Quotes about creative

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Source: The Master of Go (1951), Ch. 38, p. 164.
Context: That play of black upon white, white upon black, has the intent and takes the form of creative art. It has in it a flow of the spirit and a harmony of music. Everything is lost when suddenly a false note is struck, or one party in a duet suddenly launches forth on an eccentric flight of his own. A masterpiece of a game can be ruined by insensitivity to the feelings of an adversary.

No. 15
On the Interpretation of Nature (1753)
Context: There are three principal means of acquiring knowledge available to us: observation of nature, reflection, and experimentation. Observation collects facts; reflection combines them; experimentation verifies the result of that combination. Our observation of nature must be diligent, our reflection profound, and our experiments exact. We rarely see these three means combined; and for this reason, creative geniuses are not common.

East of Eden (1952)
Context: Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of a man. Nothing was ever created by two men. There are no good collaborations, whether in art, in music, in poetry, in mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies in the lonely mind of a man.
And now the forces marshaled around the concept of the group have declared a war of extermination on that preciousness, the mind of man. By disparagement, by starvation, by repressions, forced direction, and the stunning blows of conditioning, the free, roving mind is being pursued, roped, blunted, drugged. It is a sad suicidal course our species seems to have taken.
And this I believe: that the free, exploring mind of the individual human is the most valuable thing in the world. And this I would fight for: the freedom of the mind to take any direction it wishes, undirected. And this I must fight against: any religion, or government which limits or destroys the individual. This is what I am and what I am about. I can understand why a system built on a pattern must try to destroy the free mind, for it is the one thing which can by inspection destroy such a system. Surely I can understand this, and I hate it and I will fight against it to preserve the one thing that separates us from the uncreative beasts. If the glory can be killed, we are lost.

The Abolition of Work (1985)
Context: No one can say what would result from unleashing the creative power stultified by work. Anything can happen. The tiresome debater's problem of freedom vs. necessity, with its theological overtones, resolves itself practically once the production of use-values is co-extensive with the consumption of delightful play activity. Life will become a game, or rather many games, but not—as it is now — a zero/sum game. An optimal sexual encounter is the paradigm of productive play. The participants potentiate each other's pleasures, nobody keeps score, and everybody wins. The more you give, the more you get. In the ludic life, the best of sex will diffuse into the better part of daily life. Generalized play leads to the libidinization of life. Sex, in turn, can become less urgent and desperate, more playful.
If we play our cards right, we can all get more out of life than we put into it; but only if we play for keeps.
No one should ever work.
Workers of the world... relax! </center

Acceptance Speech http://www.washingtonpost.com/wp-srv/politics/daily/may98/goldwaterspeech.htm as the Republican Presidential candidate, San Francisco (July 1964)
Unsourced variant: Now those who seek absolute power, even though they seek it to do what they regard as good, are simply demanding the right to enforce their own version of heaven on earth, and let me remind you they are the very ones who always create the most hellish tyranny.
Context: Those who seek absolute power, even though they seek it to do what they regard as good, are simply demanding the right to enforce their own version of heaven on earth. And let me remind you, they are the very ones who always create the most hellish tyrannies. Absolute power does corrupt, and those who seek it must be suspect and must be opposed. Their mistaken course stems from false notions of equality, ladies and gentlemen. Equality, rightly understood, as our founding fathers understood it, leads to liberty and to the emancipation of creative differences. Wrongly understood, as it has been so tragically in our time, it leads first to conformity and then to despotism.

Down and Out in the Magic Kingdom (2003)
Context: I’d talk to him about the vast carpet of the future unrolling before us, of the certainty that we would encounter alien intelligences some day, of the unimaginable frontiers open to each of us. He’d tell me that deadheading was a strong indicator that one’s personal reservoir of introspection and creativity was dry; and that without struggle, there is no real victory.
This was a good fight, one we could have a thousand times without resolving. I’d get him to concede that Whuffie recaptured the true essence of money: in the old days, if you were broke but respected, you wouldn’t starve; contrariwise, if you were rich and hated, no sum could buy you security and peace. By measuring the thing that money really represented—your personal capital with your friends and neighbors—you more accurately gauged your success.

As quoted in LIFE magazine (22 April 1957), p. 152; also in Letters and Papers from Prison (1967), p. 47.
Context: Time is the most precious gift in our possession, for it is the most irrevocable. This is what makes it so disturbing to look back upon the time which we have lost. Time lost is time when we have not lived a full human life, time unenriched by experience, creative endeavor, enjoyment, and suffering. Time lost is time not filled, time left empty.

The Paris Review interview (1982)
Context: You know C. S. Lewis, whom I greatly admire, said there’s no such thing as creative writing. I’ve always agreed with that and always refuse to teach it when given the opportunity. He said there is, in fact, only one Creator and we mix. That’s our function, to mix the elements He has given us. See how wonderfully anonymous that leaves us? You can’t say, “I did this; this gross matrix of flesh and blood and sinews and nerves did this.” What nonsense! I’m given these things to make a pattern out of. Something gave it to me.
I’ve always loved the idea of the craftsman, the anonymous man. For instance, I’ve always wanted my books to be called the work of Anon, because Anon is my favorite literary character. If you look through an anthology of poems that go from the far past into the present time, you’ll see that all the poems signed “Anon” have a very specific flavor that is one flavor all the way through the centuries. I think, perhaps arrogantly, of myself as “Anon.” I would like to think that Mary Poppins and the other books could be called back to make that change. But I suppose it’s too late for that.

"The Mutabilities of Literature".
The Sketch Book of Geoffrey Crayon (1819–1820)
Context: Language gradually varies, and with it fade away the writings of authors who have flourished their allotted time; otherwise, the creative powers of genius would overstock the world, and the mind would be completely bewildered in the endless mazes of literature. Formerly there were some restraints on this excessive multiplication. Works had to be transcribed by hand, which was a slow and laborious operation; they were written either on parchment, which was expensive, so that one work was often erased to make way for another; or on papyrus, which was fragile and extremely perishable. Authorship was a limited and unprofitable craft, pursued chiefly by monks in the leisure and solitude of their cloisters. The accumulation of manuscripts was slow and costly, and confined almost entirely to monasteries. To these circumstances it may, in some measure, be owing that we have not been inundated by the intellect of antiquity; that the fountains of thought have not been broken up, and modern genius drowned in the deluge. But the inventions of paper and the press have put an end to all these restraints. They have made everyone a writer, and enabled every mind to pour itself into print, and diffuse itself over the whole intellectual world. The consequences are alarming. The stream of literature has swollen into a torrent — augmented into a river — expanded into a sea.

