fundamentals of life. We can change the actual day into actual night. We can do these things to you. And more. But what if we say, Listen: Instead of any of these, we are going to give willingly and generously to you. We are going to spend the great American national treasure and the will and the human lives that we would have spent on destruction, and instead we are going to turn them all toward creation. We'll mend your roads and highways, expand your schools, modernize your wells and water supplies, save your ancient artifacts and art and culture, preserve your temples and mosques. In fact, we are going to love you. And again we say, no matter what has gone before, no matter what you've done: We are going to love you. We have set our hearts to it. We will treat you like brothers and sisters. We are going to turn our collective national cheek and present it to be stricken a second time, if need be, and offer it to you. Listen, we-- But then he was abruptly halted.

You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.

As the connections have been broken by the fragmentation and isolation of work, they can be restored by restoring the wholeness of work. There is work that is isolating, harsh, destructive, specialized or trivialized into meaninglessness. And there is work that is restorative, convivial, dignified and dignifying, and pleasing. Good work is not just the maintenance of connections - as one is now said to work "for a living" or "to support a family" - but the enactment of connections. It is living, and a way of living; it is not support for a family in the sense of an exterior brace or prop, but is one of the forms and acts of love. (pg. 133, The Body and the Earth)

Ours is a bourgeois civilization. I am not using this term in its Marxian sense. Chicken! In the vocabularies of modern art and religion it is bourgeois to consider that the universe was made for our safe use and to give us comfort, ease, and support. Light travels at a quarter of a million miles per second so that we can see to comb our hair or read in the paper that ham hocks are cheaper than yesterday. De Tocqueville considered the impulse toward well-being as one of the strongest impulses of a democratic society. He can't be blamed for underestimating the destructive powers generated by this same impulse.

Good values are 1) reality-based, 2) socially constructive, and 3) immediate and controllable. Bad values are 1) superstitious, 2) socially destructive, and 3) not immediate or controllable. Good, healthy values are achieved internally. Something like creativity or humility that can be experienced right now. You simply have to orient your mind in a certain way to experience it. These values are immediate and controllable and engage you with the world as it is rather than how you wish it were. Bad values are generally reliant on external events.

I'd believed mine was the greatest of all the arts, the noblest of all the lies, the creation of hope. I thought hope could overcome everything, but I was wrong. Hope cannot overcome truth. Hope and truth cannot co-exist. Truth destroys hope. The most savage cruelties man inflicts on man are committed in the pursuit of truth. My last lie had been the most honest, the most honorable of them all, for there is an art greater even than the creation of hope. The greatest art of all is the destruction of truth.

Text of pleasure: the text that contents, fills, grants euphoria; the text that comes from culture and does not break with it, is linked to a comfortable practice of reading. Text of bliss: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language. Now the subject who keeps the two texts in his field and in his hands the reins of pleasure and bliss is an anachronic subject, for he simultaneously and contradictorily participates in the profound hedonism of all culture (which permeates him quietly under the cover of an "art de vivre" shared by the old books) and in the destruction of that culture: he enjoys the consistency of his selfhood (that is his pleasure) and seeks its loss (that is his bliss). He is a subject split twice over, doubly perverse.

Until modern times, we focused a great deal of the best of our thought upon rituals of return to the human condition. Seeking enlightenment or the Promised Land or the way home, a man would go or be forced to go into the wilderness, measure himself against the Creation, recognize finally his true place within it, and thus be saved both from pride and from despair. Seeing himself as a tiny member of a world he cannot comprehend or master or in any final sense possess, he cannot possibly think of himself as a god. And by the same token, since he shares in, depends upon, and is graced by all of which he is a part, neither can he become a fiend; he cannot descend into the final despair of destructiveness. Returning from the wilderness, he becomes a restorer of order, a preserver. He sees the truth, recognizes his true heir, honors his forebears and his heritage, and gives his blessing to his successors. He embodies the passing of human time, living and dying within the human limits of grief and joy. (pg.95, "The Body and the Earth")

Focusing exclusively on what is in our power magnifies and enhances our power. But every ounce of energy directed at things we can’t actually influence is wasted—self-indulgent and self-destructive. So much power—ours, and other people’s—is frittered away in this manner. To see an obstacle as a challenge, to make the best of it anyway, that is also a choice—a choice that is up to us.

