Statement at the Masiela Lusha board page http://www.masielalusha.com/board.php
Appendix (p. 527)
The Coyote Kings of the Space-Age Bachelor Pad (2004)
Love is not a feeling ~ The Article (1995)
Exclusive Interview with Peter Cullen http://collider.com/exclusive-interview-with-peter-cullen/ (June 9, 2007)
“Gratitude is one of the least articulate of the emotions, especially when it is deep.”
Speech accepting an award from the National Institute for Immigrant Welfare, Biltmore Hotel, New York (May 11, 1933).
Other writings
Context: Gratitude is one of the least articulate of the emotions, especially when it is deep. I can express with very limited adequacy the passionate devotion to this land that possesses millions of our people, born, like myself, under other skies, for the privilege that that this county has bestowed in allowing them to partake of its fellowship.
Address at Princeton University, "The Educated Citizen" (22 March 1954) http://infoshare1.princeton.edu/libraries/firestone/rbsc/mudd/online_ex/stevenson/adlai1954.html
Context: What a man knows at fifty that he did not know at twenty is, for the most part, incommunicable. The laws, the aphorisms, the generalizations, the universal truths, the parables and the old saws — all of the observations about life which can be communicated handily in ready, verbal packages — are as well known to a man at twenty who has been attentive as to a man at fifty. He has been told them all, he has read them all, and he has probably repeated them all before he graduates from college; but he has not lived them all.
What he knows at fifty that he did not know at twenty boils down to something like this: The knowledge he has acquired with age is not the knowledge of formulas, or forms of words, but of people, places, actions — a knowledge not gained by words but by touch, sight, sound, victories, failures, sleeplessness, devotion, love — the human experiences and emotions of this earth and of oneself and other men; and perhaps, too, a little faith, and a little reverence for things you cannot see.
Vorkosigan Saga, Shards of Honor (1986)
Context: The really unforgivable acts are committed by calm men in beautiful green silk rooms, who deal death wholesale, by the shipload, without lust, or anger, or desire, or any redeeming emotion to excuse them but cold fear of some pretended future. But the crimes they hope to prevent in that future are imaginary. The ones they commit in the present — they are real.
Closing statements and prayer from an informal address delivered in Calcutta, India (October 1968), from The Asian Journal of Thomas Merton (1975); quoted in Thomas Merton, Spiritual Master : The Essential Writings (1992), p. 237.
Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 12. Of the Doctrine of our Priests
Context: About three hundred years ago, it was decreed by the Chief Circle that, since women are deficient in Reason but abundant in Emotion, they ought no longer to be treated as rational, nor receive any mental education. The consequence was that they were no longer taught to read, nor even to master Arithmetic enough to enable them to count the angles of their husband or children; and hence they sensibly declined during each generation in intellectual power. And this system of female non-education or quietism still prevails.My fear is that, with the best intentions, this policy has been carried so far as to react injuriously on the Male Sex.For the consequence is that, as things now are, we Males have to lead a kind of bi-lingual, and I may almost say bi-mental, existence. With Women, we speak of "love", "duty", "right", "wrong", "pity", "hope", and other irrational and emotional conceptions, which have no existence, and the fiction of which has no object except to control feminine exuberances; but among ourselves, and in our books, we have an entirely different vocabulary and I may almost say, idiom. "Love" then becomes "the anticipation of benefits"; "duty" becomes "necessity" or "fitness"; and other words are correspondingly transmuted. Moreover, among Women, we use language implying the utmost deference for their Sex; and they fully believe that the Chief Circle Himself is not more devoutly adored by us than they are: but behind their backs they are both regarded and spoken of — by all except the very young — as being little better than "mindless organisms".
Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
1999, Cited by Amy M. Spindler
Context: Gradually it dawned on me that I was painting my own inner emotions. Those children were asking: "Why are we here? What is life all about? Why is there sadness and injustice?" All those deep questions. Those children were sad because they didn't have the answers. They were searching.
Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 53-54
"Classical and Baroque Sex in Everyday Life" (1979), Beginning To See the Light: Pieces of a Decade (1981)
Context: There are two kinds of sex, classical and baroque. Classical sex is romantic, profound, serious, emotional, moral, mysterious, spontaneous, abandoned, focused on a particular person, and stereotypically feminine. Baroque sex is pop, playful, funny, experimental, conscious, deliberate, amoral, anonymous, focused on sensation for sensation's sake, and stereotypically masculine. The classical mentality taken to an extreme is sentimental and finally puritanical; the baroque mentality taken to an extreme is pornographic and finally obscene. Ideally, a sexual relation ought to create a satisfying tension between the two modes (a baroque idea, particularly if the tension is ironic) or else blend them so well that the distinction disappears (a classical aspiration).
American Diplomacy (1951), World War I
Context: There are certain sad appreciations we have to come to about human nature on the basis of these recent wars. One of them is that suffering does not always make men better. Another is that people are not always more reasonable than governments; that public opinion, or what passes for public opinion, is not invariably a moderating force in the jungle of politics. It may be true, and I suspect it is, that the mass of people everywhere are normally peace-loving and would accept many restraints and sacrifices in preference to the monstrous calamities of war. But I also suspect that what purports to be public opinion in most countries that consider themselves to have popular government is often not really the consensus of the feelings of the mass of the people at all, but rather the expression of the interests of special highly vocal minorities — politicians, commentators, and publicity-seekers of all sorts: people who live by their ability to draw attention to themselves and die, like fish out of water, if they are compelled to remain silent. These people take refuge in the pat and chauvinistic slogans because they are incapable of understanding any others, because these slogans are safer from the standpoint of short-term gain, because the truth is sometimes a poor competitor in the market place of ideas — complicated, unsatisfying, full of dilemma, always vulnerable to misinterpretation and abuse. The counsels of impatience and hatred can always be supported by the crudest and cheapest symbols; for the counsels of moderation, the reasons are often intricate, rather than emotional, and difficult to explain. And so the chauvinists of all times and places go their appointed way: plucking the easy fruits, reaping the little triumphs of the day at the expense of someone else tomorrow, deluging in noise and filth anyone who gets in their way, dancing their reckless dance on the prospects for human progress, drawing the shadow of a great doubt over the validity of democratic institutions. And until people learn to spot the fanning of mass emotions and the sowing of bitterness, suspicion, and intolerance as crimes in themselves — as perhaps the greatest disservice that can be done to the cause of popular government — this sort of thing will continue to occur.
