Fluid Art Quotes

Man can never know the loneliness a woman knows. Man lies in the woman's womb only to gather strength, he nourishes himself from this fusion, and then he rises and goes into the world, into his work, into battle, into art. He is not lonely. He is busy. The memory of the swim in amniotic fluid gives him energy, completion. Woman may be busy too, but she feels empty. Sensuality for her is not only a wave of pleasure in which she is bathed, and a charge of electric joy at contact with another. When man lies in her womb, she is fulfilled, each act of love a taking of man within her, an act of birth and rebirth, of child rearing and man bearing. Man lies in her womb and is reborn each time anew with a desire to act, to be. But for woman, the climax is not in the birth, but in the moment man rests inside of her.

I don't understand why people insist on pitting concepts of evolution and creation against each other. Why can't they see that spiritualism and science are one? That bodies evolve and souls evolve and the universe is a fluid package that marries them both in a wonderful package called a human being. What's wrong with that idea?

That was the real secret of the Tarahumara: they'd never forgotten what it felt like to love running. They remembered that running was mankind's first fine art, our original act of inspired creation. Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle--behold, the Running Man. Distance running was revered because it was indispensable; it was the way we survived and thrived and spread across the planet. You ran to eat and to avoid being eaten; you ran to find a mate and impress her, and with her you ran off to start a new life together. You had to love running, or you wouldn't live to love anything else. And like everyhing else we ove--everything we sentimentally call our 'passions' and 'desires' it's really an encoded ancestral necessity. We were born to run; we were born because we run. We're all Running People, as the Tarahumara have always known.

In your light I learn how to love. In your beauty, how to make poems. You dance inside my chest, where no one sees you, but sometimes I do, and that sight becomes this art. Drumsound rises on the air, its throb, my heart. A voice inside the beat says, "I know you're tired, but come. This is the way." Are you jealous of the ocean's generosity? Why would you refuse to give this joy to anyone? Fish don't hold the sacred liquid in cups! They swim the huge fluid freedom.

If a painting really works down in your heart and changes the way you see and think and feel, you don't think, 'oh I love this painting because it's universal' 'I love this painting because it speaks to mankind'. That's not the reason anyone loves a piece of art. It's a secret whisper from an alleyway. Psst, you. Hey kid. Yes, you. An individual heart shock. . . .A really great painting is fluid enought to work its way into the mind and heart through all different angles, in ways that are unique and very particular.

However, I don’t understand why people insist on pitting the concepts of evolution and creation against each other. Why can’t they see that spiritualism and science are one? That bodies evolve and souls evolve and the universe is a fluid place that marries them both in a wonderful package called a human being. What’s wrong with that idea?

If a painting really works down in your heart and changes the way you see, and think, and feel, you don't think, 'oh, I love this picture because it's universal.' 'I love this painting because it speaks to all mankind.' That's not the reason anyone loves a piece of art. It's a secret whisper from an alleyway. Psst, you. Hey kid. Yes, you. ... You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entirely, an that's not even to mention the people separated from us by time -four hundred years before us, four hundred years after we're gone- it'll never strike anybody the same way and the great majority of people it'll never strike in any deep way at all but- a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

Way before we were scratching pictures on caves or beating rhythms on hollow trees we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain.

Why can’t they see that spiritualism and science are one? That bodies evolve and souls evolve and the universe is a fluid place that marries them both in a wonderful package called a human being.

I am an offspring of the dead. I am descended from the deceased. I am the progeny of phantoms. My ancestors are the illustrious multitudes of the defunct, grand and innumerable. My lineage is longer than time. My name is written in embalming fluid in the book of death. A noble race is mine.

Ask one hundred people to explain love. And you’ll get one hundred different answers. Because love is like art, it’s subjective.  Fluid.  Ever-changing. Evolving. Case

A great work of art, if it accomplishes anything, serves to remind us, or let us say to set us dreaming, of all that is fluid and intangible.

Be like water making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way round or through it. If nothing within you stays rigid, outward things will disclose themselves. Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot it becomes the teapot. Now, water can flow or it can crash. Be water my friend.

My art is grounded in the belief of one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant from plant to galaxy. My works are the irrigation veins of this universal fluid. Through them ascend the ancestral sap, the original beliefs, the primordial accumulations, the unconscious thoughts that animate the world

...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.

The demands of exercising it once it is won, however, are so complex and fluid that ideological certitude is often among the first casualties of actual governing.

Swimming is an art form, and nobody PaintSculpts using flowing fluid better than ducks. Not even Michael Phelps splashing around in a pool of absinthe would be more artistic.

The reason I write music with one note occurring every 24 hours is that slow dancing is a lost art, and I'm trying to bring it back at an almost inaudible pace. Listen like a duck swims or you'll miss the best part of the song.

Obviously, a rigid, blinkered, absolutist world view is the easiest to keep hold of, whereas the fluid, uncertain, metamorphic picture I've always carried about is rather more vulnerable. Yet I must cling with all my might to … my own soul; must hold on to its mischievous, iconoclastic, out-of-step clown-instincts, no matter how great the storm. And if that plunges me into contradiction and paradox, so be it; I've lived in that messy ocean all my life. I've fished in it for my art. This turbulent sea was the sea outside my bedroom window in Bombay. It is the sea by which I was born, and which I carry within me wherever I go.

It was like penetrating deep into white marble with the pounding live thrust of his chisel beating upward through the warm living marble with one ”Go!”, his whole body behind the heavy hammer, penetrating through ever deeper and deeper furrows of soft yielding living substance until he had reached the explosive climax, and all of his fluid strength, love, passion, desire had been poured into the nascent form, and the marble block, made to love the and of the true sculptor, and responded, giving of its inner heat and substance and fluid form, until at last the sculptor and the marble had totally coalesced, so deeply penetrating and infusing each other that they had become one, marble and man and organic unity, each fulfilling the other in the greatest act of art and love known to the human species.

Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling… but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.

You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

…food is capable of feeding far more than a rumbling stomach. Food is life; our well-being demands it. Food is art and magic; it evokes emotion and colors memory, and in skilled hands, meals become greater than the sum of their ingredients. Food is self-evident; plucked right from the ground or vine or sea, its power to delight is immediate. Food is discovery; finding an untried spice or cuisine is for me like uncovering a new element. Food is evolution; how we interpret it remains ever fluid. Food is humanitarian: sharing it bridges cultures, making friends of strangers pleasantly surprised to learn how much common ground they ultimately share.

i don’t want to master the art of not caring. i want the people i welcome in to stop letting me down.

I don't know what she's thinking, but I'm thinking how fluid the border is between crazy and interesting, and how hard it is to decide who belongs where.

With awareness and practice, even the most awkward people can learn how to be both fluid and purposeful in their bearing.

Ducks are water gymnasts. Their fluid motion goes beyond dance and into art.

