We can transform reality to the extent that we influence what happens in consciousness and thus free ourselves from the threats and blandishments of the outside world.
People don't have knowledge and understanding about the outside world, or about history [in the USA].
Glamour to the outside world is taking some sense of care in your appearance and should give you inner confidence. You can do a full on look or you can do a 'less is more' look but you want to have those components, those little things that are special to you.
The problem now is that young people, young indigenous people, are not so interested in preserving traditional knowledge. So for them, seeing that it was important for us and for the outside world, this traditional knowledge, it was a big deal to them.
I was really a big fan of Loveless. At [the time it came out], I made music that was not too far away from [what they were doing], but we were stuck in Austria. There was no way to get attention from the outside world. Maybe it's a generational thing.
Making a film is like going down a mine-once you've started you bid a metaphoricalgoodbye to the daylight and the outside world for the duration.
In the new alchemy, we have a similar kind of way of thinking. Our internal space includes our intuitions, our thoughts, our senses and our feelings, and from these we construct or build a picture of the outside world. From intuition and thought, we construct time. We also construct space from thought and our sensations. From our senses and our feelings, we experience energy, and from our intuitions and our feelings, we experience motion.
In the past things were either in your head (subjective, imaginary, fantasy) or else they were part of the outside world - cold, hard, concrete materialistic reality. If you want to look at it in terms of poetry, there was surrealism and objectivism. Now there's the veil of the virtual in between. The old opposition between inner and outer doesn't quite capture it, especially as it contains elements of both. It's real but not concrete.
When I'm in the middle of a book it can go up from there. When you're putting in those hours, the real world kind of fades and the world you're creating becomes almost more real to you than the outside world.
Sometimes, keeping track of people. It's always a weird combination of worrying so much about the outside world, and not... you have to be more aware of the inner circle, the folks that matter.
At the core of my work there is this eternal back-and-forth between being confined to one's own individuality and that longing to be part of the other, the outside world: the impossibility of ever being able to get beneath another person's skin.
I think I was always informally thinking about choice from when I was a very young child because I was born to Sikh immigrant parents, so I was constantly going back and forth between a Sikh household and an American outside world, so I was going back and forth between a very traditional Sikh home in which you had to follow the Five K's.
Dalai Lama has made new opportunities for women that they never had in Tibet, introduced science into the monks' curriculum and had Tibetan students in exile take their classes in English after the age of ten so that they will know more about the outside world. But one of the great things he's done is to bring all the Tibetan groups together in exile, as perhaps they couldn't have been when they weren't in exile and they weren't under such pressure.
Things come up from the outside, the outside world says, okay, you have do this, you have to go here and here and here, and these are your options. You can be here or you can be here. You can do this, or you can do this. You can go here, or you can go there. So each one of those things becomes a place of decision, and the way we make decisions is that we all get together and if somebody doesn't feel right about it or it doesn't seem to sit right, usually we'll go with the no vote. If somebody's not comfortable with it, we'll figure it's not going to be worth doing.
Many students of dreams, from Plato to [Sigmund] Freud, hold that the sleeping person,deprived of contact with the outside world, regresses temporarily to an irrational primitive mental state.
If one admits that the influence of the outside world is essentially beneficial, the lack of such influence during sleep would tend to diminish the value of our dream activity so as to render it inferior to the mental activity that takes place when we are awake, when we are exposed to these beneficial influences of surrounding reality. But how can one say that the influence of reality is exclusively beneficial. Could it not also be damaging, and could its absence not give access to qualities superior to those that we have when awake?
The state of sleep is a state of freedom in which man is not occupied with the manipulation of the outside world.
People have an overbearing need to project their inward doubt and hatred and emotions onto the outside world.
Everybody has a down day, no one's perfect; no one's having the most idyllic life. I mean, I guess everybody wants to project positivity to the outside world, but if we're honest, no one's going to have 24/7 bliss.
I've become really interested in the landscape but not as landscape but more as it relates to mood and how we live and how the outside impacts on the inside. I didn't really look at the outside world during the years I was photographing the Ballad as I was locked inside my house and I lived totally inside.
When I was at home, I wasn't shy. I was the clown at home, because I was loved. It was in the outside world that I was judged and I wasn't loved. That was very clear to me, that I wasn't loved. So I became very quiet. You know, those little girls you see in those pictures that look like they want to hunch, I was trying to disappear into my shoulder blades. The quietest person in the classroom, that was me. But that wasn't me at home.
Hopefully, my tears are worth something to the outside world.
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
Have a deputy and develop a successor. Don't be consumed by the job or you'll risk losing your balance. Keep your mooring lines to the outside world - family, friends, neighbors, people out of government, and people who may not agree with you.
The biggest task in the morning is to try to keep my headspace from being invaded by the outside world.
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