A Quote by Rob Bell

Many in the modern world fell for the myth that we're living in a static, fixed, flat reality of just material things. — © Rob Bell
Many in the modern world fell for the myth that we're living in a static, fixed, flat reality of just material things.
How can there be methods and systems to arrive at something that is living? To that which is static, fixed, dead, there can be a way, a definite path, but not to that which is living. Do not reduce reality to a static thing and then invent methods to reach it. ...Truth has no path. Truth is living and, therefore, changing. It has no resting place, no form, no organized institution, no philosophy. When you see that, you will understand that this living thing is also what you are. You cannot express and be alive through static, put-together form, through stylized movement.
A myth is a fixed way of looking at the world which cannot be destroyed because, looked at through the myth, all evidence supports the myth.
For something that is static, fixed, dead, there can be a way or a definite path; but not for anything that is moving and living.
As a child I became a confirmed believer in the ancient gods simply because as between the reality of fact and the reality f myth, I chose myth...Myth is the truth of fact, not fact the truth of myth.
The actual world, not some fantastic structure that has nothing to do with reality, must provide the material for modern poetry.
The world is complex, dynamic, multidimensiona l; the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?
I remember Karoi as a very hot, flat place, but in reality, it is all hills. We just lived next to an airstrip - the only flat piece of land around. That was my world as a three-year-old and sums up the indelible power of memory to a young child.
The convenience of timekeeping is greatly overrated; and the people who practice it so faithfully that they lose the capacity for appreciating the fixed and the static and the spatially related experiences cut themselves off from a good part of reality.
To the engineer, all matter in the universe can be placed into one of two categories: (1) things that need to be fixed, and (2) things that will need to be fixed after you've had a few minutes to play with them. Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.
When she fell asleep, she dreamed of death-- not just for her, not just for her species, but for every living thing she had ever known. The earth was flat and brown, a field of dirt as barren as the moon, a single road stretching in the distance. the last to fall were the buildings, distant and solemn, the gravestones for an entire world. Then they disappeared, and there was nothing left but nothing.
In problem-posing education, people develop their power to perceive critically the way they exist in the world with which and in which they find themselves; they come to see the world not as a static reality, but as a reality in process, in transformation.
But myth is something else than an explanation of the world, of history, and of destiny. Myth expresses in terms of the world - that is, of the other world or the second world - the understanding that man has of himself in relation to the foundation and the limit of his existence. Hence to demythologize is to interpret myth, that is, to relate the objective representations of the myth to the self-understanding which is both shown and concealed in it.
Once a poet calls his myth a myth, he prevents the reader from treating it as a reality; we use the word "myth" only for stories we ourselves cannot believe.
We are all connected and operate within living fields of thought and perception. The world is not fixed but is in constant flux; accordingly, the future is not fixed, and so can be shaped.
To believe in the supernatural is not simply to believe that after living a successful, material, and fairly virtuous life here one will continue to exist in the best-possible substitute for this world, or that after living a starved and stunted life here one will be compensated with all the good things one has gone without: it is to believe that the supernatural is the greatest reality here and now.
I always have difficulty with the Greek tragic plays. I think the difficulty one has - which is a serious problem - is the question of belief. Do you believe in the myth that the play expresses? Do you believe in it as myth or as reality? With any play, you have to believe in it as reality. You can't act a myth.
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