Technopoly: the Surrender of Culture to Technology (1992)
Context: Who knows what schools will be like twenty-five years from now? Or fifty? In time, the type of student who is currently a failure may be considered a success. The type who is now successful may be regarded as a handicapped learner — slow to respond, far too detached, lacking in emotion, inadequate in creating mental pictures of reality. Consider: what Thamus called the "conceit of wisdom" — the unreal knowledge acquired through the written word — eventually became the pre-eminent form of knowledge valued by the schools. There is no reason to suppose that such a form of knowledge must always remain so highly valued.
Notes to his mother, on The Life of Humanity (1884-6) http://www.wikiart.org/en/gustave-moreau/humanity-the-golden-age-depicting-three-scenes-from-the-lives-of-adam-and-eve-the-silver-age-1886, his composition of a ten image polyptych, p. 48 · Photo of its exhibition on the 3rd Floor of Musée National Gustave Moreau http://en.musee-moreau.fr/house-museum/studios/third-floor
Gustave Moreau (1972)
"Women and power in Cuba" (1985), p. 271
The Madwoman's Underclothes (1986)
Context: In the nuclear family the child is confronted by only two adults contrasted by sex. The tendency towards polarization is unavoidable. The duplication of effort in the nuclear family is directly connected to the family's role as the principal unit of consumption in consumer society. Each household is destined to acquire a complete set of all the consumer durables considered necessary for the good life and per caput consumption is therefore maintained at its highest level. In sex, as in consumption, the nuclear family emphasizes possession and exclusivity at the expense of the kinds of emotional relationships that work for co-operation and solidarity.
The Principles of Success in Literature (1865)
Context: In Science the paramount appeal is to the Intellect — its purpose being instruction; in Art, the paramount appeal is to the Emotions — its purpose being pleasure. A work of Art must of course indirectly appeal to the Intellect, and a work of Science will also indirectly appeal to the Feelings; nevertheless a poem on the stars and a treatise on astronomy have distinct aims and distinct methods. But having recognised the broadly-marked differences, we are called upon to ascertain the underlying resemblances. Logic and Imagination belong equally to both. It is only because men have been attracted by the differences that they have overlooked the not less important affinities.
Quotes from NatalieMerchant.com
Context: I don’t want to overdo discussing my experience of motherhood, its too private and profound to parade around. I will say that carrying a child, giving birth to a child and raising that child up has made me feel more engaged and connected to others. I have a greater understanding of people (living past & present). We all begin so pure, so innocent and so hungry for physical and emotional comfort. It’s so important that every baby be generously cherished, fed and comforted. I can see now how withholding these essentials can do irreparable damage. Now (post-baby) when I encounter a sad or aggressive character, I wonder what the first three years of his or her life were like. Imaging them alone, crying in their cribs has given me much more compassion.
On the title of her book Love (2003), in O, The Oprah Magazine (November 2003) http://www.oprah.com/omagazine/200311/omag_200311_toni_b.jhtml
Context: It is easily the most empty cliché, the most useless word, and at the same time the most powerful human emotion — because hatred is involved in it, too. I thought if I removed the word from nearly every other place in the manuscript, it could become an earned word. If I could give the word, in my very modest way, its girth and its meaning and its terrible price and its clarity at the moment when that is all there is time for, then the title does work for me.
Preface to the Third Edition (August 1942)
The Mass Psychology of Fascism (1933)
Context: If, by being revolutionary, one means rational rebellion against intolerable social conditions, if, by being radical, one means "going to the root of things," the rational will to improve them, then fascism is never revolutionary. True, it may have the aspect of revolutionary emotions. But one would not call that physician revolutionary who proceeds against a disease with violent cursing but the other who quietly, courageously and conscientiously studies and fights the causes of the disease. Fascist rebelliousness always occurs where fear of the truth turns a revolutionary emotion into illusions.
1960s, Beyond Vietnam: A Time to Break Silence (1967)
Context: A genuine revolution of values means in the final analysis that our loyalties must become ecumenical rather than sectional. Every nation must now develop an overriding loyalty to mankind as a whole in order to preserve the best in their individual societies. This call for a worldwide fellowship that lifts neighborly concern beyond one's tribe, race, class, and nation is in reality a call for an all-embracing and unconditional love for all mankind. This oft misunderstood, this oft misinterpreted concept, so readily dismissed by the Nietzsches of the world as a weak and cowardly force, has now become an absolute necessity for the survival of man. When I speak of love I am not speaking of some sentimental and weak response. I am not speaking of that force which is just emotional bosh. I am speaking of that force which all of the great religions have seen as the supreme unifying principle of life. Love is somehow the key that unlocks the door which leads to ultimate reality.
As quoted in the closing address by Dr. Henry Sloane Coffin, president of the Union Theological Seminary, New York, at the Memorial Service for Osborn at St. Bartholomew's Church, N.Y. (18 December 1935); published in "Henry Fairfield Osborn", Supplement to Natural History, Vol. 37, no. 2 (February 1936), p. 133 <!-- Bound in Kofoid Collection of Pamphlets on Biography, University of California -->
Context: Every breath you draw, every accelerated beat of your heart in the emotional periods of your oratory depend upon highly elaborated physical and chemical reactions and mechanisms which nature has been building up through a million centuries. If one of these mechanisms, which you owe entirely to your animal ancestry, were to be stopped for a single instant, you would fall lifeless on the stage. Not only this, but some of your highest ideals of human fellowship and comradeship were not created in a moment, but represent the work of ages.
Source: The Cream of the Jest (1917), Ch. 27 : Evolution of a Vestryman
Context: The purblind majority quite honestly believed that literature was meant to mimic human life, and that it did so. And in consequence, their love-affairs, their maxims, their so-called natural ties and instincts, and above all, their wickedness, became just so many bungling plagiarisms from something they had read, in a novel or a Bible or a poem or a newspaper. People progressed from the kindergarten to the cemetery assuming that their emotion at every crisis was what books taught them was the appropriate emotion, and without noticing that it was in reality something quite different. Human life was a distorting tarnished mirror held up to literature: this much at least of Wilde's old paradox — that life mimicked art — was indisputable. Human life, very clumsily, tried to reproduce the printed word.
Nobel lecture (1981)
Context: Unlike other aspects of cognitive function, emotions have never been readily confinable to one hemisphere. Though generated by lateralized input, the emotional effects tend to spread rapidly to involve both hemispheres, apparently through crossed fiber systems in the undivided brain stem.
