Visual Beauty Quotes

It seems to me that the natural world is the greatest source of excitement; the greatest source of visual beauty; the greatest source of intellectual interest. It is the greatest source of so much in life that makes life worth living.

Men are visually aroused by women's bodies and less sensitive to their arousal by women's personalities because they are trained early into that response, while women are less visually aroused and more emotionally aroused because that is their training. This asymmetry in sexual education maintains men's power in the myth: They look at women's bodies, evaluate, move on; their own bodies are not looked at, evaluated, and taken or passed over. But there is no "rock called gender" responsible for that; it can change so that real mutuality--an equal gaze, equal vulnerability, equal desire--brings heterosexual men and women together.

When hope is fleeting, stop for a moment and visualize, in a sky of silver, the crescent of a lavender moon. Imagine it -- delicate, slim, precise, like a paper-thin slice from a cabochon jewel. It may not be very useful, but it is beautiful. And sometimes it is enough.

He stood staring into the wood for a minute, then said: "What is it about the English countryside — why is the beauty so much more than visual? Why does it touch one so?" He sounded faintly sad. Perhaps he finds beauty saddening — I do myself sometimes. Once when I was quite little I asked father why this was and he explained that it was due to our knowledge of beauty's evanescence, which reminds us that we ourselves shall die. Then he said I was probably too young to understand him; but I understood perfectly.

When you are truly stunning, gorgeous and beautiful, you won’t have to prove that to anyone visually.

Is the beauty myth good to men? It hurts them by teaching them how to avoid loving women. It prevents men from actually seeing women. It does not, contrary to its own professed ideology, stimulate and gratify sexual longing. In suggesting a vision in place of a woman, it has a numbing effect, reducing all senses but the visual, and impairing even that.

None of your knowledge, your reading, your connections will be of any use here: two legs suffice, and big eyes to see with. Walk alone, across mountains or through forests. You are nobody to the hills or the thick boughs heavy with greenery. You are no longer a role, or a status, not even an individual, but a body, a body that feels sharp stones on the paths, the caress of long grass and the freshness of the wind. When you walk, the world has neither present nor future: nothing but the cycle of mornings and evenings. Always the same thing to do all day: walk. But the walker who marvels while walking (the blue of the rocks in a July evening light, the silvery green of olive leaves at noon, the violet morning hills) has no past, no plans, no experience. He has within him the eternal child. While walking I am but a simple gaze.

Visual beauty is only one form of beauty.

Aunt Prue was holding one of the squirrels in her hand, while it sucked ferociously on the end of the dropper. 'And once a day, we have ta clean their little private parts with a Q-tip, so they'll learn ta clean themselves.' That was a visual I didn't need. 'How could you possibly know that?' 'We looked it up on the E-nternet.' Aunt Mercy smiled proudly. I couldn't imagine how my aunts knew anything about the Internet. The Sisters didn't even own a toaster oven. 'How did you get on the Internet?' 'Thelma took us ta the library and Miss Marian helped us. They have computers over there. Did you know that?

At a certain point, an eating disorder ceases to be "about" any one thing. It stops being about your family, or your culture. Very simply, it becomes an addiction not only emotionally but also chemically. And it becomes a crusade. If you are honest with yourself, you stop believing that anyone could "make" you do such a thing— who, your parents? They want you to starve to death? Not likely. Your environment? It couldn't careless. You are also doing it for yourself. It is a shortcut to something many women without an eating disorder have gotten: respect and power. It is a visual temper tantrum. You are making an ineffective statement about this and that, a grotesque, self-defeating mockery of cultural standards of beauty, societal misogyny. It is a blow to your parents, at whom you are pissed. And it is so very seductive. It is so reassuring, so all-consuming, so entertaining. At first.

Days of slow walking are very long: they make you live longer, because you have allowed every hour, every minute, every second to breathe, to deepen, instead of filling them up by straining the joints…

There was a beauty in the trash of the alleys which I had never noticed before; my vision seemed sharpened, rather than impaired. As I walked along it seemed to me that the flattened beer cans and papers and weeds and junk mail had been arranged by the wind into patterns; these patterns, when I scrutinized them, lay distributed so as to comprise a visual language.

PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.

I think the beauty industry is responsible for some of the worst ugliness we see around us in our visual environment, and the worst, most false aesthetic ideal, which is the ideal of consumerism.

Walking around, even on a bad day, I would see things – I mean just the things that were in front of me. People’s faces, the weather, traffic. The smell of petrol from the garage, the feeling of being rained on, completely ordinary things. And in that way even the bad days were good, because I felt them and remembered feeling them. There was something delicate about living like that – like I was an instrument and the world touched me and reverberated inside me. After a couple of months, I started to miss days. Sometimes I would fall asleep without remembering to write anything, but then other nights I’d open the book and not know what to write – I wouldn’t be able to think of anything at all. When I did make entries, they were increasingly verbal and abstract: song titles, or quotes from novels, or text messages from friends. By spring I couldn’t keep it up anymore. I started to put the diary away for weeks at a time – it was just a cheap black notebook I got at work – and then eventually I’d take it back out to look at the entries from the previous year. At that point, I found it impossible to imagine ever feeling again as I had apparently once felt about rain or flowers. It wasn’t just that I failed to be delighted by sensory experiences – it was that I didn’t actually seem to have them anymore. I would walk to work or go out for groceries or whatever and by the time I came home again I wouldn’t be able to remember seeing or hearing anything distinctive at all. I suppose I was seeing but not looking – the visual world just came to me flat, like a catalogue of information. I never looked at things anymore, in the way I had before.

I'm extremely profane, unconsciously so, when I see something great for the first time; I don't know why, but beauty and profanity are related to me in the same way. It may be that I want to think of art in the vernacular, but I have no control over what comes out of my mouth when my eyes take in great beauty...it might just be the reason I avoid going to museums with elderly ladies.

Think of cocaine. In its natural form, as coca leaves, it's appealing, but not to an extent that it usually becomes a problem. But refine it, purify it, and you get a compound that hits your pleasure receptors with an unnatural intensity. That's when it becomes addictive. Beauty has undergone a similar process, thanks to advertisers. Evolution gave us a circuit that responds to good looks - call it the pleasure receptor for our visual cortex - and in our natural environment, it was useful to have. But take a person with one-in-a-million skin and bone structure, add professional makeup and retouching, and you're no longer looking at beauty in its natural form. You've got pharmaceutical-grade beauty, the cocaine of good looks. Biologists call this "supernormal stimulus" [...] Our beauty receptors receive more stimulation than they were evolved to handle; we're seeing more beauty in one day than our ancestors did in a lifetime. And the result is that beauty is slowly ruining our lives. How? The way any drug becomes a problem: by interfering with our relationships with other people. We become dissatisfied with the way ordinary people look because they can't compare to supermodels.

Think while walking, walk while thinking, and let writing be but the light pause, as the body on a walk rests in contemplation of wide open spaces.

It is said that analyzing pleasure, or beauty, destroys it.

Ant Prune was holding one of the squirrels in her hand. ‘And once a day, we have ta clean their little private parts with a Q-tip, so they'll learn ta clean themselves.' That was a visual I didn't need

I became an artist because I wanted to be an active participant in the conversation about art.

Sign is a live, contemporaneous, visual-gestural language and consists of hand shapes, hand positioning, facial expressions, and body movements. Simply put, it is for me the most beautiful, immediate, and expressive of languages, because it incorporates the entire human body.

