A Quote by William James
If, then, you wish to insure the interest of your pupils, there is only one way to do it; and that is to make certain that they have something in their minds to attend with, when you begin to talk. That something can consist in nothing but a previous lot of ideas already interesting in themselves, and of such a nature that the incoming novel objects which you present can dovetail into them and form with them some kind of a logically associated or systematic whole.
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Any object not interesting in itself may become interesting through becoming associated with an object in which an interest already exists. The two associated objects grow, as it were, together; the interesting portion sheds its quality over the whole; and thus things not interesting in their own right borrow an interest which becomes as real and as strong as that of any natively interesting thing.
Select such subjects that your pupils cannot walk out without seeing them. Train your pupils to be observers, and have them provided with the specimens about which you speak. If you can find nothing better, take a house-fly or a cricket, and let each one hold a specimen and examine it as you talk.
Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'
You should chose your heroes a-la carte. Picking and choosing from one and then another, thereby assembling a kind of composite hero. That way when you discover something reprehensible about any one of them it matters nothing to you because that's not the part of them that piqued your interest.
Some people have great ideas maybe once or twice in their life, and then they discover electricity or fire or outer space or something. I mean, the kind of brilliant ideas that change the whole world. Some people never have them at all... I get them two or three times a week.
The Ideas of primary Qualities of Bodies, are Resemblances of them, and their Patterns do really exist in the Bodies themselves; but the Ideas, produced in us by these Secondary Qualities, have no resemblance of them at all. There is nothing like our Ideas, existing in the Bodies themselves. They are in Bodies, we denominate from them, only a Power to produce those Sensations in us: And what is Sweet, Blue or Warm in Idea, is but the certain Bulk, Figure, and Motion of the insensible parts in the Bodies themselves, which we call so.
When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
As it is the nature of a kite to devour little birds, so it is the nature of some minds to insult and tyrannize over little people; this being the means which they use to recompense themselves for their extreme servility and condescension to their superiors; for nothing can be more reasonable than that slaves and flatterers should exact the same taxes on all below them which they themselves pay to all above them.
What it taught me was forgiveness. It taught me that when people present themselves in a certain way, there's probably some back story or issue or reason for the way that they are. It's not you. It's them. And a lot of times, its about something that's completely out of their control
All men who have ideals . . . live by some kind of faith, by committing themselves to some kind of loyalty which is not universally recognized as the common property of all thinking men. They must have something-something outside themselves, to make them feel life is worth living, that good rather than evil is the explanation of the world.
Teaching other people to write is not something I can do. The only kind of advice I can give them will be trite by its nature. Of course, read a lot, write a lot. The kind of advice I wish I had been given is all of a practical nature, having to do with publishers and agents.
The modern State exists not to protect our rights but to do us good or make us good - anyway, to do something to us or to make us something. Hence the new name 'leaders' for those who were once 'rulers'. We are less their subjects than their wards, pupils, or domestic animals. There is nothing left of which we can say to them, 'Mind your own business.' Our whole lives are their business.
Something catches your eye, or your interest. You attack it in some way or observe it in some way, and try to put it in some kind of form and take a picture. It's as simple as that.
I don't like to just talk about nothing, or less than nothing. If it's something interesting, I'm fine with it, but, 'Hey, Zack, how is your day?' People ask that, and somebody actually tells them what happened in their day? I don't have any real interest in that.
Some people tell you, 'I'm your good luck charm - I've been to eight races in my life and you've won six of them' or something like that. So it's kind of like, 'Well, you need to come to more then!' Other times, fans just want to talk about previous times they've met you.
There are kinds of unity other than those of the explicit and systematic unity that Poole is attacking. There are kinds of movement - in music or athletics, for example - that present themselves as having a certain unity about them. In some sphere we might talk about 'style'.
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