Intuition + knowledge = direction

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Hoofdcategorie: Engels

Categorie: Training

Geschreven: dinsdag 21 februari 2017 14:27

Gepubliceerd: dinsdag 21 februari 2017 14:27

Geschreven door Bart

Kennemer Dunes, today. Walk it [ talk it ]

Min/max temperature: 6°C/12°C; humidity: 83%; precipitation: 0 mm, sea level pressure: 1015 hPa; wind WNW 15.9 km/h; visibility: 10.0 kilometres; Clouds few 670 m.

"I believe that the processes of autoregulation are as stable and as capable of providing the same importance in any formation as heredity itself. [ As ] a rule, autoregulation in the organism limits itself to preserving a certain state of equilibrium and, in the case of deviation or of new formation, to bringing it back to its initial state; whereas, on the contrary, autoregulation in the realm of behaviours constantly pushes the organism -- or the subject, if a cognitive behaviour is involved -- towards new extensions. The physiological organism has no reason to change; […] there is no "necessity" in evolutionary changes. Conservation is the supreme rule for physiological equilibrium. Whereas [ in ] the field of behaviour [ …] two goals are pursued: [ 1 ] the extension of the environment, […] the surpassing of that environment which now encompasses the organism, trough explorations and research in new environments; [ 2 ] the reinforcement of the organism's power over that environment. An autoregulation that is capable of preserving the past as well as constantly surpassing itself trough the double end of extending the environment and reinforcing the organism's power […] when we are dealing with behaviours and cognitive processes, [ are ] a much more fundamental mechanism than heredity itself."

Jean Piaget in 'Language and Learning; The Debate between Jean Piaget and Noam Chomsky', page 61, edited by Massimo Piatelli-Palmarini, first published in 1979 in France. English translation by Harvard University Press, USA

"[…] Hawthorne […] once remarked, "We certainly do need a new revelation -- a new system -- for there seems to be no life in the old one." […] Whatever the complaint sound or the vision proffered, [ the artist is ] revolting against the prevailing official culture, and the revolt usually consists in an escape from a place they don't like to someplace elsewhere. […] In most instances […] the artist's journey at least crosses trough some kind of wilderness, and that also takes many forms. […] Emerson gives us the first clue when he says in Nature that to know nature is to know yourself, […] what is found in nature [ corresponds with ] what is found in the mind, the point of transcendence being to liberate yourself from the constrictions imposed by habit, routine, dogma, education […] by society, so […] the true self […] can emerge. […] In Death in the afternoon [ Ernest ] Hemmingway moves himself as self to centre stage, he enunciates his famous credo: moral is what makes you feel good afterward and immoral is what makes you feel bad afterwards. In the same section Hemmingway identifies the three most difficult problems of writing as "knowing truly what you really felt, rather than what you where supposed to feel, and had been taught to feel"; putting "down what really happened in action," "what the actual things were which produced the emotion that you experienced"; and then finding "the real thing, the sequence of motion and fact which made the emotion." [ When ] people "have learned to appreciate values trough experience what they seek is honesty and true, not tricked, emotion and always classicism and the purity of execution." Near the beginning of The Wild Bunch there is a seemingly innocuous line, spoken by an anonymous character, which goes, "it's not what you meant to do, it's what you did I don't like" -- a line that is, in many ways, a paraphrase of Hemmingway's credo."

Paul Seydor in 'Peckinpah, the Western Films, A Reconsideration', page 314, 315, 316, first published in 1980 by the Board of Trustees of the University of Illinois, USA

"To count in advance on success, […] to calculate or foresee communication with the spectator, seems to me infinitely more risky than fidelity to oneself."

Andrei Tarkovski, 'Andrei Rublev', page xii, introduction to the original Kino roman by Philip Strick, first published in 1991 by Faber Faber Limited, London