Surely you must be possessed by the devil," said Candide. "He is so deeply concerned in the affairs of this world," answered Martin, "that he may very well be in me, as well as in everybody else; but I own to you that when I cast an eye on this globe, or rather on this little ball, I cannot help thinking that God has abandoned it to some malignant being. I except, always, El Dorado. I scarcely ever knew a city that did not desire the destruction of a neighbouring city, nor a family that did not wish to exterminate some other family. Everywhere the weak execrate the powerful, before whom they cringe; and the powerful beat them like sheep whose wool and flesh they sell. A million regimented assassins, from one extremity of Europe to the other, get their bread by disciplined depredation and murder, for want of more honest employment. Even in those cities which seem to enjoy peace, and[Pg 100] where the arts flourish, the inhabitants are devoured by more envy, care, and uneasiness than are experienced by a besieged town. Secret griefs are more cruel than public calamities. In a word I have seen so much, and experienced so much that I am a Manichean." "There are, however, some things good," said Candide. "That may be," said Martin; "but I know them not.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

Faith in life, in oneself, in others must be built on the hard rock of realism; that is to say, on the capacity to see evil where it is, to see swindle, destructiveness, and selfishness not only when they are obvious but in their many disguises and rationalizations. Indeed, faith, love, and hope must go together with such a passion for seeing reality in all its nakedness that the outsider would be prone to call the attitude 'cynicism.' And cynical it is, when we mean by it the refusal to be taken in by the sweet and plausible lies that cover almost everything that is said and believed. But this kind of cynicism is not cynicism; it is uncompromisingly critical, a refusal to play the game in a system of deception.

Inasmuch as one cannot avoid bad company, one should not be deceived. One should see the insincerity behind the mask of friendliness, the destructiveness behind the mask of eternal complaints about unhappiness. The narcissism behind the charm. One should also not act if he or she were taken in by the others deceptive appearance in order to avoid being forced into a certain dishonesty oneself. One need not speak to them about what one sees, but one should not attempt to convince them that one is blind.

the first mindfulness training: reverence for life Aware of the suffering caused by the destruction of life, I am committed to cultivating the insight of interbeing, compassion, and learning ways to protect the lives of people, animals, plants, and minerals. I am determined not to kill, not to let others kill, and not to support any act of killing in the world, in my thinking, or in my way of life. Seeing that harmful actions arise from anger, fear, greed, and intolerance, which in turn come from dualistic and discriminative thinking, I will cultivate openness, nondiscrimination, and nonattachment to views in order to transform violence, fanaticism, and dogmatism in myself and in the world.

Our spiritual traditions have carried virtues across time. They are tools for the art of living. They are pieces of intelligence about human behavior that neuroscience is now exploring with new words and images: what we practice, we become. What’s true of playing the piano or throwing a ball also holds for our capacity to move through the world mindlessly and destructively or generously and gracefully. I’ve come to think of virtues and rituals as spiritual technologies for being our best selves in flesh and blood, time and space. There are superstar virtues that come most readily to mind and can be the work of a day or a lifetime—love, compassion, forgiveness. And there are gentle shifts of mind and habit that make those possible, working patiently through the raw materials of our lives.

The popular distinction between 'constructive' and 'destructive' criticism is a sentimentality: the mind too weak to perceive in what respects the bad fails is not strong enough to appreciate in what the good succeeds. To be without discrimination is to be unable to praise. The critic who lets you know that he always looks for something to like in works he discusses is not telling you anything about the works or about art; he is saying 'see what a nice person I am.

Today the guns are silent. A great tragedy has ended. A great victory has been won... A new era is upon us. Even the lesson of victory itself brings with it profound concern, both for our future security and the survival of civilization. The destructiveness of the war potential, through progressive advances in scientific discovery, has in fact now reached a point which revises the traditional concepts of war. Men since the beginning of time have sought peace... Military alliances, balances of power, leagues of nations, all in turn have failed, leaving the only path to be by way of the crucible of war. We have had our last chance. If we do not now devise some greater and more equitable system, Armageddon will be at our door. The problem basically is theological and involves a spiritual recrudescence and improvement of human character that will synchronize with our matchless advances in science, art, literature and all material and cultural developments of the past two thousand years. It must be of the spirit if we are to save the flesh.

