Novice Related Quotes

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Every ritual repetition of the cosmogony is preceded by a symbolic retrogression to Chaos. In order to be created anew, the old world must first be annihilated. The various rites performed in connection with the New Year can be put in two chief categories: (I) those that signify the return to Chaos (e.g., extinguishing fires, expelling 'evil' and sins, reversal of habitual behavior, orgies, return of the dead); (2) those that symbolize the cosmogony (e.g., lighting new fires, departure of the dead, repetition of the acts by which the Gods created the world, solemn prediction of the weather for the ensuing year). In the scenario of initiatory rites, 'death' corresponds to the temporary return to Chaos; hence it is the paradigmatic expression of the end of a mode of being the mode of ignorance and of the child's irresponsibility. Initiatory death provides the clean slate on which will be written the successive revelations whose end is the formation of a new man. We shall later describe the different modalities of birth to a new, spiritual life. But now we must note that this new life is conceived as the true human existence, for it is open to the values of spirit. What is understood by the generic term 'culture,' comprising all the values of spirit, is accessible only to those who have been initiated. Hence participation in spiritual life is made possible by virtue of the religious experiences released during initiation. All the rites of rebirth or resurrection, and the symbols that they imply, indicate that the novice has attained to another mode of existence, inaccessible to those who have not undergone the initiatory ordeals, who have not tasted death. We must note this characteristic of the archaic mentality: the belief that a state cannot be changed without first being annihilated-in the present instance, without the child's dying to childhood. It is impossible to exaggerate the importance of this obsession with beginnings, which, in sum, is the obsession with the absolute beginning, the cosmogony. For a thing to be well done, it must be done as it was done the first time. But the first time, the thing-this class of objects, this animal, this particular behavior-did not exist: when, in the beginning, this object, this animal, this institution, came into existence, it was as if, through the power of the Gods, being arose from nonbeing. Initiatory death is indispensable for the beginning of spiritual life. Its function must be understood in relation to what it prepares: birth to a higher mode of being. As we shall see farther on, initiatory death is often symbolized, for example, by darkness, by cosmic night, by the telluric womb, the hut, the belly of a monster. All these images express regression to a preformal state, to a latent mode of being (complementary to the precosmogonic Chaos), rather than total annihilation (in the sense in which, for example, a member of the modern societies conceives death). These images and symbols of ritual death are inextricably connected with germination, with embryology; they already indicate a new life in course of preparation. Obviously, as we shall show later, there are other valuations of initiatory death-for example, joining the company of the dead and the Ancestors. But here again we can discern the same symbolism of the beginning: the beginning of spiritual life, made possible in this case by a meeting with spirits. For archaic thought, then, man is made-he does not make himself all by himself. It is the old initiates, the spiritual masters, who make him. But these masters apply what was revealed to them at the beginning of Time by the Supernatural Beings. They are only the representatives of those Beings; indeed, in many cases they incarnate them. This is as much as to say that in order to become a man, it is necessary to resemble a mythical model.
Mircea Eliade (Rites and Symbols of Initiation)
An interesting property of slips is that, paradoxically, they tend to occur more frequently to skilled people than to novices. Why? Because slips often result from a lack of attention to the task. Skilled people—experts—tend to perform tasks automatically, under subconscious control. Novices have to pay considerable conscious attention, resulting in a relatively low occurrence of slips.
Donald A. Norman (The Design of Everyday Things)
Peut-être vaut-il la peine de rendre compte ici du phénomène ambigu de la naïveté : celle-ci est avant tout du manque d'expérience combiné avec de la crédulité, comme le prouve l'exemple des enfants, même les plus intelligents. La crédulité peut avoir un fond positif: elle peut être l'attitude de l'homme véridique qui croit tout naturellement que tout le monde est comme lui ; il y a des peuplades qui sont crédules parce qu'elles ignorent le mensonge. Il va donc de soi que la naïveté peut être chose toute relative : un homme qui ne connaît pas la psychologie des fous est un naïf aux yeux des psychiatres, même s'il est fort loin d'être un sot. S'il faut être « prudents comme les serpents » — à condition d'être « simples comme les colombes (7) » — c'est avant tout parce que l'ambiance dresse des embûches et qu'il faut savoir se défendre, c'est-à-dire que notre imagination doit avoir conscience des caprices de la mâyâ terrestre. (7) Ce qui du reste fait penser aux « pauvres dans l'esprit », qui ne sont certes pas censés manquer de facultés mentales. On connaît cette histoire : les novices condisciples du jeune Thomas d'Aquin, connaissant sa crédulité - réelle ou apparente - l'appelèrent un jour pour lui montrer « un boeuf qui vole », puis se moquèrent de lui parce qu'il courut à la fenêtre pour voir le phénomène; il leur répondit : « Un boeuf qui vole est chose moins extraordinaire qu'un moine qui ment.
Frithjof Schuon (Roots of the Human Condition (Library of Perennial Philosophy))
None of this is to say that experts are inflexible automatons. Experts act with demonstrably more flexibility than novices in a particular domain. Psychologists specify two types of expert flexibility. In the first type, the expert internalizes many of the domain’s salient features and hence sees and reacts to most of the domain’s contexts and their effects. This flexibility operates effectively in relatively stable domains. The second type of flexibility is more difficult to exercise. This flexibility requires experts to recognize when their cognitively accessible models are unlikely to work, forcing the experts to go outside their routines and their familiar frameworks to solve problems. This flexibility is crucial to success in nonlinear, complex systems.
