Necessity Creativity Quotes

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.

The truly creative mind in any field is no more than this: A human creature born abnormally, inhumanly sensitive. To him... a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death. Add to this cruelly delicate organism the overpowering necessity to create, create, create -- so that without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating.

Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write. This most of all: ask yourself in the most silent hour of your night: must I write? Dig into yourself for a deep answer. And if this answer rings out in assent, if you meet this solemn question with a strong, simple “I must,” then build your life in accordance with this necessity; your whole life, even into its humblest and most indifferent hour, must become a sign and witness to this impulse. Then come close to Nature. Then, as if no one had ever tried before, try to say what you see and feel and love and lose... ...Describe your sorrows and desires, the thoughts that pass through your mind and your belief in some kind of beauty - describe all these with heartfelt, silent, humble sincerity and, when you express yourself, use the Things around you, the images from your dreams, and the objects that you remember. If your everyday life seems poor, don’t blame it; blame yourself; admit to yourself that you are not enough of a poet to call forth its riches; because for the creator there is not poverty and no poor, indifferent place. And even if you found yourself in some prison, whose walls let in none of the world’s sounds – wouldn’t you still have your childhood, that jewel beyond all price, that treasure house of memories? Turn your attentions to it. Try to raise up the sunken feelings of this enormous past; your personality will grow stronger, your solitude will expand and become a place where you can live in the twilight, where the noise of other people passes by, far in the distance. - And if out of this turning-within, out of this immersion in your own world, poems come, then you will not think of asking anyone whether they are good or not. Nor will you try to interest magazines in these works: for you will see them as your dear natural possession, a piece of your life, a voice from it. A work of art is good if it has arisen out of necessity. That is the only way one can judge it.

Fear doesn't go away. The warrior and the artist live by the same code of necessity, which dictates that the battle must be fought anew every day.

A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.

One does not have to be a philosopher to be a successful artist, but he does have to be an artist to be a successful philosopher. His nature is to view the world in an unpredictable albeit useful light.

I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Then even death, where you're going no matter how you live, cannot you part.

This withdrawal from the day's turmoil into creative silence is not a luxury, a fad, or a futility. It is a necessity, because it tries to provide the conditions wherein we are able to yield ourselves to intuitive leadings, promptings, warnings, teachings, and counsels and also to the inspiring peace of the soul. It dissolves mental tensions and heals negative emotions.

The two go hand in hand like a dance: chance flirts with necessity, randomness with determinism. To be sure, it is from this interchange that novelty and creativity arise in Nature, thereby yielding unique forms and novel structures.

How are you coming with your home library? Do you need some good ammunition on why it's so important to read? The last time I checked the statistics...I think they indicated that only four percent of the adults in this country have bought a book within the past year. That's dangerous. It's extremely important that we keep ourselves in the top five or six percent. In one of the Monthly Letters from the Royal Bank of Canada it was pointed out that reading good books is not something to be indulged in as a luxury. It is a necessity for anyone who intends to give his life and work a touch of quality. The most real wealth is not what we put into our piggy banks but what we develop in our heads. Books instruct us without anger, threats and harsh discipline. They do not sneer at our ignorance or grumble at our mistakes. They ask only that we spend some time in the company of greatness so that we may absorb some of its attributes. You do not read a book for the book's sake, but for your own. You may read because in your high-pressure life, studded with problems and emergencies, you need periods of relief and yet recognize that peace of mind does not mean numbness of mind. You may read because you never had an opportunity to go to college, and books give you a chance to get something you missed. You may read because your job is routine, and books give you a feeling of depth in life. You may read because you did go to college. You may read because you see social, economic and philosophical problems which need solution, and you believe that the best thinking of all past ages may be useful in your age, too. You may read because you are tired of the shallowness of contemporary life, bored by the current conversational commonplaces, and wearied of shop talk and gossip about people. Whatever your dominant personal reason, you will find that reading gives knowledge, creative power, satisfaction and relaxation. It cultivates your mind by calling its faculties into exercise. Books are a source of pleasure - the purest and the most lasting. They enhance your sensation of the interestingness of life. Reading them is not a violent pleasure like the gross enjoyment of an uncultivated mind, but a subtle delight. Reading dispels prejudices which hem our minds within narrow spaces. One of the things that will surprise you as you read good books from all over the world and from all times of man is that human nature is much the same today as it has been ever since writing began to tell us about it. Some people act as if it were demeaning to their manhood to wish to be well-read but you can no more be a healthy person mentally without reading substantial books than you can be a vigorous person physically without eating solid food. Books should be chosen, not for their freedom from evil, but for their possession of good. Dr. Johnson said: "Whilst you stand deliberating which book your son shall read first, another boy has read both.

Pure creativity is magnificent expressly because it is the opposite of everything else in life that’s essential or inescapable (food, shelter, medicine, rule of law, social order, community and familial responsibility, sickness, loss, death, taxes, etc.). Pure creativity is something better than a necessity; it’s a gift. It’s the frosting. Our creativity is a wild and unexpected bonus from the universe.

The palace started as a single vaulted room and grew in proportion to my despair. It began as an exercise to keep my mind from its melancholy, then it became a dream and a necessity. . . . I built a temple in my head. . . . Its hallways were as lofty as a cathedral, and the arch of each window as supple as a bow. Its corridors were the passages of my own brain.

The true parents of creativity are curiosity and necessity.

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves. C. G. JUNG

The “routine acceptance of professionals as a class apart” strikes Kaus as an ominous development. So does their own “smug contempt for the demographically inferior.” Part of the trouble, I would add, is that we have lost our respect for honest manual labor. We think of “creative” work as a series of abstract mental operations performed in an office, preferably with the aid of computers, not as the production of food, shelter, and other necessities. The thinking classes are fatally removed from the physical side of life—hence their feeble attempt to compensate by embracing a strenuous regimen of gratuitous exercise.

Necessity may be the mother of invention, but play is certainly the father.

Breakfast! My favorite meal- and you can be so creative. I think of bowls of sparkling berries and fresh cream, baskets of Popovers and freshly squeezed orange juice, thick country bacon, hot maple syrup, panckes and French toast - even the nutty flavor of Irish oatmeal with brown sugar and cream. Breaksfast is the place I splurge with calories, then I spend the rest of the day getting them off! I love to use my prettiest table settings - crocheted placemats with lace-edged napkins and old hammered silver. And whether you are inside in front of a fire, candles burning brightly on a wintery day - or outside on a patio enjoying the morning sun - whether you are having a group of friends and family, a quiet little brunch for two, or an even quieter little brunch just for yourself, breakfast can set the mood and pace of the whole day. And Sunday is my day. Sometimes I think we get caught up in the hectic happenings of the weeks and months and we forget to take time out to relax. So one Sunday morning I decided to do things differently - now it's gotten to be a sort of ritual! This is what I do: at around 8:30 am I pull myself from my warm cocoon, fluff up the pillows and blankets and put some classical music on the stereo. Then I'm off to the kitchen, where I very calmly (so as not to wake myself up too much!) prepare my breakfast, seomthing extra nice - last week I had fresh pineapple slices wrapped in bacon and broiled, a warm croissant, hot chocolate with marshmallows and orange juice. I put it all on a tray with a cloth napkin, my book-of-the-moment and the "Travel" section of the Boston Globe and take it back to bed with me. There I spend the next two hours reading, eating and dreaming while the snowflakes swirl through the treetops outside my bedroom window. The inspiring music of Back or Vivaldi adds an exquisite elegance to the otherwise unruly scene, and I am in heaven. I found time to get in touch with myself and my life and i think this just might be a necessity! Please try it for yourself, and someone you love.

