Medium Inspirational Quotes

Finding the happy medium between what our brain tells us, what our mind inspires us, and what our heart instills is our paramount challenge in life.( "Poste Restante" )

There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.

Prayer is a way of asking for something. It is the medium of miracles. But the only meaningful prayer is for forgiveness, because those who have been forgiven have everything.

When I stopped to take a breath, I noticed I had wings.

The universe will use any vehicle and any medium to communicate with us. Our job is to be alert and to listen.

Insomnia is the perfect medium to be creative and to elaborate about ideas without the hectic of the day. During the night perfect ideas are born.

I danced with my shadows until they became part of my light.

Inspiration in Science may have to do with ideas, but not in Art. In art it is in the senses that are instinctively responsive to the medium of expression.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. Its a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. Its not just words or music-it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

Be yourself! Fill yourself up with light and fly!

Just breathe and believe.

A poet is simply an artist whose medium is human emotions.  A poet chisels away at our own sensibilities, shaping our vision while molding our hearts.  A poet wraps words around our own feelings and presents them as fresh gifts to humanity.

Remember, the thoughts you think, along with your feelings and emotions, control your vibration. Your vibration is a magnet and everything that comes to you is steel.

Changing your words, changes your mind. Changing your mind alters your energy and that is what changes your life.

Love and intuition are both the language of the soul. Speak soul.

When you trust your gut, follow your heart, and use your head, magic happens!

In the beginning was the word, and primitive societies venerated poets second only to their leaders. A poet had the power to name and so to control; he was, literally, the living memory of a group or tribe who would perpetuate their history in song; his inspiration was god given and he was in effect a medium.

If the Pentateuch is inspired, the civilization of of our day is a mistake and crime. There should be no political liberty. Heresy should be trodden out beneath the bigot's brutal feet. Husbands should divorce their wives at will, and make the mothers of their children houseless and weeping wanderers. Polygamy ought to be practiced; women should become slaves; we should buy the sons and daughters of the heathen and make them bondmen and bondwomen forever. We should sell our own flesh and blood, and have the right to kill our slaves. Men and women should be stoned to death for laboring on the seventh day. 'Mediums,' such as have familiar spirits, should be burned with fire. Every vestige of mental liberty should be destroyed, and reason's holy torch extinguished in the martyr's blood.

When we are able to see the choices we make through the eyes of self-acceptance, we are transformed.

Live what you love and what you love will fill your life.

I am love and light in action.

I'm just a medium of delivering the message. Because I am often inspired by the same inspiration that commands me to write these books.

What we see, what we say, and what we think is what we get.

The first step in any Journey, Is the belief that the road will open up in front of you even if you cant see it....

Today I choose self acceptance. Today I choose to walk in the direction of simply what feels good to me. Today I believe my spirit instead of my thoughts. Today I am free.

You are the guardian of your own light. Keep your thoughts bright and your spirit high.

Today give birth to the beauty within. Bring forth your song, your art and your light. Surround yourself with the essence of it all and radiate it out into the world.

It’s better to heal the wound than to hold the hurt and wear the scar.

Insecurity is when you try to love yourself from the outside in. Self-confidence is when you love yourself from the inside out.

Crossed-over spirits were all once someone's significant someone and they still are. Love never dies.

Splendid synchronistic events are now happening for me every day, powering my transformation. I am filled with the exhilaration of faith, grace, and gratitude.

There is so much beauty in different women – thin, big, normal, tall, short, medium, long hair, short hair, etc. Only narrow-mindedness can define it all in one woman.

The Sun Tzu School (which wrote the Art of War) surely never imagined that their antiwar, pro-empire treatise would become known and accepted after the fall of the first empire as a text on military tactics. Likewise, they would have been surprised to see the Ping-fa military metaphor—an inspired teaching device—come to be seen as the message and not the medium.

Love and intuition are born of the same source. Of all the gifts you will receive in this life, love is the only one with everlasting power. Love is your companion in this world and into the next.

You left too soon. I wasn’t ready to live my life without you. Time has taken me out of shock and nudged me into acceptance. I know now that there is a place in my heart where I can always find you.