Adrienne Rich had it right. No one gives a crap about motherhood unless they can profit off it. Women are expendable and the work of childbearing, done fully, done consciously, is all-consuming. So who’s gonna write about it if everyone doing it is lost forever within it? You want adventures, you want poetry and art, you want to salon it up over at Gertrude and Alice’s, you’d best leave the messy all-consuming baby stuff to someone else. Birthing and nursing and rocking and distracting and socializing and cooking and washing and gardening and mending: what’s that compared with bullets whizzing overhead, dazzling destructive heroics, headlines, parties,

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

Simply put, a woman’s brain is not her friend when it comes to confidence. We think too much and we think about the wrong things. Thinking harder and harder and harder won’t solve our issues, though, it won’t make us more confident, and it most certainly freezes decision making, not to mention action. Remember, the female brain works differently from the male brain; we really do have more going on, we are more keenly aware of everything happening around us, and that all becomes part of our cognitive stew. Ruminating drains the confidence from us. Those negative thoughts, and nightmare scenarios masquerading as problem solving, spin on an endless loop. We render ourselves unable to be in the moment or to trust our instincts because we are captive to those distracting, destructive thoughts, which gradually squeeze all the spontaneity out of life and work. We have got to stop ruminating.

Vogon poetry is of course the third worst in the Universe. The second worst is that of the Azgoths of Kria. During a recitation by their Poet Master Grunthos the Flatulent of his poem “Ode to a Small Lump of Green Putty I Found in My Armpit One Midsummer Morning” four of his audience died of internal hemorrhaging, and the President of the Mid-Galactic Arts Nobbling Council survived by gnawing one of his own legs off. Grunthos is reported to have been “disappointed” by the poem’s reception, and was about to embark on a reading of his twelve-book epic entitled My Favorite Bathtime Gurgles when his own major intestine, in a desperate attempt to save life and civilization, leaped straight up through his neck and throttled his brain. The very worst poetry of all perished along with its creator, Paula Nancy Millstone Jennings of Greenbridge, Essex, England, in the destruction of the planet Earth.

Sure, black feels powerful because it IS powerful. Black, the absence of color, is connected to the portal of death. Even in nature, nearly all living things are in color, but most things black are associated with destructive energy, decay, stagnation, and death: Mold, tooth decay, ashes from burned wood and other objects, volcanic ash, coal, crows, ants, black bears, skunks, panthers, decaying meat, and even frostbite. Rarely in nature do we see living, vibrant things in a natural black state.

It was the Church, they told me, that had kept alive the Latin and Greek of the classical world in the benighted Middle Ages, until it could be picked up again by the wider world in the Renaissance. On holidays, we would visit museums and libraries where the same point was made. As a young child, I looked at the glowing gold of the illuminated manuscripts and believed in a more metaphorical illumination in ages of intellectual darkness. And, in a way, my parents were right to believe this, for it is true. Monasteries did preserve a lot of classical knowledge. But it is far from the whole truth. In fact, this appealing narrative has almost entirely obscured an earlier, less glorious story. For before it preserved, the Church destroyed. In a spasm of destruction never seen before—and one that appalled many non-Christians watching it—during the fourth and fifth centuries, the Christian Church demolished, vandalized and melted down a simply staggering quantity of art. Classical statues were knocked from their plinths, defaced, defiled and torn limb from limb. Temples were razed to their foundations and mutilated. A temple widely considered to be the most magnificent in the entire empire was leveled. Many of the Parthenon sculptures were attacked, faces were mutilated, hands and limbs were hacked off, and gods were decapitated. Some of the finest statues on the whole building were almost certainly smashed off then ground into rubble that was then used to build churches. Books—which were often stored in temples—suffered terribly. The remains of the greatest library in the ancient world, a library that had once held perhaps 700,000 volumes, were destroyed in this way by Christians. It was over a millennium before any other library would even come close to its holdings. Works by censured philosophers were forbidden and bonfires blazed across the empire as outlawed books went up in flames.

