View Picture Quotes

Forming your worldview by relying on the media would be like forming your view about me by looking only at a picture of my foot.

Nobody knows anything...... Not one person in the entire motion picture field knows for a certainty what's going to work. Every time out it's a guess and, if you're lucky, an educated one.

No place worth knowing yields itself at sight, and those the least inviting on first view may leave the most haunting pictures upon the walls of memory.

Don't become a random photograph in the eyes of friends, and even your enemies, for each glance at your face will cause a declination of value and reputation. Create value, through scarcity.

. . . crazy world or maybe it's just the view we have of it, looking through a crack in the door, never being able to see the whole room, the whole picture.

Instinctively, she lifted her camera and minimized her view of the world. It was how she managed her memories, how she processed the world. In pictures. With a camera, she could crop and reframe her life.

Perfection: a collection of a variety of pieces that, when viewed and felt individually, are difficult and confusing; but when brought together as one, create a perfect picture. Symphony, harmony, serenity.

The only people who see the whole picture are the ones who step outside the frame.

The scenes in our life resemble pictures in a rough mosaic; they are ineffective from close up, and have to be viewed from a distance if they are to seem beautiful. That is why to attain something desired is to discover how vain it is; and why, though we live all our lives in expectation of better things, we often at the same time long regretfully for what is past. The present, on the other hand, is regarded as something quite temporary and serving as the only road to our goal. That is why most men discover when they look back on their life that they have been living the whole time ad interim, and are surprised to see that which they let go by so unregarded and unenjoyed was precisely their life, was precisely that in expectation of which they lived.

The characters within a book were, from a certain point of view, identical on some fundamental level ‒ there weren't any images of them, no physical tangibility whatsoever. They were pictures in the reader's head, constructs of imagination and ideas, given shape by the writer's work and skill and the reader's imagination. Parents, of a sort.

We live" writes Pursewarden somewhere, "lives based upon selected fictions. Our view of reality is conditioned by our position in space and time - not by our personalities as we like to think. Thus every interpretation of reality is based upon a unique position. Two paces east or west and the whole picture is changed.

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.

Since the war, we're the only intelligent species left in the universe, therefore we think everything in this universe has to conform to our paradigm of what makes sense. Do you have any idea how arrogant that view is and on how little of this universe we base it?

A scientist, an artist, a citizen is not like a child who needs papa methodology and mama rationality to give him security and direction; he can take care of himself, for he is the inventor not only of laws, theories, pictures, plays, forms of music, ways of dealing with his fellow man, institutions but also of entire world views, he is the inventor of entire forms of life.

There is no such thing as good influence, Mr. Gray. All influence is immoral- immoral from a scientific point of view.

Everything in New York is a photograph. All the things that are supposed to be dirty or rough or unrefined are the most beautiful things. Garbage cans at the ends of alleyways look like they've been up all night talking with each other. Doorways with peeling paint look like the wise lines around an old feller's eyes. I stop and stare but can't stay because men always think I'm selling something. Or worse, giving something away. I wish I could be invisible. Or at least I wish I didn't look like someone they want to look at. They stop being part of the picture, they get up from their chess game and come out of the frame at me, blocking my view.

a terrible picture when viewed from our mortal perspective, like the beauty of a spider’s web that must look so horrifying to the fly.

The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.

To dream" means to focus and zoom the photos of destiny called visions for clearer view, manipulation and exploitation.

The View of life I communicate in my pictures excludes the sordid and the ugly. I paint life as I would like it to be.

There was something terribly enthralling in the exercise of influence. No other activity was like it. To project one's soul into some gracious form, and let it tarry there for a moment; to hear one's own intellectual views echoed back to one with all the added music of passion and youth; to convey one's temperament into another as though it were a subtle fluid or a strange perfume: there was a real joy in that--perhaps the most satisfying joy left to us in an age so limited and vulgar as our own, an age grossly carnal in its pleasures, and grossly common in its aims....

Directly beneath the Lotus Pond of Paradise lay the lower depths of Hell, and as He peered through the crystalline waters, He could see the River of Three Crossings and the Mountain of Needles as clearly as if He were viewing pictures in a peep-box.

Here you sit on your high-backed chair Wonder how the view is from there I wouldn't know 'cause I like to sit Upon the floor, yeah upon the floor If you like we could play a game Let's pretend that we are the same But you will have to look much closer Than you do, closer than you do And I'm far too tired to stay here anymore And I don't care what you think anyway 'Cause I think you were wrong about me Yeah what if you were, what if you were And what if I'm a snowstorm burning What if I'm a world unturning What if I'm an ocean, far too shallow, much too deep What if I'm the kindest demon Something you may not believe in What if I'm a siren singing gentlemen to sleep I know you've got it figured out Tell me what I am all about And I just might learn a thing or two Hundred about you, maybe about you I'm the end of your telescope I don't change just to suit your vision 'Cause I am bound by a fraying rope Around my hands, tied around my hands And you close your eyes when I say I'm breaking free And put your hands over both your ears Because you cannot stand to believe I'm not The perfect girl you thought Well what have I got to lose And what if I'm a weeping willow Laughing tears upon my pillow What if I'm a socialite who wants to be alone What if I'm a toothless leopard What if I'm a sheepless shepherd What if I'm an angel without wings to take me home You don't know me Never will, never will I'm outside your picture frame And the glass is breaking now You can't see me Never will, never will If you're never gonna see What if I'm a crowded desert Too much pain with little pleasure What if I'm the nicest place you never want to go What if I don't know who I am Will that keep us both from trying To find out and when you have Be sure to let me know What if I'm a snowstorm burning What if I'm a world unturning What if I'm an ocean, far too shallow, much too deep What if I'm the kindest demon Something you may not believe in What if I'm a siren singing gentlemen to sleep Sleep... Sleep...

The view which he has given of human life has a melancholy hue, but he feels conscious that he has drawn these dark tints from a conviction that they are really in the picture, and not from a jaundiced eye or an inherent spleen of disposition.

The more aware we are of our basic paradigms, maps, or assumptions, and the extent to which we have been influenced by our experience, the more we can take responsibility for those paradigms, examine them, test them against reality, listen to others and be open to their perceptions, thereby getting a larger picture and a far more objective view.

When one's life has been shattered into a million pieces, most set out to pick up the pieces & rebuild. Others look at those broken pieces & decide this is their opportunity to start anew, the bigger picture comes into view. They see more, & want better so they leave those pieces scattered as a memorial to who they used to be!

If the pieces do not fit into your puzzle... Try a different picture

In a reductionist view, understanding something complex requires breaking it down into its components; understand those parts, add them together, and you’ll understand the big picture. And in this reductionist world, to understand cells, organs, bodies, and behavior, the best constituent part to study is genes.

