Quotes About Creation

Shakespeare, in some sense, helped create the modern man, didn't he, his influence is that pervasive. He held the mirror up to nature, but he also created that mirror: so the image he created is the very one we hold ourselves up to.

It is an enduring satisfaction for our species to make little systems and tend to them.

Wozniak: Well, actually we never did much in the garage. People think we had a garage where we sat down with soldering irons and we designed stuff. No.

The authoritarian character worships the past. What has been, will eternally be. To wish or to work for something that has not yet been before is crime or madness. The miracle of creation—and creation is always a miracle—is outside of his range of emotional experience.

Man's nature, his passions, and anxieties are a cultural product; as a matter of fact, man himself is the most important creation and achievement of the continuous human effort, the record of which we call history.

This world and yonder world are incessantly giving birth: every cause is a mother, its effect the child. When the effect is born, it too becomes a cause and gives birth to wondrous effects. These causes are generation on generation, but it needs a very well lighted eye to see the links in their chain. RUMI

em todos os tipos de obra criadora o trabalhador e seu objeto tornam-se um, o homem se une ao mundo no processo da criação. Isto, porém, só permanece verdadeiro para o trabalho produtivo, para a obra que eu planejo, produzo e em que vejo o resultado de meu trabalho.

God, originally a symbol for the highest value that we can experience within us, becomes, in the having mode, an idol. In the prophetic concept, an idol is a thing that we ourselves make and project our own powers into, thus impoverishing ourselves. We then submit to our creation and by our submission are in touch with ourselves in an alienated form. While I can have the idol because it is a thing, by my submission to it, it, simultaneously, has me.

Regard Earth and Heaven as endowed with intelligence, since they do the work of intelligent beings.

Creation and destruction, love and hate, are not two instincts which exist independently. They are both answers to the same need for transcendence, and the will to destroy must rise when the will to create cannot be satisfied. However, the satisfaction of the need to create leads to happiness; destructiveness to suffering, most of all, for the destroyer himself.

Man—man and woman—can create by planting seeds, by producing material objects, by creating art, by creating ideas, by loving one another. In the act of creation man transcends himself as a creature, raises himself beyond the passivity and accidentalness of his existence into the realm of purposefulness and freedom. In man's need for transcendence lies one of the roots for love, as well as for art, religion and material production.

The question can be answered by animal worship, by human sacrifice or military conquest, by indulgence in luxury, by ascetic renunciation, by obsessional work, by artistic creation, by the love of God, and by the love of Man. While there are many answers—the record of which is human history—they are nevertheless not innumerable.

That man can destroy life is just as miraculous a feat as that he can create it, for life is the miracle, the inexplicable. In the act of destruction, man sets himself above life; he transcends himself as a creature. Thus, the ultimate choice for a man, inasmuch as he is driven to transcend himself, is to create or to destroy, to love or to hate.

Just as man transforms the world around him, so he transforms himself in the process of history. He is his own creation, as it were. But just as he can only transform and modify the natural materials around him according to their nature, so he can only transform and modify himself according to his own nature. What man does in the process of history is to develop this potential, and to transform it according to its own possibilities.

Pred platnima impresionista ?ovek nije mogao verovati da jedna životinjska vrsta koja je tako nešto stvorila može istovremeno spremati ubila?ki rat

It's unendurable. It is the moaning of the world, it is the martyred creation, wild with anguish, filled with terror, and groaning.

Thus the Great Mother is uroboric: terrible and devouring, beneficent and creative; a helper, but also alluring and destructive; a maddening enchantress, yet a bringer of wisdom; bestial and divine, voluptuous harlot and inviolable virgin, immemori-ally old and eternally young.4

An artist, he paints with lakes and wooded slopes, with lawns and banks and forest-covered hills. — Daniel Burnham talking about Frederick Law Olmstead

become works of art so detailed, so precisely articulated

Ferris had created more than simply an engineering novelty. Like the inventors of the elevator, he had conjured an entirely new physical sensation.

Because you make me. Because I didn't exist, not in any way that matters, until I met you.

Giving birth is little more than a set of muscular contractions granting passage of a child. Then the mother is born.

We might say that both the artist and the neurotic bite off more than they can chew, but the artist spews it back out again and chews it over in an objectified way, as an external, active work project

Man had to invent and create out of himself the limitations of perception and the equanimity to live on this planet. And so to the core of psychodynamics, the formation of the human character, is a study in human self-limitation and in the terrifying costs of that limitation.