Quotes About Creativity

Just as markets, when allowed to drift entirely free from their violent origins, invariably begin to grow into something different, into networks of honor, trust, and mutual connectedness, so does the maintenance of systems of coercion constantly do the opposite: turn the products of human cooperation, creativity, devotion, love, and trust back into numbers once again. In doing so, they make it possible to imagine a world that is nothing more than a series of cold-blooded calculations.

What if the sort of people we like to imagine as simple and innocent are free of rulers, governments, bureaucracies, ruling classes and the like, not because they are lacking in imagination, but because they're actually more imaginative than we are?

Still, most testimonies focus on creativity as a form of defiance—the dogged fortitude with which many attempt to pursue art, or music, or writing, or poetry, serves as an antidote to the pointlessness of their "real" paid work.

When and how did we come to believe that creativity was supposed to be painful

We are projects of self-creation. What f we approached human history that way? What if we treat people, from the beginning, as imaginative, intelligent, playful creatures who deserve to be understood as such? What if, instead of telling. story about how our species fell from some idyllic state of equality, we ask how we came to be trapped in such tight conceptual shackles that we can no longer even imagine the possibility of reinventing ourselves?

If artistic avant-gardes and social revolutionaries have felt a peculiar affinity for one another ever since, borrowing each other's languages and ideas, it appears to have been insofar as both have remained committed to the idea that the ultimate, hidden truth of the world is that it is something that we make, and could just as easily make differently. In this sense, a phrase like "all power to the imagination" expresses the very quintessence of the Left.

a tacit cosmology in which the play principle (and by extension, creativity) is itself seen as frightening, while game-like behavior is celebrated as transparent and predictable, and where as a result, the advance of all these rules and regulations is itself experienced as a kind of freedom.

All such authors are really saying is that they themselves cannot personally imagine any other way that precious objects might move about. But lack of imagination is not itself an argument.

lack of imagination is not itself an argument.

Lilian testifies eloquently to the misery that can ensue when the only challenge you can overcome in your own work is the challenge of coming to terms with the fact that you are not, in fact, presented with any challenges; when the only way you can exercise your powers is in coming up with creative ways to cover up the fact that you cannot exercise your powers; of managing the fact that you have, completely against your choosing, been turned into a parasite and fraud.

She had not yet sensed the pea beneath the pile of mattresses, the pea that belonged to the little brown-skinned girl who used to make up stories to keep her soul pinned down inside her or, at times, to let it fly—stories whose most exciting element was the word "suddenly" at the beginning of every sentence and before each description: Suddenly, suddenly, her heart would leap when she whispered to herself, suddenly .

Cuando escribimos, sentimos que el mundo se mueve, es flexible y está lleno de posibilidades. Ciertamente no está congelado

The primary urge that motivates and engenders writing...is the writer's desire to invent and tell a story, and to know himself. But the more I write, the more I feel the force of the other urge, which collaborates with and completes the first one: the desire to know the Other from within him. To feel what it means to be another person. To be able to touch, if only for a moment, the blaze that burns within another human being.

We write. How fortunate we are: The world does not close in on us. The world does not grow smaller.

More than anything, more than anything she had with him, she missed the language they had invented, the likes of which she had never had nor would again. The thoughts and ideas he had birthed in her, his golden touch, and the words that erupted from her and became sparks of light to him.

again, her singing was her only absolute, the only thing that was completely her. a thousand classes hadn't given her this concrete insight: her voice was her place in the world, the home she leaves in the morning and returns to at night, in which she can be herself in her entirety and hope to be loved for all that she is and in spite of all she is.

Telling secrets to a writer is like embracing a pickpocket.

It's nice because success has allowed me to have a blast on stage, to be in the studio with amazing people, but I find it all a bit bizarre.

I was totally absorbed in the real world, the politics, the history, the news, and I just couldn't find my way into the fictional world... When I finally could return to writing the novel, it was in fits and starts.

life is too short to work on the uninspiring. Being

We need structures that don't squash flexibility and creativity but minimize inefficiency and confusion.

Rosen, D. (1996) Transforming Depression: Healing the Soul Through Creativity. New York: Penguin/Arkana.

active imagination," which allowed him—and countless others—to express unconscious shadow material as a painted image or as various other creative products (sculpture, dance, poetry, music, etc.), so that it could be effectively dealt with psychologically.

but both are necessary for a creative, whole life. "Fire is spirit, water is vitality. Alchemists sometimes say that Buddhism starts with fire while Taoism starts with water."134