Picture to yourself the most beautiful girl imaginable! She was so beautiful that there would be no point, in view of my meagre talent for storytelling, in even trying to put her beauty into words. That would far exceed my capabilities, so I'll refrain from mentioning whether she was a blonde or a brunette or a redhead, or whether her hair was long or short or curly or smooth as silk. I shall also refrain from the usual comparisons where her complexion was concerned, for instance milk, velvet, satin, peaches and cream, honey or ivory, Instead, I shall leave it entirely up to your imagination to fill in this blank with your own ideal of feminine beauty.

Perception requires imagination because the data people encounter in their lives are never complete and always equivocal. For example, most people consider that the greatest evidence of an event one can obtain is to see it with their own eyes, and in a court of law little is held in more esteem than eyewitness testimony. Yet if you asked to display for a court a video of the same quality as the unprocessed data catptured on the retina of a human eye, the judge might wonder what you were tryig to put over. For one thing, the view will have a blind spot where the optic nerve attaches to the retina. Moreover, the only part of our field of vision with good resolution is a narrow area of about 1 degree of visual angle around the retina’s center, an area the width of our thumb as it looks when held at arm’s length. Outside that region, resolution drops off sharply. To compensate, we constantly move our eyes to bring the sharper region to bear on different portions of the scene we wish to observe. And so the pattern of raw data sent to the brain is a shaky, badly pixilated picture with a hole in it. Fortunately the brain processes the data, combining input from both eyes, filling in gaps on the assumption that the visual properties of neighboring locations are similar and interpolating. The result - at least until age, injury, disease, or an excess of mai tais takes its toll - is a happy human being suffering from the compelling illusion that his or her vision is sharp and clear. We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out “picture” is clear and accurate. But is it?

Here’s the dead end of social media: after you’ve created your own bubble that reflects only what you relate to or what you identify with, after you’ve blocked and unfollowed people whose opinions and worldview you judge and disagree with, after you’ve created your own little utopia based on your cherished values, then a kind of demented narcissism begins to warp this pretty picture. Not being able or willing to put yourself in someone else’s shoes—to view life differently from how you yourself experience it—is the first step toward being not empathic, and this is why so many progressive movements become as rigid and as authoritarian as the institutions they’re resisting.

Perhaps the cause of our contemporary pessimism is our tendency to view history as a turbulent stream of conflicts – between individuals in economic life, between groups in politics, between creeds in religion, between states in war. This is the more dramatic side of history; it captures the eye of the historian and the interest of the reader. But if we turn from that Mississippi of strife, hot with hate and dark with blood, to look upon the banks of the stream, we find quieter but more inspiring scenes: women rearing children, men building homes, peasants drawing food from the soil, artisans making the conveniences of life, statesmen sometimes organizing peace instead of war, teachers forming savages into citizens, musicians taming our hearts with harmony and rhythm, scientists patiently accumulating knowledge, philosophers groping for truth, saints suggesting the wisdom of love. History has been too often a picture of the bloody stream. The history of civilization is a record of what happened on the banks.

Today certain definite ideas are developing out of the Egyptian ideas. What is called Darwinism today did not arise because of external reasons. We are the same souls who, in Egypt, received the pictures of the animal forms of man's forebears. The old views have awakened again, but man has descended more deeply into the material world.

Sometimes when I listen to people who say they have lost their faith, I am far less surprised than they expect. If their view of God is what they say, then it is only surprising that they did not reject it much earlier. Other people have a concept of God so fundamentally false that it would be better for them to doubt than to remain devout. The more devout they are, the uglier their faith will become since it is based on a lie. Doubt in such a case is not only highly understandable, it is even a mark of spiritual and intellectual sensitivity to error, for their picture is not of God but an idol.

Her endeavor was misguided and wrong and maybe plain crazy, akin to someone waking up one day and deciding he’s going to scale Kilimanjaro because he can’t stop imagining the view from the top, the picture so arresting and beautiful that it too soon delivers him to a precarious ledge, where he can no longer turn back. And while it’s easy to say this is a situation to be avoided, isn’t this what we also fear and crave simultaneously, that some internal force which defies understanding might remake us into the people we dream we are?

I should point out, nevertheless, that even though incomplete data can lead to a false picture, this is far different from the (false) picture obtained by those who choose to ignore empirical data to invent a picture of reality (young earthers, for example), or those who instead require the existence of something for which there is no observable evidence whatsoever (like divine intelligence) to reconcile their view of creation with their a priori prejudices, or worse still, those who cling to fairly tales about nature that presume the answers before questions can even be asked.

We picture the world as thick with conquering and elate humanity, but here, with the bugles of the tempest peeling, it was hard to imagine a peopled earth. One viewed the existence of man then as a marvel, and conceded a glamour of wonder to these lice which were caused to cling to a whirling, fire-smitten, ice-locked, disease-stricken, space-lost bulb. The conceit of man was explained by this storm to be the very engine of life. One was a coxcomb not to die in it.

It is difficult for anyone born and raised in human infrastructure to truly internalize the fact that your view of the world is backward. Even if you fully know that you live in a natural world that existed before you and will continue long after, even if you know that the wilderness is the default state of things, and that nature is not something that only happens in carefully curated enclaves between towns, something that pops up in empty spaces if you ignore them for a while, even if you spend your whole life believing yourself to be deeply in touch with the ebb and flow, the cycle, the ecosystem as it actually is, you will still have trouble picturing an untouched world. You will still struggle to understand that human constructs are carved out and overlaid, that these are the places that are the in-between, not the other way around.

From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type.

In the first place, good people are rarely suspicious; they cannot imagine others doing the things they themselves are incapable of doing; usually they accept the undramatic conclusion as the correct one, and let matters rest there. Then, too, the normal are inclined to view the multiple killer as the as the one who’s as monstrous in appearance as he is in mind, which is about as far from the truth as one could well get. He paused and then said that these monsters of real life usually looked and behaved in a more normal manner than their actually normal brothers and sisters: they presented a more convincing picture of virtue than virtue presented of itself—just as the wax rosebud or the plastic peach seemed more perfect to the eye, more what the mind thought a rosebud or a peach should be than the imperfect original from which it had been modeled.

There was something terribly enthralling in the exercise of influence. No other activity was like it. To project one’s soul into some gracious form, and let it tarry there for a moment; to hear one’s own intellectual views echoed back to one with all the added music of passion and youth;

Obviously, a rigid, blinkered, absolutist world view is the easiest to keep hold of, whereas the fluid, uncertain, metamorphic picture I've always carried about is rather more vulnerable. Yet I must cling with all my might to … my own soul; must hold on to its mischievous, iconoclastic, out-of-step clown-instincts, no matter how great the storm. And if that plunges me into contradiction and paradox, so be it; I've lived in that messy ocean all my life. I've fished in it for my art. This turbulent sea was the sea outside my bedroom window in Bombay. It is the sea by which I was born, and which I carry within me wherever I go.

