Inspirational quotes with technique.
Philosophy and science have not always been friendly toward the idea of God, the reason being they are dedicated to the task of accounting for things and are impatient with anything that refuses to give an account of itself. The philosopher and the scientist will admit that there is much that they do not know; but that is quite another thing from admitting there is something which they can never know, which indeed they have no technique for discovering.
The only thing that interests the physicist is finding out on what assumptions a framework of things can be constructed which will enable us to know how to use them mechanically. Physics, as I have said on another occasion, is the technique of techniques and the ars combinatoria for fabricating machines. It is a knowledge which has scarcely anything to do with comprehension.
The novel should tell the truth, as I see the truth, or as the novelist persuades me to see it. And one more demand: I expect the novelist to aspire to improve the world. ... As a novelist, I want to be more than one more dog barking at the other dogs barking at me. Not out of any foolish hope that one novelist, or all virtuous novelists in chorus, can make much of a difference for good, except in the long run, but out of the need to prevent the human world from relaxing into something worse. To maintain the tension between truth and falsity, beauty and ugliness, good and evil. ... I believe the highest duty of the serious novelist is, whatever the means or technique, to be a critic of his society, to hold society to its own ideals, or if these ideals are unworthy, to suggest better ideals.
I think the greatest weakness in the church today is that almost no one believes that God invests His power in the Bible. Everyone is looking for power in a program, in a methodology, in a technique, in anything and everything but that in which God has placed it—His Word. He alone has the power to change lives for eternity, and that power is focused on the Scriptures.
The essence of successful discipline is not technique; rather, it is self-confidence.
No other technique for the conduct of life attaches the individual so firmly to reality as laying emphasis on work; for his work at least gives him a secure place in a portion of reality, in the human community. The possibility it offers of displacing a large amount of libidinal components, whether narcissistic, aggressive or even erotic, on to professional work and on to the human relations connected with it lends it a value by no means second to what it enjoys as something indispensible to the preservation and justification of existence in society. Professional activity is a source of special satisfaction if it is a freely chosen one — if, that is to say, by means of sublimation, it makes possible the use of existing inclinations, of persisting or constitutionally reinforced instinctual impulses. And yet, as a path to happiness, work is not highly prized by men. They do not strive after it as they do after other possibilities of satisfaction. The great majority of people only work under the stress of necessity, and this natural human aversion to work raises most difficult social problems.
Once she called to invite me to a concert of Liszt piano concertos. The soloist was a famous South American pianist. I cleared my schedule and went with her to the concert hall at Ueno Park. The performance was brilliant. The soloist's technique was outstanding, the music both delicate and deep, and the pianist's heated emotions were there for all to feel. Still, even with my eyes closed, the music didn't sweep me away. A thin curtain stood between myself and pianist, and no matter how much I might try, I couldn't get to the other side. When I told Shimamoto this after the concert, she agreed."But what was wrong with the performance?" she asked. "I thought it was wonderful.""Don't you remember?" I said. "The record we used to listen to, at the end of the second movement there was this tiny scratch you could hear. Putchi! Putchi! Somehow, without that scratch, I can't get into the music!"Shimamoto laughed. "I wouldn't exactly call that art appreciation.""This has nothing to do with art. Let a bald vulture eat that up, for all I care. I don't care what anybody says; I like that scratch!""Maybe you're right," she admitted. "But what's this about a bald vulture? Regular vultures I know about--they eat corpses. But bald vultures?"In the train on the way home, I explained the difference in great detail.The difference in where they are born, their call, their mating periods. "The bald vulture lives by devouring art. The regular vulture lives by devouring the corpses of unknown people. They're completely different.""You're a strange one!" She laughed. And there in the train seat, ever so slightly, she moved her shoulder to touch mine. The one and only time in the past two months our bodies touched.
One of the best lovers in Hollywood. What would a title like that encompass exactly? she wondered. Technique? Enthusiasm? Or was it more about equipment?
There are occult Esoteric Metaphysics (the secret and most confidential aspect of occult teachings) and Mystical Sciences practiced by mystical adepts, Living Grand Masters. This is the cosmological verdict of the Order of Astral and Terrestrial Hierarchy universal occult recognition. Exoteric is public occult teachings. An Adept uses the Technique of the Master. Hell is called After-Life-Hallucination. There are entities, spirits, demons, demi-gods, Archangels and other names for evil beings. A Guru is a spiritual Master.