I see what's going on," I said. "You're confusing beauty with this society's current idea of perfection of visual form.

He glances down at me, and a bolt of blue lightning skitters from his jaw to his temple before disappearing into his dark hair. Another bolt zigzags across the hand he rests on his sword’s hilt. They’re chaos lusters, visual reminders that the fae don’t belong in this world, and they’re beautiful, mesmerizing. With his quiet, strong confidence, he’s mesmerizing.

The eastern sky was red as coals in a forge, lighting up the flats along the river. Dew had wet the million needles of the chaparral, and when the rim of the sun edged over the horizon the chaparral seemed to be spotted with diamonds. A bush in the backyard was filled with little rainbows as the sun touched the dew. It was tribute enough to sunup that it could make even chaparral bushes look beautiful, Augustus thought, and he watched the process happily, knowing it would only last a few minutes. The sun spread reddish-gold light through the shining bushes, among which a few goats wandered, bleating. Even when the sun rose above the low bluffs to the south, a layer of light lingered for a bit at the level of the chaparral, as if independent of its source. The the sun lifted clear, like an immense coin. The dew quickly died, and the light that filled the bushes like red dirt dispersed, leaving clear, slightly bluish air. It was good reading light by then, so Augustus applied himself for a few minutes to the Prophets. He was not overly religious, but he did consider himself a fair prophet and liked to study the styles of his predecessors. They were mostly too long-winded, in his view, and he made no effort to read them verse for verse—he just had a look here and there, while the biscuits were browning.

One unexpected bonus of motherhood is the visual beauty. I am enchanted by the sights of my children, the tones of skin, the clear eyes, the grace, the curve of a hand and cheek, to see them racing across the back lawn in a certain slant of light.

Visual communication of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function; the integration of the beautiful and useful." – Paul Rand

Wabi is about finding beauty in simplicity, and a spiritual richness and serenity in detaching from the material world. Sabi is more concerned with the passage of time, with the way that all things grow and decay and how ageing alters the visual nature of those things. It’s less about what we see, and more about how we see.

Slowness means cleaving perfectly to time, so closely that the seconds fall one by one, drop by drop like the steady dripping of a tap on stone. This stretching of time deepens space. It is one of the secrets of walking: a slow approach to landscapes that gradually renders them familiar. Like the regular encounters that deepen friendship.

Beauty is nature, ugliness is sham perception of fleshy eye lacerated with keenness for visual corporeal thrill.

As a Deaf person, I came from a beautiful and unique heritage that included a multilayered culture, a visual language, and a wealth of stories.

In the age of Facebook and Instagram you can observe this myth-making process more clearly than ever before, because some of it has been outsourced from the mind to the computer. It is fascinating and terrifying to behold people who spend countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves.20 That’s how a family holiday fraught with traffic jams, petty squabbles and tense silences becomes a collection of beautiful panoramas, perfect dinners and smiling faces; 99 per cent of what we experience never becomes part of the story of the self. It is particularly noteworthy that our fantasy self tends to be very visual, whereas our actual experiences are corporeal. In the fantasy, you observe a scene in your mind’s eye or on the computer screen. You see yourself standing on a tropical beach, the blue sea behind you, a big smile on your face, one hand holding a cocktail, the other arm around your lover’s waist. Paradise. What the picture does not show is the annoying fly that bites your leg, the cramped feeling in your stomach from eating that rotten fish soup, the tension in your jaw as you fake a big smile, and the ugly fight the happy couple had five minutes ago. If we could only feel what the people in the photos felt while taking them! Hence if you really want to understand yourself, you should not identify with your Facebook account or with the inner story of the self. Instead, you should observe the actual flow of body and mind. You will see thoughts, emotions and desires appear and disappear without much reason and without any command from you, just as different winds blow from this or that direction and mess up your hair. And just as you are not the winds, so also you are not the jumble of thoughts, emotions and desires you experience, and you are certainly not the sanitised story you tell about them with hindsight. You experience all of them, but you don’t control them, you don’t own them, and you are not them. People ask ‘Who am I?’ and expect to be told a story. The first thing you need to know about yourself, is that you are not a story.

We need to theorize the meaning of beauty in our lives so that we can educate for critical consciousness, talking through the issues: how we acquire and spend money, how we feel about beauty, what the place of beauty is in our lives when we lack material privilege and even basic resources for living, the meaning and significance of luxury, and the politics of envy.

Visual communications of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and the useful.

I blew my nose, blotted my eyes, buried as much of my face as I could in my handkerchief, and blurted out a feeble: "Sorry...something in my eye." The voice said: "Yes...beauty.

What is it about the English countryside---why is the beauty so much more than visual? Why does it touch one so?

We are not great connoisseurs of the two twilights. We miss the dawning, exclusably enough, by sleeping through it, and are as much strangers to the shadowless welling-up of day as to the hesitant return of consciousness in our slowly waking selves. But our obliviousness to evening twilight is less understandable. Why do we almost daily ignore a spectacle (and I do not mean sunset but rather the hour, more or less, afterward) that has a thousand tonalities, that alters and extends reality, that offers, more beautifully than anything man-made, a visual metaphor or peace? To say that it catches us at busy or tired moments won't do; for in temperate latitudes it varies by hours from solstice to solstice. Instead I suspect that we shun twilight because if offers two things which, as insecurely rational beings, we would rather not appreciate: the vision of irrevocable cosmic change (indeed, change into darkness), and a sense of deep ambiguity—of objects seeming to be more, less, other than we think them to be. We are noontime and midnight people, and such devoted camp-followers of certainly that we cannot endure seeing it mocked and undermined by nature. There is a brief period of twilight of which I am especially fond, little more than a moment, when I see what seems to be color without light, followed by another brief period of light without color. The earlier period, like a dawn of night, calls up such sights as at all other times are hidden, wistful half-formless presences neither of day nor night, that draw up with them similar presences in the mind.

It is a funny paradox of design: utility breeds beauty. There is elegance in efficiency, a visual pleasure in things that just barely work.

We can find awe, then, in eight wonders of life: moral beauty, collective effervescence, nature, music, visual design, spirituality and religion, life and death, and epiphany.

This is one of those stories where the feeling of the moment stands in for visual details.

I know we agree that civilisation is presently in its decadent declining phase, and that lurid ugliness is the predominant visual feature of modern life. Cars are ugly, buildings are ugly, mass-produced disposable consumer goods are unspeakably ugly. The air we breathe is toxic, the water we drink is full of microplastics, and our food is contaminated by cancerous Teflon chemicals. Our quality of life is in decline, and along with it, the quality of aesthetic experience available to us. The contemporary novel is (with very few exceptions) irrelevant; mainstream cinema is family-friendly nightmare porn funded by car companies and the US Department of Defense; and visual art is primarily a commodity market for oligarchs. It is hard in these circumstances not to feel that modern living compares poorly with the old ways of life, which have come to represent something more substantial, more connected to the essence of the human condition.