I’m thinking about how fluid the border is between crazy and interesting, and how hard it is to decide who belongs where. Hell, most of the time I can’t answer that question about myself.

She sat there admiring the beauty of the light amber fluid in the clear bottle, the way the condensation on the Miller bottle ran down the black and gold label, like it was a fine piece of art. That was the problem with alcohol. It was so beautiful to look at, how could you resist it? And what kind of place could be more inviting and seductive than a truly elegant cocktail bar?

We judge and punish based on facts, but facts are not truth. Facts are like a buried skeleton uncovered long after death. Truth is fluid. Truth is alive. To know the truth requires understanding, the most difficult human art. It requires seeing all things at once, forward and backward, the way God sees.

For instance, in the design stages for a new mouse for an early Apple product, Jobs had high expectations. He wanted it to move fluidly in any direction—a new development for any mouse at that time—but a lead engineer was told by one of his designers that this would be commercially impossible. What Jobs wanted wasn’t realistic and wouldn’t work. The next day, the lead engineer arrived at work to find that Steve Jobs had fired the employee who’d said that. When the replacement came in, his first words were: “I can build the mouse.

Let’s imagine a running washing machine. Let’s imagine the dirty clothes in the machine and how the liquid detergent is getting the dirt out of clothes and draining it to the waste outlet. Now imagine brain surrounded by a large pool of cleaning fluid called CSF (cerebrospinal fluid). Imagine CSF pulling the wastes from inside the brain and draining it into the blood, which routes it to the waste outlets. CSF clears waste many times faster in sleeping brain than in the waking brain.

She had such an interesting way of moving. Not fluid and graceful like a young lady who had studied the social arts, but rather each move was brisk, efficient. As if she calculated the most effectual order of movements and performed them accordingly as she did the simple tasks of meal preparation.

My lady and I were out getting hammered at the local watering hole on a weeknight and feeling like cool olds, when the waiter asked if it was “moms’ night out,” while offering to explain to us what whiskey is. And now I’m a corpse—please bury me in my L.L.Bean comfort fleece. ME: “Excuse me, I have tattoos, Jeff.” “Oh my goodness, ma’am, I’m so sorry, I just saw the fluid collecting at your ankles and assumed—” HIM: What the fuck is happening to my life? What vibe am I giving off ? Yes, I am wearing soft, pull-on, straight-leg Gloria Vanderbilts, but I also have cool glasses and a motherfucking hand tattoo. Couldn’t it just be middle school art teachers’ happy hour, Jeff ?!

We began before words, and we will end beyond them. It sometimes seems to me that our days are poisoned with too many words. Words said and not meant. Words said ‘and’ meant. Words divorced from feeling. Wounding words. Words that conceal. Words that reduce. Dead words. If only words were a kind of fluid that collects in the ears, if only they turned into the visible chemical equivalent of their true value, an acid, or something curative – then we might be more careful. Words do collect in us anyway. They collect in the blood, in the soul, and either transform or poison people’s lives. Bitter or thoughtless words poured into the ears of the young have blighted many lives in advance. We all know people whose unhappy lives twist on a set of words uttered to them on a certain unforgotten day at school, in childhood, or at university. We seem to think that words aren’t things. A bump on the head may pass away, but a cutting remark grows with the mind. But then it is possible that we know all too well the awesome power of words – which is why we use them with such deadly and accurate cruelty. We are all wounded inside one way or other. We all carry unhappiness within us for some reason or other. Which is why we need a little gentleness and healing from one another. Healing in words, and healing beyond words. Like gestures. Warm gestures. Like friendship, which will always be a mystery. Like a smile, which someone described as the shortest distance between two people. Yes, the highest things are beyond words. That is probably why all art aspires to the condition of wordlessness. When literature works on you, it does so in silence, in your dreams, in your wordless moments. Good words enter you and become moods, become the quiet fabric of your being. Like music, like painting, literature too wants to transcend its primary condition and become something higher. Art wants to move into silence, into the emotional and spiritual conditions of the world. Statues become melodies, melodies become yearnings, yearnings become actions. When things fall into words they usually descend. Words have an earthly gravity. But the best things in us are those that escape the gravity of our deaths. Art wants to pass into life, to lift it; art wants to enchant, to transform, to make life more meaningful or bearable in its own small and mysterious way. The greatest art was probably born from a profound and terrible silence – a silence out of which the greatest enigmas of our life cry: Why are we here? What is the point of it all? How can we know peace and live in joy? Why be born in order to die? Why this difficult one-way journey between the two mysteries? Out of the wonder and agony of being come these cries and questions and the endless stream of words with which to order human life and quieten the human heart in the midst of our living and our distress. The ages have been inundated with vast oceans of words. We have been virtually drowned in them. Words pour at us from every angle and corner. They have not brought understanding, or peace, or healing, or a sense of self-mastery, nor has the ocean of words given us the feeling that, at least in terms of tranquility, the human spirit is getting better. At best our cry for meaning, for serenity, is answered by a greater silence, the silence that makes us seek higher reconciliation. I think we need more of the wordless in our lives. We need more stillness, more of a sense of wonder, a feeling for the mystery of life. We need more love, more silence, more deep listening, more deep giving.

It’s three interdependent, interconnected, and fluidly contingent disciplines: Perception, Action, and the Will.

Ask one hundred people to explain love. And you'll get one hundred different answers. Because love is like art, it's subjective. Fluid. Ever-changing. Evolving.

Many of the writers at the time were immersed not only in a contemporary fascination with esoteric and psychological themes but also reached farther back into pagan times for philosophical inspiration. Fowles wrote, We often forget to what an extent the Renaissance and all its achievements sprang from a reversion to the Greek system. The relationship between paganism and freedom of thought is too well established to need any proof; and all monotheistic religions are in a sense puritan in tone—inherently tyrannical and fascistic. The great scientific triumphs of the Greeks, their logic, their democracy, their arts, all were made possible by their loose, fluid concepts of divinity; and the same is true of the most recent hundred years of human history.2

When I go to art museums, I push a bag of midget carrots in a baby stroller, and it feels like the stuff on the wall is watching me. As a fatheresque person of curiosity, I feel misunderstood, but at least The Ducks know me.

The idea that the stars literally influence men (by a falling fluid, an influenza) is plainly untenable. But that the movements of the constellations are a clock by which earthly changes can be measured is less easy to dismiss.

In its essence, any art that relies on words makes use of their ability to eat away—of their corrosive function—just as etching depends on the corrosive power of nitric acid. Yet the simile is not accurate enough; for the copper and the nitric acid used in etching are on a par with each other, both being extracted from nature, while the relation of words to reality is not that of the acid to the plate. Words are a medium that reduces reality to abstraction for transmission to our reason, and in their power to corrode reality inevitably lurks the danger that the words themselves will be corroded too. It might be more appropriate, in fact, to liken their action to that of excess stomach fluids that digest and gradually eat away the stomach itself.

