No subscription or hidden extras
Read through the most famous quotes by topic #fe
None of the characters in (the story) were distinguished ones -- not even the lion. He was an old lion, prepared from birth to lose his life rather than to leave it. But he had the dignity of all free creatures, and so he was allowed his moment. It was hardly a glorious moment. The two men who shot him were indifferent as men go, or perhaps they were less than that. At least they shot him without killing him, and then turned the unsconscionable eye of a camera upon his agony. It was a small, a stupid, but a callous crime. ↗
As all this suggests our relationship with evidence is seldom purely a cognitive one. Vilifying menstruating women bolstering anti-Muslim stereotypes murdering innocent citizens of Salem plainly evidence is almost always invariably a political social and moral issue as well. To take a particularly stark example consider the case of Albert Speer minister of armaments and war production during the Third Reich close friend to Adolf Hitler and highest-ranking Nazi official to ever express remorse for his actions. In his memoir Inside the Third Reich Speer candidly addressed his failure to look for evidence of what was happening around him. "I did not query a friend who told him not to visit Auschwitz I did not query Himmler I did not query Hitler " he wrote. "I did not speak with personal friends. I did not investigate for I did not want to know what was happening there... for fear of discovering something which might have made me turn away from my course. I had closed my eyes." Judge William Stoughton of Salem Massachusetts became complicit in injustice and murder by accepting evidence that he should have ignored. Albert Speer became complicit by ignoring evidence he should have accepted. Together they show us some of the gravest possible consequences of mismanaging the data around us and the vital importance of learning to manage it better. It is possible to do this: like in the U.S. legal system we as individuals can develop a fairer and more consistent relationship to evidence over time. By indirection Speer himself shows us how to begin. I did not query he wrote. I did not speak. I did not investigate. I closed my eyes. This are sins of omission sins of passivity and they suggest correctly that if we want to improve our relationship with evidence we must take a more active role in how we think must in a sense take the reins of our own minds. To do this we must query and speak and investigate and open our eyes. Specifically and crucially we must learn to actively combat our inductive biases: to deliberately seek out evidence that challenges our beliefs and to take seriously such evidence when we come across it. ↗
If you are never frightened, sir, you would never find out what you was made of and what you was capable of doing. You would never become a better man than what you started out being. P'raps this is what you will discover - what you are made of and what you are capable of. And when you finally do remember who you are, p'raps you will find that you have become a better man than he ever was. P'raps he was a man why never ever grew any more once he reached manhood. P'raps he needed to do something drastic like losing his memory so that he could get his life unstuck. ↗
He looks out the window at the falling snow, then turns and takes his wife in his arms, feeling grateful to be here even as he wonders what he is going to do with his life in strictly practical terms. For years he had trained himself to do one thing, and he did it well, but he doesn't know whether he wants to keep doing it for the rest of his life, for that matter, whether anyone will let him. He is still worrying when they go to bed. Feeling his wife's head nesting in the pillow below his shoulder, he is almost certain that they will find ways to manage. They've been learning to get by with less, and they'll keep learning. It seems to him as if they're taking a course in loss lately. And as he feels himself falling asleep he has an insight he believes is important, which he hopes he will remember in the morning, although it is one of those thoughts that seldom survive translation to the language of daylight hours: knowing that whatever plenty befalls them together or separately in the future, they will become more and more intimate with loss as the years accumulate, friends dying or slipping away undramatically into the crowded past, memory itself finally flickering and growing treacherous toward the end; knowing that even the children who may be in their future will eventually school them in the pain of growth and separation, as their own parents and mentors die off and leave them alone in the world, shivering at the dark threshold. ↗
An English wood is like a good many other things in life-- very promising at a distance, but a hollow mockery when you get within. You see daylight on both sides, and the sun freckles the very bracken. Our woods need the night to make them seem what they ought to be--what they once were, before our ancestors' descendants demanded so much more money, in these so much more various days. ("The Striding Place") ↗