Walking causes a repetitive, spontaneous poetry to rise naturally to the lips, words as simple as the sound of footsteps on the road. There also seems to be an echo of walking in the practice of two choruses singing a psalm in alternate verses, each on a single note, a practice that makes it possible to chant and listen by turns. Its main effect is one of repetition and alternation that St Ambrose compared to the sound of the sea: when a gentle surf is breaking quietly on the shore the regularity of the sound doesn’t break the silence, but structures it and renders it audible. Psalmody in the same way, in the to-and-fro of alternating responses, produces (Ambrose said) a happy tranquillity in the soul. The echoing chants, the ebb and flow of waves recall the alternating movement of walking legs: not to shatter but to make the world’s presence palpable and keep time with it. And just as Claudel said that sound renders silence accessible and useful, it ought to be said that walking renders presence accessible and useful.

Walking: it hits you at first like an immense breathing in the ears. You feel the silence as if it were a great fresh wind blowing away clouds. There’s the silence of woodland. Clumps and groves of trees form shifting, uncertain walls around us. We walk along existing paths, narrow winding strips of beaten earth. We quickly lose our sense of direction. That silence is tremulous, uneasy. Then there’s the silence of tough summer afternoon walks across the flank of a mountain, stony paths, exposed to an uncompromising sun.

Didn't you have some big deal last night?" Peabody asked her. "Yeah, in East Washington. Roarke had this dinner / dance thing for some fancy charity. Save the moles or something. Enough food to feed every sidewalk sleeper on the Lower East Side for a year." "Gee, that's tough on you. I bet you had to get all dressed up in some beautiful gown, shuttle down on Roarke's private transpo, and choke down champagne." Eve only lifted a brow at Peabody's dust-dry tone. "Yeah, that's about it." They both knew the glamorous side of Eve's life since Roarke had come into it was both a puzzlement and a frustration to her. "And then I had to dance with Roarke. A lot." "Was he wearing a tux?" Peabody had seen Roarke in a tux. The image of it was etched in her mind like acid on glass. "Oh yeah." Until, Eve mused, they'd gotten home and she'd ripped it off of him. He looked every bit as good out of a tux as in one. "Man." Peabody closed her eyes, indulged herself with a visualization technique she'd learned at her Free-Ager parents' knees. "Man," she repeated. "You know, a lot of women would get pissed off at having their husband star in their aide's purient little fantasies." "But you're bigger than that, Lieutenant. I like that about you.

But walking causes absorption. Walking interminably, taking in through your pores the height of the mountains when you are confronting them at length, breathing in the shape of the hills for hours at a time during a slow descent. The body becomes steeped in the earth it treads. And thus, gradually, it stops being in the landscape: it becomes the landscape. That doesn’t have to mean dissolution, as if the walker were fading away to become a mere inflection, a footnote. It’s more a flashing moment: sudden flame, time catching fire. And here, the feeling of eternity is all at once that vibration between presences. Eternity, here, in a spark.

Abstract Art is considered as one of the pious forms in expressing one-self without any detailed illustration of reality. It uses a perceptible language such as shapes, color, line, form and gestural marks to create a beauty which may persist with a degree of freedom from visual references in the world.

[Donald] Keene observed [in a book entitled The Pleasures of Japanese Literature, 1988] that the Japanese sense of beauty has long sharply differed from its Western counterpart: it has been dominated by a love of irregularity rather than symmetry, the impermanent rather than the eternal and the simple rather than the ornate. The reason owes nothing to climate or genetics, added Keene, but is the result of the actions of writers, painters and theorists, who had actively shaped the sense of beauty of their nation. Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. 'Culture' is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.

How the flowers were fired and colored into the design. Perhaps this sort of gesture will be lost, perhaps it is a function of consciousness that we don’t need in order to survive. Perhaps this piece of evolution makes no sense—our hunger for everyday sorts of visual pleasure—but I don’t think so. I think we have survived because we love beauty and because we find each other beautiful. I think it may be our strongest quality.

The truth about this earth is that it is an infinitely good, beautiful, nourishing place to be. The only “evil” comes from a lack of understanding of this truth. Evil (ignorance) is like a shadow — it has no real substance of its own; it is simply a lack of light.

The most beautiful videos come from reading poetry. And they're in your head.

Golden Ratio is a powerful mathematical constant woven into the very fabric of biology. It is the unique visual tension between comforting symmetry and compelling asymmetry, and its thoughtful application can bring beauty and harmony and intrigue to all manner of designed things.

If you move to the West Coast, I will make a gun out of this," she said, drunkenly brandishing a tiny straw before searching the rest of the cluttered table, "and these peanuts and this glass and shoot you in the dick, Will." I winced at the visual. "Wow-" I began. "In the dick, Will.

You lift your head, you’re on your way, but really just to be walking, to be out of doors. That’s it, that’s all, and you’re there. Outdoors is our element: the exact sensation of living there.

Meet Jan! (Quotes from Jan Does Europe) "I'm having a wonderful life. "I visualize myself strong, beautiful and good. "I love with all of me. "Everyday my mind is filled with thoughts of people I love. "I am the person I want to be. "I do all the things I fear I can't. "I'm where I should be. "I have much to be happy for. "Isn't that the point, to enjoy our lives no matter what?

Blinding, mineral, shattering silence. You hear nothing but the quiet crunch of stones underfoot. An implacable, definitive silence, like a transparent death. Sky of a perfectly detached blue. You advance with eyes down, reassuring yourself sometimes with a silent mumbling. Cloudless sky, limestone slabs filled with presence: silence nothing can sidestep. Silence fulfilled, vibrant immobility, tensed like a bow. There’s the silence of early morning. For long routes in autumn you have to start very early. Outside everything is violet, the dim light slanting through red and gold leaves. It is an expectant silence. You walk softly among huge dark trees, still swathed in traces of blue night. You are almost afraid of awakening. Everything whispering quietly. There’s the silence of walks through the snow, muffled footsteps under a white sky. All around you nothing moves. Things and even time itself are iced up, frozen solid in silent immobility. Everything is stopped, unified, thickly padded. A watching silence, white, fluffy, suspended as if in parentheses.

Ruskin’s interest in beauty and in its possession led him to five central conclusions. First, beauty was the result of a number of complex factors that affected the mind both psychologically and visually. Second, humans had an innate tendency to respond to beauty and to desire to possess it. Third, there were many lower expressions of this desire for possession (including, as we have seen, buying souvenirs and carpets, carving one’s name on a pillar and taking photographs). Fourth, there was only one way to possess beauty properly, and that was by understanding it, by making oneself conscious of the factors (psychological and visual) responsible for it. And last, the most effective means of pursuing this conscious understanding was by attempting to describe beautiful places through art, by writing about or drawing them, irrespective of whether one happened to have any talent for doing so.

The tides of time should be able to imprint the passing of the years on an object. The physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.

I opened the door and stepped in. Raw pain filled me at the sight of my painting. 'Show me what it looked like, before the fire.' His request surprised me, but I did as he asked. With eyes closed, I projected the exact details of the painting I had poured my soul into. Just as I had experienced his love of surfing in a visceral way, he shared not just the visual beauty of my work, but the love and passion with which I had dedicated myself to it. 'Thank you. Now, it will never truly be gone.' I choked back a sob and went to Mr. K's office.

Good cover design is not only about beauty... it’s a visual sales pitch. It’s your first contact with a potential reader. Your cover only has around 3 seconds to catch a browsing reader’s attention. You want to stand out and make them pause and consider, and read the synopsis.

