A Quote by Vladimir Nabokov
A novelist is, like all mortals, more fully at home on the surface of the present than in the ooze of the past.
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If you've ever had the experience of being in conversation with someone when they were fully present, listening deeply to you when you're sharing with them, you know that five minutes of a fully present conversation like that can be more powerful than 30 minutes of distracted conversation.
My reason [for making my own paint] is to force a real-time experience of the work. Most work today is experienced by reproduction, and more specifically by computer screen, like jpegs, but an RGB simulation of fluorescent will never fully accurately depict some colors. For example, our eyes are a lot more sophisticated than you might assume. You can feel a lot more going on on the surface of a canvas than you can on the surface of a screen.
What we are left with then is the present, the only time where miracles happen. We place the past and the future as well into the hands of God. The biblical statement that “time shall be no more” means that we will one day live fully in the present, without obsessing about past or future.
You think you're safe. Until you see a picture like that. And then you know you'll always be a slave to the present because the present is more powerful than the past, no matter how long ago the present happened.
Nothing is more precious than being in the present moment. Fully alive, fully aware.
History in Burckhardt's words is 'the record of what one age finds worthy of note in another.' The past is intelligible to us only in light of the present; and we can fully understand the present only in light of the past. To enable man to understand the society of the past and to increase his mastery over the society of the present is the dual function of history.
Too many leaders are so caught up in the momentum of work that they lose sight of the opportunity to connect with people. I discovered that the more fully present I was with other people, the more fully present they were with me, and the more productive our relationship became over time.
But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past - or more accurately, pastness - is a position. Thus, in no way can we identify the past as past
The future has no other reality than as present hope, and the past is no more than present memory.
As our lives speed up more and more, so do our children's. We forget and thus they forget that there is nothing more important than the present moment. We forget and thus they forget to relax, to find spiritual solitude, to let go of the past, to quiet ambition, to fully enjoy the eating of a strawberry, the scent of a rose, the touch of a hand on a cheek...
The Novelist As Teacher”: “I would be quite satisfied if my novels (especially the ones I set in the past) did no more than teach my readers that their past – with all its imperfections – was not one long night of savagery from which the first Europeans acting on God’s behalf delivered them.
The present is an infinitesimal between two infinites. 'Tis a line (a thing without breadth or thickness) moving across the surface of Eternity. The present is no more, by the time you have said, 'This is present.'
Where you come from now is much less important than where you're going. More and more of us are rooted in the future or the present tense as much as in the past. And home, we know, is not just the place where you happen to be born. It's the place where you become yourself.
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
In fact, the history of North America has been perhaps more profoundly influenced by man's inheritance from his past homes than by the physical features of his present home.
You have to keep being curious. The notion that the present is different than the past, and the future will be different than the present, and the present is past, as we say it. I think I, by nature, am an optimist. Maybe I was driven to escape from my childhood and to be something, create my own world or career the way I wanted it to be. And I keep doing that in very interesting ways.
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