Consciousness has power to create physical changes and requires no other medium than itself. It can reach the entire universe, inferring that consciousness energy is the very nature of the universe.

An artist’s job is to inspire, from the Latin inspirare: to breathe into. The primary function of art is to inspire new thought shaped by emotions using the creative mediums we master—be it painting, music, design, craft, or photography.

When you act on an intuitive impulse, you are celebrating one of the thoroughly joyful aspects of life on this planet. That calm, guiding inner voice is a natural part of you and deserves to be honored. What is not natural is ignoring it.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

Conscious access to memory is a unique trait of living things, but memory itself is not. It's encoded in the minute vibrations between elementary particles. Our entire universe is built of information given shape. Part of that is its history. Its memory.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

Existence is a medium of art.

Multibagger mantra; find companies which are small in size: Medium in experience Large in aspiration & having an extra large market potential.

Above all mediums, through which storytelling is conveyed, none has the potential to draw us in, to hold us spellbound, but the unassuming book.

The goal of the soul is to work toward enlightenment.

One of the most profound things you can do to achieve peace in this life is to love yourself, by being yourself.

When the world feels upside down, say things to yourself that help you feel right side up.

We become whole when we consciously accept ourselves and love all the parts, including our jagged edges.

On days when your skin is turned inside out and your heart is raw, know that you are divinely loved and protected. You are a superhero, and your superpower is your sensitivity.

Life is about holding the beautiful moments close, Squeezing the sweetness tight, Processing the awful and letting go.

I call back my light, and I call back my power. I call back my ability to see through my fear and remember why I’m here.

The music of the spheres is unlike other music not only in respect of its richness, but also in the nature of its medium. It is a music not merely of sounds but of souls.

Being kind takes more heart than effort.

Fall in love with your day one moment at a time. Smile at your face in the mirror and hug yourself with your words.

Do you ever feel like your feelings don’t fit into your body? Your feelings don’t define you. Have them but don’t be had by them.

Every second of your life is divinely kissed.

The more developed we are as a soul, the more love we radiate. The more love we radiate, the more life we live.

Inhale appreciation, exhale regret. Inhale love, exhale fear. Inhale light, exhale darkness. Inhale, exhale and release.

If you hold a grudge eventually that will be all you can hold.

Today I honor my inner child and lean into the wisdom of my soul.

I hug my knowing soul and am awakened to the spirit within.

The greatest achievement was at first and for a time only a dream. Just as the oak sleeps in the acorn, and the bird waits in the egg, so dreams are the seedlings of realities. Beware, therefore, what you dream of. For some dreams are given by the Medium to inspire us by what may yet be. Others are planted within us by others, foul seeds that we harvest to our destruction.

My wish is that this book has inspired you to listen to your inner voice, to listen to the spirits around you, and to know that you are surrounded by guides and angels who are just waiting for you to ask for their guidance. Don’t ignore those little “signs.” Yes, you do feel them and you do sense your loved ones. We are all mediums and the veil is becoming thinner and thinner.

Of all the events leading up to the departure for the shore, though, was one that had been months in the making. The two souls in question had been united at first through their mutual love for a lost woman. They soon discovered that she was but the medium through which the universe once again exercised its peculiar ability to match those destined to be so linked." The Exile (2017)

They say an elephant never forgets. Well, you are not an elephant. Take notes, constantly. Save interesting thoughts, quotations, films, technologies... the medium doesn't matter, so long as it inspires you.

We like to think of creativity as a space for untrammelled imagination, free from all constraints. Yet while freedom, rule-breaking and inspiration are undoubtedly essential to the creative process, the popular image of creativity overlooks another aspect: examine the life of any great artist and you will find evidence of hard work, discipline and a hard-won knowledge of the rules and conventions of their medium.

But more importantly, there’s no need to be obsessed with what others think of us. The reality is that everyone has greater concerns — themselves. So speak your mind. Take some risks. Be the man in the arena.

