Chess, which exists predominantly in two dimensions, is one of the world's most difficult games. Three-dimensional chess is an invitation to insanity. But human relationships, even of the simplest order, are like a kind of four-dimensional chess, a game whose pieces and positions change subtly and inexorably between moves, whose players stare dumbly while their powerful positions deteriorate into hopeless predicaments and while improbable combinations suddenly become inevitable. To make matters worse, some games are open to any number of players, and all sides are expected to win.
Every home should have a room, or at least a nook with two chairs, where it is a sin punishable by immediate expulsion to speak of money, business, politics or the state of one's teeth.
Truth is rhythmical: if it implies stasis, it is platitude. Truth is syncopated: if it supplies all the terms, there is one term too many. Truth is barbed: if it comforts, it lies. Truth is an armed dancer.
What liberates the imagination is the sense that work in its theory and practice holds aesthetic possibilities, that jobs can be elegantly conceived and gracefully done. This sense of beauty unlocks feelings of pleasure and love and breaks down the barrier between worker and work and commit to work not merely the "thinking" consciousness but the full resources of mind.
At pains to define liberty, that most resolute of indefinables, our minds fall back on spatial images; on birds, sailboats, and mountains; the untethered balloon, the blue sky, the nude figure.
We commonly think of freedom as the ability to define alternatives and choose between them. The creative mind exceeds this liberty in being able to redefine itself and reality at large, generating whole new sets of alternatives.
Because it is a radical act of freedom, creative achievement is a heroic process that requires, in all its permutations, specific strengths of character.
The reason so many promises are not kept is the same as the reason they are made in the first place.
Creativity is dangerous. We cannot open ourselves to new insights without endangering the security of our prior assumptions. We cannot propose new ideas without risking disapproval and rejection.
That morning I experienced vividly, if almost subliminally, the reality of change itself: how it fools our sentinels and undermines our defenses, how careful we are to look for it in the wrong places, how it does not reveal itself until it is beyond redress, how vainly we search for it around us and find too late that is has occurred within us.
To be open to inspiration, one must cultivate a leaning for the problematic, a chronic attraction to things that do not totally fit, agree, or make sense. Inspired ideas are less often solutions to old problems than newly discovered or totally reformulated problems - problems 'created' like brilliant works of art.
Great drama, like the energy implicit in every atom, is eternally around and within us, but liberated only by coincidence, ceremony, creativity, periods reaching completion, pressures reaching the bursting point, and the simple but painful cultivation of awareness.
True intimacy is a human constant. People of all types find it equally hard to achieve, equally precious to hold. Age, education, social status, make little difference here; even genius does not presuppose the talent to reveal one's self completely and completely absorb one's self in another personality. Intimacy is to love what concentration is to work: a simultaneous drawing together to attention and release of energy.
The recalling of beautiful things, whether they are your own experiences or the acheivements of others, is a creative act. Simple ideas can be restated by rote; but profound ideas must be recreated by will and imagination.
The limitation in our ability to perceive broad distinctions in scope can be applied to our moral and temporal responses.... We agonize over a dinner menu, or have engine trouble on the way to work; and for seconds or minutes our cosmos shrinks to a miniscule volume of being, an epic of cheese sauces or tragedy of fanbelts.
Such self-transformation is the most difficult and dangerous challenge to the imagination, and it is the most rewarding. Meeting it is only possible for the person whose mind is open to contradictions and well-practiced in free conjecture.
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