Jamie came back to the apartment one night to find her spreading a viscous fluid onto a canvas. It was threaded wtih blood. "Good God," he said. "What the hell is that?" Pia didn't bother to look up but continued to knead the clear slime across the canvas. "It's my new piece." "But what is it?" He kept pointing. He'd never seen something so disgusting in his life. And her hands were completely in it. "It's Jodie's placenta. She gave it to me. I'm going to tack it up and let it dry on this canvas. Then I'm gonna glue-gun pictures of dead fetuses onto Lucite and make them the centerpeice." "Uh huh." She raised her sticky hands to him. "It's about women, you know? The way that the world opresses them, all right? And it's about babies, and . . . I don't know . . . I just got the placenta today." "Wow, that's wow . . . that's . . ." No words for this. He scratched his chin as she spread her hands in a concentric motion across the canvas. "So, do you really think anyone's gonna want to put that up on their wall when it's done?" he asked. She scowled, displeased.

If a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ 'I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock…A really great painting is fluid enough to work its way into the mind and heart through all kind of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

You see one painting, I see another, the art book puts it another remove still, the lady buying the greeting card at the museum gift shop sees something else entirely, and that's not even to mention the people separated from us by time -- four hundred years before us, four hundred years after we're gone -- it'll never strike anybody the same way and the great majority of people it'll never strike in any deep way at all but -- a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular.

The balanced state of body and mind that occurs through zazen practice can also occur spontaneously in other situations. As a musician I used to find it when playing onstage. All consciousness of myself and the outside world would vanish, to be replaced by a fluid state of action alone, in which thought and feeling ceased to be important and in which sense of self and other utterly dissolved. Athletes often experience moments like this. So do artists of various kinds. So do many people involved in a whole range of activities to which they have fully devoted themselves. And so, quite often, do lovers engaged in sex.

It has been suggested that genders or even sexual distinctions among the Classic Maya were fluid and, in the jargon of present-day academic language, “performed” or “inscribed,” as though physical attributes could be reconfigured by force of will or caprice of thought (e.g., R. Joyce 2000a:6–10, 64–66, 78–79, 178). The distinction here between gender, a series of learned habits and attitudes linked with sex, and sex itself, a biological property, is basic, although a number of scholars have begun to assert that the latter, too, is culturally conditioned (Gosden 1999:146–150; cf. Astuti 1998:46–47; Stein 1992:340–350).

Before we look at Perkins’s critique and Fitzgerald’s revision, I should say why I chose to discuss Gatsby and not another novel. In truth, the book chose me. When I read it on a whim to see how it matched Berg’s account of its making, I was floored. Every sentence and event felt necessary. Fitzgerald managed to fuse ultramodern prose—taut, symbolic, elliptical—with splendid lyricism: ornate, fluid descriptions of parties, for example, that rival Tolstoy’s descriptions of war. Gatsby is a case study of Flaubertian froideur—the cold that burns. Finally, and heroically, Fitzgerald maintained compassion for a humanity he portrayed in the most sinister terms.

The wife has begun planning a secret life. In it, she is an art monster. She puts on yoga pants and says she is going to yoga, then pulls off onto a country lane and writes in tiny cramped writing on a grocery list She thinks she should go off her meds maybe so as to write more fluidly. Possibly this is not a good idea. But only possibly.

How much respect I have for each person’s system knowing what will support healing. Not everyone responds to the process of going directly into the body toward the root of implicit memory. For some, being consistently in the presence of a caring other provides disconfirmation for attachment losses. For others, sand tray or art may be the resonant support, or EMDR or Somatic Experiencing. So many modalities have emerged in recent years, primarily in response to our expanded understanding of the neuroscience of wounding and healing. Each way of working has value and may become even more supportive of our people if it rests on the practice of leading, following and responding. In this way we are able to cultivate a safe space for the fluid emergence of any specific protocol.

But creativity, she doesn’t fit in a box. She’s a wild, fluid, uncontrollable energy that spreads out sensuously from a curious, wide open mind in large expanses of aimless time on dreamy liminal train journeys or in subtle moments between waking and sleep. She can’t be pushed, or coughed up, or beaten into submission by a brutal and unmerciful regime. She needs light, and breath, and space and then, maybe, if the mood takes her, she’ll unfurl her wings and let her colors run into the atmosphere. And this energy, this wild, fun, unpredictable magic that I’d played with so happily as a child, that had flowed through me like it was my very life force up until this point; I didn’t understand it anymore. Creativity was this swirling wild mysterious language, but now I lived in a colorless angular world that promised me a certainty I valued above all else. And where before, I was just scribbling, writing, moving for the mere joy of it, now I tried to commodify my creativity. I tried to squeeze it out and make it do something worthwhile, be special, be important, be good. I could no longer see the point of art if it wasn’t good. But that’s the tricky thing about art, it’s never strictly good or bad, it’s just expression, or excretion. It couldn’t be measure by scales or charts, or contained in small manageable segments in the day. It was always, by its very nature, so imperfect. And the imperfections drove me mad. The anxiety and frustration with my creative endeavors turned into an actual fear of blank pages and pallets of paint. There was too much potential and too much room to fail so day by day, I chose perfection over creativity. I chose no more creativity, and no more mistakes. There are things that eating disorders takes from you that are more important, much greater and more profound a loss, and much much more difficult to recover and restore completely than body fat. And that reckless urge to create, just for the pure, senseless joy of it, would become the one I missed the most.

Valentine’s concept of introversion includes traits that contemporary psychology would classify as openness to experience (“thinker, dreamer”), conscientiousness (“idealist”), and neuroticism (“shy individual”). A long line of poets, scientists, and philosophers have also tended to group these traits together. All the way back in Genesis, the earliest book of the Bible, we had cerebral Jacob (a “quiet man dwelling in tents” who later becomes “Israel,” meaning one who wrestles inwardly with God) squaring off in sibling rivalry with his brother, the swashbuckling Esau (a “skillful hunter” and “man of the field”). In classical antiquity, the physicians Hippocrates and Galen famously proposed that our temperaments—and destinies—were a function of our bodily fluids, with extra blood and “yellow bile” making us sanguine or choleric (stable or neurotic extroversion), and an excess of phlegm and “black bile” making us calm or melancholic (stable or neurotic introversion). Aristotle noted that the melancholic temperament was associated with eminence in philosophy, poetry, and the arts (today we might classify this as opennessto experience). The seventeenth-century English poet John Milton wrote Il Penseroso (“The Thinker”) and L’Allegro (“The Merry One”), comparing “the happy person” who frolics in the countryside and revels in the city with “the thoughtful person” who walks meditatively through the nighttime woods and studies in a “lonely Towr.” (Again, today the description of Il Penseroso would apply not only to introversion but also to openness to experience and neuroticism.) The nineteenth-century German philosopher Schopenhauer contrasted “good-spirited” people (energetic, active, and easily bored) with his preferred type, “intelligent people” (sensitive, imaginative, and melancholic). “Mark this well, ye proud men of action!” declared his countryman Heinrich Heine. “Ye are, after all, nothing but unconscious instruments of the men of thought.” Because of this definitional complexity, I originally planned to invent my own terms for these constellations of traits. I decided against this, again for cultural reasons: the words introvert and extrovert have the advantage of being well known and highly evocative. Every time I uttered them at a dinner party or to a seatmate on an airplane, they elicited a torrent of confessions and reflections. For similar reasons, I’ve used the layperson’s spelling of extrovert rather than the extravert one finds throughout the research literature.

