A Quote by Terence McKenna

Anything which must be understood by millions of people is so hopelessly divorced from how it is that it becomes a form of fiction. — © Terence McKenna
Anything which must be understood by millions of people is so hopelessly divorced from how it is that it becomes a form of fiction.
It must be understood that prime matter, and form as well, is neither generated nor corrupted, because every generation is from something to something. Now that from which generation proceeds is matter, and that to which it proceeds is form. So that, if matter or form were generated, there would be a matter for matter and a form for form, endlessly. Whence, there is generation only of the composite, properly speaking.
It is through you, actors, that the forces which are understood by millions and that tell of everything that is beautiful on earth, find expression. The forces which reveal to people the happiness of living in a widened consciousness and in the joy of creative work for the whole world. You, the actors of a theatre, which is one of the centres of human culture, will never be understood by the people if you are unable to reflect the spiritual needs of your time, the now in which you are living.
Everything which has name and form must die. If there are heavens with forms, these heavens must vanish in course of time; they may last millions of years, but there must come a time when they will have to go.
It's a funny thing, 'The Office,' because millions and millions and millions and millions of people didn't watch it. But culturally, it is more of a phenomenon than almost anything else I can remember as far as British television is concerned.
For ages happiness has been represented as a huge precious stone, impossible to find, which people seek for hopelessly. It is not so; happiness is a mosaic, composed of a thousand little stones, which separately and of themselves have little value, but which united with art form a graceful design.
Muddy language is not confined to policies alone. Each of you has seen replies to simple questions in which the meaning was lost through hopelessly obscure wording. When a person writes to the Veterans Administration, he is entitled to an easily understood, frank, and courteous reply. If our replies cannot be understood, they are not only not worth writing, but they simply create additional work.
Something must have form to be seen but must make sense to be understood and used.
Meditation is object-less. If you use any object, then it is not meditation; it becomes thinking. It becomes contemplation; it becomes reflection, but not meditation. This is the most essential point to be understood. This is the essence of a meditative state: that it is object-less. Only consciousness is there, but not conscious ABOUT anything. Consciousness without being conscious of anything - this is the nature of meditation.
This is something basic to be understood - the ego must come to a peak, it must be strong, it must have attained an integrity - only then can you dissolve it. A weak ego cannot be dissolved. And this becomes a problem.
Those who have gone through the high school of reporterdom have acquired a new instinct by which they see and hear only that which can create a sensation, and accordingly their report becomes not only a careless one, but hopelessly distorted.
I'm always looking for context in which people tell stories. In "Fight Club" it's these support groups for dying people, and then in "Choke" it's 12-step recovery groups. In one novel it's artists' colonies, in another novel it's a diary form that submariners' wives typically keep so that when their husband comes back from serving on a submarine they have an accounting of their spouse's time. So I'm always looking for, number one, a non-fiction context - because you can tell a more outrageous story if you use a non-fiction form.
Steven Pinker says, the invention of printing and the widespread appearance of fiction - this taught empathy. If you read a novel, you're in someone else's head, in three, five different people's heads. Suddenly, the principle of "Don't do anything to anyone that you wouldn't want done to you" becomes real in people's minds. That's a fantastic achievement if fiction is indeed partly responsible for it. That's a great thing to be a part of. In the end, then, I don't know if writers have legislated, but they have civilized.
Let it be understood, in the first place, that a science fiction story must be an exposition of a scientific theme and it must be also a story.
Science fiction is always a vehicle for ideas. It's the form which allows either movies or books to be an exploration of how we should live.
In time truth and science and nature will adapt themselves to art. Things will happen logically, and the villain be discomfited instead of being elected to the board of directors. But in the meantime fiction must not only be divorced from fact, but must pay alimony and be awarded custody of the press despatches.
Science fiction is essentially a kind of fiction in which people learn more about how to live in the real world, visiting imaginary worlds unlike our own, in order to investigate by way of pleasurable thought-experiments how things might be done differently.
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