Top 1200 Work Experience Quotes & Sayings

The Gaian mind is what were calling the psychedelic experience. Its an experience of the living fact of the entelechy of the planet - and without that experience we wander in a desert of bogus ideologies. But with that experience the compass of the self can be set.

Certainly Christianity is an experience, but equally clearly the validity of ane experience has to be tested. There are people in lunatic asylums who have the experience of being the Emperor Napoleon or a poached egg. It is unquestionably an experience, and to them a real experience, but for all that it has no kind of universal validity. It is necessary to go far beyond simply saying that something comes from experience. Before any such thing can be evaluated at all, the source and character of the experience must clearly be investigated.

I always wanted kids I could take to work, and for them to experience the things I experience. So, having three boys as a footballer was a dream.

Of course, when you work with actors and when you work on a script everything that you know about the human experience can't possibly go in.

Ninety percent of my mentors have been male, most of them with very little in common with me on a personal level - from life experience, work experience, backgrounds, etc.

Every work experience is a positive work experience, and if you're looking at it any other way I can't help you.

Like many people, I had the powerful experience of being raised on Dr. Seuss, then becoming a parent and revisiting him with my own children. That multigenerational experience around his work is very meaningful.

Whatever I do today is the whole continuum of my experience. Like John Dewey said in his book ‘Art as Experience,’ you can’t separate experience from the work of art. So, if I write for the symphony today, you’re listening to everything that’s happened to me since I was 18 years old.

But to demand that a work be “relatable” expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer. The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual's solipsism.

I think there's just a lot of compassion in art. Again, when you're doing something that resonates with somebody else, you're going through an experience another person has had, whether it's been a painful experience or a joyous experience or a happy experience.

Helen Vendler calls this kind of interrogation of a work "roads not taken," suggesting that it's useful, when writing critically, to consider what differences it makes to the work or the encounter with the work if changes are made. It's one way of better understanding your experience, comparing it to other possible experiences you can imagine having.

It's hard for writers to get on with their work if they are convinced that they owe a concrete debt to experience and cannot allow themselves the privilege of ranging freely through social classes and professional specialties. A certain pride in their own experience, perhaps a sense of the property rights of others in their experience, holds them back.

I think it's incumbent upon me to try to be smart and make good choices and work with good people and work my ass off when I'm working with good people and I have to let everyone have their opinion afterwards. But this is what happens. You make a movie or you're on a show and then you have this experience and everyone tells you what you did. They tell you what you did. That's allowed. That's the experience of being human and subjectivity. That's it. We can only do what we'll do, and I can only do the best I can do.

It's impossible to control the reception of your work - the only thing you can control is the experience of writing itself, and the work you create.

The brain has about ten thousand parameters for every second of experience. We do not really have much experience about how systems like that work or how to make them be so good at finding structure in data.

I work with big directors. I work with good actors. I act in female-centric films. And I do all this without ever indulging in a casting couch experience. Because I believe in hard work, talent, and blessing.

My work is more driven by the creative word. It's immersed in other writing and printed work, rather than drawn so much from life or past experience.

I think being biracial is a different experience. I think that, and coming from the U.K., I feel as much white as I do black. And so it's really important for me to address these issues of identity in my work. But also, you know, we're always stronger when we work on, you know, what we have in common. And I love exploring that in my work.

I would have to say that first preseason game. Just to put the pads on as an NFL player for the first time. It's a humbling experience because you realize that you are here and now you have an opportunity to go to work and continue to better yourself as a player. It's what you work for as an athlete and you know once you get there the real work begins.

I just try and do the best with every role I get to do. Hopefully the experience in itself is a good experience and people will want to work with me.

The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.

Work experience for many is their first taste of work and an essential first step into the jobs market.

It is the shared experience - [although] you're the conduit of the sound, the recipient is also in some way the author of the work, because if they weren't the author of the work they wouldn't be able to recognise it as an experience, you could argue. The more distance you can put between yourself and having any kind of objective the more likely it is to appear.

Life and work are not things apart. Work is more than gaining privileges and possessions; it is ongoing, ecstatic, LIVING experience. When we tap into living experience, we no longer feel as though we must be king. We can just be ALIVE at work! When we live in the bliss, there is no difficulty which is insurmountable. If we miss the bliss, there is no compensation which is adequate.

The child can only develop fully by means of experience in his environment. We call such experience 'work'.

One thing I really hate is experience. Experience for me doesn't work. Everybody's talking about experience this, experience that.

I started off on stage because it was the only work I could get. I haven't been back for 11 years. I think any stage experience is good experience, as far as being an actor is concerned.

Experience tells us that a good foundation is critical for success in the Arctic and elsewhere. ExxonMobil's Sakhalin-1 project with Rosneft is an example where we have put this experience to work.

'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.

I can go into the wilderness and not see anyone for days and experience a kind of space that hasn't changed for tens of thousands of years. Having that experience was necessary to my perception of how photography can look at the changes humanity has brought about in the landscape. My work does become a kind of lament.