Has anyone at the end of the nineteenth century any distinct notion of what poets of a stronger age understood by the word inspiration?  If not, I will describe it.  If you had the slightest residue of superstition left in you it would hardly be possible to completely disregard the idea that one is the mere incarnation, a mouthpiece or a medium of an almighty power.  The idea of revelation in the sense of something which profoundly moves and provokes, becoming suddenly visible and audible with indescribable certainty and accuracy—is a simple description.  You hear—you do not seek; you take—and do not ask who gives: a thought suddenly flashes up like lightning, it comes as a necessity, without hesitation—I have never had any choice in the matter. 

MONEY There are people who believe that money is God and there are others who believe that money is the devil. Both are in ignorance. Money is merely a medium of exchange. Do not compare this medium to God, dirt or devil. It is the greed or hatred of man that labels money as 'good' or 'bad'.

It's important for an artist to realize his own style. Copying or letting yourself be influenced by another's work is good for a start, just don't let yourself get stuck with it. Try to evolve and develop your own. Broadening your knowledge in other mediums is important in acquiring inspiration.

In “The Chinese Written Character as a Medium for Poetry” Pound had found the inspiration of a moving syntax (as contrasted with the categorical syntax of Joyce, where parts of speech are things). “A true noun, an isolated thing,” we read in the Fenollosa essay, “does not exist in nature. Things are only the terminal points, or rather the meeting points of actions, cross-sections cut through actions, snap-shots. Neither can a pure verb, an abstract motion, be possible in nature. The eye sees noun and verb as one: things in motion, motion in things, and so the Chinese conception tends to represent them.

You had something special planned by and for your own soul when you arrived on this earth as the name you wear today. Trust in the Universe. Be open, welcoming, and receptive. Have confidence in yourself. Know that you have the experience to deal with whatever comes your way. Remember, this is your life and you are here to shine.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

So, when I read of a recent study that found that children are significantly more inclined to eat “difficult” foods like liver, spinach, broccoli—and other such hard-to-sell “but-it’s-good-for-you” classics—when they are wrapped in comfortingly bright packages from McDonald’s, I was at first appalled, and then … inspired. Rather than trying to co-opt Ronald’s all-too-effective credibility among children to short-term positive ends, like getting my daughter to eat the occasional serving of spinach, I could reverse-engineer this! Use the strange and terrible powers of the Golden Arches for good—not evil! I plan to dip something decidedly unpleasant in an enticing chocolate coating and then wrap it carefully in McDonald’s wrapping paper. Nothing dangerous, mind you, but something that a two-and-a-half-year-old will find “yucky!”—even upsetting—in the extreme. Maybe a sponge soaked with vinegar. A tuft of hair. A Barbie head. I will then place it inside the familiar cardboard box and leave it—as if forgotten—somewhere for my daughter to find. I might even warn her, “If you see any of that nasty McDonald’s … make sure you don’t eat it!” I’ll say, before leaving her to it. “Daddy was stupid and got some chocolate … and now he’s lost it…” I might mutter audibly to myself before taking a long stroll to the laundry room. An early, traumatic, Ronald-related experience can only be good for her.

All your life you have been waiting… And now the time is here. We are all being called upon to shine our brightest light. Where there is confusion know there are answers. Where there is pain show compassion. Where there is darkness beam your light. We are all related one to the other. Open your heart and feel the connection. Shine your light and heal the world.