But usually not. Usually she thinks of the path to his house, whether deer had eaten the tops of the fiddleheads, why they don't eat the peppermint saprophytes sprouting along the creek; or she visualizes the approach to the cabin, its large windows, the fuchsias in front of it where Anna's hummingbirds always hover with dirty green plumage and jeweled throats. Sometimes she thinks about her dream, the one in which her mother wakes up with no hands. The cabin smells of oil paint, but also of pine. The painter's touch is sexual and not sexual, as she herself is....When the memory of that time came to her, it was touched by strangeness because it formed no pattern with the other events in her life. It lay in her memory like one piece of broken tile, salmon-coloured or the deep green of wet leaves, beautiful in itself but unusable in the design she was making

Aesthetic nullity of contemporary political movements in general. Related to, or just coterminous with, the almost instantaneous corporate capture of emergent visual styles. Everything beautiful immediately recycled as advertising. Sense that nothing can mean anything anymore, aesthetically.

Think of cocaine. In its natural form, as coca leaves, it's appealing, but not to an extent that it usually becomes a problem. But refine it, purify it, and you get a compound that hits your pleasure receptors with an unnatural intensity. That's when it becomes addictive. Beauty has undergone a similar process, thanks to advertisers.Evolution gave us a circuit that responds to good looks--call it the pleasure receptor for our visual cortex--and in our natural environment, it was useful to have. But take a person with one-in-a-million skin and bone structure, add professional makeup and retouching, and you're no longer looking at beauty in its natural form. You've got pharmaceutical grade beauty, the cocaine of good looks.

He was absolutely beautiful. His wings were a waterfall of colors, mostly blue and silver, with subtle lavender undertones, creating a visual feast. His body was more silver than anything, his scales glittering, and the most beautiful thing she’d ever seen. God, she wanted to see him in the air, soaring.

That’s the experience I’ve gained from working in the garden: there’s no reason to be cautious or anxious about anything, life is so robust, it seems to come cascading, blind and green, and at times it is frightening, because we too are alive, but we live in what amounts to a controlled environment, which makes us fear whatever is blind, wild, chaotic, stretching towards the sun, but most often also beautiful, in a deeper way than the purely visual, for the soil smells of rot and darkness, teems with scuttling beetles and convulsing worms, the flower stalks are juicy, their petals brim with scents, and the air, cold and sharp, warm and humid, filled with sunrays or rain, lies against skin, accustomed to the indoors, like a soothing compress of hereness.

The Native Americans, whose wisdom Thoreau admired, regarded the Earth itself as a sacred source of energy. To stretch out on it brought repose, to sit on the ground ensured greater wisdom in councils, to walk in contact with its gravity gave strength and endurance. The Earth was an inexhaustible well of strength: because it was the original Mother, the feeder, but also because it enclosed in its bosom all the dead ancestors. It was the element in which transmission took place. Thus, instead of stretching their hands skyward to implore the mercy of celestial divinities, American Indians preferred to walk barefoot on the Earth: The Lakota was a true Naturist – a lover of Nature. He loved the earth and all things of the earth, the attachment growing with age. The old people came literally to love the soil and they sat or reclined on the ground with a feeling of being close to a mothering power. It was good for the skin to touch the earth and the old people liked to remove their moccasins and walk with bare feet on the sacred earth. Their tipis were built upon the earth and their altars were made of earth. The birds that flew in the air came to rest on the earth and it was the final abiding place of all things that lived and grew. The soil was soothing, strengthening, cleansing and healing. That is why the old Indian still sits upon the earth instead of propping himself up and away from its life-giving forces. For him, to sit or lie upon the ground is to be able to think more deeply and to feel more keenly; he can see more clearly into the mysteries of life and come closer in kinship to other lives about him. Walking, by virtue of having the earth’s support, feeling its gravity, resting on it with every step, is very like a continuous breathing in of energy. But the earth’s force is not transmitted only in the manner of a radiation climbing through the legs. It is also through the coincidence of circulations: walking is movement, the heart beats more strongly, with a more ample beat, the blood circulates faster and more powerfully than when the body is at rest. And the earth’s rhythms draw that along, they echo and respond to each other. A last source of energy, after the heart and the Earth, is landscapes. They summon the walker and make him at home: the hills, the colours, the trees all confirm it. The charm of a twisting path among hills, the beauty of vine fields in autumn, like purple and gold scarves, the silvery glitter of olive leaves against a defining summer sky, the immensity of perfectly sliced glaciers … all these things support, transport and nourish us.

Whether it is Bach or Mozart that we hear in church, we have a sense in either case of what gloria Dei, the glory of God, means. The mystery of infinite beauty is there and enables us to experience the presence of God more truly and vividly than in many sermons. But there are already signs of danger to come. Subjective experience and passion are still held in check by the order of the musical universe, reflecting as it does the order of the divine creation itself. But there is already the threat of invasion by the virtuoso mentality, the vanity of technique, which is no longer the servant of the whole but wants to push itself to the fore. During the nineteenth century, the century of self-emancipating subjectivity, this led in many places to the obscuring of the sacred by the operatic. The dangers that had forced the Council of Trent to intervene were back again. In similar fashion, Pope Pius X tried to remove the operatic element from the liturgy and declared Gregorian chant and the great polyphony of the age of the Catholic Reformation (of which Palestrina was the outstanding representative) to be the standard for liturgical music. A clear distinction was made between liturgical music and religious music in general, just as visual art in the liturgy has to conform to different standards from those employed in religious art in general. Art in the liturgy has a very specific responsibility, and precisely as such does it serve as a wellspring of culture, which in the final analysis owes its existence to cult.

widespread material in existence. You can actually see the change in process if you look at street photography from before and after 1976. I know we have good reason to be sceptical of aesthetic nostalgia, but the fact remains that before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a

The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things. Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us. On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena. But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind.

...There are issues worth advancing in images worth admiring; and the truth is never "plain," nor appearances ever "sincere." To try to make them so is to neutralize the primary, gorgeous eccentricity of imagery in Western culture since the Reformation: the fact that it cannot be trusted, that imagery is always presumed to be proposing something contestable and controversial. This is the sheer, ebullient, slithering, dangerous fun of it. No image is presumed inviolable in our dance hall of visual politics, and all images are potentially powerful.

Visual communication of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and useful. Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.

Beautiful,” she murmurs. “Very,” I say back. Except, I’m not looking at the sky anymore. I’m looking at her, visually tracing the elegant slope of her throat. Her deep eyes, her full lips, and glowing skin. She’s downright enchanting.

The color white is a blank canvas, just waiting to be written on. Compared to other more stimulating colors it is a refreshing change, a soothing and calm visual experience for the mind, which allows for imagination growth and creativity.

Ah, but thinking became morbid, sentimental, directly one began conjuring up doctors, dead bodies; a little glow of pleasure, a sort of lust, too, over the visual impression warned one not to go on with that sort of thing any more - fatal to art, fatal to friendship. True. And yet, thought Peter Walsh, as the ambulance turned the corner, though the light high bell could be heard down the next street and still farther as it crossed the Tottenham Court Road, chiming constantly, it is the privilege of loneliness; in privacy one may do as one chooses. One might weep if no one saw. It had been his undoing - this susceptibility - in Anglo-Indian society; not weeping at the right time, or laughing either. I have that in me, he thought, standing by the pillar box, which could now dissolve in tears. Why heaven knows. Beauty of some sort probably, and the weight of the day, which, beginning with that visit to Clarissa, had exhausted him with its heat, its intensity, and the drip, drip of one impression after another down into that cellar where they stood, deep, dark, and no one would ever know. Partly for that reason, its secrecy, complete and inviolable, he had found life like an unknown garden, full of turns and corners, surprising, yes; really it took one's breath away, these moments; there coming to him by the pillar-box opposite the British Museum one of them, a moment, in which things came together; this ambulance; and life and death.