Michael J. Mauboussin (More Than You Know: Finding Financial Wisdom in Unconventional Places)
None of this is to say that experts are inflexible automatons. Experts act with demonstrably more flexibility than novices in a particular domain. Psychologists specify two types of expert flexibility. In the first type, the expert internalizes many of the domain’s salient features and hence sees and reacts to most of the domain’s contexts and their effects. This flexibility operates effectively in relatively stable domains. The second type of flexibility is more difficult to exercise. This flexibility requires experts to recognize when their cognitively accessible models are unlikely to work, forcing the experts to go outside their routines and their familiar frameworks to solve problems. This flexibility is crucial to success in nonlinear, complex systems. So how do experts ensure they incorporate both types of flexibility? Advocates of cognitive flexibility theory suggest the major determinant in whether or not an expert will have more expansive flexibility is the amount of reductive bias during deliberate practice.4 More reductive bias may improve efficiency but will reduce flexibility. To mitigate reductive bias, the theory prescribes exploring abstractions across diverse cases to capture the significance of context dependence.
Michael J. Mauboussin (More Than You Know: Finding Financial Wisdom in Unconventional Places)
Each of the chapters in this book describes a force (emotions, relativity, social norms. etc.) that influences our behavior. And while these influences exert a lot of power over our behavior, our natural tendency is to vastly underestimate or completely ignore this power. These influences have an effect on us not because we lack knowledge, lack practice, or are weak-minded. On the contrary, they repeatedly affect experts as well as novices in systematic and predictable ways. The resulting mistakes are simply how we go about our lives, how we "do business." They are a part of us.
Dan Ariely (Predictably Irrational: The Hidden Forces That Shape Our Decisions)
Family do not have to be blood relatives. They are the people who support you through good times and bad, the people who know all your secrets, celebrate your highs and stick around through the lows.
Juliana Buhring (This Road I Ride: My incredible journey from novice to fastest woman to cycle the globe)
Refining the relationship between exaggeration and realism in humor can be related to stretching a rubber band. Imagine the unstretched band is the realism, and exaggeration stretches the band. When the rubber band is stretched to capacity, several things happen at once. Stretching alters the shape of the band; exaggeration changes the perception of reality. The rubber band can be stretched a little (understatement) or a lot (overstatement). Just as tension increases in a rubber band that it is stretched, exaggeration increases tension in the audience—up to the breaking point. When you pluck a rubber band, it makes a sound. The pitch of this sound gets higher as you stretch the rubber band further. This sound can be compared to emotion in an audience. The more you stretch the rubber band, the greater the emotion in the audience. Finding the proper balance between realism and exaggeration is the ultimate test of a comedy writer’s skill. Humor only comes when the exaggeration is logical. Simply being ludicrous or audacious is not a skill. It’s amateur. Many novice stand-up comedians struggle with exaggeration. They’ll start with some realistic premise—the way women dress, picking up men in a singles bar, outsmarting the police, or advertising slogans—but then they’ll shift into fifth gear in a wild display of ludicrous fantasy that’s not well connected to the initial premise. Their material has limited success because they make the same mistake repeatedly: They disrupt the equal balance of realism and exaggeration. Outrageous doesn’t mean creative.
Mark Shatz (Comedy Writing Secrets: The Best-Selling Guide to Writing Funny and Getting Paid for It)
Managing all data related to your coin type and its size can be overwhelming. A coin collecting software might be a good idea to have to help you keep track of your coin collection. Coin collecting software is not just for creating a catalog or inventory. Most commercially available software packages have built in coin inventories to categorize modern, ancient and medieval coins. They also are able to organize coin related links, existing web resources and an option that includes recent coin values updated for the current year. Software that has a coin glossary and a dictionary of various numismatic terms integrated in it would be most useful. You can choose from various programs that have an easy to learn interface and have readymade templates. A good one should allow you to create reports and summaries. Both novice and expert coin collectors will benefit from using good coin collecting software.
James Bradshaw (Coin Collecting for Beginners: Learn the basics of coin collecting as a hobby or an investment)
We think we meet someone with our eyes But we actually meet them with our soul
Mimi Novic (Your Light Is The Key)
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Maddy Roby
No writer ever knows enough words but he doesn’t have to try to use all that he does know. Tests would show that I had an enormous vocabulary and through the years it must have grown, but I never had a desire to display it in the way that John Updike or William Buckley or William Safire do to such lovely and often surprising effect. They use words with such spectacular results; I try, not always successfully, to follow the pattern of Ernest Hemingway who achieved a striking style with short familiar words. I want to avoid calling attention to mine, judging them to be most effective as ancillaries to a sentence with a strong syntax. My approach has been more like that of Somerset Maugham, who late in life confessed that when he first thought of becoming a writer he started a small notebook in which he jotted down words that seemed unusually beautiful or exotic, such as chalcedony, for as a novice he believed that good writing consisted of liberally sprinkling his text with such words. But years later, when he was a successful writer, he chanced to review his list and found that he had never used even one of his beautiful collection. Good writing, for most of us, consists of trying to use ordinary words to achieve extraordinary results. I struggle to find the right word and keep always at hand the largest dictionary my workspace can hold, and I do believe I consult it at least six or seven times each working day, for English is a language that can never be mastered.* [*Even though I have studied English for decades I am constantly surprised to find new definitions I have not known: ‘panoply’ meaning ‘a full set of armor’, ‘calendar’ meaning ‘a printed index to a jumbled group of related manuscripts or papers’. —Chapter IX “Intellectual Equipment”, page 306
James A. Michener (The World Is My Home: A Memoir)