A Quote by Joko Beck
Most of our difficulties, our hopes, and our worries are empty fantasies. Nothing has ever existed except this moment. That's all there is. That's all we are. Yet most human beings spend 50 to 90 percent or more of their time in their imagination, living in fantasy. We think about what has happened to us, what might have happened, how we feel about it, how we should be different, how others should be different, how it's all a shame, and on and on; it's all fantasy, all imagination. Memory is imagination. Every memory that we stick to devastates our life.
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I'm interested in the parallel narrative of our fantasy lives. How the moment of 'now' that is palpably real, is surrounded by our memories, our dreams and hopes, the stories and connections that our brains make as we navigate a universe of fantasy, or unreality, or surreality. I'm keen to explore this very human experience, how our minds create our own realities, a blend of fact and interpretation of fact.
Those who make us believe that anything’s possible and fire our imagination over the long haul, are often the ones who have survived the bleakest of circumstances. The men and women who have every reason to despair, but don’t, may have the most to teach us, not only about how to hold true to our beliefs, but about how such a life can bring about seemingly impossible social change.
Henry Corbin creates the world - most of all his examination of the imagination and what the imagination was for him. Some philosophers would think of the imagination as a synthetic ability, how you put different things together. Artists more think of the imagination as creativity. So I really like the way that he presents the imagination as a faculty that allows one to experience worlds that are not exactly physical but are real nonetheless.
Who can keep us from recreating our life as we would like it to be-as it could, and should be? No one but ourselves can keep us from being artists, rather than marching forward like mere consumers, corporate robots, sheep. No one but ourselves can keep us from dancing with life instead of goose-stepping. In every moment recognizing our own creative imagination, the living picture we paint on the canvas of our lives. Everything is imagination. And imagination is freedom, but it can also be conditioning, bondage.
One study says that 90 percent of our everyday behavior is based on our habits. . . That means how we treat people, how we spend our money, what we watch, what we listen to - 90 percent of the time, we're on autopilot. We do what we've always done.
I think imagination is at the heart of everything we do. Scientific discoveries couldn't have happened without imagination. Art, music, and literature couldn't exist without imagination. And so anything that strengthens imagination, and reading certainly does that, can help us for the rest of our lives.
I think that every educator, indeed every human being, is concerned with what is true and what is not; what experiences to cherish and which ones to avoid; and how best to relate to other human beings. We differ in how conscious we are of these questions; how reflective we are about our own stances; whether we are aware of how these human virtues are threatened by critiques (philosophical, cultural) and by technologies (chiefly the digital media). A good educator should help us all to navigate our way in this tangled web of virtues.
We should use our imagination more than our memory.
I feel strongly that we, all of us, are brothers and sisters, and nothing interferes with that except our education, our background, where we grew up and how we should do it. If you eliminated all those negatives and gave us an open view of what life would be like, it would be different.
We live in a society where we're not taught how to deal with our weaknesses and frailties as human beings. We're not taught how to speak to our difficulties and challenges. We're taught the Pythagorean theorem and chemistry and biology and history. We're not taught anger management. We're not taught dissolution of fear and how to process shame and guilt. I've never in my life ever used the Pythagorean theorem!
Most of our music is about how we perceive the world and how we try to persist as normal, average human beings. So our fans inspire us and give us a direction to go as musicians. And of course, their love and support keeps us going.
That's grossing money for other people that has a multiplying factor, but the government doesn't see that. It doesn't see that making a film or culture or art is part of our economy. But the main reason is this, it's part of our identity. I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual and he's stops being an individual.
I think the anti-prostitution feminists need to do some consciousness-raising amongst themselves about their feelings. But that's a different political activity. Asking ourselves, how do we feel about the fact that our boyfriends, our husbands, our male partners might hire sex workers? They should have that conversation, but they shouldn't attach it to policy conversations that affect people.
Most of us enter adult life with great ambitions for how we will start our own ventures, but the harshness of life wears us down. We settle into some job and slowly give in to the illusion that our bosses care about us and our future, that they spend time thinking of our welfare.
We may seem the weakest and most insignificant of all the Realms, but our strength comes in other ways. We have what no other race has: imagination. Any one of us, even the lowliest, can create worlds within ourselves; we can people them with the most extraordinary creatures, the most amazing inventions, the most incredible things. We can live in those worlds ourselves, if we choose; and in our own worlds, we can be as we want to be. Imagination is as close as we will ever be to godhead, Poison, for in imagination, we can create wonders.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
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