Insights And Art Quotes

The secret to life is to put yourself in the right lighting. For some, it's a Broadway spotlight; for others, a lamplit desk. Use your natural powers -- of persistence, concentration, and insight -- to do work you love and work that matters. Solve problems. make art, think deeply.

Life is like a game of chess. To win you have to make a move. Knowing which move to make comes with IN-SIGHT and knowledge, and by learning the lessons that are acculated along the way. We become each and every piece within the game called life!

The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. He to whom the emotion is a stranger, who can no longer pause to wonder and stand wrapped in awe, is as good as dead —his eyes are closed. The insight into the mystery of life, coupled though it be with fear, has also given rise to religion. To know what is impenetrable to us really exists, manifesting itself as the highest wisdom and the most radiant beauty, which our dull faculties can comprehend only in their most primitive forms—this knowledge, this feeling is at the center of true religiousness.

You cannot control the results, only your actions.

This is the other secret that real artists know and wannabe writers don’t. When we sit down each day and do our work, power concentrates around us. The Muse takes note of our dedication. She approves. We have earned favor in her sight. When we sit down and work, we become like a magnetized rod that attracts iron filings. Ideas come. Insights accrete.

To dwell in the here and now does not mean you never think about the past or responsibly plan for the future. The idea is simply not to allow yourself to get lost in regrets about the past or worries about the future. If you are firmly grounded in the present moment, the past can be an object of inquiry, the object of your mindfulness and concentration. You can attain many insights by looking into the past. But you are still grounded in the present moment.

She hated the namelessness of women in stories, as if they lived and died so that men could have metaphysical insights.

The problem of knowledge is that there are many more books on birds written by ornithologists than books on birds written by birds and books on ornithologists written by birds

Love becomes art, a playground of imagination, when insight allows us to see and accept each other's vulnerabilities and strengths without the urge to dominate or patronize. (Love, Happiness, and Insight)

Harry, despite your privileged insight into Voldemort’s world (which, incidentally, is a gift any Death Eater would kill to have), you have never been seduced by the Dark Arts, never, even for a second, shown the slightest desire to become one of Voldemort’s followers!” “Of course I haven’t!” said Harry indignantly. “He killed my mum and dad!” “You are protected, in short, by your ability to love!” said Dumbledore loudly.

It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all.

It may, after all, be the bad habit of creative talents to invest themselves in pathological extremes that yield remarkable insights but no durable way of life for those who cannot translate their psychic wounds into significant art or thought.

Making the choice to exercise compassion is an expression of Love for Humanity and Life itself.

Reading the very best writers—let us say Homer, Dante, Shakespeare, Tolstoy—is not going to make us better citizens. Art is perfectly useless, according to the sublime Oscar Wilde, who was right about everything. He also told us that all bad poetry is sincere. Had I the power to do so, I would command that these words be engraved above every gate at every university, so that each student might ponder the splendor of the insight.

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

Diversity should not be pursued solely for its own sake but as a strategic advantage. A diverse board brings a wealth of perspectives, experiences, and insights that can enhance decision-making, innovation, and problem-solving.

Socrates, whose mother was a midwife, used to say that his art was like the art of the midwife. She does not herself give birth to the child, but she is there to help during its delivery. Similarly, Socrates saw his task as helping people to 'give birth' to correct insight, since real understanding must come from within. . . . Everybody can grasp philosophical truths if they just use their innate reason.

Art isn't only a painting. Art is anything that's creative, passionate, and personal. And great art resonates with the viewer, not only with the creator. What makes someone an artist? I don't think is has anything to do with a paintbrush. There are painters who follow the numbers, or paint billboards, or work in a small village in China, painting reproductions. These folks, while swell people, aren't artists. On the other hand, Charlie Chaplin was an artist, beyond a doubt. So is Jonathan Ive, who designed the iPod. You can be an artists who works with oil paints or marble, sure. But there are artists who work with numbers, business models, and customer conversations. Art is about intent and communication, not substances. An artists is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artists takes it personally. That's why Bob Dylan is an artist, but an anonymous corporate hack who dreams up Pop 40 hits on the other side of the glass is merely a marketer. That's why Tony Hsieh, founder of Zappos, is an artists, while a boiler room of telemarketers is simply a scam. Tom Peters, corporate gadfly and writer, is an artists, even though his readers are businesspeople. He's an artists because he takes a stand, he takes the work personally, and he doesn't care if someone disagrees. His art is part of him, and he feels compelled to share it with you because it's important, not because he expects you to pay him for it. Art is a personal gift that changes the recipient. The medium doesn't matter. The intent does. Art is a personal act of courage, something one human does that creates change in another.

For example, highly sensitive people tend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They're often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews). But there are new insights. The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive (just as Aron's husband had described her). They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions -- sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments -- both physical and emotional -- unusually deeply. They tend to notice subtleties that others miss -- another person's shift in mood, say, or a lightbulb burning a touch too brightly.

Use your natural powers—of persistence, concentration, insight, and sensitivity—to do work you love and work that matters. Solve problems, make art, think deeply.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

This, then, is the ultimate, that is only, consolation: simply that someone shares some of your own feelings and has made of these a work of art which you have the insight, sensitivity, and — like it or not — peculiar set of experiences to appreciate. Amazing thing to say, the consolation of horror in art is that it actually intensifies our panic, loudens it on the sounding-board of our horror-hollowed hearts, turns terror up full blast, all the while reaching for that perfect and deafening amplitude at which we may dance to the bizarre music of our own misery.