Source: Attributed in posthumous publications, Einstein's God (1997), p. 89
An Open Letter To Miles Davis (1955)
Context: I think my own way. I don't think like you and my music isn't meant just for the patting of feet and going down backs. When and if I feel gay and carefree, I write or play that way. When I feel angry I write or play that way — or when I'm happy, or depressed, even.
Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever. Music is, or was, a language of the emotions. If someone has been escaping reality, I don't expect him to dig my music, and I would begin to worry about my writing if such a person began to really like it. My music is alive and it's about the living and the dead, about good and evil. It's angry, yet it's real because it knows it's angry.
KSCA interview (1996)
Context: I get very inspired by traveling, by being home in Donegal... all those wonderful moments I'll take with me to the studio. And they, ah, then become at some stage, a melody. That emotion that I loved at some stage will evolve as a melody.
"Robert Anton Wilson on Wilhelm Reich" (March 1995) http://www.wilhelmreichinhell.com/rawonreich.htm
Context: I'm using myself as a typical 20th century model as I'm trying to make sense out of the world around me … typical in the sense of being one of the damn good models around these days. I am typical in the sense that... a lot of people are on the same wave length as me. I get fan mail from people that are absolutely stunned that there's somebody else besides themselves who thinks this way. So, we're a minority, but there are a lot of us. On a planet this overcrowded, a minority can have a few million numbers. … More scientific than religious. More open than dogmatic. More optimistic than pessimistic. More future oriented than past oriented. And more humorous than serious. I really dread serious people. Especially serious, dogmatic people. I regard them as sort of what Reich called the emotional plague. I regard them as very dangerous.
Vague Thoughts On Art (1911)
Context: Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothecated perfect human being.
Fourth Lecture, p. 70.
The Psychology of Man's Possible Evolution (1950)
Context: People who think they can control their negative emotions and manifest them when they want to, simply deceive themselves. Negative emotions depend on identification; if identification is destroyed in some particular case, they disappear. The strangest and most fantastic fact about negative emotions is that people actually worship them. I think that, for an ordinary mechanical man, the most difficult thing to realise is that his own and other people's negative emotions, have no value whatever and do not contain anything noble, anything beautiful or anything strong. In reality negative emotions contain nothing but weakness and very often the beginning of hysteria, insanity or crime. The only good thing about them is that, being quite useless and artificially created by imagination and identification, they can be destroyed without any loss. And this is the only chance of escape that man has.
"Evolution of the Human Brain" (1964), p. 2
Context: Prior to the advent of brain, there was no color and no sound in the universe, nor was there any flavor or aroma and probably rather little sense and no feeling or emotion. Before brains the universe was also free of pain and anxiety.
Interview with Don Swaim (1987) http://wiredforbooks.org/tonimorrison/
Context: Anger... it's a paralyzing emotion... you can't get anything done. People sort of think it's an interesting, passionate, and igniting feeling — I don't think it's any of that — it's helpless... it's absence of control — and I need all of my skills, all of the control, all of my powers — and I need clarity, in order to write — and anger doesn't provide any of that — I have no use for it whatsoever. I can feel melancholy, and I can feel full of regret, but anger is something that is useful to the people who watch it... it's not useful to me.
Page 167
Other writings, The Nature of the Judicial Process (1921)
Context: I have spoken of the forces of which judges avowedly avail to shape the form and content of their judgments. Even these forces are seldom fully in consciousness. They lie so near the surface, however, that their existence and influence are not likely to be disclaimed. But the subject is not exhausted with the recognition of their power. Deep below consciousness are other forces, the likes and the dislikes, the predilections and the prejudices, the complex of instincts and emotions and habits and convictions, which make the man, whether he be litigant or judge.
“Shaw's emotional development was one with his intellectual strength.”
Source: Bernard Shaw in Twilight (1943), II
Context: Shaw's emotional development was one with his intellectual strength. His path led him into the thick of the scrimmage, where more spontaneous natures defend themselves with the usual weapons of malice, humility, bad temper or conceit. But Shaw used the death ray of imperturbability. His feelings were never hurt, his envy never aroused, his conceit was a transparent fiction, he never quarreled.
He doesn’t want a society where he is separate as Negro, but one where he is just another man.
Constance Webb, "Notes preliminary to a full study of the work of Richard Wright" (privately published, 1946)
Source: Drenai series, Quest for Lost Heroes, Ch. 4
Context: Never let anger, or outrage, or fear affect you. That is easy advice to give, but hard to follow. Men will bait you, they will laugh at you, they will jeer. But it is just noise, Kiall. They will hurt the people you love. They will do anything to make you angry or emotional. But the only way you can make them suffer is to win. And to do that you must remain cool.
A Propos of Lady Chatterley's Lover (1929)
Context: Augustine said that God created the universe new every day: and to the living, emotional soul, this is true. Every dawn dawns upon an entirely new universe, every Easter lights up an entirely new glory of a new world opening in utterly new flower. And the soul of man and the soul of woman is new in the same way, with the infinite delight of life and the ever-newness of life. So a man and a woman are new to one another throughout a life-time, in the rhythm of marriage that matches the rhythm of the year.
Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 12. Of the Doctrine of our Priests
Context: About three hundred years ago, it was decreed by the Chief Circle that, since women are deficient in Reason but abundant in Emotion, they ought no longer to be treated as rational, nor receive any mental education. The consequence was that they were no longer taught to read, nor even to master Arithmetic enough to enable them to count the angles of their husband or children; and hence they sensibly declined during each generation in intellectual power. And this system of female non-education or quietism still prevails.My fear is that, with the best intentions, this policy has been carried so far as to react injuriously on the Male Sex.For the consequence is that, as things now are, we Males have to lead a kind of bi-lingual, and I may almost say bi-mental, existence. With Women, we speak of "love", "duty", "right", "wrong", "pity", "hope", and other irrational and emotional conceptions, which have no existence, and the fiction of which has no object except to control feminine exuberances; but among ourselves, and in our books, we have an entirely different vocabulary and I may almost say, idiom. "Love" then becomes "the anticipation of benefits"; "duty" becomes "necessity" or "fitness"; and other words are correspondingly transmuted. Moreover, among Women, we use language implying the utmost deference for their Sex; and they fully believe that the Chief Circle Himself is not more devoutly adored by us than they are: but behind their backs they are both regarded and spoken of — by all except the very young — as being little better than "mindless organisms".
"Political Correctness: Robert Bly and Philip Larkin" (1997)
Context: In Andrew Motion's book, we have the constant sense that Larkin is somehow falling short of the cloudless emotional health enjoyed by, for instance, Andrew Motion. Also the sense, as Motion invokes his like-minded contemporaries, that Larkin is being judged by a newer, cleaner, braver, saner world. … Motion is extremely irritated by Larkin's extreme irritability. He's always complaining that Larkin is always complaining.
