A Quote by Pierre Alechinsky
Being an artist and being a teacher are two conflicting things. When I paint, my work manifests the unexpected... In teaching it's just the opposite. I must account for every line, shape and colour and I am forced to give an explanation of the inexplicable and account for the variety of styles the students present.
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The teacher is of course an artist, but being an artist does not mean that he or she can make the profile, can shape the students. What the educator does in teaching is to make it possible for the students to become themselves.
We have to make myths of our lives, the point being that if we do, then every grief or inexplicable seizure by weather, woe, or work can-if we discipline ourselves and think hard enough-be turned to account, be made to yield further insight into what it is to be alive, to be a human being.
Whichever theory we adopt to give a rational explanation of human existence, that theory must take into account and explain the mental nature we see at work in all modern communities.
Men in their teenage years and even into their mid to late 20s, they're just baboons. They're really not capable of taking account of other people's feelings, being considerate, being intimate. And this is the bottom line.
Make account that thou hast done nothing, and then thou hast done all. For if, being sinners, when we account ourselves to be what we are, we become righteous, as indeed the Publican did; how much more, when being righteous we account ourselves to be sinners.
I declare and I challenge all mankind to contradict my declaration, that no man can give any account of the order of Freemasonry, of its origin, of its history, of its object, nor any explanation of its mysteries and symbols, which does not leave the mind in total uncertainty on all these points. Every man is entitled therefore, to give any explanation of the symbols and a system of the doctrine that he can render palatable.
This is the road I have tried to follow as a teacher: living my convictions; being open to the process of knowing and being sensitive to the experience of teaching as an art; being pushed forward by the challenges that prevent me from bureaucratizing my practice; accepting my limitations, yet always conscious of the necessary effort to overcome them and aware that I cannot hide them because to do so would be a failure to respect both my students and myself as a teacher.
You must not on any account give me credit for being penetrating. I have impressed people that way before, and the result is always disaster.
An account of an expedition is not a novel. Therefore an authentic account can never be given, let alone written down by someone who was not present.
A teacher who can show good, or indeed astounding results while he is teaching, is still not on that account a good teacher, for it may be that, while his pupils are under his immediate influence, he raises them to a level which is not natural to them, without developing their own capacities for work at this level, so that they immediately decline again once the teacher leaves the schoolroom.
Because Ivy [Wilkes] is just starting out as an artist, I wanted to focus on [Georgia] O'Keeffe's experiences when she was just starting out. I suspect there is a difference between being an unknown artist and being a celebrated artist. When nobody knows your work, nobody except you really cares whether or not you paint.
'A Talk to Teachers' showed me that a teacher's work should reject the false pretense of being apolitical and, instead, confront the problems that shape our students' lives.
The purpose of studying Buddhism is not to study Buddhism, but to study ourselves. That is why we have teaching. But the teaching is not ourselves. It is some explanation of ourselves. To study the teaching is to know yourselves. That is why we do not ever attach to the teaching, or to the teacher. The moment you meet a teacher you should leave the teacher, and you should be independent. You want a teacher so that you can be independent. So you study yourselves. You have the teacher for yourselves, not for the teacher.
Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.
Time I have only just a minute. Only sixty seconds in it. Forced upon me, can't refuse it. Didn't seek it, didn't choose it. But it's up to me to use it. I must suffer if I lose it. Give account if I abuse it, Just a tiny little minute but eternity is in it.
The play account rule is that it must be spent every month. That's right! Each month you have to blow all the money in that account in a way that makes you feel rich. For example, imagine walking into a massage center, dumping all the money from your account on the counter, pointing to the massage therapists, and saying, "I want both of you on me. With the hot rocks and the frickin' cucumbers. After that, bring me lunch!"
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