Imagination is the creative force that through necessity yields solutions to resolve the issues that face us.

To lose focus means to lose energy. The absolutely wrong thing to attempt when we've lost focus is to rush about struggling to pack it all back together again. Rushing is not the thing to do... Patience, peace and rocking renew ideas. Just holding the idea and the patience to rock it are what some women might call a luxury. Wild Woman says it is a necessity... Take the idea and rock it to and fro. Keep some of it and throw some away, and it will renew itself. You need do no more.

Difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic. Only then does the necessity for interdependency become unthreatening. Only within that interdependency of different strengths, acknowledged and equal, can the power to seek new ways of being in the world generate, as well as the courage and sustenance to act where there are no charters.

Something terrible happens to people who don't create, something poisonous. Creating is a necessity for all humans, like breathing. If you don't do it, you suffer.

Since the self, in maintaining its isolation and detachment does not commit itself to a creative relationship with the other and is preoccupied with the figures of phantasies, thought, memories, etc. (imagos), which cannot be directly observable by or directly expressed to others, anything (in a sense) is possible. Whatever failures or successes come the way of the false-self system, the self is able to remain uncommitted and undefined. In phantasy, the self can be anyone, anywhere, do anything, have everything. It is thus omnipotent and completely free - but only in phantasy. Once it commits itself to any real project it suffers the agonies of humiliation - not necessarily for any failure, but simply because it has to subject itself to necessity and contingency. It is omnipotent and free only in phantasy. The more this phantastic omnipotence and freedom are indulged, the more weak, helpless, and fettered it becomes in actuality. The illusion of omnipotence and freedom can be sustained only within the magic circle of its own shut-upness in phantasy. And in order that this attitude be not dissipated by the slightest intrusion of reality, phantasy and reality have to be kept apart.

The only road to freedom is self-education in art. Art is not a luxury for any advanced civilization; it is a necessity, without which creative intelligence will wither and die. Even in economically troubled times, support for the arts should be a national imperative. Dance, for example, requires funding not only to secure safe, roomy rehearsal space but to preserve the indispensible continuity of the teacher-student link. American culture has become unbalanced by its obsession with the blood sport of politics, a voracious vortex consuming everything in its path. History shows that, for both individuals and nations, political power is transient. America's true legacy is its ideal of liberty, which has inspired insurgencies around the world. Politicians and partisans of both the Right and the Left must recognize that art too is a voice of liberty, requiring nurture without intrusion. Art unites the spiritual and material realms. In an age of alluring, magical machines, the society that forgets art risks losing its soul.

It is far better to make them live in the Future. Biological necessity makes all their passions point in that direction already, so that thought about the Future inflames hope and fear. Also, it is unknown to them, so that in making them think about it we make them think of unrealities. In a word, the Future is, of all things, the thing least like eternity. It is the most completely temporal part of time—for the Past is frozen and no longer flows, and the Present is all lit up with eternal rays. Hence the encouragement we have given to all those schemes of thought such as Creative Evolution, Scientific Humanism, or Communism, which fix men’s affections on the Future, on the very core of temporality. Hence nearly all vices are rooted in the future. Gratitude looks to the past and love to the present; fear, avarice, lust, and ambition look ahead. Do

When we finally achieve the full right of participation in American life, what we make of it will depend upon our sense of cultural values, and our creative use of freedom, not upon our racial identification. I see no reason why the heritage of world culture—which represents a continuum—should be confused with the notion of race. Japan erected a highly efficient modern technology upon a religious culture which viewed the Emperor as a god. The Germany which produced Beethoven and Hegel and Mann turned its science and technology to the monstrous task of genocide; one hopes that when what are known as the “Negro” societies are in full possession of the world’s knowledge and in control of their destinies, they will bring to an end all those savageries which for centuries have been committed in the name of race. From what we are now witnessing in certain parts of the world today, however, there is no guarantee that simply being non-white offers any guarantee of this. The demands of state policy are apt to be more influential than morality. I would like to see a qualified Negro as President of the United States. But I suspect that even if this were today possible, the necessities of the office would shape his actions far more than his racial identity.

What separates Rand from Marx is that the latter saw the true flourishing of individual creativity as best accomplished through collaboration and association with others in a collective drive to abolish the barriers of scarcity and material necessity beyond which, Marx held, the true realm of individual freedom could begin.

Driving a car provides a person with a rush of dopamine in the brain, which hormonal induced salience spurs modalities of creative and critical thinking regarding philosophical concepts such as truth, logical necessity, possibility, impossibility, chance, and contingency.

Pure creativity is something better than a necessity; it’s a gift. It’s the frosting. Our creativity is a wild and unexpected bonus from the universe. It’s as if all our gods and angels gathered together and said, “It’s tough down there as a human being, we know. Here—have some delights.

Modern psychology has a word that is probably used more than any other word in modern psychology. It is the word “maladjusted.” This word is the ringing cry to modern child psychology. Certainly, we all want to avoid the maladjusted life. In order to have real adjustment within our personalities, we all want the well‐adjusted life in order to avoid neurosis, schizophrenic personalities. But I say to you, my friends, as I move to my conclusion, there are certain things in our nation and in the world which I am proud to be maladjusted and which I hope all men of good‐will will be maladjusted until the good societies realize. I say very honestly that I never intend to become adjusted to segregation and discrimination. I never intend to become adjusted to religious bigotry. I never intend to adjust myself to economic conditions that will take necessities from the many to give luxuries to the few. I never intend to adjust myself to the madness of militarism, to self‐defeating effects of physical violence… In other words, I’m about convinced now that there is need for a new organization in our world. The International Association for the Advancement of Creative Maladjustment‐‐men and women who will be as maladjusted as the prophet Amos. Who in the midst of the injustices of his day could cry out in words that echo across the centuries, “Let justice roll down like waters and righteousness like a mighty stream.

In consequence of Darwin's reformed Theory of Descent, we are now in a position to establish scientifically the groundwork of a non-miraculous history of the development of the human race. ... If any person feels the necessity of conceiving the coming into existence of this matter as the work of a supernatural creative power, of the creative force of something outside of matter, we have nothing to say against it. But we must remark, that thereby not even the smallest advantage is gained for a scientific knowledge of nature. Such a conception of an immaterial force, which as the first creates matter, is an article of faith which has nothing whatever to do with human science.