May the Source Be With You (2001)
Context: While the creative works from the 16th century can still be accessed and used by others, the data in some software programs from the 1990s is already inaccessible. Once a company that produces a certain product goes out of business, it has no simple way to uncover how its product encoded data. The code is thus lost, and the software is inaccessible. Knowledge has been destroyed.

Changing My Mind, Among Others : Lifetime Writings (1982), p. 76; also in Change Your Brain (2000), p. 72
Context: To describe externals, you become a scientist. To describe experience, you become an artist. The old distinction between artists and scientists must vanish. Every time we teach a child correct usage of an external symbol, we must spend as much time teaching him how to fission and reassemble external grammar to communicate the internal. The training of artists and creative performers can be a straightforward, almost mechanical process. When you teach someone how to perform creatively (ie, associate dead symbols in new combinations), you expand his potential for experiencing more widely and richly.

As quoted in "A Genius and His Magic Camera" in LIFE magazine (27 October 1972); also in The Instant Image : Edwin Land and the Polaroid Experience (1978) by Mark Olshaker, p. 65
Variant: An essential aspect of creativity is not being afraid to fail.
Context: An essential aspect of creativity is not being afraid to fail. Scientists made a great invention by calling their activities hypotheses and experiments. They made it permissible to fail repeatedly until in the end they got the results they wanted. In politics or government, if you made a hypothesis and it didn't work out, you had your head cut off.

Essay as "Mr. X" (1969)
Context: Incidentally, I find that reasonably good insights can be remembered the next day, but only if some effort has been made to set them down another way. If I write the insight down or tell it to someone, then I can remember it with no assistance the following morning; but if I merely say to myself that I must make an effort to remember, I never do.
I find that most of the insights I achieve when high are into social issues, an area of creative scholarship very different from the one I am generally known for.

De Abaitua interview (1998)
Context: The reason I got into magic was that it seemed to be what was lying at the end of the path of writing. If I wanted to continue on that path, I was going to have to get into that territory because I had followed writing as far as I thought I could without taking a step over the edges of rationality. The path led out of rational confines. When you start thinking about art and creativity, rationality is not big enough to contain it all.

Academy of Achievement interview (2006)
Context: We can either be monsters or angels. We are able to be demons and angels, as that book says. We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people.

The World in Six Songs (2008)
Context: Creative brains became more attractive during centuries of sexual selection because they could solve a wider range of unanticipatable problems.... Humans who just happened to find creativity attractive may have hitched their reproductive wagons to musicians and artists, and... conferred a survival advantage on their offspring.

Upon The Mother Of The Gods (c. 362-363)
Context: Who then is the Mother of the Gods? She is the Source of the Intelligible and Creative Powers, which direct the visible ones; she that gave birth to and copulated with the mighty Jupiter: she that exists as a great goddess next to the Great One, and in union with the Great Creator; she that is dispenser of all life; cause of all birth; most easily accomplishing all that is made; generating without passion; creating all that exists in concert with the Father; herself a virgin, without mother, sharing the throne of Jupiter, the mother in very truth of all the gods; for by receiving within herself the causes of all the intelligible deities that be above the world, she became the source to things the objects of intellect.

Day of Affirmation Address (1966)
Context: For the fortunate amongst us, the fourth danger, my friends, is comfort, the temptation to follow the easy and familiar paths of personal ambition and financial success so grandly spread before those who have the privilege of an education. But that is not the road history has marked out for us. There is a Chinese curse which says, "May he live in interesting times." Like it or not we live in interesting times. They are times of danger and uncertainty; but they are also more open to the creative energy of men than any other time in history. And everyone here will ultimately be judged — will ultimately judge himself — on the effort he has contributed to building a new world society and the extent to which his ideals and goals have shaped that effort.

Source: Anarcho-Syndicalism (1938), Ch. 1 "Anarchism: Its Aims and Purposes"
Context: Every culture, if its natural development is not too much affected by political restrictions, experiences a perpetual renewal of the formative urge, and out of that comes an ever growing diversity of creative activity. Every successful piece of work stirs the desire for greater perfection and deeper inspiration; each new form becomes the herald of new possibilities of development.

Source: Love and Will (1969), Ch. 13 : Communion of Consciousness, p. 320
Context: 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.

Ch 2 : The Nature of Creativity, p. 54
The Courage to Create (1975)
Context: In this sense genuine artists are so bound up with their age that they cannot communicate separated from it. In this sense, too, the historical situation conditions the creativity. For the consciousness which obtains in creativity is not the superficial level of objectified intellectualization, but is an encounter with the world on a level that undercuts the subject-object split. "Creativity" to rephrase our definition, “is the encounter of the intensively conscious human being with his or her world.”

100 Years of Mathematics: a Personal Viewpoint (1981)
Context: Logical analysis is indispensable for an examination of the strength of a mathematical structure, but it is useless for its conception and design. The great advances in mathematics have not been made by logic but by creative imagination.

Nobel Address (1991)
Context: Today, peace means the ascent from simple coexistence to cooperation and common creativity among countries and nations.
Peace is movement towards globality and universality of civilization. Never before has the idea that peace is indivisible been so true as it is now.
Peace is not unity in similarity but unity in diversity, in the comparison and conciliation of differences.
And, ideally, peace means the absence of violence. It is an ethical value.

60 Minutes interview (2010)
Context: I love it when people say "What a horrible, lousy idea." I think that's great … I hate the comfort zone … I don't think that anything that's really creative can be done without danger and risk.

EPCOT promotional film (1966)
Context: EPCOT will be an experimental prototype community of tomorrow that will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise.