Within each one of us there is a healer. Healing has always been a way and a deep source of joy for me. Healing is basically our own energy, which overflows from our inner being, from the meditative quality within, from the inner silence and emptiness. Healing is pure love in essence. Love is what creates healing. Love is the strongest force there is. The sheer presence of love is, in itself, healing. It is more the absence of love – than the presence of love –, which creates problems. Healing is a quality, which we can freely share without any ownership. Healing is not something that we can claim as our own; healing is to be a medium, a channel, for the whole. Healing is a medium through which we can develop our inner qualities of presence, love, joy, intuition, truth, silence, wisdom, creativity and inner wholeness. Healing comes originally from the silence within, where we are already in contact with the whole, with the divine. Healing is what makes us spread our inner wings of love and silence and soar high on the sky of consciousness and touch the stars. Healing is to be in service of God. People who have a quality of heart and sensitivity are naturally healing. With some people that we meet, we feel naturally uplifted and inspired. With other people that we meet, we become tired and heavy. With people, who can listen without judging and evaluating, it is easy to find the right words to share problems and difficulties. And with other people, it seems almost impossible to find the right words. People, who have a healing presence and quality, can support our own inner source of love, truth and silence through their presence. These people also seem to have an intuitive sensitivity to saying the right words, which lift and inspires us. This is the people whose presence can mirror the inner truth, which we already know deep within ourselves. The human heart is a healer, which heals others and ourselves. It is the hearts quality of love, acceptance and compassion, plus communication through words, that creates healing. A word that comes from the heart creates healing. A silent listening with a quality of presence and an accepting attitude creates space for healing to happen. Without love it is only possible to reach the personality of the other person, to reach the surface and periphery of the other person The gift of healing comes when we see the other person with love and compassion. It is the quality of heart, which creates the love and the genuine caring for the other person. When our words are carried by the quality of heart, you can say almost anything to the other person and he will still be able to be open and receptive. But if our words lack the quality of heart, it also becomes difficult for the other person to continue to be open and receptive. Even if a therapist is very skilful, technically, or has a clear clairvoyant ability, and still lacks the natural roots in the soil of the heart, then his words will not touch the heart of the other person.

Science uses the Red Shift to measure deep cosmic distances. But how to measure deep historic time? How about—the Saffron Shift. If history itself had a color, it is . . . like wood or bark, or living forest floor. Assigning hues to time periods, the sum total of history is saffron-brown—but the chromatic arc starts from blinding white (prehistory) to sun-yellow (Ancient Greece), then deepening to pale wood tones (Dark Ages) and finally exploding like an infinite chord into a full brown palette that includes mahoganies, siennas (Middle Ages), oak, sandalwood (the Renaissance), cherry, maple (Age of Reason), and near-black old woods (Industrial Revolution) for which there may not be names. As time approaches our own, the wood-brown palette fades to a weird glassy colorlessness, goes black-and-white for a brief span as you think of photographs of your grandparents, and then again fades until we get a clear medium that is the color of the world. And the present moment is perfectly transparent. It's only as you start looking into the future, that the colors start returning. The glass is turning silvery with a murky haze, and there is blue somewhere in the distance . . .

​​I thought that some of the metaphysical imagery was really particularly effective. Interesting rhythmic devices too, which seemed to counterpoint the surrealism of the underlying metaphor of the humanity of the author's compassionate soul, which contrives through the medium of the prose structure to sublimate this, transcend that, and come to terms with the fundamental dichotomies of the other, and one is left with a profound and vivid insight into whatever it was the book was about.

Has any one at the end of the nineteenth century any distinct notion of what poets of a stronger age understood by the word inspiration? If not, I will describe it. If one had the smallest vestige of superstition left in one, it would hardly be possible completely to set aside the idea that one is the mere incarnation, mouthpiece, or medium of an almighty power. The idea of revelation, in the sense that something which profoundly convulses and upsets one becomes suddenly visible and audible with indescribable certainty and accuracy―describes the simple fact. One hears―one does not seek; one takes―one does not ask who gives. A thought suddenly flashes up like lightening; it comes with necessity, without faltering. I have never had any choice in the matter. There is an ecstasy so great that the immense strain of it is sometimes relaxed by a flood of tears, during which one's steps now involuntarily rush and anon involuntarily lag. There is the feeling that one is utterly out of hand, with the very distinct consciousness of an endless number of fine thrills and titillations descending to one's very toes. There is a depth of happiness in which the most painful and gloomy parts do not act as antitheses to the rest, but are produced and required as necessary shades of color in such an overflow of light. There is an instinct of rhythmic relations which embraces a whole world of forms (length, the need of a wide-embracing rhythm, is almost the measure of the force of an inspiration, a sort of counterpart to its pressure and tension). Everything happens quite involuntary, as if in a tempestuous outburst of freedom, of absoluteness, of power and divinity. The involuntary nature of the figures and similes is the most remarkable thing; everything seems to present itself as the readiest, the truest, and simplest means of expression. It actually seems, to use one of Zarathustra's own phrases, as if all things came to one, and offered themselves as similes. . . .