Women have complained, justly, about the behavior of “macho” men. But despite their he-man pretensions and their captivation by masculine heroes of sports, war, and the Old West, most men are now entirely accustomed to obeying and currying the favor of their bosses. Because of this, of course, they hate their jobs — they mutter, “Thank God it’s Friday” and “Pretty good for Monday”— but they do as they are told. They are more compliant than most housewives have been. Their characters combine feudal submissiveness with modern helplessness. They have accepted almost without protest, and often with relief, their dispossession of any usable property and, with that, their loss of economic independence and their consequent subordination to bosses. They have submitted to the destruction of the household economy and thus of the household, to the loss of home employment and self-employment, to the disintegration of their families and communities, to the desecration and pillage of their country, and they have continued abjectly to believe, obey, and vote for the people who have most eagerly abetted this ruin and who have most profited from it. These men, moreover, are helpless to do anything for themselves or anyone else without money, and so for money they do whatever they are told.

Things I've Learned in 18 Years of Life   1) True love is not something found, rather [sic] something encountered. You can’t go out and look for it. The person you marry and the person you love could easily be two different people. So have a beautiful life while waiting for God to bring along your once-in-a-lifetime love. Don't allow yourself to settle for anything less than them. Stop worrying about who you're going to marry because God's already on the front porch watching your grandchildren play.   2) God WILL give you more than you can handle, so you can learn to lean on him in times of need. He won't tempt you more than you can handle, though. So don't lose hope. Hope anchors the soul.   3) Remember who you are and where you came from. Remember that you are not from this earth. You are a child of heaven, you're invaluable, you are beautiful. Carry yourself that way.   4) Don't put your faith in humanity, humanity is inherently flawed. We are all imperfect people created and loved by a perfect God. Perfect. So put your faith in Him.   5) I fail daily, and that is why I succeed.   6) Time passes, and nothing and everything changes. Don't live life half asleep. Don't drag your soul through the days. Feel everything you do. Be there physically and mentally. Do things that make you feel this way as well.   7) Live for beauty. We all need beauty, get it where you can find it. Clothing, paintings, sculptures, music, tattoos, nature, literature, makeup. It's all art and it's what makes us human. Same as feeling the things we do. Stay human.   8) If someone makes you think, keep them. If someone makes you feel, keep them.   9) There is nothing the human brain cannot do. You can change anything about yourself that you want to. Fight for it. It's all a mental game.   10) God didn’t break our chains for us to be bound again. Alcohol, drugs, depression, addiction, toxic relationships, monotony and repetition, they bind us. Break those chains. Destroy your past and give yourself new life like God has given you.   11) This is your life. Your struggle, your happiness, your sorrow, and your success. You do not need to justify yourself to anyone. You owe no one an explanation for the choices that you make and the position you are in. In the same vein, respect yourself by not comparing your journey to anyone else's.   12) There is no wrong way to feel.   13) Knowledge is everywhere, keep your eyes open. Look at how diverse and wonderful this world is. Are you going to miss out on beautiful people, places, experiences, and ideas because you are close-minded? I sure hope not.   14) Selfless actions always benefit you more than the recipient.   15) There is really no room for regret in this life. Everything happens for a reason. If you can't find that reason, accept there is one and move on.   16) There is room, however, for guilt. Resolve everything when it first comes up. That's not only having integrity, but also taking care of your emotional well-being.   17) If the question is ‘Am I strong enough for this?’ The answer is always, ‘Yes, but not on your own.’   18) Mental health and sanity above all.   19) We love because He first loved us. The capacity to love is the ultimate gift, the ultimate passion, euphoria, and satisfaction. We have all of that because He first loved us. If you think about it in those terms, it is easy to love Him. Just by thinking of how much He loves us.   20) From destruction comes creation. Beauty will rise from the ashes.   21) Many things can cause depression. Such as knowing you aren't becoming the person you have the potential to become. Choose happiness and change. The sooner the better, and the easier.   22) Half of happiness is as simple as eating right and exercising. You are one big chemical reaction. So are your emotions. Give your body the right reactants to work with and you'll be satisfied with the products.

