A Quote by Sylvia Ashton-Warner

Education, fundamentally, is the increase of the percentage of the conscious in relation to the unconscious. It must be a developing idea. — © Sylvia Ashton-Warner
Education, fundamentally, is the increase of the percentage of the conscious in relation to the unconscious. It must be a developing idea.
Every day-care center, whether it knows it or not, is a school. The choice is never between custodial care and education. The choice is between unplanned and planned education, between conscious and unconscious education, between bad education and good education.
Big ideas come from the unconscious. This is true in art, in science, and in advertising. But your unconscious has to be well informed, or your idea will be irrelevant. Stuff your conscious mind with information, then unhook your rational thought process. You can help this process by going for a long walk, or taking a hot bath, or drinking half a pint of claret. Suddenly, if the telephone line from your unconscious is open, a big idea wells up within you.
No one yet understands the mysterious intelligence within plants or the implications of the idea that nature communicates in a basic chemical language that is unconscious but profound. We do not yet understand how hallucinogens transform the message in the unconscious into revelations beheld by the conscious mind.
Admittedly or not, conscious or unconscious, the poetic state, a transcendent experience of life, is what the public is fundamentally seeking through love, crime, drugs, war, or insurrection.
No organism can afford to be conscious of matters with which it could deal at unconscious levels. Broadly, we can afford to sink those sorts of knowledge which continue to be true regardless of changes in the environment, but we must maintain in an accessible place all those controls of behavior which must be modified for every instance. The economics of the system, in fact, pushes organisms toward sinking into the unconscious those generalities of relationship which remain permanently true and toward keeping within the conscious the pragmatic of particular instances.
Where philosophy ends, poetry must commence. There should not be a common point of view, a natural manner of thinking which standsin contrast to art and liberal education, or mere living; that is, one should not conceive of a realm of crudeness beyond the boundaries of education. Every conscious link of an organism should not perceive its limits without a feeling for its unity in relation to the whole. For example, philosophy should not only be contrasted to non-philosophy, but also to poetry.
Countries with high levels of atheism are . . . the most charitable both in terms of the percentage of their wealth they devote to social welfare programs and the percentage they give in aid to the developing world.
Women must work doubly hard to overcome their conditioning in order to become enlightened. They must erase both conscious and unconscious ideas of sexual inferority that have been programmed into their awareness.
Nobody ever arrives at a very big idea through a conscious, rational thought process. It comes from your unconscious.
However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.
Psychoanalysis pretends to investigate the Unconscious. The Unconscious by definition is what you are not conscious of. But the Analysts already know what's in it - they should, because they put it all in beforehand.
The bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious.
We shall probably get nearest to the truth if we think of the conscious and personal psyche as resting upon the broad basis of an inherited and universal psychic disposition which is as such unconscious, and that our personal psyche bears the same relation to the collective psyche as the individual to society.
Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
Designers must be both conscious and unconscious at the same time. Clear thinking at the wrong moment can stifle talent.
The best indicator of your level of consciousness is how you deal with life's challenges when they come. Through those challenges, an already unconscious person tends to become more deeply unconscious, and a conscious person more intensely conscious. You can use a challenge to awaken you, or you can allow it to pull you into even deeper sleep. The dream of ordinary unconsciousness then turns into a nightmare.
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