It is often assumed that the chief reason for making things—furniture, clothing, toys, a garden—is to save money. There are other factors that may be of equal or greater importance: making what we need for life is a way of expressing creativity and of gaining greater confidence. Emotional security comes from providing the necessities of life in personal, meaningful ways, by our own hands or those of friends and loved ones. Another value in studying how things are made is to increase our appreciation for them as we better understand what makes them work. The knowledge that comes from shaping the things around us helps us build relationships with the world that are more intimate.

His art springs out of bubbling underground necessity, as if he's somehow dipping himself into the river that gave him life; he's making dream material visible.

One of the greatest necessities in America is to discover creative solitude.

Pure creativity is something better than a necessity; it’s a gift. It’s the frosting.

Necessity may be the mother of invention, but ingenuity is the bombshell of success

We know that solitude is almost a necessity for creativity and the development of a genuinely and richly autonomous sense of identity.

Finally I had made that necessary imaginative leap - which is a real necessity, since most of us writers can't be out there living like crazy all the time. These days, very few are the writers whose book jackets list things like bush pilot, big game hunter, or exotic dancer. No, more often we are English teachers. We have children, we have mortgages, we have bills to pay. So we have to stop writing strictly about what we know, which is what they always told us to do in creative writing classes. Instead, we have to write about what we can learn, and what we can imagine, and thus we come to experience that great pleasure Anne Tyler noted when somebody asked her why she writes, and she answered, "I write because I want more than one life.

The teacher must ever walk warily between the necessity of inducing those conformities which in every generation reaffirm our rebellious humanity, and of allowing for the free play of the creative spirit.

It is far better to make them live in the Future. Biological necessity makes all their passions point in that direction already, so that thought about the Future inflames hope and fear. Also, it is unknown to them, so that in making them think about it we make them think of unrealities. In a word, the Future is, of all things, the thing least like eternity. It is the most completely temporal part of time—for the Past is frozen and no longer flows, and the Present is all lit up with eternal rays. Hence the encouragement we have given to all those schemes of thought such as Creative Evolution, Scientific Humanism, or Communism, which fix men’s affections on the Future, on the very core of temporality. Hence nearly all vices are rooted in the future. Gratitude looks to the past and love to the present; fear, avarice, lust, and ambition look ahead.

The hospital, by necessity, may send a man home with one leg less: but it will not (in a creative rapture) send him home with one leg extra. Medical science is content with the normal human body, and only seeks to restore it.

Play is one of our human drives that is the basis of creativity. All of the most creative people, whether they're artists or whether they're scientists, their work is really disciplined play. Play is what we do out of freedom, not necessity.

music. To be an artist is not, finally, about product; it is about process, a way of being, and every solitary is of necessity an artist—an artist of her or his life, with little or no help from conventional rites and forms and mythologies, making it up as we go.

Advocating the mere tolerance of difference between women is the grossest reformism. It is a total denial of the creative function of difference in our lives. Difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic. Only then does the necessity for interdependency become unthreatening. Only within that interdependency of different strengths, acknowledged and equal, can the power to seek new ways of being in the world generate, as well as the courage and the sustenance to act where there are no charters.

Artists have here perhaps a finer intuition; they who know only too well that precisely when they no longer do anything “arbitrarily,” and everything of necessity, their feeling of freedom, of subtlety, of power, of creatively fixing, disposing, and shaping, reaches its climax—in short, that necessity and “freedom of will” are then the same thing with them.

What are we to do with Sturgeon’s frequently quoted assertion, “All my work is about love”? Well, I take the assertion seriously—but in the manner that I take seriously the innumerable strategies devised over the centuries by innumerable artists to reach into the centers of their own creativity. Such a statement may well represent Sturgeon’s own key to working. But there is no necessity for it to be my key into the work.

Embrace Cursive Schools are downplaying—and even eliminating—the need to learn to write cursive, despite its necessity to engage highly complex cognitive processes and achieve mastery of a precise motor coordination. (It takes children years to master handwriting and some stroke victims relearn language by tracing letters with their fingers.) Writing in cursive also increases a sense of harmony and balance, and writing on paper provides creative options: to manipulate the medium in multidimensional, innovative, or expressive ways (such as cutting, folding, pasting, ripping, or coloring the paper). Also, when you write in longhand on paper and then edit, there’ll be a visual and tactile record of your creative process for you and others to study. Learning to write (and writing) in cursive, on paper, fosters creativity and should not be surrendered.

All cultures have, furthermore, an economic, social, and political base, and no culture can continue to live if its political destiny is not in its own hands. “Any political and social regime which destroys the self-determination of a people also destroys the creative power of that people.” When this has happened the culture of that people has been destroyed. And it is simply not true that the colonizers bring to the colonized a new culture to replace the old one, a culture not being something given to a people, but, on the contrary and by definition, something that they make themselves. Nor is it, in any case, in the nature of colonialism to wish or to permit such a degree of well-being among the colonized. The well-being of the colonized is desirable only insofar as this well-being enriches the dominant country, the necessity of which is simply to remain dominant.

If it be said, that an Omnipotent Creator, though under no necessity of employing contrivances such as roan must use, thought fit to do so in order to leave traces by which man might recognize his creative hand, the answer is that this equally supposes a limit to his omnipotence. For if it was his will that men should know that they themselves and the world are his work, he, being omnipotent, had only to will that they should be aware of it.

According to the laws of nature, the soil belongs to him who conquers it. The fact of having children who want to live, the fact that our people is bursting out of its cramped frontiers— these justify all our claims to the Eastern spaces. The overflow of our birthrate will give us our chance. Overpopulation compels a people to look out for itself. There is no risk of our remaining fixed at our present level. Necessity will force us to be always at the head of progress. All life is paid for with blood. If a man doesn't like this notion of life, I advise him to renounce life altogether—for it proves he is not suited for the struggle. In any case, on the margin of this continual struggle, there's so much pleasure in living. So why be sad at what is so, and could not be otherwise! The creative forces make their home in the bosom of the optimist. But faith is at the bottom of everything.

He was never without a book, but he had to get creative in squeezing leisure reading into his schedule – he read at the table, scarfing down Mrs Piper’s meals without a second thought to what he was putting in his mouth; he read while walking in the garden, though this made him dizzy; he even tried reading in the bath, but the wet, crumpled fingerprints he left on a new edition of Defoe’s Colonel Jack shamed him enough to make him give up the practice.

If play expires in itself without creating anything durable and vital, it is only play, but in the other case it is called creative work. Out of a playful movement of elements whose interrelations are not immediately apparent, patterns arise which an observant and critical intellect can only evaluate afterwards. The creation of something new is not accomplished by the intellect, but by the play instinct acting from inner necessity. The creative mind plays with the object it loves.

Allow your inner artist to develop through the conscientious application of passion, personal resources, and natural inquisitiveness. Devote your life’s work to giving light to your virtuous ideas and accomplishing deeds worthy of entering Elysium Fields. While performing elemental labor to meet the biological necessities that secure survival, remember that devotion to public services, performing acts of kindness, and engagement in artistic creations is what makes us human. Art has a more profound impact upon civilization than all the standing armies in the world. Art expresses our humanity while warring reveals our inhumanity.

