A Quote by Henri Frederic Amiel
Time is but the measure of the difficulty of a conception. Pure thought has scarcely any need of time, since it perceives the two ends of an idea almost at the same moment.
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Where to begin? Do we measure the relaxing of the feet? The moment when the eye glimpses the hawk, when instinct functions? For in this pure action, this pure moving of the bird, there is no time, no space, but only the free doing-being of this very moment -now!
Take one story, viewed from two different angles. It is the same day, the same moment, but one angle ends happily... and the other ends badly.
Moment to moment, it turns out, is not God's conception, or nature's. It is man conversing with himself about and through a piece of machinery he created."We effectively became "time-keepers, and then time-savers, and now time-servers" with the invention of the clock."
When a thought of Plato becomes a thought to me,--when a truth that fired the soul of Pindar fires mine, time is no more. When I feel that we two meet in a perception, that our two souls are tinged with the same hue, and do as it were run into one, why should I measure degrees of latitude, why should I count Egyptian years?
Time doesn't exist. It doesn't exist in any way. It's more subjective than real. Time doesn't exist. I believe in memory. Memory is the real inspiration. Memory creates time. Memory is pure power. Pure power and pure strength, and pure utilization of space and time (if time is something we can really ever label). But I don't believe in time itself.
For me, architects and film directors operate similarly. They are practical. As an architect, you know what you want in the conception of a space - but you still need a lot of people to help you out. You need an engineer, interior architects. But a film is the same - you have all these elements. But in terms of concept, it's always about time. When you approach a building, you need time to go from point A to B. Buildings are designed as a journey and films are the same, you have an opening that you come through, an angle you follow, maybe a disruption in space.
Mind training is based on the idea that two opposite mental factors cannot happen at the same time. You could go from love to hate. But you cannot, at the same time - toward the same object, the same person - want to harm and want to do good.
It's so funny. I honestly thought every one of those people on the show could beat anyone at any time anywhere. You just have to have a slightly off day or moment or two or you missed a touch of acid. It has nothing to do with credentials. Anyone could've chopped anyone at any time. I had to look at myself as the one who could lose this the most.
To make money, to gather knowledge, to learn a new skill, to explore new territory, even to get from A to B - for all these things you need time. For almost everything you need time, except for one thing: to embrace the present moment.
...I feel more alive when I'm writing than I do at any other time--except when I'm making love. Two things when you forget time, when nothing exists except the moment--the moment of writing, the moment of love. That perfect concentration is bliss.
The way I was brought up in improv was that any idea you have is not as good as your partner's idea, so if I see someone else initiating at the same time I am, I just defer to them because I assume their idea is going be better. And hopefully, they're doing the same with me.
Life is intrinsically, well, boring and dangerous at the same time. At any given moment the floor may open up. Of course, it almost never does; that's what makes it so boring.
Men need to be aware of the health of their bodies, as well - prostate cancer and breast cancer are almost on the same level. It's fascinating to me that the correlation between the two is almost the same - people don't talk about it so much, but they are almost equal in numbers.
This is a glorious biography ... The time is ripe for a new biography of Edith Wharton of this intimacy and on this scale ... Lee the biographer pursues her subject down every winding corridor, into every hidden passage and dark corner ... Her critical exploration of Edith Whartons work is dazzlingly assured ... A feat of exhaustive research, and finely tuned to Whartons creative achievement at the same time ... [Wharton] could scarcely have failed to be impressed by ... its artistic sympathy, its sonorous depths, and its soaring conception.
We are seeing, then, that our experience is altogether momentary. From one point of view, each moment is so elusive and so brief that we cannot even think about it before it has gone. From another point of view, this moment is always here, since we know no other moment than the present moment. It is always dying, always becoming past more rapidly than imagination can conceive. Yet at the same time it is always being born, always new, emerging just as rapidly from that complete unknown we call the future. Thinking about it almost makes you breathless.
You can't measure time the way you measure the distance between two points.
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