It’s a strange irony that most people who are truly creative don’t really know where their ideas come from. To be a writer, just like all crafts, is an art form. You can take evening classes in writing at the local library, where you go along every Tuesday night and read out your weekly piece, and that can serve to improve your expertise a little, but to be a Wrong Planet writer you have to first of all be an artist. The art of searching for words radiates from deep inside the writer, and I truly feel that when a true writer is sitting quietly at his desk his movements are beautifully interwoven. His breathing will even come with an effortless grace. The ability to move fluidly in his study in this manner begins with a truly intuitive knowledge, although if the truth were known, there’s a little bit of insanity in the writer that does everyone an awful lot of good.

Exercising an unfit muscle causes soreness, which is followed by improved muscle function and increased resistance of that muscle to become sore. In that sense, soreness after exercise is good (as long as it lasts less than a week and doesn’t come back). Sore joints, on the other hand, are collateral damage (see above). Most people think that if they do an intense workout (say 90 minutes of circuit training in a gym) that they should lose weight. And indeed, if you weigh before and right after such a workout, the scale goes down because of sweating and water weight loss. However, if it makes you sore for the next few days don’t be surprised to see the scale go up. That’s because muscle soreness indicates that your muscles are temporarily inflamed, and inflammation causes fluid retention and swelling in that muscle. Once again, don’t let the scale make you crazy. Once the soreness is gone, the swelling is gone, and the scale comes back down where it’s supposed to be.

HOW ENGLISH BECAME A DOUBLE LANGUAGE After the Romans conquered England in the first century AD, they hired German and Scandinavian mercenaries from Anglia and Saxony to help fend off pirates and put down rebellions by the native Picts and Celts. When the Roman Empire abandoned England in 410 AD, more Anglo-Saxons migrated to the island, marginalizing the Gallic-speaking Celts, wiping out the Latin of the Romans, and imposing their Germanic tongue throughout England. But 600 years later Latin came back this roundabout way: In 911 AD Danish Vikings conquered territory along the north coast of France and named it after themselves, Normandy, land of the Norsemen. After 150 years of marriage to French women, these Danes spoke what their mothers spoke, a thousand-year-old French dialect of Latin. In 1066 King Wilhelm of Normandy (a.k.a. William the Conqueror) led his armies across the English Channel and defeated the English king. With that victory, French came to England. Throughout history, foreign conquests usually erase native languages. But England was the exception. For some mysterious reason, the Germanic language of the Anglo-Saxons and the Latinate French of the Normans merged. As a result, the vocabulary of what became modern English doubled. English has at least two words for everything. Compare, for example, the Germanic-rooted words “fire,” “hand,” “tip,” “ham,” and “flow” to the French-derived words “flame,” “palm,” “point,” “pork,” and “fluid.

The first and last lesson of the useful arts is that Nature tyrannizes over our works. They must be conformed to her law, or they will be ground to powder by her omnipresent activity. Nothing droll, nothing whimsical will endure. Nature is ever interfering with Art. You cannot build your house or pagoda as you will, but as you must. There is a quick bound set to your captice. The leaning tower can only lean so far. The verandah or pagoda roof can curve upward only to a certain point. The slope of your roof is determined by the weight of snow. It is only within narrow limits that the discretion of the architect may range: gravity, wind, sun, rain, the size of men and animals, and such like, have more to say than he. It is the law of fluids that prescribes the shape of the boat, — keel, rudder, and bows, — and, in the finer fluid above, the form and tackle of the sails. Man seems to have no option about his tools, but merely the necessity to learn from Nature what will fit best, as if he were fitting a screw or a door.

Much is said of what is spiritual, and of spirituality, in this, that, or the other - in objects, expressions. - For me, I see no object, no expression, no animal, no tree, no art, no book, but I see, from morning to night, and from night to morning, the spiritual. - Bodies are all spiritual, - All words are spiritual - nothing is more spiritual than words. - Whence are they? along how many thousands and tens of thousands of years have they come? those eluding, fluid, beautiful, fleshless, realities, Mother, Father, Water, Earth, Me, This, Soul, Tongue, House, Fire.

This photo is classic aestheticism. The engaging expression, the loose dress and fluid posture. Early to mid-1860's, if I had to guess." "It reminded me of the Pre-Raphaelites." "Related, definitely; and of course the artists of the time were all inspired by one another. They obsessed over things like nature and truth; color, composition, and the meaning of beauty. But where the Pre-Raphaelites strove for realism and detail, the painters and photographers of the Magenta Brotherhood were devoted to sensuality and motion." "There's something moving about the quality of light, don't you think?" "The photographer would be thrilled to hear you say so. Light was of principal concern to them: they took their name from Goethe's color wheel theories, the interplay of light and dark, the idea that there was a hidden color in the spectrum, between red and violet, that closed the circle. You have to remember, it was right in the middle of a period when science and art were exploding in all directions. Photographers were able to use technology in ways they hadn't before, to manipulate light and experiment with exposure times to create completely new effects.

—if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you.” Fingertip gliding over the faded-out photo—the conservator’s touch, a touch-without-touching, a communion wafer’s space between the surface and his forefinger. “An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you.

Objective judgment, now at this very moment. Unselfish action, now at this very moment. Willing acceptance—now at this very moment—of all external events. That’s all you need. —MARCUS AURELIUS Overcoming obstacles is a discipline of three critical steps. It begins with how we look at our specific problems, our attitude or approach; then the energy and creativity with which we actively break them down and turn them into opportunities; finally, the cultivation and maintenance of an inner will that allows us to handle defeat and difficulty. It’s three interdependent, interconnected, and fluidly contingent disciplines: Perception, Action, and the Will.

That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. Fingertip gliding over the faded-out photo—the conservator’s touch, a touch-without-touching, a communion wafer’s space between the surface and his forefinger. “An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling…” passing a hand over his forehead.… “but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.