Man, like every other organism, can only live by the transformation of his environment to his own use. He must transform his environment from a condition where it is less to a condition where it is more subservient to his needs. That special, conscious, and intelligent transformation of his environment which is peculiar to the peculiar intelligence and creative faculty of man we call the Production of Wealth. Wealth is matter which has been consciously and intelligently transformed from a condition in which it is less to a condition in which it is more serviceable to a human need. Without Wealth man cannot exist. The production of it is a necessity to him, and though it proceeds from the more to the less necessary, and even to those forms of production which we call luxuries, yet in any given human society there is a certain kind and a certain amount of wealth without which human life cannot be lived: as, for instance, in England to-day, certain forms of elaborately prepared food, clothing, fuel, and habitation. Therefore, to control the production Of wealth is to control human life itself. To refuse man the opportunity for the production of wealth is to refuse him the opportunity for life; and, in general, the way in which the production of wealth is by law permitted is the only way in which the citizens can legally exist.

The mathematician is only too willing to admit that he is dealing exclusively with acts of the mind. To be sure, he is aware that the ingenious artifices which form his stock in trade had their genesis in the sense impressions which he identifies with crude reality, and he is not surprised to find that at times these artifices fit quite neatly the reality in which they were born. But this neatness the mathematician refuses to recognize as a criterion of his achievement: the value of the beings which spring from his creative imagination shall not be measured by the scope of their application to physical reality. No! Mathematical achievement shall be measured by standards which are peculiar to mathematics. These standards are independent of the crude reality of our senses. They are: freedom from logical contradictions, the generality of the laws governing the created form, the kinship which exists between this new form and those that have preceded it. The mathematician may be compared to a designer of garments, who is utterly oblivious of the creatures whom his garments may fit. To be sure, his art originated in the necessity for clothing such creatures, but this was long ago; to this day a shape will occasionally appear which will fit into the garment as if the garment had been made for it. Then there is no end of surprise and of delight!

Hiding is an act of freedom from the misunderstanding of others, especially in the enclosing world of oppressive secret government and private entities, attempting to name us, to anticipate us, to leave us with no place to hide and grow in ways unmanaged by a creeping necessity for absolute naming, absolute tracking and absolute control. Hiding is a bid for independence, from others, from mistaken ideas we have about ourselves, from an oppressive and mistaken wish to keep us completely safe, completely ministered to, and therefore completely managed. Hiding is creative, necessary and beautifully subversive of outside interference and control. Hiding leaves life to itself, to become more of itself. Hiding

Now a federated, decentralized system of free associations, incorporating economic as well as other social institutions, would be what I refer to as anarcho-syndicalism; and it seems to me that this is the appropriate form of social organization for an advanced technological society in which human beings do not have to be forced into the position of tools, of cogs in the machine. There is no longer any social necessity for human beings to be treated as mechanical elements in the productive process; that can be overcome and we must overcome it to be a society of freedom and free association, in which the creative urge that I consider intrinsic to human nature will in fact be able to realize itself in whatever way it will.

MOYERS: You write in The Mythic Image about the center of transformation, the idea of a sacred place where the temporal walls may dissolve to reveal a wonder. What does it mean to have a sacred place? CAMPBELL: This is an absolute necessity for anybody today. You must have a room, or a certain hour or so a day, where you don't know what was in the newspapers that morning, you don't know who your friends are, you don't know what you owe anybody, you don't know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.

Suffering has been a great teacher, cultivating and culturing our conduct. It develops and refines sensibilities, teaches humility and in more than one way, prepares humans to be able to turn to God. It awakens the need for search and exploration and creates that necessity which is the mother of all inventions. Remove suffering as a causative factor in developing man's potential and the wheel of progress would turn back a hundred thousand times. Man may try his hand at altering the plan of things, but frustration would be all he will achieve. Thus, the question of apportioning blame for the existence of suffering upon the Creator should not arise. Suffering, to play its subtle creative role in the scheme of things, is indeed a blessing in disguise.

Irony: Don’t let yourself be controlled by it, especially during uncreative moments. When you are fully creative, try to use it, as one more way to take hold of life. Used purely, it too is pure, and one needn’t be ashamed of it; but if you feel yourself becoming too familiar with it, if you are afraid of this growing familiarity, then turn to great and serious objects, in front of which it becomes small and helpless. Search into the depths of Things: there, irony never descends—and when you arrive at the edge of greatness, find out whether this way of perceiving the world arises from a necessity of your being. For under the influence of serious Things it will either fall away from you (if it is something accidental), or else (if it is really innate and belongs to you) it will grow strong, and become a serious tool and take its place among the instruments which you can form your art with.

It is worth noting that in the further course of his argument the question of the play instinct retires into the background in favour of the aesthetic mood, which seems to have acquired an almost mystical value. This, I believe, is no accident, but has a quite definite cause. Often it is the best and most profound ideas in a man’s work which most obstinately resist a clear formulation, even though they are hinted at in various places and should therefore really be ripe enough for a lucid synthesis to be possible. It seems to me that we are faced with some such difficulty here. To the concept of an aesthetic mood as a mediating creative state Schiller himself brings thoughts which at once reveal its depth and seriousness. And yet, quite as clearly, he picks on the play instinct as the long-sought mediating activity. Now it cannot be denied that these two concepts are in some sort opposed, since play and seriousness are scarcely compatible. Seriousness comes from a profound inner necessity, but play is its outward expression, the face it turns to consciousness. It is not, of course, a matter of wanting to play, but of having to play; a playful manifestation of fantasy from inner necessity, without the compulsion of circumstance, without even the compulsion of the will.95 It is serious play. And yet it is certainly play in its outward aspect, as seen from the standpoint of consciousness and collective opinion. That is the ambiguous quality which clings to everything creative.

Robin leaned back and drained the rest of his Madeira. Several seconds passed before he realized that the poem had ended, and his appraisal was required. ‘We have translators working on poetry at Babel,’ he said blandly, for lack of anything better to say. ‘Of course that’s not the same,’ Pendennis said. ‘Translating poetry is for those who haven’t the creative fire themselves. They can only seek residual fame cribbing off the work of others.’ Robin scoffed. ‘I don’t think that’s true.’ ‘You wouldn’t know,’ said Pendennis. ‘You’re not a poet.’ ‘Actually—’ Robin fidgeted with the stem of his glass for a moment, then decided to keep talking. ‘I think translation can be much harder than original composition in many ways. The poet is free to say whatever he likes, you see – he can choose from any number of linguistic tricks in the language he’s composing in. Word choice, word order, sound – they all matter, and without any one of them the whole thing falls apart. That’s why Shelley writes that translating poetry is about as wise as casting a violet into a crucible.* So the translator needs to be translator, literary critic, and poet all at once – he must read the original well enough to understand all the machinery at play, to convey its meaning with as much accuracy as possible, then rearrange the translated meaning into an aesthetically pleasing structure in the target language that, by his judgment, matches the original. The poet runs untrammelled across the meadow. The translator dances in shackles.