MAGICAL obsession is that state when the mind is illuminated by sub-conscious activity evoked voluntarily by formula at our own time, etc., for inspiration. It is the condition of Genius.  Other obsession is the "blind leading the blind," caused by quietism, known as mediumism, an opening out of the Ego to (what is called) any external influence, elementals, or disembodied energy. A transmutated consciousness that is a resistance to "true" sub-conscious activity, it being a voluntary insanity, a somnambulation of the Ego with "no form" or control to guide it: hence its emanations are stupid in suggestion, or memories of childhood. 

Google had a built-in disadvantage in the social networking sweepstakes. It was happy to gather information about the intricate web of personal and professional connections known as the “social graph” (a term favored by Facebook’s Mark Zuckerberg) and integrate that data as signals in its search engine. But the basic premise of social networking—that a personal recommendation from a friend was more valuable than all of human wisdom, as represented by Google Search—was viewed with horror at Google. Page and Brin had started Google on the premise that the algorithm would provide the only answer. Yet there was evidence to the contrary. One day a Googler, Joe Kraus, was looking for an anniversary gift for his wife. He typed “Sixth Wedding Anniversary Gift Ideas” into Google, but beyond learning that the traditional gift involved either candy or iron, he didn’t see anything creative or inspired. So he decided to change his status message on Google Talk, a line of text seen by his contacts who used Gmail, to “Need ideas for sixth anniversary gift—candy ideas anyone?” Within a few hours, he got several amazing suggestions, including one from a colleague in Europe who pointed him to an artist and baker whose medium was cake and candy. (It turned out that Marissa Mayer was an investor in the company.) It was a sobering revelation for Kraus that sometimes your friends could trump algorithmic search.

So get up, pretty woman! And from your beautifully shaped body don’t be ashamed For we are meant to be different, Rounded shapes and squared We come in a small, medium and a large size And to each there is still a wide range This is to create a beautiful portrait for the eyes And we are not supposed to please the “media-thinking” and change! So woman up! Whether your size is infinity-X large or infinity-X Small In love with “you” you should fall Don’t let them and their meaningless words or shallow looks Make you lose it all As to this nature you belong, The beach, the mountains, the oceans And the colorful life this mother earth has to give So embrace this with your body and soul No matter how they evolve… For as long as you live!

He would open the door of the drawing-room or the nursery, I thought, and find her among her children perhaps, or with a piece of embroidery on her knee at any rate, the center of some different order in the system of life, and the contrast between this world and his own, which might be the law courts or the House of Commons, would at once refresh and invigorate; and there would follow, even in the simplest talk, such a natural difference of opinion that the dried ideas in him would be fertilized anew; and the sight of her creating in a different medium from his own would so quicken his creative power that insensibly his sterile mind would begin to plot again, and he would find the phrase or the scene which was lacking when he put on his hat to visit her.

The whole suggestion is predicated on a damnable fucking lie—the BIG lie, actually—one which Richman himself happily helped create and which he works hard, on a daily basis, to keep alive. See … it makes for a better article when you associate the food with a personality. Richman, along with the best and worst of his peers, built up these names, helped make them celebrities by promoting the illusion that they cook—that if you walk into one of dozens of Jean-Georges’s restaurants, he’s somehow back there on the line, personally sweating over your halibut, measuring freshly chopped herbs between thumb and forefinger. Every time someone writes “Mr. Batali is fond of strong, assertive flavors” (however true that might be) or “Jean Georges has a way with herbs” and implies or suggests that it was Mr. Batali or Mr. Vongerichten who actually cooked the dish, it ignores the reality, if not the whole history, of command and control and the creative process in restaurant kitchens. While helpful to chefs, on the one hand, in that the Big Lie builds interest and helps create an identifiable brand, it also denies the truth of what is great about them: that there are plenty of great cooks in this world—but not that many great chefs. The word “chef” means “chief.” A chef is simply a cook who leads other cooks. That quality—leadership, the ability to successfully command, inspire, and delegate work to others—is the very essence of what chefs are about. As Richman knows. But it makes better reading (and easier writing) to first propagate a lie—then, later, react with entirely feigned outrage at the reality.