A quantum atom with two electrons is a much more complicated object to visualize, and I'm not aware that it's ever been done very well. The challenge is that for each possible position of one electron, the wave function of the other is a different three-dimensional object. So really, the natural home of the total wave function, for the two-electron system, is a space of 3 + 3 = 6 dimensions. It is quite a challenge to present such an object in a way that human brains find meaningful.

Joy is not the satisfied contemplation of an accomplished result, the emotion of victory, the satisfaction of having succeeded. It is the sign of an energy that is deftly deployed, it is a free affirmation: everything comes easy. Joy is an activity: executing with ease something difficult that has taken time to master, asserting the faculties of the mind and the body. Joys of thought when it finds and discovers, joys of the body when it achieves without effort. That is why joy, unlike pleasure, increases with repetition, and is enriched. When you are walking, joy is a basso continuo. Locally, of course, you may run into effort and difficulty. You will also find immediate moments of contentment: a proud gaze backwards to contemplate the long steep plunge of the slope behind you. Those satisfactions, though, too often present an opportunity to reintroduce quantities, scores, figures (which track? how long? what altitude?). And walking becomes a competition. That is why expeditions in high mountain country (conquering peaks, each one a challenge) are always slightly impure: because they give rise to narcissistic gratification. What dominates in walking, away from ostentation and showing off, is the simple joy of feeling your body in the most primitively natural activity.

In the history of walking, many experts considering him (Wordsworth) the authentic originator of the long expedition. He was the first – at a time (the late eighteenth century) when walking was the lot of the poor, vagabonds and highwaymen, not to mention travelling showmen and pedlars – to conceive of the walk as a poetic act, a communion with Nature, fulfilment of the body, contemplation of the landscape. Christopher Morley wrote of him that he was ‘one of the first to use his legs in the service of philosophy’.

Awareness In most of our daily activities we choose the agenda and develop a strategy to achieve the goal at hand. We create the program. Awareness moves differently. The program is happening around us. The world is the doer and we are the witness. We have little or no control over the content. The gift of awareness allows us to notice what’s going on around and inside ourselves in the present moment. And to do so without attachment or involvement. We may observe bodily sensations, passing thoughts and feelings, sounds or visual cues, smells and tastes. Through detached noticing, awareness allows an observed flower to reveal more of itself without our intervention. This is true of all things. Awareness is not a state you force. There is little effort involved, though persistence is key. It’s something you actively allow to happen. It is a presence with, and acceptance of, what is happening in the eternal now. As soon as you label an aspect of Source, you’re no longer noticing, you’re studying. This holds true of any thought that takes you out of presence with the object of your awareness, whether analysis or simply becoming aware that you’re aware. Analysis is a secondary function. The awareness happens first as a pure connection with the object of your attention. If something strikes me as interesting or beautiful, first I live that experience. Only afterward might I attempt to understand it. Though we can’t change what it is that we are noticing, we can change our ability to notice. We can expand our awareness and narrow it, experience it with our eyes open or closed. We can quiet our inside so we can perceive more on the outside, or quiet the outside so we can notice more of what’s happening inside. We can zoom in on something so closely it loses the features that make it what it appears to be, or zoom so far out it seems like something entirely new. The universe is only as large as our perception of it. When we cultivate our awareness, we are expanding the universe. This expands the scope, not just of the material at our disposal to create from, but of the life we get to live.

When men are more aroused by symbols of sexuality than by the sexuality of women themselves, they are fetishists. Fetishism treats a part as if it were the whole; men who choose a lover on the basis of her “beauty” alone are treating the woman as a fetish—that is, treating a part of her, her visual image, not even her skin, as if it were her sexual self. Freud suggests that the fetish is a talisman against the failure to perform. The woman’s value as a fetish lies in the way her “beauty” gives him status in the eyes of other men.

This time, there’s no question of freeing yourself from artifice to taste simple joys. Instead there is the promise of meeting a freedom head-on as an outer limit of the self and of the human, an internal overflowing of a rebellious Nature that goes beyond you. Walking can provoke these excesses: surfeits of fatigue that make the mind wander, abundances of beauty that turn the soul over, excesses of drunkenness on the peaks, the high passes (where the body explodes). Walking ends by awakening this rebellious, archaic part of us: our appetites become rough and uncompromising, our impulses inspired. Because walking puts us on the vertical axis of life: swept along by the torrent that rushes just beneath us. What I mean is that by walking you are not going to meet yourself. By walking, you escape from the very idea of identity, the temptation to be someone, to have a name and a history. Being someone is all very well for smart parties where everyone is telling their story, it’s all very well for psychologists’ consulting rooms. But isn’t being someone also a social obligation which trails in its wake – for one has to be faithful to the self-portrait – a stupid and burdensome fiction? The freedom in walking lies in not being anyone; for the walking body has no history, it is just an eddy in the stream of immemorial life.

Discovering the true beauty of the world becomes elusive when our perception remains confined solely to the limitations of our own eyes. However, as the veils of illusion are lifted from our minds, a profound sweetness emerges, beckoning our attention towards the depths of our hearts. In this inward journey, we encounter a presence both substantial and weightless, surpassing the superficiality of mere visual observation. It's a richness that resonates from the very core of our being, a melody echoing from the depths of our souls. As we embrace the spectrum of experiences molding us, we ignite a flame within ourselves, one that has the power to engulf our souls in a final, exhilarating blaze of joy. It's the amalgamation of colors, emotions, and transformations that fuels this fire, propelling us towards a state of revelation and profound understanding.

It is in the face of all this visual chaos, so opposed to order and simplicity, that I suddenly, perhaps a little guiltily, recall my vow to simplify my life. When I made that promise I had in mind the image of the ancient Greek subsisting on a fragment of pungent cheese, coarse bread, a handful of sun-warmed olives, a little watered wine; a man who discussed the Good, the True, the Beautiful with grave delight, and piped clear music in a sylvan glade. But I feel the absence of hills clothed in myrtle and thyme; of the Great Mother, Homer's wine-dark sea. Good resolutions, it seems, require good scenery.

Our favorite film is Vertigo. Amy Eleni and I must watch it seventeen or eighteen times a year, and with each viewing our raptness grows looser and looser; we don't need the visuals anymore--one or the other of us can go into the kitchen halfway through and call out the dialogue while making up two cups of Horlicks. From the minute you see empty, beautiful, blond Madeleine Elster, you know she is doomed because she exists in a way that Scottie, the male lead, just doesn't. You know that Madeleine is in big trouble, because she's a vast wound in a landscape where wounds aren't allowed to stay open--people have to shut up and heal up. She's in trouble because the film works to a plan that makes trauma speak itself out, speak itself to excess until it dies; this film at the peak of its slyness, when people sweat and lick their lips excessively and pound their chests and grab their hair and twist their heads from side to side, performing this unspeakable torment.

The tides of time should be able to imprint the passing of the years on an object. They physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.