There is no birth and death; everything dies and renews itself all the time. When you get that kind of insight, you no longer tire yourself out with anxiety and aversion.

Brilliant Muslim scholars applied Qur’anic insights to spark the medieval Islamic Golden Age filled with a mind-boggling outpouring of creativity in science, math, medicine, fashion, philosophy, economics, mental health therapy, architecture, art, and beyond.

Perhaps the difference between a professor and a bus driver is that the professor can say stupid things with complete authority while the bus driver is not authorized to make brilliant insights.

In a mastermind alliance, members freely exchange information, insights, and resources, accelerating learning and problem-solving.

Whether this moment is happy or not depends on you. It`s you who makes the moment happy, not the moment that makes you happy. With mindfulness, concentration, and insight, any moment can become a happy moment.

But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel...it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.

Deep knowledge of the company's industry is essential for understanding the competitive landscape, regulatory environment, and emerging trends. Board members with industry experience can provide valuable insights and guidance on strategic decision-making, risk management, and growth opportunities.

No settled family or community has ever called its home place an “environment.” None has ever called its feeling for its home place “biocentric” or “anthropocentric.” None has ever thought of its connection to its home place as “ecological,” deep or shallow. The concepts and insights of the ecologists are of great usefulness in our predicament, and we can hardly escape the need to speak of “ecology” and “ecosystems.” But the terms themselves are culturally sterile. They come from the juiceless, abstract intellectuality of the universities which was invented to disconnect, displace, and disembody the mind. The real names of the environment are the names of rivers and river valleys; creeks, ridges, and mountains; towns and cities; lakes, woodlands, lanes roads, creatures, and people. And the real name of our connection to this everywhere different and differently named earth is “work.” We are connected by work even to the places where we don’t work, for all places are connected; it is clear by now that we cannot exempt one place from our ruin of another. The name of our proper connection to the earth is “good work,” for good work involves much giving of honor. It honors the source of its materials; it honors the place where it is done; it honors the art by which it is done; it honors the thing that it makes and the user of the made thing. Good work is always modestly scaled, for it cannot ignore either the nature of individual places or the differences between places, and it always involves a sort of religious humility, for not everything is known. Good work can be defined only in particularity, for it must be defined a little differently for every one of the places and every one of the workers on the earth. The name of our present society’s connection to the earth is “bad work” – work that is only generally and crudely defined, that enacts a dependence that is ill understood, that enacts no affection and gives no honor. Every one of us is to some extent guilty of this bad work. This guilt does not mean that we must indulge in a lot of breast-beating and confession; it means only that there is much good work to be done by every one of us and that we must begin to do it.

We can condition our bodies and minds to happiness with the five practices of letting go, inviting positive seeds, mindfulness, concentration, and insight.

Where there is a true art and genuine virtuosity the artist can paint an incomparable masterpiece without leaving even a trace of his identity.

One student asks: Why should I live? Steven Pinker answers: In the very act of asking that question, you are seeking reasons for your convictions, and so you are committed to reason as the means to discover and justify what is important to you. And there are so many reasons to live! As a sentient being, you have the potential to flourish. You can refine your faculty of reason itself by learning and debating. You can seek explanations of the natural world through science, and insight into the human condition through the arts and humanities. You can make the most of your capacity for pleasure and satisfaction, which allowed your ancestors to thrive and thereby allowed you to exist. You can appreciate the beauty and richness of the natural and cultural world. As the heir to billions of years of life perpetuating itself, you can perpetuate life in turn. You have been endowed with a sense of sympathy—the ability to like, love, respect, help, and show kindness—and you can enjoy the gift of mutual benevolence with friends, family, and colleagues. And because reason tells you that none of this is particular to you, you have the responsibility to provide to others what you expect for yourself. You can foster the welfare of other sentient beings by enhancing life, health, knowledge, freedom, abundance, safety, beauty, and peace. History shows that when we sympathize with others and apply our ingenuity to improving the human condition, we can make progress in doing so, and you can help to continue that progress.

Unfortunately, religion often works to shrink and tame the very wild and mysterious forces that first drew our wonder. In the process of making the inexplicable safe for the masses, the possibilities for real illusion-piercing insight becomes reduced. One might say that they are only available to those who dare to ride the breaking crest of direct life-altering experience.

People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I’m concerned, even titling a work is an unnecessary concession.

In this sense the Dionysian man resembles Hamlet: both have once looked truly into the essence of things, they have gained knowledge, and nausea inhibits action; for their action could not change anything in the eternal nature of things; they feel it to be ridiculous or humiliating that they should be asked to set right a world that is out of joint. Knowledge kills action; action requires the veils of illusion: that is the doctrine of Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and, as it were, from an excess of possibilities does not get around to action. Not reflection, no--true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man. Now no comfort avails any more; longing transcends a world after death, even the gods; existence is negated along with its glittering reflection in the gods or in an immortal beyond. Conscious of the truth he has once seen, man now sees everywhere only the horror or absurdity of existence; now he understands what is symbolic in Ophelia's fate; now he understands the wisdom of the sylvan god, Silenus: he is nauseated. Here, when the danger to his will is greatest, art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live: these are the sublime as the artistic taming of the horrible, and the comic as the artistic discharge of the nausea of absurdity. The satyr chorus of the dithyramb is the saving deed of Greek art; faced with the intermediary world of these Dionysian companions, the feelings described here exhausted themselves.