Having grown up knowing the formerly-mentioned historical figures are part of my family lineage, I was interested to learn that at least one, famed American psychic and suffragette, Amanda Theodosia Jones (of Puritan, Quaker and Huguenot heritage), was a self-proclaimed spiritualist. While aware of her inventions and business endeavors, I’d never been informed of her interest in metaphysics. Possessing a rather significant collection of her letters, poetry and other documents, it is perhaps my intimate relationship with this extraordinary individual inspiring my lifelong engagement with the psychic world. Indeed, in a recent dream, the spirit of Amanda T. Jones contacted me for reasons that will later be delineated. It is my ongoing contact with her and other spirit entities (including the Bodhisattva of Compassion, Kuan Yin), in fact, inspiring me to pen this manuscript.

The supposedly eyewitness authority of the Pseudo-Turpin finds a parallel in another genre in which vernacular prose was pioneered: that of the historical memoir. There were twelfth-century verse histories narrated by authors who had personally participated in the events they describe, such as the Third Crusade. But the Fourth Crusade of 1202-4 saw a switch to prose. This shameful fiasco, in which the crusaders were induced to turn aside from the Holy Land and attack instead the Christian city of Constantinople, inspired two contrasting accounts. Robert de Clari--ignorant of higher-level strategy, but all agog at the splendours of Constantinople--gives a worm's eye view. Geoffroi de Villehardouin, by contrast, has a top diplomat's suave authority and a leader's eye for the aesthetics of war--the splendid sight of a fleet, or the noble heroism of a ruler. For both authors the medium of prose seems to convey the purported authenticity and transparency of lived experience.

In the past few decades, we have witnessed an explosion of information about death and the afterlife, generated by an ever-growing number of psychologists and psychiatrists, physicians, hospice nurses and bereavement counselors, near-death experiencers, researchers in parapsychology, and, of course, mediums, who are working toward a better understanding of the world to come. This is one of many signs that the human race is poised to enter a new era, an era I would call a revolution in consciousness. Another sign is that belief in survival after death is on the rise, up to 89 percent according to some surveys.7 In Western countries, more and more people believe in a kinder hereafter. Instead of hell they expect joy, reunion with loved ones, and the complete absence of pain and worry. As concepts of the afterlife are inextricable from concepts of the Divine, when one changes, so does the other. Predictably, the fear-inspiring God of old is giving way to a more abstract Supreme Being whose laws are written in the spirit of love, compassion, and forgiveness rather than judgment.

Tolkien preferred the still, small voice of Elijah to the resounding horns of Sinai. Accordingly, his commitment to myth as his medium was dogged. He repeatedly denied that The Lord of the Rings was allegory. The reason is this: allegory intends that this particular thing in the story is meant to be that particular thing known outside the story. In a way, it is coercive, forcing the reader to see things in a certain way. For example, Lewis’s lion in the Narnia books, Aslan, is meant to be understood by the reader as a representation of Christ. Tolkien, in fact, was annoyed with Lewis for engaging in allegory, which he found heavy-handed. (Lewis, for his part, denied that his Narnia books were only allegory.) He believed myth to be a more artistically subtle device. Tolkien did not, for instance, intend his War of the Ring to be a battle of good versus evil. He didn’t see matters in such black-and-white terms and did not believe in absolute evil. During the Great War, he didn’t view the Germans as all bad and the English as all good. In the Lord of the Rings, even Sauron, like Lucifer, did not start as evil. Evil for Tolkien was a personal battle within each and every individual. A battle might be won or lost, but the war was unending.