The liberal ideals of the Enlightenment could be realized only in very partial and limited ways in the emerging capitalist order: "Democracy with its mono of equality of all citizens before the law and Liberalism with its right of man over his own person both were wrecked on the realities of capitalist economy," Rocker correctly observed. Those who are compelled to rent themselves to owners of capital in order to survive are deprived of one of the most fundamental rights: the right to productive, creative and fulfilling work under one's own control, in solidarity with others. And under the ideological constraints of capitalist democracy, the prime necessity is to satisfy the needs of those in a position to make investment decisions; if their demands are not satisfied, there will be no production, no work, no social services, no means for survival. All necessarily subordinate themselves and their interests to the overriding need to serve the interests of the owners and managers of the society, who, furthermore, with their control over resources, are easily able to shape the ideological system (the media, schools, universities and so on) in their interests, to determine the basic conditions within which the political process will function, its parameters and basic agenda, and to call upon the resources of state violence, when need be, to suppress any challenge to entrenched power. The point was formulated succinctly in the early days of the liberal democratic revolutions by John Jay, the President of the Continental Congress and the first Chief Justice of the United States Supreme Court: "The people who own the country ought to govern it." And, of course, they do, whatever political faction may be in power. Matters could hardly be otherwise when economic power is narrowly concentrated and the basic decisions over the nature and character of life, the investment decisions, are in principle removed from democratic control.

The New Man is the most important things that is happening in the world today. The new man will have to find new forms of communication, working together and sharing, because the old man and the old society will not disappear immediately. The old man will also put up a fight. The new man is a new humanity. Up to now, man has lived a pathological life, a neurotic life, a destructive life. During modern times, during the last 3000 years, there have been 6000 wars. You can not call this humanity healthy. Once in a while a Buddha, a Jesus, a Socrates, appeared, but each person is born to be a Buddha. How can I become the new man? The new man means a new consciousness, a new being. Humanity can not be saved if the new man does not arrive. Before it was not a necessity, but now it is absolutely necessary because now the war technology can destroy the whole earth. if not the new man arrives, if not people become more aware, awake and conscious, then this earth will not survive. The New Man means to develop all the three dimensions of being, all the three doors to God: the head, the dimension of thinking, logic and reason, the heart, the dimension of joy, trust, intuition, relationships, beauty, creativity and a sense of unity in love and the being, the dimension of meditation, silence, emptiness and oneness with life. The first level of the head is the dimension of ideas, intellect, hypothesis, theories, logic, analysis, rationality and dualistic thinking. The first level is the level of the mind, which means a continuous oscillation like a pendulum between the mind's memories of the past and the ideas, dreams and expectations of the future. The second level of the heart is the dimension of joy, acceptance, trust, understanding, trust, friendship, relationships, intuition, empathy, creativity, compassion, humor, playfulness and a sense of unity in love. The third level of being is the dimension of presence, awareness, meditation, silence, emptiness and wholeness. The third level is our connection with our inner life source. The new man means awareness, consciousness, love and creativity. The new man means meditation, to be in contact with our own inner source of silence. And if more people become meditative, the earth becomes filled with the fragrance of the new man.

Think of your passions as you do food, water, shelter...a necessity. If someone told you to give them up, would you listen?

The movie marketing paradigm says throw an expensive premiere and hope that translates into ticket sales come opening weekend. A growth hacker says, “Hey, it’s the twenty-first century, and we can be a lot more technical about how we acquire and capture new customers.” The start-up world is full of companies taking clever hacks to drive their first set of customers into their sales funnel. The necessity of that jolt—needing to get it any way they can—has made start-ups very creative.

But it isn’t the fun of DIY invention, urban exploration, physical danger, and civil disorder that the Z-Boys enjoyed in 1976. It is fun within serious limits, and for all of its thrills it is (by contrast) scripted. And rather obedient. The fact that there are public skateparks and high-performance skateboards signals progress: America has embraced this sport, as it did bicycles in the nineteenth century. Towns want to make skating safe and acceptable. The economy has more opportunity to grow. America is better off for all of this. Yet such government and commercial intervention in a sport that was born of radical liberty means that the fun itself has changed; it has become mediated. For the skaters who take pride in their flashy store-bought equipment have already missed the Z-Boys’ joke: Skating is a guerrilla activity. It’s the fun of beating, not supporting, the system. P. T. Barnum said it himself: all of business is humbug. How else could business turn a profit, if it didn’t trick you with advertising? If it didn’t hook you with its product? This particular brand of humbug was perfected in the late 1960s, when merchandise was developed and marketed and sold to make Americans feel like rebels. Now, as then, customers always pay for this privilege, and purveyors keep it safe (and generally clean) to curb their liability. They can’t afford customers taking real risks. Plus it’s bad for business to encourage real rebellion. And yet, marketers know Americans love fun—they have known this for centuries. And they know that Americans, especially kids, crave autonomy and participation, so they simulate the DIY experience at franchises like the Build-A-Bear “workshops,” where kids construct teddy bears from limited options, or “DIY” restaurants, where customers pay to grill their own steaks, fry their own pancakes, make their own Bloody Marys. These pay-to-play stores and restaurants are, in a sense, more active, more “fun,” than their traditional competition: that’s their big selling point. But in both cases (as Barnum knew) the joke is still on you: the personalized bear is a standardized mishmash, the personalized food is often inedible. As Las Vegas knows, the house always wins. In the history of radical American fun, pleasure comes from resistance, risk, and participation—the same virtues celebrated in the “Port Huron Statement” and the Digger Papers, in the flapper’s slang and the Pinkster Ode. In the history of commercial amusement, most pleasures for sale are by necessity passive. They curtail creativity and they limit participation (as they do, say, in a laser-tag arena) to a narrow range of calculated surprises, often amplified by dazzling technology. To this extent, TV and computer screens, from the tiny to the colossal, have become the scourge of American fun. The ubiquity of TV screens in public spaces (even in taxicabs and elevators) shows that such viewing isn’t amusement at all but rather an aggressive, ubiquitous distraction. Although a punky insurgency of heedless satire has stung the airwaves in recent decades—from equal-opportunity offenders like The Simpsons and South Park to Comedy Central’s rabble-rousing pundits, Jon Stewart and Stephen Colbert—the prevailing “fun” of commercial amusement puts minimal demands on citizens, besides their time and money. TV’s inherent ease seems to be its appeal, but it also sends a sobering, Jumbotron-sized message about the health of the public sphere.

By necessity, the message companies send to their managers is conflicting: Develop your people, help them grow into strong contributors and team members, and oh, by the way, make sure everything goes smoothly because there aren’t enough resources, and the success of our enterprise depends on your group doing its job on time and on budget.

