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Read through the most famous quotes by topic #experience
But to be a parent is to live in the past-present-future all at once. It is to hug your children and be intensely aware of how much smaller they felt last year ... even as you wonder how much bigger they will feel the next. It is to be a time-shifter, to marvel at the budding of their intellect, their verbal dexterity, their sense of humor ... at the same time rewinding and fast-forwarding ... to when they were younger, to when they'll be older. It is to experience longing for the here and now, which I know sounds flaky - sort of like complaining about being homesick when you're already home - but can happen, trust me, when you live in multiple time zones all at once. ↗
If there were only success in your life, you would not learn anything. Leadership is experience and you are still young. You still have much to learn about our people and war; it should not come easy to you. If it did, you would be robbed of life's most valuable teacher. ↗
This was 1990 the year that communism died in Europe and it seemed strange to me that in all the words that were written about the fall of the iron curtain, nobody anywhere lamented that it was the end of a noble experiment. I know that communism never worked and I would have disliked living under it myself but none the less it seems that there was a kind of sadness in the thought that the only economic system that appeared to work was one based on self interest and greed. ↗
Reading was not an escape for her, any more than it is for me. It was an aspect of direct experience. She distinguished, of course, between the fictional world and the real one, in which she had to prepare dinners and so on. Still, for us, the fictional world was an extension of the real, and in no way a substitute for it, or refuge from it. Any more than sleeping is a substitute for waking." (Jincy Willett) ↗
Look, people need to conform the external reality they face daily with this subjective feeling they likewise experience constantly. To do this they have two options. First, they can achieve what passes for great things. Now the external reality matches their feeling; they really are better than the rest and maybe they'll even be remembered as such. These are the ambitious people, the overachievers. These are also, however, the people who go on these abominable talk shows where they can trade their psychoses for exposure on that box, modernity's ultimate achievement. Not that this tact, being ambitious, is not the preferred course of action. The reason is it's the equivalent of sticking your neck out which we all know is dangerous. Instead many act like they have no ambition whatsoever. Their necks come back in and they're safe. Only problem is now they're at everyone else's level, which we've seen is untenable. The remedy of course is that everyone else needs to be sunk. This helps explain racism's enduring popularity. If I myself don't appear to be markedly superior to everyone else at least I'm part of the better race, country, religion et cetera. This in turn reflects well on my individual worth. There are other options, of course. For example, you can constantly bemoan others' lack of moral worth by extension elevating yourself. Think of the average person's reaction to our clients. Do these people strike you as so truly righteous that they are viscerally pained by our clients' misdeeds or are they similarly flawed people looking for anything to hang their hat on? The latter obviously, they're vermin. ↗
I also realized that in my family drama a very limited number of character traits were available to the players. In my mind, either I could be weak, wimpy, submissive, and pathetic, or I could be a raging tyrant and bully who demanded total compliance from everyone in my realm. The notion of being strong and assertive while staying calm, insisting on appropriate boundraries and on being treated with respect and dignity, were not in my realm of experience. Once I realized that I was much happier with the person I was in the rest of my life, I realized it was foolish not to be that "me" around my family as well. I began to feel liberated and genuinely felt they could take the new me or leave it. So far, they've chosen to leave it, but I feel a sense of integrity and self-respect that I had never experienced before. ↗
Tick is a humble genesis, tock a feeble apocalypse; and tick-tock is in any case not much of a plot. We need much larger ones and much more complicated ones if we persist in finding 'what will suffice.' And what happens if the organization is much more complex than tick-tock? Suppose, for instance, that it is a thousand-page novel. Then it obviously will not lie within what is called our 'temporal horizon'; to maintain the experience of organization we shall need many more fictional devices. And although they will essentially be of the same kind as calling the second of those two related sounds tock, they will obviously be more resourceful and elaborate. They have to defeat the tendency of the interval between tick and tock to empty itself; to maintain within that interval following tick a lively expectation of tock, and a sense that however remote tock may be, all that happens happens as if tock were certainly following. All such plotting presupposes and requires that an end will bestow upon the whole duration and meaning. To put it another way, the interval must be purged of simple chronicity, of the emptiness of tock-tick., humanly uninteresting successiveness. It is required to be a significant season, kairos poised between beginning and end. It has to be, on a scale much greater than that which concerns the psychologists, an instance of what they call 'temporal integration'--our way of bundling together perception of the present, memory of the past, and expectation of the future, in a common organization. Within this organization that which was conceived of as simply successive becomes charged with past and future: what was chronos becomes kairos. This is the time of the novelist, a transformation of mere successiveness which has been likened, by writers as different as Forster and Musil, to the experience of love, the erotic consciousness which makes divinely satisfactory sense out of the commonplace person. ↗
At some very low level, we all share certain fictions about time, and they testify to the continuity of what is called human nature, however conscious some, as against others, may become of the fictive quality of these fictions. It seems to follow that we shall learn more concerning the sense-making paradigms, relative to time, from experimental psychologists than from scientists or philosophers, and more from St. Augustine than from Kant or Einstein because St. Augustine studies time as the soul's necessary self-extension before and after the critical moment upon which he reflects. We shall learn more from Piaget, from studies of such disorders as déjà vu, eidetic imagery, the Korsakoff syndrome, than from the learned investigators of time's arrow, or, on the other hand, from the mythic archetypes. Let us take a very simple example, the ticking of a clock. We ask what it says: and we agree that it says tick-tock. By this fiction we humanize it, make it talk our language. Of course, it is we who provide the fictional difference between the two sounds; tick is our word for a physical beginning, tock our word for an end. We say they differ. What enables them to be different is a special kind of middle. We can perceive a duration only when it is organized. It can be shown by experiment that subjects who listen to rhythmic structures such as tick-tock, repeated identically, 'can reproduce the intervals within the structure accurately, but they cannot grasp spontaneously the interval between the rhythmic groups,' that is, between tock and tick, even when this remains constant. The first interval is organized and limited, the second not. According to Paul Fraisse the tock-tick gap is analogous to the role of the 'ground' in spatial perception; each is characterized by a lack of form, against which the illusory organizations of shape and rhythm are perceived in the spatial or temporal object. The fact that we call the second of the two related sounds tock is evidence that we use fictions to enable the end to confer organization and form on the temporal structure. The interval between the two sounds, between tick and tock is now charged with significant duration. The clock's tick-tock I take to be a model of what we call a plot, an organization that humanizes time by giving it form; and the interval between tock and tick represents purely successive, disorganized time of the sort that we need to humanize. Later I shall be asking whether, when tick-tock seems altogether too easily fictional, we do not produce plots containing a good deal of tock-tick; such a plot is that of Ulysses. ↗