I know Christians who yearn for God's older style of a power-worker who topples pharaohs, flattens Jericho's walls, and scorches the priests of Baal. I do not. I believe the kingdom now advances through grace and freedom, God's goal all along. I accept Jesus' assurance that his departure from earth represents progress, by opening a door for the Counselor to enter. We know how counselors work: not by giving orders and imposing changes through external force. A good counselor works on the inside, bringing to the surface dormant health. For a relationship between such unequal partners, prayer provides an ideal medium. Prayer is cooperation with God, a consent that opens the way for grace to work. Most of the time the Counselor communicates subtly: feeding ideas into my mind, bringing to awareness a caustic comment I just made, inspiring me to choose better than I would have done otherwise, shedding light on the hidden dangers of temptation, sensitizing me to another's needs. God's Spirit whispers rather than shouts, and brings peace not turmoil. Although such a partnership with God may lack the drama of the bargaining sessions with Abraham and Moses, the advance in intimacy is striking. . . The partnership binds so tight that it becomes hard to distinguish who is doing what, God or the human partner. God has come that close.

Although Jung’s distaste for modern art would preclude it, he would have been relieved to know that his wasn’t the only sensitive consciousness at the time plagued with visions of destruction. In 1912 the German Expressionist painter Ludwig Meidner produced a series of “Apocalyptic Landscapes.” Meidner depicted cities laid to waste: comets rocket through the sky, the sun blackens, men run screaming through the streets, buildings collapse. Meidner painted his landscapes in a manic rush of inspiration, and his later work lacks this intensity: one is tempted to say that rather than Meidner having a flash of genius, some flash of genius briefly had him, the same one, perhaps, that invaded Jung’s own mind. Had Jung known of Meidner’s work, he would have surely seen it as confirmation of his belief that some individuals are mediums through whom future events are foreshadowed.

If the other shoe drops, run barefoot!

Bara Brith Cake (Recipe inspired by the Welsh Board of Tourism site, visitwales.com.) 1 pound of self-rising flour 1 teaspoon of spices (allspice, cinnamon, nutmeg, a pinch of clove, ginger) 6 ounces of brown sugar 1 medium-sized egg 1 tablespoon of orange zest (lemon zest works too) 2 tablespoons of orange juice 1 tablespoon of honey (you can substitute 2 tablespoons of marmalade for the juice and honey) 10½ fluid ounces of cold tea 1 pound mixed dried fruit (you can substitute fresh grated ginger for 2 tablespoons of this mixture) Extra honey for glazing Put the mixed dried fruit in a bowl, pour the tea over it, cover, and leave to soak overnight (you can replace ¼ of the tea with whiskey). The next day, mix the sugar, egg, orange juice, orange zest, and honey and add to the fruit mix. Sift in the flour and spices and mix well. Pour the mixture into a 2-pint loaf pan. Bake for 1 hour and 45 minutes at 325 degrees. The cake should be golden and firm to the touch in the middle. Baste the cake with honey while it’s still warm, then allow it to cool.

That which inspires one to pursue his highest self, losing himself and human weakness along the way, through complete immersion in a medium; when one cannot be distracted by the world because he has created his own; a more vivid, real existence in the expression of himself through his chosen pursuit

Individual behavior, they note in Prolegomena to the Construction of the Central City (significantly, the first neohuman work not to have a named author), was to become ‘as predictable as the functioning of a refrigerator.’ Indeed, while writing down their instructions, they acknowledged as a main source of stylistic inspiration, indeed more than any other human literary production, ‘the manual for electrical appliances of medium size and complexity, in particular the video player JVC HR-DV3S/MS.

Begin your automatic drawing by making a mark on a piece of paper with any kind of black-and-white or color medium and just go wherever that takes you. No need to predetermine what kind of mark should come first or how to proceed from there, nor is there any model for what the resulting drawing should look like.

The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.

