The hardest part is always the middle of anything because at that point, on some unconscious level, you have to figure out what it's about and why you're doing it and what it means. You don't know that in the beginning.
Music is, by far, the best art. Nothing even comes close. It's so immediate and emotional. In writing, maybe ninety percent of it is the unconscious and ten percent is control. In music, I think it's probably more like ninety-nine percent the unconscious. It's just a beautiful thing happening through you. And so, too, is writing a great story.
Our experience of reality is the result of the magical alchemy of the creation of our thoughts, our beliefs, our decisions, our attitudes, our feelings. All of these are, for the most part, unconscious. Mindfulness allows us to watch these thoughts and choices and decisions without being triggered and having to take action and give meaning.
First time I got arrested, I knew somehow and some way, we would succeed. To go on the Freedom Ride to be beaten and left bloody and unconscious, to be beaten on that bridge in Selma, have a concussion - I thought that I was going to die on that bridge. But somehow and some way, I lived to tell about what happened, and I've seen some of the fruits of the labor of so many people, and people must understand that.
The everyday brain could be dubbed "the baseline brain," because it operates at the minimum functioning to keep you alive and healthy. It controls your heart rate, your blood pressure, your immune function, all of your subconscious impulses. That's not a minor role; the baseline brain is a marvel of complexity and efficiency. But too much of it is devoted to habits, old conditioning, unconscious reflexes, and lack of self-awareness.
Unconscious behavior is at the core. Think of the 40 billion animals we abuse and eat who are born into suffering. It's a karmic disaster.
I know playwrights who like to kid themselves into saying that their characters are so well formed that they just take over. They determine the structure of the play. By which is meant, I suspect, only that the unconscious mind has done its work so thoroughly that the play just has to be filtered through the conscious mind. But there's work to be done - and discovery to be made.
I suspect that the theme, the nature of the characters, and the method of getting from the beginning of the play to the end is already established in the unconscious.
Fellini was [David] Lynch's master and his biggest idol, and he believed in Fellini's view that film is a dream, it's not reality. It's all about delving into the unconscious.
Behavioral economics can explain some things, but it's hard to explain a lot of the underlying processes that generate these decisions, much less some of these unconscious things that we don't have a handle on at all.
Remember, when we're conscious of something, that state is quite often generated by unconscious processes that happen right before it.
I wanted to make a massive work so as soon as Nick Mitzevich invited me I said yes straight away and began to make the work. The island was made in direct response. I used the diagnostic tool of Rorschach blots - something designed to extract and evaluate the dark and unconscious elements of our personality.
Nobody that I know really likes the feeling of having no power and not being able to influence people. But most of us aren't too conscious of what we are trying to do and get that control and that power so people end up sort of playing all kinds of unconscious manipulative games or they're sort of half aware, they have an idea of a strategy or goal they want to use and they think about it. But then in the heat of the moment, it kind of all flies out the window.
[Sigmund Freud] makes the interpretation of dreams extremely simple: it deals in substance with discovering what unconscious desires, distorted but recognizable, are hid-den in the dream. Instead, for me the dream is a mixture of thoughts and sensations that man has when he is asleep, a mental state relatively protected from the constant noise that society makes.
[Carl Gustav] Jung was not right when he said that the unconscious message is always written clearly and so there is no need to seek to discover the distortions, because one must recognize that many dreams are more or less distortions.
The urban, on the other hand, is often seen as more real and mundane, even though it is obviously far more recent in terms of planetary development. I think this might be because nature corresponds to the unconscious and the artificial world of the city and human culture to the conscious mind.
If you look at the ox-herding pictures - specifically the newer set of ten pictures rather than the older set of eight - you see that after the blank circle of the void, the cycle comes back to a river flowing by the roots of a tree (both strong symbols of nature, the life-force, the unconscious) and to the wanderer returning to the market place, which is the realm of human society and activity.
I've always been interested in the intersection between our rational and our unconscious lives.
I unlearned the model of being an editor like Ezra Pound with T.S. Eliot, the unconscious belief that America was the center of the world, and that honesty meant saying what I thought and always being direct.
To challenge norms, presuppositions, practices in communities across this country - where the unconscious valorization and celebration of whiteness and conscious resistance to trying to grapple with black and brown and other peoples of color's ideas and identities - makes a huge difference.
The unconscious mind is way bigger than the conscious mind. Using tools to access its wisdom and self-organizing features is powerful medicine.
I'm always gratified when I check something I've made up and discover that I've gotten it right. How can we imagine something that turns out to be true? How can we know things we couldn't possibly know? It makes me wonder about the existence of a collective unconscious.
I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing.
When I start writing, my unconscious, my conflicts, my thoughts all start to come up. So for me, writing is an exploration. I never know how my stories will end.
I feel that when a white child goes to school only with white children, unconsciously that child grows up in many instances devoid of a world perspective. There is an unconscious provincialism, and it can develop into an unconscious superiority complex just as a Negro develops an unconscious inferiority complex.
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