Beating the drums of hope and faith (2004)
Context: Start small, put down the book you’re reading and sit with your grandmother to learn her language and find out about her life’s struggles and her history, before she passes on and your history is lost; put down the TV remote control and stop letting pop culture define who you are and go for a walk through your hometown’s historical landmarks. Find your identity by actually looking for the things in life that appeal to you or stir emotion in you. If you just let your government, your local imam, even your local pop singer or nasheed singer, define what you should be, you will never be more than that. Look in the mirror and ask yourself, ‘Who do I WANT to be?’ Start there.
Ur-Fascism (1995)
Context: Ur-Fascism is based upon a selective populism, a qualitative populism, one might say. In a democracy, the citizens have individual rights, but the citizens in their entirety have a political impact only from a quantitative point of view—one follows the decisions of the majority. For Ur-Fascism, however, individuals as individuals have no rights, and the People is conceived as a quality, a monolithic entity expressing the Common Will. Since no large quantity of human beings can have a common will, the Leader pretends to be their interpreter. Having lost their power of delegation, citizens do not act; they are only called on to play the role of the People. Thus the People is only a theatrical fiction. To have a good instance of qualitative populism we no longer need the Piazza Venezia in Rome or the Nuremberg Stadium. There is in our future a TV or Internet populism, in which the emotional response of a selected group of citizens can be presented and accepted as the Voice of the People.
“Once in our lives we have all to choose. More or less we have all felt once the same emotions.”
Confessions Of A Sceptic
The Nemesis of Faith (1849)
Context: Once in our lives we have all to choose. More or less we have all felt once the same emotions. We have not always been what the professions make of us. Nature made us men, and she surrenders not her children without a struggle. I will go back to my story now with but this one word, that it is these sons of genius, and the fate they meet with, which is to me the one sole evidence that there is more in "this huge state" than what is seen, and that in very truth the soul of man is not a thing which comes and goes, is builded and decays like the elemental frame in which it is set to dwell, but a very living force, a very energy of God's organic Will, which rules and moulds this universe.
For what are they? Say not, say not, it is but a choice which they have made; and an immortality of glory in heaven shall reward them for what they have sacrificed on earth. It may be so; but they do not ask for it. They are what they are from the Divine power which is in them, and you would never hear their complainings if the grave was the gate of annihilation.
unheard-of and unfelt effects with words.
Source: Native Son (1940), p. xxx
“You can never substitute emotion for reason.”
Source: Henry L. Trewhitt (1971) McNamara, p. 119
Context: You can never substitute emotion for reason. I still would allow a place for intuition in this process, but not emotion. They say I am a power gabber. But knowledge is power, and I am giving them knowledge, so they will have more power. Can't they see that?
Source: Yoga For People Who Can't Be Bothered To Do It (1993), p. 202
The Principles of Success in Literature (1865)
Context: I would not have the reader conclude that because I advocate plain-speaking even of unpopular views, I mean to imply that originality and sincerity are always in opposition to public opinion. There are many points both of doctrine and feeling in which the world is not likely to be wrong. But in all cases it is desirable that men should not pretend to believe opinions which they really reject, or express emotions they do not feel. And this rule is universal. Even truthful and modest men will sometimes violate the rule under the mistaken idea of being eloquent by means of the diction of eloquence. This is a source of bad Literature.
“They were unbalanced, emotional, hysterical, bigoted, hateful, loving, and insane.”
Why I Am an Agnostic (1896)
Context: The ministers, who preached at these revivals, were in earnest. They were zealous and sincere. They were not philosophers. To them science was the name of a vague dread—a dangerous enemy. They did not know much, but they believed a great deal. To them hell was a burning reality—they could see the smoke and flames. The Devil was no myth. He was an actual person, a rival of God, an enemy of mankind. They thought that the important business of this life was to save your soul—that all should resist and scorn the pleasures of sense, and keep their eyes steadily fixed on the golden gate of the New Jerusalem. They were unbalanced, emotional, hysterical, bigoted, hateful, loving, and insane. They really believed the Bible to be the actual word of God—a book without mistake or contradiction. They called its cruelties, justice—its absurdities, mysteries—its miracles, facts, and the idiotic passages were regarded as profoundly spiritual.
Part 5: "The World of One Physicist", "But Is It Art?", p. 261
Surely You're Joking, Mr. Feynman! (1985)
Context: I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.
Cognitive Biases Potentially Affecting Judgment of Global Risks http://singularity.org/files/CognitiveBiases.pdf, a chapter of Global Catastrophic Risks, edited by Nick Bostrom and Milan M. Cirkovic (2008)
Context: The human brain cannot release enough neurotransmitters to feel emotion a thousand times as strong as the grief of one funeral. A prospective risk going from 10,000,000 deaths to 100,000,000 deaths does not multiply by ten the strength of our determination to stop it. It adds one more zero on paper for our eyes to glaze over.
Lecture XXVIL: On Habit - Part II, in “Elementary Sketches of Moral Philosophy”, delivered at The Royal Institution in the years 1804, 1805, and 1806 by the late Rev. Sydney Smith, M.A. (Spottiswoodes and Shaw (London: 1849)) http://www.archive.org/stream/elementarysketc03smitgoog#page/n438/mode/2up, p. 423-424
Another Variant: The history of the world shows us that men are not to be counted by their numbers, but by the fire and vigour of their passions; by their deep sense of injury; by their memory of past glory; by their eagerness for fresh fame; by their clear and steady resolution of ceasing to live, or of achieving a particular object, which, when it is once formed, strikes off a load of manacles and chains, and gives free space to all heavenly and heroic feelings. All great and extraordinary actions come from the heart. There are seasons in human affairs when qualities, fit enough to conduct the common business of life, are feeble and useless, when men must trust to emotion for that safety which reason at such times can never give. These are the feelings which led the ten thousand over the Carduchian mountains; these are the feelings by which a handful of Greeks broke in pieces the power of Persia; and in the fens of the Dutch, and on the mountains of the Swiss, defended the happiness and revenged the oppressions of man! God calls all the passions out in their keenness and vigour for the present safety of mankind, anger and revenge, and the heroic mind, and a readiness to suffer—all the secret strength, all the invisible array of the feelings—all that nature has reserved for the great scenes of the world. When the usual hopes and the common aids of man are all gone, nothing remains under God but those passions which have often proved the best ministers of His purpose and the surest protectors of the world.