Man isn't a noble savage, he's an ignoble savage. He is irrational, brutal, weak, silly, unable to be objective about anything where his own interests are involved—that about sums it up. I'm interested in the brutal and violent nature of man because it's a true picture of him. And any attempt to create social institutions on a false view of the nature of man is probably doomed to failure.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

What Waringa tried hard to avoid was looking at the pictures of the walls and windows of the church. Many of the pictures showed Jesus in the arms of the virgin Mary or on the cross. But others depicted the devil, with two cow-like horns and a tail like a monkey's, raising one leg in a dance of evil, while his angels, armed with burning pitchforks, turned over human beings on a bonfire. The Virgin Mary, Jesus and God's angels were white, like European, but the devil and his angels were black.

Last night meant as much to me as it did to her and she painted it, capturing it in a way unique to Echo. […] Up close all those colors would look like chaos, but when viewed as a whole it creates this beautiful picture. In the end, that’s the best way to describe me and Echo, our relationship. Our love.

There they stood, ranged along the hillsides, met To view the last of me, a living frame For one more picture! In a sheet of flame I saw them and I knew them all. And yet Dauntless the slug-horn to my lips I set, And blew. 'Childe Roland to the Dark Tower came.

The best part about being a nerd within a community of nerds is the insularity – it’s cozy, familial, come as you are. In a discussion board on the Web site Slashdot.org about Rushmore, a film with a nerdy teen protagonist, one anonymous participant pinpointed the value of taking part in detail-oriented zealotry: Geeks tend to be focused on very narrow fields of endeavor. The modern geek has been generally dismissed by society because their passions are viewed as trivial by those people who ‘see the big picture.’ Geeks understand that the big picture is pixilated and their high level of contribution in small areas grows the picture. They don’t need to see what everyone else is doing to make their part better. Being a nerd, which is to say going to far and caring too much about a subject, is the best way to make friends I know. For me, the spark that turns an acquaintance into a friend has usually been kindled by some shared enthusiasm like detective novels or Ulysses S. Grant.

It is a place that 'grows upon you' every day. There seems to be always something to find out in it. There are the most extraordinary alleys and by-ways to walk about in. You can lose your way (what a comfort that is, when you are idle!) twenty times a day, if you like; and turn up again, under the most unexpected and surprising difficulties. It abounds in the strangest contrasts; things that are picturesque, ugly, mean, magnificent, delightful, and offensive, break upon the view at every turn.

My own view is that everyone works too hard and too long and they ought to get out more. There isn’t time in their improverished lives to do anything creative, or even to just sit and stare, one of my favourite occupations. And how the wired-in young—never without their music, never out of touch because of mobile phones, constantly sharing everything, even pictures—are going to cope if they ever encounter solitude and silence is another thing.

The picture of the world that's presented to the public has only the remotest relation to reality. The truth of the matter is buried under edifice after edifice of lies upon lies. It's all been a marvellous success from the point of view in deterring the threat of democracy, achieved under conditions of freedom, which is extremely interesting.

Traditional ways to deal with information--reading, listening, writing, talking--are painfully slow in comparison to "viewing the big picture." Those who survive information overload will be those who search for information with broadband thinking but apply it with a single-minded focus.

I cared nothing; my point of view in that instance, as in all others like it, was, that if the paper chose to send an outsider and an ignoramus to criticise works of art - especially the works of a new and tentative and experimental school - then, on the head of the paper let the just doom fall.

I think my thought and imagination contain the picture and perceive its significance from every point of view. I have to force myself not to dwell upon it to avoid the sort of numbness that comes from deep apprehension and dwelling upon elements too vast to be yet comprehended or in any way controlled by counsel.

For me the real evil of masturbation would be that it takes an appetite which, in lawful use, leads the individual out of himself to complete (and correct) his own personality in that of another (and finally in children and even grandchildren) and turns it back: sends the man back into the prison of himself, there to keep a harem of imaginary brides. And this harem, once admitted, works against his ever getting out and really uniting with a real woman. For the harem is always accessible, always subservient, calls for no sacrifices or adjustments, and can be endowed with erotic and psychological attractions which no real woman can rival. Among those shadowy brides he is always adored, always the perfect lover: no demand is made on his unselfishness, no mortification ever imposed on his vanity. In the end, they become merely the medium through which he increasingly adores himself . . . . And it is not only the faculty of love which is thus sterilized, forced back on itself, but also the faculty of imagination. The true exercise of imagination, in my view, is (a) To help us to understand other people (b) To respond to, and, some of us, to produce, art. But it has also a bad use: to provide for us, in shadowy form, a substitute for virtues, successes, distinctions etc. which ought to be sought outside in the real world—e.g. picturing all I’d do if I were rich instead of earning and saving. Masturbation involves this abuse of imagination in erotic matters (which I think bad in itself) and thereby encourages a similar abuse of it in all spheres. After all, almost the main work of life is to come out of our selves, out of the little, dark prison we are all born in. Masturbation is to be avoided as all things are to be avoided which retard this process. The danger is that of coming to love the prison.

But it is impossible to picture any of our interrogators, right up to Abakumov and Beria, wanting to slip into prisoner's skin even for one hour, or feeling compelled to sit and meditate in solitary confinement. Their branch of service does not require them to be educated people of broad culture and broad views—and they are not. Their branch of service does not require them to think logically—and they do not. Their branch of service requires only that they carry out orders exactly and be impervious to suffering—and that is what they do and what they are. We who have passed through their hands feel suffocated when we think of the legion, which is stripped bare of universal human ideals.

Last week, our picture window Produced a half-word, Heavy and hollow, Hit by a brown bird. We stood and watched her gape like a rattlesnake And pant and labor over every intake. I said a sort of prayer for some rare grace, Then thought i ought to take her to a higher place. Said, “dog nor vulture nor cat shall toy with you, And though you die, bird, you will have a fine view.

Girl, aging girl, is haunted by own nothingness & devours views from windows (stories, movies, overheard talk &sights in the street, pictures in newspapers, etc.) with continuous feeling she is 'just about', miraculously, to come into her own her own life

But there is money to be made in being hated this much, and being a source of money means power and protection. Media traffic doesn't care about right or wrong. Every click on a scandalous headline brings profit; every view of a condemning picture generates revenue.

I and the girl in the picture have ceased to be the same person. I am her outcome, the result of the life she once lived headlong; whereas she, if she can be said to exist at all, is composed only of what I remember. I have the better view - I can see her clearly, most of the time. But even if she knew enough to look, she can't see me at all.

I believe that we must attack these things in which we do not believe. Not attack by the method of cutting off the heads of the people, but attack in the sense of discuss. I believe that we should demand that people try in their own minds to obtain for themselves a more consistent picture of their own world; that they not permit themselves the luxury of having their brain cut in four pieces or two pieces even, and on one side they believe this and on the other side they believe that, but never try to compare the two points of view. Because we have learned that, by trying to put the points of view that we have in our head together and comparing one to the other, we make some progress in understanding and in appreciating where we are and what we are. And I believe that science has remained irrelevant because we wait until somebody asks us questions or until we are invited to give a speech on Einstein’s theory to people who don’t understand Newtonian mechanics, but we never are invited to give an attack on faith healing, or on astrology — on what is the scientific view of astrology today.

