Miguel Movie Quotes

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Now you know that all the acting you did your whole life was really for nothing because nobody perceives you the way you want to be perceived. You can see that all the drama that happens in your movie isn’t really noticed by anybody around you. It’s obvious that everybody’s attention is focused on their own movie. They don’t even notice when you’re sitting right beside them in their theater! The actors have all their attention on their story, and that is the only reality they live in. Their attention is so hooked by their own creation that they don’t even notice their own presence—the one who is observing their movie.
Miguel Ruiz (The Fifth Agreement: A Practical Guide to Self-Mastery (A Toltec Wisdom Book))
It used to be that when I made mistakes like this or came close to losing my life, I would just call Miguel. He'd drop it all to come to me—his movies, media engagements no matter how big they were, and even his criminal activities went on hold for me. It made me think he cared. Miguel canceled an appearance on the Dave Letterman show just because he called me and thought my voice sounded like something was wrong. He directed his gaze to the bruises decorating my face. “You said you weren't hurt.” With those big arms, he picked me up and slammed the door behind us. “When I ask you if you're okay, you tell me the truth.
Kenya Wright (Bad for You (Bad for You, #1))
The dream of Strong Artificial Intelligence—and more specifically the growing interest in the idea that a computer can become conscious and have first-person subjective experiences—has led to a cultural shift. Prophets like Kurzweil believe that we are much closer to cyberconsciousness and superintelligence than most observers acknowledge, while skeptics argue that current AI systems are still extremely primitive and that hopes of conscious machines are pipedreams. Who is right? This book does not attempt to address this question, but points out some philosophical problems and asks some philosophical questions about machine consciousness. One fundamental problem is that we do not understand human consciousness. Many in science and artificial intelligence assume that human consciousness is based on information or computations. Several writers have tried to tackle this assumption, most notably the British physicist Roger Penrose, whose controversial theory suggests that consciousness is based upon noncomputable quantum states in some of the tiniest structures in the brain, called microtubules. Other, perhaps less esoteric thinkers, like Duke’s Miguel Nicolelis and Harvard’s Leonid Perlovsky, are beginning to challenge the idea that the brain is computable. These scientists lead their fields in man-machine interfacing and computer science. The assumption of a computable brain allows artificial intelligence researchers to believe they will create artificial minds. However, despite assuming that the brain is a computational system—what philosopher Riccardo Manzotti calls “the computational stance”—neuroscience is still discovering that human consciousness is nothing like we think it is. For me this is where LSD enters the picture. It turns out that human consciousness is likely itself a form of hallucination. As I have said, it is a very useful hallucination, but a hallucination nonetheless. LSD and psychedelics may help reveal our normal everyday experience for the hallucination that it is. This insight has been argued about for centuries in philosophy in various forms. Immanuel Kant may have been first to articulate it in modern form when he called our perception of the world “synthetic.” The fundamental idea is that we do not have direct knowledge of the external world. This idea will be repeated often in this book, and you will have to get used to it. We only have knowledge of our brain’s creation of that world for us. In other words, what we see, hear, and subsequently think are like movies that our brain plays for us after the fact. These movies are based on perceptions that come into our senses from the external world, but they are still fictions of our brain’s creation. In fact, you might put the disclaimer “based on a true story” in front of each experience you have. I do not wish to imply that I believe in the homunculus argument—what philosopher Daniel Dennett describes as the “Cartesian Theater”—the hypothetical place in the mind where the self becomes aware of the world. I only wish to employ the metaphor to illustrate the idea that there is no direct relationship between the external world and your perception of it.
Andrew Smart (Beyond Zero and One: Machines, Psychedelics, and Consciousness)
I know that you see the world with different eyes, with your eyes. You create an entire picture or movie in your mind, and in that picture you are the director, you are the producer, you are the main actor or actress. Everyone else is a secondary actor or actress. It is your movie.
Miguel Ruiz (The Four Agreements: A Practical Guide to Personal Freedom)
The way you see that movie is according to the agreements you have made with life.
Miguel Ruiz (The Four Agreements: A Practical Guide to Personal Freedom)
If you live without fear, if you love, there is no place for any of those emotions. If you don’t feel any of those emotions, it is logical that you will feel good. When you feel good, everything around you is good. When everything around you is great, everything makes you happy. You are loving everything that is around you, because you are loving yourself. Because you like the way you are. Because you are content with you. Because you are happy with your life. You are happy with the movie that you are producing, happy with your agreements with life. You are at peace, and you are happy. You live in that state of bliss where everything is so wonderful, and everything is so beautiful. In that state of bliss you are making love all the time with everything that you perceive.
Miguel Ruiz (The Four Agreements: A Practical Guide to Personal Freedom)
Toltec system teaches that we are no longer little babies, or helpless. We are strong enough to change everything. No matter what conditions you find yourself in, you have the power to change them. Even those who have been raped can change their reality. The effects of your wounds are lessened if you realize you are dreaming. You can change your inner movie because you are the director, writer and actor, and you have all the power to change the story you are living.
Mary Carroll Nelson (Beyond Fear: A Toltec Guide to Freedom and Joy, The Teachings of Don Miguel Ruiz)
The way you see that movie is according to the agreements you have made with life. Your point of view is something personal to you. It is no one’s truth but yours. Then, if you get mad at me, I know you are dealing with yourself.
Miguel Ruiz (The Four Agreements: A Practical Guide to Personal Freedom (A Toltec Wisdom Book))
The way you see that movie is according to the agreements you have made with life. Your point of view is something personal to you. It is no one’s truth but yours. Then, if you get mad at me, I know you are dealing with yourself. I am the excuse for you to get mad. And you get mad because you are afraid, because you are dealing with fear. If you are not afraid, there is no way you will get mad at me. If you are not afraid, there is no way you will hate me. If you are not afraid, there is no way you will be jealous or sad.
Miguel Ruiz (The Four Agreements: A Practical Guide to Personal Freedom (A Toltec Wisdom Book))