Quoted by Theodore Roosevelt in his " Brotherhood and the Heroic Virtues http://www.theodore-roosevelt.com/images/research/txtspeeches/668.pdf" Address at the Veterans' Reunion, Burlington, Vermont, September 5, 1901 and published in Theodore Roosevelt's "The Strenuous Life: Essays and Addresses" by Dover Publications (April 23, 2009) in its Dover Thrift Editions (ISBN: 978-0486472294), p. 126-127
Elementary Sketches of Moral Philosophy (1849)
Context: The history of the world shows us that men are not to be counted by their numbers, but by the fire and vigour of their passions; by their deep sense of injury; by their memory of past glory; by their eagerness for fresh fame; by their clear and steady resolution of ceasing to live, or of achieving a particular object, which, when it is once formed, strikes off a load of manacles and chains, and gives free space to all heavenly and heroic feelings. All great and extraordinary actions come from the heart. There are seasons in human affairs, when qualities fit enough to conduct the common business of life, are feeble and useless; and when men must trust to emotion, for that safety which reason at such times can never give. These are the feelings which led the ten thousand over the Carduchian mountans; these are the feelings by which a handful of Greeks broke in pieces the power of Persia: they have, by turns, humbled Austria, reduced Spain; and in the fens of the Dutch, and on the mountains of the Swiss, defended the happiness, and revenged the oppressions, of man! God calls all the passions out in their keenness and vigour, for the present safety of mankind. Anger, and revenge, and the heroic mind, and a readiness to suffer;— all the secret strength, all the invisible array, of the feelings,— all that nature has reserved for the great scenes of the world. For the usual hopes, and the common aids of man, are all gone! Kings have perished, armies are subdued, nations mouldered away! Nothing remains, under God, but those passions which have often proved the best ministers of His vengeance, and the surest protectors of the world.
Economic Times http://articles.economictimes.indiatimes.com/2013-11-15/news/44113918_1_business-leaders-privilege-yoga-classes, 15 November 2013
Sourced from newspapers and magazines
Context: So for a leader, it is very important that he is in the best of emotions within himself all the time because everything that he does, affects so many people. So there, our (India's) leadership has not worked at all, especially in the last five years. When leaders are insecure, leaders are fearful. He will then do what is good for him only. Only when he is joyful, when his experience of life is not affected by what's happening around him, he will do what is needed. We want leaders who will do what is needed, not what they need.
Bayard vs. Lionheart, The Evening Sun, Baltimore (26 July 1920), newspapers.com/clip https://www.newspapers.com/clip/21831908/hl_mencken_article_26_jul_1920_the/
1920s
Context: All of us, if we are of reflective habit, like and admire men whose fundamental beliefs differ radically from our own. But when a candidate for public office faces the voters he does not face men of sense; he faces a mob of men whose chief distinguishing mark is the fact that they are quite incapable of weighing ideas, or even of comprehending any save the most elemental — men whose whole thinking is done in terms of emotion, and whose dominant emotion is dread of what they cannot understand. So confronted, the candidate must either bark with the pack or count himself lost. … All the odds are on the man who is, intrinsically, the most devious and mediocre — the man who can most adeptly disperse the notion that his mind is a virtual vacuum.
The Presidency tends, year by year, to go to such men. As democracy is perfected, the office represents, more and more closely, the inner soul of the people. We move toward a lofty ideal. On some great and glorious day the plain folks of the land will reach their heart's desire at last, and the White House will be adorned by a downright moron.
Sesame and Lilies.
Context: When men are rightly occupied, their amusement grows out of their work, as the colour-petals out of a fruitful flower;—when they are faithfully helpful and compassionate, all their emotions become steady, deep, perpetual, and vivifying to the soul as the natural pulse to the body. But now, having no true business, we pour our whole masculine energy into the false business of money-making; and having no true emotion, we must have false emotions dressed up for us to play with, not innocently, as children with dolls, but guiltily and darkly.
"Legislators of the world" in The Guardian (18 November 2006) http://books.guardian.co.uk/comment/story/0,,1950812,00.html
Context: I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.
Source: The Cream of the Jest (1917), Ch. 26 : "Epper Si Muove"
Context: To-day alone was real. Never was man brought into contact with reality save through the evanescent emotions and sensations of that single moment, that infinitesimal fraction of a second, which was passing now — and it was in the insignificance of this moment, precisely, that religious persons must believe. So ran the teachings of all dead and lingering faiths alike. Here was, perhaps, only another instance of mankind's abhorrence of actualities; and man's quaint dislike of facing reality was here disguised as a high moral principle. That was why all art, which strove to make the sensations of a moment soul-satisfying, was dimly felt to be irreligious. For art performed what religion only promised.
The Outsider (1953)
Source: Who Is Man? (1965), Ch. 5<!-- The sense of the ineffable, p. 88 - 89 -->
Context: Awe is more than an emotion; it is a way of understanding, insight into a meaning greater than ourselves. The beginning of awe is wonder, and the beginning of wisdom is awe.
Awe is an intuition for the dignity of all things, a realization that things not only are what they are but also stand, however remotely, for something supreme. Awe is a sense for transcendence, for the reference everywhere to mystery beyond all things. It enables us to perceive in the world intimations of the divine, to sense in small things the beginning of infinite significance, to sense the ultimate in the common and the simple: to feel in the rush of the passing the stillness of the eternal. What we cannot comprehend by analysis, we become aware of in awe.
Love is not a feeling ~ The Article (1995)
Context: Okay, so you don't have drugs, alcohol and sex but you love someone, as a feeling. Then it won't be long before you'll be experiencing one or more of the painful feelings I've mentioned above - and thinking it's natural! Wait and see. Even in every day living you're continually interpreting experience via your emotions instead of being the experience direct. "This is good, that's bad," your feelings swing subtly to and fro all day long obscuring the reality, the sensational knowledge or gnosis that it's not bad at all; it's simply life as it is.
As quoted in Claude Debussy: His Life and Works (1933) by Léon Vallas, p. 225
Variant translation: Before the passing sky, in long hours of contemplation of its magnificent and ever-changing beauty, I am seized by an incomparable emotion. The whole expanse of nature is reflected in my own sincere and feeble soul. Around me the branches of trees reach out toward the firmament, here are sweet-scented flowers smiling in the meadow, here the soft earth is carpeted with sweet herbs. … Nature invites its ephemeral and trembling travelers to experience these wonderful and disturbing spectacles — that is what I call prayer.