So if you ask the question “What kinds of perceptions and thoughts and feelings guide us through life each day?” the answer, at the most basic level, isn’t “The kinds of thoughts and feelings and perceptions that give us an accurate picture of reality.” No, at the most basic level the answer is “The kinds of thoughts and feelings and perceptions that helped our ancestors get genes into the next generation.” Whether those thoughts and feelings and perceptions give us a true view of reality is, strictly speaking, beside the point. As a result, they sometimes don’t. Our brains are designed to, among other things, delude us.

There is no such thing as a good influence, Mr. Gray. All influence is immoral—immoral from the scientific point of view." "Why?" "Because to influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of some one else's music, an actor of a part that has not been written for him. The aim of life is self-development. To realize one's nature perfectly—that is what each of us is here for. People are afraid of themselves, nowadays. They have forgotten the highest of all duties, the duty hat one owes to one's self. Of course, they are charitable. They feed the hungry and clothe the beggar. But their own souls starve, and are naked. Courage has gone out of our race. Perhaps we never really had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion—these are the two things that govern us. And yet, I believe that if one man were to live out his life fully and completely, were to give form to every feeling, expression to every thought, reality to every dream—I believe that the world would gain such a fresh impulse of joy that we would forget all the maladies of mediaevalism, and return to the Hellenic ideal—to something finer, richer than the Hellenic ideal, it may be. But the bravest man amongst us is afraid of himself

I look at you And I want to build things Four walls A roof A room with a view I look at you And I want to build things A stack of logs A roaring fire A starlit night with you I look at you And I want to build things Hike a secret trail where the world cannot find us A bench built for two Picture this - lightning and thunder Picture this- my telephone number Picture this- discovery and wonder Picture this- the moon as we slumber I look at you And I want to build things I just need my hands Your smile And for you to want this too

Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or circles under the eyes. It is not a superficial flaw in an otherwise perfect picture. It is not a minor irritation, nor is it a trivial inconvenience, an occasional aggravation, or a regrettable but (frankly) harmless lapse in manners. It is not a “point of view” that some people with soft skins find “ offensive. ” It is the deep and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth and human recognition, the forced alienation of a person from even the possibility of wholeness or internal integrity. Inferiority puts rightful self-love beyond reach, a dream fragmented by insult into a perpetually recurring nightmare; inferiority creates a person broken and humiliated inside. The fragments— scattered pieces and sharp slivers of someone who can never be made whole—are then taken to be the standard of what is normal in her kind: women are like that. The insult that hurt her—inferiority as an assault, ongoing since birth—is seen as a consequence, not a cause, of her so-called nature, an inferior nature. In English, a graceful language, she is even called a piece. It is likely to be her personal experience that she is insufficiently loved. Her subjectivity itself is second-class, her experiences and perceptions inferior in the world as she is inferior in the world. Her experience is recast into a psychologically pejorative judgment: she is never loved enough because she is needy, neurotic, the insufficiency of love she feels being in and of itself evidence of a deep-seated and natural dependency. Her personal experiences or perceptions are never credited as having a hard core of reality to them. She is, however, never loved enough. In truth; in point of fact; objectively: she is never loved enough. As Konrad Lorenz wrote: “ I doubt if it is possible to feel real affection for anybody who is in every respect one’s inferior. ” 1 There are so many dirty names for her that one rarely learns them all, even in one’s native language.

As a boy, Picasso struggled with reading, writing, and arithmetic. Einstein was slow to talk and would apply picture thinking to complex problems in the field of physics. The dividing line between psychiatric disorders and great gifts is often a very narrow one and strongly depends on how someone is viewed by their surroundings.

Horace, however, had arrayed himself in a Gothic assortment of crushed velvet, black satin, and patent leather that shouldn't have been allowed in my view. He might as well have I AM A VAMPIRE embroidered across the front of his watered-silk waistcoat. An outfit like that is going to get him staked one of these days; it's exactly what Boris Karloff would have worn, if he had joined the cast of Rocky Horror Motion Picture Show.

We can all take pictures but not everyone can capture the beauty that's usually hidden in plain view... We can all open our mouth to sing but not everyone can melodically touch your soul... We can all pick up a pen to write but not everyone can write words in such a way that they leap off of the page for you... We can all part our lips to speak but not everyone can speak life into you... We can all move our bodies to a beat but not everyone can become one with music, stir emotions and shift energy with dance... Point is: WE CAN all do something but Know your gifts, cultivate them and ALWAYS, ALWAYS BE YOURSELF! Then working together becomes effortless. Copies aren't accepted everywhere...ORIGINALS are eventually required!

...if we consider the difference between William Henry Jackson packing in his cameras by mule, and the person stepping out of his car to take a picture with an Instamatic, it becomes clear how some of our space has vanished; if the time it takes to cross space is a way by which we define it, then to arrive at a view of space 'in no time' is to have denied its reality.

From jygging vaines of riming mother wits, And such conceits as clownage keepes in pay, Weele leade you to the stately tent of War: Where you shall heare the Scythian Tamburlaine, Threatning the world with high astounding tearms And scourging kingdoms with his conquering sword. View but his picture in this tragicke glasse, And then applaud his fortunes if you please.

Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw. It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating. We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast.

Chess and you taking a picture of me reading Slaughterhouse-Five, telling me I’d need proof someday because nobody in Creek View would ever believe I had actually read a goddamn book, let alone five. Talking about God and why there’s evil in the world and bitching because the Steelers won the Super Bowl. Camp Leatherneck, me not missing home at all and you missing it like crazy, always talking about going to college and how when you had leave you were gonna marry Hannah. And you wanted kids, and I said I didn’t because people like me, we just end up disappointing one another and I’d probably be like my dad, and you told me I had to get over it, get over my dad and my mom and how screwed up everything is because you said, Josh, you’re gonna have it all. I know it. You’re gonna have it all. And for the first time, I’m almost believing that.

The only thing in this world is music–music and books and one or two pictures. I am going to found a colony where there shall be no marrying–unless you happen to fall in love with a symphony of Beethoven–no human element at all, except what comes through Art–nothing but ideal peace and endless meditation. The whole of human beings grows too complicated, my only wonder is that we don’t fill more madhouses: the insane view of life has much to be said for it–perhaps its the sane one after all: and we, the sad sober respectable citizens really rave every moment of our lives and deserve to be shut up perpetually. My spring melancholy is developing these hot days into summer madness.

Ask your subordinates about matters you do not understand or do not know, and do not lightly express your approval or disapproval. . . . We should never pretend to know what we do not know, we should “not feel ashamed to ask and learn from people below” and we should listen carefully to the views of the cadres at the lower levels. Be a pupil before you become a teacher; learn from the cadres at the lower levels before you issue orders. . . . What the cadres at the lower levels say may or may not be correct, after hearing it, we must analyse it. We must heed the correct views and act upon them. . . . Listen also to the mistaken views from below, it is wrong not to listen to them at all. Such views, however, are not to be acted upon but to be criticized.