Meditation is a state of mind which looks at everything with complete attention, totally, not just parts of it. And no one can teach you how to be attentive. If any system teaches you how to be attentive, then you are attentive to the system and that is not attention. Meditation is one of the greatest arts in life – perhaps the greatest, and one cannot possibly learn it from anybody, that is the beauty of it. It has no technique and therefore no authority. When you learn about yourself, watch yourself, watch the way you walk, how you eat, what you say, the gossip, the hate, the jealousy – if you are aware of all that in yourself, without any choice, that is part of meditation. So meditation can take place when you are sitting in a bus or walking in the woods full of light and shadows, or listening to the singing of birds or looking at the face of your wife or child. In the understanding of meditation there is love, and love is not the product of systems, of habits, of following a method. Love cannot be cultivated by thought. Love can perhaps come into being when there is complete silence, a silence in which the meditator is entirely absent; and the mind can be silent only when it understands its own movement as thought and feeling. To understand this movement of thought and feeling there can be no condemnation in observing it. To observe in such a way is the discipline, and that kind of discipline is fluid, free, not the discipline of conformity.

In his work Maladies and Remedies of the Life of the Flesh, published in Leiden under the pseudonym Christianus Democritus, he claimed to have discovered the Elixir of Life—a liquid counterpart to the Philosopher’s Stone—which would heal any ailment and grant eternal life to the person who drank it. He tried, but failed, to exchange the formula for the deed to Frankenstein Castle, and the only use he ever made of his potion—a mixture of decomposing blood, bones, antlers, horns and hooves—was as an insecticide, due to its incomparable stench. This same quality led the German troops to employ the tarry, viscous fluid as a non-lethal chemical weapon (therefore exempt from the Geneva Convention), pouring it into wells in North Africa to slow the advance of General Patton and his men, whose tanks pursued them across the desert sands. An ingredient in Dippel’s elixir would eventually produce the blue that shines not only in Van Gogh’s Starry Night and in the waters of Hokusai’s Great Wave, but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure invoked violence: a fault, a shadow, an existential stain passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras he tried to reanimate with electrical charges, the very same monsters that inspired Mary Shelley to write her masterpiece, Frankenstein; or, The Modern Prometheus, in whose pages she warned of the risk of the blind advancement of science, to her the most dangerous of all human arts.

Steve Jobs was famous for what observers called his “reality distortion field.” Part motivational tactic, part sheer drive and ambition, this field made him notoriously dismissive of phrases such as “It can’t be done” or “We need more time.” Having learned early in life that reality was falsely hemmed in by rules and compromises that people had been taught as children, Jobs had a much more aggressive idea of what was or wasn’t possible. To him, when you factored in vision and work ethic, much of life was malleable. For instance, in the design stages for a new mouse for an early Apple product, Jobs had high expectations. He wanted it to move fluidly in any direction—a new development for any mouse at that time—but a lead engineer was told by one of his designers that this would be commercially impossible. What Jobs wanted wasn’t realistic and wouldn’t work. The next day, the lead engineer arrived at work to find that Steve Jobs had fired the employee who’d said that. When the replacement came in, his first words were: “I can build the mouse.” This was Jobs’s view of reality at work. Malleable, adamant, self-confident. Not in the delusional sense, but for the purposes of accomplishing something. He knew that to aim low meant to accept mediocre accomplishment. But a high aim could, if things went right, create something extraordinary. He was Napoleon shouting to his soldiers: “There shall be no Alps!” For most of us, such confidence does not come easy. It’s understandable. So many people in our lives have preached the need to be realistic or conservative or worse—to not rock the boat. This is an enormous disadvantage when it comes to trying big things. Because though our doubts (and self-doubts) feel real, they have very little bearing on what is and isn’t possible. Our

I’m drawn to the Jewish notion of the soul, nephesh, which is not something preexistent but emergent—forming in and through physicality and relational experience. This suggests that we need our bodies to claim our souls. The body is where every virtue lives or dies, but more: our bodies are access points to mystery. And in some way that barely makes sense to me, I’m sure that we have to have feet planted on the ground, literally and metaphysically, to reach towards what is beyond and above us. Our bodies tell us the truth of life that our minds can deny: that we are in any moment as much about softness as fortitude. Always in need of care and tenderness. Life is fluid, evanescent, evolving in every cell, in every breath. Never perfect. To be alive is by definition messy, always leaning towards disorder and surprise. How we open or close to the reality that we never arrive at safe enduring stasis is the matter, the raw material, of wisdom.

If we stop trying to be present and instead tap into our breath, align our eyes and mind congruently, and respond to life’s invitations, presence finds us. Presence is what arises when we embrace all that life (and light) has to offer. When we stop searching, we start finding. By looking less, we see more. When we allow the light within us to merge with the light that guides us, we experience oneness. Without any effort, we relax into a state where we have no decisions to make. There is no confusion, second-guessing, thinking, or searching for answers. There is just beingness — an acceptance of life as it is. With presence, life becomes magical. We not only feel better, but our stress dissipates and our bodies heal. We respond to life more fluidly, developing an ability to be with whatever arises, flowing in response to life in the same way that children do. Infants and children do not look for anything; they simply respond to whatever calls their attention. When we reawaken this innate ability in ourselves, our lives transform radically. We enter a state that some call “the zone,” “the flow,” or even “genius consciousness,” in which “we” disappear and our knowledge is no longer limited to information received from the five senses. We become more empathetic toward ourselves and others, and more intuitive. Rather than reacting to one situation after another, we start flowing with life and, over time, we become increasingly aware of experiences just before they occur and can now “welcome” them. It is a miraculous state of being. What you might call the “divine inspiration” encoded in light moves us in a direction that is expansive, infusing us with a deep desire — beyond the wish for anything personal or material — to embrace our most potent longing for oneness with the vision we have been given. There remains only a witness who is present, spacious, and imperturbable. Everything appears clear and seems to scintillate. The resulting sense of peace is so blissful that it may bring tears to our eyes. No matter how many miracles we experience, each new wonder is always astounding, inviting in more such experiences and reminding us that all of life is literally beyond belief.