And so,the question for the science of mental health must become an absolutely new and revolutionary one, yet one that reflects the essence of the human condition: On what level of illusion does one live? We will see the import of this at the close of this chapter, but right now we must remind ourselves that when we talk about the need for illusion we are not being cynical. True, there is a great deal of falseness and self-deception in the cultural causa-sui project, but there is also the necessity of this project. Man needs a "second" world, a world of humanly created meaning, a new reality that he can live, dramatize, nourish himself in. "Illusion" means creative play at its highest level. Cultural illusion is a necessary ideology of self-justification, a heroic dimension that is life itself to the symbolic animal. To lose the security of heroic cultural illusion is to die-that is what "deculturation" of primitives means and what it does. It kills them or reduces them to the animal level of chronic fighting and fornication. Life becomes possible only in a continual alcoholic stupor. Many of the older American Indians were relieved when the Big Chiefs in Ottawa and Washington took control and prevented them from warring and feuding. It was a relief from the constant anxiety of death for their loved ones, if not for themselves. But they also knew, with a heavy heart, that this eclipse of their traditional hero-systems at the same time left them as good as dead.

Those inventors looked to their own lives as the raw materials for innovation. What’s notable is that, in each case, they were often in an emotional state. We’re more likely to recognize discoveries hidden in our own experiences when necessity pushes us, when panic or frustrations cause us to throw old ideas into new settings. Psychologists call this “creative desperation.” Not all creativity relies on panic, of course.

Einstein's breakthrough was classic in that it sought to unify the elements of a physical analysis, and it placed the older examples and principles within a broader framework. But it was revolutionary in that, ever afterward, we have thought differently about space and time, matter and energy. Space and time-no more absolute-have become forms of intuition that cannot be divorced from perspective or consciousness, anymore than can the colors of the world or the length of a shadow. As the philosopher Ernst Cassirer commented, in relativity, the conception of constancy and absoluteness of the elements is abandoned to give permanence and necessity to the laws instead.

The hospital, by necessity, may send a man home with one leg less: but it will not (in a creative rapture) send him home with one leg extra.

The best inventions are never finished. Great inventors don’t just stand there, rub their hands together, and say ‘My work is done here’. They’re not Damien Hirst, freezing their creativity in formaldehyde. They keep working furiously to create something even better. It’s part love, part necessity. Because if they don’t reinvent their ideas time and again, someone else will—rendering their life’s work irrelevant, or worse still, extinct! —ERIC SCHMIDT, GOOGLE It’s

Boring work is generally delegated by creative people (for obvious reasons) and flows downhill to people uncreative enough to do it out of duty or necessity. Be really afraid of boring work! It says something about you and your propensity to take whatever is given. It's a sign of your missing ambition.

Necessity and desperation birth resourcefulness.

We are becoming what we love. We are to a large degree the sum of our loves and we will of moral necessity grow into the image of what we love most; for love is among other things a creative affinity; it changes and molds and shapes and transforms.

The glorious virtues of the farming communities are perseverance and austerity, or so they day. But what is so virtuous about enduring poverty? Think instead of the saying “necessity is the mother of invention.” Here is where we’ll find creativity, culture, and progress—precisely where people do not endure poverty, do not stand for inconvenience, and instead pursue the things that are needed

Water: They were restless, creative, flighty, and persuasive. Like water, they eroded people’s wills away. If you knew a water witch, chances were they’d be the ones that everyone tended to agree with. They were deeply charming and could change people’s minds. Their symbol was Bilios, the world tree, which sat in a circle representing the universe. Fire: They protected people. They were strength. Confidence. Power. They could usually fight. They were natural leaders. Their symbol was a thick cross with tapered ends inside a circle. Air: The seers. They told the future and could see the truth of the present. They were the ones most used as consultants by powerful people, and that was how they made their living and their money. The site speculated that Gwydion was an air witch. They were very susceptible to mental attack and tended to be extremely sensitive individuals. Their symbol was a three-pronged rod inside a circle. Earth: They were the practical witches, well-versed in herb lore. They took care of the everyday necessities of the witch, such as health products and medicines, home protection, magicked food. They got none of the glory, but they were the most essential of all witches; often the head of the family. They were grounded, patient, loving, and forthright. Their symbol was a five-pointed star, representing the five senses, usually with a gem studded in the middle to symbolize themselves, at the calm center of all things.

In such an endeavor it is not enough to say that history unfolds by processes too complex for reductionistic analysis. That is the white flag of the secular intellectual, the lazy modernist equivalent of The Will of God. On the other hand, it is too early to speak seriously of ultimate goals, such as perfect green-belted cities and robot expeditions to the nearest stars. It is enough to get Homo sapiens settled down and happy before we wreck the planet. A great deal of serious thinking is needed to navigate the decades immediately ahead. We are gaining in our ability to identify options in the political economy most likely to be ruinous. We have begun to probe the foundations of human nature, revealing what people intrinsically most need, and why. We are entering a new era of existentialism, not the old absurdist existentialism of Kierkegaard and Sartre, giving complete autonomy to the individual, but the concept that only unified learning, universally shared, makes accurate foresight and wise choice possible. In the course of all of it we are learning the fundamental principle that ethics is everything. Human social existence, unlike animal sociality, is based on the genetic propensity to form long-term contracts that evolve by culture into moral precepts and law. The rules of contract formation were not given to humanity from above, nor did they emerge randomly in the mechanics of the brain. They evolved over tens or hundreds of millennia because they conferred upon the genes prescribing them survival and the opportunity to be represented in future generations. We are not errant children who occasionally sin by disobeying instructions from outside our species. We are adults who have discovered which covenants are necessary for survival, and we have accepted the necessity of securing them by sacred oath. The search for consilience might seem at first to imprison creativity. The opposite is true. A united system of knowledge is the surest means of identifying the still unexplored domains of reality. It provides a clear map of what is known, and it frames the most productive questions for future inquiry. Historians of science often observe that asking the right question is more important than producing the right answer. The right answer to a trivial question is also trivial, but the right question, even when insoluble in exact form, is a guide to major discovery. And so it will ever be in the future excursions of science and imaginative flights of the arts.