As quoted in The Life of the Creative Spirit (2001) by H. Charles Romesburg, p. 240
Context: I do not practise religion in accordance with the sacred rites. I have made mysterious Nature my religion. I do not believe that a man is any nearer to God for being clad in priestly garments, nor that one place in a town is better adapted to meditation than another. When I gaze at a sunset sky and spend hours contemplating its marvelous ever-changing beauty, an extraordinary emotion overwhelms me. Nature in all its vastness is truthfully reflected in my sincere though feeble soul. Around me are the trees stretching up their branches to the skies, the perfumed flowers gladdening the meadow, the gentle grass-carpetted earth, … and my hands unconsciously assume an attitude of adoration. … To feel the supreme and moving beauty of the spectacle to which Nature invites her ephemeral guests! … that is what I call prayer.
Foreword
My Turn (1989)
Context: In 1981, when Ronnie and I moved to Washington, I never dreamed that our eight years there would be a time of so much emotion. But life in the White House is magnified: The highs were higher than I expected, and the lows were much lower.
While I loved being first lady, my eight years with that title were the most difficult years of my life. Both of my parents died while Ronnie was president, and my husband and I were both operated on for cancer. Before we had even settled in, Ronnie was shot and almost killed. Then there was the pressure of living under the intense scrutiny of the media, and the frustration of frequently being misunderstood. Everything I did or said seemed to generate controversy, and it often seemed that you couldn’t open a newspaper without seeing a story about me — my husband and me, my children and me, Donald Regan and me, and so on.
I don’t think I was as bad, or as extreme in my power or my weakness, as I was depicted — especially during the first year, when people thought I was overly concerned with trivialities, and the final year, when some of the same people were convinced I was running the show.
In many ways, I think I served as a lightning rod; and in any case, I came to realize that while Ronald Reagan was an extremely popular president, some people didn’t like his wife very much. Something about me, or the image people had of me, just seemed to rub them the wrong way.
The Color Curtain (1956)
“Compassion is an unstable emotion. It needs to be translated into action, or it withers.”
Regarding the Pain of Others (2003), p. 101,
Context: Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. People don't become inured to what they are shown — if that's the right way to describe what happens — because of the quantity of images dumped on them. It is passivity that dulls feeling.
Press Statement issued the day before her marriage to Aristotle Onassis, NY Times (20 October 1968)
Context: We know you understand that even though people may be well known they still hold in their hearts the emotions of a simple person for the moments that are the most important of those we know on earth — birth, marriage, death. We wish our wedding to be a private moment in the little chapel among the cypresses of Skorpios.
Values for Survival (1946)
Context: If we are to create balanced human beings, capable of entering into world-wide co-operation with all other men of good will — and that is the supreme task of our generation, and the foundation of all its other potential achievements — we must give as much weight to the arousal of the emotions and to the expression of moral and esthetic values as we now give to science, to invention, to practical organization. One without the other is impotent. And values do not come ready-made: they are achieved by a resolute attempt to square the facts of one's own experience with the historic patterns formed in the past by those who devoted their whole lives to achieving and expressing values. If we are to express the love in our own hearts, we must also understand what love meant to Socrates and Saint Francis, to Dante and Shakespeare, to Emily Dickinson and Christina Rossetti, to the explorer Shackleton and to the intrepid physicians who deliberately exposed themselves to yellow fever. These historic manifestations of love are not recorded in the day's newspaper or the current radio program: they are hidden to people who possess only fashionable minds.
The Captive Mind (1953)
Context: The pressure of an all-powerful totalitarian state creates an emotional tension in its citizens that determines their acts. When people are divided into "loyalists" and "criminals" a premium is placed on every type of conformist, coward, and hireling; whereas among the "criminals" one finds a singularly high percentage of people who are direct, sincere, and true to themselves.
Source: My Share Of The Task (2013), p. 393-394
Context: All leaders are human. They get tired, angry, and jealous and carry the same range of emotions and frailties common to mankind. Most leaders periodically display them. The leaders I most admired were totally human but constantly strove to be the best humans they could be. Leaders make mistakes, and they are often costly. The first reflex is normally to deny the failure to themselves; the second is to hide it from others, because most leaders covet a reputation for infallibility. But it's a fool's dream and inherently dishonest. There are few secrets to leadership. It is mostly just hard work. More than anything else it requires self-discipline. Colorful, charismatic characters often fascinate people, even soldiers. But over time, effectiveness is what counts. Those who lead most successfully do so while looking out for their followers' welfare.
The Principles of Success in Literature (1865)
Context: An orator whose purpose is to persuade men must speak the things they wish to hear; an orator, whose purpose is to move men, must also avoid disturbing the emotional effect by any obtrusion of intellectual antagonism; but an author whose purpose is to instruct men, who appeals to the intellect, must be careless of their opinions, and think only of truth. It will often be a question when a man is or is not wise in advancing unpalateable opinions, or in preaching heresies; but it can never be a question that a man should be silent if unprepared to speak the truth as he conceives it. Deference to popular opinion is one great source of bad writing, and is all the more disastrous because the deference is paid to some purely hypothetical requirement. When a man fails to see the truth of certain generally accepted views, there is no law compelling him to provoke animosity by announcing his dissent. He may be excused if he shrink from the lurid glory of martyrdom; he may be justified in not placing himself in a position of singularity. He may even be commended for not helping to perplex mankind with doubts which he feels to be founded on limited and possibly erroneous investigation. But if allegiance to truth lays no stern command upon him to speak out his immature dissent, it does lay a stern command not to speak out hypocritical assent.
“We must now heed the imperative voice of emotion.”
The Tall Office Building Artistically Considered (1896)
Context: We must now heed the imperative voice of emotion.
It demands of us, What is the chief characteristic of the tall office building? And at once we answer, it is lofty. This loftiness is to the artist-nature its thrilling aspect. It is the very open organ-tone in its appeal. It must be in turn the dominant chord in his expression of it, the true excitant of his imagination. It must be tall, every inch of it tall. The force and power of altitude must be in it the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line, — that it is the new, the unexpected, the eloquent peroration of most bald, most sinister, most forbidding conditions.
The man who designs in this spirit and with the sense of responsibility to the generation he lives in must be no coward, no denier, no bookworm, no dilettante. He must live of his life and for his life in the fullest, most consummate sense. He must realize at once and with the grasp of inspiration that the problem of the tall office building is one of the most stupendous, one of the most magnificent opportunities that the Lord of Nature in His beneficence has ever offered to the proud spirit of man.
