I read novels for entertainment rather than for edification, so I tend not to read the sort of novels that are said to illuminate the human condition.
Common sense, to me, is simple. And I've never understood why there aren't a lot of people trying to figure out how the United States became this special place and then try to replicate it around the world, because that's the solution to the human condition. The solution to poverty, the solution to misery, the solution to backwards living is the United States of America. Why not learn how that happened, learn why and how we happened. What is it that made it special?
There is a kind of universality in the human condition, masculine or feminine. That's one thing I continue to believe.
I worry that we have forgotten that the de-ideologized, de-politicized, uncontentious public space of the last 50 years as Europeans have experienced it is not the normal human condition. We shall be sorry to have abandoned a little too quickly the institutions that were set up by our parents and grandparents to protect themselves against a return of the bad old world. Because the bad old world can still come back to haunt you.
Crime fiction is a genre for writing stories about people - about conflict, about guilt, about passion, about the human condition.
You have to know the human condition to get that many people to all respond at the same time to the same subject. You gotta understand humanity in order to portray it.
The possible signs of a coming collapse are the same as the greatest strengths of Western civilization: democracy, capitalism, the generally peaceful linking of world economic systems, our amazing success in harnessing the powers of nature to the betterment of the human condition in health, subsistence, longevity. These are the hallmarks of our society - its most successful elements.
I try to think of acting in terms of thinking and doing. People think of it as, "Oh, let's get inside this guy." They think that acting is being, or feeling, or emoting. It's as much doing. One of the first things you do as an acting student is ask, "Can you say words and do a task at the same time, like sweep a floor?" You get to watch the human condition, and there's always a "doing" aspect of it. This couple, they're carrying backpacks, where are they going? Students? Or are they carrying instruments? It stimulates the imagination. So acting is doing ... and I forget how we got off on that.
The greatest existential risks over the coming decades or century arise from certain, anticipated technological breakthroughs that we might make in particular, machine super intelligence, nanotechnology and synthetic biology. Each of these has an enormous potential for improving the human condition by helping cure disease, poverty, etc. But one could imagine them being misused, used to create powerful weapon systems, or even some kind of accidental destructive scenario, where we suddenly are in possession of some technology that's far more powerful than we are able to control or use wisely.
If we walk down the sidewalk of any street in America a significant number of the people we pass by, if we dug into what they're going through in their lives, they're carrying burdens that they don't talk about but they're extremely heavy and painful. And so, one of the secrets of the human condition is that suffering binds people together. And when you go through something agonizing, others who know what you're feeling because they've been through it will so often reach out to you and connect with you, and give you strength and lift you up.
I am very interest in the human condition. That is what I love about acting. I like studying different people and their psychosis. I like discovering what makes them tick. I always find that with any character I play. I need to find out what makes them tick.
I see depression as an exponentially developed version of a human condition. Meaning I always think in the end it's humanizing. People who never suffer from depression I find suspect. I assume Donald Trump is not a sufferer from depression.
Now that I'm almost forty, I look back at some of the decisions I made when I was younger - decisions that I thought of as courageous, or generous, or otherwise befitting a writer; befitting someone who had taken it as their life's goal to understand the human condition - and I wish I could go back in time and be like, "Hey, you don't actually have to do that - you're allowed to look out for yourself a little bit."
War and sex are what I call the two abysmal - by that I mean deep - parts of the human condition.
We've learned a lot from the great psychologists. Wilhelm Reich wrote about the relationship between fascism and sexual repression. Freud rediscovered the underworld of consciousness that European rationalism had denied. But when you have a nation of people in therapy and counselling, "support" groups for every kind of human condition, where, in the clichés of that milieu, people "share" and "heal," the question, "What for?", "What now?" is no longer asked.
What I want any genre to do, what I want any work of art to do, is to illuminate the human condition.
I think that if you're writing about the human condition, my God, you've got to start at base: point zero, point one, is the body.
Everyone feels awkward, everyone feels uncomfortable, everyone gets older, everyone gets lonely, everyone gets sick, everyone eventually dies. You’re at the Aspen Ideas Fest, and you have these really smart, really accomplished people who pretend like they’ve somehow figured out a way to bypass the human condition. We live in this culture where there are so many things that want us to pretend that we’re not truly human.
As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.
Changes in human conditions are brought about by the pioneering of the cleverest and most energetic men. They take the lead and the rest of mankind follows them little by little.
James Baldwin had an unrivaled understanding of politics and history and, above all, the human condition. His prose is laser sharp. His onslaught is massive and leaves no room for response. Every sentence is an immediate cocked grenade. You pick it up, then realize that it is too late. It just blows up in your face. And yet he still managed to stay human, tender, accessible.
I think the media's primarily an interesting backdrop - a fertile backdrop, in which we can discuss a great deal involving the human condition. We're not trying to lecture the media on how it should be doing its job or lecture people on who they should be voting for, but it does provide an incredible backdrop on which we can paint a lot of pictures and open up a lot of discussions.
I think because of these big issues of life and death that maybe sex feels like a crass question. But for Christ sake, this is a book that is so interested in an elemental human condition. And one of the ideas about surrender is an erotic surrender, too. These folks are surrendered by destiny; they surrender to each other in certain moments, but there is a lot of erotic surrender.
It's all about human condition, ultimately. That's what you're looking at. You're also looking to have some fun, as well, because that also translates. Maybe wearing tights once in awhile helped. Getting up on a horse a couple of times before might have helped.
I love the whole kind of notion of transformation for me is (what) excites me about not only acting, but storytelling. I love, I love that notion of a slightly larger-than-life artistic truth, you know, magnifying real emotional truth (or) finding something about human condition (which), you wouldn't necessarily think you can learn from characters such as Kong or Gollum, but actually they are, you know, these huge amplifications of a human psyche and I suppose those kind of roles have always attracted me definitely.
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