Academy of Achievement interview (1991)
Context: I have come to associate a kind of success that we are referring to, to individuals who have a combination of attributes that are often associated with creativity. In a way they are mutants, they are different from others. And they follow their own drummer. We know what that means. And are we all like that? We are not like that. If you are, then it would be well to recognize that there were others before you. And, people like that are not very happy or content, until they are allowed to express, or they can express what's in them to express. It's that driving force that I think is like the process of evolution working on us, and in us, and with us, and through us. That's how we continue on, and will improve our lot in life, solve the problems that arise. Partly out of necessity, partly out of this drive to improve.

Free Culture (2004)
Context: Overregulation stifles creativity. It smothers innovation. It gives dinosaurs a veto over the future. It wastes the extraordinary opportunity for a democratic creativity that digital technology enables.
In addition to these important harms, there is one more that was important to our forebears, but seems forgotten today. Overregulation corrupts citizens and weakens the rule of law.
The war that is being waged today is a war of prohibition. As with every war of prohibition, it is targeted against the behavior of a very large number of citizens. According to The New York Times, 43 million Americans downloaded music in May 2002. According to the RIAA, the behavior of those 43 million Americans is a felony. We thus have a set of rules that transform 20 percent of America into criminals.

1950s, Loving Your Enemies (Christmas 1957)
Context: Love is the most durable power in the world. This creative force, so beautifully exemplified in the life of our Christ, is the most potent instrument available in mankind's quest for peace and security. Napoleon Bonaparte, the great military genius, looking back over his years of conquest, is reported to have said: "Alexander, Caesar, Charlemagne and I have built great empires. But upon what did they depend? They depended on force. But centuries ago Jesus started an empire that was built on love, and even to this day millions will die for him." Who can doubt the veracity of these words. The great military leaders of the past have gone, their empires have crumbled and burned to ashes. But the empire of Jesus, built solidly and majestically on the foundation of love, is still growing. It started with a small group of dedicated men, who, through the inspiration of their Lord, were able to shake the hinges form the gates of the Roman Empire, and carry the gospel into all the world. Today the vast earthly kingdom of Christ numbers more than 900,000,000 and covers every land and tribe.

Upon the Sovereign Sun (362)
Context: The one absolutely, the Intelligible, the ever Preexisting, comprehending all the universe together within the One — nay, more, is not the whole world One living thing — all and everywhere full of life and soul, perfect and made up out of parts likewise perfect? Now of this double unity the most perfect part (I mean of the Unity in the Intelligible World that comprehends all things in One, and of the Unity encompassing the Sensible World, that brings together all things into a single and perfect nature) is the perfection of the sovereign Sun, which is central and single, and placed in the middle of the intermediate Powers. <!-- But coming after this, there exists a certain connection in the Intelligible World with the Power that orders and arranges all things in one. Does not the essence of the Fifth Body, which is turned, as it were by a lathe, in a circle, move around the heavens, and is that which holds together all the parts, and binds them to one another, uniting what is naturally united amongst them and also those parts that mutually affect each other. These two essences, which are the causes of mutual attraction and of union (whereof the one manifests itself in the Intelligible, the other in the Sensible creation) does the Sun thus concentrate into one. Of the former he imitates this power of embracing and containing all things in the Intelligible creation, inasmuch as he proceeds from that source; whilst he governs the latter, that which is perceptible in the world of Sense. Perhaps, therefore, the self-existent principle, which existed first in the Intelligible creation, and lastly in the Visible bodies of the heavens, is owner of the intermediate, self-created essence of the sovereign Sun, from which primal creative essence there descends upon the visible world the radiance which illuminates the universe.

Preface to the 1913 edition
1890s, Quintessence Of Ibsenism (1891; 1913)
Context: I have never admitted the right of an elderly author to alter the work of a young author, even when the young author happens to be his former self. In the case of a work which is a mere exhibition of skill in conventional art, there may be some excuse for the delusion that the longer the artist works on it the nearer he will bring it to perfection. Yet even the victims of this delusion must see that there is an age limit to the process, and that though a man of forty-five may improve the workmanship of a man of thirty-five, it does not follow that a man of fifty-five can do the same.
When we come to creative art, to the living word of a man delivering a message to his own time, it is clear that any attempt to alter this later on is simply fraud and forgery. As I read the old Quintessence of Ibsenism I may find things that I see now at a different angle, or correlate with so many things then unnoted by me that they take on a different aspect. But though this may be a reason for writing another book, it is not a reason for altering an existing one.

Entry (1953)
Eric Hoffer and the Art of the Notebook (2005)
Context: The sense of worth derived from creative work depends upon "recognition" by others, which is never automatic. As a result, the path of self-realization, even when it is the only open one, is taken with reluctance. Men of talent have to be goaded to engage in creative work. The groans and laments of even the most gifted and prolific echo through the ages.

Broadside magazine interview (1968; published 1976)
Context: Leave the old and dying America and use your creative energies to help form a new America, which would be de-militarized, more humanistic, where the police are less hostile and closer to the community, where the wealthy are not given unleashed power for the exploitation of the people. And, mostly because it's now a matter of life and death, reassert an ecological balance with the environment, which means the people in the oil companies and the car companies and the space industry and all the other industries will have to be brought into account, so that there will be a new definition of government which has to be closer to the people and less close to special interests which are far more harmful than any revolutionaries.

Blessings (1998)
Context: Life is a creative endeavor. It is active, not passive. We are the yeast that leavens our lives into rich, fully baked loaves. When we experience our lives as flat and lackluster, it is our consciousness that is at fault. We hold the inner key that turns our lives from thankless to fruitful. That key is "Blessing."

Source: The Geller Phenomenon (1976), p. 120
Context: I began with a strong bias toward skepticism. Besides, to tell the truth, I still find occult phenomena a little preposterous and irrelevant. What do they really matter if you place them against the truly great human achievements — against the creative genius of a Michaelangelo, a Beethoven, an Einstein? In that context they seem almost trivial.