Over recent years, [there's been] a strong tendency to require assessment of children and teachers so that [teachers] have to teach to tests and the test determines what happens to the child, and what happens to the teacher...that's guaranteed to destroy any meaningful educational process: it means the teacher cannot be creative, imaginative, pay attention to individual students' needs, that a student can't pursue things [...] and the teacher's future depends on it as well as the students'...the people who are sitting in the offices, the bureaucrats designing this - they're not evil people, but they're working within a system of ideology and doctrines, which turns what they're doing into something extremely harmful [...] the assessment itself is completely artificial; it's not ranking teachers in accordance with their ability to help develop children who reach their potential, explore their creative interests and so on [...] you're getting some kind of a 'rank,' but it's a 'rank' that's mostly meaningless, and the very ranking itself is harmful. It's turning us into individuals who devote our lives to achieving a rank, not into doing things that are valuable and important. It's highly destructive...in, say, elementary education, you're training kids this way [...] I can see it with my own children: when my own kids were in elementary school (at what's called a good school, a good-quality suburban school), by the time they were in third grade, they were dividing up their friends into 'dumb' and 'smart.' You had 'dumb' if you were lower-tracked, and 'smart' if you were upper-tracked [...] it's just extremely harmful and has nothing to do with education. Education is developing your own potential and creativity. Maybe you're not going to do well in school, and you'll do great in art; that's fine. It's another way to live a fulfilling and wonderful life, and one that's significant for other people as well as yourself. The whole idea is wrong in itself; it's creating something that's called 'economic man': the 'economic man' is somebody who rationally calculates how to improve his/her own status, and status means (basically) wealth. So you rationally calculate what kind of choices you should make to increase your wealth - don't pay attention to anything else - or maybe maximize the amount of goods you have. What kind of a human being is that? All of these mechanisms like testing, assessing, evaluating, measuring...they force people to develop those characteristics. The ones who don't do it are considered, maybe, 'behavioral problems' or some other deviance [...] these ideas and concepts have consequences. And it's not just that they're ideas, there are huge industries devoted to trying to instill them...the public relations industry, advertising, marketing, and so on. It's a huge industry, and it's a propaganda industry. It's a propaganda industry designed to create a certain type of human being: the one who can maximize consumption and can disregard his actions on others.

Can anyone capable of genuinely appreciating Mozart and Mizoguchi possibly say that he is not, in that respect, immeasurably better off than someone whose cultural horizon is limited to bingo and The Black and White Minstrel Show? The assimilation will not necessarily make him a better person (a common, and obviously fallacious, assumption), but it will open to him possibilities that are closed to his less fortunate fellow humans. If that is what is meant by an "élite," then I for one shall not willingly sacrifice my membership of it in the name of some perverse and destructive egalitarianism: to put it succinctly, nothing is ever going to come between me and The Magic Flute. It is not, however, an elite from which I would wish anyone to feel excluded: on the contrary, I would like to share my advantages with as many others as possible. That is why I am a teacher.

I had reached the point, at Balbec, of regarding the pleasure of playing with a troop of girls as less destructive of the spiritual life, to which at least it remains alien, than friendship, the whole effort of which is directed towards making us sacrifice the only part of ourselves that is real and incommunicable (otherwise than by means of art) to a superficial self which, unlike the other, finds no joy in its own being, but rather a vague, sentimental glow at feeling itself supported by external props, hospitalised in an extraneous individuality, where, happy in the protection that is afforded it there, it expresses its well-being in warm approval and marvels at qualities which it would denounce as failings and seek to correct in itself.

It was not the privileged and the fortunate who took in the Jews in France. It was the marginal and the damaged, which should remind us that there are real limits to what evil and misfortune can accomplish. If you take away the gift of reading, you create the gift of listening. If you bomb a city, you leave behind death and destruction. But you create a community of remote misses. If you take away a mother or a father, you cause suffering and despair. But one time in ten, out of that despair rises an indomitable force. You see the giant and the shepherd in the Valley of Elah and your eye is drawn to the man with the sword and shield and the glittering armor. But so much of what is beautiful and valuable in the world comes from the shepherd, who has more strength and purpose than we ever imagine.

