A Quote by Gustav Mahler
The impressions of the spriritual experiences gave my future life its form and content.
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Our first impressions are generated by our experiences and our environment, which means that we can change our first impressions... by changing the experiences that comprise those impressions.
The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.
Collaboration and celebration (and gratitude) create impressions of success in your subconscious, so that you may create future experiences in which you feel celebrated and grateful.
The world is for thousands a freak show; the images flicker past and vanish; the impressions remain flat and unconnected in the soul. Thus they are easily led by the opinions of others, are content to let their impressions be shuffled and rearranged and evaluated differently.
What I gave out in the form of words would return to me as experiences.
To me, form is not something that you can plan beforehand, especially for a documentary. You can't write it or sketch it. It requires a confrontation with reality, with history, with ethics and morals. After identifying good content, you have to find the right form to express that content.
Good design is not about form following function. It is function with cultural content. By adding "cultural content" to the concept of "form follows function," objects cease to be finite or predictable. Maybe the right way to interpret the dictum is to first acknowledge that the function needs to be clearly understood before the form is considered.
There are as many archetypes as there are typical situations in life. Endless repetition has engraved these experiences into our psychic constitution, not in the forms of images filled with content, but at first only as forms without content, representing merely the possibility of a certain type of perception and action.
The person doing the worrying experiences it as a form of love; the person being worried about experiences it as a form of control.
These same experiences make of the sequence of life cycles a generational cycle, irrevocably binding each generation to those that gave it life and to those for whose life it is responsible. Thus, reconciling lifelong generativity and stagnation involves the elder in a review of his or her own years of active responsibility for nurturing the next generations, and also in an integration of earlier-life experiences of caring and of self-concern in relation to previous generations.
As a novelist, where do you go to tap into memories, and impressions, and sensations? It's usually, in my experience, your early life, before you started thinking of yourself as a writer, because somehow those experiences are unadulterated.
The present moment is changing so fast that we often do not notice its existence at all. Every moment of mind is like a series of pictures passing through a projector. Some of the pictures come from sense impressions. Others come from memories of past experiences or from fantasies of the future.
Without the aesthetic, the computer is but a mindless speed machine, producing effects without substance, form without relevant content, or content without meaningful form.
This is a human form in which every Divine entity, every Divine principle, that is to say, all the names and forms ascribed by man to God, are manifest... You are very fortunate that you have the chance to experiences the bliss of the vision of the form, which is the form of all gods, now, in this life itself.
I'm a content person and I'm content knowing that I gave it my all when I was president.
We are all the subjects of impressions, and some of use seek to convey the impressions to others. In the art of communicating impressions lies the power of generalizing without losing that logical connection of parts to the whole which satisfies the mind.
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