At this time of day it should have been open and full of fifty fellow smackheads, crackheads, psychotics, epileptics, schizophrenics, self-harmers, beggars, buskers, car thieves, sherry pushers, ciderheads, just-released-that-morning convicts, ex-army, ex-married-men-with-young-children-who'd-discovered-their-wife-in-bed-with-two-members-of-the-university-rowing-team-at-the-same-time. ↗
I paint the way some people write their autobiography. The paintings, finished or not, are the pages of my journal, and as such they are valid. The future will choose the pages it prefers. It's not up to me to make the choice. I have the impression that the time is speading on past me more and more rapidly. I'm like a river that rolls on, dragging with it the trees that grow too close to its banks or dead calves one might have thrown into it or any kind of microbes that develop in it. I carry all that along with me and go on. It's the movement of painting that interests me, the dramatic movement from one effort to the next, even if those efforts are perhaps not pushed to their ultimate end. In some of my paintings I can say with certainty that the effort has been brought to its full weight and its conclusion, because there I have been able to stop the flow of time around me. I have less and less time, and yet I have more and more to say, and what I have to say is,increasingly, something about what goes on in the movement of my thought. I've reached the moment, you see, when the movement of my thought interests me more than the thought itself. ↗
You see, gentlemen, reason is an excellent thing, there's no disputing that, but reason is nothing but reason and satisfies only the rational side of man's nature, while will is a manifestation of the whole life, that is, of the whole human life including reason and all the impulses. And although our life, in this manifestation of it, is often worthless, yet it is life and not simply extracting square roots. Here I, for instance, quite naturally want to live, in order to satisfy all my capacities for life, and not simply my capacity for reasoning, that is, not simply one twentieth of my capacity for life. What does reason know? Reason only knows what it has succeeded in learning (some things, perhaps, it will never learn; this is a poor comfort, but why not say so frankly?) and human nature acts as a whole, with everything that is in it, consciously or unconsciously, and, even if it goes wrong, it lives. ↗
#choice #fyodor-dostoyevsky #life #notes-from-the-underground #reason
There is a storytelling element in there. The tango form is a little like the blues in that you have a kind of structure. It’s not as rigid as twelve bar, but it's very much a storytelling medium -- and there’s an element of call-and-response, and a particular arc in the musical form, that suggest a story. It's about being in the moment, with the music; and responding to your partner, and the particular feeling and momentum in her body in any one moment. It’s a very concentrated thing; you can’t think about anything else while you are doing it. If you try to hold a conversation, it just kind of falls apart. The music was what really drew me into tango. Everyone knows a few of the more popular tango classics, but once you get into it, there’s such a rich field. It’s astonishing, this kind of miraculous musical form that developed in a very small locality: two cities on either side of the River Plate, in Argentina and Urugauy. It started in the 1880s or '90s, and there are all kinds of mysteries, myths and stories, about how tango started and developed. It was first of all considered really low-life, almost reptilian. Something to be avoided and not talked about. And then it became this word wide phenomena. . .and I could go on talking about tango forever. . . . but its also to do with movement. I try to get that into my pictures: a sense of movement, something flowing through. A while ago, I realised how much I'd been drawing dancing figures in the corners of my sketchbooks for years before I discovered tango! ↗
Ecology is beginning to slowly shift focus with tentative explorations of what the world would look like if process, rather than matter were the basis for reality What if we defined a species in terms of its life processes? We might seriously doubt whether the California condor or the tall grass prairie can be 'saved' or even 'restored.' Perhaps we can re-create some local conditions that foster a few nests of condors or a few acres of prairie. But the life process of the condor ended with the urbanization of the California foothills and the living ebb and flow of the tall grass prairies died with the plowing of the Great Plains. What if we suggested that a thing is what it does? In this light, the Rocky Mountain locust was a immense aperiodic energy flow that linked life processes on a continental scale. This notion of life-as-process might seem unusual in a society in which material existence is primary. But such a perception informs our deepest understanding of life. Indeed, life-as-process underlies our notion of euthanasia. When loved ones are simply bodies, devoid of the capacity to care, respond, or relate again a away that we can recognize as being "them," we understand that they are gone even before they are dead. ↗