That this has not been perceived — indeed, has been flatly denied — is an exhibition of human perversity that must give us pause.
Travis McGee series, The Deep Blue Good-by (1964)
Context: These are the playmate years, and they are demonstrably fraudulent. The scene is reputed to be acrawl with adorably amoral bunnies to whom sex is a pleasant social favor. The new culture. And they are indeed present and available, in exhausting quantity, but there is a curious tastelessness about them. A woman who does not guard and treasure herself cannot be of much value to anyone else. They become a pretty little convenience, like a guest towel. And the cute little things they say, and their dainty little squeals of pleasure and release are as contrived as the embroidered initials on the guest towels. Only a woman of pride, complexity and emotional tension is genuinely worthy of the act of love, and there are only two ways to get yourself one of them. Either you lie, and stain the relationship with your own sense of guile, or you accept the involvement, the emotional responsibility, the permanence she must by nature crave. I love you can be said only two ways.
Prostitution, Trafficking, and Cultural Amnesia (2006)
Context: U. S. prostitution can be understood in the context of the cultural normalization of prostitution as a glamorous and wealth-producing “job” for girls who lack emotional support, education, and employment opportunities. The sexual exploitation of children and women in prostitution is often indistinguishable from incest, intimate partner violence, and rape.
Twelve Virtues Of Rationality http://yudkowsky.net/rational/virtues
Context: Do not flinch from experiences that might destroy your beliefs. The thought you cannot think controls you more than thoughts you speak aloud. Submit yourself to ordeals and test yourself in fire. Relinquish the emotion which rests upon a mistaken belief, and seek to feel fully that emotion which fits the facts. If the iron approaches your face, and you believe it is hot, and it is cool, the Way opposes your fear. If the iron approaches your face, and you believe it is cool, and it is hot, the Way opposes your calm. Evaluate your beliefs first and then arrive at your emotions. Let yourself say: “If the iron is hot, I desire to believe it is hot, and if it is cool, I desire to believe it is cool.”
Source: Goodbye to All That (1929), Ch. 27 On studying at Oxford University in 1919.
Context: In the middle of a lecture I would have a sudden very clear experience of men on the march up the Béthune–La Bassée road; the men would be singing... These daydreams persisted like an alternate life and did not leave me until well in 1928. The scenes were nearly always recollections of my first four months in France; the emotion-recording apparatus seems to have failed after Loos.
Context: Well, first of all, if you’re not—if you’ve never been on a soap box, it’s sort of awkward. You get up on a chair, and you look out—‘specially when the guy will precede you by saying “And the next speaker is Bill Bailey, a member of the Marine Workers Industrial Union, and a great—and this, and on—“, you know. They give you a big razzle-dazzle, and you get up there and you look out over a couple of hundred faces… Nobody’s laughing, no expression, you know, no nothing… You don’t know if they got a ham sandwich in their hand they’re gonna hit you with or what! And you’re supposed to razzle-dazzle them, you know, stir them, you know, really get ‘em up to where they’re screamin’ “Bloody murder!” Well, you know, and you get up there, and you’re mouth is dry, you know. Butterflies in your stomach. I mean, you’re complete emotional, ready to collapse, and the first thing you said to yourself, “I wish an earthquake takes place at this very minute,” you know. But anyway…! Like anything else, you take a deep breath, and you say your first word. And the second one comes out a little bit easier, after you get the word “Fellow-worker”, you know, out of your mouth—that’s the way it is. Then, bit by bit, you start warming up.
Markings (1964)
Context: Respect for the word is the first commandment in the discipline by which a man can be educated to maturity — intellectual, emotional, and moral.
Respect for the word — to employ it with scrupulous care and in incorruptible heartfelt love of truth — is essential if there is to be any growth in a society or in the human race.
To misuse the word is to show contempt for man. It undermines the bridges and poisons the wells. It causes Man to regress down the long path of his evolution.
"But I say unto you, that every idle word that men speak..."
Section 1 : Give Responsibility to Vitally Necessary Work!
Variant translation: Work democracy introduces into liberal thinking a decisive new insight: the working masses who carry the burden of social existence are not conscious of their social responsibility. Nor are they — as the result of thousands of years of suppression of rational thinking, of the natural love function and of the scientific comprehension of living functioning — capable of the responsibility for their own freedom. Another insight contributed by work democracy is the finding that politics is in itself and of necessity unscientific: it is an expression of human helplessness, impoverishment and suppression.
The Mass Psychology of Fascism (1933), Ch. 10 : Work Democracy
Context: Work-democracy adds a decisive piece of knowledge to the scope of ideas related to freedom. The masses of people who work and bear the burden of social existence on their shoulders neither are conscious of their social responsibility nor are they capable of assuming the responsibility for their own freedom. This is the result of the century-long suppression of rational thinking, the natural functions of love, and scientific comprehension of the living. Everything related to the emotional plague in social life can be traced back to this incapacity and lack of consciousness. It is work-democracy's contention that, by its very nature, politics is and has to be unscientific, i. e., that it is an expression of human helplessness, poverty, and suppression.
Part 5: "The World of One Physicist", "But Is It Art?", p. 261
Surely You're Joking, Mr. Feynman! (1985)
Context: I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.
“Ninety percent of our lives is governed by emotion.”
Source: Attributed from posthumous publications, Dialogues of Alfred North Whitehead (1954), Ch. 29, June 10, 1943.
Context: Ninety percent of our lives is governed by emotion. Our brains merely register and act upon what is telegraphed to them by our bodily experience. Intellect is to emotion as our clothes are to our bodies; we could not very well have civilized life without clothes, but we would be in a poor way if we had only clothes without bodies.
Complete Works of Swami Vivekananda (1915), Vol. I, Ch. VII : Dhyana and Samadhi, p. 184
Context: Mohammed spoke some wonderful truths. If you read the Koran, you find the most wonderful truths mixed with superstitions. How will you explain it? That man was inspired, no doubt, but the inspiration was as it were, stumbled upon. He was not a trained Yogi, and did not know the reason of what he was doing. Think of the good Mohammed did to the world, and think of the great evil that has been done through his fanaticism! Think of the millions massacred through his teachings, mothers bereft of their children, children made orphans, whole countries destroyed, millions upon millions of people killed!
