There is an energy field between humans. And, when we reach out in passion, it is met with an answering passion and changes the relationship forever.
Creativity occurs in an act of encounter and is to be understood with this encounter as its center.
By the creative act, we are able to reach beyond our own death.
Intimacy requires courage because risk is inescapable. We cannot know at the outset how the relationship will affect us. Like a chemical mixture, if one of us is changed, both of us will be. Will we grow in self-actualization, or will it destroy us? The one thing we can be certain of is that if we let ourselves fully into the relationship for good or evil, we will not come out unaffected.
Creativity is the result of a struggle between vitality and form. As anyone who has tried to write a sonnet or scan poetry, is aware, the form ideally do not take away from the creativity but may add to it.
Humor is the healthy way of feeling "distance" between one's self and the problem, a way of standing off and looking at one's problem with perspective.
Unconscious insights or answers to problems that come in reverie do not come hit or miss... they pertain to those areas in which the person consciously has worked laboriously and with dedication.
The poet, like the lover, is a menace on the assembly line.
... what the artist or creative scientist feels is not anxiety or fear; it is joy. I use the word in contrast to happiness or pleasure. The artist, at the moment of creating, does not experience gratification or satisfaction... Rather, it is joy, joy defined as the emotion that goes with heightened consciousness, the mood that accompanies the experience of actualizing one's own potentialities.
Communication leads to community that is, to understanding, intimacy, and the mutual valuing that was previously lacking. Community can be defined simply as a group in which free conversation can take place. Community is where I can share my innermost thoughts, bring out the depths of my own feelings, and know they will be understood.
Dogmatism of all kinds--scientific, economic, moral, as well as political--are threatened by the creative freedom of the artist. This is necessarily and inevitably so. We cannot escape our anxiety over the fact that the artists together with creative persons of all sorts, are the possible destroyer of our nicely ordered systems. (p. 76)
Competitive individualism militates against the experience of community, and that lack of community is a centrally important factor in contemporaneous anxiety.
Power is required for communication. To stand before an indifferent or hostile group and have one's say, or to speak honestly to a friend truths that go deep and hurt these require self-affirmation, self-assertion, and even at times aggression. ... My experience in psychotherapy convinces me that the act which requires the most courage is the simple communication, unpropelled by rage or anger, of one's deepest thoughts to another.
A myth is a way of making sense in a senseless world. Myths are narrative patterns that give significance to our existence.
Forge in the smithy of your soul.
When inward life dries up, when feeling decreases and apathy increases, when one cannot affect or even genuinely touch another person, violence flares up as a daimonic necessity for contact, a mad drive forcing touch in the most direct way possible.
Courage is required not only in a person's occasional crucial decision for his own freedom, but in the little hour-to-hour decisions which place the bricks in the structure of his building of himself into a person who acts with freedom and responsibility.
No one can separate themselves from one's social group and remain healthy, because the very structure of personality is dependent on the community.
Care is a state in which something does matter; care is the opposite of apathy. Care is the necessary source of eros, the source of human tenderness.
Creativity is not merely the innocent spontaneity of our youth and childhood; it must also be married to the passion of the adult human being, which is a passion to live beyond one's death.
The daimonic is any natural function which has the power to take over the whole person. Sex and eros, anger and rage, and the craving for power are examples. The daimonic can be either creative or destructive and is normally both.
Neither Kierkegaard nor Nietzsche had the slightest interest in starting a movement – or a new system, a thought which would indeed have offended them. Both proclaimed, in Nietzsche's phrase, Follow not me, but you!
When I fall in love, I feel more valuable and I treat myself with more care. We have all observed the hesitant adolescent, uncertain of himself, who, when he or she falls in love, suddenly walks with a certain inner assuredness and confidence, a mien which seems to say, "You are looking at somebody now." For this inner sense of worth that comes with being in love does not seem to depend essentially on whether the love is returned or not.
Artistic symbols and myths speak out of the primordial, preconscious realm of the mind which is powerful and chaotic. Both symbol and myth are ways of bringing order and form into this chaos.
The daimonic refers to the power of nature rather than the superego, and is beyond good and evil. Nor is it man's 'recall to himself' as Heidegger and later Fromm have argued, for its source lies in those realms where the self is rooted in natural forces which go beyond the self and are felt as the grasp of fate upon us. The daimonic arises from the ground of being rather than the self as such.
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