What was that?” I croaked. Akhol sidestepped into my view and towered over us. “It was a Demon.” “But you said—” “I know what I said,” Akhol cut in sharply, rubbing his eyes. “There was something wrong with it. Like the Demon had adapted to the darkness and water.” I shivered. “Did he have a ring that he called ‘my precious’?” I joked to try and lighten the mood. I didn’t get a good look at the Demon, but my mind had no problems picturing Gollum. They stared at me blankly.

I sincerely believe that the best criticism is the criticism that is entertaining and poetic; not a cold analytical type of criticism, which, claiming to explain everything, is devoid of hatred and love, and deliberately rids itself of any trace of feeling, but, since a fine painting is nature reflected by an artist, the best critical study, I repeat, will be the one that is that painting reflected by an intelligent and sensitive mind. Thus the best accounts of a picture may well be a sonnet or an elegy . . . But that type of criticism is destined for books of poetry and for readers of poetry. As to criticism proper, I hope philosophers will understand what I am about to say: to be in focus, in other words to justify itself, criticism must be partial, passionate, political, that is to say it must adopt an exclusive point of view, provided always the one adopted opens up the widest horizons.

Imagine you are a member of a tour visiting Greece. The group goes to the Parthenon. It is a bore. Few people even bother to look — it looked better in the brochure. So people take half a look, mostly take pictures, remark on serious erosion by acid rain. You are puzzled. Why should one of the glories and fonts of Western civilization, viewed under pleasant conditions — good weather, good hotel room, good food, good guide — be a bore? Now imagine under what set of circumstances a viewing of the Parthenon would not be a bore. For example, you are a NATO colonel defending Greece against a Soviet assault. You are in a bunker in downtown Athens, binoculars propped up on sandbags. It is dawn. A medium-range missile attack is under way. Half a million Greeks are dead. Two missiles bracket the Parthenon. The next will surely be a hit. Between columns of smoke, a ray of golden light catches the portico. Are you bored? Can you see the Parthenon? Explain.

The catch is that for most people the New Testament is taken as proof for the conventional picture of Christian origins, and the conventional picture is taken as proof for the way in which the New Testament was written. . . . For this reason the New Testament is commonly viewed and treated as a charter document that came into being much like the Constitution of the United States. According to this view, the authors of the New Testament were all present at the historic beginnings of the new religion and collectively wrote their gospels and letters for the purpose of founding the Christian church that Jesus came to inaugurate. Unfortunately for this view, that is not the way it happened.

Look everywhere. There are miracles and curiosities to fascinate and intrigue for many lifetimes: the intricacies of nature and everything in the world and universe around us from the miniscule to the infinite; physical, chemical and biological functionality; consciousness, intelligence and the ability to learn; evolution, and the imperative for life; beauty and other abstract interpretations; language and other forms of communication; how we make our way here and develop social patterns of culture and meaningfulness; how we organise ourselves and others; moral imperatives; the practicalities of survival and all the embellishments we pile on top; thought, beliefs, logic, intuition, ideas; inventing, creating, information, knowledge; emotions, sensations, experience, behaviour. We are each unique individuals arising from a combination of genetic, inherited, and learned information, all of which can be extremely fallible. Things taught to us when we are young are quite deeply ingrained. Obviously some of it (like don’t stick your finger in a wall socket) is very useful, but some of it is only opinion – an amalgamation of views from people you just happen to have had contact with. A bit later on we have access to lots of other information via books, media, internet etc, but it is important to remember that most of this is still just opinion, and often biased. Even subjects such as history are presented according to the presenter’s or author’s viewpoint, and science is continually changing. Newspapers and TV tend to cover news in the way that is most useful to them (and their funders/advisors), Research is also subject to the decisions of funders and can be distorted by business interests. Pretty much anyone can say what they want on the internet, so our powers of discernment need to be used to a great degree there too. Not one of us can have a completely objective view as we cannot possibly have access to, and filter, all knowledge available, so we must accept that our views are bound to be subjective. Our understanding and responses are all very personal, and our views extremely varied. We tend to make each new thing fit in with the picture we have already started in our heads, but we often have to go back and adjust the picture if we want to be honest about our view of reality as we continually expand it. We are taking in vast amounts of information from others all the time, so need to ensure we are processing that to develop our own true reflection of who we are.

Every age has its own collective neurosis, and every age needs its own psychotherapy to cope with it. The existential vacuum which is the mass neurosis of the present time can be described as a private and personal form of nihilism; for nihilism can be defined as the contention that being has no meaning. As for psychotherapy, however, it will never be able to cope with this state of affairs on a mass scale if it does not keep itself free from the impact and influence of the contemporary trends of a nihilistic philosophy; otherwise it represents a symptom of the mass neurosis rather than its possible cure. Psychotherapy would not only reflect a nihilistic philosophy but also, even though unwillingly and unwittingly, transmit to the patient what is actually a caricature rather than a true picture of man. First of all, there is a danger inherent in the teaching of man's "nothingbutness," the theory that man is nothing but the result of biological, psychological and sociological conditions, or the product of heredity and environment. such a view of man makes a neurotic believe what he is prone to believe anyway, namely, that he is the pawn and victim of outer influences or inner circumstances. This neurotic fatalism is fostered and strengthened by a psychotherapy which denies that man is free. To be sure, a human being is a finite thing and his freedom is restricted. It is not freedom from conditions, but it is freedom to take a stand toward the conditions. As I once put it: "As a professor in two fields, neurology and psychiatry, I am fully aware of the extent to which man is subject to biological, psychological and sociological conditions. But in addition to being a professor in two fields I am a survivor of four camps-concentration camps, that is-and as such I also bear witness to the unexpected extent to which man is capable of defying and braving even the worst conditions conceivable.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

Professor Smith has kindly submitted his book to me before publication. After reading it thoroughly and with intense interest I am glad to comply with his request to give him my impression. The work is a broadly conceived attempt to portray man's fear-induced animistic and mythic ideas with all their far-flung transformations and interrelations. It relates the impact of these phantasmagorias on human destiny and the causal relationships by which they have become crystallized into organized religion. This is a biologist speaking, whose scientific training has disciplined him in a grim objectivity rarely found in the pure historian. This objectivity has not, however, hindered him from emphasizing the boundless suffering which, in its end results, this mythic thought has brought upon man. Professor Smith envisages as a redeeming force, training in objective observation of all that is available for immediate perception and in the interpretation of facts without preconceived ideas. In his view, only if every individual strives for truth can humanity attain a happier future; the atavisms in each of us that stand in the way of a friendlier destiny can only thus be rendered ineffective. His historical picture closes with the end of the nineteenth century, and with good reason. By that time it seemed that the influence of these mythic, authoritatively anchored forces which can be denoted as religious, had been reduced to a tolerable level in spite of all the persisting inertia and hypocrisy. Even then, a new branch of mythic thought had already grown strong, one not religious in nature but no less perilous to mankind -- exaggerated nationalism. Half a century has shown that this new adversary is so strong that it places in question man's very survival. It is too early for the present-day historian to write about this problem, but it is to be hoped that one will survive who can undertake the task at a later date.

