A Quote by Milan Kundera
The word change, so dear to our Europe, has been given a new meaning: it no longer means a new stage of coherent development (as it was understood by Vico, Hegel or Marx), but a shift from one side to another, from front to back, from the back to the left, from the left to the front (as understood by designers dreaming up the fashion for the next season).
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...our life crises tell us that we need to break free of beliefs that no longer serve our personal development.
These points at which we must choose to change or to stagnate are our greatest challenges.
Every new crossroads means we enter into a new cycle of change - whether it be adopting a new health regimen or a new spiritual practice.
And change inevitably means letting go of familiar people and places and moving on to another stage of life.
Europe has another meaning for me. Every time I mention that word, I see the Bosnian family in front of me, living far away from whatever they call home and eating their own wonderful food because that's all that is left for them. The fact remains that after fifty years, it was possible to have another war in Europe; that it was possible to change borders; that genocide is still possible even today.
The Law Polarity decrease that everything has an opposite it's the flip side of the coin, you're right my left, the front the back, consider this next time you disagree with someone because their right from their point of view.
When I left Leipzig I was thinking about my next step, and I want to stand in front of a new team, new language, to get developed personally and in my view of football. That's why I made the decision to come to Southampton.
He gave a small nod, and I smiled back, and that was it. He understood that I'd understood that he'd understood. It took us one sentence, two looks, and a nod - with another woman it would have been at least five minutes of out-loud talking. Lucky for me I spoke fluent guy.
New York has always been a city of change and a city about change, and it is a back-leading development. Nobody's going to want to come to New York if it looks like another strip mall.
It was understood that when I left to do the pilot that I wasn't coming back.
I understood immediately that to get success I had to make for the front door, not for the back one.
When we shift back to feeling the sensations in our body and connect to what's in front of us, the creative channel opens up.
In the Eighties, Japanese fashion designers brought a new type of creativity; they brought something Europe didn't have. There was a bit of a shock effect, but it probably helped the Europeans wake up to a new value.
I believe that if we don't offer legal ways of emigrating to Europe and immigrating within Europe, we will be lost. If those who come - who are, generally speaking, the poor and needy - are no longer able to enter the house of Europe through the front door, they'll keep making their way in through the back windows.
My grandfather left Cuba when Castro came into power and literally left everything. He had two suitcases and two kids and showed up in New Jersey and waited for my uncle to meet up with him. Imagine - there were no cell phones back then!
The great thing about working on a genre show is that you can basically have a season finale where every character is left destroyed, and then hit the reset button and come back for the next season.
Everything takes you back to yourself. When you get there, you know you never left. You only dreamt you left. You have never been other than that. You are only dreaming due to the idea of 'I am the body.'
Too much of our work amounts to the drudgery of arranging means toward ends, mechanically placing the right foot in front of the left and the left in front of the right, moving down narrow corridors toward narrow goals. Play widens the halls. Work will always be with us, and many works are worthy. But the worthiest works of all often reflect an artful creativity that looks more like play than work.
I was always playing the Hammond Organ back to front even during the days of the Nice, going back to 1968. Really what I was doing there, was choosing notes at random and trying to make some sense of them, improvising back to front.
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