For unknown ages after the explosive outpouring of matter and energy of the Big Bang, the Cosmos was without form. There were no galaxies, no planets, no life. Deep, impenetrable darkness was everywhere, hydrogen atoms in the void. Here and there, denser accumulations of gas were imperceptibly growing, globes of matter were condensing-hydrogen raindrops more massive than suns. Within these globes of gas was kindled the nuclear fire latent in matter. A first generation of stars was born, flooding the Cosmos with light. There were in those times, not yet any planets to receive the light, no living creatures to admire the radiance of the heavens. Deep in the stellar furnaces, the alchemy of nuclear fusion created heavy elements from the ashes of hydrogen burning, the atomic building blocks of future planets and lifeforms. Massive stars soon exhausted their stores of nuclear fuel. Rocked by colossal explosions, they returned most of their substance back into the thin gas from which they had once condensed. Here in the dark lush clouds between the stars, new raindrops made of many elements were forming, later generation of stars being born. Nearby, smaller raindrops grew, bodies far too little to ignite the nuclear fire, droplets in the interstellar mist on their way to form planets. Among them was a small world of stone and iron, the early Earth. Congealing and warming, the Earth released methane, ammonia, water and hydrogen gases that had been trapped within, forming the primitive atmosphere and the first oceans. Starlight from the Sun bathed and warmed the primeval Earth, drove storms, generated lightning and thunder. Volcanoes overflowed with lava. These processes disrupted molecules of the primitive atmosphere; the fragments fell back together into more and more complex forms, which dissolved into the early oceans. After a while the seas achieved the consistency of a warm, dilute soup. Molecules were organized, and complex chemical reactions driven, on the surface of clay. And one day a molecule arose that quite by accident was able to make crude copies of itself out of the other molecules in the broth. As time passed, more elaborate and more accurate self replicating molecules arose. Those combinations best suited to further replication were favored by the sieve of natural selection. Those that copied better produced more copies. And the primitive oceanic broth gradually grew thin as it was consumed by and transformed into complex condensations of self replicating organic molecules. Gradually, imperceptibly, life had begun. Single-celled plants evolved, and life began generating its own food. Photosynthesis transformed the atmosphere. Sex was invented. Once free living forms bonded together to make a complex cell with specialized functions. Chemical receptors evolved, and the Cosmos could taste and smell. One celled organisms evolved into multicellular colonies, elaborating their various parts into specialized organ systems. Eyes and ears evolved, and now the Cosmos could see and hear. Plants and animals discovered that land could support life. Organisms buzzed, crawled, scuttled, lumbered, glided, flapped, shimmied, climbed and soared. Colossal beasts thundered through steaming jungles. Small creatures emerged, born live instead of in hard-shelled containers, with a fluid like the early ocean coursing through their veins. They survived by swiftness and cunning. And then, only a moment ago, some small arboreal animals scampered down from the trees. They became upright and taught themselves the use of tools, domesticated other animals, plants and fire, and devised language. The ash of stellar alchemy was now emerging into consciousness. At an ever-accelerating pace, it invented writing, cities, art and science, and sent spaceships to the planets and the stars. These are some of the things that hydrogen atoms do, given fifteen billion years of cosmic evolution.

It was easy to speak theoretically and idealistically about politics when one is seeking power. The demands of exercising it once it is won, however, are so complex and fluid that ideological certitude is often among the first casualties of actual governing.

Pretenders try to out-think their opponents as if they were playing chess. Tennis is a martial art. Instinctive fluid action is far more effective than thinking.

Why can’t they see that spiritualism and science are one? That bodies evolve and souls evolve and the universe is a fluid place that marries them both in a wonderful package called a human being. What’s wrong with that idea?

Kaleidoscope Yoga: The universal heart and the individual self. We, as humanity, make up together a mosaic of beautiful colors and shapes that can harmoniously play together in endless combinations. We are an ever-changing play of shape and form. A kaleidoscope consists of a tube (or container), mirrors, pieces of glass (or beads or precious stones), sunlight, and someone to turn it and observe and enjoy the forms. Metaphorically, perhaps the sun represents the divine light, or spark of life, within all of us. The mirrors represent our ability to serve as mirrors for one another and each other’s alignment, reflecting sides of ourselves that we may not have been aware of. The tube (or container) is the practice of community yoga. We, as human beings, are the glass, the beads, the precious stones. The facilitator is the person turning the Kaleidoscope, initiating the changing patterns. And the resulting beauty of the shapes? Well, that’s for everyone to enjoy... Coming into a practice and an energy field of community yoga over and over, is a practice of returning, again and again, to the present moment, to the person in front of you, to the people around you, to your body, to others’ bodies, to your energy, to others’ energy, to your breath, to others’ breath. [...] community yoga practice can help us, in a very real, practical, grounded, felt, somatic way, to identify and be in harmony with all that is around us, which includes all of our fellow human beings.
 We are all multiple selves. We are all infinite. We are all universal selves. We are all unique expressions of the universal heart and universal energy. We are all the universal self. We are all one another. And we are all also unique specific individuals. And to the extent that we practice this, somatically, we become more and more comfortable and fluid with this larger, more cosmic, more inter-related reality. We see and feel and breathe ourselves, more and more, as the open movement of energy, as open somatic possibility. As energy and breath. This is one of the many benefits of a community yoga practice. Kaleidoscope shows us, in a very practical way, how to allow universal patterns of wisdom and interconnectedness to filter through us. [...] One of the most interesting paradoxes I have encountered during my involvement with the community yoga project (and it is one that I have felt again and again, too many times to count) is the paradox that many of the most infinite, universal forms have come to me in a place of absolute solitude, silence, deep aloneness or meditation. And, similarly, conversely and complimentarily, (best not to get stuck on the words) I have often found myself in the midst of a huge crowd or group of people of seamlessly flowing forms, and felt simultaneously, in addition to the group energy, the group shape, and the group awareness, myself as a very cleanly and clearly defined, very particular, individual self. These moments and discoveries and journeys of group awareness, in addition to the sense of cosmic expansion, have also clarified more strongly my sense of a very specific, rooted, personal self. The more deeply I dive into the universal heart, the more clearly I see my own place in it. And the more deeply I tune in and connect with my own true personal self, the more open and available I am to a larger, more universal self. We are both, universal heart and universal self. Individual heart and individual self. We are, or have the capacity for, or however you choose to put it, simultaneous layers of awareness. Learning to feel and navigate and mediate between these different kinds and layers of awareness is one of the great joys of Kaleidoscope Community Yoga, and of life in general. Come join us, and see what that feels like, in your body, again and again. From the Preface of Kaleidoscope Community Yoga: The Art of Connecting: The First 108 Poses

spiritualism and science are one? That bodies evolve and souls evolve and the universe is a fluid place that marries them both in a wonderful package called a human being. What’s wrong with that idea?

Joseph shook his head. How could such a thing happen? It made him think of William Blake’s poem where a worm finds its way into a bed of luminous, red roses—O world thou art sick. He tried to divert himself by focusing on the drive. People were lining up to get tested. He watched them offer their arms to the technician; the dark-red fluid flowing from syringes into glass vials; the vials placed into plastic crates; the crates stacked one on top of another. The blood would be screened in a laboratory for the specific genetic markers on white blood cells and then compared to Emily’s. Hopefully, a match would be found.

Michelangelo dreams of a banquet from long ago, when you could discuss Eros without your speech being slurred by wine, without your elocution being impaired by it, when beauty was only contemplation of beauty, far from these ugly moments prefiguring death, when bodies fought no longer against their fluids, their moods, their desires. He dreams of an ideal banquet, where table companions wouldn’t reel from fatigue or alcohol, when all vulgarity would be banished for the sake of art.

we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain.