Free Culture (2004)
Context: Now that copyrights can be just about a century long, the inability to know what is protected and what is not protected becomes a huge and obvious burden on the creative process. If the only way a library can offer an Internet exhibit about the New Deal is to hire a lawyer to clear the rights to every image and sound, then the copyright system is burdening creativity in a way that has never been seen before because there are no formalities.

Source: V. (1963), Chapter Two, Part II
Context: The rest of the Crew partook of the same lethargy. Raoul wrote for television, keeping carefully in mind, and complaining bitterly about, all the sponsor-fetishes of that industry. Slab painted in sporadic bursts, referring to himself as a Catatonic Expressionist and his work as “the ultimate in non-communication.” Melvin played the guitar and sang liberal folk songs. The pattern would have been familiar—bohemian, creative, arty—except that it was even further removed from reality, Romanticism in its furthest decadence; being only an exhausted impersonation of poverty, rebellion and artistic “soul.” For it was the unhappy fact that most of them worked for a living and obtained the substance of their conversation from the pages of Time magazine and like publications

Source: Sculpting in Time (1986), p. 241
Context: Perhaps the meaning of all human activity lies in the artistic consciousness, in the pointless and selfless creative act? Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?

As quoted in The 101 Habits of Highly Successful Screenwriters: Insiders Secrets from Hollywood's Top Writers (2001) by Karl Inglesias, p. 4. This has also appeared on the internet in several slightly paraphrased forms.
Context: The truly creative mind in any field is no more than this: a human creature born abnormally, inhumanly sensitive. To him, a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death. Add to this cruelly delicate organism the overpowering necessity to create, create, create — so that without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating.

The Spiral Dance: A Rebirth of the Ancient Religion of the Goddess (1979), p. 231

Gertrude (1910)
Context: If a man does not think too much, he rejoices at rising in the morning, and at eating and drinking. He finds satisfaction in them and does not want them to be otherwise. But if he ceases to take things for granted, he seeks eagerly and hopefully during the course of the day for moments of real life, the radiance of which makes him rejoice and obliterates the awareness of time and all thoughts on the meaning and purpose of everything. One can call these moments creative, because they seem to give a feeling of union with the creator, and while they last, one is sensible of everything being necessary, even what is seemingly fortuitous. It is what the mystics call union with God. Perhaps it is the excessive radiance of these moments that make everything else appear so dark. Perhaps it is the feeling of liberation, the enchanting lightness and the suspended bliss that make the rest of life seem so difficult, demanding and oppressive. I do not know. I have not travelled very far in thought and philosophy. However I do know that if there is a state of bliss and a paradise, it must be an uninterrupted sequence of such moments, and if this state of bliss can be attained through suffering and dwelling in pain, then no sorrow or pain can be so great that one should attempt to escape from it.

Interview with J. Murphy and J. W. N. Sullivan (1930), p. 68
Attributed in posthumous publications, Einstein and Religion (1999)
Context: Speaking of the spirit that informs modern scientific investigations, I am of the opinion that all the finer speculations in the realm of science spring from a deep religious feeling, and that without such a feeling they would not be fruitful. I also believe that, this kind of religiousness, which makes itself felt today in scientific investigations, is the only creative religious activity of our time. The art of today can hardly be looked upon at all as expressive of our religious instincts.

1960s, Nobel Prize acceptance speech (1964)
Context: This faith can give us courage to face the uncertainties of the future. It will give our tired feet new strength as we continue our forward stride toward the city of freedom. When our days become dreary with low-hovering clouds and our nights become darker than a thousand midnights, we will know that we are living in the creative turmoil of a genuine civilization struggling to be born.

Source: Spirit and Reality (1946), p. 52
Context: Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem.
In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death.

New Delhi India 1st Public Talk (14 November 1948)
1940s
Context: So, a man who is really earnest must begin with himself, he must be passively aware of all his thoughts, feelings and actions. Again, this is not a matter of time. There is no end to self-knowledge. Self-knowledge is only from moment to moment, and therefore there is a creative happiness from moment to moment.

As quoted in "Ingmar Bergman: Summing Up A Life In Film" http://web.archive.org/web/20110913212122/http://bergmanorama.webs.com/kakutani_nyt83.htm by Michiko Kakutani in The New York Times Magazine (26 June 1983)].
Context: I am very much aware of my own double self... The well-known one is very under control; everything is planned and very secure. The unknown one can be very unpleasant. I think this side is responsible for all the creative work — he is in touch with the child. He is not rational, he is impulsive and extremely emotional. Perhaps it is not even a "he," but a "she."

Introduction to the Art gallery at his website (2006) http://robertfulghum.com/index.php/fulghumweb/artshowentry/introduction2/
Context: I don't do art to address other people but to address myself. I've never done art with a thought of being a professional artist who makes a living by selling his art. I've never had a commercial show in a gallery. I suppose I'm like those who write poetry or songs without seeking publication. I make art in and for the experience itself — to satisfy a need to express myself in a creative, colorful, non-verbal way.

Source: Kindergarten Chats (1918), Ch. 10 : A Roman Temple
Context: Taste is one of the weaker words in our language. It means a little less than something, a little more than nothing; certainly it conveys no suggestion of potency. It savors of accomplishment, in the fashionable sense, not of power to accomplish in the creative sense. It expresses a familiarity with what is au courant among persons of so-called culture, of so-called good form. It is essentially a second-hand word, and can have no place in the working vocabulary of those who demand thought and action at first hand. To say that a thing is tasty or tasteful is, practically, to say nothing at all.

