A Quote by Noreena Hertz
Get into the habit of imagining an alternate scenario. By posing such 'imagine if' questions... we can distance ourselves from the frames, cues, anchors and rhetoric that might be affecting us.
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Don't spend a lot of time imagining the worst-case scenario. It rarely goes down as you imagine it will, and if by some fluke it does, you will have lived it twice.
Every habit is made of three parts... a cue, a routine and a habit. Most people focus on the routine and behavior, but these cues and rewards are really the way you make something into a habit.
There are two types of people-anchors and motors. You want to lose the anchors and get with the motors because the motors are going somewhere and they're having more fun. The anchors will just drag you down.
You can imagine over very long timescales, perhaps far beyond the multi-decade time scale, we might be able to ask very deep questions about why we feel the way we feel about things, or why we think of ourselves in certain ways - questions that have been in the realm of psychology and philosophy but have been very difficult to get a firm mechanistic laws-of-physics grasp on.
It's important to cultivate detachment. One way to do this is to practice imagining yourself dead, or in the process of dying. If there's a window, you must imagine your body falling out the window. If there's a knife, you must imagine the knife piercing your skin. If there's a train coming, you must imagine your torso flattened under its wheels. These exercises are necessary to achieving the proper distance.
Others of us are lost. We're forever seeking. We torture ourselves with philosophies and ache to see the world. We question everything, even our own existence. We ask a lifetime of questions and are never satisfied with the answers because we don't recognize anyone as an authority to give them. We see life and the world as an enormous puzzle that we might never understand, that our questions might go unanswered until the day we die, almost never occurs to us. And when it does, it fills us with dread.
To me, one of the most profound questions we can ask is: "So what?" And so what if there's an indefinite number of worlds with alternate "us-es" in them? The "so what," to me, comes alive when I ask myself: "What if I could find a way to get in touch with those alternate mes who made those choices?" That is, persons who, if I saw them now, I wouldn't even recognize because their choices, once small, have multiplied to make them such different people.
By being receptive, we can avail ourselves of the spiritual wealth available to us. By being open, we can receive things beyond what we ourselves might imagine.
Because when you are imagining, you might as well imagine something worth while.
We are always imagining something, It is practically impossible to be awake without imagining something. Then why not imagine something at all times that will inspire the powers within us to do greater and greater things?
And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.
Fear is the workout we give ourselves imagining what will happen if things don't work out. . . . Worry is our effort to imagine every possible way to avoid the outcome that is causing us fear, and failing that, to survive the thing that we fear if it comes to fruition.
Don't believe in imagining things different from what they really are. When the Lord puts us in certain circumstances He doesn't mean for us to imagine them away.
...it is sensible to begin by asking the beginning questions, why imagine power in the first place, and what is the relationship between one's motive for imagining power and the image one ends up with.
Photographs need to demand the viewer's attention, often implicitly, posing questions as to the nature of what is being depicted. Photographs are not there to show us the world, but to show us a version of what may be happening.
You are here. However you imagine yourself to be, you are here. Imagine yourself as a body, you are here. Imagine yourself as God, you are here. Imagine yourself as worthless, superior, nothing at all, you are still here. My suggestion is that you stop all imagining, here.
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