Quotes About Creativity

Alice laughed. 'There's no use trying,' she said. 'One can't believe impossible things.' I daresay you haven't had much practice,' said the Queen. 'When I was your age, I always did it for half-an-hour a day. Why, sometimes I've believed as many as six impossible things before breakfast. There goes the shawl again!

"What is the use of a book," thought Alice, "without pictures or conversations?"

When you are describing, A shape, or sound, or tint; Don't state the matter plainly, But put it in a hint; And learn to look at all things, With a sort of mental squint.

The regular course was Reeling and Writhing, of course, to begin with; and then the different branches of Arithmetic — Ambition, Distraction, Uglification, and Derision.

Alice laughed. 'There's no use trying,' she said. 'One can't believe impossible things.' 'I daresay you haven't had much practice,' said the Queen. 'When I was your age, I always did it half an hour a day. Why, sometimes, I've believed as many as six impossible things before breakfast.'

One can't believe impossible things. I dare say you haven't had much practice, said the Queen. When I was your age, I always did it for half-an-hour a day. Why, sometimes I've believed as many as six impossible things before breakfast.

There is no use trying, said Alice; one can't believe impossible things. I dare say you haven't had much practice, said the Queen. When I was your age, I always did it for half an hour a day. Why, sometimes I've believed as many as six impossible things before breakfast.

If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn't. And contrary wise, what is, it wouldn't be. And what it wouldn't be, it would. You see?

have i gone mad? im afraid so, but let me tell you something, the best people usualy are.

Imagination is the only weapon in the war against reality.

Alice laughed. 'There's no use trying,' she said. 'One can't believe impossible things.' I daresay you haven't had much practice,' said the Queen. 'When I was your age, I always did it for half-an-hour a day. Why, sometimes I've believed as many as six impossible things before breakfast. There goes the shawl again!

Creativity in science is almost always cumulative and collaborative; it proceeds collectively and thus thrives when barriers to collectivity are reduced.

All that we make and do is shaped by the communities and traditions that contain us, not to mention by money, power, politics, and luck. And even should the artist or scientist think she has extracted herself from the world to stand alone in the studio, a tremendous array of faculties and mind-states may well attend her creativity.

claim is often made that without the near-term rewards of monopoly privilege, knowledge would not advance. This assumes a strikingly narrow notion of what motivates people to do creative work.

An essential portion of any artist's labor is not creation so much as invocation.

Everything that I have seen, heard, and observed I have collected and exploited. My works have been nourished by countless different individuals, by innocent and wise ones, people of intelligence and dunces.

Erik Erikson has commented: Potentially creative men like (Bernard) Shaw build the personal fundament of their work during a self-decreed moratorium, during which they often starve themselves, socially, erotically, and, at last but not least, nutritionally, in order to let the grosser weeds die out, and make way for the growth of their inner garden.

But neither money nor machines can create. They shuttle tokens of energy, but they do not transform. A civilization based on them puts people out of touch with their creative powers.

The passage into mystery always refreshes. If, when we work, we can look once a day upon the face of mystery, then our labor satisfies. We are lightened when our gifts rise from pools we cannot fathom. Then we know they are not a solitary egotism and they are inexhaustible.

An anaesthetic is a poet-killer.

An essential portion of any artist's labor is not creation so much as invocation. Part of the work cannot be made, it must be received; and we cannot have this gift except, perhaps, by supplication, by courting, by creating within ourselves that 'begging bowl' to which the gift is drawn.

The more we allow such commodity art to define and control our gifts, the less gifted we will become, as individuals and as a society. The

All that we make and do is shaped by the communities and traditions that contain us, not to mention by money, power, politics, and luck. And even should the artist or scientist think she as extracted herself from the world to stand alone in the studio, a tremendous array of faculties and mind-states may well attend her creativity.

The artist does not illustrate science (but) he frequently responds to the same interests that a scientist does.