King's often repeated expression that "The arc of the moral universe is long, but it bends towards justice" was his own succinct summation of sentiments echoing those of Theodore Parker, who, in "Of Justice and the Conscience" (1853) asserted: "I do not pretend to understand the moral universe; the arc is a long one, my eye reaches but little ways; I cannot calculate the curve and complete the figure by the experience of sight; I can divine it by conscience. And from what I see I am sure it bends towards justice."
1960s, Where Do We Go from Here: Chaos or Community? (1967)
Context: I must confess, my friends, the road ahead will not always be smooth. There will be still rocky places of frustration and meandering points of bewilderment. There will be inevitable setbacks here and there. There will be those moments when the buoyancy of hope will be transformed into the fatigue of despair. Our dreams will sometimes be shattered and our ethereal hopes blasted. We may again with tear-drenched eyes have to stand before the bier of some courageous civil rights worker whose life will be snuffed out by the dastardly acts of bloodthirsty mobs. Difficult and painful as it is, we must walk on in the days ahead with an audacious faith in the future. … When our days become dreary with low-hovering clouds of despair, and when our nights become darker than a thousand midnights, let us remember that there is a creative force in this universe, working to pull down the gigantic mountains of evil, a power that is able to make a way out of no way and transform dark yesterdays into bright tomorrows. Let us realize the arc of the moral universe is long but it bends toward justice.

Source: The Courage to Create (1975), Ch. 4 : Creativity and the Encounter, p. 93
Context: Creative people, as I see them, are distinguished by the fact that they can live with anxiety, even though a high price may be paid in terms of insecurity, sensitivity, and defenselessness for the gift of the "divine madness" to borrow the term used by the classical Greeks. They do not run away from non-being, but by encountering and wrestling with it, force it to produce being. They knock on silence for an answering music; they pursue meaninglessness until they can force it to mean.

Fast Company interview (2011)
Context: To increase the speed of innovation here, we want to increase the number of people who can contribute ideas to the creative process. … We structure programs so that we can have diversity of involvement from universities to small businesses to large businesses to garage inventors. You're looking for the maximum number of folks who can contribute ideas to the process. So we're trying to catalyze and grab the best ideas no matter where they come from, leveraging the most modern concepts of crowdsourcing and harnessing creative power. Look at the semiconductor industry. Those companies could only keep up with Moore's law by going from hundreds of chip designers focused on eking out every last electron, to hundreds of thousands of designers throughout the industry who could excel at various pieces of the design. When you open up the process like that, the number of people and the diversity of people who can participate goes way up.

What I Believe (1938)
Context: The people I respect most behave as if they were immortal and as if society was eternal. Both assumptions are false: both of them must be accepted as true if we are to go on eating and working and loving, and are to keep open a few breathing-holes for the human spirit. No millennium seems likely to descend upon humanity; no better and stronger Ieague of Nations will be instituted; no form of Christianity and no alternative to Christianity will bring peace to the world or integrity to the individual; no "change of heart" will occur. And yet we need not despair, indeed, we cannot despair; the evidence of history shows us that men have always insisted on behaving creatively under the shadow of the sword; that they have done their artistic and scientific and domestic stuff for the sake of doing it, and that we had better follow their example under the shadow of the aeroplanes. Others, with more vision or courage than myself, see the salvation of humanity ahead, and will dismiss my conception of civilization as paltry, a sort of tip-and-run game. Certainly it is presumptuous to say that we cannot improve, and that Man, who has only been in power for a few thousand years, will never learn to make use of his power. All I mean is that, if people continue to kill one another as they do, the world cannot get better than it is, and that, since there are more people than formerly, and their means for destroying one another superior, the world may well get worse. What is good in people — and consequently in the world — is their insistence on creation, their belief in friendship and loyalty for their own sakes; and, though Violence remains and is, indeed, the major partner in this muddled establishment, I believe that creativeness remains too, and will always assume direction when violence sleeps. So, though I am not an optimist, I cannot agree with Sophocles that it were better never to have been born. And although, like Horace, I see no evidence that each batch of births is superior to the last, I leave the field open for the more complacent view. This is such a difficult moment to live in, one cannot help getting gloomy and also a bit rattled, and perhaps short-sighted.

The Age of Insight (2012)
Context: The Copernican revolution... revealed that the earth is not the center of the universe... The second, the Darwinian revolution... revealed that we are not created divinely or uniquely but instead evolved from simpler animals by a process of natural selection. The third great revolution, the Freudian revolution of Vienna 1900, revealed that we do not consciously control our own actions but are instead driven by unconscious motives. This... later led to the idea that human creativity... stems from conscious access to underlying, unconscious forces.

Games for Actors and non-Actors (1992)
Context: When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life.

Source: Lateral Thinking : Creativity Step by Step (1970), p. 5; Preface.
Context: Lateral thinking... is the process of using information to bring about creativity and insight restructuring. Lateral thinking can be learned, practised and used. It is possible to acquire skill in it just as it is possible to acquire skill in mathematics.

Global Ideas from Pluto's Challenger (May 21, 2009)
Context: Creativity is seeing what everyone else sees, but then thinking a new thought that has never been thought before and expressing it somehow. It could be with art, a sculpture, music or even in science. The difference, however, between scientific creativity and any other kind of creativity, is that no matter how long you wait, no one else will ever compose "Beethoven's Ninth Symphony" except for Beethoven. No matter what you do, no one else will paint Van Gogh's "Starry Night." Only Van Gogh could do that because it came from his creativity.Whereas in science, you can't just make stuff up and presume that it is a proper account of nature. At the end of the day, you have to answer to nature. Since everyone has nature to answer to, your creativity is simply discovering something about the natural world that somebody else would have eventually discovered exactly the same way. They might have come through a different path, but they would have landed in the same place.Even though we name theorems and equations after the people who discover them — Newton's laws of gravity, Kepler's laws of planetary motion — somebody else would have discovered them afterward. It's that simple. Your creativity is not a boundless creativity.

"Friendly, and Just a Bit Creepy: St. Vincent Defies Categories" in The New York Times (7 May 2009) http://www.nytimes.com/2009/05/07/arts/music/07vince.html?_r=1&ref=arts&pagewanted=all
Context: I think anyone who is creative or self-aware in any way, there’s like a humility to it, or I should say a humiliation to it. But there’s also a self-delusion — the provisional ego, as my uncle would call it. The self-delusion is the thing that makes you go, oh you know what, all the music that I’ve ever loved in the world, I want to be a part of that — hey, listen to what I have to say, it’s really important, it’s going to matter.”
You can’t apologize your way into people’s hearts... You have to go full force.