The Sumerians considered themselves destined to “clothe and feed” such gods, because they viewed themselves as the servants, in a sense, of what we would call instinctive forces, “elicited” by the “environment.” Such forces can be reasonably regarded as the Sumerians regarded them—as deities inhabiting a “supracelestial place,” extant prior to the dawn of humanity. Erotic attraction, for example—a powerful god—has a developmental history that predates the emergence of humanity, is associated with relatively “innate” releasing “stimuli” (those that characterize erotic beauty), is of terrible power, and has an existence “transcending” that of any individual who is currently “possessed.” Pan, the Greek god of nature, produced/represented fear (produced “panic”); Ares or the Roman Mars, warlike fury and aggression. We no longer personify such “instincts,” except for the purposes of literary embellishment, so we don't think of them “existing” in a “place” (like heaven, for example). But the idea that such instincts inhabit a space—and that wars occur in that space—is a metaphor of exceeding power and explanatory utility. Transpersonal motive forces do wage war with one another over vast spans of time; are each forced to come to terms with their powerful “opponents” in the intrapsychic hierarchy. The battles between the different “ways of life” (or different philosophies) that eternally characterize human societies can usefully be visualized as combat undertaken by different standards of value (and, therefore, by different hierarchies of motivation). The “forces” involved in such wars do not die, as they are “immortal”: the human beings acting as “pawns of the gods” during such times are not so fortunate.

If you need to visualize the soul, think of it as a cross between a wolf howl, a photon, and a dribble of dark molasses. But what it really is, as near as I can tell, is a packet of information. It’s a program, a piece of hyperspatial software designed explicitly to interface with the Mystery. Not a mystery, mind you, the Mystery. The one that can never be solved. To one degree or another, everybody is connected to the Mystery, and everybody secretly yearns to expand the connection. That requires expanding the soul. These things can enlarge the soul: laughter, danger, imagination, meditation, wild nature, passion, compassion, psychedelics, beauty, iconoclasm, and driving around in the rain with the top down. These things can diminish it: fear, bitterness, blandness, trendiness, egotism, violence, corruption, ignorance, grasping, shining, and eating ketchup on cottage cheese. Data in our psychic program is often nonlinear, nonhierarchical, archaic, alive, and teeming with paradox. Simply booting up is a challenge, if not for no other reason than that most of us find acknowledging the unknowable and monitoring its intrusions upon the familiar and mundane more than a little embarrassing. But say you’ve inflated your soul to the size of a beach ball and it’s soaking into the Mystery like wine into a mattress. What have you accomplished? Well, long term, you may have prepared yourself for a successful metamorphosis, an almost inconceivable transformation to be precipitated by your death or by some great worldwide eschatological whoopjamboreehoo. You may have. No one can say for sure. More immediately, by waxing soulful you will have granted yourself the possibility of ecstatic participation in what the ancients considered a divinely animated universe. And on a day to day basis, folks, it doesn’t get any better than that.

Anyway, I have a new theory. Would you like to hear it? Ignore this paragraph if not. My theory is that human beings lost the instinct for beauty in 1976, when plastics became the most widespread material in existence. You can actually see the change in process if you look at street photography from before and after 1976. I know we have good reason to be sceptical of aesthetic nostalgia, but the fact remains that before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a material which when dyed does not take on colour but actually exudes colour, in an inimitably ugly way. One thing a government could do with my approval (and there aren’t many) would be to prohibit the production of each and every form of plastic not urgently necessary for the maintenance of human life. What do you think?

If a fountain could jet bouquets of chrome yellow in dazzling arches of chrysanthemum fireworks, that would be Canada Goldenrod. Each three-foot stem is a geyser of tiny gold daisies, ladylike in miniature, exuberant en masse. Where the soil is damp enough, they stand side by side with their perfect counterpart, New England Asters. Not the pale domesticates of the perennial border, the weak sauce of lavender or sky blue, but full-on royal purple that would make a violet shrink. The daisylike fringe of purple petals surrounds a disc as bright as the sun at high noon, a golden-orange pool, just a tantalizing shade darker than the surrounding goldenrod. Alone, each is a botanical superlative. Together, the visual effect is stunning. Purple and gold, the heraldic colors of the king and queen of the meadow, a regal procession in complementary colors. I just wanted to know why. In composing a palette, putting them together makes each more vivid; just a touch of one will bring out the other. In an 1890 treatise on color perception, Goethe, who was both a scientist and a poet, wrote that “the colors diametrically opposed to each other . . . are those which reciprocally evoke each other in the eye.” Purple and yellow are a reciprocal pair. Growing together, both receive more pollinator visits than they would if they were growing alone. It’s a testable hypothesis; it’s a question of science, a question of art, and a question of beauty. Why are they beautiful together? It is a phenomenon simultaneously material and spiritual, for which we need all wavelengths, for which we need depth perception. When I stare too long at the world with science eyes, I see an afterimage of traditional knowledge. Might science and traditional knowledge be purple and yellow to one another, might they be goldenrod and asters? We see the world more fully when we use both. The question of goldenrod and asters was of course just emblematic of what I really wanted to know. It was an architecture of relationships, of connections that I yearned to understand. I wanted to see the shimmering threads that hold it all together. And I wanted to know why we love the world, why the most ordinary scrap of meadow can rock us back on our heels in awe.

When, without the bitterness of impotent rebellion, we have learnt both to resign ourselves to the outward rules of Fate and to recognise that the non-human world is unworthy of our worship, it becomes possible at last so to transform and refashion the unconscious universe, so to transmute it in the crucible of imagination, that a new image of shining gold replaces the old idol of clay. In all the multiform facts of the world--in the visual shapes of trees and mountains and clouds, in the events of the life of man, even in the very omnipotence of Death--the insight of creative idealism can find the reflection of a beauty which its own thoughts first made. In this way mind asserts its subtle mastery over the thoughtless forces of Nature. The more evil the material with which it deals, the more thwarting to untrained desire, the greater is its achievement in inducing the reluctant rock to yield up its hidden treasures, the prouder its victory in compelling the opposing forces to swell the pageant of its triumph. Of all the arts, Tragedy is the proudest, the most triumphant; for it builds its shining citadel in the very centre of the enemy's country, on the very summit of his highest mountain; from its impregnable watchtowers, his camps and arsenals, his columns and forts, are all revealed; within its walls the free life continues, while the legions of Death and Pain and Despair, and all the servile captains of tyrant Fate, afford the burghers of that dauntless city new spectacles of beauty. Happy those sacred ramparts, thrice happy the dwellers on that all-seeing eminence. Honour to those brave warriors who, through countless ages of warfare, have preserved for us the priceless heritage of liberty, and have kept undefiled by sacrilegious invaders the home of the unsubdued.

The epic of evolution that begins with the big bang provides a vision of the universe as a single reality, one long spectacular process of change and development, an unfolding drama, a universal story for humankind—our story. Like no other story it humbles us as we contemplate the complexity of the cosmic process, and it amazes us when we try to imagine its magnitude. Like no other story it evokes reverence as we feel its power, and awe and wonder as we visualize its beauty. Like no other story it gives us a scientifically based cosmology that tells us how we came to be and what we are made of. “The basic elements of our bodies—carbon, calcium, iron—were forged inside supernovas, dying stars, and are billions of years old. We are, in fact, made of stardust. We are intimately related to the universe.”34 Like no other story it teaches us that we are all members of one family sharing the same genetic code and a similar history, and it evokes gratitude for the gift of life itself and inspiration for responsible living. Like no other story it gives meaning and purpose to human beings as the agents responsible for the current and future stage of evolution, psycho-social evolution. Like no other story it provides the individual with a meaningful worldview and a sense of belonging to a larger whole.