More seriously-and this is probably why there has been a lot of garbage talked about a lost generation-it was easy to see, all over the landscape of contemporary fiction, the devastating effect of the Thatcher years. So many of these writers wrote without hope. They had lost all ambition, all desire to to wrestle with the world. Their books dealt with tiny patches of the world, tiny pieces of human experience-a council estate, a mother, a father, a lost job. Very few writers had the courage or even the energy to bite off a big chunk of the universe and chew it over. Very few showed any linguistic or formal innovation. Many were dulled and therefore dull. (And then, even worse, there were the Hooray Henries and Sloanes who evidently thought that the day of the yuppie novel, and the Bellini-drinking, okay-yah fiction had dawned. Dukedoms and country-house bulimics abounded. It was plain that too may books were being published; that too many writers had found their way into print without any justification for it at all; that too many publishers had adopted a kind of random, scattergun policy of publishing for turnover and just hoping that something would strike a cord. When the general picture is so disheartening, it is easy to miss the good stuff. I agreed to be a judge for "Best of Young British Novelists II" because I wanted to find out for myself if the good stuff really was there. In my view, it is...One of my old schoolmasters was fond of devising English versions of the epigrams of Martial. I remember only one, his version of Martial's message to a particularly backward-looking critic: "You only praise the good old days We young 'uns get no mention. I don't see why I have to die To gain your kind attention.

The demagogic propagandist must therefore be consistently dogmatic. All his statements are made without qualification. There are no grays in his picture of the world; everything is either diabolically black or celestially white. In Hitler’s words, the propagandist should adopt “a systematically one-sided attitude towards every problem that has to be dealt with.” He must never admit that he might be wrong or that people with a different point of view might be even partially right. Opponents should not be argued with; they should be attacked, shouted down, or, if they become too much of a nuisance, liquidated. The morally squeamish intellectual may be shocked by this kind of thing. But the masses are always convinced that “right is on the side of the active aggressor.

I am struck by what a tawdry magician’s trick Time is after all. I am sixty-six years old. Viewed from your coign of vantage—facing toward the future—sixty-six years is a great deal of time. It is all of the experience of your life more than three times over. But, viewed from my coign of vantage—facing toward the past—this sixty-six years was the fluttering down of a cherry petal. I feel that my life was a picture hastily sketched but never filled in . . . for lack of time. Only yesterday—but more than fifty years ago—I walked along this river with my father. I can remember how big and strong his hand felt to my small fingers. Fifty years. But all the insignificant, busy things—the terribly important, now forgotten things that cluttered the intervening time collapse and fall away from my memory. And I remember another yesterday when my daughter was a little girl. We walked along here. At this very moment, the nerves in my hand remember the feeling of her chubby fingers clinging to one of mine.

I know people who read interminably, book after book, from page to page, and yet I should not call them 'well-read people'. Of course they 'know' an immense amount; but their brain seems incapable of assorting and classifying the material which they have gathered from books. They have not the faculty of distinguishing between what is useful and useless in a book; so that they may retain the former in their minds and if possible skip over the latter while reading it, if that be not possible, then--when once read--throw it overboard as useless ballast. Reading is not an end in itself, but a means to an end. Its chief purpose is to help towards filling in the framework which is made up of the talents and capabilities that each individual possesses. Thus each one procures for himself the implements and materials necessary for the fulfilment of his calling in life, no matter whether this be the elementary task of earning one's daily bread or a calling that responds to higher human aspirations. Such is the first purpose of reading. And the second purpose is to give a general knowledge of the world in which we live. In both cases, however, the material which one has acquired through reading must not be stored up in the memory on a plan that corresponds to the successive chapters of the book; but each little piece of knowledge thus gained must be treated as if it were a little stone to be inserted into a mosaic, so that it finds its proper place among all the other pieces and particles that help to form a general world-picture in the brain of the reader. Otherwise only a confused jumble of chaotic notions will result from all this reading. That jumble is not merely useless, but it also tends to make the unfortunate possessor of it conceited. For he seriously considers himself a well-educated person and thinks that he understands something of life. He believes that he has acquired knowledge, whereas the truth is that every increase in such 'knowledge' draws him more and more away from real life, until he finally ends up in some sanatorium or takes to politics and becomes a parliamentary deputy. Such a person never succeeds in turning his knowledge to practical account when the opportune moment arrives; for his mental equipment is not ordered with a view to meeting the demands of everyday life. His knowledge is stored in his brain as a literal transcript of the books he has read and the order of succession in which he has read them. And if Fate should one day call upon him to use some of his book-knowledge for certain practical ends in life that very call will have to name the book and give the number of the page; for the poor noodle himself would never be able to find the spot where he gathered the information now called for. But if the page is not mentioned at the critical moment the widely-read intellectual will find himself in a state of hopeless embarrassment. In a high state of agitation he searches for analogous cases and it is almost a dead certainty that he will finally deliver the wrong prescription.

Many cultural stories worldwide present the domination system as the only human alternative. Fairy tales romanticize the rule of kings and queens over “common people.” Classics such as Homers Illiad and Shakespeare’s kings trilogy romanticize “Heroic violence.” Many religious stories present men’s control, even ownership, of women as normal and moral. These stories came out of the times that oriented much more closely to a “pure” domination system. Along with newer stories that perpetuate these limited beliefs about human nature, they play a major role in how we view our world and how we live in it. But precisely because stories are so important in shaping values, new narratives can help change unhealthy values. Of particular importance are new stories about human nature. We need new narratives that give us a more complete and accurate picture of who we are and who we can be - stories that show that our enormous capacities for consciousness, creativity and caring are integral to human evolution, that these capacities are what make us distinctively human.