The Spiral Staircase: My Climb Out of Darkness (2004)
Context: We are, the great spiritual writers insist, most fully ourselves when we give ourselves away, and it is egotism that holds us back from that transcendent experience that has been called God, Nirvana, Brahman, or the Tao.
What I now realize, from my study of the different religious traditions, is that a disciplined attempt to go beyond the ego brings about a state of ecstasy. Indeed, it is in itself ekstasis. Theologians in all the great faiths have devised all kinds of myths to show that this type of kenosis, or self-emptying, is found in the life of God itself. They do not do this because it sounds edifying, but because this is the way that human nature seems to work. We are most creative and sense other possibilities that transcend our ordinary experience when we leave ourselves behind.

Source: Give Me Liberty! (1998), Ch. 17 : Success Redefined, p. 178
Context: The new and most powerful union of all will be a union of one — one man, one woman, one worker with special skills, an inquiring mind, and an independent attitude, his creativity intact, his love of life blooming. The union of one will be peopled by one man or one woman who is alive. Such a person is always sought by the intelligent manager.

The Penguin Book of Religious Verse (1963), p. 8

Upon the Sovereign Sun (362)
Context: One indeed is the Creator of all things, but many are the creative powers revolving in the heavens; we must, therefore, place the influence of the Sun as intermediate with respect to each single operation affecting the earth. Moreover, the principle productive of Life is vastly superabundant in the Intelligible World; our world, also, is evidently full of generative life. It is therefore clear that the life-producing power of the sovereign Sun is intermediate between these two, since the phenomena of Nature bear testimony to the fact; for some kinds of things the Sun brings to perfection, others of them he brings to pass, others he regulates, others he excites, and there exists nothing that, without the creative influence of the Sun, comes to light and is born.

As quoted in Man Creates Art Creates Man (1973) by Duane Preble, p. 14
Variant translation: Art is solving problems that cannot be formulated before they have been solved. The shaping of the question is part of the answer.
As quoted in Architecture: form, space, and order (2007) by Francis D.K. Ching, p. ix
Context: After all, what is art? Art is the creative process and it goes through all fields. Einstein’s theory of relativity — now that is a work of art! Einstein was more of an artist in physics than on his violin.
Art is this: art is the solution of a problem which cannot be expressed explicitly until it is solved.

The Historical Illuminatus as spoken by Sigismundo Celine
Context: The creative faculty, the god-power, is not used here with anything less than literalness. When beauty was created by a godly mind, beauty existed, as surely as the paintings of Botticelli or the concerti of Vivaldi exist. When mercy was created, mercy existed. When guilt was created, guilt existed. Out of a meaningless and pointless existence, we have made meaning and purpose; but since this creative act happens only when we relax after great strain, we feel it as 'pouring into us' from elsewhere. Thus, we do not know our own godhood and we are perpetually swindled by those who assure us that it is indeed elsewhere, but they can give us access to it, for a reasonable fee. And when we as a species were ignorant enough to be duped in that way, the swindlers went one step further, invented original sin and other horrors of that sort, and made us even more 'dependent' upon them.

As quoted in "Global citizen", interview in Scouts (July/August 2010), p. 41
Context: My programme, The Art of Creative Expression, empowers young people with tools to express themselves. We teach photography, art and drama, but it's not just the medium that's important, it's about what you are trying to say.

Report on the Potsdam Conference (1945)
Context: We know now that the basic proposition of the worth and dignity of man is not a sentimental aspiration or a vain hope or a piece of rhetoric. It is the strongest, most creative force now present in this world.
Now let us use that force and all our resources and all our skills in the great cause of a just and lasting peace!
The Three Great Powers are now more closely than ever bound together in determination to achieve that kind of peace. From Teheran, and the Crimea, from San Francisco and Berlin — we shall continue to march together to a lasting peace and a happy world!

Remarks by German Chancellor Angela Merkel before a joint session of Congress on November 04, 2009. http://www.spiegel.de/international/europe/0,1518,659196,00.html
Dokumentation: Angela Merkels Rede im US-Kongress im Wortlaut http://www.welt.de/politik/ausland/article5079678/Angela-Merkels-Rede-im-US-Kongress-im-Wortlaut.html
Context: Freedom is the very essence of our economy and society. Without freedom the human mind is prevented from unleashing its creative force. But what is also clear is that this freedom does not stand alone. It is freedom in responsibility and freedom to exercise responsibility.

Woman in the Nineteenth Century (1845)
Context: What I mean by the Muse is that unimpeded clearness of the intuitive powers, which a perfectly truthful adherence to every admonition of the higher instincts would bring to a finely organized human being. It may appear as prophecy or as poesy. … and should these faculties have free play, I believe they will open new, deeper and purer sources of joyous inspiration than have as yet refreshed the earth.
Let us be wise, and not impede the soul. Let her work as she will. Let us have one creative energy, one incessant revelation. Let it take what form it will, and let us not bind it by the past to man or woman, black or white.