Kuan Yin is showing me visually how I’m (and we all are) part of a round ball of light that people call God,” delineates Lena. “There are those who would rather God were thought of as a person, a man with a white beard,” elaborates Kuan Yin. “However, for purposes of this manuscript, I will continue with this ball of light analogy of the God Force. Those who object to my use of the word ‘God’ or ‘God Force’ will just have to deal with it for now.” “I’m seeing not pie-shaped but straight slivers coming from this central ball of light,” depicts Lena. “These straight slivers of light become a person who plays out adventures from his or her beliefs. When you put all the slivers together they form God. It is as if one takes a small chip of gold from a cave made of gold. The cave and chip of gold are separate. Yet, they are the same. How can this be?” Answering her own question, Lena comments, “Because they are both comprised of the same chemical elements. Why do we even go through such a complex process? Is it all just a beautiful game?” Lena asks Kuan Yin. “The God Force likes intense pleasure,” expounds Kuan Yin. “However, the God Force experiences itself more clearly when it can separate itself out; obtaining a different point of view. Because of this separation, [becoming human--the personification of the “Always/Authentic Self”], there is the possibility for pain.

Rubens discovered a peculiar thing: memory does not make films, it makes photographs. What he recalled from any of the women were at most a few mental photographs. He didn't recall their coherent motions; he visualized even their short gestures not in all their fluent fullness, but only in the rigidity of a single second. His erotic memory provided him with a small album of pornographic pictures but no pornographic film. And when I say an album of pictures, that is an exaggeration, for all he had was some seven or eight photographs. These photos were beautiful, they fascinated him, but their number was after all depressingly limited: seven, eight fragments of less than a second each, that's what remained in his memory of his entire erotic life, to which he had once decided to devote all his strength and talent. I see Rubens sitting at a table with his head supported on the palm of his hand, looking like Rodin's Thinker. What is he thinking about? If he has made peace with the idea that his life has narrowed down to sexual experiences and these again to only seven still pictures, seven photographs, he would at least like to hope that in some corner of his memory there may be concealed some eighth, ninth, or tenth photograph. That's why he is sitting with his head leaning on the palm of his hand. He is once again trying to evoke individual women and find some forgotten photograph for each one of them.

Shapers are people who can go from visualization to actualization. I wrote a lot about the people I call “shapers” in the first part of this book. I use the word to mean someone who comes up with unique and valuable visions and builds them out beautifully, typically over the doubts of others. Shapers get both the big picture and the details right. To me, it seems that Shaper = Visionary + Practical Thinker + Determined. I’ve found that shapers tend to share attributes such as intense curiosity and a compulsive need to make sense of things, independent thinking that verges on rebelliousness, a need to dream big and unconventionally, a practicality and determination to push through all obstacles to achieve their goals, and a knowledge of their own and others’ weaknesses and strengths so they can orchestrate teams to achieve them. Perhaps even more importantly, they can hold conflicting thoughts simultaneously and look at them from different angles. They typically love to knock things around with other really smart people and can easily navigate back and forth between the big picture and the granular details, counting both as equally important. People wired with enough of these ways of thinking that they can operate in the world as shapers are very rare. But they could never succeed without working with others who are more naturally suited for other things and whose ways of thinking and acting are also essential.

After staring at photographs of very attractive faces, men show less desire to date an average-looking woman. Exposure to extremely beautiful bodies in visual erotica can wreak havoc on some men's judgement. In one study, men shown pictures of women's beautiful bodies in erotica rated a previously attractive nude as less exciting. Some men even claimed to be less in love with their wives! ... We have a chance to calibrate faces against real-life faces all the time. Everyone sees hundreds and even thousands of faces, but most people have not seen hundreds of nude bodies. Given a much smaller database, nude or minimally clothed bodies in the media may get disproportionate representations in our minds and skew our ideas of the possible or even of the average.

So we begin with a very simple object of attention, like the breath, and train ourselves to return to it even as we get distracted over and over again. This first insight into the habit of distraction leads us to understand the value and importance of steadying our attention, because the worlds we create in ourselves and around us all have their origins in our own minds. How many different mind-worlds do we inhabit in our thoughts, even between one breath and the next? And how many actions do we take because of these unnoticed thoughts? By first taking a particular object of concentration and then training the mind to stay focused on it, we can develop calmness and tranquillity. The object may be the breath, a sound or mantra, a visual image, or certain reflections, all of which serve to concentrate the mind. At first, this requires the effort of continually returning each time the mind wanders off. With practice, though, the mind becomes trained, and then rests quite easily in the chosen object. In addition to the feelings of restfulness and peace, the state of concentration also becomes the basis for deepening insight and wisdom. We find ourselves opening to the world’s suffering as well as to its great beauty. Through the power of increased awareness, simple experience often becomes magically alive: the silhouette of a branch against the night sky or trees swaying in the invisible wind. The way that we sense the world becomes purified, our perception of the world transformed. Marcel Proust wrote, “The real voyage of discovery consists not in seeing new landscapes but in having new eyes.

You squeeze and crinkle the toothpaste tube even though you know it bothers your spouse. You complain about the dirty dishes instead of putting them in the dishwasher. You fight for your own way in little things, rather than seeing them as an opportunity to serve. You allow yourself to go to bed irritated after a little disagreement. Day after day you leave for work without a moment of tenderness between you. You fight for your view of beauty rather than making your home a visual expression of the tastes of both of you. You allow yourself to do little rude things you would never have done in courtship. You quit asking for forgiveness in the little moments of wrong. You complain about how the other does little things, when it really doesn’t make any difference. You make little decisions without consultation. You quit investing in the friendship intimacy of your marriage. You fight for your own way rather than for unity in little moments of disagreement. You complain about the other’s foibles and weaknesses. You fail to seize those openings to encourage. You quit searching for little avenues for expressing love. You begin to keep a record of little wrongs. You allow yourself to be irritated by what you once appreciated. You quit making sure that every day is punctuated with tenderness before sleep takes you away. You quit regularly expressing appreciation and respect. You allow your physical eyes and the eyes of your heart to wander. You swallow little hurts that you would have once discussed. You begin to turn little requests into regular demands. You quit taking care of yourself. You become willing to live with more silence and distance than you would have when you were approaching marriage. You quit working in those little moments to make your marriage better, and you begin to succumb to what is.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

She looked out the window, and her heart jumped: the expanse of the pie pantry and orchard shimmered in the early-morning light in front of her, the bay and LaKe Michigan glimmering in the distance. To Sam, it looked as if one of her grandmother's paintings had come to life: red apples bobbed as tree limbs swayed in the breeze; bushes thick with the bluest of blueberries shimmied; peaches, fuzzy and bright, nestled snugly against branches; shiny cars and people dressed in bright T-shirts and caps danced into the pie pantry and into the orchards; near the distance, the cornfields seemed to move as if they were doing the wave at a football game, while cherry trees dotted with the deep red fruit resembled holly bushes out of season. And yet there was an incredible uniformity to the scene despite the visual overload: everything was lined up in neat rows, as if each tree, bush, and person understood its purpose at this very moment. I've forgotten this view, Sam thought, recalling the one from her own bedroom window earlier in the morning. There is an order to life's chaos, be it the city or country, if we just stop for a moment and see it.