You should always be trying to write a poem you are unable to write, a poem you lack the technique, the language, the courage to achieve. Otherwise you're merely imitating yourself, going nowhere, because that's always easiest.
If a man comes to the door of poetry untouched by the madness of the Muses, believing that technique alone will make him a good poet, he and his sane compositions never reach perfection, but are utterly eclipsed by the performances of the inspired madman.
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
Before I start a project, I always ask myself the following question. Why is this book worth a year of my life? There needs to be something about the theme, the technique, or the research that makes the time spent on it worthwhile.
It's often about the simple things, isn't it? Painting and photography are first about seeing, they say. Writing is about observing. Technique is secondary. Sometimes the simple is the most difficult.
Of course, there will always be those who look only at technique, who ask 'how', while others of a more curious nature will ask 'why'. Personally, I have always preferred inspiration to information.
I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.
Stretch your writing muscles. Maybe the sophisticated technique nagging at you is something you’re just naturally good at. How else will you know?
Modern life seems to recede further and further away from nature, and closely connected with this fact we seem to be losing the feeling of reverence towards nature. It is probably inevitable when science and machinery, capitalism and materialism go hand in hand so far in a most remarkably successful manner. Mysticism, which is the life of religion in whatever sense we understand it, has come to be relegated altogether in the background. Without a certain amount of mysticism there is no appreciation for the feeling of reverence, and, along with it, for the spiritual significance of humility. Science and scientific technique have done a great deal for humanity; but as far as our spiritual welfare is concerned we have not made any advances over that attained by our forefathers. In fact we are suffering at present the worst kind of unrest all over the world.
Couples will no longer spend their nights in their houses dedicated to habitation and reception, the customary social reason for banalization. The chamber of love will be more remote from the center of the city: it will completely naturally re-create for the partners the notion of ex-centricity, in a place less open to the light, more hidden, in order to return to the atmosphere of the secret. The contrary move, the search for a center of thought, will proceed by the same technique.
Tap into ‘The Force’ and soon, at any given time that you need that extra shot of high octane confidence; you will soon be like a Jedi Master at this technique.
Foul!" yelled Jamie, who seemed extremely happy not to be the one facing a blade. "Distracting technique! Put your shirt back on right now.
Yes, an actual full-sized camel. If you find that confusing, just think how the criosphinx must have felt.Where did the camel come from, you ask? I may have mentioned Walt’s collection of amulets. Two of them summoned disgusting camels. I’dmet them before, so I was less than excited when a ton of dromedary flesh flew across my line of sight, plowed into the sphinx, and collapsed on topof it. The sphinx growled in outrage as it tried to free itself. The camel grunted and farted.“Hindenburg,” I said. Only one camel could possibly fart that badly. “Walt, why in the world—?”“Sorry!” he yelled. “Wrong amulet!”The technique worked, at any rate. The camel wasn’t much of a fighter, but it was quite heavy and clumsy. The criosphinx snarled and clawedat the floor, trying unsuccessfully to push the camel off; but Hindenburg just splayed his legs, made alarmed honking sounds, and let loose gas.I moved to Walt’s side and tried to get my bearings.
Broken Wind believed that we are traumatized as babies by intestinal gas or colic. The great shaman invented a technique called "gastral projection" to help release these traumas. His philosophy was simple: "To air is human ... but to really cut one loose is divine.
Scientific principles and laws do not lie on the surface of nature. They are hidden, and must be wrested from nature by an active and elaborate technique of inquiry.
Working on a typewriter by touch, like riding a bicycle or strolling on a path, is best done by not giving it a glancing thought. Once you do, your fingers fumble and hit the wrong keys. To do things involving practiced skills, you need to turn loose the systems of muscles and nerves responsible for each maneuver, place them on their own, and stay out of it. There is no real loss of authority in this, since you get to decide whether to do the thing or not, and you can intervene and embellish the technique any time you like; if you want to ride a bicycle backward, or walk with an eccentric loping gait giving a little skip every fourth step, whistling at the same time, you can do that. But if you concentrate your attention on the details, keeping in touch with each muscle, thrusting yourself into a free fall with each step and catching yourself at the last moment by sticking out the other foot in time to break the fall, you will end up immobilized, vibrating with fatigue. It is a blessing to have options for choice and change in the learning of such unconsciously coordinated acts. If we were born with all these knacks inbuilt, automated like ants, we would surely miss the variety. It would be a less interesting world if we all walked and skipped alike, and never fell from bicycles. If we were all genetically programmed to play the piano deftly from birth, we might never learn to understand music.
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