Gruyère and Black Pepper Popovers This recipe was inspired by Jodi Elliott, a former co-owner and chef of Foreign & Domestic Food and Drink and the owner of Bribery Bakery, both in Austin, Texas. Butter for greasing the popover pans or muffin tins 2 cups whole milk 4 large eggs 1½ teaspoons salt ½ teaspoon freshly ground black pepper 2 cups all-purpose flour Nonstick cooking spray ¾ cup Gruyère cheese (5 ounces), cut into small cubes, plus grated Gruyère cheese for garnishing (optional) 1. Place the oven rack in the bottom third of the oven and preheat the oven to 450°F. 2. Prepare the popover pans or muffin tins (with enough wells to make 16 popovers) by placing a dot of butter in the bottom of each of the 16 wells. Heat the pans or tins in the oven while you make the popover batter. 3. Warm the milk in a small saucepan over medium heat. It should be hot, but do not bring it to a boil. Remove from the heat. 4. In a large bowl, whisk the eggs with the salt and black pepper until smooth. Stir in the reserved warm milk. 5. Add the flour to the egg mixture and combine. The batter should have the consistency of cream. A few lumps are okay! 6. Remove the popover pans or muffin tins from the oven. Spray the 16 wells generously with nonstick cooking spray. Pour about ⅓ cup of the batter into each well. Place several cubes of cheese on top of the batter in each well. 7. Reduce the oven temperature to 350°F. Bake the popovers until the tops puff up and are golden brown, about 40 minutes. Remember not to open the oven door while baking. You don’t want the popovers to collapse! 8. Remove the popovers from the oven and turn them onto a wire cooling rack right away to preserve their crispy edges. Using a sharp knife, pierce the base of each popover to release the steam. Sprinkle grated Gruyère over the finished popovers, if desired, and serve immediately. Makes 16 popovers

A meeting from 3 years ago led to an opportunity this month. A failed feature pitch from 2 years ago recently found new life in a different medium. A script I couldn't sell led to me working in animation. Writing is a long hustle, I'm saying, and "No," sometimes means, "Not now.

Every artist loved their art for the same reason, and this caused no suspicion to the world. They regularly say: 'My field captures the human experience.' 'And what is the human experience to you exactly?' questions O’Hare. 'I want to be a storyteller who inspires and expresses their imagination.' 'But how does your chosen art differ from other mediums?' questions O’Hare. 'I am a quiet observer who innately loves philosophy.' But here you are screaming this in a room, cries Dr. O’Hare. 'I am beyond grateful for the people I’ve worked with who made this the greatest collaboration I could have ever asked for.' 'But how did you collaborate—with thought and rehearsal?—or did you just perform some damn thing and sign both your names on it?' asked O’Hare.

Sweet Potato Black Bean Burger TOTAL COOK TIME: 35 MINUTES | MAKES 4 SERVINGS This burger is a longevity powerhouse. Loaded with beans, greens, sweet potatoes, and pepitas, it’s the perfect example of a blue zones–inspired twist on a classic American comfort food. The Patty and Buns: 1½ cups rolled oats 1 cup peeled, mashed, cooked sweet potato 1 cup mashed black beans ½ teaspoon salt 2 teaspoons onion powder 1 teaspoon ground cumin 1 teaspoon smoked paprika ½ teaspoon black pepper ½ teaspoon chipotle powder, optional Oil for cooking 4 whole wheat burger buns The Sauce: ¼ cup toasted pepitas ¼ cup good-quality salsa verde The Toppings: 1 avocado, sliced ½ cup loosely packed sliced kale Pickled or thinly sliced raw red onion* To make the patties, pulse the rolled oats in a food processor until coarsely ground and set aside. Combine the sweet potato, black beans, salt, and spices; then incorporate the ground oats. Let this sit for about 5 minutes so flavors can marry. Form the mixture into 4 patties. In a skillet, heat a thin layer of oil over medium heat. Add the patties and fry on both sides until crisped, about 4 minutes per side. To make the sauce: Puree the pepitas and salsa verde in a food processor or blender and set aside. Build your burger: Mash the avocado and spread on the bottom bun. Then, add your patty and top with the pepita sauce. Finish off the burger with kale and red onion, then the top bun. *To pickle red onions, submerge them in white vinegar with a generous pinch of salt for at least 6 hours.