A Quote by Elise M. Boulding

Storytelling bridges the generational gaps in ideology. — © Elise M. Boulding
Storytelling bridges the generational gaps in ideology.
The gaps in power, the gaps in wealth, the gaps in ideology which hold the nations apart also make up the abyss into which mankind can fall to annihilation.
Bridges are burning all around us; bridges to responses that might have mitigated the already brutal (and just beginning) ravages of Peak Oil; bridges to reduce the likelihood of war and famine; bridges to avoid our selectively chosen suicide; bridges to change at least a part of energy infrastructure and consumption; bridges to becoming something better than we are or have been; bridges to non-violence. Those bridges are effectively gone.
The power of storytelling is exactly this: to bridge the gaps where everything else has crumbled.
Whatseems to take place outside ideology (to be precise, in the street), in reality takes place in ideology. What really takes place in ideology seems therefore to take place outside it. That is why those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, 'I am ideological.'
The idea that God resides in the unknown is what philosophers call the God of the gaps. And we have this thing called science, which marches on and makes discoveries in those gaps, ultimately closing gaps.
The gaps are the thing. The gaps are the spirit's one home, the altitudes and latitudes so dazzlingly spare and clean that the spirit can discover itself like a once-blind man unbound. The gaps are the clefts in the rock where you cower to see the back parts of God; they are fissures between mountains and cells the wind lances through, the icy narrowing fiords splitting the cliffs of mystery. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock-more than a maple-universe.
One of the real ways out of conflict is humour. It builds bridges; it's a weapon against rigid ideology, narrow thinking, intolerance.
I think ideology is toxic, all ideology. It's not that there are good ones and bad ones. All ideology is toxic, because ideology is a kind of insult to the gift of human free thinking.
Every work of art (unless it is a psuedo-intellectualist work, a work already comprised in some ideology that it merely illustrates, as with Brecht) is outside ideology, is not reducible to ideology. Ideology circumscribes without penetrating it. The absence of ideology in a work does not mean an absence of ideas; on the contrary it fertilizes them.
A descendant of enslaved people, George Floyd was born with generational trauma in his DNA and denied the generational wealth that belonged to his family.
The minimum necessary structuring ingredient of every ideology is to distance itself from another ideology, to denounce its other as ideology.
I don't find the wave model very productive, because I think it kind of serves to fan the flames of generational tension, or make it seem like there's more generational tension than there actually is.
Usually, you do a shakeup because you know that you have a problem or you gaps and you're going to fill those gaps.
I like gaps; all my stories have gaps. It seems this is the way people's lives present themselves.
We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We're the kind of band that can cross those lines.
In 1995, I founded a storytelling program for children called Neighborhood Bridges in collaboration with the Children's Theatre Company of Minneapolis, which is 15 elementary schools in the Twin Cities.
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