While grief is not fun to deal with, it is a valuable tool to bring about amazing change and growth. The key to this deep level of learning is attitude. How will you respond to the pain you’re feeling?  

Concentration is the act of building focus and meditation is the art of retaining it without losing awareness.

We all have scars. If we embrace them and choose to learn from them, they will make our lives more interesting, and they will gift us with deeper perception.

Faith is not an art. Faith is not an achievement. Faith is not a good work of which some may boast while others can excuse themselves with a shrug of the shoulders for not being capable of it. It is a decisive insight of faith itself that all of us are incapable of faith in ourselves, whether we think of its preparation, beginning, continuation, or completion. In this respect believers understand unbelievers, skeptics, and atheists better than they understand themselves. Unlike unbelievers, they regard the impossibility of faith as necessary, not accidental ...

It may, after all, be the bad habit of creative talents to invest themselves in pathological extremes that yield remarkable insights but no durable way of life for those who cannot translate their psychic wounds into significant art or thought.

There is a line somewhere in Wozzeck that translates out to, roughly, 'The world is awful.' Yes, I said to myself as I shot across the Bay Bridge not giving a fuck how fast I drove, that sums it up. That is high art: 'The world is awful.' That says it all. This is what we pay composers and painters and the great writers to do: tell us this; from figuring this out, they earn a living. What a masterful, incisive insight. What penetrating intelligence. A rat in a drain ditch could tell you the same thing, were it able to talk. If rats could talk, I'd do anything they said.

It may, after all, be the bad habit of creative talents to invest themselves in pathological extremes that yield remarkable insights but no durable way of life for those who cannot translate their psychic wounds into significant art or thought. THEODORE ROSZAK, “IN SEARCH OF THE MIRACULOUS

Since art is a virtue of the intellect, it demands to communicate with the entire universe of the intellect. Hence it is that the normal climate of art is intelligence and knowledge: its normal soil, the civilized heritage of a consistent and integrated system of beliefs and values; its normal horizon , the infinity of human experience enlighted by the passionate insight of anguish or the intellectual virtues of a contemplative mind.

Human perfection and technical perfection are incompatible. If we strive for one, we must sacrifice the other: there is, in any case, a parting of the ways. Whoever realises this will do cleaner work one way or the other. Technical perfection strives towards the calculable, human perfection towards the incalculable. Perfect mechanisms - around which, therefore, stands an uncanny but fascinating halo of brilliance - evoke both fear and Titanic pride which will be humbled not by insight but only by catastrophe. The fear and enthusiasm we experience at the sight of perfect mechanisms are in exact contrast to the happiness we feel at the sight of a perfect work of art. We sense an attack on our integrity, on our wholeness. That arms and legs are lost or harmed is not yet the greatest danger.

The path to artistic insight in one direction often involves deep study of another—the intuition makes uncanny connections that lead to a crystallization of fragmented notions.

Anytime you use your influence to affect the thoughts and actions of others, you are engaging in leadership.

An effective leader must step back, look at the big picture, and make sure the important things are not being pushed out of the way by the seemingly urgent needs of the moment.

How we perceive the world and how we act in it are products of how and what we remember...No lasting joke, invention, insight, or work of art was ever produced by an external memory...Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character. Competing to see who can memorize more pages of poetry might seem beside the point, but it's about taking a stand against forgetfulness, and embracing primal capacities from which too many of us have became estranged...memory training is not just for the sake of performing party tricks; it's about nurturing something profoundly and essentially human.

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his conscious reflection, his progressive steps, mysterious even to himself, should enter so swiftly into the work that he is unable to recognize them in the moment of transition.

We cannot do without reality and we cannot do without illusion. Each serves a purpose, each imposes a limit on the influence of the other, and our experience of the world is the artful compromise that these tough competitors negotiate.

When we practice metta, we open continuously to the truth of our actual experience, changing our relationship to life.

Remember, the best leaders are those who understand that their power flows through them, not from them.

You have planted many seeds in the garden of possibilities. Meditation is the art removing the weeds from the garden of possibilities.

Some of the people who hate me love some of the sentences that I have written, until they get to the name of the person to whom the sentences are attributed.

The idea that we sacrifice our innate wisdom at the feet of our Guides is really no different from the rigid religious doctrines that talked us out of our childhood spiritual knowing.

When you speak, allow the insight of our collective humanity to speak through you. When you walk, don't walk for yourself alone; walk for your ancestors and your community. When you breathe, allow the larger world to breathe for you.

When I met Wittgenstein, I saw that Schlick's warnings were fully justified. But his behavior was not caused by any arrogance. In general, he was of a sympathetic temperament and very kind; but he was hypersensitive and easily irritated. Whatever he said was always interesting and stimulating and the way in which he expressed it was often fascinating. His point of view and his attitude toward people and problems, even theoretical problems, were much more similar to those of a creative artist than to those of a scientist; one might almost say, similar to those of a religious prophet or a seer. When he started to formulate his view on some specific problem, we often felt the internal struggle that occurred in him at that very moment, a struggle by which he tried to penetrate from darkness to light under an intense and painful strain, which was even visible on his most expressive face. When finally, sometimes after a prolonged arduous effort, his answers came forth, his statement stood before us like a newly created piece of art or a divine revelation. Not that he asserted his views dogmatically ... But the impression he made on us was as if insight came to him as through divine inspiration, so that we could not help feeling that any sober rational comment of analysis of it would be a profanation.