Through years of secret work, scientific and basic ground work was laid, in order to be ready again to work the German Armed Forces at the appointed hour, without loss of time or experience.

Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.

The thrill of creation which we experience which we experience when we see a masterpiece is not unlike the feeling of the artist who created it; such a work is a fragment of the world which he has annexed and which belongs to him alone.

In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.

I know at first-hand the importance of hard work and the value of work experience.

Dialectical logic undoes the abstractions of formal logic and of transcendental philosophy, but it also denies the concreteness of immediate experience. To the extent to which this experience comes to rest with the things as they appear and happen to be, it is a limited and even false experience. It attains its truth if it has freed itself from the deceptive objectivity which conceals the factors behind the facts - that is, if it understands its world as a historical universe, in which the established facts are the work of the historical practice of man.

The process of writing can be a powerful tool for self-discovery. Writing demands self-knowledge; it forces the writer to become a student of human nature, to pay attention to his experience, to understand the nature of experience itself. By delving into raw experience and distilling it into a work of art, the writer is engaging in the heart and soul of philosophy - making sense out of life.

Everybody should work in their nation's capitol and see how politics actually work because it was the most eye opening experience of my life.

But work that's got real substance does make people feel, "There's someone else out there who relates to my experience, or who just helped me understand my own experience a little bit better." And I think that's still got enormous value.

Retail employees are the underdogs or 'Rudy' of the work force. They start off at the bottom trying to gain experience, but rarely expect a good wage, a good experience or any career mobility. We need to change that mindset.

To make your life a work of art, you must have the material to work with. The race, any race, is just such an experience.

Each and every component that makes up your life experience is drawn to you by the powerful Law of Attraction's response to the thoughts you think and the story you tell about your life. Your money and financial assets; your body's state of wellness, clarity, flexibility, size, and shape; your work environment, how you are treated, work satisfaction, and rewards - indeed, the very happiness of your life experience in general - is all happening because of the story that you tell.

I've learned from experience that if you work harder at it, and apply more energy and time to it, and more consistency, you get a better result. It comes from the work.

That’s the thing you have to understand about the whole process of art (or the work that we do) – you’re only half of the equation. It’s an interaction between you and the person who’s going to experience the work. The person who’s going to experience the work is bringing just as much to it and is just as important as you are.

And to get real work experience, you need a job, and most jobs will require you to have had either real work experience or a graduate degree.

At age 28, I had no retail experience, no consumer marketing experience and no real Internet experience. But I decided I wanted to work for myself. I felt starting a company would enable me to get the responsibility I deserved and that I couldn't do that within the confines of a bigger company.

I need my 'art work' or 'entertainment work' or whatever to have empathy for or connection to the way I experience the world as a person.

A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.

People should go to the works and experience them. Because just having an idea or picture in mind is absolutely not the experience that's necessary. Even just landing in Albuquerque or Salt Lake City or Las Vegas was immediately part of the experience. And then you'd get in a car from the airport and take these very long trips - in Michael Heizer's case, it was three hours by car to get to his work. And then there's walking around and into the piece and seeing it from different angles. The kinetic experience of being a part of it physically was very important for me.

My experience with working with really great actors is you don't have to act. All you have to do is listen. And, that's sort of a virtue and a wonderful thing to be able to experience. It's so much less work.

You can gain experience, if you are careful to avoid empty redundancy. Do not fall into the error of the artisan who boasts of twenty years experience in craft while in fact he has had only one year of experience–twenty times. And never resent the advantage of experience your elders have. Recall that they have paid for this experience in the coin of life, and have emptied a purse that cannot be refilled.

Sometimes you go to a film and well, you are not very concentrated. In reading, you have to concentrate, to spend the time it requires in order to feel the experience of the work. You have to put all of yourself there to experience something new and to feel and perceive an atmosphere that is unprecedented.

The best artists are the ones that work the hardest, and if you work hard enough, you'll eventually experience the happy accidents that are art.

I think that the American people are curious about who a candidate is, what their background is, who their family is, what their faith experience has been, their education, their work experience. All of those are factors that voters look at because they want to take a measure of the individual.

Experience life in all possible ways -- good-bad, bitter-sweet, dark-light, summer-winter. Experience all the dualities. Don't be afraid of experience, because the more experience you have, the more mature you become.

If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.

I understand all the work to be of a nonabstract nature regardless of the style, form, or explicit subject matter because all the work... is concerned with evoking experiences that are in themselves - and their relationship to you, the viewer - the ultimate subject and content of the work. I want to equate the experience of the work with its meaning.

Its impossible to control the reception of your work - the only thing you can control is the experience of writing itself, and the work you create.

When you're watching yourself work, you're not really an audience member for yourself. Even being confronted by your own image can be jarring sometimes. The experience of making a movie or a television show is this really full one, and sometimes you see it and even if it's a great piece of work, it's not the experience - i t's almost sad because it reminds you of something that isn't anymore.

I have high expectations for the people who work for me. I figure that if they work really hard and do a good job on one of my campaigns or in my office, that experience will serve them well later on.