Vol. 1, pt. 1, translated by W.P.Dickson.
Introductory Paragraph
The History of Rome - Volume 1
Context: The Mediterranean Sea with its various branches, penetrating far into the great Continent, forms the largest gul of the ocean, and, alternately narrowed by islands or projections of the land and expanding to considerable breadth, at once separates and connects the three divisions of the Old World. The shores of this inland sea were in ancient times peopled by various nations, belonging in an ethno-graphical and philological point of view to different races, but constituting in their historical aspect one whole. This historic whole has been usually, but not very appropriately, entitled the history of the ancient world. It is in reality the history of the civilization among the Mediterranean nations; and as it passes before us in its successive stages, it presents four great phases of development, - the history of the Coptic or Egyptian stock dwelling on the southern shore, the history of the Aramaean or Syrian Nation, which occupied the east coast and extended into the interior of Asia as far as the Euphrates and Tigris, and the histories of the twin-peoples, the Hellenes and the Italians, who received as their heritage the countries bordering on its European shores. Each of these histories was in its earlier stages connected with other regions and with other cycles of historical evolution, but each soon entered on its own peculiar career. The surrounding nations of alien or even of kindred extraction, - the Berbers and Negroes of Africa, the Arabs and Persians, and Indians of Asia, the Celts and Germs of Europe, - came into manifold contact with the peoples inhabiting the borders of the Mediterranean, but they neither imparted unto them nor received from them any influences of really decisive effect upon their respective destinies. So far, therefore, as cycles of culture admit of demarcation at all, we may regard that cycle as a unity which has its culminating points denoted by the names Thebes, Carthage, Athens, and Rome. The four nations represented by these names, after each of them had attained in a path of its own peculiar and noble civilization, mingled with one another in the most varied relations of reciprocal intercourse, and skilfully elaborated and richly developed all the elements of human nature. At length their cycle as accomplished. New peoples who hitherto had onled laved the territories of the states of the Mediterranean, as waves lave the beach, overflowed both shores, severed the history of its south coast from that of the north, and transferred the centre of civilization from the Mediterranean to the Atlantic Ocean. The distinction between ancient and modern history, therefore, is no mere accident, nor yet a mere matter of chronological convenience. What is called modern history is in reality the formation of a new cycle of culture, connected at several epochs of its development with the perishing or perished civilization of the mediterranean states, as that was connected with the primitive civilization of the Indo-Germanic stock, but destined, like that earlier cycle, to traverse an orbit of its own. It too is destined to experience in full measure the vicissitudes of national weal and woe, period of growth, of full vigour, and of age, the blessedness of creative effort, in religion, polity, and art, the comfort of enjoying the material and intellectual acquisitions it has won, perhaps also, some day, the decay of productive power in the satiety of contentment with the goal attained. But that goal too will only be temporary: the grandest system of civilization has its orbit, and may complete its course; but not so the human race, to which, even when it seems to have attained its goal, the old task is ever set anew with a wider range and with a deeper meaning.

Iraq? They just need to think it through (2007)
Context: Creative thinking — in terms of idea creativity — is not a mystical talent. It is a skill that can be practised and nurtured. You can never tell how a policy has been reached just by looking at the end result. Some people who have achieved a huge amount do not come across as impressive when you speak to them.

Entry (1956)
Eric Hoffer and the Art of the Notebook (2005)
Context: Actual creativeness is a matter of moments. One has to piece together the minute grains to make a lump. And it is so easy to miss the momentary flashes, it is like sluicing in placer mining. He who lets the flakes float by has nothing to show for his trouble.

The Libertarian as Conservative (1984)
Context: Most work serves the predatory purposes of commerce and coercion and can be abolished outright. The rest can be automated away and/or transformed — by the experts, the workers who do it — into creative, playlike pastimes whose variety and conviviality will make extrinsic inducements like the capitalist carrot and the Communist stick equally obsolete. In the hopefully impending meta-industrial revolution, libertarian communists revolting against work will settle accounts with “libertarians” and “Communists” working against revolt. And then we can go for the gusto!

Source: Lateral Thinking : Creativity Step by Step (1970), p. 6; First paragraph of the introduction.
Context: Lateral thinking is closely related to insight, creativity and humour. All four processes have the same basis. But whereas insight, creativity and humour can only be prayed for, lateral thinking is a more deliberate process. It is as definite a way of using the mind as logical thinking — but a very different way.

Thoughts on Beauty in Art- Article in MacMillan's Magazine 1861.
Context: The beautiful in nature is the unmarred result of God's first creative or forming will, and.. the beautiful in art is the result of an unmistaken working of man in accordance with the beautiful in nature.

Source: Lateral Thinking : Creativity Step by Step (1970), p. 5; Preface.
Context: At school the emphasis has traditionally always been on vertical thinking which is effective but incomplete. This selective type of thinking needs to be supplemented with the generative qualities of creative thinking. This is beginning to happen in some schools but even so creativity is usually treated as something desirable which is to be brought about by vague exhortation. There is no deliberate and practical procedure for bringing it about.

Strange Horizons interview (2004)
Context: I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot.
So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift.

In the Name of Sanity (1954)
Context: Today, all the normal mischances of living have been multiplied, a million-fold, by the potentialities for destruction, for an unthinking act of collective suicide, which man's very triumphs in science and invention have brought about. In this situation the artist has a special task and duty: the task of reminding men of their humanity and the promise of their creativity.

I, Pencil (1958), I, Pencil: My Family Tree as told to Leonard E. Read http://www.econlib.org/library/Essays/rdPncl1.html
Context: The lesson I have to teach is this: Leave all creative energies uninhibited. Merely organize society to act in harmony with this lesson. Let society's legal apparatus remove all obstacles the best it can. Permit these creative know-hows freely to flow. Have faith that free men and women will respond to the Invisible Hand. This faith will be confirmed.

Talks at Google (Oct 28, 2014)
Context: This mind wandering mode turns out to be very different from the task engagement mode, because it's where thoughts that are loosely connected seamlessly flow into one another like in a dream.... And you begin to see connections between things that you didn't see as connected before.... non-linear kinds of thinking... This is the mode of thinking where your most creative acts are likely to occur and where problem solving is apt to occur.

The Chinese Novel (1938)
Context: The instinct which creates the arts is not the same as that which produces art. The creative instinct is, in its final analysis and in its simplest terms, an enormous extra vitality, a super-energy, born inexplicably in an individual, a vitality great beyond all the needs of his own living — an energy which no single life can consume. This energy consumes itself then in creating more life, in the form of music, painting, writing, or whatever is its most natural medium of expression. Nor can the individual keep himself from this process, because only by its full function is he relieved of the burden of this extra and peculiar energy — an energy at once physical and mental, so that all his senses are more alert and more profound than another man's, and all his brain more sensitive and quickened to that which his senses reveal to him in such abundance that actuality overflows into imagination. It is a process proceeding from within. It is the heightened activity of every cell of his being, which sweeps not only himself, but all human life about him, or in him, in his dreams, into the circle of its activity.

Academy of Achievement interview (1991)
Context: The idea of being constructive, creative, positive, in trying to bring out the best in one's own self and the best in others follows from what I've just been saying. Again, I repeat my belief in us, in ourselves, as the product of the process of evolution, and part of the process itself. I think of evolution as an error-making and error-correcting process, and we are constantly learning from experience. It's the need to dedicate one's self in that way, to one's own self, and to choose an activity or life that is of value not only to yourself but to others as well.