The fact that I get to spend my life making objectively useless things means that I don’t live in a postapocalyptic dystopia. It means I am not exclusively chained to the grind of mere survival. It means we still have enough space left in our civilization for the luxuries of imagination and beauty and emotion—and even total frivolousness. Pure creativity is magnificent expressly because it is the opposite of everything else in life that’s essential or inescapable (food, shelter, medicine, rule of law, social order, community and familial responsibility, sickness, loss, death, taxes, etc.). Pure creativity is something better than a necessity; it’s a gift. It’s the frosting. Our creativity is a wild and unexpected bonus from the universe. It’s as if all our gods and angels gathered together and said, “It’s tough down there as a human being, we know. Here—have some delights.” It

I believe this is one of the oldest and most generous tricks the universe plays on us human beings, both for its own amusement and for ours: The universe buries strange jewels deep within us all and then stands back to see if we can find them. Bravery means doing something scary. Fearlessness means not even understanding what the word scary means. If you can't travel comfortably along your fear, then you'll never be able to go anywhere interesting or do anything interesting. Pure creativity is something better than a necessity; it's a gift. Our creativity is a wild and unexpected bonus from the universe. As a songwriter, the only thing I really do is make jewelry for the inside of other people's minds. The essential ingredients for creativity remain exactly the same for everybody: courage, enchantment, permission, persistence, trust and those elements are universally accessible. I think perfectionism is just a high-end, haute couture version of fear. We must understand that the drive for perfectionism is a corrosive waste of time, because nothing is ever beyond criticism. Far too many creative people have been taught to distrust pleasure and to put their faith in struggle alone. Too many artists still believe that anguish is the only truly authentic emotional experience. Don't rush through the experiences and circumstances that have the most capacity to transform you. Your ego is a wonderful servant, but it's a terrible master - because the only thing your ego ever wants is reward, reward and more reward. And since there's never enough reward to satisfy, your ego will always be disappointed. Left unmanaged, that kind of disappointment will rot you from the inside out. An unchecked ego is what the Buddhists call a "hungry ghost" - forever famished, eternally howling with need and greed.

The economy exists for the person, not the person for the economy. All economic life should be shaped by moral principles. Economic choices and institutions must be judged by how they protect or undermine the life and dignity of the human person, support the family and serve the common good. A fundamental moral measure of any economy is how the poor and vulnerable are faring. All people have a right to life and to secure the basic necessities of life (e.g., food, clothing, shelter, education, health care, safe environment, economic security.) All people have the right to economic initiative, to productive work, to just wages and benefits, to decent working conditions as well as to organize and join unions or other associations. All people, to the extent they are able, have a corresponding duty to work, a responsibility to provide the needs of their families and an obligation to contribute to the broader society. In economic life, free markets have both clear advantages and limits; government has essential responsibilities and limitations; voluntary groups have irreplaceable roles, but cannot substitute for the proper working of the market and the just policies of the state. Society has a moral obligation, including governmental action where necessary, to assure opportunity, meet basic human needs, and pursue justice in economic life. Workers, owners, managers, stockholders and consumers are moral agents in economic life. By our choices, initiative, creativity and investment, we enhance or diminish economic opportunity, community life and social justice. The global economy has moral dimensions and human consequences. Decisions on investment, trade, aid and development should protect human life and promote human rights, especially for those most in need wherever they might live on this globe.33

The need to be creative is not limited to artists or certain personality types, rather, the necessity to be creative is called forth within us all whenever inner or out conflicts and chaos manifest in our life. The presence of conflict and chaos signifies the need for some sort of shift in our worldview or change in our character or environment. When we are creative, rather than responding to chaos and conflict with passivity and powerlessness, we react in a proactive manner by transforming our mind or giving form to some component in the external world to help us make sense of the chaos, cope with it, and ultimately transcend it. “The creative process”, writes the poet Brewster Ghiselin, “is a process of change, of development, of evolution, in the organization of subjective life.” (Brewster Ghiselin, The Creative Process) Given the role of creativity in transforming chaos and conflict into order and form and feelings of powerlessness into power, the lack of a sufficient creative outlet in our life is a prime culprit for many of our personal problems.

The traditional defense of class stratification and the existence of a "leisure class", ever since the rise of civilization, from both Plato and Aristotle as well as from more recent social thinkers, is that a leisure class is needed in order to have the time and energy for the specialized intellectual development and technological skills that are necessary preconditions for civilization; and "leisure class" has always meant a group with a guaranteed income — i.e. those who did not have to work for a living. Implicit in this argument is the assumption (which I happen to think is correct, as I think the history and development of civilization proves) that when people are freed from the necessity to work — that is, when work is freely chosen rather than slavery or wage-slavery (i.e. "work or starve"), they do not just vegetate in a state of "passivity and dependency." Rather, they engage in much more creative work. Coercion creates an incentive for "passive aggressiveness," because when overpowered and helpless there is no other way to express the minimal degree of autonomy that people need in order to maintain any semblance of self-esteem, dignity, and pride. Furthermore, when work is a means to and end — working in order to eat — then it is, in Marx's terms, "alienated" labor. Labor can only be liberated from alienation when work is an end in itself, entered into freely as the expression of spontaneous and voluntary creativity, curiosity, playfulness, initiative, and sociability — that is, the sense of solidarity with the community, the fulfillment of one's true and "essential" human nature as "social" and "political" animals, to be fulfilled and made human by their full participation in a culture. In short, the contradiction in the old defense of class stratification is that it defends leisure for the leisure class, but not for the underclass. With reference to the underclass, leisure is said to destroy the incentive to work, leads to slothfulness and self-indulgence, and retards cognitive and moral development. When applied to the leisure class, the concept evokes an image of Plato and Aristotle, whose leisure was based on slave labor, creating the intellectual foundations of Western civilization; or patrician slave-owners like Washington and Jefferson laying the foundations of American civilization; or creative aristocrats like Count Leo Tolstoy or Bertrand Ear Russell; or, even closer to home, of our own sons and daughters (or of ourselves, when we were young adults) being freed from the stultifying tasks of earning a living until well into our adult years so that we could study in expensive universities to gain specialized knowledge and skills.

members of certain traditional, rural communities do enjoy a greater harmony and tranquillity than those settled in our modern cities. My impression is that those living in the materially developed countries, for all their industry, are in some ways less satisfied, are less happy, and to some extent suffer more than those living in the least developed countries. Indeed, if we compare the rich with the poor, it often seems that those with less are often less anxious. As for the rich . . . they are so caught up with the idea of acquiring more that they make no room for anything else in their lives. As a result, they are constantly plagued by mental and emotional suffering — even though outwardly they may appear to be leading entirely successful and comfortable lives. This is suggested by the disturbing prevalence among the populations of materially developed countries of anxiety, discontent, frustration, uncertainty, and depression.” 5 In considering these issues, I would like to devote this chapter to an examination of some of the factors that are inhibiting or preventing people from realizing their full potential and sensing fullness of being. Other contributory trends might have been included, and my picture is, of necessity, subjectively biased and incomplete. Nonetheless it must serve as a sampler of prevalent contemporary trends. For the sake of simplicity I have organized this chapter into four parts. Firstly I consider the fallacy that money can purchase happiness; second, the influence of living in a mass society; third, mass leisure and consumption; and finally, life in the cities. Of course no culture can be separated in this way; no single part can be considered in isolation from the rest. With the light come the shadows, and with everything

Cultures are organisms," Spengler explains, "and world-history is their collective biography." Like any other vital organism, then, each culture goes through the stages of youth, maturity, and decline. "Culture is the prime phenomenon of all past and future world-history." "Every Culture has its own Civilization...The Civilization is the inevitable destiny of the Culture....Civilizations are the most external and artificial states of which a species of developed humanity is capable. They are a conclusion, the thing-become succeeding the thing-becoming, death following life, rigidity following expansion, intellectual age and the stone-built, petrifying world-city following mother-earth and the spiritual childhood of Doric and Gothic. They are an end, irrevocable, yet by inward necessity reached again and again." Thus, while the culture is a period of ebullient creativity, the civilization that inevitably follows is a period of reflection, organization, and search for material comfort and convenience. For example, classical Greece was the culture; imperial Rome the civilization. From the beauties of Greek poetry to the imperialism of Roman law, we now live in the civilization of Western ("Faustian") culture and cannot avoid the consequences. Among these Spengler foresaw the "megalopolis," the city of faceless masses, the omnipotence of money, and a new Caesarism.