The more I know the human being, the more I cling to animal nature. Mention poem 2013 Since its beginnings, the human being has been a complex and enigmatic being, capable of great achievements and feats, and at the same time, of the most cruel and vile acts. There is no doubt that our species is one of the most evolved and sophisticated of the planet, but at what cost? What is behind our apparent superiority? When we observe human behavior, we can see that it hides a mixture of animal instincts and rational thoughts. Although human beings take pride in our ability for critical thinking and reflection, We are also emotional, impulsive and visceral beings. And it is precisely this duality that makes us so different from animals. that cohabit this planet with us. It is often difficult for us to understand the nature of animals, because we cannot access their internal world. However, what we can say is that animals are transparent beings, His actions are always a consequence of his instincts, not from premeditated thoughts or complex emotions. For animals, living is following their instinct, something that allows them to act quickly and effectively in situations of danger or threat. Animals are beings in balance with their environment, They don't feel the need to constantly change, nor to think beyond the here and now. On the other hand, we have human beings, beings capable of conceiving abstract thoughts, create works of art, invent technologies and, at the same time, of destroying the environment, oppressing other human beings and commit acts of extreme cruelty. The human being is a complex, contradictory being, capable of loving and hating, forgiving and punishing, healing and destroying. We are creatures of light and darkness, in a constant search for balance between both parties. But what is behind our duality as human beings? Why are we capable of the worst acts of destruction and cruelty? If we look back at the history of humanity, we can see that our genetic patterns are impregnated of violence, war and resentment. History has been a constant parade of wars and conflicts, each one more brutal than the last. This being the only way in which many cultures they have found to impose their ideas or consolidate power. It is precisely here that the idea is born that the creators of humanity They have intoxicated us with the yoke of evil. Who are these forgers? They are the same societies, cultures, religions, policies, which have used violence, war and resentment as a tool to impose their desires and ideals on others. This is the curse that we have dragged like chains since long ago, that of a genetic pattern that drags us towards violence and war. It is true that, as human beings, we can choose our own paths, our own decisions, and not fall into the trap of cruelty and evil. However, it is also true that we carry within us an ancestral burden that is difficult to overcome. What will the most advanced civilizations in the universe think of us? Will we be violent and hateful beings for them? Or will we be beings like animals, in balance with our environment? The answer is not easy, since it remains an unknown. if we are able to overcome our animal instincts and embrace only the best of our humanity. The key to this lies in becoming aware of our own duality, to recognize that we carry both light and darkness within us, and make a real effort to choose the best of ourselves, instead of letting ourselves be carried away by our internal evil.

The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement. With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.

As I said, I decided to try an experiment: Right now, from within my perception of my current circumstances, and from within the starkness of this realization, I determined to conceive and focus on what I would tell—and what I have told—my younger self, and live with the consequences. Here is what I wrote down: Immediately disassociate from destructive people and forces, if not physically then ethically—and watch for the moment when you can do so physically. Use every means to improve your mental acuity. Every sacrifice of empty leisure or escapism for study, industry, and growth is a fee paid to personal freedom. Train the body. Grow physically strong. Reduce consumption. You will be strengthened throughout your being. Seek no one’s approval through humor, servility, or theatrics. Be alone if necessary. But do not compromise with low company. At the earliest possible point, learn meditation (i.e., Transcendental Meditation), yoga, and martial arts (select good teachers). Go your own way—literally. Walk/bike and don’t ride the bus or in a car, except when necessary. Do so in all weather: rain, snow, etc. Be independent physically and you will be independent in other ways. Learn-study-rehearse. Pursue excellence. Or else leave something alone. Go to the limit in something or do not approach it. Starve yourself of the compulsion to derive your sense of wellbeing from your perception of what others think of you. Do this as an alcoholic avoids a drink or an addict a needle. It will be agonizing at first, since you may have no other perception of self; but this, finally, is the sole means of experiencing Self. Does this kind of advice, practicable at any time of life, really alter or reselect the perceived past, and, with it, the future? I intend to find out. You

Since the basic cause of man’s anxiety is the possibility of being either a saint or a sinner, it follows that there are only two alternatives for him. Man can either mount upward to the peak of eternity or else slip backwards to the chasms of despair and frustration. Yet there are many who think there is yet another alternative, namely, that of indifference. They think that, just as bears hibernate for a season in a state of suspended animation, so they, too, can sleep through life without choosing to live for God or against Him. But hibernation is no escape; winter ends, and one is then forced to make a decision—indeed, the very choice of indifference is itself a decision. White fences do not remain white fences by having nothing done to them; they soon become black fences. Since there is a tendency in us that pulls us back to the animal, the mere fact that we do not resist it operates to our own destruction. Just as life is the sum of forces that resist death, so, too, man’s will must be the sum of the forces that resist frustration. A man who has taken poison into his system can ignore the antidote, or he can throw it out the window; it makes no difference which he does, for death is already on the march. St. Paul warns us, “How shall we escape it we neglect so great a salvation” (Heb 2:3). By the mere fact that we do not go forward, we go backward. There are no plains in the spiritual life, we are either going uphill or coming down. Furthermore the pose of indifference is only intellectual. The will must choose. And even though an “indifferent” soul does not positively reject the infinite, the infinite rejects it. The talents that are unused are taken away, and the Scriptures tell us that, “But because though art lukewarm, and neither cold nor hot, I will begin to vomit thee out of my mouth” (Rev. 3:16).