Denied access to information about important arenas of human life, history, and art, women like Augusta Welland demonstrate well into adulthood a lack of moral insight and sympathetic compassion.

What art should be about,' they will say, 'is revealing exquisite and resonant truths about the human condition.' Well, to be honest - no, it shouldn’t. I mean, it can occasionally, if it wants to; but really, how many penetrating insights to human nature do you need in one lifetime? Two? Three? Once you’ve realised that no one else has a clue what they’re doing, either, and that love can be totally pointless, any further insights into human nature just start getting depressing really.

To plunge one thing into the shape or nature of another is a fundamental gesture of creative insight, part of how we make for ourselves a world more expansive, deft, fertile, and startling in richness.

What most people call power Buddhists call cravings. The five cravings are for wealth, fame, sex, fancy food, and lots of sleep. In Buddhism, we speak of the five true powers, five kinds of energy. The five powers are faith, diligence, mindfulness, concentration, and insight. The five powers are the foundation of real happiness; they are based on concrete practices

Science seeks to understand complex processes by reducing them to their essential actions and studying the interplay of those actions--and this reductionist approach extends to art as well. Indeed, my focus on one school of art, consisting of only three major representatives, is an example of this. Some people are concerned that a reductionist analysis will diminish our fascination with art, that it will trivialize art and deprive it of its special force, thereby reducing the beholder's share to an ordinary brain function. I argue to the contrary, that be encouraging a focus on one mental process at a time, reductionism can expand our vision and give us new insights into the nature and creation of art. These new insights will enable us to perceive unexpected aspects of art that derive from the relationships between the biological and psychological phenomena.

In today's consumer-driven economy, a strong marketing strategy is essential for success. Board members with marketing expertise can provide valuable insights into consumer behavior, brand positioning, and digital marketing strategies. This is especially crucial for companies in consumer goods, retail, and technology sectors.

My mother's suffering grew into a symbol in my mind, gathering to itself all the poverty, the ignorance, the helplessness; the painful, baffling, hunger-ridden days and hours; the restless moving, the futile seeking, the uncertainty, the fear, the dread; the meaningless pain and the endless suffering. Her life set the emotional tone of my life, colored the men and women I was to meet in the future, conditioned my relation to events that had not yet happened, determined my attitude to situations and circumstances I had yet to face. A somberness of spirit that I was never to lose settled over me during the slow years of my mother's unrelieved suffering, a somberness that was to make me stand apart and look upon excessive joy with suspicion, that was to make me keep forever on the move, as though to escape a nameless fate seeking to overtake me. At the age of twelve, before I had one year of formal schooling, I had a conception of life that no experience would ever erase, a predilection for what was real that no argument could ever gainsay, a sense of the world that was mine and mine alone, a notion as to what life meant that no education could ever alter, a conviction that the meaning of living came only when one was struggling to wring a meaning out of meaningless suffering. At the age of twelve I had an attitude toward life that was to endure, that was to make me seek those areas of living that would keep it alive, that was to make me skeptical of everything while seeking everything, tolerant of all and yet critical. The spirit I had caught gave me insight into the sufferings of others, made me gravitate toward those whose feelings were like my own, made me sit for hours while others told me of their lives, made me strangely tender and cruel, violent and peaceful. It made me want to drive coldly to the heart of every question and it open to the core of suffering I knew I would find there. It made me love burrowing into psychology, into realistic and naturalistic fiction and art, into those whirlpools of politics that had the power to claim the whole of men's souls. It directed my loyalties to the side of men in rebellion; it made me love talk that sought answers to questions that could help nobody, that could only keep alive in me that enthralling sense of wonder and awe in the face of the drama of human feeling which is hidden by the external drama of life.

Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them. — Always trust yourself and your own feeling, as opposed to argumentations, discussions, or introductions of that sort; if it turns out that you are wrong, then the natural growth of your inner life will eventually guide you to other insights. Allow your judgments their own silent, undisturbed development, which, like all progress, must come from deep within and cannot be forced or hastened

Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle. 'That's some catch, that Catch-22,' he observed. 'It's the best there is,' Doc Daneeka agreed. Yossarian saw it clearly in all its spinning reasonableness. There was an elliptical precision about its perfect pairs of parts that was graceful and shocking, like good modern art, and at times Yossarian wasn't quite sure he saw it at all, just the way he was never quite sure about good modern art or about the flies Orr saw in Appleby's eyes. he had Orr's word to take for Appleby's eyes.

You can continue to cry over the same pain & complain about the same situations or you can expand your mind and you can grow. Maybe im not alone when I say, sometimes we all get a little confused and feel like we owe it to the people and places to try harder when in reality, most of the time lessons become lifelong if we don't learn the art of peaceful detachment early in the game.