XXIV. And more than that - a furlong on - why, there! What bad use was that engine for, that wheel, Or brake, not wheel - that harrow fit to reel Men's bodies out like silk? With all the air Of Tophet's tool, on earth left unaware Or brought to sharpen its rusty teeth of steel. XXV. Then came a bit of stubbed ground, once a wood, Next a marsh it would seem, and now mere earth Desperate and done with; (so a fool finds mirth, Makes a thing and then mars it, till his mood Changes and off he goes!) within a rood - Bog, clay and rubble, sand, and stark black dearth. XXVI. Now blotches rankling, coloured gay and grim, Now patches where some leanness of the soil's Broke into moss, or substances like boils; Then came some palsied oak, a cleft in him Like a distorted mouth that splits its rim Gaping at death, and dies while it recoils. XXVII. And just as far as ever from the end! Naught in the distance but the evening, naught To point my footstep further! At the thought, A great black bird, Apollyon's bosom friend, Sailed past, not best his wide wing dragon-penned That brushed my cap - perchance the guide I sought. XXVIII. For, looking up, aware I somehow grew, Spite of the dusk, the plain had given place All round to mountains - with such name to grace Mere ugly heights and heaps now stolen in view. How thus they had surprised me - solve it, you! How to get from them was no clearer case. XXIX. Yet half I seemed to recognise some trick Of mischief happened to me, God knows when - In a bad dream perhaps. Here ended, then Progress this way. When, in the very nick Of giving up, one time more, came a click As when a trap shuts - you're inside the den. XXX. Burningly it came on me all at once, This was the place! those two hills on the right, Crouched like two bulls locked horn in horn in fight; While to the left a tall scalped mountain ... Dunce, Dotard, a-dozing at the very nonce, After a life spent training for the sight! XXXI. What in the midst lay but the Tower itself? The round squat turret, blind as the fool's heart, Built of brown stone, without a counterpart In the whole world. The tempest's mocking elf Points to the shipman thus the unseen shelf He strikes on, only when the timbers start. XXXII. Not see? because of night perhaps? - why day Came back again for that! before it left The dying sunset kindled through a cleft: The hills, like giants at a hunting, lay, Chin upon hand, to see the game at bay, - Now stab and end the creature - to the heft!' XXXIII. Not hear? When noise was everywhere! it tolled Increasing like a bell. Names in my ears Of all the lost adventurers, my peers - How such a one was strong, and such was bold, And such was fortunate, yet each of old Lost, lost! one moment knelled the woe of years. XXXIV. There they stood, ranged along the hillsides, met To view the last of me, a living frame For one more picture! In a sheet of flame I saw them and I knew them all. And yet Dauntless the slug-horn to my lips I set, And blew. 'Childe Roland to the Dark Tower came.

All ancient philosophers, poets, and moralists agree that love is a striving, an aspiration of the “lower” toward the “higher,” the “unformed” toward the “formed,” ... “appearance” towards “essence,” “ignorance” towards “knowledge,” a “mean between fullness and privation,” as Plato says in the Symposium. ... The universe is a great chain of dynamic spiritual entities, of forms of being ranging from the “prima materia” up to man—a chain in which the lower always strives for and is attracted by the higher, which never turns back but aspires upward in its turn. This process continues up to the deity, which itself does not love, but represents the eternally unmoving and unifying goal of all these aspirations of love. Too little attention has been given to the peculiar relation between this idea of love and the principle of the “agon,” the ambitious contest for the goal, which dominated Greek life in all its aspects—from the Gymnasium and the games to dialectics and the political life of the Greek city states. Even the objects try to surpass each other in a race for victory, in a cosmic “agon” for the deity. Here the prize that will crown the victor is extreme: it is a participation in the essence, knowledge, and abundance of “being.” Love is only the dynamic principle, immanent in the universe, which sets in motion this great “agon” of all things for the deity. Let us compare this with the Christian conception. In that conception there takes place what might be called a reversal in the movement of love. The Christian view boldly denies the Greek axiom that love is an aspiration of the lower towards the higher. On the contrary, now the criterion of love is that the nobler stoops to the vulgar, the healthy to the sick, the rich to the poor, the handsome to the ugly, the good and saintly to the bad and common, the Messiah to the sinners and publicans. The Christian is not afraid, like the ancient, that he might lose something by doing so, that he might impair his own nobility. He acts in the peculiarly pious conviction that through this “condescension,” through this self-abasement and “self-renunciation” he gains the highest good and becomes equal to God. ... There is no longer any “highest good” independent of and beyond the act and movement of love! Love itself is the highest of all goods! The summum bonum is no longer the value of a thing, but of an act, the value of love itself as love—not for its results and achievements. ... Thus the picture has shifted immensely. This is no longer a band of men and things that surpass each other in striving up to the deity. It is a band in which every member looks back toward those who are further removed from God and comes to resemble the deity by helping and serving them.

Who are they for? Friends. Not necessarily neighbor friends: indeed, the larger share is intended for persons we've met maybe once, perhaps not at all. People who've struck our fancy. Like President Roosevelt. Like the Reverend and Mrs. J. C. Lucey, Baptist missionaries to Borneo who lectured here last winter. Or the little knife grinder who comes through town twice a year. Or Abner Packer, the driver of the six o'clock bus from Mobile, who exchanges waves with us every day as he passes in a dust-cloud whoosh. Or the young Wistons, a California couple whose car one afternoon broke down outside the house and who spent a pleasant hour chatting with us on the porch (young Mr. Wiston snapped our picture, the only one we've ever had taken). Is it because my friend is shy with everyone except strangers that these strangers, and merest acquaintances, seem to us our truest friends? I think yes. Also, the scrapbooks we keep of thank-you's on White House stationery, time-to-time communications from California and Borneo, the knife grinder's penny post cards, make us feel connected to eventful worlds beyond the kitchen with its view of a sky that stops.

It was becoming more and more evident that Salem was a town that celebrated individuality, a real live-and-let-live kind of place. Melody felt a gut punch of regret. Her old nose would have fit in here. "Look!" She pointed at the multicolored car whizzing by. Its black door were from a Mercedes coupe, the white hood from a BMW; the silver trunk was Jaguar, the red convertible top was Lexus, the whitewall tires were Bentley, the sound system was Bose, and the music was classical. A hood ornament from each model dangled from the rear view mirror. Its license plate appropriately read MUTT. "That car looks like a moving Benton ad." "Or a pileup on Rodeo drive." Candace snapped a picture with her iPhone and e-mailed to her friends back home. They responded instantly with a shot of what they were doing. It must have involved the mall because Candace picked up her pace and began asking anyone under the age of fifty where the cool people hung out.

For the Orthodox tradition, then, Adam's original sin affects the human race in its entirety, and it has consequences both on the physical and the moral level: it, results not only in sickness and physical death, but in moral weakness and paralysis. But does it also imply an inherited guilt? Here Orthodoxy is more guarded. Original sin is not to be interpreted in juridical or quasi-biological terms, as if it were some physical 'taint' of guilt, transmitted through sexual intercourse. This picture, which normally passes for the Augustinian view, is unacceptable to Orthodoxy. The doctrine of original sin means rather that we are born into an environment where it is easy to do evil and hard to do good; easy to hurt others, and hard to heal their wounds; easy to arouse men's suspicions, and hard to win their trust. It means that we are each of us conditioned by the solidarity of the human race in its accumulated wrong-doing and wrong-thinking, and hence wrong-being. And to this accumulation of wrong we have ourselves added by our own deliberate acts of sin. The gulf grows wider and wider. It is here, in the solidarity of the human race, that we find an explanation for the apparent unjustness of the doctrine of original sin. Why, we ask, should the entire human race suffer because of Adam's fall? Why should all be punished because of one man's sin? The answer is that human beings, made in the image of the Trinitarian God, are interdependent and coinherent. No man is an island. We are 'members one of another'(Eph. 4:25), and so any action, performed by any member of the human race, inevitably affects all the other members. Even though we are not, in the strict sense, guilty of the sins of others, yet we are somehow always involved.

