A Quote by Richard Overy
Goering's ideas betray a consistent desire to create something essentially new, implying all the historic virtues, but unlike [anything] of the past.
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We did major work at the White House. But what people often don't understand is that when you do a historic restoration, you can't just do whatever you want. You work alongside the fine-arts commission and are obliged to create a replica of the past, as close as humanly possible. It's a historic institution, not a showhouse.
And we should forget, day by day, what we have done; this is true non-attachment. And we should do something new. To do something new, of course we must know our past, and this is alright. But we should not keep holding onto anything we have done; we should only reflect on it. And we must have some idea of what we should do in the future. But the future is the future, the past is the past; now we should work on something new.
Choicelessness is the alchemy of transformation, of inner mutation. A new being is born who has nothing to do with the past, who is absolutely discontinuous with the past. He has no desire. And when there is no desire, for the first time you live
Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory.
Strength, Courage, Mastery, and Honor are the alpha virtues of men all over the world. They are the fundamental virtues of men because without them, no 'higher' virtues can be entertained. You need to be alive to philosophize. You can add to these virtues and you can create rules and moral codes to govern them, but if you remove them from the equation altogether you aren't just leaving behind the virtues that are specific to men, you are abandoning the virtues that make civilization possible.
I went on to discover that in its deepest sense, the will is not primarily the faculty of desire for anything known, but rather, the desire for something unknown, animate desire for something that lies beyond ourselves, a longing for something we know is missing in us.
Satan cannot create anything new, cannot create anything at all. He must steal what God has created. Thus he twists love and God's wonderful gift of sex into lust and sadism and myriad perversions. He disfigures the heart's deep desire to worship God and persuades us to bow before lesser gods of lust or money or power.
We are all, always, the desire not to die. This desire is as immeasurable and varied as life's complexity, but at bottom this is what it is: To continue to be, to be more and more, to develop and to endure. All the force we have, all our energy and clearness of mind serve to intensify themselves in one way or another. We intensify ourselves with new impressions, new sensations, new ideas. We endeavour to take what we do not have and to add it to ourselves. Humanity is the desire for novelty founded upon the fear of death. That is what it is.
Righteousness, or justice, is, undoubtedly of all the virtues, the surest foundation on which to create and establish a new state. But there are two nobler virtues, industry and frugality, which tend more to increase the wealth, power and grandeur of the community, than all the others without them.
During the production of the Steamboy film, what I put my most effort in was the process of layouts, and I did my best to check every detail. Once this process is done precisely, we will get great backgrounds from our art team. This makes the team effort fun. I can't create a movie by myself. It is worthy only because many staff bring new ideas and techniques. I think the appeal of being the director is to encounter such new things, which I don't possess. It is absolutely wonderful to create something new based on teamwork. It is something that I couldn't appreciate in my cartoonist days.
Earth, Wind & Fire was something new. I wanted to bring something innovative to the music. It was out of a desire to create excitement with music that was pleasurable to play and listen to.
Ideas matter in New York. I am certain that more conversations in New York are about ideas than anywhere else. Not just vague theories, but ideas that New Yorkers have the will, and the clout, to do something about.
Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.
Amsterdam is a breeding ground for new creative pursuits in many areas fueled by a tolerance and openness to ideas unlike any world city I've been to. There is something for everyone here, especially when you dare to go off the beaten path.
Wardruna is a combination of old and new. I use historical instruments and new and electronic instruments and tools. I use drones and samples to build these huge sounds. Sometimes just a sound can trigger words or melodies. I don't have a romantic notion about the past; with Wardruna I wanted to create something new using something old.
Peace is the absence of war, but beyond that peace is a commodity unlike any other. Peace is security. Peace is a mindset. Peace is a way of living. Peace is the capacity to transcend past hurts - to break cycles of violence and forge new pathways that say, I would like to make sure we live as a community where there is justice, security, and development for all members. At the end of the day, peace is an investment; it is something you create by investing in a way of life and monitoring where your resources go.
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