If a work of architecture consists of forms and contents that combine to create a strong fundamental mood powerful enough to affect us, it may possess the qualities of a work of art. This art has, however, nothing to do with interesting configurations or originality. It is concerned with insights and understanding, and above all truth. Perhaps poetry is unexpected truth. It lives in stillness. Architecture's artistic task is to give this still expectancy a form. The building itself is never poetic. At most, it may possess subtle qualities, which, at certain moments, permit us to understand something that we were never able to understand in quite this way before.

So why bother investing in one’s memory in an age of externalized memories? The best answer I can give is the one I received unwittingly from EP, whose memory had been so completely lost that he could not place himself in time or space, or relative to other people. That is: How we perceive the world and how we act in it are products of how and what we remember. We’re all just a bundle of habits shaped by our memories. And to the extent that we control our lives, we do so by gradually altering those habits, which is to say the networks of our memories. No lasting joke, invention, insight, or work of art was ever produced by an external memory. Not yet, at least. Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character.

I also believe that man’s continued domestication (if you care to use that silly euphemism) of dogs is motivated by fear: fear that dogs, left to evolve on their own, would, in fact, develop thumbs and smaller tongues, and therefore would be superior to men, who are slow and cumbersome, standing erect as they do. This is why dogs must live under the constant supervision of people.... From what Denny has told me about the government and its inner workings, it is my belief that this despicable plan was hatched in a back room of none other than the White House, probably by an evil adviser to a president of questionable moral and intellectual fortitude, and probably with the correct assessment—unfortunately, made from a position of paranoia rather than of spiritual insight—that all dogs are progressively inclined regarding social issues.

Writing hasn’t changed a thing; when the writer puts down the pen, no matter how lucid or brutally honest his insights may have been, it is back to business as usual, which means, in this case, shooting up. This is depressing, but its honesty heartens me. It disallows the delusion that the act of writing necessarily connects us to humanity, that it will help us quit noxious substances, that it will restore us to love lost, or at least serve as a consolation. Literature is not, after all, self-help.

...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.

Invisible prose only!" rules out the sparkling style of [writers]. . . For [whom] vivid prose, and the visionary mind it evinces, rich with speculation, insight, and subjectivity, is the craft and offers a unique caliber of truth. Is there any other art form one would praise by saying it's "invisible"? By definition, art transcends the ordinary, calls attention to itself, and offers virtuosity as its calling card. One that makes it possible to do what metaphor does so well: illuminate what can't be wholly understood.

The ancient Greeks worshipped the human capacity for insight. Scott Berkun, in examining the topic of innovation, pointed out that the Greek religious pantheon included nine goddesses who represented the creative spirit. Leading philosophers such as Socrates and Plato visited temples dedicated to these goddesses, these muses, who were a source of inspiration. We honor this tradition when we visit a museum, a “place of the muses,” and when we enjoy music, the “art of the muses

The beautiful lie is, however, also the essence of kitsch. Kitsch is a form of make-believe, a form of deception. It is an alternative to a daily reality that would otherwise be a spiritual vacuum. . . . Kitsch replaces ethics with aesthetics. . . . Nazism was the ultimate expression of kitsch, of its mind-numbing, death-dealing portent. Nazism, like kitsch, masqueraded as life; the reality of both was death. The Third Reich was the creation of “kitsch men,” people who confused the relationship between life and art, reality and myth, and who regarded the goal of existence as mere affirmation, devoid of criticism, difficulty, insight.

A victim act is a form of passive aggression. It seeks to achieve gratification not by honest work or a contribution made out of one's experience or insight or love, but by the manipulation of others through silent (and not-so-silent) threat. The victim compels others to come to his rescue or to behave as he wishes by holding them hostage to the prospect of his own further illness/meltdown/mental dissolution, or simply by threatening to make their lives so miserable that they do what he wants.

Perhaps the most foundational of these insights is the importance of maintaining an objective emotional detachment when calculating your position relative to your adversary’s. Being ruled by your emotions, exaggerating your strengths, denying your weaknesses, and wishful thinking can only lead to catastrophe. But maintaining your impartiality will allow you to see your circumstances with clarity and will provide opportunities to make sound decisions and respond to changing circumstances appropriately.

You carry your mother in every cell of your body. You have to look deeply to see that she is in fact always with you. Her hand is still in your hand. If your parents have already passed away and you practice looking deeply like this, you can have an even closer relationship with your parents than that of someone whose parents are still alive but who cannot communicate easily with them. You may like to take a moment now to look at your hand. Can you see your mother’s hand in your hand? Or your father’s? Look deeply into your hand. With this insight, and with all the love and care of your parents, bring your hand up to your forehead and feel the hand of your mother or father touching your forehead. Allow yourself to be cared for by your parents in you. They are always with you

For me, where genre ends and literature begins doesn’t matter. What matters is whether a given novel hits me with high impact. If it does, it probably is fulfilling the purpose of fiction. It has drawn me into a story world, held me captive, taken me on a journey with characters like none I’ve ever met, revealed truths I’ve somehow always known and insights that rock my brain. It’s filled me with awe, which is to say it’s made me see the familiar in a wholly new way and made the unfamiliar a foundational part of me. It both entertains and matters. It both captures our age and becomes timelessly great. It does all that with the sturdy tools of story and the flair of narrative art.

Highly sensitive people tend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They're often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews). But there are new insights. The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive (just as Aron's husband had described her). They dream vividly, and can often recall their dreams the next day. They love music, nature, art. They feel exceptionally strong emotions -sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments -both physical and emotional -unusually deeply. They tend to notice subtleties that others miss - another person's shift in mood, say, or a lightbulb burning a touch too brightly.