For Eric, Columbine was a performance. Homicidal art. He actually referred to his audience in his journal: “the majority of the audience wont even understand my motives,” he complained. He scripted Columbine as made-for-TV murder, and his chief concern was that we would be too stupid to see the point. Fear was Eric’s ultimate weapon. He wanted to maximize the terror. He didn’t want kids to fear isolated events like a sporting event or a dance; he wanted them to fear their daily lives. It worked. Parents across the country were afraid to send their kids to school. Eric didn’t have the political agenda of a terrorist, but he had adopted terrorist tactics. Sociology professor Mark Juergensmeyer identified the central characteristic of terrorism as “performance violence.” Terrorists design events “to be spectacular in their viciousness and awesome in their destructive power. Such instances of exaggerated violence are constructed events: they are mind-numbing, mesmerizing theater.” The audience—for Timothy McVeigh, Eric Harris, or the Palestine Liberation Organization—was always miles away, watching on TV. Terrorists rarely settle for just shooting; that limits the damage to individuals. They prefer to blow up things—buildings, usually, and the smart ones choose carefully. “During that brief dramatic moment when a terrorist act levels a building or damages some entity that a society regards as central to its existence, the perpetrators of the act assert that they—and not the secular government—have ultimate control over that entity and its centrality,” Juergensmeyer wrote. He pointed out that during the same day as the first attack on the World Trade Center, in 1993, a deadlier attack was leveled against a coffee shop in Cairo. The attacks were presumably coordinated by the same group. The body count was worse in Egypt, yet the explosion was barely reported outside that country. “A coffeehouse is not the World Trade Center,” he explained. Most terrorists target symbols of the system they abhor—generally, iconic government buildings. Eric followed the same logic. He understood that the cornerstone of his plan was the explosives. When all his bombs fizzled, everything about his attack was misread. He didn’t just fail to top Timothy McVeigh’s record—he wasn’t even recognized for trying. He was never categorized with his peer group. We lumped him in with the pathetic loners who shot people.

If we are to seek whatever is honorable, it must include seeking the honor that is inherent in God's image bearers. We must recognize their intrinsic dignity and hold it in high esteem. There is no wiggle room on this. No matter how different a person may be from us, no matter what political, social, or moral views they may hold, no matter how strongly and vehemently we disagree with them, no matter their crimes, we must not dishonor the image of God in them. To joke about their death or destruction, to celebrate their pain and loss, to openly mock and belittle their struggles is to blaspheme the God in whose image they are created. This is no easy thing---especially when someone is not living honorably themselves, when they are not living in a way that is consistent with their identity as an image bearer. Somehow their hatred, pride, and deceit are able to draw hatred, pride, and deceit from us. That's why in his first epistle, Peter makes a point to call slaves to honor unkind masters, wives to honor unbelieving husbands, and all to honor the emperor---an emperor who at that very moment was seeking their lives. In calling us to honor those who have, in all human logic, forfeited the right to honor, we testify to a greater reality: whether or not a person is living within the dignity of their identity as an image bearer does not change the fact that God has bestowed dignity on them. In honoring them, we honor God.

THOU RIGHTEOUS AND HOLY SOVEREIGN, In whose hand is my life and whose are all my ways, Keep me from fluttering about religion; fix me firm in it, for I am irresolute; my decisions are smoke and vapour, and I do not glorify thee, or behave according to thy will; Cut me not off before my thoughts grow to responses, and the budding of my soul into full flower, for thou art forbearing and good, patient and kind. Save me from myself, from the artifices and deceits of sin, from the treachery of my perverse nature, from denying thy charge against my offences, from a life of continual rebellion against thee, from wrong principles, views, and ends; for I know that all my thoughts, affections, desires and pursuits are alienated from thee. I have acted as if I hated thee, although thou art love itself; have contrived to tempt thee to the uttermost, to wear out thy patience; have lived evilly in word and action. Had I been a prince I would long ago have crushed such a rebel; Had I been a father I would long since have rejected my child. O, thou Father of my spirit, thou King of my life, cast me not into destruction, drive me not from thy presence, but wound my heart that it may be healed; break it that thine own hand may make it whole.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