There is one art, no more, no less, to do all things with artlessness.

He gave us music that reached into the ear like a lover's tongue and changed the color of our feelings. He presented movement so exquisite and fluid it coaxed our souls out of our bodies to dance with him, weightless in the perfume of divinity.

Finally, every society develops a system of aesthetic standards that get manifested in everything from decorative art, music, and dance to the architecture and planning of buildings and communities. There are many different ways we could examine artistic systems. One way of thinking about it is to observe the degree to which a society's aesthetics reflect clear lines and solid boundaries versus fluid ones. Many Western cultures favor clean, tight boundaries whereas many Eastern cultures prefer more fluid, indiscriminate lines. In most Western homes, kitchen drawers are organized so that forks are with forks and knives are with knives. The walls of a room are usually uniform in color, and when a creative shift in color does occur, it usually happens at a corner or along a straight line midway down the wall. Pictures are framed with straight edges, molding covers up seams in the wall, and lawns are edged to form a clear line between the sidewalk and the lawn. Why? Because we view life in terms of classifications, categories, and taxonomies. And cleanliness itself is largely defined by the degree of order that exists. It has little to do with sanitation and far more to do with whether things appear to be in their proper place. Maintaining boundaries is essential in the Western world; otherwise categories begin to disintegrate and chaos sets in.13 Most Americans want dandelion-free lawns and roads with clear lanes prescribing where to drive and where not to drive. Men wear ties to cover the adjoining fabric on the shirts that they put on before going to the symphony, where they listen to classical music based on a scale with seven notes and five half steps. Each note has a fixed pitch, defined in terms of the lengths of the sound waves it produces.14 A good performance occurs when the musicians hit the notes precisely. In contrast, many Eastern cultures have little concern in everyday life for sharp boundaries and uniform categories. Different colors of paint may be used at various places on the same wall. And the paint may well “spill” over onto the window glass and ceiling. Meals are a fascinating array of ingredients where food is best enjoyed when mixed together on your plate. Roads and driving patterns are flexible. The lanes ebb and flow as needed depending on the volume of traffic. In a place like Cambodia or Nigeria, the road space is available for whichever direction a vehicle needs it most, whatever the time of day. And people often meander along the road in their vehicles the same way they walk along a path. There are many other ways aesthetics between one place and another could be contrasted. But the important point is some basic understanding of how cultures differ within the realm of aesthetics. Soak in the local art of a place and chalk it up to informing your strategy for international business.

Poised Positioning • Be mindful of how you use your body to communicate. • Be fully present in the moment. • Be thoughtful and gracious in your actions. • Be fluid and elegant in your movements. • Express flow—walk in freedom and spontaneity. • Develop an unshakeable sense of authentic inner confidence and certainty. • Develop a deep respect for others. • Move slower and more deliberately. • Walk in integrity, class, and modesty. • Smile kindly and laugh softly. • Become a student of manners and etiquette.

As a professional speaker, Susanne travels all over the country and practically lives on airplanes. One day as she entered security to board yet another flight, she was struck by the poise, posture, and gestures of the man in front of her in line. As a communications expert, she observed his excellent presentation with appreciation and awe. The gentleman was dressed impeccably in a crisp white shirt and well-fitted suit and he sported a new haircut. She watched him as he removed his flawless leather belt, his gold money clip, and well-polished shoes. (And of course, he had Listerine in a baggie to ensure fresh breath!) The care with which he dismantled was impressive. His poised and fluid movements were deliberate and respectful of his personal possessions. As he regrouped and proceeded down the concourse, she was struck by how his stance and carriage intrigued and impressed her. His projection of elegance created a presence of pride and dignity. He left a remarkable impression.

In reality, love is fluid; it’s a verb, not a noun.

Until we begin to question our basic assumptions about ourselves and view them as fluid, not fixed, it’s easy to repeat established patterns and, out of habit, reenact old stories that limit our ability to live and love ourselves with an open heart.

best teams had fluid leaders who took advantage of everyone’s relative strengths and fostered norms of openness,

5. The Salt Paradox When the human body adapts to a low carb diet, the kidneys fundamentally change how they handle sodium. Removing most carbs from the diet causes your kidneys to aggressively secrete sodium (and along with it, extra fluid). This is why many people experience a dramatic early weight loss with carb restriction. But this means that a continuous moderate intake of sodium is necessary to keep your circulation adequate to handle ‘heat stresses’ like hot weather, endurance activity, or even a hot shower. If you are eating less than 60 grams of carbohydrate per day, you need to purposefully add 2-3 grams of sodium to your daily intake (unless you are still taking diuretic medication under a doctor’s direction for high blood pressure or fluid retention).

We humans are about 2/ 3 water. Each of us contains about 40 liters (or quarts) of the stuff, and each liter weighs a bit over 2 pounds. Our bodies effectively regulate fluid balance by adjusting urine output and sense of thirst, but this is done within a 2-liter range. Within this range, your body doesn’t really care if it is up to a liter above or below its ideal fluid level. What this means is that we all live inside a 4-pound-wide grey zone, so that from day to day we fluctuate up or down (i.e., plus or minus) 2 pounds. This happens more or less at random, so with any one weight reading you don’t know where your body is within that fluid range. Your weight can be the same for 3 days in a row, and the next morning you wake up and the scale says you’ve ‘gained’ 3 pounds for no apparent reason. For people who weigh themselves frequently, this can be maddening.

How do you make anyone actually want to do any of this stuff? How do you flip the internal switch that changes us all back into the Natural Born Runners we once were? Not just in history, but in our own lifetimes. Remember? Back when you were a kid and you had to be yelled at to slow down? Every game you played, you played at top speed, sprinting like crazy as you kicked cans, freed all, and attacked jungle outposts in your neighbors’ backyards. Half the fun of doing anything was doing it at record pace, making it probably the last time in your life you’d ever be hassled for going too fast. That was the real secret of the Tarahumara: they’d never forgotten what it felt like to love running. They remembered that running was mankind’s first fine art, our original act of inspired creation. Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle—behold, the Running Man.

Music is a universe of sound, constantly expanding and dividing. Compositions are carved into movements and passages. A half note branches off into quarter notes, sixteenth notes—the same tone, yet held for a different duration, a different effect. A harmony of multiple notes, a counterpoint of multiple melodies, an orchestra of multiple instruments: separate spheres, playing in parallel. “A composer must make order out of this hopeless profusion of noise. To play every note at once—one big, all-encompassing dot—would produce chaos. To play none would produce silence. But to space them out artfully on a staff of time: that would produce a masterpiece. “And so the composer splits the piece into measures and meter. The notes are held tight within bar lines, told when to ring out and when to die out, when to attack and when to decay. They are given finite boundaries. *You will last for eight breaths, and no more.* To them, time is fixed; to the composer, it is fluid. She could speed it up, slow it down, change duple meter to triple meter or a march to a waltz. She knows that the beauty lies not in how long the note lasts, but in the sound that it makes while it does. “Maybe, the woman thinks, our composer has done the same with us. Lest eternity seem too long and infinity too loud, she imposes measures on our existence, divides it into years, generations, incarnations. We count beats and birthdays. We emerge from the silence, and we fade back into it. This is not a punishment or a curse, any more than it is to assign a time signature to a song. After all, if there is no beat, how can there be a dance? “She does not do this to make us suffer. She does this to make us music.