So we see this danger by studying the lives of great teachers like Mohammed and others. Yet we find, at the same time, that they were all inspired. Whenever a prophet got into the superconscious state by heightening his emotional nature, he brought away from it not only some truths, but some fanaticism also, some superstition which injured the world as much as the greatness of the teaching helped. To get any reason out of the mass of incongruity we call human life, we have to transcend our reason, but we must do it scientifically, slowly, by regular practice, and we must cast off all superstition. We must take up the study of the super-conscious state just as any other science. On reason we must have to lay our foundation, we must follow reason as far as it leads, and when reason fails reason itself will show us the way to the highest plane. When you hear a man say "I am inspired," and then talk irrationally, reject it. Why? Because these three states —instinct, reason, and super-consciousness, or the unconscious, conscious and super-conscious states—belong to one and the same mind. There are not three minds in one man, but one state of it develops into the others. Instinct develops into reason, and reason into the transcendental consciousness; therefore not one of the states contradicts the others. Real inspiration never contradicts reason, but fulfils it. Just as you find the great prophets saying, "I come not to destroy but to fulfil," so inspiration always comes to fulfil reason, and is in harmony with it.
Pt. I, ch. 1, sec. 6.
1920s, Process and Reality: An Essay in Cosmology (1929)
Context: Philosophy finds religion, and modifies it; and conversely religion is among the data of experience which philosophy must weave into its own scheme. Religion is an ultimate craving to infuse into the insistent particularity of emotion that non-temporal generality which primarily belongs to conceptual thought alone. In the higher organisms the differences of tempo between the mere emotions and the conceptual experiences produce a life-tedium, unless this supreme fusion has been effected. The two sides of the organism require a reconciliation in which emotional experiences illustrate a conceptual justification, and conceptual experiences find an emotional illustration.
Notes to The Atrocity Exhibition (1970; written 1967 - 1969, annotated 1990)
Context: All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or ancient Egypt, is reassimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonise past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality in attractive and instantly appealing forms.
Love is not a feeling ~ The Article (1995)
Context: Love is not a feeling; it's a sensation. Drinking water when you're thirsty is a sensation, not a feeling. Being in nature or swimming in the sea is a sensation, not a feeling. Lying down when you're tired is sensational, not a feeling, although you may say it feels good. Feeling is an emotional interpretation of experience and these sensations don't need interpretation; they are just good or right. Making physical love rightly is a sensation, not a feeling. So is the love of God. The same goes for joy and beauty; both are sensational.
that is to say, intentional.
Source: Introduction to the New Existentialism (1966), p. 54
This is Your Brain on Music (2006)
Context: The story of your brain on music is the story of an exquisite orchestration of brain regions, involving both the oldest and newest parts of the human brain, and regions as far apart as the cerebellum in the back of the head and the frontal lobes just behind your eyes. It involves a precision choreography... between logical prediction systems and emotional reward systems.... it reminds us of other music we have heard, and it activates memory traces of emotional times of our lives. Your brain on music is all about... connections.
Source: Seth, Dreams & Projections of Consciousness, (1986), p. 184-185, quoting from Seth Session 31
Context: It goes without saying that a bird's death is inevitable, but a cat killing a bird does not have to juggle the same sort of values with which a man must be concerned. For now, suffice it to say that to kill for self-protection or food on your plane does not involve you in what we may call for the first time, I believe, karmic consequences. To kill for convenience... or for the sake of killing involves rather dire consequences, and the emotional value behind such killing is often as important as what is killed. That is, the lust [for] killing is also a matter that brings consequences, regardless of the living thing that is killed.
Slate interview, 2015 http://www.slate.com/articles/arts/books/2015/11/philip_pullman_interview_the_golden_compass_author_on_young_adult_literature.single.html
Context: They’re often bracketed together, Tolkien and Lewis, which I suppose is fair because they were great friends — both Oxford writers and scholars, both Christians. Tolkien’s work has very little of interest in it to a reader of literature, in my opinion. When I think of literature — Dickens, George Eliot, Joseph Conrad — the great novelists found their subject matter in human nature, emotion, in the ways we relate to each other. If that’s what Tolkien’s up to, he’s left out half of it. The books are wholly male-oriented. The entire question of sexual relationships is omitted.
Source: 1840s, Narrative of the Life of Frederick Douglass, An American Slave (1845), Ch. 2
Context: I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.
Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.
"Prostitution and Trafficking in 9 Countries: Update on Violence and Posttraumatic Stress Disorder" in Journal of Trauma Practice 2 (2003) http://www.prostitutionresearch.com/c-prostitution-research.html, p. 33-74; co-written with A. Cotton, J. Lynne, S. Zumbeck, T. Spiwak, M. E. Reyes, D. Alvarez , U Sezgin
Context: Posttraumatic stress disorder (PTSD), commonly occurs among prostituted women, and is indicative of their extreme emotional distress. PTSD is characterized by anxiety, depression, insomnia, irritability, flashbacks, emotional numbing, and hyperalertness. In nine countries, we found that sixty-eight percent of those in prostitution met criteria for a diagnosis of PTSD, a prevalence that was comparable to battered women seeking shelter, rape survivors seeking treatment, and survivors of state-sponsored torture. Across widely varying cultures on five continents, the traumatic consequences of prostitution were similar.
“In our anger and emotion, our fellow Americans must treat each other with respect”
2000s, 2001, Islam is Peace (September 2001)
Context: America counts millions of Muslims amongst our citizens, and Muslims make an incredibly valuable contribution to our country. Muslims are doctors, lawyers, law professors, members of the military, entrepreneurs, shopkeepers, moms, and dads, and they need to be treated with respect. In our anger and emotion, our fellow Americans must treat each other with respect.
In Search of Memory (2006)
Context: CREB's opposing regulatory actions provide a threshold for memory storage, presumably to ensure that only important, life-serving experiences are learned. Repeated shocks to the tail are a significant learning experience for an Aplysia, just as, say, practicing the piano or conjugating French verbs are to us: practice makes perfect, repetition is necessary for long-term memory. In principle, however, a highly emotional state... could bypass the normal restraints on long-term memory. In such a situation, enough MAP kinase molecules would be sent into the nucleus rapidly enough to inactivate all of the CREB-2 molecules, thereby making it easy for protein kinase A to activate CREB-1 and put the experience directly into long-term memory.
"Einstein's Reply to Criticisms" (1949), The World As I See It (1949)
Context: There are few enough people with sufficient independence to see the weaknesses and follies of their contemporaries and remain themselves untouched by them. And these isolated few usually soon lose their zeal for putting things to rights when they have come face to face with human obduracy. Only to a tiny minority is it given to fascinate their generation by subtle humour and grace and to hold the mirror up to it by the impersonal agency of art. To-day I salute with sincere emotion the supreme master of this method, who has delighted — and educated — us all.