You make plans and decisions assuming randomness and chaos are for chumps. The illusion of control is a peculiar thing because it often leads to high self-esteem and a belief your destiny is yours for the making more than it really is. This over-optimistic view can translate into actual action, rolling with the punches and moving ahead no matter what. Often, this attitude helps lead to success. Eventually, though, most people get punched in the stomach by life. Sometimes, the gut-punch doesn’t come until after a long chain of wins, until you’ve accumulated enough power to do some serious damage. This is when wars go awry, stock markets crash, and political scandals spill out into the media. Power breeds certainty, and certainty has no clout against the unpredictable, whether you are playing poker or running a country. Psychologists point out these findings do not suggest you should throw up your hands and give up. Those who are not grounded in reality, oddly enough, often achieve a lot in life simply because they believe they can and try harder than others. If you focus too long on your lack of power, you can slip into a state of learned helplessness that will whirl you into a negative feedback loop of depression. Some control is necessary or else you give up altogether. Langer proved this when studying nursing homes where some patients were allowed to arrange their furniture and water plants—they lived longer than those who had had those tasks performed by others. Knowing about the illusion of control shouldn’t discourage you from attempting to carve a space for yourself out of whatever field you want to tackle. After all, doing nothing guarantees no results. But as you do so, remember most of the future is unforeseeable. Learn to coexist with chaos. Factor it into your plans. Accept that failure is always a possibility, even if you are one of the good guys; those who believe failure is not an option never plan for it. Some things are predictable and manageable, but the farther away in time an event occurs, the less power you have over it. The farther away from your body and the more people involved, the less agency you wield. Like a billion rolls of a trillion dice, the factors at play are too complex, too random to truly manage. You can no more predict the course of your life than you could the shape of a cloud. So seek to control the small things, the things that matter, and let them pile up into a heap of happiness. In the bigger picture, control is an illusion anyway.

Tess's feminine hope - shall we confess it - had been so obstinately recuperative as to revive in her surreptitious visions of a domiciliary intimacy continued long enough to break down his coldness even against his judgement. Though unsophisticated in the usual sense, she was not incomplete; and it would have denoted deficiency of womanhood if she had not instinctively known what an argument lies in propinquity. Nothing else would save her, she knew, if this failed. It was wrong to hope in what was of the nature of strategy, she said to herself; yet that sort of hope she could not extinguish. His last representation had now been made, and it was, as she said, a new view. She had truly never though so far as that, and his lucid picture of possible offspring who would scorn her was one that brought deadly conviction to an honest heart which was humanitarian to its centre. Sheer experience had already taught her that, in some circumstances, there was one thing better than to lead a good life, and that was to be saved from leading any life whatever. Like all who have been previsioned by suffering, she could, in the words of M. Sully-Prudhomme, hear a penal sentence in the fiat, 'You shall be born,' particularly if addressed to potential issue or hers.

Humans are a story telling species. Throughout history we have told stories to each other and ourselves as one of the ways to understand the world around us. Every culture has its creation myth for how the universe came to be, but the stories do not stop at the big picture view; other stories discuss every aspect of the world around us. We humans are chatterboxes and we just can't resist telling a story about just about everything. However compelling and entertaining these stories may be, they fall short of being explanations because in the end all they are is stories. For every story you can tell a different variation, or a different ending, without giving reason to choose between them. If you are skeptical or try to test the veracity of these stories you'll typically find most such stories wanting. One approach to this is forbid skeptical inquiry, branding it as heresy. This meme is so compelling that it was independently developed by cultures around the globes; it is the origin of religion—a set of stories about the world that must be accepted on faith, and never questioned.

The word 'image' is in bad repute because we have thoughtlessly believed that a drawing was a tracing, a copy, a second thing, and that the mental image was such a drawing, belonging among our private bric-a-brac. But if in fact it is nothing of the kind, then neither the drawing nor the picture belongs to the in-itself any more than the image does. They are the inside of the outside and the outside of the inside, which the duplicity of sensing makes possible and without which we would never understand the quasi-presence and imminent visibility which make up the whole problem of the imaginary. The picture, the actor's mimicry--these are not extras that I borrow from the real world in order to aim across them at prosaic things in their absence. The imaginary is much nearer to and much farther away from the actual. It is nearer because it is the diagram of the life of the actual in my body, its pulp and carnal obverse exposed to view for the first time...And the imaginary is much further away from the actual because the picture is an analogue only according to the body; because it does not offer to the mind an occasion to rethink the constitutive relations of things, but rather it offers to the gaze traces of the vision of the inside, in order that the gaze may espouse them; it offers to vision that which clothes vision internally, the imaginary texture of the real.

Picture yourself, Jack, a confirmed homebody, a sedentary fellow who finds himself walking in a deep wood. You spot something out of the corner of your eye. Before you know anything else, you know that this thing is very large and that it has no place in your ordinary frame of reference. A flaw in the world picture. Either it shouldn't be here or you shouldn't. Now the thing comes into full view. It is a grizzly bear, enormous, shiny brown, swaggering, dripping slime from its bared fangs. Jack, you have never seen a large animal in the wild. The sight of this grizzer is so electrifyingly strange that it gives you a renewed sense of yourself, a fresh awareness of the self— the self in terms of a unique and horrific situation. You see yourself in a new and intense way. You rediscover yourself. You are lit up for your own imminent dismemberment. The beast on hind legs has enabled you to see who you are as if for the first time, outside familiar surroundings, alone, distinct, whole. The name we give this complicated process is fear. [...] Fear is self-awareness raised to a higher level. (p. 218)

DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was; but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveler upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled luster by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodeled and inverted images of the gray sedge, and the ghastly tree stems, and the vacant and eye-like windows.

There is no man,’ he began, ‘however wise, who has not at some period of his youth said things, or lived in a way the consciousness of which is so unpleasant to him in later life that he would gladly, if he could, expunge it from his memory. And yet he ought not entirely to regret it, because he cannot be certain that he has indeed become a wise man—so far as it is possible for any of us to be wise—unless he has passed through all the fatuous or unwholesome incarnations by which that ultimate stage must be preceded. I know that there are young fellows, the sons and grand sons of famous men, whose masters have instilled into them nobility of mind and moral refinement in their schooldays. They have, perhaps, when they look back upon their past lives, nothing to retract; they can, if they choose, publish a signed account of everything they have ever said or done; but they are poor creatures, feeble descendants of doctrinaires, and their wisdom is negative and sterile. We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us, an effort which no one can spare us, for our wisdom is the point of view from which we come at last to regard the world. The lives that you admire, the attitudes that seem noble to you are not the result of training at home, by a father, or by masters at school, they have sprung from beginnings of a very different order, by reaction from the influence of everything evil or commonplace that prevailed round about them. They represent a struggle and a victory. I can see that the picture of what we once were, in early youth, may not be recognisable and cannot, certainly, be pleasing to contemplate in later life. But we must not deny the truth of it, for it is evidence that we have really lived, that it is in accordance with the laws of life and of the mind that we have, from the common elements of life, of the life of studios, of artistic groups—assuming that one is a painter—extracted something that goes beyond them.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an im- perfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an un- pardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the Type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really Mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.