A Quote by Warren Farrell

The less a man is willing to give up a sex object, the more he'll be trapped into becoming a success object. — © Warren Farrell
The less a man is willing to give up a sex object, the more he'll be trapped into becoming a success object.
For example, the equivalent of a woman being treated as a sex object is a man being treated as a success object.
Economists tell us that the 'price' of an object and its 'value' have very little or nothing to do with one another. 'Value' is entirely subjective economic value, anyway while 'price' reflects whatever a buyer is willing to give up to get the object in question, and whatever the seller is willing to accept to give it up. Both are governed by the Law of Marginal Utility, which is actually a law of psychology, rather than economics. For government to attempt to dictate a 'fair price' betrays complete misunderstanding of the entire process.
Nothing is more maddening than being questioned by the object of one's interest about the object of hers, should that object not be you.
Object in/ and space - the first impulse may be to give the object - a position - to place the object. (The object had a position to begin with.) Next - to change the position of the object. - Rauschenberg's early sculptures - A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden - The rocks can be anywhere (within the garden).
Fear, as opposed to anxiety, has a definite object, which can be faced, analyzed, attacked, endured... anxiety has no object, or rather, in a paradoxical phrase, its object is the negation of every object.
Go to the object. Leave your subjective preoccupation with yourself. Do not impose yourself on the object. Become one with the object. Plunge deep enough into the object to see something like a hidden glimmering there.
In the beginning, the cubists broke up form without even knowing they were doing it. Probably the compulsion to show multiple sides of an object forced us to break the object up - or, even better, to project a panorama that unfolded different facets of the same object.
When it happens that a person has to give up a sexual object, there quite often ensues an alteration of his ego which can only be described as a setting up of the object inside the ego, as it occurs in melancholia; the exact nature of this substitution is as yet unknown to us.
Any object not interesting in itself may become interesting through becoming associated with an object in which an interest already exists.
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.
Men are anxious to improve their circumstances, but are unwilling to improve themselves; they therefore remain bound. The man who does not shrink from self-crucifixion can never fail to accomplish the object upon which his heart is set. This is true of earthly as of heavenly things. Even the man whose object is to acquire wealth must be prepared to make great personal sacrifices before he can accomplish his object; and how much more so he who would realize a strong and well-poised life.
It is necessary that the object that the artist is shaping, whether it be a vase of clay or a fishing boat, be significant of something other than itself. This object must be a sign as well as an object; a meaning must animate it, and make it say more than it is.
Man works for an object. Remove that object and you reduce him into inaction.
As soon as man applies his intelligence to any object at all, he unfailingly destroys the object.
An object of art creates a public capable of finding pleasure in its beauty. Production, therefore, not only produces an object for the subject, but also a subject for the object.
I've learned over a period of years there are setbacks when you come up against the immovable object; sometimes the object doesn't move.
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