Time Management (2007)
Context: Everyone has Good and Bad Times. Find your creative/thinking time. Defend it ruthlessly, spend it alone, maybe at home. Find your dead time. Schedule meetings, phone calls, and mundane stuff during it.

The Lifted Veil (1859); Eliot here quotes the Latin epitaph of Jonathan Swift, translated as "Where savage indignation can lacerate his heart no more" · The Lifted Veil online at Wikisource
Context: I wish to use my last hours of ease and strength in telling the strange story of my experience. I have never fully unbosomed myself to any human being; I have never been encouraged to trust much in the sympathy of my fellow-men. But we have all a chance of meeting with some pity, some tenderness, some charity, when we are dead: it is the living only who cannot be forgiven — the living only from whom men's indulgence and reverence are held off, like the rain by the hard east wind. While the heart beats, bruise it — it is your only opportunity; while the eye can still turn towards you with moist, timid entreaty, freeze it with an icy unanswering gaze; while the ear, that delicate messenger to the inmost sanctuary of the soul, can still take in the tones of kindness, put it off with hard civility, or sneering compliment, or envious affectation of indifference; while the creative brain can still throb with the sense of injustice, with the yearning for brotherly recognition — make haste — oppress it with your ill-considered judgements, your trivial comparisons, your careless misrepresentations. The heart will by and by be still — "ubi saeva indignatio ulterius cor lacerare nequit" the eye will cease to entreat; the ear will be deaf; the brain will have ceased from all wants as well as from all work. Then your charitable speeches may find vent; then you may remember and pity the toil and the struggle and the failure; then you may give due honour to the work achieved; then you may find extenuation for errors, and may consent to bury them.

Ch 3 : Creativity and the Unconcious, p. 76
The Courage to Create (1975)
Context: Dogmatists 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 destroyers of our nicely ordered systems. For the creative impulse is the speaking of the voice and the expressing of the forms of the preconscious and unconscious; and this is, by its very nature, a threat to rationality and external control.

On the strategies of the Clinton Global Initiative conference, as quoted in "Clinton global aid meeting gathers $1.25 bln" in The (Malaysian) Star (18 September 2005) http://thestar.com.my/news/story.asp?file=/2005/9/18/worldupdates/2005-09-18T070527Z_01_NOOTR_RTRJONC_0_-216516-1&sec=Worldupdates
2000s
Context: The controlled chaos is one way to get creativity. The intensity of it, the physical rush, the intimacy created the kind of dialogue that leads to synergy … The U. N. by contrast is sterile, overly concerned with protocol, overly formal, filled with set-piece speeches. This is what the U. N. in theory is supposed to be but can't.

On Kate Bush
The Kate Bush Story (2014)
Context: Creativity comes from the freedom to fail. And freedom to fail comes from experimentation, and that's what gives something its individuality. And, you know, I think her courage, which is the positive way of interpreting it, or bloody-mindedness, which is the negative, is part of what gives her real value as an artist.

The Age of Insight (2012)
Context: I outline in simple terms... our current understanding of the cognitive psychological and neurobiological basis of perception, memory, emotion, empathy, and creativity.... the principles of the viewer's response to art are applicable to all periods of painting.

Source: Science and Hypothesis (1901), Ch. I: On the Nature of Mathematical Reasoning (1905) Tr. https://books.google.com/books?id=5nQSAAAAYAAJ George Bruce Halstead
Context: The very possibility of the science of mathematics seems an insoluble contradiction. If this science is deductive only in appearance, whence does it derive that perfect rigor no one dreams of doubting? If, on the contrary, all the propositions it enunciates can be deduced one from another by the rules of formal logic, why is not mathematics reduced to an immense tautology? The syllogism can teach us nothing essentially new, and, if everything is to spring from the principle of identity, everything should be capable of being reduced to it. Shall we then admit that the enunciations of all those theorems which fill so many volumes are nothing but devious ways of saying A is A!... Does the mathematical method proceed from particular to the general, and, if so, how can it be called deductive?... If we refuse to admit these consequences, it must be conceded that mathematical reasoning has of itself a sort of creative virtue and consequently differs from a syllogism.<!--pp.5-6

(29 November 2001)
Unfit for Mass Consumption (blog entries), 2001
Context: I was thinking, earlier, how there's this stigma attached to "writing for money" and how odd that is, as though writing is akin to sex (another "creative" act?) and writing for money is akin to prostitution in the minds of so many people. Whoring with adjectives, so to speak. Do I give good prose? Look up the definition of "hack." So, there must be the perception that writing, like the priesthood, comes with some higher purpose in tow. Getting paid well somehow sullies the purer cause. I've heard writers dismiss something or another that they've written by explaining, "Oh, yes, I know that sucked, but I only wrote it because they paid me so much money." And then we might even forgive them a piece of crap, because we have a sensible explanation. That wasn't a real orgasm. I was only faking the plot. Dorothy Parker and F. Scott Fitzgerald and William Faulkner in Hollywood.

In an interview https://80000hours.org/2014/10/interview-holden-karnofsky-on-the-importance-of-personal-fit/ with Benjamin Todd, January 2014

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 94

Internet Encyclopedia of Philosophy
Context: In the chessboard of life, the different pieces have powers which vary with the context and the possibilities of their combination are numerous and unpredictable. The sound player has a sense of right and feels that, if he does not follow it, he will be false to himself. In any critical situation the forward move is a creative act.

On an article by Quanta magazine(when asked: Is there one big question that has always guided you?) https://www.quantamagazine.org/michael-atiyahs-mathematical-dreams-20160303

The Life, Letters and Labours of Francis Galton (1914)

Introductory
The Grammar of Science (1900)

On being driven even at an early age in “Jessica Alba on Being Brave, Dealing With Self-Doubt and Overcoming Major Breakdowns” https://www.entrepreneur.com/article/315948 in Entrepreneur (2018 Jun 29)