Linear Motivation Quotes

Lovers' reading of each other's bodies (of that concentrate of mind and body which lovers use to go to bed together) differs from the reading of written pages in that it is not linear. It starts at any point, skips, repeat itself, goes backward, insists, ramifies in simultaneous and divergent messages, converges again, has moments of irritation, turns the page, finds its place, gets lost. A direction can be recognized in it, a route to an end, since it tends toward a climax, and with this end in view it arranges rhythmic phases, metrical scansions, recurrence of motives. But is the climax really the end? Or is the race toward that end opposed by another drive which works in the opposite direction, swimming against moments, recovering time?

Recovery is full of ups and downs. There is no such thing as a linear life. But you can always turn your setbacks into setups to come back stronger.

It’s okay to be messy. Like sunflowers, galaxies, and fingerprints, your life is an intricately designed spiral. Your wrinkles, bumps, and bruises show the world you are a force of nature. Forget linear. When you embrace chaos, it brings its own kind of order.

To whoever needs to hear this: It's never too late to change directions. Life isn't a linear path. So do not stifle your potential by staying in a lane that doesn't fit what you want for yourself anymore.

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

Brunelleschi’s successor as a theorist of linear perspective was another of the towering Renaissance polymaths, Leon Battista Alberti (1404 –1472), who refined many of Brunelleschi’s experiments and extended his discoveries about perspective. An artist, architect, engineer, and writer, Alberti was like Leonardo in many ways: both were illegitimate sons of prosperous fathers, athletic and good-looking, never-married, and fascinated by everything from math to art. One difference is that Alberti’s illegitimacy did not prevent him from being given a classical education. His father helped him get a dispensation from the Church laws barring illegitimate children from taking holy orders or holding ecclesiastical offices, and he studied law at Bologna, was ordained as a priest, and became a writer for the pope. During his early thirties, Alberti wrote his masterpiece analyzing painting and perspective, On Painting, the Italian edition of which was dedicated to Brunelleschi. Alberti had an engineer’s instinct for collaboration and, like Leonardo, was “a lover of friendship” and “open-hearted,” according to the scholar Anthony Grafton. He also honed the skills of courtiership. Interested in every art and technology, he would grill people from all walks of life, from cobblers to university scholars, to learn their secrets. In other words, he was much like Leonardo, except in one respect: Leonardo was not strongly motivated by the goal of furthering human knowledge by openly disseminating and publishing his findings; Alberti, on the other hand, was dedicated to sharing his work, gathering a community of intellectual colleagues who could build on each other’s discoveries, and promoting open discussion and publication as a way to advance the accumulation of learning. A maestro of collaborative practices, he believed, according to Grafton, in “discourse in the public sphere.” When Leonardo was a teenager in Florence, Alberti was in his sixties and spending much of his time in Rome, so it is unlikely they spent time together. Alberti was a major influence nonetheless.

Rejection is just feedback in disguise. It is not a reflection of your worth but a part of the process. Use it as motivation to refine and improve. Rejection is a temporary setback. The path to success is rarely linear. Embrace the detours and setbacks; they often lead to unexpected opportunities.

The concept is made even more fascinating when you consider it as a psychological spectrum. Imagine a sliding scale of personalities that range from being an “introvert” to an “extrovert” and placing “ambivert” smack dab in the middle. This linear scale illustrates a continuum of experiences, because these descriptions do not apply to every person at all times. We all have tendencies, preferences, and comfort zones that change according to the people we are surrounded by, the environment we find ourselves in, and our levels of confidence in the moment. Using the scale above, where do you typically fall in the spectrum?

A mechanistic rather than a living organism metaphor A high-performing team is a concept that grew out of 20th-century mechanistic linear thinking. High performance was a term used for manufacturing machinery, or cars that could accelerate fast from standstill to 60 mph. It was about achieving greater productivity and efficiency out of a fixed system, so that it creates more, faster and cheaper. High performance is unconcerned about whether what is produced is of beneficial value. It is focused on efficiency rather than creating benefit for all stakeholders. Sub-optimization Some teams I have worked with over the years have been motivated to be the ‘best team on the block’, the standout region in their company.

OPENNESS. If agreeableness describes a person’s relationship to other people, openness describes their relationship to information. People who score high on this trait are powerfully motivated to have new experiences and to try on new ideas. They tend to be innovative more than conventional, imaginative and associative rather than linear, curious more than closed-minded. They tend not to impose a predetermined ideology on the world and to really enjoy cognitive exploration, just wandering around in a subject.