For the rest of his life, the greater the chaos, the calmer Rockefeller would become, particularly when others around him were either panicked or mad with greed. He would make much of his fortune during these market fluctuations—because he could see while others could not. This insight lives on today in Warren Buffet’s famous adage to “be fearful when others are greedy and greedy when others are fearful.” Rockefeller, like all great investors, could resist impulse in favor of cold, hard common sense.

Uniquely specific, direct, non-linguistic experience is the element in which we live, and it is radically different from conceptual thinking, which can go on only in universals. This is why works of art, embodying as they do unique particulars and insights that cannot be conveyed in words, and cannot be mirrored in conceptual thought, have their roots in lived life and also cannot be translated [into words]. It is why, if someone responds to art predominantly with his intellect, he has already misunderstood it.

I would take in vast amounts of technical information that my brain somehow put together into bursts of insight that felt more like music or wind than mathematical combinations. Increasingly, I had the sense that the key to these leaps was interconnectedness—some part of my being was harmonizing all my relevant knowledge, making it gel into one potent eruption, and suddenly the enigmatic was crystal-clear. But what was really happening?

The search for happiness is not about looking at life through rose-colored glasses or blinding oneself to the pain and imperfections of the world. Nor is happiness a state of exaltation to be perpetuated at all costs; it is the purging of mental toxins, such as hatred and obsession, that literally poison the mind. It is also about learning how to put things in perspective and reduce the gap between appearances and reality. To that end we must acquire a better knowledge of how the mind works and a more accurate insight into the nature of things, for in its deepest sense, suffering is intimately linked to a misapprehension of the nature of reality.

One time, when we'd been discussing martial arts, Murphy told me that eventually, no-one can teach you anything more about them. Once you reach that state of knowledge, the only way to keep learning and increasing your own skill is to teach what you know to others. That's why she teaches a children's class and a rape-defence course every spring and fall at one of her neighbourhood's community centres. It sounded kind of flaky-Zen to me at the time, but Hell's bells, she'd been right. Once upon a time, it would have taken me an hour, if not more, to attain the proper frame of mind. In the course of teaching Molly to meditate, though, I had found myself going over the basics again for the first time in years, and understanding them with a deeper and richer perspective than I'd had when I was her age. I'd been getting almost as much insight and new understanding of my knowledge from teaching Molly as she'd been learning from me.

If we're stuck on one world, we're limited to a single case; we don't know what else is possible. Then—like an art fancier familiar only with Fayoum tomb paintings, a dentist who knows only molars, a philosopher trained merely in NeoPlatonism, a linguist who has studied only Chinese, or a physicist whose knowledge of gravity is restricted to falling bodies on Earth—our perspective is foreshortened, our insights narrow, our predictive abilities circumscribed. By contrast, when we explore other worlds, what once seemed the only way a planet could be turns out to be somewhere in the middle range of a vast spectrum of possibilities. When we look at those other worlds, we begin to understand what happens when we have too much of one thing or too little of another. We learn how a planet can go wrong.

Most girls take one look at you and swoon. You've never had to really work for someone's affection or put effort into maintaining it. In many ways, your natural gifts have done you a disservice-- they've stunted your sensitivity and charm! You've never had to develop insight into what will make a girl laugh and come to love you for reasons that aren't handsome or heroic. That's why smees are experts on the subtle arts of courtship and seduction; nothing comes easy to us, but we do understand and live by the Lover's Maxim." "And what on earth is the Lover's Maxim?" asked Maz, feeling very uninformed. The smee cleared his throat. "If you can't be handsome, be rich. If you can't be rich, be strong. If you cant be strong, be witty." "But what if you can't be witty?" Max wondered. "Learn the guitar.

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.

When we have insight into our inner world and what brings us happiness, then wordlessly, intuitively, we understand others. As though there were no longer a barrier defining the boundaries of our caring, we can feel close to others’ experience of life. We see that when we are angry, there is an element of pain in the anger that is not different from the pain that others feel when they are angry. When we feel love, there is a distinct and special joy in that feeling. We come to know that this is the nature of love itself, and that other beings filled with love experience this same joy.

I do not write every day. I write to the questions and issues before me. I write to deadlines. I write out of my passions. And I write to make peace with my own contradictory nature. For me, writing is a spiritual practice. A small bowl of water sits on my desk, a reminder that even if nothing is happening on the page, something is happening in the room--evaporation. And I always light a candle when I begin to write, a reminder that I have now entered another realm, call it the realm of the Spirit. I am mindful that when one writes, one leaves this world and enters another. My books are collages made from journals, research, and personal experience. I love the images rendered in journal entries, the immediacy that is captured on the page, the handwritten notes. I love the depth of ideas and perspective that research brings to a story, be it biological or anthropological studies or the insights brought to the page by the scholarly work of art historians. When I go into a library, I feel like I am a sleuth looking to solve a mystery. I am completely inspired by the pursuit of knowledge through various references. I read newpapers voraciously. I love what newspapers say about contemporary culture. And then you go back to your own perceptions, your own words, and weigh them against all you have brought together. I am interested in the kaleidoscope of ideas, how you bring many strands of thought into a book and weave them together as one piece of coherent fabric, while at the same time trying to create beautiful language in the service of the story. This is the blood work of the writer. Writing is also about a life engaged. And so, for me, community work, working in the schools or with grassroots conservation organizations is another critical component of my life as a writer. I cannot separate the writing life from a spiritual life, from a life as a teacher or activist or my life intertwined with family and the responsibilities we carry within our own homes. Writing is daring to feel what nurtures and breaks our hearts. Bearing witness is its own form of advocacy. It is a dance with pain and beauty.