When I was a boy I felt that the roll of rhyme in poetry was to compel one to find the un-obvious- because of the necessity of finding a word which rhymes. This forces novel associations, and almost guarantees deviations from routine chains or trains of thought. It becomes, paradoxically, a sort of automatic mechanism of originality.

Human artistic expression is blessedly, refreshingly nonessential. That's exactly why I love it so much. [...] The fact that I get to spend my life making objectively useless things means [...] I am not exclusively chained to the grind of mere survival. It means we still have space left in our civilization for the luxuries of imagination and beauty and emotion - and even total frivilousness. Pure creativity is magnificent expressly because it is the opposite of everything else in life that's essential or inescapable (food, shelter, medicine [...]). Pure creativity is something better than necessity; it's a gift. It's the frosting.

Now a federated, decentralised system of free associations, incorporating economic as well as other social institutions, would be what I refer to as anarcho-syndicalism; and it seems to me that this is the appropriate form of social organisation for an advanced technological society in which human beings do not have to be forced into the position of tools, of cogs in the machine. There is no longer any social necessity for human beings to be treated as mechanical elements in the productive process; that can be overcome and we must overcome it to be a society of freedom and free association, in which the creative urge that I consider intrinsic to human nature will in fact be able to realize itself in whatever way it will.

Apparently,” he answers, “the possession of humour implies the possession of a number of typical habit-systems. The first is an emotional one: the habit of playfulness. Why should one be proud of being playful? For a double reason. First, playfulness connotes childhood and youth. If one can be playful, one still possesses something of the vigour and the joy of young life. If one has ceased to be playful, one writes oneself as rigidly old. And who wishes to confess to himself that, rheumatic as are his joints, his mind and spirit are really aged? So the old man is proud of the playful joke which assures him that he is still friskily young. “But there is a deeper implication. To be playful is, in a sense, to be free. When a person is playful, he momentarily disregards the binding necessities which compel him, in business and morals, in domestic and community life. . … “. . . Life is largely compulsion. But in play we are free! We do what we please... “Apparently there is no dearer human wish than to be free. “But this is not simply a wish to be free from; it is also, and more deeply, a wish to be free to. What, galls us is that the binding necessities do not permit us to shape our world as we please. . . . What we most deeply desire, however, is to create our world for ourselves. Whenever we can do that, even in the slightest degree, we are happy. Now in play we create our own world. . … “To imply, therefore, that a person has a fine sense of humour is to imply that he has still in him the spirit of play, which implies even more deeply the spirit of freedom and of creative spontaneity.

The truth is that one of the hardest things I had to learn is how to fail. Henry Petroski is an author and professor of civil engineering at Duke University. One of the overarching concerns in his books is the importance of failure and its importance in how we design and how we learn. Read his wonderful book, The Evolution of Useful Things. Inventors design things because they are driven by the perceived failure of a current design. Is a function being properly performed or can it be improved? Petroski understands the necessity of failure in order to push an idea forward, whether it be on an engineering problem or one of technique or design. He quotes Thomas Edison: “Genius. Sticking to it is the genius . . . I failed my way to success.

Consider the role that creative people play in cities. They are typically starving a bit, because it is virtually impossible to be commercially successful as an artist, and that hunger is partly what motivates them (do not underestimate the utility of necessity).

They say that “necessity is the mother of invention.” If that’s the case, then maybe the father of invention is the faith that one can actually invent in the first place.

Yeats’s shopworn formula—that “rhetoric is the will doing the work of the imagination”—refers to such a state, for when the will works in isolation, it turns of necessity to dictionary studies, syntactical tricks, intellectual formulae, memory, history, and convention—any source of material, that is, which can imitate the fruits of imagination without actually allowing them to emerge. Just as there are limits to the power of the erotic, so there are limits to the power of the will. The will knows about survival and endurance; it can direct attention and energy; it can finish things. But we cannot remember a tune or a dream on willpower. We cannot stay awake on willpower. Will may direct virtù but it cannot bring it into the world. The will by itself cannot heal the soul. And it cannot create.

Finally, we must forge a pioneering education, whose purpose is to produce the imaginative generalists who can take us into the uncharted future. Every novel idea takes us into new territory, and creative people are, by necessity, pioneers. The tools and skills that pioneers take to the frontiers are not specialized or narrow. They are basic, general-purpose tools that can be adapted to the need at hand. Pioneers of the creative imagination must have adaptable minds, too, and all-purpose toolboxes of inventive skills that enable them to make new knowledge.

In 1788, in a burst of creative energy, Madison wrote twenty-two essays in just forty days, among them Federalist 51, in which he explained the necessity of partitioning power in the government. “If men were angels, no government would be necessary. If angels were to govern men, neither external nor internal controls on government would be necessary.” In the absence of angelic leaders, separating power meant that each part could check and balance the others. “Ambition must be made to counteract ambition,” he wrote.52

While small wins mark progress, we must not overlook the necessity of identifying and rectifying poor behaviors.

The desire for increase is inherent in all nature; it is the fundamental impulse of the universe. All human activities are based on the desire for increase; people are seeking more food, more clothes, better shelter, more luxury, more beauty, more knowledge, more pleasure—increase in something, more life. Every living thing is under this necessity for continuous advancement; where increase of life ceases, dissolution and death set in at once. Man instinctively knows this, and hence he is forever seeking more. This law of perpetual increase is set forth by Jesus in the parable of the talents; only those who gain more retain any; from him who hath not shall be taken away even that which he hath. The normal desire for increased wealth is not an evil or a reprehensible thing; it is simply the desire for more abundant life; it is aspiration. And because it is the deepest instinct of their natures, all men and women are attracted to him who can give them more of the means of life. In following the Certain Way as described in the foregoing pages, you are getting continuous increase for yourself, and you are giving it to all with whom you deal. You are a creative center, from which increase is given off to all. Be sure of this, and convey assurance of the fact to every man, woman, and child with whom you come in contact. No matter how small the transaction, even if it be only the selling of a stick of candy to a little child, put into it the thought of increase, and make sure that the customer

Therefore, we must do our penance; we must suffer for our sins, which, in this case, means living minimally, using as little energy as possible to provide the bare necessities of life and still allowing enough to be creative, to develop more science and technology, and to further exploit (and therefore damage) Earth. Whether he intended it or not, Lovelock’s book can be taken to imply that we shouldn’t have enough energy to be otherwise creative, even to be able to write such a book.

Art; some do it as hobby, other as necessity.