She looked thoughtful. “Who knows? Perhaps now is the time to see through the habit. Accidents, illness, healing, they’re all more mysterious than any of us ever imagined. I believe that we have an undiscovered ability to influence what happens to us in the future, including whether we are healthy—although, again, the power has to remain with the individual patient. “There was a reason that I didn’t offer an opinion concerning how badly you were hurt. We in the medical establishment have learned that medical opinions have to be offered very carefully. Over the years the public has developed almost a worship of doctors, and when a physician says something, patients have tended to take these opinions totally to heart. The country doctors of a hundred years ago knew this, and would use this principle to actually paint an overly optimistic picture of any health situation. If the doctor said that the patient would get better, very often the patient would internalize this idea in his or her mind and actually defy all odds to recover. In later years, however, ethical considerations have prevented such distortions, and the establishment has felt that the patient is entitled to a cold scientific assessment of his or her situation. “Unfortunately when this was given, sometimes patients dropped dead right before our eyes, just because they were told their condition was terminal. We know now that we have to be very careful with these assessments, because of the power of our minds. We want to focus this power in a positive direction. The body is capable of miraculous regeneration. Body parts thought of in the past as solid forms are actually energy systems that can transform overnight. Have you read the latest research on prayer? The simple fact that this kind of spiritual visualization is being scientifically proven to work totally undermines our old physical model of healing. We’re having to work out a new model.” She paused and poured more water on the towel around my ankle, then continued, “I believe the first step in the process is to identify the fear with which the medical problem seems to be connected; this opens up the energy block in your body to conscious healing. The next step is to pull in as much energy as possible and focus it at the exact location of the block.” I was about to ask how this was done, but she stopped me. “Go ahead and raise your energy level as much as you can.” Accepting her guidance, I began to observe the beauty around me and to concentrate on a spiritual connection within, evoking a heightened sensation of love. Gradually the colors became more vivid and everything in my awareness increased in presence. I could tell that she was raising her own energy at the same time. When I felt as though my vibration had increased as much as possible, I looked at her. She smiled back at me. “Okay, now you can focus the energy on the block.” “How do I do that?” I asked. “You use the pain. That’s why it’s there, to help you focus.

Letter to the tech giants: When fame and abundance kiss somebody’s feet before that person is wise enough, he or she is very likely to lose track of what’s necessity and what’s luxury. And modern society is filled with examples of such intelligent stupidity – stupidity that is carried out by apparently smart humans. Because being smart is not the same as being wise. The world has enough smartness, but not enough wisdom to bring that smartness into proper productive practice – and I mean productive practice not sophisticated practice – there is a difference. A person smart enough to visualize a Falcon rocket engine can easily pinpoint the locations of various organizations that spread terrorism, yet the person chooses to explore the space further instead of prioritizing the technological advantages to first fix real issues of the human society that inflict harm to the humans every walk of the way. The world is a miserable place not because we have lack of resources, but because those who have an abundance of resources do not have the slightest idea of true human need. The resources needed for colonizing Mars if put to proper practice can fix the world’s global warming issues – it can fix the world’s climate change issues – it can fix the world’s terrorism issues, yet people are more interested in the pompous idea of living in Mars for whatever reason, instead of paying attention to improving human condition on earth. I am not against technological advancement, for I am a scientist, but my soul aches when I see smart people are dumb enough to chase after illusory glory of doing something different and innovative instead of focusing the powers of their soul on cleaning up the misery business on earth. You can, yet you don’t. Why? Smartness without wisdom is stupidity. You are smart – yes indeed – but I am sorry – you are stupid at the same time. How can you dream of having a cheese burger on Mars when your own kind on Earth is suffering! How can you think of taking rich kids into the orbit just so they can admire the beauty of earth from the heavens, when that very earth is infested with the primordial evils of human character! Awaken the human within you my friend, and pay attention. Awaken the human within and let it consume all the miseries from the world that you live in. Say a member of your family falls ill, would you ignore his or her misery completely just because you want to make life more comfortable for others than it already is, or would you first try everything in your capacity in order to heal your loved one! Be wise my friend, for it is not enough to be smart. You are smart – there is no doubt about that – so utilize that smartness for humanity and heal your own kind. Heal your kind with your capacity my friend. It is wailing for healers – not some delusional faith healers, but real tangible healers. Would you not do anything! Would you not give your soul to fix the broken soul of this world! Arise my friend, Awake my friend and work for humanity, not to make it sophisticated, but to make it peaceful first. Remember, humanity first, then everything else. Peace first, sophistication later. Harmony first, luxury later.

It may be cheap, but it should also be sturdy. What must be avoided at all costs is dishonest, distorted and ornate work. What must be sought is the natural, direct, simple, sturdy and safe. Confining beauty to visual appreciation and excluding the beauty of practical objects has proven to be a grave error on the part of modern man. A true appreciation of beauty cannot be fostered by ignoring practical handicrafts. After all, there is no greater opportunity for appreciating beauty than through its use in our daily lives, no greater opportunity for coming into direct contact with the beautiful. It was the tea masters who first recognized this fact. Their profound aesthetic insight came as a result of their experience with utilitarian objects. If life and beauty are treated as belonging to different realms, our aesthetic sensibilities will gradually wither and decline. It is said that someone living in proximity to a flowering garden grows insensitive to its fragrance. Likewise, when one becomes too familiar with a sight, one loses the ability to truly see it. Habit robs us of the power to perceive anew, much less the power to be moved. Thus it has taken us all these years, all these ages, to detect the beauty in common objects. The world of utility and the world of beauty are not separate realms. Users and the used have exchanged a vow: the more an object is used the more beautiful it will become and the more the user uses an object, the more the object will be used. When machines are in control, the beauty they produce is cold and shallow. It is the human hand that creates subtlety and warmth. Weakness cannot withstand the rigors of daily use. The true meaning of the tea ceremony is being forgotten. The beauty of the way of tea should be the beauty of the ordinary, the beauty of honest poverty. Equating the expensive with the beautiful cannot be a point of pride. Under the snow's reflected light creeping into the houses, beneath the dim lamplight, various types of manual work are taken up. This is how time is forgotten; this is how work absorbs the hours and days. yet there is work to do, work to be done with the hands. Once this work begins, the clock no longer measures the passage of time. The history of kogin is the history of utility being transformed into beauty. Through their own efforts, these people made their daily lives more beautiful. This is the true calling, the mission, of handicrafts. We are drawn by that beauty and we have much to learn from it. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and decorum, which may account for its having the world's highest crime rate. The art of empty space seen in the Nanga school of monochrome painting and the abstract, free-flowing art of calligraphy have already begun to exert considerable influence on the West. Asian art represents a latent treasure trove of immense and wide-reaching value for the future and that is precisely because it presents a sharp contrast to Western art. No other country has pursued the art of imperfection as eagerly as Japan. Just as Western art and architecture owe much to the sponsorship of the House of Medici during the Reformation, tea and Noh owe much to the protection of the shogun Ashikaga Yoshimasa ( 1436-1490 ). The most brilliant era of Japanese culture, the Higashiyama period ( 1443-1490 ). Literally, sabi commonly means "loneliness" but as a Buddhist term it originally referred to the cessation of attachment. The beauty of tea is the beauty of sabi. It might also be called the beauty of poverty or in our day it might be simply be called the beauty of simplicity. The tea masters familiar with this beauty were called sukisha-ki meaning "lacking". The sukisha were masters of enjoying what was lacking.