By attempting to kill you, Voldemort himself singled out the remarkable person who sits here in front of me, and gave him the tools for the job! It is Voldemort's fault that you were able to see into his thoughts, his ambitions, that you even understand the snakelike language in which he gives orders, and yet, Harry, despite your privileged insight into Voldemort's world (which, incidentally, is a gift any Death Eater would kill to have), you have never been seduced by the Dark Arts, never, even for a second, shown the slightest desire to become one of Voldemort's followers!" "Of course I haven't!" said Harry indignantly. "He killed my mum and dad!" "You are protected, in short, by your ability to love!" said Dumbledore loudly. "The only protection that can possibly work against the lure of power like Voldemort's! In spite of all the temptation you have endured, all the suffering, you remain pure of heart, just as pure as you were at the age of eleven, when you stared into a mirror that reflected your heart's desire, and it showed you only the way to thwart Lord Voldemort, and not immortality or riches. Harry, have you any idea how few wizards could have seen what you saw in that mirror? Voldemort should have known then what he was dealing with, but he did not!

It doesn’t matter how much authority or power a feedback giver has; the receivers are in control of what they do and don’t let in, how they make sense of what they’re hearing, and whether they choose to change. Pushing harder rarely opens the door to genuine learning. The focus should not be on teaching feedback givers to give. The focus—at work and at home—should be on feedback receivers, helping us all to become more skillful learners. The real leverage is creating pull. Creating pull is about mastering the skills required to drive our own learning; it’s about how to recognize and manage our resistance, how to engage in feedback conversations with confidence and curiosity, and even when the feedback seems wrong, how to find insight that might help us grow. It’s also about how to stand up for who we are and how we see the world, and ask for what we need. It’s about how to learn from feedback—yes, even when it is off base, unfair, poorly delivered, and frankly, you’re not in the mood.

Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them. — Always trust yourself and your own feeling, as opposed to argumentations, discussions, or introductions of that sort; if it turns out that you are wrong, then the natural growth of your inner life will eventually guide you to other insights. Allow your judgments their own silent, undisturbed development, which, like all progress, must come from deep within and cannot be forced or hastened. Everything is gestation and then birthing. To let each impression and each embryo of a feeling come to completion, entirely in itself, in the dark, in the unsayable, the unconscious, beyond the reach of one’s own understanding, and with deep humility and patience to wait for the hour when a new clarity is born: this alone is what it means to live as an artist: in understanding as in creating. Being an artist means: not numbering and counting, but ripening like a tree, which doesn’t force its sap, and stands confidently in the storms of spring, not afraid that afterward summer may not come. It does come. But it comes only to those who are patient, who are there as if eternity lay before them, so unconcernedly silent and vast. I learn it every day of my life, learn it with pain I am grateful for: patience is everything!

One last point: If your relationship with your family is especially difficult, working to improve it might sometimes feel like a lost cause. It’s easy to throw up your hands. Almost every day, we hear from people all over the world who feel stuck in family problems that seem like they have no solution. Maybe you have said, “I just want to turn my back on those people and get on with my life.” Giving up is almost always a mistake, because “those people” are, in a mystical way, you. Your spouse is a completion of you as a person. Your kids provide a rare glimpse into your own past. Your parents are a vision of your future. Your siblings are a representation of how others see you. Giving that up means losing insight into yourself, which is a lost opportunity to gain self-knowledge and make progress as a person. Never give up on the relationships that you did not choose, if at all possible. But what about the relationships that you have chosen? These are your friendships, and that’s the next part of our lives to build.

Those Naskapi who pay attention to their dreams and who try to find their meaning and test their truth can enter into a deeper connection with the Great Man. He favors such people and sends them more and better dreams. Thus the major obligation of an individual Naskapi is to follow the instructions given by his dreams, and then to give permanent form to their contents in art. Lies, and dishonesty drive the Great Man away from one's inner realm, whereas generosity and love of one's neighbors and of animals attract him and give him life. Dreams give the Naskapi complete ability to find his way in life, not only in the inner world but also in the outer world of nature. They help him to foretell the weather and give him invaluable guidance in his hunting, upon which his life depends. I mention these very primitive people because they are uncontaminated by our civilized ideas and still have natural insight into the essence of what Jung calls the Self.