Many people think of MMA as a bunch of caveman crap, but I recognize the art of it. It isn’t just about brute strength. It’s about stamina, control, coordination, and learning to trust your instincts. Moving fluidly and confidently. Never doubting yourself or letting your opponent see your weakness. In my case, looks can be deceiving, and people have always underestimated

They talk a lot about Darwin; pretty much every educational channel has some kind of show about evolution at some point, and it's usually really well thought out and researched. However, I don't understand why people insist on pitting the concepts of evolution and creation against each other. Why can't they see that spiritualism and science are one? That bodies evolve and souls evolve and the universe is a fluid place that marries them both in a wonderful package called a human being. What's wrong with that idea?

In this manner, language becomes a medium that allows the conscious and unconscious realms to come together in a fluid manner. From this viewpoint, self-stories are effective not so much because they help us make sense of our lives, but because they give us access to the spirited liveliness of language. Indeed, to the extent that our identities are tied to discursive structures, it could be argued that the mobility of language is directly linked to the flexibility of being.

Dehumanization and “desacralization” are one and the same. “Desacralization” was the slogan of the twentieth century; it’s the slogan of ignoramuses, of mediocrity and incompetence. It’s a free pass doled out by one dimwit to another bonehead while trying to convince the third nincompoop that everything should be meaningless and base (allegedly democratic, allegedly accessible), and that everyone has the right to judge everyone else; or no one does—that authority can’t exist in principle, that a hierarchy of values is obscene (since everyone’s equal), and that art’s worth is determined solely by cost and demand. Novelties and fashionable scandals are surprisingly not that novel and not that scandalous: fans of the Square keep presenting various bodily fluids and objects created from them as evidence of art’s accomplishments. It’s as if Adam and Eve—one suffering from amnesia, the other from Alzheimer’s—were attempting to convince each other and their children that they are clay, only clay, and nothing but clay.

You have your vessel, with its shimmering fluid, and I have mine. And I cannot see into yours, and you cannot see into mine. Your heart is so dark to me, and so obscure. But somehow I must trust you, and we must make this work, this whole business of talking to each other, trying to take care of each other, each carrying our amphora of fragrant wine.

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

Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle—behold, the Running Man.

Birds are masterpieces of nature. The fluid beauty in their colors and their physical form is living art. Their every subtle and conspicuous movement - the undulating traverse of the wren, the high step of the heron, the dance of the crane, and the contemplative blink of the owl — is poetry. Wheeling, pitching, pivoting, swooping and swerving are an aesthetic.

If we choose to recondition our interpretation system, reality becomes fluid, and the scope of what can be real is enhanced without endangering the integrity of reality.

Scientists have been exploring the medical mysteries of the human heart for almost as long as poets have been probing its metaphorical depths. It is a wondrous organ, a tireless muscle that pumps blood around the body every moment of our lives. It pounds hard when we are exercising, slows down when we sleep, and even microadjusts its rate between beats, a hugely important phenomenon called heart rate variability. And when it stops, we stop. Our vascular network is equally miraculous, a web of veins, arteries, and capillaries that, if stretched out and laid end to end, would wrap around the earth more than twice (about sixty thousand miles, if you’re keeping score). Each individual blood vessel is a marvel of material science and engineering, capable of expanding and contracting dozens of times per minute, allowing vital substances to pass through its membranes, and accommodating huge swings in fluid pressure, with minimal fatigue. No material created by man can even come close to matching this.

Dost trust me, my Christofer?” Kit raised his eyes over the top of his book and met Murchaud’s gaze. “Thy Christofer? Surely not-“ Murchaud braced his boot on the low table between them, turning a black chess knight between his fingers. “Then whose else art thou?” Which gave Kit pause. “The Devil’s. I suppose.” “And not thine own?” Murchaud stood, a movement too fluid to seem as abrupt as it was, and began to pace, revealing to Kit that this was not an idle conversation. “Had I ever that luxury?” Which made Murchaud turn his head and blink softly. “Does any man?” “Or any elf? No.” Kit sighed. “Aye, my Prince. I trust thee as much as I might trust any Elf-Knight.” “Which is to say not at all.

The phenomenon of withdrawal is explained by ancient humoral pathology as the dominance of black bile over the three other bodily fluids (blood, mucus, and choler), which is why this type of person was described as melancholic. Bile is manifested in a diffuse lack of will to participate and a generally pervasive low-level alienation. Homo theoreticus seems to suffer from sadness without object: he is not sad about something specific, but marked by feelings of loss without any identifiable reason. For him, it is as if something important were missing in the world. As a result, he will never feel at home—a condition Lamartine invoked in his elegy “Isolement” (Isolation): “Upon the earth in exile why do I remain / As there is nothing more to share between the earth and me.

In the absence of continual external reinforcement, we must be our own monitor, and quality of presence is often the best gauge. We cannot expect to touch excellence if “going through the motions” is the norm of our lives. On the other hand, if deep, fluid presence becomes second nature, then life, art, and learning take on a richness that will continually surprise and delight. Those who excel are those who maximize each moment’s creative potential—for these masters of living, presence to the day-to-day learning process is akin to that purity of focus others dream of achieving in rare climactic moments when everything is on the line. The secret is that everything is always on the line. The more present we are at practice, the more present we will be in competition, in the boardroom, at the exam, the operating table, the big stage. If we have any hope of attaining excellence, let alone of showing what we’ve got under pressure, we have to be prepared by a lifestyle of reinforcement. Presence must be like breathing.

For Leonardo, the spiral form was the archetypal code for the ever-changing yet stable nature of living forms. He saw it in the growth patterns of plants and animals, in curling locks, in human movements and gestures, and above all in the swirling vortices of water and air. The movement of water is the grand unifying theme in Leonardo’s science of living forms. Water is the life-giving element flowing through the veins of the Earth and the blood vessels of the human body. It nourishes and sustains all living bodies. Its forms, like theirs, are fluid and always varying. It is a major source of power and for eons has shaped the surface of the living Earth, gradually turning arid rocks into fertile soil. With its infinite variety of form and movement—as rivers and tides, clouds and rain, cascades and currents, eddies and whirlpools—water flows through Leonardo’s art and interlinks the main fields of his science.