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Read through the most famous quotes by topic #experience
Consciousness is not about information but about its opposite: order. Consciousness is not a complex phenomenon; it is what consciousness is _about_ that is complex. It is presumably this fact that is the reason many scientists over the decades have tended to perceive information as something involving order and organization. Because consciousness is about an experience of order and organization. Because consciousness is a state that does not process much information - consciously. Consciousness consists of information no more than a person who consumes large amounts of food can be said to consist of food. Consciousness is nourished by information the same way the body is nourished by food. But human beings do not consist of hot dogs; they consist of hot dogs that have been eaten. Consciousness does not consist of hots dogs but consists of hot dogs that have been apprehended. That is far less complex. ↗
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. ↗
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
Novels begin and end with, consist of, and indeed in one sense are nothing but voices. So reading is learning to listen sensitively, and to tune in accurately, to varying frequencies and a developing programme. From the opening words a narrative voice begins to create its own characteristic personality and sensibility, whether it belongs to an 'author' or a 'character'. At the same time a reader is being created, persuaded to become the particular kind of reader the book requires. A relationship develops, which becomes the essential basis of the experience. In the modulation of the fictive voice, finally, through the creation of 'author' and 'reader* and their relationship, there is a definition of the nature and status of the experience, which will always imply a particular idea of ordering the world. So much is perhaps familiar enough, and a useful rhetoric of Voice' has developed. Yet I notice in my students and myself, when its vocabulary is in play, a tendency to become rather too abstract or technical, and above all too spatial and static. Perhaps we need to remind ourselves what it can be like to listen to close friends, talking animatedly and seriously in everyday experience, in order to make sure that a vocabulary which often points only to broad strategies does not tempt us to underplay the extraordinary resourcefulness, variety and fluctuation of the novelist's voice. ↗
The most self-serving thing one can do is live their life selflessly. Selflessly give your experience. Selflessly give your knowledge. Selflessly give your time. Selflessly give whatever it is you have to give. And the world will rise to meet you. ↗
It is always easy to mock 'distress,' but we are its contemporaries; we are at the endpoint of what Nous, ratio, & Logos, still today the framework for what we are, cannot have failed to show: that murder is the first thing to count on, and elimination the surest means of identification. Today, everywhere, against this black but 'enlightened' background, remaining reality is disappearing in the mire of a 'globalized' world. Nothing, not even the most obvious phenomena, not even the purest, most wrenching love, can escape this era's shadow: a cancer of the subject, whether in the ego or in the masses... ↗
Tempting as it may be to draw one conclusion or another from my story and universalize it to apply to another's experience, it is not my intention for my book to be seen as some sort of cookie-cutter approach and explanation of mental illness, It is not ab advocacy of any particular form of therapy over another. Nor is it meant to take sides in the legitimate and necessary debate within the mental health profession if which treatments are most effective for this or any other mental illness. What it is, I hope, is a way for readers to get a true feel for what it's like to be in the grips of mental illness and what it's like to strive for recovery. ↗
I love the way folktale and fantasy tap into the roots of story telling. The paradox, for me, is that by moving a story into the fantastic we can actually bring it closer to the reader, not move it further away. It is more than an escape. When we read of the only daughter of a fisherman (or the third son of a woodcutter) in a fairy tale, we are all that character. That's the underlying pulse beat of such tales. Using the fantastic as a prism for the past, if done properly, removes the tale from distancing specificity. It can't just be read as unique to a time and place; it is universalized in interesting, powerful ways. When I wrote Tigana, about the way tyranny tries to erase identity in conquered peoples, the fantasy setting seems to have done exactly that: I'm asked in places ranging from Korea to Poland to Croatia to Quebec, "Were you writing about us?" I was. All of them. That is the point. The fantastic is a tool in the writer's arsenal, as potentially powerful as any there is, and any tool we have works to the benefit of the reader. (Author's Note) ↗