Among this bewildering multiplicity of ideals which shall we choose? The answer is that we shall choose none. For it is clear that each one of these contradictory ideals is the fruit of particular social circumstances. To some extent, of course, this is true of every thought and aspiration that has ever been formulated. Some thoughts and aspirations, however, are manifestly less dependent on particular social circumstances than others. And here a significant fact emerges: all the ideals of human behaviour formulated by those who have been most successful in freeing themselves from the prejudices of their time and place are singularly alike. Liberation from prevailing conventions of thought, feeling and behaviour is accomplished most effectively by the practice of disinterested virtues and through direct insight into the real nature of ultimate reality. (Such insight is a gift, inherent in the individual; but, though inherent, it cannot manifest itself completely except where certain conditions are fulfilled. The principal pre-condition of insight is, precisely, the practice of disinterested virtues.) To some extent critical intellect is also a liberating force. But the way in which intellect is used depends upon the will. Where the will is not disinterested, the intellect tends to be used (outside the non-human fields of technology, science or pure mathematics) merely as an instrument for the rationalization of passion and prejudice, the justification of self-interest. That is why so few even of die acutest philosophers have succeeded in liberating themselves completely from the narrow prison of their age and country. It is seldom indeed that they achieve as much freedom as the mystics and the founders of religion. The most nearly free men have always been those who combined virtue with insight. Now, among these freest of human beings there has been, for the last eighty or ninety generations, substantial agreement in regard to the ideal individual. The enslaved have held up for admiration now this model of a man, now that; but at all times and in all places, the free have spoken with only one voice. It is difficult to find a single word that will adequately describe the ideal man of the free philosophers, the mystics, the founders of religions. 'Non-attached* is perhaps the best. The ideal man is the non-attached man. Non-attached to his bodily sensations and lusts. Non-attached to his craving for power and possessions. Non-attached to the objects of these various desires. Non-attached to his anger and hatred; non-attached to his exclusive loves. Non-attached to wealth, fame, social position. Non-attached even to science, art, speculation, philanthropy. Yes, non-attached even to these. For, like patriotism, in Nurse Cavel's phrase, 'they are not enough, Non-attachment to self and to what are called 'the things of this world' has always been associated in the teachings of the philosophers and the founders of religions with attachment to an ultimate reality greater and more significant than the self. Greater and more significant than even the best things that this world has to offer. Of the nature of this ultimate reality I shall speak in the last chapters of this book. All that I need do in this place is to point out that the ethic of non-attachment has always been correlated with cosmologies that affirm the existence of a spiritual reality underlying the phenomenal world and imparting to it whatever value or significance it possesses.

I consider it an error in scientific communication that, most of the time, merely the polished and flawless results of natural research are displayed, as in an art show. And exhibit of the finished product alone has many drawbacks and dangers for both its creator and its users. The creator of the product will be only too ready to demonstrate perfection and flawlessness while concealing gaps, uncertainties and discordant contradictions of his insight into nature. He thus belittles the meaning of the real process of natural research. The user of the product will not appreciate the rigorous demands made on the natural scientist when the latter has to reveal and describe the secrets of nature in a practical way. He will never learn to think for himself and to cope by himself. Very few drivers have an accurate idea of the sum of human efforts, of the complicated thought processes and operations needed for manufacturing an automobile. Our world would be better off is the beneficiaries of work knew more about the process of work and the existence of the workers, if they did not pluck so thoughtlessly the fruits of labor performed by others.

Politeness provides a way where you can back down with dignity. In nature there is only ever one reason you cede the high ground – you are acknowledging defeat. You are bowing before a superior power. But under the rules of politeness, you let the other person off not because you are a weakling, a coward or a failure, but because you value calm over chaos. Politeness makes it easier to apologise, because apologising isn’t just an act of pure submission. Politeness is founded on a major insight into human nature and a big positive thesis about what civilisation is and why we need it. It’s a view that was advanced particularly by the political philosopher Thomas Hobbes in the 17th century. Hobbes was acutely conscious that our normal, unrestrained instincts are far from being wholly nice. We may be quite inclined by nature to damage or destroy our rivals; to take advantage of those who are weaker than us; to grab more than our fair share of anything good if we can; to humiliate those who we feel are in some way alien; to revenge ourselves on anyone we feel has upset or disappointed us and to enforce our opinions and beliefs on others if we can. These are natural inclinations, Hobbes argues; therefore, we positively require a set of constraining conventions that artificially induce better ways of dealing with other people. Politeness is not mere decoration. It is directed at dealing with a major human problem: we need manners to restrain the beast inside.

In other words, for your personal reality to be created purposefully, rather than haphazardly, you must understand your mind. But the kind of understanding required isn’t just intellectual, which is ineffective by itself. Like a naturalist studying an organism in its habitat, we need to develop an intuitive understanding of our mind. This only comes from direct observation and experience. For life to become a consciously created work of art and beauty, we must first realize our innate capacity to become a more fully conscious being. Then, through appropriately directed conscious activity, we can develop an intuitive understanding of the true nature of reality. It’s only through this kind of Insight that you can accomplish the highest purpose of meditative practice: Awakening. This should be the goal of your practice. When life is lived in a fully conscious way, with wisdom, we can eventually overcome all harmful emotions and behavior. We won’t experience greed, even in the face of lack. Nor will we have ill will, even when confronted by aggression and hostility. When our speech and action comes from a place of wisdom and compassion, they will always produce better results than when driven by greed and anger. All this is possible because true happiness comes from within, which means we can always find joy, in both good times and bad. Although pain and pleasure are an inevitable part of human life, suffering and happiness are entirely optional. The choice is ours. A fully Awake, fully conscious human being has the love, compassion, and energy to make change for the better whenever it’s possible, the equanimity to accept what can’t be changed, and the wisdom to know the difference. Therefore, make the aim of your meditation the cultivation of a mind capable of this type of Awakening.