OPENNESS. If agreeableness describes a person’s relationship to other people, openness describes their relationship to information. People who score high on this trait are powerfully motivated to have new experiences and to try on new ideas. They tend to be innovative more than conventional, imaginative and associative rather than linear, curious more than closed-minded. They tend not to impose a predetermined ideology on the world and to really enjoy cognitive exploration, just wandering around in a subject.

As a society, we pursue happiness and become measurably less happy over time. We privilege autonomy, and end up bound by rules to which we never assented, and more spied on than any people since the beginning of time. We pursue leisure through technology, and discover that the average working day is longer than ever, and that we have less time than we had before. The means to our ends are ever more available, while we have less sense of what our ends should be, or whether there is purpose in anything at all. Economists carefully model and monitor the financial markets in order to avoid any future crash: they promptly crash. We are so eager that all scientific research result in ‘positive findings’ that it has become progressively less adventurous and more predictable, and therefore discovers less and less that is a truly significant advance in scientific thinking. We grossly misconceive the nature of study in the humanities as utilitarian, in order to get value for money, and thus render it pointless and, in this form, certainly a waste of resource. We ‘improve’ education by dictating curricula and focussing on exam results to the point where free-thinking, arguably an overarching goal of true education, is discouraged; in our universities many students are, in any case, so frightened that the truth might turn out not to conform to their theoretical model that they demand to be protected from discussions that threaten to examine the model critically; and their teachers, who should know better, in a serious dereliction of duty, collude. We over-sanitise and cause vulnerability to infection; we over-use antibiotics, leading to super-bacteria that no antibiotic can kill; we make drugs illegal to protect society, and, while failing comprehensively to control the use of drugs, create a fertile field for crime; we protect children in such a way that they cannot cope with – let alone relish – uncertainty or risk, and are rendered vulnerable. The left hemisphere’s motivation is control; and its means of achieving it alarmingly linear, as though it could see only one of the arrows in a vastly complex network of interactions

It is only when we accept that development and improvement takes place in the now that we can consciously look upon our manifestations non-linearly and understand them as evergreen fulfillment.

The resistance is the material, the events, the enigmas, the obscure motivations of the characters. Avoid grappling with these and you have a surface affair—a linear pattern, a solo melody in one key and monotonous and eventually exasperating. I ask myself, isn’t it this precisely which gives a diary its essential character?

So which is more probable: That today's atheist apocalyptans are unique and right? Or that they are like their many predecessors—at the very least, in their motivations? If anything, the vehemence with which the believers in emergent complexity debunk all religion may betray their own creeping awareness of the religious underpinnings and precedents for their declarations. In fact, the concept of Armageddon first emerged in response to the invention of monotheism by the ancient Persian priest Zoroaster, around the tenth or eleventh century BCE. Until that time, the dominant religions maintained a pantheon of gods reigning in a cyclical precession along with the heavens, so there was little need for absolutes. As religions began focusing on a single god, things got a bit trickier. For if there is only one god, and that god has absolute power, then why do bad things happen? Why does evil still exist? If one's god is fighting for control of the universe against the gods of other people, then there's no problem. Just as in polytheism, the great achievements of one god can be undermined by the destructive acts of another. But what if a religion, such as Judaism of the First and Second Temple era, calls for one god and one god alone? How do its priests and followers explain the persistence of evil and suffering? They do it the same way Zoroaster did: by introducing time into the equation. The imperfection of the universe is a product of its incompleteness. There's only one true god, but he's not done yet. In the monotheist version, the precession of the gods was no longer a continuous cycle of seasonal deities or metaphors. It was nor a linear story with a clear endpoint in the victory of the one true and literal god. Once this happens, time can end. Creation is the Alpha, and the Return is the Omega. It's all good. This worked well enough to assuage the anxieties of both the civilization of the calendar and that of the clock. But what about us? Without time, without a future, how to we contend with the lingering imperfections in our reality? As members of a monotheist culture—however reluctant—we can't help but seek to apply its foundational framework to our current dilemma. The less aware we are of this process—or the more we refuse to admit its legacy in our construction of new models—the more vulnerable we become to its excesses. Repression and extremism are two sides of the same coin. In spite of their determination to avoid such constructs, even the most scientifically minded futurists apply the Alpha-Omega framework of messianic time to their upgraded apocalypse narratives. Emergence takes the place of the hand of God, mysteriously transforming a chaotic system into a self-organized one, with coherence and cooperation. Nobody seems able to explain how this actually happens.

In some respects, we might expect the trajectory of our lives to continue, uninhibited by unexpected tragedies – or even changes of personal character that would compel us to change beliefs or actions in the future. Life is not linear.