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Read through the most famous quotes by topic #erie
They become the keepers of the mystery. They place themselves between the communicants of the religion, and the immediate experience. And then they dictate the terms on which you can have contact with this wonderful mystery. We don't dictate those terms. ↗
Iago’s treatment of Othello conforms to Bacon’s definition of scientific enquiry as putting Nature to the Question. If a member of the audience were to interrupt the play and ask him: "What are you doing? could not Iago answer with a boyish giggle, "Nothing. I’m only trying to find out what Othello is really like"? And we must admit that his experiment is highly successful. By the end of the play he does know the scientific truth about the object to which he has reduced Othello. That is what makes his parting shot, What you know, you know, so terrifying for, by then, Othello has become a thing, incapable of knowing anything. And why shouldn’t Iago do this? After all, he has certainly acquired knowledge. What makes it impossible for us to condemn him self-righteously is that, in our culture, we have all accepted the notion that the right to know is absolute and unlimited. […] We are quite prepared to admit that, while food and sex are good in themselves, an uncontrolled pursuit of either is not, but it is difficult for us to believe that intellectual curiosity is a desire like any other, and to realize that correct knowledge and truth are not identical. To apply a categorical imperative to knowing, so that, instead of asking, "What can I know?" we ask, "What, at this moment, am I meant to know?" – to entertain the possibility that the only knowledge which can be true for us is the knowledge we can live up to – that seems to all of us crazy and almost immoral. But, in that case, who are we to say to Iago – "No, you mustn’t. ↗
In an essay titled A View From the Front Line, Jencks described her experience with cancer as like being woken up midflight on a jumbo jet and then thrown out with a parachute into a foreign landscape without a map: "There you are, the future patient, quietly progressing with other passengers toward a distant destination when, astonishingly (Why me?) a large hole opens in the floor next to you. People in white coats appear, help you into a parachute and — no time to think — out you go. "You descend. You hit the ground....But where is the enemy? What is the enemy? What is it up to?...No road. No compass. No map. No training. Is there something you should know and don't? "The white coats are far, far away, strapping others into their parachutes. Occasionally they wave but, even if you ask them, they don't know the answers. They are up there in the Jumbo, involved with parachutes, not map-making. ↗
Why the fairy tale of Willie Mays making a brilliant World Series catch, and then dashing off to play stickball in the street with his teenage pals. That's baseball. So is the husky voice of a doomed Lou Gehrig saying, 'I consider myself the luckiest man on the face of this earth.' ↗
One of the great myths about war is that there is a ground zero, a center stage, where the terrible forces unleashed by it can be witnessed, recounted, and replayed like the launching of a rocket. War is a human activity far too large to be contained in the experience of a single reporter in a single place and time in any meaningful way. When it comes, it happens to everyone. Everything is in its path. Yet this is the allure of war reporting, the chance of acquiring some personal mother lode of truth to beam back to the living rooms of a waiting nation. The fear that comes from reporting on a war is as much a fear of missing this mother load as it is of being injured or killed in battle, and it sets reporters apart from the people who have to fight wars. Soldiers have their own agonies to think about as a battle approaches. Missing the war is not generally one of them. ↗
There are two possible experiences of every moment: the moment as experienced by Essence and the moment experienced by the ego. The ego's experience of the moment is struggle, conflict, effort, dissatisfaction, restlessness, and unease. Essence's experience of it is freedom, happiness, peace, acceptance, contentment, and joy. Either experience is possible in any moment, depending on whether we are identified with the ego or with Essence. ↗
To be radical, an empiricism must neither admit into its constructions any element that is not directly experienced, nor exclude from them any element that is directly experienced. ↗
It is a foible of our human nature that when we have an extremely unpleasant experience, it gives us a peculiar satisfaction if it is “the biggest” of its disagreeable kind that has happened since the world began. During a heat wave, for instance, we are very pleased if the papers announce that it is “the highest temperature reached since the year 1881,” and we feel a little resentment towards the year 1881 for having gone us one better. Or if our ears are frozen till all the skin peels off, it fills us with a certain happiness to learn that “it was the hardest frost recorded since 1786.” It is just the same with wars. The war in progress is either the most righteous or the bloodiest, or the most successful, or the longest, since such and such a time; any superlative whatever always affords us the proud satisfaction of having been through something extraordinary and record-breaking. ↗
#satire #sci-fi #war #experience
Henry Fielding, a highly successful satiric dramatist until the introduction of censorship in 1737, began his novel-writing career with Shamela, a pastiche of Pamela, which humorously attacked the hypocritical morality which that novel displayed. Joseph Andrews (1742) was also intended as a kind of parody of Richardson; but Fielding found that his novels were taking on a moral life of their own, and he developed his own highly personal narrative style - humorous and ironic, with an omniscient narrative presence controlling the lives and destinies of his characters. Fielding focuses more on male characters and manners than Richardson. In doing so, he creates a new kind of hero in his novels. Joseph Andrews is chaste, while Tom Jones in Tom Jones (1749) is quite the opposite. Tom is the model of the young foundling enjoying his freedom (to travel, to have relationships with women, to enjoy sensual experience) until his true origins are discovered. When he matures, he assumes his social responsibilities and marries the woman he has 'always' loved, who has, of course, like a mediaeval crusader's beloved, been waiting faithfully for him. Both of these heroes are types, representatives of their sex. There is a picaresque journey from innocence to experience, from freedom to responsibility. It is a rewriting of male roles to suit the society of the time. The hero no longer makes a crusade to the Holy Land, but the crusade is a personal one, with chivalry learned on the way, and adventure replacing self-sacrifice and battle. ↗
I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut. ↗
#bucks #choose #cut #discerning #experience
