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Read through the most famous quotes by topic #experience
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. ↗
The essence of a role-playing game is that it is a group, cooperative experience. ↗
#essence #experience #game #group
The human understanding is no dry light, but receives infusion from the will and affections; whence proceeds sciences which may be called "sciences as one would." For what a man had rather were true he more readily believes. Therefore he rejects difficult things from impatience of research; sober things, because they narrow hope; the deeper things of nature, from supersition; the light of experience, from arrogrance and pride; things not commonly believed, out of deference to the opinion of the vulgar. Numberless in short are the ways, and sometimes imperceptible, in which the affections color and infect the understanding. 1620 - Francis Bacon ↗
Memorizing someone else’s explanation of the truth isn’t the same as seeing the truth for yourself. It is what it is—the memorization of second-hand knowledge. It is not your experience. It is not your knowledge. And no matter how much material is learned by rote, and no matter how eloquently we can speak about the memorized information, we’re clinging to a description of something that’s not ours. What’s more, the description is never the item itself. By holding onto our impression of certain descriptions, we frequently are unable to see the real thing when it’s right before our eyes. We are conditioned by memorizing and believing concepts—the truth of which we’ve never genuinely seen for ourselves. ↗
The shattered relationship between Father, Son, and Holy Spirit at the cross provides the basis for our reconciliation. No other relationship ever suffered more than what Father, Son, and Holy Spirit endured when Jesus hung on the cross and cried, ‘My God, my God, why have you forsaken me?’ Jesus was willing to be the rejected Son so that our families would know reconciliation. Jesus was willing to become the forsaken friend so that we could have loving friendships. Jesus was willing to be the rejected Lord so that we could live in loving submission to one another. Jesus was willing to be the forsaken brother so that we could have godly relationships. Jesus was willing to be the crucified King so that our communities would experience peace. ↗
Individuals approaching death often experience encounters with their dead relatives, who seem to welcome them to the next world. These deathbed visions are authentic and convincing; they are often followed by a state of euphoria and seem to ease the transition. ↗
#authentic #convincing #dead #death #deathbed
One of my favorite prayers is God, how can I love on you today? As I sit in silence of those words, sometimes I'll feel compelled to sing or read a passage of Scripture, or I'll be reminded of someone with a need I can meet; but on some of the most meaningful days, God simply says, just be with me. I sit in the silence and enjoy stillness with God. No agenda. No words. No words. No challenge. No correction or instruction. Just being together. In those moments, I'm reminded that the heart of faith is simply being with God. I sense God's love. Some of my best friendships reach a level at which we can sit together without having to say anything and still enjoy each other's presence. The same is true for God, and I love to experience that depth of love in my relationship with Christ." -Hungry for God ↗
