A Quote by Gregory Bateson

Creative thought must always contain a random component. — © Gregory Bateson
Creative thought must always contain a random component.
I wrote my novel 'Bitter Greens' as the creative component of a Doctorate of Creative Arts and am now looking at the history of the Rapunzel tale as my theoretical component.
Must simplicity and humanity go under in the interest of progress? What is the most important component of civilization - is it human or mechanical? Must thought processes become involved and insincere? Must the class-struggle warp those who are involved in it?
Music is a lot more like solving an intricate puzzle with moments of pure, random creative bliss... whereas painting is much more purely random creative bliss with moments of problem solving.
For video clips, you can always assume that there is a creative component since you are literally dealing with production values.
Thought is the creative power, or the impelling force which causes the creative power to act; thinking in a Certain Way will bring riches to you, but you must not rely upon thought alone, paying no attention to personal action. That is the rock upon which many otherwise scientific metaphysical thinkers meet shipwreck–the failure to connect thought with personal action.
What does not contain love must contain an illusion.
I've always liked to write, but I never thought I could make a career out of it. I went to business school because in the '80, it was the thing to do. I thought that marketing was a way to be creative in business, but quickly learned all creative stuff happens at the ad agency.
Hence, a generative grammar must be a system of rules that can iterate to generate an indefinitely large number of structures. This system of rules can be analyzed into the three major components of a generative grammar: the syntactic, phonological, and semantic components... the syntactic component of a grammar must specify, for each sentence, a deep structure that determines its semantic interpretation and a surface structure that determines its phonetic interpretation. The first of these is interpreted by the semantic component; the second, by the phonological component.
If I had to express in one word what makes their [creative individuals'] personalities different from others, it's complexity. They show tendencies of thought and action that in most people are segregated. They contain contradictory extremes; instead of being an "individual," each of them is a "multitude."
I see painting as an evocative magic, and there must always be a random factor in magic, one which must be constantly changed and renewed.
For a scientist must indeed be freely imaginative and yet skeptical, creative and yet a critic. There is a sense in which he must be free, but another in which his thought must be very preceisely regimented; there is poetry in science, but also a lot of bookkeeping.
Meat consumption is a part of our evolutionary heritage; meat production has been a major component of modern food systems. Carnivory should remain, within limits, an important component of a civilization that finally must learn how to maintain the integrity of its only biosphere.
If God does nothing random, there must always be something to learn.
Talking about one's feelings defeats the purpose of having those feelings. Once you try to put the human experience into words, it becomes little more than a spectator sport. Everything must have a cause, and a name. Every random thought must have a root in something else.
Any random group of thirty Vietnamese women will contain a dozen who make Julia Roberts look like Lyle Lovett.
Rousseau had it backwards. We are NOT born free. We are born in the chains of the random and the reflexive, and are ignorant and unreasonable by simple nature. We must learn to be free, to organize the random and detect the reflexive, to acquire the knowledge of particulars and the powers of reason. The examined life is impossible if we cannot examine, order, classify, define, distinguish, always in minute particulars.
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