The fundamentalist (or, more accurately, the beleaguered individual who comes to embrace fundamentalism) cannot stand freedom. He cannot find his way into the future, so he retreats to the past. He returns in imagination to the glory days of his race and seeks to reconstitute both them and himself in their purer, more virtuous light. He gets back to basics. To fundamentals. Fundamentalism and art are mutually exclusive. There is no such thing as fundamentalist art. This does not mean that the fundamentalist is not creative. Rather, his creativity is inverted. He creates destruction. Even the structures he builds, his schools and networks of organization, are dedicated to annihilation, of his enemies and of himself. But the fundamentalist reserves his greatest creativity for the fashioning of Satan, the image of his foe, in opposition to which he defines and gives meaning to his own life. Like the artist, the fundamentalist experiences Resistance. He experiences it as temptation to sin. Resistance to the fundamentalist is the call of the Evil One, seeking to seduce him from his virtue. The fundamentalist is consumed with Satan, whom he loves as he loves death. Is it coincidence that the suicide bombers of the World Trade Center frequented strip clubs during their training, or that they conceived of their reward as a squadron of virgin brides and the license to ravish them in the fleshpots of heaven? The fundamentalist hates and fears women because he sees them as vessels of Satan, temptresses like Delilah who seduced Samson from his power. To combat the call of sin, i.e., Resistance, the fundamentalist plunges either into action or into the study of sacred texts. He loses himself in these, much as the artist does in the process of creation. The difference is that while the one looks forward, hoping to create a better world, the other looks backward, seeking to return to a purer world from which he and all have fallen.

Why, all our art treasures of to-day are only the dug-up commonplaces of three or four hundred years ago. I wonder if there is real intrinsic beauty in the old soup-plates, beer-mugs, and candle-snuffers that we prize so now, or if it is only the halo of age glowing around them that gives them their charms in our eyes. The “old blue” that we hang about our walls as ornaments were the common every-day household utensils of a few centuries ago; and the pink shepherds and the yellow shepherdesses that we hand round now for all our friends to gush over, and pretend they understand, were the unvalued mantel-ornaments that the mother of the eighteenth century would have given the baby to suck when he cried. Will it be the same in the future? Will the prized treasures of to-day always be the cheap trifles of the day before? Will rows of our willow-pattern dinner-plates be ranged above the chimneypieces of the great in the years 2000 and odd? Will the white cups with the gold rim and the beautiful gold flower inside (species unknown), that our Sarah Janes now break in sheer light-heartedness of spirit, be carefully mended, and stood upon a bracket, and dusted only by the lady of the house? That china dog that ornaments the bedroom of my furnished lodgings. It is a white dog. Its eyes blue. Its nose is a delicate red, with spots. Its head is painfully erect, its expression is amiability carried to verge of imbecility. I do not admire it myself. Considered as a work of art, I may say it irritates me. Thoughtless friends jeer at it, and even my landlady herself has no admiration for it, and excuses its presence by the circumstance that her aunt gave it to her. But in 200 years’ time it is more than probable that that dog will be dug up from somewhere or other, minus its legs, and with its tail broken, and will be sold for old china, and put in a glass cabinet. And people will pass it round, and admire it. They will be struck by the wonderful depth of the colour on the nose, and speculate as to how beautiful the bit of the tail that is lost no doubt was. We, in this age, do not see the beauty of that dog. We are too familiar with it. It is like the sunset and the stars: we are not awed by their loveliness because they are common to our eyes. So it is with that china dog. In 2288 people will gush over it. The making of such dogs will have become a lost art. Our descendants will wonder how we did it, and say how clever we were. We shall be referred to lovingly as “those grand old artists that flourished in the nineteenth century, and produced those china dogs.” The “sampler” that the eldest daughter did at school will be spoken of as “tapestry of the Victorian era,” and be almost priceless. The blue-and-white mugs of the present-day roadside inn will be hunted up, all cracked and chipped, and sold for their weight in gold, and rich people will use them for claret cups; and travellers from Japan will buy up all the “Presents from Ramsgate,” and “Souvenirs of Margate,” that may have escaped destruction, and take them back to Jedo as ancient English curios.